Now that (an excessively busy) January is a piece of our past and we’ve had ample time to reflect on the events of 2015, it’s time to return to a series that began last year: A Year’s Worth of Memories. Every year, a handful of this site’s favorite people in the worlds of music and film are asked to reflect on the smaller moments that stood out as personal highlights of the preceding year as a more personalized companion piece to the more static run of year-end lists. A long list of potential contributors were asked if they’d be interested in writing a piece and a handful responded in kind, writing beautiful pieces that scratched very personal roots. This year’s first piece comes courtesy of MTVNews editor — and a writer that’s earned bylines at Impose and DIY — Loren DiBlasi (pictured above, playing bass and singing for site favorites Patio), who is one of a handful of contributors returning to A Year’s Worth of Memories. Loren’s remained a constant friend through some harder times and it’s an honor to have her be an ongoing part of the series. Read about what had the most impact on her in 2015 below.
MY BAND SAVED MY LIFE
I read Our Band Could Be Your Life ten years ago, when I was sixteen, the year I decided what I wanted to be when I grew up: a music writer. It was the same year I read other books like Legs McNeil’s Please Kill Me, and Simon Reynolds’ Rip It Up And Start Again, and realized, hey, this is a thing that people actually do for a living. As my obsession deepened, I amassed an extensive CD collection that started with post-punk revival bands of the time (Bloc Party, Franz Ferdinand, The Futureheads) and worked its way backwards, all the way from Pixies and Sonic Youth to Joy Division, Buzzcocks, and The Fall.
From sixteen on, I didn’t care about anything. I only cared about music. But I didn’t just want to write about it; I wanted to eat it, sleep it, breathe it, and live it until the day I died.
But I never wanted to play it. I didn’t think I could.
There’s this thing with young girls who love music. Except for a few bands I liked — maybe Yeah Yeah Yeahs and The White Stripes — there weren’t many contemporary female musicians I looked up to. If there was a “girl in a band” — the title of Kim Gordon’s memoir, which I would devour a decade later — she was either “not as good” as her male counterparts (the incessant critiquing of Meg White) or she was the dazzling, charismatic lead singer, a figure far more glamorous than I’d ever imagined myself to be (like Gwen Stefani or Kate Jackson of The Long Blondes).
I fancied myself a nerd, an outsider, a weirdo; at the time, I didn’t know many female musicians who reflected those qualities. An exception might be Eleanor Friedberger of The Fiery Furnaces, but again, she wrote lyrics and sang. I was young, timid, and still developing as a writer, let alone a songwriter (and the idea of singing in front of people was scary). I just didn’t think I had it in me.
When I became obsessed with Talking Heads, I worshiped Tina Weymouth; she was cool, and smart, and different in a way I could relate. She had a boy’s haircut, but she was undeniably feminine: her look was chic and classic, and she wore lots of black. She resembled a miniature version of the supermodel Twiggy. I admired her style and her fearless attitude first; her musicianship later. Stop Making Sense was the first time I really noticed the bass on its own, and the idea of playing it — of being like Tina — intrigued me.
But like I said, there’s this thing with girls who love music. I felt that because I was already sixteen, and had never touched an instrument, that it was too late for me. If I hadn’t shown musical promise by that point, I never would. Plus, what if I was bad? Of course, what’s hilarious is that I had never even tried, and I was already writing myself off as incapable or unworthy; this is a classic teenage girl move. Where boys are encouraged, girls are outsiders in music communities, and it takes a lot of time, effort, and courage to break free of that restrictive, deep-rooted thinking.
(Years later, I learned that Tina Weymouth hadn’t picked up the bass until her 20s, to join the already-formed Talking Heads.)
Maybe I wasn’t ready to try my hand at music as a teenager. But once I had reached my 20s, and had gained endless insight working as a journalist, it was time. Still, the circumstances had to be just right. First, there was the concept: Patio. My band. Grass is Green, Vulture Shit, and Flagland played a show at David Blaine’s, spring 2014. Friends and I joked about how we had wasted our Saturday, which was drinking at bars, on various outside patios. Even Randy of Vulture Shit said he’d done the same.
“Wouldn’t ‘Patio’ be a fucking perfect band name?” I proposed. “Like a group of distraught millennials sitting outside, drinking away their troubles, when in reality their lives are actually fine.”
It was a joke at first, but eventually the name took on greater meaning for me; it represented a deep sense of boredom with my surroundings and an overall dissatisfaction with life, whether that was a spoiled mentality or not.
