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Spotlight: Big Skin Hearts

Spotlight - Big Skin Hearts.jpg

In the third OKMA Spotlight, we visit with Chris Foreman, the brains behind the rock project Big Skin Hearts.

Big Skin Hearts.jpg

I was first introduced to Big Skin Hearts over a year prior, through a blog that revisited old cassette releases. While I was able to dig up a lot of information on Oklahoma punk and rock bands active in the late '80s and early 90's, even the author of the blog had little little to go on in regards to the artist that really caught my attention. A one man band who had assaulted the Norman campus with cassette tapes in what was described as a self promotion blitzkrieg. That artist was Big Skin Hearts.

Fast forward to 2020, and I'm still stuck on finding out more information about who was behind Big Skin Hearts. By happenstance, I came across Nub Records to realize there was new music after all of these years. I dug a little deeper when I found a post in a Facebook group by William Benson of Cat Casual, who was inquiring about a Big Skin Hearts album. The other members of the group were reminiscing about the artist, talking about the cassettes they had. Through Benson, I was able to hook up with Chris Foreman, the one man powerhouse himself.

Spotlight[edit]

Origins & Cassette Bombing[edit]

OKMA: How did Big Skin Hearts come about?

Chris: Are you old enough to remember Shadow Play Records?

OKMA: That one doesn't sound familiar.

Chris: It was a killer record store by the campus there in Norman. And the lady who ran it... man, I'm drawing a blank on her name, but she was super sweet. So she let me come in and just drop cassettes off. I'd say, "If somebody buys something or they don't buy something, just say 'here, this is free'" and hand it out to them.

That's when I started going around to various places. A lot of phone booths were still around back then, so I would drop them off on phone booths. And slip into to the library and put them in behind a book. There might even still be some left in that library. If I stuck it behind a book that hadn't been checked out in fifteen years, or whatever, there might be a cassette back in the Norman library somewhere.

"Halo Fetish" hidden among books.

OKMA: That would be an interesting find!

Chris: But anyway, I just kept writing songs and making these little cassette releases. And that's how I got introduced to Dan Riffe [[of Illegitimate Sons of Jackie O, Ancient Chinese Penis, and Van Gogh's Ear]]. I used to put my mom's phone number, because I never had a steady phone number. And so my mom answered the phone one day and it was these guys looking for me because they'd found one of my tapes and they were really digging on it.

"I'd already gotten my reward because it had kinda healed me. And that's why I did it. I never made any money off my music." — Chris Foreman

At that point, I had a phone number, so she gave them my phone number and I started talking to him. And me and Dan Riffe just sat on the phone and he asked me about how I was getting my guitar sound and all this stuff. I said, "Man, I just had this little, tiny practice amp, that I just turn it up all the way, and then when I record it, I just mash all the levels in the red so it's super distorted." We talked for about maybe forty minutes on the phone that day, just laughing. I guess they thought maybe that I had some kind of method to my madness like I was doing this stuff on purpose. It was just how it came out every time.

OKMA: So you're really just pushing it to the max and clipping all of the sounds.

Chris: Yeah, exactly. Because I would have to press record on the tape deck, which was sitting beside me, and then play my drums and then try to adjust it by myself. So I'm just screwed. I got tired of trying to make it sound clean. So I got this really nasty, lofi, crap rock sound out of it. About that time, and I think it might have been Dan Riffe, who told another guy about me being in Chickasha and maybe possibly wanting... You see, Dan Riffe was the guy who talked me in to putting a band together, because I didn't have a band and I recorded everything by myself.

Putting the Band Together[edit]

Chris: So Dan Riffe, on the phone that day, said, "Man we gotta get you a band". And I think that it was probably a week later or so these three teenagers from Norman showed up on my porch. One of them I think was still in high school. Those guys were Shawn Stawicki, Joseph Whitt, and Michael Elliot. Mike on drums, Joey was the bass player, and Shawn was the guitar player. And they showed up all revved up about my stuff and wanting to put a band together. I was like, "Okay guys, we'll try it!" We ended up rehearsing in the rehearsal space I had downtown and getting a set together and writing some stuff kinda off the cuff as well. Which none of that stuff was recorded.

So I met up with these guys and we started rehearsing and working out my songs. Also, I'm gonna add, once I recorded forget me trying to show you how I played it. (Laughs) If you can't figure it out, we'd just skip it and go to the next song. Because once it was down, man I might remember some of the... kinda get my hands back where I was in position on the guitar and stuff like that.

