7 minute read
Close your eyes, take yourself dancing. A glimpse of ecstasy. A journey through peaks and valleys. Austin is your guide into the rich cultural vortex of mending generational meme’s and references using sounds and green screens to mirror the ether’s zeitgeist. For our session with Austin, A.K.A King Scott, A.K.A the Real Austin Powers we rolled up a mean one and talked about working for work and working for pleasure, why nobodies dancing anymore, and where film and music collide. Press play below while you read to learn more about King Scott.
How are you? When we met pre-recording the session we spoke about you taking music and film all the way. What has that looked like for you in the past month or so?
I’m doing well, thanks for letting me play some new songs and some old songs. The last month has been great, I’ve been organizing my ideas and strengthening the shape of my production company Digital Cowboys and its offerings. Also been going to a bunch hardcore shows at 89th street, having a lot of fun getting to see my friends play music. Overall I’m grateful for health and camaraderie as we move into warmer months.
How has taken music and film on as your full time job affected your creative process, do you struggle sometimes to balance your solo projects versus the more contract type work?
You know in order to sustain what we do, we have to sacrifice some time and energy to build our level of resources or enhance our aptitude or even just manage the flow of actual business. I think the past year in each of the different projects and mediums I’ve worked in, I’ve learned the value of maintaining a professional work ethic, and collaborating with people who are on a mission toward the same goal. When you have an efficient process, it makes focusing on the creative side easy.
How long have you been producing?
7 going on 8 years of music production, filmmaking locally for nearly the same amount of time and designing and working as a DJ for about 6.
Some of your first IMDb credits have been materializing this past year or so, how did you get into the film industry?
The OCCC Digital Cinema Production program is where I met many of the people who I’ve had the chance to work with professionally on sets and in post production environments and I’m really grateful for the experience of learning there and working there as an assistant in the editing lab and equipment room. Several of the crew members on my latest credit for ‘Scare Package II: Rad Chad’s Revenge’ went to OCCC.
How has working in film changed your approach to the music industry?
One thing is securing a rate from companies you work with that allows you to insure and maintain the gear you use to perform/record. I think the main takeaway has been that when you’re in an environment that’s largely collaborative with a deadline and a schedule, understanding how to lock in to doing your specific job well makes the machine move efficiently and produce a result you can be proud of in an environment that’s fun to work in. A set is the best example of that and a studio session can have elements of that as well.
I have been listening to your “Since We Can’t Party” mixes religiously since the pandemic. What was that about and will we get more versions of this in the future?
Since We Can’t Party started as a replacement project for my documentary class at OCCC. Originally I was going to be working on a doc about the process of creating a sequel to an event called (g)ravedome that was put together by representatives of chateau casa haus, fixed rhythms, withinxwithout and digital cowboys, but more specifically identified each dj for an all night rave in the stockyards. The original event was a great success but our return and the documentary were pushed back because of the pandemic. In an attempt to generate some creative energy and laughs among my classmates and social media, I filmed myself DJing in front of a green screen and edited multiple angles and effects to the footage with different nature footage and old tours of cities around the world as backgrounds, and clips from gameplay and cutscenes of The Cat and The Hat Video game and Mario Tennis Aces. From there I decided it would be a good way to display how I practice for in person gigs while I was in quarantine. It’s been fun to do and I’m excited to bring a 4th season of Since We Can’t Party to the internet this Spring. So much amazing music is out right now that I want to share.
Something that I love about your mixes and the way you produce, all the way down to your visuals is the references. Seeing meme culture videos slapped over Kingdom Hearts clippings send me laughing but also tickle that since of nostagia. Where does your referential lexicon come from and why do you think it’s so important?
My references come from my interests and experiences and I think what’s been fun is seeing where people’s references overlap or bridge to a new thing we’ve missed. But things like video games that I played or a general interest in nature and wildlife as a kid, to my all consuming hoop dreams or the different waves of animation and even just film that you awaken to as you dig through what’s been left for us to find out here. A worldly influence sort of self curated through curiosity and the internet and the generosity of people who share that type of thing with you.
The scene in Oklahoma is growing venue by venue, artist by artist and it still feels like there’s nowhere to dance. What do you feel is missing here and what’s your plan to carve a way in the scene?
I think many places have the potential to be danceable, I think it comes down to the different pieces you have that create a great night. From the space, to the music, to the event staff, to the management, to the energy, to the timing, to the other offerings a venue or business might have, I think each ingredient needs purposeful consideration in order to be successful. When one or more of those factors are out of sync the audience will know and will act like they know. In the capacity of DJ, my goal is to cover the music part and bring an experience that’s unique and represents the time and energy I spend in awe of music, and it’s exciting to get the opportunity to work in systems that flow well with crowds and make people feel ready to dance.
I appreciate what you stand for and what you’re creating, what’s next for King Scott?
The album World Monarch drops Fall 2023, I’m looking to do about 38 tracks on that. And then Neckromancer II later in the fall, 3 or 4 tracks that embody a similar theme to the first Neckromancer EP from Halloween 2021. ‘Scare Package II: Rad Chad’s Revenge’ is available exclusively on SHUDDER right now go stream that. I’m looking to collaborate with more venues and businesses locally through creative projects, shows, and initiatives, and I’m very grateful to have had the support in the past from places like The Press, Plaza Fest, Norman Music Festival, 89th Street, and others, and I’m optimistic about the chance to continue to work with these groups and expand my reach to out of state festivals and venues to build the blocks of what would eventually be a tour through different sections of the country. I enjoy DJing and performing my original music and want that to grow along with my access to work in the film industry. Merch I’ve designed for bands ‘War, On Drugs’ and ‘Sorrow’ will drop pretty soon and I wanna shoutout ‘Grandpa Vern’ and ‘Shaka’ who have dropped/are dropping hardcore EPs and touring later in the year, I work closely (superfan, unofficial) with these groups and have love for them and many of the other hardcore/punk/power violence bands that operate through and near the local scene. Some other surprises are on the way but we can’t call it bread til it rises, stay tuned. digitalcowboys.net is the website, digitalcowboys is the instagram, my personal IG is therealaustinpowers and I’m grateful to have the opportunity to share your platform Elyjah, thank you.
