Foxing Wants the Ladies "to Swoon" and Fellas to "Pump Their Clenched Fists"

Triple Crown Records-signed band Foxing has quite the busy schedule ahead of them. Aside from a nationwide tour, the band releases their debut full-length The Albatross on May 27. The band will even be making a visit to Pines' recording studio-rock club Talent Farm tonight.

The St. Louis band consists of members Conor Murphy (vocals, trumpet), Josh Coll (bass), Ricky Sampson (guitar), Jon Hellwig (drums) and Eric Hudson (guitar). Out of the five talented dudes, we spoke to Josh who explained the genre "post-prickly," what the haunting video concept behind "Rory" is, and the cool cameo the band's song has in a remastered Garden State. Just kidding about the last part -- Josh seems to have a rambunctious sense of humor. But hey, we don't blame him. Who wouldn't want a shout out from the Black Swan herself?

See also: Seahaven Says, "A Lot of Things Changed," but "We're on Our Way"

New Times: Your genre is described on Facebook as "post-prickly." Can you elaborate on that?

Josh Coll: That genre tag means nothing; it sounded funny in my head and didn't put much thought to it. I need to update that; there is nothing prickly about us. We are softer than owl pellets.

Your debut LP The Albatross comes out this week on Triple Crown Records. How have you guys been promoting it?

(jokingly) Fox Searchlight Pictures is distributing a digitally remastered version of Zach Braff's opus, Garden State, in which Natalie Portman's character shows Braff a song from our album instead of the Shins.

You're performing at the Talent Farm with Seahaven. How does their style of music mesh with yours?

We are both on separate paths, but there are traces of commonality in what we do. I think sonically, both bands have a love for pretty tones and enveloping soundscapes.

Honestly, you would have to ask people attending the shows whether or not our bands are complementary in a live setting. I think we mesh well together. The dudes in the band are all hardbody babes, and we are are mountain trolls, so in that sense, we make them look better, which is sometimes the role of the opening band. We are a hand-grenade standing next to a 10.

Your music video for "Rory" has a very unique, haunting concept. Can you explain the meaning behind it?

We collaborate with a few friends on our music videos. I wrote the treatment for the video while we were on tour last summer. We were driving through New England, which in the summertime is such a beautiful area of the country.

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Simply put, I just had the idea of kids playing in the woods, however, the game they were playing straddled the line between innocent with occult overtones. I wanted the viewer to feel a sense of unease in regards to whether or not the little girls were playing or actually had the intention of harming the boy. I suppose it's the idea of savagery and innocence being forced into contrast.

You guys are from St. Louis. Does your city have an influence on your music at all?

Maybe only in the sense that landlocked states can often times feel vastly isolated. In the early 20th century, St. Louis was poised to be the New York City of the Midwest, now it is a wasteland crippled by corruption and segregation.

We love our city, but we aren't necessarily influenced by it. We are, however, influenced by the Midwest as a whole.

What song stands out the most to you guys (or each of you) and for what reason?

Whatever song makes the ladies swoon and the fellas pump their clenched fists.

Pitchfork said you guys are "trying to provoke and prod the listener, pushing the genre and themselves to places both might not be ready to go just yet." That "Rory" "feels like the goddamn apocalypse." What do you think about that?

I suppose "Rory" is a pretty doomsday type track; Deep Impact meets The Day After Tomorrow.

We didn't set out to make a challenging record -- we wanted to make an honest piece of work that properly represented a period of time. At the same time, we don't pander or write broad stroke pop music in order to be relatable to everyone. These songs are about our lives, our own failures, and people that are in our still currently in worlds. We write for our own approval, first and foremost. We want people to like what we do, but in all honestly, the rest is of no concern to me.

If that mentality is really that poking and prodding to people, then I suppose we have a subversive approach. At the end of the day I guess if Pitchfork says it, it is the word. So it was written; blessed be.

Seahaven with Adventures, Foxing, and Van Gogh Sky, 6 p.m., Friday, May 23, at the Talent Farm, 20911 Johnson St., #111, Pembroke Pines. Tickets $12 at the door and $13.50 in advance. Visit thetalentfarm.com.

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