The joyful tunes of STRFKR bring out whimsy in their devoted fans and their shows are always a fun experience to witness. Events like these are what fans look forward to making them go all out in wacky attire to get in the right headspace for the performance they’re about to see. Fans took advantage of the peaceful aura by dressing up in everything from spacesuits to reflective neon jumpsuits to dragonflies with wings that light up. We conversed with friends and bonded with strangers over drinks. But once the lights went dim, there was an uproar. STRFKR had arrived.

The band didn’t waste time with introductions and started with a bang, quite literally as canons blew confetti into the air and jolted up with frenzy. The hysteria continued as they began their set with a classic, “While I’m Alive”. We vibed along to the haunting yet catchy lyrics, “Last night all black and white, when I was sleeping. I felt shadows and emptiness surround me. Just keep telling myself to live my life alive.” STRFKR followed up with “Together Forever,” a new track off their latest project Parallel Realms. The echoing mantra of professing one’s love rang throughout the venue as purple lights set the mood, “Shorty will you take my love? I don’t wanna break your heart. Shorty will you take my love? Isn’t it hard enough.”

From there, the band slowed things down with “Kahlil Gibran” from Miracle Mile. It was a change of pace to catch your breath and zone out as manta rays swam in space on the projected screen on stage. They made the atmosphere more cheerful with yet another fan favorite “Rawnald Gregory Erickson the Second”. A delightful tune that feels like taking a stroll on a bright sunny day. That feeling continued with “Sazed,” as STRFKR got the crowd to chant along to the simple chorus, “Gloria!” during which their stage crew dressed in full spacesuits and crowd surfed throughout the entire arena.

Photo by Corinne Schiavone, courtesy of the artist

Upcoming tour dates

07/25 – Spokane, WA @ Knitting Factory
07/26 – Seattle, WA @ Showbox Sodo #
07/29 – Boise, ID @ Knitting Factory #
07/30 – Jackson, WY @ The Mangy Moose #
07/31 – Missoula, MT @ The Wilma #
08/02 – Bozeman, MT @ The Elm #
08/03 – Billings, MT @ Pub Station Ballroom
08/04 – Mishawaka, CO @ Mishawaka Amphitheatre #
08/07 – Albuquerque, NM @ El Rey Theatre #
08/08 – Phoenix, AZ @ Van Buren #

# w/ Ruth Radelet

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Vidal Granados: Great set guys! Burning under the bright sun but you pulled it off. Aside from the sun, how are you guys enjoying Just Like Heaven?

Josh Hodges: It’s great! Such a good lineup that “Just Like Heaven” is tailor-made for people of our generation.

Shawn Glassford: Super happy to be here!

VG: You are performing in Washington in the summer. Any other upcoming show dates you can share?

JH: Right now we’re actually finishing up an album so when that’s done then we’ll focus on the next tour. That’ll probably be more for next year 2024.

VG: How I got introduced to you was back in 2018 from my friend. He went to your 10-Year Anniversary show decked out in a full spacesuit and you guys brought him on stage to dance and signed his helmet. Shoutout to Spaceman Sam!

JH: [Laughs] That’s awesome!

SG: I remember him! We did 2 nights at Lincoln Hall in Chicago. They were great!

JH: With our anniversary tour, we did the whole first album then took an intermission before doing a whole other set. Overall a 2-hour show.

VG: I know the name STRFKR has been asked about a lot and I understand it was an inside joke originally. In doing so you took a stance with the name. You guys went by “Pyramids” for a brief moment, but quickly went back to “STRFKR” because you didn’t want to conform your vision.

JH: I had another band I was serious about before this. But then I became disillusioned with even trying to be successful in music. This band (STRFKR) was essentially born out of my giving up. Music became a fucking popularity contest that I didn’t want to be a part of. The way the name became an inside joke was I was on tour as a guitarist for another band and overheard obnoxious industry people bragging saying, “I’m a star fucker!” I thought it was a funny, dumb name that may not be good branding, but whatever.

