Thursday, November 07, 2013


I was reading that you were born on September 28, the same day as Brigitte
Bardot, & that you have the same blood type as Marilyn Monroe. Do you feel a
certain connection to either of these two iconic women in any aspects of your life? Do you try to establish yourself as an icon as well?

Thank you for interviewing me. I certainly wouldn’t ever think of myself as being
iconic at their level, but I do really like the idea of the female icon. I’ve been very
inspired by strong, outspoken women in my life. Siouxsie Sioux, Debbie Harry, &
Nina Hagen were my obsessions when I was a teenager & probably my biggest
influence in deciding to cast off my shyness & be the front woman of a band. All
three of them have a very strong presence & let their unique perspectives on life
come through in their lyrics. Those are the main themes I focus on in Glass
Candy. Iconic ideas. I am very happy to hold up my little candle to their giant
stars because these women have given me a lot.

There’s a line in “Beatific” that says, “People’s rules & what they do are often
different things.” As a musician, do you have rules that you have to set for
yourself while making music? If you do, are they more to steer you in the
direction of what you want to achieve, or to keep you from doing a particular

The only rule is there are no rules. That’s the reason Glass Candy has remained
fiercely independent. For me it would be nothing without all the exploration that
leads to revelation.

The music of Glass Candy has been used in fashion shows for designers such
as Chloe, Balenciaga, & Chanel. Does fashion play a large role in your life, in the
image of Glass Candy?

That’s a really good question & one that I still can’t quite figure out. I really love
personal style, but that’s different than fashion. I love fashion, but I am not sure I
really understand it. I enjoy it more in the way that I enjoy a beautiful painting, or
a film, or an extravagant multi-tiered cake, but I don’t understand how you would
wear any of those.

In times where you aren’t touring of making music, what do you like to do?

I just started taking ballet again, & I’m training with classical piano & voice.

From what I understand you & Johnny Jewel are almost opposites, but you
balance each other out. In what ways is he different from you, & you from him?
How do you play off of each other’s differences?

John is the nucleus & I’m the electron. John has two feet firmly on the ground &
I’m out circling the stratosphere. It’s like how the flower needs the root & vice
versa. How nature sustains & the world goes around because of the dynamic
tension between opposites. That’s Glass Candy.

What artists do you consider to be some of Glass Candy’s primary influences?
Are there any artists that you particularly identify with?

Our influences range from Kraftwerk to 70’s neon punk like the Sex Pistols, 60’s
girl groups like the Shangri-Las & The Ronettes, 80’s synth music like Gary
Numan, Dark Day & Suicide, & a huge dose of disco music as well as hip hop,
The Velvet Underground, opera, film soundtracks & vintage t.v. theme songs. We
love The Rocky Horror Picture Show. I can’t say I identify with any particular
artist. I Just admire them through the glass.

What’s the writing & recording process like? As opposed to conventional
recording, is there anything that is done differently?

I don’t know how conventional recording is done but I’m pretty sure that’s not how
we’re doing it. John is the only person I have ever recorded with. We do our
creating separately in different cities, & then fuse it together in a “big bang” kind
of moment & boom…. there’s a song where previously there was a void. As for
the actual process of this music being committed onto some form of physical
media, I couldn’t tell you a thing. As many years as I’ve sat there in the studio &
stared at John while he’s mixing & cutting Glass Candy tracks, I still have no idea
what he’s doing over there because I’m a Libra & it’s way too complicated.
He’s Gemini with a Libra moon, so we find our way.

Are you reading anything at the moment? Who are some of your favorite

I like to read Yogic philosophy. I love Sri Aurobindo. There’s a really great book
by his disciple Satprem called “The Adventure Of Consciousness” that is one of
my all time favorites. Another book I revisit a lot is “The Mark” by Maurice Nicoll. I
love the poetry of Sylvia Plath, & anything by J.D. Salinger.

The first time you played in McAllen was in July of last year. Had you heard about
McAllen before coming down & playing here? Did what you heard before & what
you experienced after differ?

I had never heard of McAllen before, but I think it’s the cutest & most mysterious
place ever. I always keep a list of cities that intrigue me. I told John I wanted to
come back next time we were in Texas.

