I think we all have a favorite band that we want the best for – no matter what. The kind of band you think is pretty special. The one you believe the whole world should know so music becomes their full-time gig.
For me, that band is Mississippi’s Flying Raccoon Suit. And for very good reason.
Blending ska with just about everything – metal, indie, shoegaze, Dixieland jazz, and big band (just to name a few) – Flying Raccoon Suit are masters of their craft. All of those influences should not go together so perfectly and seamlessly, but Flying Raccoon Suit are just that damn good.
When I heard Afterglow for the first time two years ago, I knew they had something special. In fact, I loved that album so much that it was in my top five of my Top Albums of 2021 list. Naturally, I yearned for more music, but outside of a couple comps, nary a peep from the group. That all changed in Fall 2023. Not only did the band drop a new video for a brand-new single called “Swan Song,” but they announced a new album for November 2023 on Bad Time Records.
For a band that has been DIY from the beginning, both pieces of news are tremendous.
For instance, the video was directed by Chris Graue, whose directing credits include NOFX, We Are The Union, Reel Big Fish, The Bombpops, Bruce Lee Band, and Bite Me Bambi. Graue had this to say about his experience working with Flying Raccoon Suit:
This video was an absolute blast to do. My favorite part is the guy who absolutely launches himself through a wall. FRS is the greatest band of the nicest people, I just wish I could pinch their faces every day.
With so much happening at once, I wanted to speak with Flying Raccoon Suit. So I was stoked to interview Jessica, Andrew, and Kerley about this special moment in time. Moonflower comes out on November 3rd, and you can preorder it on the Bad Time Records website.
I think it’s safe to say 2021’s Afterglow was a breakout album for the band in several ways. Looking back to everything you did, what are some of your fondest memories surrounding the recording, release, and promotion of that album?
Jessica: It was always a big hangout session where we roasted each other playfully and drank way too much coffee. Being able to bounce creative ideas off of each other without criticism or judgement and getting to blend our ideas together was just all around a fun and experimental time for us a group and individually. Kerley always isolating and messing with Andy’s vocal tracks is always hilarious, too.
Andrew: The recording was tons of fun. I love everyone in this band, and we don’t see each other a ton when we’re not playing, so any excuse to hang out is great. I think seeing the reactions to that release was more heartwarming than we could have hoped.
Kerley: I cherish so much of what that album brought to the band and myself personally. I think working through it really forced us to solidify our sound and processes. Afterglow was the first record I produced that I genuinely felt proud of, and I’ll never forget how great it felt that it resonated with so many people.
You were practically 100% DIY for Afterglow. What lessons did you learn from Afterglow that helped you with all things Moonflower?
Jessica: I think I personally learned to just lean into my own vocal style and own it without criticizing myself. I am who I am and that’s fine. Vocal recording is nerve-wracking in itself no matter what. But this time around, I felt more comfortable with it because we did it pretty much the same way as last time, and I got to play with layers and and felt more inclined to add input. It was also more comfortable because these songs are from the heart.
Andrew: Musically, I feel like we tackled Moonflower in a pretty similar way to Afterglow – same pairs of people recording together, everything tracked at my house and Kerley’s house, etc. What we learned the most about is promotion I think, and how to use green screens better and not cause Kerley a ton of extra work. [Laughs]
Kerley: As far as the studio goes, we’re still 95 percent DIY. We still outsource mastering, which I think is the right choice just to get a good pair of ears on the final thing before pressing. I learn new things at every facet during our projects. I’m already aware of ways to improve after Moonflower. I love wearing the production hat for our records, and I don’t personally see that changing any time soon.
Within the span of three years, you went from crowdfunding the production costs of your album to getting a song on one of Bad Time’s comps to officially joining their roster of bands. That says a lot about how good you are as a band. Has any of this really sunk in yet? How does it feel to be part of the BTR family?
Andrew: I feel like it hasn’t sunk in yet! But maybe that will change after we announce. It feels great to be a part of the Bad Time family. All of the bands are so sweet and have been that way to us even before joining. Being label mates with some of my favorites like Best of the Worst and Eichlers is wild to me.
Jessica: It feels absolutely surreal. We’re all just seven best friends in Mississippi who met by complete chance, and now we’re all doing this together. I feel insanely lucky that I get to be a part of this at all.
What’s the story of how the BTR deal came about?
Andrew: Well, we did pitch Afterglow to BTR, and they said no. [Laughs] Which is completely OK! BUT, we pitched Afterglow to as many labels as we could, and out of all of them, BTR was the only one to actually respond to us, and with some kind words no less. A couple said they would listen to it and were never heard from again. With that in mind, we pitched to BTR again when the first few songs of this album were presentable.
Also, I want to mention that after Afterglow had been out for a while, Ska Punk International did do a run of tapes for us, which we really appreciated. That community has been so great to connect with as well. Shout out SPI!
The new album is Moonflower ,and once again, Kerley did the honors of recording and producing. What new tricks did he have up his sleeve for this one?
Kerley: So, like we were saying earlier, a lot of production for Moonflower was handled the same as Afterglow. A huge thing I wanted to do with this record is to streamline our process for production. Afterglow helped fund a few studio things – a couple new mics, plug-ins, and a rolling rack. The rolling rack destroyed my back by the way! [Laughs]
We were able to essentially make the studio portable and jump back and forth between recording at my place and Andy’s without having to sacrifice using some of my outboard gear at one place or another. I’m also constantly working on my editing and mixing processes. I’m finally reaching a point of confidence as an audio engineer, and it lets me spend more time and energy where it counts.