The music I was making in my basement was for myself. I love to play drums and write songs. That’s how STRFKR came to be really and then it grew. From a few house shows to bigger gigs and working with whoever was down to play with me. I didn’t even know Shawn (Glassford) when he joined the band [Laughs]. I knew his girlfriend beforehand and she mentioned her boyfriend was a good drummer. And I eventually married them years later! Anyways, during that time it didn’t feel like we were in control, things moved so fast. Shawn was motivated and he booked all the shows and it wasn’t a chore, it was a fun experience.

SG: The “Pyramids” name came when we tried to get a manager that claimed certain labels wanted to sign us but didn’t like the name STRFKR. So we changed our name and did a show in England and it didn’t work out, it wasn’t our vision.

JH: I say all this to tell readers, “Listen to your fucking gut!” Every time we deviated from our view because we thought getting a manager or changing our name was a smart move it never felt right. That’s why we said, “Fuck it let’s do whatever we want,” and it usually worked out well.

VG: That’s some high praise Shawn for being the backbone. What was your journey like joining STRFKR?

SG: In the beginning it was self-indulgence. We played however we wanted even to the point where we’d try to annoy people to leave with noise before going into our smoother tunes to make them stay. We did every single show that was offered. Once it picked up though it kind of spiraled out of our control. Then once our fan base was created we felt obligated to do it for the fans and have more serious shows. It took on its own life once things got more real. But there’s a method to the chaos.

JH: It’s the best job I ever had! We’re not qualified to do anything. I was working as a parking lot attendant before this.

SG: [Laughs] I was making lattes, washing dishes, and bussing tables. I can bus a table like nobody’s business!

VG: I enjoyed your latest single “Running Around”. What’s your process for working on a song?

JH: During the pandemic, I got really lazy. I was depressed and uninspired. But then I made myself write a new song every day. “Running Around” came from that batch of songs I had written in that time. The way I write is I fucked around until I like something. I’m not really good at any instrument it’s all about your taste. That song actually I hated everything I was doing until I stumbled onto something that clicked. I was forcing key changes when I didn’t have to. There is another version of “Running Around” that we’ll be putting on the new album next year.

SG: I come in more near the end and give feedback on the track. Josh writes most of the stuff.

JH: Shawn is like the manager. From the very beginning he was booking all the shows and going through my catalog of songs and being helpful on what projects needed fine-tuning. His perspective was important in those early stages. He handles the orders of the album. Shawn and drummer Keil Corcoran will do the lights and stage design for live shows. We all have our different places that we contribute. It’s crazy how well our weird working relationship has continued so long for 12 years.

SG: It’s been 16 years. Since 2007 [laughs]

JH: It’s been 16 years? That’s fucking nuts! [laughs]

VG: As I start to wrap up, Josh you mentioned going through a phase during which you were not inspired to make music. What activities do you do in order to get those creative juices flowing again?

JH: Times when I’ve had writer’s block, I make myself do art I’m not good at. Nothing that has to do with my sense of self or money. I started doing watercolor paintings. There’s something rewarding about the process of being bad at something and doing it anyways. In doing so it’s like being an antenna to attracting good vibes.

SG: I play disc golf that’s my outlet to let off steam. It’s meditative.

VG: Lastly, any further details you guys can give on the future album?

JH: There are about 13ish songs. We’ve had 30 songs we’ve been whittling down from. They’re pretty far along. Hoping to finish up by July, which means we’ll tour and release it by next year.

SG:  By January it’ll release hopefully. Figures crossed!

JH: I feel like I don’t really have perspective on it yet since I’ve been working on it so much. That’s why it’s helpful to have Shawn and Keil look at it for feedback. Also, we’re going to have someone else mix it which we don’t normally do. That’ll be good.

SG: Producer Chris Coady, he’s has worked on the Yeah Yeah Yeahs, TV On the Radio, Beach House, and countless other records. He’s awesome. It’s exciting to be working with him.

VG: I look forward to hearing it. Thank you so much for your time guys!