See, I was all self-taught pretty much at that point. And every time I picked up the fricking guitar it would be in a different tuning. So like if I was playing and the E string dropped out, I would just keep tuning down. (laughs) So one song might be in E and one might be in G or who knew what it was. These guys had a challenge.

Man, I swear to God, I didn't even get a tuner until after I recorded the self-titled CD. And then finally, this last batch of stuff I did, most all of it's in tune. (Laughs)

OKMA: Now that you've got a tuner, right?

Chris: Yeah.

Performing Shows[edit]

Chris: We ended up playing a bunch of shows. There was a guy in Norman by the name of Daryl Bascom. Hold on a second. Because when I say Daryl Bascom's name I have to pump my fist in the air and go "DARYL BASCOM!"... because he was the bane of my existence. He got us a lot of good shows. I mean, we opened for all kinds of the stuff that was coming through in the '90s, like the old Rome XC venue there in Norman and Kelly's. And all these little venues and stuff that were in Norman and some places in Oklahoma City. And I played a handful of shows in Tulsa.

Rome Concert Poster

But for the most part, anything that came through Rome XC, I think that's what it was called, was usually a pretty national touring act. So like bands like The Jesus Lizards, Jon Spencer Blues Explosion, Rancid. I love this stuff. The Cows. A band called Surgery. Morphine. All these bands that come through on tour and Rome XC was a hot spot. So for example, if the Jesus Lizards was coming through, they'd have a label mate traveling with them as an opener. But Daryl was booking a lot of those shows, so he always liked to have a local band to kinda be in there.

And we did a lot of those, man. And the reason why we did them is because we were cheap. All my guys weren't old enough to drink, okay? So they'd have to have special hand stamps, or something. But I would tell Bascom, "I'll play any show for $100 cash and a case of Pabst Blue Ribbon long necks. Now this is way before the hipster explosion of Pabst Blue Ribbon. And might I add to find Pabst Blue Ribbon in Oklahoma in longnecks was a task. So he had to come up with it every time. And he managed to do it.

Hollywood Theater Concert Poster

And so in the green room, or whatever, we could go back there and hang out with like Judah Bower from The Jon Spencer Blues Explosion and like David Yow might be walking around or whatever. And I'd be back there drinking beers. And then we'd go up and do our set. I would immediate leave and leave the beers for whatever band was back there drinking. And take the $100 cash and give it to my guys and say, "Here, split it up" for gas or what have you. And that was pretty much how it all came to fruition.

OKMA: So you got paid with the beer and they got paid with the cash?

Chris: Yep. That's exactly right.

OKMA: So you've really... all your music and all your performing, you're doing it for the love of the music and not for the money, it sounds like.

Chris: Absolutely. Absolutely. You've gotta understand something. I had kinda a rough childhood growing up. Music was my escape. When I started writing and recording my stuff, it was like therapy, man. Because I had so much anxiety and so much anger. I would have anxiety to the point where I wouldn't sleep, not a wink, for three or four days and finally succumb to exhaustion. So my music was my therapy and I thought of it that way. So I'd already gotten my reward because it had kinda healed me. And that's why I did it. I never made any money off my music. I don't want to.

Origin of the Name & Album Titles[edit]

OKMA: Is that where the name "Big Skin Hearts" came from? It's kinda your therapy? How did the name come about?

Chris: Okay, this is funny. So I used to love making up band names, okay? Just for chucks and giggles. I would take a notebook and just start writing down these most ridiculous band names. And I would just laugh myself silly. Me and my buddies would get together and drink beer and start reading through some of the band names and just laugh. So at the time of the first cassette release, I didn't have a band name. But... the band names that I loved were all these bands like Big Black, Bad Brains, Bauhaus. Stuff like this. I liked the ring of that.

And so everyone was like, "well okay, you obviously like the word Big." I said, "Cool." And so I wrote that down. And so I said, "Alright, I'm gonna say the word 'Big' and point at you. You'll say the next word that comes to your mind and then I'll point at you. And you'll say the next word that comes to your mind. We'll write down a couple of these and see how it turns out." And so I said, "Big", and pointed at Ron [[King]]. And Ron says, "Skin!" and then I pointed at Dave [[DeShong]] and Dave said, "Heart?". I said, "Fuck, that sticks! I love it!" It kinda has a picture to it, you know.

OKMA: Yeah.

Chris: It sounds like it could be romantic. It sounds like it could be violent. And nothing describes me better.

OKMA: Well it sounds like you and Dan Riffe would have had fun doing band names. Between the two of you, you have some pretty interesting band names.

