This Moment in Black History played a long stretch of European dates late last year, including a dozen dates in France, alone. How did the tour go, overall? What were the highlights?
Chris Kulcsar: The tour was a great experience for us. It was the longest tour we’ve ever done and we got to play to a lot of people and [play] a lot of places where we wouldn’t normally get to rock/freak out. The highlights were definitely the people. The crowds were so energetic and enthusiastic—I don’t think that we’ve ever played so many encores on a tour before. Plus there were so many friendly people who cooked us food and let us crash at their houses.
Where else has the band toured extensively? It seems that TMIBH has a certain affinity for the American south. Can you talk a little about certain gigs like SXSW or the southern scene, in general? Are the spirits of Sun and Stax still looking over the scene in Memphis?
Buddy Akita: We do as much touring as we are capable of. We have toured the whole U.S. twice, Europe once and, in addition, we toured through mid-America last year en route to SXSW and we tour the Midwest regularly. We have a good fan base in Southern California, as well, but recently had to cancel a West Coast tour due to financial reasons. We are playing [SXSW again] this year and are touring mid-America en route again, including Memphis. I think our show is already booked for March 13th. Memphis rules!
What’s been going on in Cleveland recently? Is there a community of bands that TMIBH plays out with? Is there interest in or time for collaborations and side projects with other local musicians? How important is the history of Cleveland’s underground music scene to the band?
Chris Kulcsar: Cleveland has, and will always have, an amazing music scene/community. There are too many good bands to make a comprehensive list, but currently some of my favorite bands are The Death Sweats, Muamin Collective, Coffinberry, Black Tyger, JJ Magazine, Roue and Poor Sailor. We all play and record with other people/bands. Cleveland is very incestuous that way. [Cleveland’s underground music scene is] our bread and butter—our history. We’re all fucking music geeks.
What was it like recording “It Takes a Nation of Assholes to Hold Us Back” with Steve Albini at Electrical Audio? What made his approach to recording your music unique? Did you get to take in much of Chicago while you were recording?
Buddy Akita: Steve is the best. He is a professional in every sense of the word. His approach was to simply record what we played—no more, no less. He was very easy to work with and knows his job very well.
Chris Kulcsar: We recorded and mixed the album over two [12 hour] days, so, ah…no, but I’ve been to Chicago a bunch and I love yr burritos and yr art museum.
What assumptions do listeners have about an integrated, political band calling itself This Moment in Black History? What have you learned from groups like The Clash and Public Enemy in terms of presenting yourselves, artistically and politically?
Buddy Akita: I don’t really know what assumptions people have about us nor do I really care. I make music that I like with people that I like, so what other people think doesn’t really matter that much to me. We are just four people expressing ourselves through music.
Chris Kulcsar: If yer feeling militant [then] rock some fatigues and try not to put yer foot in yer mouth. Thanks.
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