STRFKR by J. Bajsel for Just Like Heaven for Just Like Heaven Music Festival.

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The festival took place outside the Rose Bowl on the golf course in Pasadena, California. Fans made their rounds scoping out the grounds for food and drinks then quickly rushed towards the merchandise stand before the lines got too long. After filling up our water bottles we spread out between the Orion and Stardust stages, both basking in the hot, beaming sun.

The Hives by R. Polack for Just Like Heaven. Cover image: MGMT by R. Polack.

First up was none other than the Swedish rock band The Hives. As fans stood out in the blistering sun melting away early in the afternoon, lead singer Pelle Almqvist kept them engaged between songs by making funny quips: “You know I always thought golfers were pricks, but here they are letting us mess up their nice grass. This next song is for the golfers!” Playing tracks like “Rigor Mortis Radio” and “Hate To Say I Told You So,” Almqvist continued to joke with the crowd asking if The Hives are their new favorite band. “That was a rhetorical question of course,” he continued, “we know we are”. They finished their set with “Countdown to Shutdown” but not before insisting the fans demand a longer set.

STRFKR by J. Bajsel for Just Like Heaven.

Most stuck around the Orion stage huddling under the only tree in the open field to get a little shade. The cool shadow gave enough shelter to perfectly enjoy the whimsically mellow STRFKR. Spacey tunes like “Golden Light” and “Malmo” are funky tunes to vibe to without needing to exert too much energy. Dressed in their iconic spacesuits, STRFKR many songs off Being No One, Going Nowhere. They brought on fellow backup astronauts as dancers before breaking out in an orgy simulation during “While I’m Alive”. Another highlight fans got a kick out of was STRFKR doing their cover of Cyndi Lauper’s “Girls Just Want to Have Fun”.

Metronomy by R. Polack for Just Like Heaven.

Next up was the instrumental collective, Metronomy. Wasting no time with introductions the band opened up with “Love Factory” and continued their set with “The Bay” and “Corrine”. Singer/guitarist Joseph Mount and Olugbenga Adelekan left the stage for a short break. This gave drummer Anna Prior a chance to shrine as she sang “Everything Goes My Way”. Later on Prior and the two synth keyboards got to do a jam session on stage before being rejoined by the rest of the band. Fans were hyped when Metronomy performed their smoothest song, “The Look”. They ended their set by playing their debut single, “You Could Easily Have Me,” a more electric-punk instrumental which is different compared to the more pop-friendly style they’re known for.

Peaches by A. Osborn for Just Like Heaven.

Migrating to the Stardust stage for the must-see performance of Peaches. Merrill Nisker has made herself an icon under the moniker Peaches for her sexually explicit songs. Her set was definitely the raunchiest performance, standing out compared to the rest of the lineup. Peaches and her backup dancers stripped down to their underwear and nipple pasty that accidentally fell off during the performance. The wardrobe malfunction added to the delightful chaos for songs like “Dick in the Air” and “Boys Want to Be Her”. Peaches even crowd surfed standing, literally walking on the crowds’ palms while singing “AA XXX”. Of course, her performance wouldn’t have been complete without her legendary song, “Fuck the Pain Away”.

Empire of the Sun by G. Chong for Just Like Heaven.

For a complete 180º fans rushed back to Orion stage for Empire of The Sun. Seeing Luke Steele’s band is admittedly one of the main reasons I wanted to attend this festival. In fact, running into Luke backstage I nervously said “hello” and how much I love his music. Steele smiled and shook my hand, “I appreciated that mate, cheers. How you doing man?” he breathed out in a low Australian accent. Our short interaction made the wait for his performance worth it. The crowd exploded when Luke came on stage and began playing “Standing on the Shore”. Fans sang along for the chorus of all Empire of the Sun’s biggest hits, “Half Mast (Slight Return)”, “We Are the People”, and “Walking on a Dream”. Everyone was having the time of their life and Luke knew it.

M83 by A. Osborn and GMT by R. Polack for Just Like Heaven.