As a band that has been together for over 15 years, how do you believe your
sound has developed over time? In achieving the sound you have now, was it a
sudden change, or did it just come naturally as a result of both yourself & Johnny

It has grown as we have grown. It would feel unnatural to never change.

It seems as though Alberto Rossini is the director of choice not only for Glass
Candy’s videos, but for the videos of almost all the groups signed to Italians Do It
Better. Is there a reason as to why you enjoy working with him so much?

Yeah, it seems like he’s just one of us. He always knows how to please us. It’s
like he shares a brain with us. His films are not narrative. Just mood, & we of
course love that.

What should we expect at the show come November 10?

Glass Candy has a surprise addition to its act, & I think both bands will be
extra excited because now McAllen is a nostalgic place for us to come back to.
Thanks again. These were really great questions.

Love, Ida

Ida No Ninth Grade Photo. Vancouver, Washington.

Isabella Soto Is A Junior At The Science Academy Highschool In Mcallen, Texas.

Catch Glass Candy & Chromatics Live This Weekend In Texas!
Make Sure You Visit The Merch Table For Lps, Double Lps, & Triple Lps For $10...6 Shirt Designs For $15...Free Stickers...Free Posters...

Shows Are All Ages!
Thursday / Houston
Friday / Dallas
Saturday / Austin
Sunday / McAllen

Tuesday, October 22, 2013


We're Finally Caught Up On Mail Order & Ready To Start Shipping The New Vinyl Worldwide. Johnny's Lucite Obsession Continues...All Four Titles Pressed Into Ultra Clear Vinyl

Pressed On Ultra Clear
Edition Of 1500 Mail Order Only
Repress From The Rare White Label European Promotional Release From October 2011
Full Track Listing Available In The Store

Pressed On Ultra Clear
Edition Of 2000
Chrome Foil Stamped Back Cover / New Design
Due To Popular Demand...We Finally Put More Of These In The Store

Pressed On Ultra Clear
Edition Of 2000
Chrome Foil Stamped Back Cover / New Design

Pressed On Ultra Clear
Edition Of 2000
Chrome Foil Stamped Back Cover

Saturday, October 05, 2013


If You Are Lucky Enough To Be In Paris Tonight...Make Sure You Do Not Miss A Rare Performance By Our Dear Friend, Photographer, Film Maker, Poet, Musician, & Choreographer... Oko Ebombo. We First Met Oko In Los Angeles In 2007. If The Name Sounds Familiar...He's Been Working Behind The Scenes With Us For Awhile Now. He Collaborated With Alberto Rossini For Chromatics' "LOOKING FOR LOVE" Video, Shot On The Chanel Runway Exactly One Year Ago... In 2008 He Made The Documentary Short Film, "MOTER HOTEL" In Portland, Marking The First Time Johnny & Ida Allowed Film To Roll In Glass Candy's Studio. Since 2008, Oko Has Been Working On A Stunning Series Of Recordings, Short Films, & Photographs. Tonight In Paris, He Is Closing His Performance With A Poem He Wrote Accompanied By Music Written By Johnny Jewel & Nat Walker. For Those Of You Who Can't Make It To Paris...We Are Going To Leak The Single Next Week...

Wednesday, October 02, 2013


Around noon, on an unusually mild, 80 degree Sunday in June, I receive a text from Farah.  She informed me she was at church at the moment, but I would be able to stop by her place later for a listening party of her unreleased debut album, “Into Eternity.”

Upon stepping into her apartment, in a charming, but older building nestled just a stone’s throw from the colorful rows of bars and clubs on Knox-Henderson, she invited me to guess who was pictured in one of two framed black and white images of a man grasping a microphone that hung on her walls. Her wall space is barren, devoid of cluttered d├ęcor, save for three of her own records, and of course the framed photos of a rather popular rock music vocalist she eventually named, and in the process, embarrassed my knowledge of contemporary rock music icons.