Chris: Yeah! And also, when you start reading some of those freaking titles on those cassettes, some of those song titles are just as fun.

So, the song title has almost never had anything to do with the song. Almost never. I think that there's a couple songs. I have a song called "Toy Guitar" and the reason why it was called "Toy Guitar" is because when I went to plug my guitar in to take the guitar part, my jack on my guitar wasn't working right. So I had this really tinny, thin kinda toy sound. And then right as the drums and everything kicked in, I wiggled the cable and then boom! I had this ginormous distortion. So it just all kicked in on accident.

Self-Titled Album & Mulato Christmas Bean Supper[edit]

Chris: And then I recreated that song on the self-titled CD. The orange and black one. I did that with Corey Roberts as well. I was Corey's experiment. He was just getting his studio going and he recorded that for free so he could work out his levels and all this gear.

So I would roll to Corey's house in Norman with maybe a couple riff ideas. And then I would show up... I had a 1990, I think, Geo Metro. And I would have a complete set of drums, guitars, basses, amps, everything loaded in that. And by myself, I would load all that gear, go to Corey's, set up my drums, he'd be miking my drums, I'd start getting my guitars and stuff out, and then I would go in there.

Same type of thing. If I had kinda a riff idea I knew I was gonna do, I would just take the drum tracks. So I took all the drum tracks first. Then I would just start working on riffs and most of all those were just... there were a couple on the self-titled CD that were on, I think, Mulato Christmas Bean Supper... which was kinda my greatest hits at that time. It was kind of a compilation of some of the stuff that stuck and people really liked and the whole second side was all new stuff.

Mulato Christmas Bean Supper

OKMA: Alright.

Chris: And I think Mulato Christmas Bean Supper is 90 minutes. I can't remember how long it is, but it is long. There was a ton of songs on that thing. And I believe, if I'm thinking correctly, that that's the one. But anyway, I had some of these songs that were kinda worked up that I knew I was gonna retry. But I would say that only about a third of that album was pre-thought out. Almost everything else was just off the cuff in Corey's studio. And how he had the patience to work with me on that shit...

Production Credits[edit]

Chris Then, after college, and you know starting to get good jobs and stuff like this, I took out a Musician's Friend credit card type of thing and I bought a Roland 18/8. At the time, it was a 16 track digital audio workbox, basically. All in one box. I got monitors and decent mics, and processors, cables, and everything. Went in debt and started using that machine.

I tracked a bunch of guys locally. Demo stuff. I told them, "I'll record any band for $100 per song." That's what I charged. And at the time, that was a pretty good working rate as long as you've got guys who were charging by the hour. I couldn't do it for free, because I had to make a payment on this son of a bitch. But I wanted to make it as affordable as possible.

I'd tell them, "Listen guys, it's either $25 an hour or $100 a song." And if you've really got your stuff together, and you can knock out two or three songs in an hour, that's $25. But a lot of these guys would come in and try to want to be paid forward, or something. They wanted to work shit out. I was like guys, honestly. Go and get this stuff tight, come back, and I'll do four songs for $100 if you knock it out real fast. So that's how I ended up doing that... so I could make payments on my machine.

And then at the same time, I was writing and recording my own stuff. And oh my God, I used to crank out maybe one to four songs a week. Sometimes in a day. And most of all those, I just pressed delete on. Because the stuff I was working on wasn't as good as the stuff I was gonna work on. And you run out of space on those machines real quick. I bet there's 150 songs just floating around out there somewhere that's just in the wind. So that's where we are now.

Over the last couple of years, I worked up this last... you know, Can I Get a High Five fo LoFi?, which I think is a genius title. So that's the last batch of stuff that I'll probably ever do.

Can I Get a High Five fo LoFi?[edit]

OKMA: You said you've been working on this one for a couple of years? What made you decide to put out another album?

Can I Get a High Five fo LoFi?

Chris: I think my wife got in my ass about it. She said something like, "These songs you've been working on for the last year and a half, two years... are you ever going to do anything with them?" I was like "Well, maybe I'll just do some CD bombing. And so I just started ripping them to CDs. Which at this time, people are starting to get away from CDs. But there's still a lot of CD players out there at this time. So I just started handing this stuff out.