The hardest decision fans had to make at Just Like Heaven was whether to attend M83 or MGMT. Both bands played at the same time leaving the difficult choice to commit to one or see half of each. I chose the latter. Sticking with M83 during the first half who started the set with “Water Deep”. M83 didn’t use excess lighting leaving most of the band members in darkness allowing their instrumentation to set the mood. The band continued to play songs off their latest album, Fantasy, and tracks like “Amnesia” and “Earth To Sea” allowed the band to loosen up. On the opposite stage, MGMT were performing their hit album Oracular Spectacular. Luckily, right when I arrived MGMT just started playing “Electric Feel”. And boy did it feel like a party. The dancing during “Kids” as the band continued through the album.

Yeah Yeah Yeahs by J. Bajsel for Just Like Heaven.

The honors of closing out Just Like Heaven went to the Yeah Yeah Yeahs. Songs off Cool It Down illustrated how far the band has come. “Spitting Off the Edge of the World” lets Karen O and company shrine making the atmosphere feel more epic. Of course, Karen has always had a phenomenal voice showing her vocal range on “Maps”. Her soft tone compliments the instrumentation wonderfully as the song builds up. Yeah Yeah Yeahs also did “Heads Will Roll,” a song that is now infamous with club remixes. Nothing beats the original though.

Just Like Heaven was exactly as the name claims it is. For a moment we all got to step back in a time capsule and relive tunes from yesteryear. Bands that influenced the idea of electronic music to mainstream audiences and spawn countless soundalikes. Crazy to think how much time has flown by yet the songs keep the crowd smiling and dancing throughout the entire day. If that’s not a taste of heaven then I don’t know what is.

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Opening track “Rainzow” gets things going with mellow, moody synths that repeat in an almost trance-like manner. It’s an introspective track that, like much of the album, is perfect for looking out the window and daydreaming, or chilling in the late hours of the night. The album’s 3rd track, “Bunji”, sounds like something that would be found on Thom Yorke’s recent material: almost cinematic in its sonic landscape and scope, it’s a track that would fit in well on a sci-fi movie soundtrack. It is too melodic and pleasant but can also be described as eerie, the track keeps in line with the album’s aesthetic of relaxed, easy listening.

“Kaleidoscope” and “Telescope” both whirl forward with a sense of anticipation, but never quite reach something that could resemble a “drop” or a climax. “Concentrate” employs a more cutting synth sound, accompanied by minimalist percussion that gives it some propulsion. “Nexus” has many of the same elements like the percussion and the edgy synths. Arpeggios whirl around to give the track a more frenetic feeling than much of the album; you can feel things moving pretty fast. Album closer “Sleep” is a rich, lush track that sounds like a combination of a synth and a church organ. It works, to say the least. Its’ another great song for contemplative window staring sessions.

Ambient 1 will be a joy of a listen for any fans of STRKR. It’s different and unique, and is clearly an experimental affair from the band. It’s both a departure from some of their earlier work, and an exploration of themes that have served the band well in the past. It’ll be interesting to see what STRFKR comes up with next.

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Today STRFKR released their first album in four years, Future Past Life. On the opening track, “Dear Stranger” lead singer Joshua Hodges moans lazily about being all “alone and safe in a room,” eerily resonating with some of us in the 2020 quarantine age through synth-pop psychedelics.

STRFKR are known for smart music that makes you want to dance, and Future Past Life no doubt carries on in this trend. Mellow disco grooves sprinkled throughout the album, like “Deep Dream,” can get your head bopping and foot-tapping as good as any. But through the years, STRFKR has matured, and the tracks on this record feel more downplayed, less house party. 

Though more low-key, the production value is strong, and the songs lose little of the catchy appeal STRFKR showed off in earlier albums. The Portland-based group carries on with their signature mopey lyrics recalling vapid youth and perilous love stories, highlighted in tracks like “Second Hand” and “Budapest” featuring Shy Boys.