One (of many) things I love about Flying Raccoon Suit is how seamlessly you can blend multiple musical genres and make them sound cohesive and beautiful. Did you experiment with the genre-blending for Moonflower as well?
Andrew: For sure! The backbone is always ska, but every member can bring whatever ideas they want to the table. One podcast said something like, “Exploring other genres through the lens of ska,” and I think I like that. One thing that I think does come through a little more in this album is that half of the band, including myself, have spent much of our musical lives cutting our teeth in the world of southern brass bands. Plus, I’m a huge fan of bands with Eastern European influences and always love playing with that.
Jessica: You already know it. Our favorite thing is experimenting and playing with sounds and layers. I am ultimately a ska lover, but I spent my youth listening and looking up to a lot of shoegaze and female singer-songwriter artists like Mazzy Star, Jewel, PJ Harvey, Alanis Morrissette, etc. I loved how wistful and dreamy it sounded, and I loved the raucous energy of ska. I grew up thinking, “Why not both?”
The overall theme covered on Afterglow is mental health and the idea that things will get better eventually. Does Moonflower still share that optimistic view of the future, or are you focusing on other themes with the new album?
Jessica: This one digs a bit deeper and picks at the heart and soul. As we get older, life happens, and we lose a bit of optimism and momentum. This album focuses a bit on the feeling of being trapped inside your own thoughts, making mountains out of molehills, the what-ifs, and whatnot. Uncertainty about the future, the unknown. Thoughts we all have when we start to realize time moves fast.
Andrew: Lyrically, the album does have an arc in that way, and there’s going to be some lyrical callbacks to drive that point home (we hope). We also touch on the insecurities that come with aging and some topics that aren’t as pointedly about mental health. One song is an anti-racist, anti-xenophobia song for instance.
Your first single is “Swan Song.” Picking the first single for an album is a big responsibility. What was it about that track that you think best represents the Moonflower-era Flying Raccoon Suit?
Jessica: A lot like “Static Home,” I feel like that track represents everyone’s strengths, and it’s one that lyrically means quite a bit to me. I tear up every time. This one, to me, feels like all of our influences put together the most. It has sad lyrics, jazzy horns, and Andrew’s cool guitar bridge. FRS checklist fulfilled.
For people familiar with the folks in the band, it’s not a secret Kerley is a big fan of metal. How fun was it for him to take lead screaming duties on “Long in the Tooth?”
Kerley: I won’t give away too much before release. [Laughs] But, needless to say, I’m very excited for people to hear that one. It’s by far the most I’ve written and recorded for an FRS song.
One change to your group between now and your previous album is the addition of Clay Aleman on bass. What dynamic does he add to the band?
Andrew: To us, it’s a big difference. We’re curious to hear how different it is to listeners! Our original bassist, Josh (who does play on Run Away), and Clay are both incredible players with very different playing styles. Josh played a 5-string with fingers while Clay plays a 4-string with a pick and some gain to it.
Kerley: I was curious how the recording process would change with Clay. Honestly, he fit right in, and I had a ton of fun this time around finding new bass tones. SansAmp driver DI mixed with a Darkglass fucking rips.
Jessica: He’s cool, I guess. He’s really bad at Green Eggs and Ham for the Game Boy Advance.
You recently were honored as the best (and only) ska band in Mississippi. With that region’s rich history with jazz, Dixieland, and similar genres, why do you think ska hasn’t made a bigger impact?
Andrew: I think it’s a generational thing, honestly. Before the internet could expose anyone to any genre at lightspeed, ska was taking off on the West Coast, the East Coast, and even some in the Midwest. The ripples of bigger bands in those regions probably sparked a wave of people starting their own bands, and those bands inspired others to play and so on and so on. The South never had as many breakouts in the genre to inspire more of that music down here, with the exceptions of Less Than Jake and Against All Authority out of Florida. Lo and behold, Florida does have some great current bands.
There have always been SOME ska bands in the south, but they have been fewer and farther between than other regions. Most southern states have one ska band in them, with the exception of Texas and Florida. Louisiana now has 2! It’s blowing up! So if you’re a ska band, and you’re touring through Mississippi, Tennessee, Kentucky, Georgia, etc., you know which band you’re hitting up!
What touring and promotional plans do you have for the new album?
Andrew: I’ll be honest, we’re hoping for what all bands hope for – that this album might spark interest from a bigger band who would offer us a direct support slot on a tour. [Laughs] If that still doesn’t happen, we’ll book another DIY tour for sometime in 2024 and soldier on! We are doing some local album release shows December 1st in Pensacola, FL, and December 2nd in Ocean Springs, MS.
What songs are you most excited to perform live?
Jessica: I always love performing “Swan Song” because I feel like I can give that one my all forever. But also I also love “Eat the World” and, if we ever get around to it, “Hurricane.” I’d also love to hear the horns blasting off in “Witch’s Streak.”
Andrew: We’re gonna bust out some new ones for FEST, not sure which ones yet though. For me – “Eat the World,” “Pinwheel,” and “Longshot.”
Did Andrew finally play the damn sousaphone on a full-length?
Andrew: I did!
Any last words?
Kerley: I’m just so stoked to release and share what we’ve been working on since Afterglow. Admittedly, I’m very nervous. [Laughs]. Afterglow had such a positive reception that very much caught me off guard. But I was proud of it before its release, and I’m extremely proud of what we put together for Moonflower. Very honored to join the BTR family this time around, and super grateful to anyone that gives it a listen.