The first time I actually held a bass, I was in bed with a boy, a bass player. I liked him. He had resolved to give me a lesson, but somehow the idea of him teaching me how to play made me more uncomfortable than whatever we had done together the night before. When I didn’t know how to place my hands, he laughed at me, and that was it. I was done. I didn’t want to try something new in front of him, or anyone that I didn’t trust.
I didn’t like him for very much longer. When I finally found the person I did trust, things moved a lot more quickly (and that person wasn’t a boy).
I met Lindsey-Paige (LP) McCloy through mutual friends later that year, and quickly realized that not only did we talk, act, and dress similarly — something that’s still pointed out to us by friends and strangers alike — but we shared an affinity for everything music- related. The major difference between us was that LP had been playing in bands for years, and I had so much to learn.
Through a combination of weird, serendipitous events — like a sudden breakup that afforded me an abundance of free time, and finding our heroic drummer, Alice Suh — Patio soon evolved from a joke, to a joke band, to an actual band. Immediately, LP and I learned that we worked exceptionally well together; her calm and patience, combined with her talent, is an ideal balance for my rash, dramatic nature. The first song I ever played on bass, per LP’s instruction, was Pavement’s “Cut Your Hair” (ironic because I don’t even like Pavement, but it’s the perfect starter bass line). LP wrote fantastic bass parts to Patio’s first ever song, “Air Japan,” and soon — after lots of practice — I discovered I could write my own parts.
I’ve found that the way I make music is similar to the way I write about it: spontaneous, emotional, and unpredictable. Riffs and melodies seep into my brain while I sleep, or completely unsolicited, a lyric will pop into my head while I’m showering, cooking, or riding the subway. By no means is it an orthodox process, and by no means is it easily replicated. Sometimes I’m happy with the end result — I wrote all the words and parts to my first song, “Baby’s Alright,” while my phone was dying on the M train — and sometimes it’s utter shit. Even when it’s shit, it’s still good. It’s all part of it, even the bad stuff.
There’s nothing I look forward to more than band practice: being trapped in a small, sweaty room with my bandmates. LP has the uncanny ability to translate even my boldest, most bizarre suggestions into actual, cohesive sound, and we’ve collaborated on songs I’m insanely proud of. When my penchant for bleak, dark noise becomes too overwhelming, she cuts me off (or we meet somewhere in the middle, like on the track we’ve semi-jokingly dubbed our “goth country song”). Sometimes I’ll arrive at practice equipped with nothing but a sentence, or I’ll start plucking in a random pattern, and with her guidance, it transforms into something tangible and inspiring. Ours is the healthiest, most meaningful (and longest) relationship I’ve ever had, by far, and for that, I love her to no end.
All this year, I’ve worked tirelessly at not just making Patio better, but making myself better. Often, these efforts have been one in the same. After a rough end to 2014 (one which I so openly, or rather drunkenly, detailed right here), and disappointment after disappointment, my positive outlook began to fade, until I hardly recognized myself anymore.
Suddenly, I didn’t want to do the things I’d always loved to do: write, go to shows, interview bands, see friends. After something traumatic happened at a show involving a person I loved more than anything, I could barely leave my bed, let alone leave my house. For months, I couldn’t sleep. I stopped eating almost entirely. I stopped listening to music. I couldn’t go to a show without having a panic attack, or feel completely crippled with anxiety. And if I couldn’t do the things I had always done — the things I was good at, the things that had helped me make a name for myself within our little Brooklyn community — then who was I?
In 2015 I was split open, and Patio helped me feel whole again. My band has given me something new, something fun, something to look forward to. It’s helped me forge a new identity, but it’s also taught me how to embrace my own life again: the friends who love me, the things that give me purpose. Depression and anxiety are both very real, but it’s important to have an outlet that lessens the burden, whatever it may be. I’m lucky to have found a new one, despite the turmoil of this year.
In many ways, Patio is still a joke, but for me, it’s the realest thing I’ve ever had. We write silly, nonsensical songs about diminutive genitalia (“Microballs” is all Alice’s genius) and call fried chicken sandwiches our boyfriends. And yet, I don’t think I’ve ever cared about anything more in my life. Back in my teens, when I read all those books, I knew that I’d one day be a writer, too — and I’ll never stop working at that — but I never, ever imagined that one day, maybe my own band could exist. Now it does. Whatever we accomplish going forward, that feels real, and it feels fucking good.