Broken hearts notwithstanding, STRFKR’s latest record can manage to offer us some “Cold Comfort” in these strange, isolating times through our solo dance/cry sessions. Future Past Life makes for a great, versatile quarantine deep listen – poppy in the right places, light on the beat, heavy on the brood, and satisfying all around. 

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STRFKR has been around since 2006 and has been no stranger to change, but seven years, three albums, and a few new members later, these guys appear to be right where they need to be. Known for playing the name game, starting off as Starfucker, then a brief transformation to Pryamidd, and then comfortably back to STRFKR, the band many would think of as unsure and confused is really just adjusting to their own movement. Finally happy with their unit, members Joshua Hodges, Shawn Glassford, Keil Corcoran, and Patrick Morris are writing and producing music together, touring, and creating a lasting impression when they preform. They have what every band strives for: unity and a passion for the music.

Originally from Portland, Oregon, STRFKR has successfully put out four albums and has recently started touring around the world. Though they were not always massively popular, they seem to understand becoming big right away is not always the way to go. Getting into their groove and certainly putting in the work (living out of a van and collecting food stamps), these guys deserve every bit of fame coming their way. With their recent release of the album Miracle Mile, the guys have been concentrating on creating a memorable experience at their live shows and making sure they do not shy away from their original sound. Though reviews have not been overly admirable, one thing seems to be clear: their sound is consistent and amazing live.

In a recent interview, the band has talked about the infamous eight-foot LED wall that they had built for their live shows, creating an atmosphere for the audience that is intoxicating and vivid. They definitely understand the importance of putting on a lasting performance and have a knack for creating a massive energy. With so many new opportunities for bands lately, making a live show memorable is extremely important. Fans can easily download music and support the band without actually supporting it at all, so making sure people are coming out and enjoying their vibe allows for their success to last.

STRFKR’s success does not seem to end at albums or shows. They have also had cameos in a Target commercial (though legally under Josh Hodges’s name because of the bands title), songs featured in movies and television shows such as Weeds and Skins, as well as a feature in a Juicy Couture commercial. All of these elements add to their final picture as a band, and allow for versatility and future projects outside of just recording. Every move they make is meticulous and with purpose. Don’t be fooled by the changes, the changes are what make this band work.

So what’s next for STRFKR? Well, they are probably not going to be changing their name anytime soon, but if they do, it won’t steer them away from their success. Now that they are becoming internationally recognised, the guys want to keep on doing more shows and creating energy for their fans that will be unforgettable. They hope to tour all around the world (which is a dream that is already coming true) and keep producing solid records. Though it took a few years for this band to captivate all of the right elements, they are proof that slow and steady wins the race, and it seems like, for now, this puzzle is complete.

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The album arrives in the successful wake of 2008’s self-titled debut, polished dance record Jupiter, and 2011’s Reptilians. After some shuffling around in the band line-up and brief experimental name changes (fan-snubbed PYRAMID and then Pyramiddd), STRFKR seems to have found a formula that works. While the band members dabble with various instruments, the current roll call is frontman Josh Hodges, bass player Shawn Glassford, drummer Keil Corcoran, and guitarist Patrick Morris, formerly of Portland cult favourite Strength.  Miracle Mile represents a collaborative band effort – a bona fide band album, maybe.

After all, it’s the product of a hiatus the band spent writing and recording songs in a quaint Oregon Coast town. Sounds romantic, although the album’s more on the brooding side with cheery synthpop overtones. Single “While I’m Alive” starts off the album with a rhythmic electropop bang. Like the opening track, the other songs on Miracle Mile weave signature whispery vocals atop catchy beats, with standout tracks including “Sazed” and “Isea.” True to genre, STRFKR’s appeal remains its danceability rather than lyrics, which are a hushed background to the synth beats throughout this album.

Miracle Mile might not be STRFKR’s most powerful record, but is it dance-friendly? Heck yeah. Will it please fans at STRFKR’s live shows? No doubt. Is the album worth buying on vinyl? Choose your own adventure.

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