RobotMonkeyArm is a multimedia project of the mind. A series of imaginary films, comic books, and novels all represented only through the music that creator Ryan Baker has written, it\u2019s a cinematic mix of surf rock, Italian Western, and B-movie themes.<\/p>\n
Starring a gorilla and a robot as adversaries (who have, through unknown circumstances, switched arms) and a beautiful young cyborg, Baker\u2019s series of EPs is fronted by colorful, cartoonish artwork from Matt Talbot. But the stories themselves? Only Ryan knows for sure. We talked to him to try to wring out a few more details.<\/p>\n
Who is our protagonist? The robot with the monkey arm or the monkey with the robot arm? And who stole whose arm first?<\/p>\n
It\u2019s amazing to hear other people\u2019s interpretations. The last thing I want to do is ruin it with too many details. Regardless as to who stole whose arm first (or is there some other explanation?), things have escalated into a bloody tale of revenge. Each EP has its own unique protagonist. Now are they (the EPs) telling the same story from radically different viewpoints? An epic trilogy of films? Or just different genre direct-to-DVD movies with the same cast? Who cares?!? It\u2019s just music, bro!<\/p>\n
What was the genesis behind these albums?<\/p>\n
In its absolute infancy, I had a huge crush on a girl who was in a cutesy \u201960s garage\/surf band, and I was inspired to write some surf songs hoping to woo her. This completely backfired, which twisted the songs into the horrible nightmare they now are.<\/p>\n
You have Italian Western elements, but there are hints of everything from giallo to \u201970s blaxploitation and revenge flicks. Was each EP inspired by a different film genre?<\/p>\n
I\u2019m obsessed with all that stuff. I can\u2019t help but be influenced by it. I gravitate towards experimental music and film scores, I think because I\u2019ve always approached music from a visual or cinematic viewpoint. Whenever I\u2019m listening or writing, I can\u2019t help but picture scenes in my head; my preferred way of listening to music is in the dark with headphones on for that reason (no distractions).<\/p>\n
For example, a piece like John Zorn\u2019s Spillane or Mr. Bungle\u2019s \u201cThe Bends\u201d for most people are seemingly random collections of music, sound effects, and harsh noises but were hugely emotional experiences for me. When I listen to something, I want to go on an emotional journey with a lot of dynamics, much like watching a film or a great piece of theater does. I don\u2019t know how successful I am, but that\u2019s what I\u2019m striving to do when I write music \u2014 that and cheap panning effects. I\u2019m a sucker for those.<\/p>\n
Would and could you ever perform this live, perhaps with a Gorillaz-style multimedia show?<\/p>\n
Absolutely! The Gorillaz are amazing! Oh my goodness, if I was a trust-fund kid or had some kind of angel investor, the live show would be incredible \u2014 animation and holograms galore! For now, I\u2019m trying to get a six-to-eight-piece band together, and I did just splurge on a giant set of cardboard robot arms that I found on Etsy. I don\u2019t know how I\u2019m going to play baritone guitar with those.<\/p>\n
What comes next? Musically, what would it sound like?<\/p>\n
I love music and challenging myself, and there are so many types of music I want to explore and questions I want to answer \u2014 the more overreaching, ambitious, and challenging to pull off the better! The next one is going to be some sort of swanky, big-band spy and film-noir-ish record, I think. That\u2019s at least the general direction I\u2019m headed. Who the heck knows what it\u2019s gonna sound like when it\u2019s done? It could be more like Skrillex or more like John Denver. I just write whatever comes out naturally.