"I really wanted to get my rock back out. You know what I mean?" — Chris Foreman

And then I hit Corey up out of the blue because I saw he was doing post-production. And my stuff was all over the place. I said, "Hey, man, what would you charge me to remaster this thing? Just kinda clean it up a little bit and get all the levels and stuff matching?" He told me he would do it for $100. I sent him the CD, he worked it up, and told me I was only off on like one song. It had a little too much low end on it. He fixed that for me. And then he listed it to Nub Records and hosted it for me as a favor. And also because he hosts the first album.

OKMA: The first album? You're talking about Buggernaut, right?

Chris: No, Buggernaut was a cassette release. People call the self-titled, they call it Buggernaut because the artwork looks a lot alike. They're both orange and black. But really, it was the self-titled CD. I don't think I ever stuck a name on it.

Steve Albini Story[edit]

OKMA: So the one listed on Nub is actually the self-titled?

Chris: Yyyyes? Buggernaut, there's a funny story about this. Buggernaut was a cassette release and my good friend David DeShong ended up moving to Chicago and working at Wax Trax Records. Now, while he was working there, Steve Albini [[of Big Black]] and the president of Touch and Go Records were having a 9 Ball pool tournament. If you could beat Steve Albini at 9 Ball, you got this giant collection of autographed Big Black LPs, CDs, and everything, and this giant package of really cool stuff.

Buggernaut

Well, my buddy entered the tournament they were holding at Wax Trax Records, played Steve in 9 Ball, and Steve mopped the floor with him. Mopped the floor with him. And then he goes... which I think is the coolest thing ever. Then DeShong looks at Albini, pulls my cassette out of his pocket, then he goes, "Here, man. I've got a buddy who plays music. He don't want anything out of this. He's just been listening to your shit for years. Here, you listen to his."

And the guy picks it up, looks at it, and goes, "Buggernaut! That's hysterical!". And the president of Touch and Go Records goes, "Shit, Steve. Sign a ball for him." So Steve Albini signed me a pool ball and sent it to me. That's one of my favorite stories.

Cover Artwork[edit]

OKMA: You'd mentioned your covers, Buggernaut and the self-titled, having similar looking artwork.

Chris: Yeah.

OKMA: All of your cassettes have the...

Chris: That's a portrait of the artist.

OKMA: Okay.

Chris: All these little drawings I do are kinda, I don't know. I just sketch myself. (Laughs) All these little crazy, manic looking almost, skeletal types of figures.

OKMA: Those are how you envision yourself at the time?

Chris: Still do, man. I drew the cover for LoFi and at this point now I've got a theme. So I might as well just stick with it.

Okay, so I dropped the self-titled in [[1997]] and it was around Halloween. That's why I printed it orange and black. I got pumpkin orange. And I hand inserted every one of those things. All one thousand of them. Well, I think I hand inserted up to... let me see. I had 250 left in a box that had not been inserted. And I ended up using them for Christmas ornaments. They make great coasters as well. So 700+ I hand inserted and pretty much gave away.

I'd take them to record stores and just put them on the counter with "Free. Local artist. Take one." I have had people tell me through the grapevine that somebody would find one of [[my albums]] in a closeout bin in Albuquerque. You know what I mean? Like how the hell it got there, I have no idea. I didn't have a website. I didn't have a mailing list. I didn't have anything. I just did all of the leg work, I'd drop them off, and gave them away.

OKMA You don't remember walking to Albuquerque?

Chris Oh, hell no.

Honeywagon[edit]

OKMA: During your time between the self-titled and LoFi, you worked with other artists, right?

Chris: Yes sir.

OKMA: Honeywagon and Travis Linville? So that was all in '97. Me and the boys had kinda run our course, because they were starting to go to college and stuff. So about '96-'97, I started working with this local singer/songwriter named David Reimer. He was brilliant. And a couple of guys were looking for a drummer and were going to try to put his band together.

David Reimer's a singer/songwriter kind of guy. And he had like two giant binders of completed songs. I think it was probably 250 songs he had written and they were all completed. He hadn't actually rehearsed with any bands at the time. So we started rehearsing. Man, we were rehearsing like 4 days a week. And we cut an album at Dear Abbey Road Studios there in Norman and we did like 12 songs, or something like this. And we cranked out about 500 discs and those floated around. Then when we started playing our shows. We played a lot of shows between late '96 up to 2000.

Thinking Cap

And between then, about 1999... late in '99, we recorded an album called Thinking Cap. The band is called Honeywagon. We recorded the album with Trent Bell. And that one had pretty professional looking artwork and everything. And we had those all printed up. It was mastered down in Dallas at someplace, I can't remember. But then about that time, by the time the album was released in early 2000, like January. It was really early in 2000. By the middle of 2000, we were so sick of each others' shit, we broke the band up.