Farah is not widely known in Dallas. Her Italians Do It Better label contemporaries, Glass Candy, Desire and Chromatics, are usually the more widely recognized bands that many fans of glossy italo-disco music embrace. However, her track, “Law of Life,” as well as “Dancing Girls,” from the first After Dark compilation, were no less an achievement than any other song on the mix. Carving out a seven and a half minute trance-inducing rhythm from the pulsating dance floor that is the album’s overall flavor, “Law of Life” slowed the record’s tempo down to a hypnotic crawl.

Her newest single, “Into Eternity,” a dark, droning and mechanized track from the After Dark 2 compilation, another dance floor cocktail of some of the most interesting electro/disco being produced on the Italians Do It Better label, opens with the line, “I am made in God’s image.”
“Into Eternity” may be Farah’s audio scrapbook from the past, as her work, both writing and recording began around 2006, with the first track “Kill for Life,” a song that would later inspire the lyrics for the Chromatics hit, “Kill for Love.”

Nearly five years later, Farah’s first actual debut album will soon see the light of day. “It’s crazy how long it took me to make this album. Farah is the queen of patience. It wasn’t always easy, but she trusted me,” Johnny Jewel, producer, said.

And her patience, as well as Johnny’s own growth as an electronic music production guru, paid off.
With “Into Eternity,” Farah’s song writing is as mesmerizing and anesthetic as her previous releases. It grows on you with or without your consent. Her voice, seemingly so fragile and vulnerable, and yet somehow declamatory, performs spoken word material that describe everything from mythic visions to something that could have been penned from an old hymnal. I asked where she gets her inspiration for her writing style. “Why do you think I go to church?” she chuckles.

Her lyrics read like a preacher’s sermon, with a choir chiming in with affirmation. But her style, when paired with her label mates, can catch one off guard.

“Her song on After Dark 2 is both a refreshing and polarizing moment in the record, hypnotizing the listener inside a tunnel of sound and bass,” Johnny said. “It’s like a garish nightmare, or a beautiful dream, depending on who you ask.”

Thumbing through her notebook, a meticulously crafted collection of pages and pages of hand-written songs, I asked how many notebooks has she gone through. Mulling it over for a minute, she replied, “This week?” I meant in the sense of over her career, in which her answer would have been more of a reasonable response. “I’d say about four.”

As Johnny Jewel lives in Montreal, and has kept himself buried in producing and scoring soundtracks, as well as raising a child, Farah and Johnny keep a simple correspondence.
“We only use computers for emails to say hi.” Farah explained. No downloading. No sending carefully-typed song lyric attachments. Everything involved in the duo’s music writing process and production has been done via the archaic US mail. She mails him a stack of hand-written songs, and he replies with copies of cds, rough mixes of beautifully dark synth-pop tracks that could score any gloomy sci-fi film or crime drama from the ‘70s or ‘80s.

The recording of her newest album, “Into Eternity,” can be half-handedly described as an interesting departure. But that would be a simple description. More accurately, this debut is a shotgun blast, spraying its ammo in an array of different directions. When I envision a complete album bearing her name, I do not exactly envision simple renditions of Sonic Youth, or club-ready party tracks, complete with almost Southern style hip hop beats that are presented therein. 
“Most people only know me from ‘Law of Life’ and ‘Gay Boy,’” she explains. “Gay Boy,” her other rather off-beat and weirdly funny single, may have further created the love or hate divide over the acquired taste that is Farah’s style. Farah simply hopes to let more of her artistic diversity be discovered.
Taking in “Die,” the first song she played for me, a rather poppy departure, it retains a minimalist point of view through the song’s short lyrics. I realized almost instantly this new release will send fans scrambling for the immediate download option at their nearest computer. Or hopefully, the online checkout page for the vinyl copy. Many intense, multi-layered songs dart all over the electro-pop map throughout her album, however a few stood out instantly.

A beautifully composed solo piano track tickled me in surprise, a song she paused on, and explained how I would recognize it once her vocals come in, a rather haunting rendition of “I Will Survive.” For some reason visions of some tragic hero dying in typical slow-motion imagery flash in my mind.
Another track, “Two Windows,” lends murky recordings of acoustic guitars and mandolins to Farah’s ghostly vocals, vocals I might add, that swing back and forth from English to Farsi, adding more mythical sensory overload to an already beautiful composition.

