![]() Yeah, LAKE: that’s the reason I came up to Olympia in the first place. I was thinking in terms of you usually playing in bands to you doing a one-man band format but Spirituals was mixed and mastered by Eli Moore, who you may know from your band. I just got started and felt compelled to keep going. And then I started fooling around with those chords and…what were you saying? How did I get started? I just did it. I would just tune my dad’s guitar open and play everything with one finger and then I had to memorize what a guitar sounds like in tune so I could tune it back so he wouldn’t get mad when he went to go play it. Back then I didn’t even know how to properly play guitar. But I sold a bunch of copies to my friends at church and kids on campus at the community college and I got some encouraging feedback from it, like, early on. I just kept making different stuff after that. Yeah, that was probably about 1998 or 1999, thereabouts and I made a tape called The Lo-fi Explorations of Skrill Meadow: Volume 1. Morrison Jr.” 'cause I can't be Mark Morrison. I've considered changing it or just going by “Mark J. The name itself doesn't have any particular significance or meaning to me, other than, like, longevity and this attachment to the Mojave Desert, where I used to live. I just stuck with the name for no apparent reason. I think I'm going to call myself that.” And then a couple days later I drove by it and I had misread it and it was called “Still Meadow.” You know how you are when you're frantic and you're looking around for something. ![]() I didn't know what to call it.Īnd one day, I was driving around in Lancaster, California–where I mostly grew up–and I drove past a street sign when I was looking for some place and I saw the street sign: it said “Skrill Meadow.” And I thought, “My goodness, that's a really weird name for a street. It was probably 30 minutes worth of music or something. ![]() And then I kind of accumulated a body of work that I felt like was an album. I'm going to show my friends” and I'd make tapes and give it to them. I didn't really know much about multitracking but I started recording myself on one tape recorder and then playing along to it and recording it on another tape recorder–going back and forth until I had a whole bunch of different recordings of me playing along to myself on one song. I didn't really care about Top 40 when I was that age anyway because I more into being, like, “fringe” or “punk”, or “alternative”, or whatever.Īnyway, I started fooling around with a tape recorder. I came from a Christian family and so I grew up listening to, like, DC Talk and Larry Norman and Petra and Daniel Amos…and–I don't know–Striper? All kinds of stuff. I started listening to the alternative radio station when I was probably, like, 15 and gradually becoming familiar with what we know as being “pop classics”–because I grew up more just listening to Christian music. I was familiar with his versions of a lot of songs before I even knew what the originals were. I just wanted to make my own and I wanted to be all over the board, you know? I feel like that came a lot from listening to “Weird” Al when I was little–he parodied so many different styles and a broad variety of music and artists and songwriters. I feel when I was 15 or 16 I started getting into all kinds of music just anything and everything. I grew up in a musical family but I feel like I sort of took that for granted most of my childhood and teen years. I was 17 years old and and had just started experimenting with playing music solely for pleasure and as a creative outlet. ![]() How did Skrill Meadow begin and what drew you this project? You play and have played in a number of bands. Stevie Moore the the formative sleights of fate that beget Skrill Meadow where his resumed music projects are at and where they're going. In between his projects, and while I did my laundry at his house, Markly talked with IMPOSE about an array of things: Ween the desert Juggalos touring with R. He's a cool, smart, well-adjusted, all-around-posi guy which makes it so easy to root for him. Making and subsequently balancing so many music outlets and forays could be disorienting but it's obvious that Morrison is successful at it because he's motivated by a genuine love of music. From his teenage days of honing his musical chops in his church's worship band to the release of his lo-fi punk country gospel album, Spirituals, Morrison has kept an inner light aflame to not online write, record and perform music (in Skrill Meadow, LAKE and Lazer Zeppelin) but DJ it, curate it and distribute it with his own independent label, Brown Interior Music. Markly Morrison of Skrill Meadow is the exception. And too often it seems the illuminated life of artistic pursuits and the onus of creativity can be destructive, dysfucntional and dismal.
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