The Burtschi Brothers[edit]

Chris: Travis Linville, who is from Chickasha, called me up because he needed to borrow a couple monitors for a show he was doing. I've got these shit monitors. I said, "I don't think the horns work, but I know the drivers do." So he shows up, borrows my monitors, and it was a couple weeks later when he brought my monitors back.

The Burtschi Brothers

He goes, "Give me a call. My drummer's leaving and we've got a bunch of shows. Do you want to come out and play music and make some money with us?" I said, "Sure." And that band was The Burtschi Brothers. And God, I played a ton of shows. A ton.

My first show with Travis, he had like 40 songs in his set. I had two weeks to get ready. First show with Travis was a Thursday night at a bar called Classics in Oklahoma City. A little dive bar. And I banged through 40 songs that night. Crash course. Crash course.

My second freaking show with The Burtschi Brothers was opening for David Allan Coe, sold out at The Brewery in Oklahoma City. And this place was packed, man. And I had to share a kit with his drummer who only has one leg. So he didn't have a hi-hat. He had like a cymbal stand with a couple closed hi-hats. So he was missing his left leg from a motorcycle accident, right? And this guy also didn't play with monitors. Okay? He hated using monitors. So two strikes against me. Three! This asshole sets up across the stage in the dark. So he's looking directly across the stage. So he's not behind, he's like on the side of the stage. So I'm like 15-20 feet from Linville. I can't even hear his monitors. I can hear his guitar. So this guy goes, "I don't mind if you play my drums, but don't you touch a damn thing. Don't you tune nothin'. Cause if you do, I'm gonna take this friggin' artificial leg off and I'm gonna beat you to death with it."

And at that time, I was still kinda a larger, angry dude. I was walking around like 190, 6 foot. I said, "Okay buddy, whatever." So I go up there. I barely survive this set, man. Barely survived the set. And I was so freaking pissed, I adjusted everything. By the time that guy got behind his drums, I bet you it took ten minutes to get everything adjusted. He just pissed me off. So then we sat and listened to most of David Allan Coe's show and we split.

By the end of the next week, I think we did a whole ten day stretch opening for Cross Canadian Ragweed, who were filling a van with a trailer back there. We were just in a conversion van. All of our gear was in just our van. We didn't even have a trailer yet.

Then we did a stretch opening for The Stragglers and this or that. Next thing you know, we're starting to pull these bigger shows. Now we're opening for people like Travis Tritt. And when that shit hit the head, we had just finished recording what was going to be the third or fourth Burtschi Brothers album. And when the band broke up during that process, Travis ended up... he may have ditched it or he may have released it.

Travis Linville

And then Travis ended up putting a new band together. Me and Travis went on the road with that for a little bit with another new bass player. So it's just a preview. From then, I just play off and on with Travis. Any time he needs me, he hollers at me. I still play shows, but I sure do like my Saturdays off, drinking beer, man. I love to grill. So it has to be a pretty good gig for me to leave the house.

Genre Influences[edit]

OKMA: Big Skin Hearts and Travis Linville are decidedly different musical genres. How was that transition for you?

Chris: Oh man, you would not believe my playlists. I listen to, I'm serious, I freaking listen to everything. My playlists are like multi personalities. I will actually have like a Halloween soundtrack from the 60s, play a song from that, and then I'll go into something like the most brutal Norwegian black metal you've ever heard. And then from that to The GAP Band and from that to '90s hip hop. From there, it'd be stuff like Philip Glass. All over the place, man. And honestly, I love all those genres equally. Because I think, look this quote up, okay? I think it was Duke Ellington who said, "There's only two kinds of music. Good and bad and it depends on what kind of mood you're in." I'm not sure on the exact quote, but I'm pretty sure it was Duke Ellington who said that. And that's kinda been my philosophy.

"There are simply two kinds of music, good music and the other kind... the only yardstick by which the result should be judged is simply that of how it sounds. If it sounds good it's successful; if it doesn't it has failed." — Duke Ellington

Like, I'm a huge Niko Case fan. Then again, I love Napalm Death. And then I'll spin this new little artist called LP. I think she's gonna be huge. And she's real pop, polished. I'm just all over the board, man. Like all over the board. So for me, I play along with all of these people.