Between spending her days working the counter of a Dallas head shop, and keeping good company porch-side with the friendly neighbors in her building, Farah plans for the future, however not in the sense that her plans are listed in clear-cut fashion. Puffing away at a floral scented e-cigarette, she explained she’s saving up for a car, then a laptop, and then a camera. This is not a haphazard summation of items. The car is for obvious reasons, however the laptop and camera will be instrumental in her eventual plans for selling choice clothing items online.

However, her continuous consumption of cheap notebooks shows no sign of slowing down.
With After Dark 2 now getting wide release, Farah, while awaiting her new album’s release, is already hard at work on her next album, as evident in a colorful three dollar notebook that lies on her coffee table proves. “I’ve grown so much as a writer,” she says, pointing out a few of her recent favorites. It is rare to witness a writer so enthusiastically inclined to share their own work, and witness one doing so with such excitement.

“One of the compelling things about Farah’s poetry is that exists on its own timeline,” Johnny said. “There is no obvious linear direction or trend in her writing. It’s just there. Take it or leave it. Love it or hate it. There is no in between. I find that very interesting.”

Mr. Jewel also expressed his adoration for Farah’s complete disregard for convention and structure, a sentiment I would guess, seemingly non-existent among most producers. There’s a lot to take in as I examine her writings. Some songs are of true spoken word structure overlapping multiple pages, while some are simple three or four simple lines of lyrics. “Farah’s music is a giant creative explosion. My job is to pick up the pieces and bend the sound to vaguely resemble pop music and rhythm,” Johnny explained.

As the afternoon progressed, Farah’s conversation was not without her fair share of anecdotal tales and behind the scenes stories of her history and history with Johnny and company. While out at a bar in Dallas, a friend of hers, knowingly and wrongfully introduced Farah to a fan as a former member of Glass Candy. Her new starry-eyed friend then proceeded to follow her for the entirety of the evening.
Anonymity certainly suits Farah well. It allows her to grow creatively at her own pace, as well as at such an obviously expeditious rate, as her mountains of writings and work has shown.

As Johnny remarked, while bands like Chromatics or Desire focus on pop, “Farah is like film.” I may be taking this out of context, but sometimes the great protagonists of film are the unsung heroes. And Farah is nothing if not unsung.

That is not to say that Farah seems to seek recognition. Her song writing is for a new album, however it does not come across as reaching for a famed status. She seems to write for herself. To pour out and capture her creativity as it comes, and whether or not it eventually becomes album material, seems somewhat secondary to me.

While the fans of mainstream electro/disco await another Dallas visit from the Italians Do It Better band roster, or make the trek to Austin this November for Fun Fun Fun Fest, I await even the smallest bit of overdue recognition of the talent right here in their own backyard.

Monday, September 09, 2013


Our Heads Are Still Spinning From Saturday Night's Show In Portland. A Huge Thanks To Everyone Who Came Out...And Apologies To All The Kids Lined Up Around The Block Who Couldn't Get In. We're Headed For The Airport Tonight For Our Trip To The East Coast. Loading Up All Of  Our Luggage With Synthesizers & Vinyl & Bringing Our Circus To The Big Apple. We'll Have "Tick Of The Clock" On Green, "Night Drive" On White, "Kill For Love" On Magenta, "Beatbox" On Clear, "After Dark 1" On Clear, "After Dark 2" On Clear, & The Last Copies Of The "Feeling Without Touching" & "Warm In The Winter" 12's. It's Been A Long Time Since We Have Seen Both Bands On The East Coast.
Here's Where We Are Going To Be...

Glass Candy
Mike Simonetti

Glass Candy
Dave P & Sammy Slice

See You Soon!


Friday, September 06, 2013


If You Are In Portland This Weekend...Make Sure You Don't Miss Glass Candy & Chromatics Live At The Wonder Ballroom On Saturday. We Are So Excited To Be Back Home. The Merch Table Will Be Laced With A Ton Of Vinyl As Usual... So Get There Early. Next Weekend, Both Bands Are In NYC & Philly. We'll Post More Details After The Weekend In Doom Town.

Wednesday, September 04, 2013