The People’s Samizdat is proud to present the works of Kash Kustomer and his musical project “Fedpost Inc.” Sure to make you simultaneously rock out, fall out of your chair laughing, and mutter catchy lyrics under you breath for days on end, Kash Kustomer is among the most creative and industrious personas in our political circle. Check out his works below, and always support our dissident artists!
Social Media Links:
NobodyHasTheBiz music page: https://audio.nobodyhasthe.biz/channels/fedpostinc/
YouTube Channel: https://www.youtube.com/channel/UCFwd79zwVoA--DQHGdrcrvQ
Poast account: https://poa.st/@KashKustomer
Check out his newest song below:
Note from the artist, Kash Kustomer:
I was asked to put a little somthin' together about my creative process by the guttenvolk at The People's Samizdat. How could I not oblige?
I started out as just a kid in high school, bit of a late bloomer to music, who had finally bought an old Lark Les Paul Custom copy from the Vietnam vet who rented a room in our house. Fun fact: it only takes 75 1990's era buckaroos and access to MTV to ruin your kid's life. Parents, take note.
Being le po' phage, and mechanically inclined, I started getting into various DIY projects that eventually just led to my becoming an autodidactic guitar and audio tech. I eventually blew my summer work wad all over an 89 Ibanez RG550, I wanted a 'metal' guitar so bad, and to a guy who had to pull the entire top end off of a Ford 351M to get his 'first car' rolling, and was into hot rods, the Floyd Rose tremolo was such a neat bit of kit, as the bongs like to say.
Until, of course, you try to change out the strings yourself. Instead of chucking what would nowadays be a thousand dollar guitar against my basement wall, I took my mechanical aptitude and applied it to the task at hand, balancing the tension of the springs out back vs the strings to get the whole thing to 'float' in the correct position. This adjustment would have cost me like 50 bucks back then, and if you think the battle for $15 is something, at the time minimum wage was $4.25.
Years later, I was tapped by various bands to do instrument tech and audio tech work, even having gone on a few national low budget tours, most famously with the Seeds.
"Fedpost Inc, Kash. Focus, you ficus fucker."
So, last year I have a rented room, roomie's old HP Walmart Edition tower from 2011, a Zoom H2, and a Frankenrig guitar setup even I couldn't be satisfied with...and lots of time on my hands, coupled with an itch to return to putting out tracks since my 2018 sojourn with The Great and Mysterious Prussian White in Star Skeleton, a completely different exercise in recording. White has MI degrees, $10k in recording equipment easily, and I myself spared no expense, bringing my new #1 Les Paul - a real one - and a cranked-to-exploding, early 70's Plexi style amp to the stew.
Now, I had to wring audio blood from a stone, and at first, I just had to grit my teeth through it. I hated the original mix of Under My Wheels, but I said to myself, welp...you're tracking in Audacity, because free, and used a joke of a freebie drum machine, so, what did you expect? I rushed to put it out, because country on fire, because upcummies, and moved onto the next track.
My inspiration to do something within the bounds of my limitations came from Filosofem by Burzum. A metal classic, genre defining, fairly timeless...recorded mostly direct into a contemporary PC's soundcard, except for a bit of studio time to do the drums himself, by Living Meme Varg Vikernes. A cheap Jap guitar, a Boss pedal, trying to recall whether he even used a microphone, or had merely used his headphones as one.
In 2020, even in the No Budget range, you have an embarassment of riches in comparison. So, what excuse does one have? That 'the right stuff' was not in range financially? Is not something done, better than a concept, mere potential?
So I set to work. I recalled downloading Fruityloops, aka FL Studio now, back in the digital dinosaur days, so I downloaded the Free Edition. I merely export what I have before shutting the session down and use those tracks in Audacity.
The Zoom H2 has been a great investment, I have the first, silver version from 10 years ago. It had been working as a USB mic/interface, but then for some reason the PC wouldn't recognize it anymore; some Master Race. So after awhile I just acceded to reality and plugged the output into the soundcard, and if I recall correctly, that has been the setup since last fall, or right after Paid In Lead came out.
I have some seat time on real and or digital drum kits, and if the folks who talk to me at GC are to believed, am somewhat decent for a one trick pony double bass kinda guy. That has informed how I program the drums on FL Studio, although it still takes some time to translate what I hear in my head to something approximating that via FLS's Piano Roll.
My guitar rig is fairly simple: stock LP Studio, a Line 6 M13 (basically a Poor Man's Bradshaw System) for effects, and various FET based amps-in-a-box in the Tech 21 style, a Jimi Hendrix wah (because it sounds like a Vox and was available when I needed one), ran into a Quilter set on Lead (basically a clean Marshall JCM800). Sometimes I mic this, sometimes I run it direct, like on Neu Schwabenland and most recently, Buried In Concrete.
Which is a marked improvement over the goofy rig I had on Under My Wheels: a Behringer Sansamp clone ran into a Hafler PA amp, the latter part of which had frequency response in just weird spots for guitar playing, and drove me nuts no matter what I tried running through it.
On Neu Schwabenland I was going for a Racist Rammstein vibe and went direct because that's how that band records guitars. On Buried In Concrete I ran into the vexing problem of not being able to get enough volume to hear the backing tracks. On a looser style of music, you can get away with it, but on BIC's industrial street thrash, I was pulling my hair out getting the guitars tight.
So I ran out of the AMT E1's cab emulated out direct...and while not exactly my favorite of the two variants (mic'd sounds much fuller, smoother, better) while solo'd, it was quite nice in the mix. Now my Quilter isn't wiping out my headphone output at the 2 watt setting. "Better sound" was pushed to the side by better performance, and again, the results as they are are not only a learning experience, it certainly sounds better than going DUH nuh, Dunt Dunt Dunt Dunt Dunna DUH NUH a la Beavis and Butthead.
I yearn to get to a higher plane of output, as I had - in my humble opinion - with Star Skeleton. There is nothing like having at least 2 musicians who are good at what they do, who have musical chemistry, just going for it. The Great and Mysterious Prussian White is sadly famous, and as far as I know, clueless as to my actual politics, but suffice to say, getting to record my best material with a guy whose records I was obssessed with in high school, who still was a benchmark to me 20 years later, is a hard drug to quit. I daresay that material speaks for itself.
But, in the meantime, I shall be the best I can be, all by myself. If one doesn't take a shine to my output in particular, I cannot blame them, because music is at least partly subjective.
Objectively, however, I will say this; if I can make original content of an acceptable grade while living out of a car, or as a broke NEET mid pandemic, what are the excuses of my betters for not putting out something to eclipse my humble output?
There was a saying at Car Craft magazine: nothing's cheaper than what you already own.
You might laugh at the guy racing a clapped out '79 Fairlane because he can't afford a Thunderturd, much less a Mustang, but if he's racing, and you're in the stands spectating...who is laughing now?
There may yet be blood in that stone, dare you squeeze it to find out?