Because I'm also, if you can't tell, scatterbrained. I get bored real easy. So for me, I started off as kinda a garage rock/punk rock drummer. And a lot of the bands I played with back when I was a kid was, like I said, kinda garage-y or punk-y. But I really love playing along with Elvis Costello and the Attractions. I would spend hours playing along with the Attractions, Joe Jackson, The Jam, The Police, Van Halen, you name it. I would just sit in the garage with my headphones on and play along for hours to all kinds of pop and rock and stuff like this.

And also having a marching background, I also knew a lot about snare drums. And because snare drums translate really well to rockabilly, blues shuffle, stuff like this. It was easy for me to jump and cross genres. Always has been.

I can't play double bass... my left foot's retarded. But, for the most part, put me in a heavy rock band and I can hold my own. But at the same time, I play a lot of ballads. I play a lot of country swing.

Camille Harp

I've played with Camille Harp, almost seven years this year, off and on, and her stuff is kind of country. It's got a country flavor for sure. She's a female, so she's got a softer side to it.

I love all kinds of music. My playlists are all over the place. I'll tell you what. It's going to be really hard for you to come up with anything... I may not like it, but I'll find something I respect about it. You know what I mean? Because I've played so much music and I've recorded so many albums with various people. I've done a lot of session work for people I can't even remember. But I love the process of the studio and I love the idea of engineering sounds, textures, stuff like this. So I can jump genres.

Can I Get a High Five fo LoFi, Pt. 2[edit]

OKMA: Switching back to Big Skin Hearts, you've talked about different genres you can do. But when you went back and did Can I Get a High Five", you really kinda brought back that same sound that you had earlier in the '90s.

Chris: Yeah, totally. It all sounds the same. I really only wrote one song, I just recorded it 360,000 ways.

OKMA: Was it like a coming home for you to do that album after all these years?

Chris: Yeah. It was really just a pet project, because I had played so much country swing, jazz, blues, and singer/songwriter oriented stuff. I really wanted to get my rock back out. You know what I mean?

Future Plans[edit]

OKMA: Yeah. You've mentioned this might be the last Big Skin Hearts project?

Chris: Oh yeah, definitely. I actually rehearsed with a couple guys one time like two weeks before the freaking pandemic broke out. And it sounded fantastic. I was actually playing the drums and doing the vocals, but that was to be a temporary situation because I had a drummer in the waiting, who was moving at the time. And uh...

This fucking Chickasha is so fucking shady, man. We've got these guys riding these little motorized bicycles all over the place with their backpacks on just slinging pills and meth everywhere. I'll tell you right now, if it isn't screwed down, they'll take it. Except a shovel. My dad always said, "Leave the shovel out on the front porch. Nobody will take that shit. You have to work with that son of a bitch." I'm sorry, where were we?

Yeah, I was actually just wanting to get back to writing riffs. I love writing riffs.

OKMA: What are your plans for the future, if it's not going to be Big Skin Hearts?

Chris: Oh man, drinking beer and grilling on Saturdays. Yeah, I don't have any more plans than that. When this pandemic clears up, if it does, if anything returns to normal, if Travis wants to play some gigs, I'll play some gigs with Travis.

Chris behind the kit.

I've kinda reached out to a couple people, singer/songwriters, and say, "Hey, I've done a lot of this kind of work. If you need a drummer, let me know." And most of the responses I get are trying to have metal bands. I'm like nope. If it were like sludge rock or something that wasn't super fast like technical death metal, I could do it. But that technical death metal shit, that's acrobatic. That's a sport, man.

Oklahoma Music Scene[edit]

OKMA: Yeah, some of it definitely. So looking back at the music in the early 90s to how it is today, how do you think that the Oklahoma music scene has changed since then? With the exception of the pandemic, of course. That's a whole other beast. Up until that.

Chris: Well. It's died. In the 90's, Norman and Tulsa and Oklahoma City kind of had a hot spot. There were all of these bands. There were venues everywhere. Nowadays, by the time The Burtschi Brothers were getting hot, there wasn't a whole lot of places left.

Media[edit]

Afterword[edit]

Following this interview, Big Skin Hearts has signed on as one of the first artists on OKMA Records. We will be remastering and reissuing the entire Big Skin Hearts catalog over the coming months.

Along with this Spotlight, we are announcing the release of the first single from Can I Get a High Five fo LoFi?, "Welcome to the City Man". Available at all major retailers and streaming platforms as well as the OKMA Records store today! In addition, take advantage of our Big Skin Hearts apparel sale now through the end of April 2021!

Keep your eyes and ears out for more to come!

Credits[edit]

Interview conducted by Matthew Wallace of the Oklahoma Music Archives. (2021)

External Links[edit]