Rykarda Parasol [rank: 661] based on users subscribed

"San Francisco based Rykarda Parasol plays 'rock noir' that evokes moody atmospheres and gin-drenched romanticism. Aptly describing the sound as underhanded and white-collar criminal, the music draws comparisons to Nick Cave and the Bad Seeds, Nico and the Velvet Underground, Black Heart Procession, and Johnny Cash. These cinematic songs tell stories of bad deeds and betrayed loves with stark simplicity.


[reproduced or excerpted from band website linked above]

Bandega Interview with Rykarda Parasol (January 2010)

Defy gender with Rykarda Parasol.

Q: How have your shows changed over the years? Has your perspective on performing live changed?
A: To me, the emotional content is always more important than the technical aspect. That perspective has always been constant, but it's grown even stronger. I don't disregard the importance of either technique or emotion, but my motive is to depict drama, not virtuosity. You know, I'm flesh and blood and if I was ever shy about that, then I’ve grown to be "flesh and flesh and blood and blood". In moments of passion, lamps can be knocked off nightstands. Live shows are rarely perfect, but they’re perfectly genuine. That is my goal. In addition, of course, the technique has also grown just as the lineup evolved with stronger musicianship. I'm now far more comfortable saying to people what to expect of me and what I expect of them. 80% is showing up. My mission is clear. I've learned to surround myself with people whom I feel safe with musically and personally and that shows in live shows.

Q: Describe the most memorable live show you've played.
A: There have been a few: There was one where an ex-drummer of mine went missing before a show and we found him bleeding in the broom closet, so we stuck some bandages on him and played a rather bloody show. Then there was the time said drummer failed to turn up in LA and a friend, a keyboardist who used to play with me, sat in on drums – but he wasn't a drummer. Somehow we pulled it off. There was the first time I had both Greg and Brian with me on stage. It was the first true time I felt like things were really in capable hands. I just remember us smiling at each other between songs and thinking, "Thank gawd, I am amongst friends".

And lastly, I'd be remiss not to mention performing in Krakow, Poland, which was a very bittersweet moment – the kids all chanted "Ryska, Ryska" and it was surreal to be so welcomed in Poland, particularly since my father was born there and lived through the Holocaust. I dedicated the show to my father and my grandparents, who did not survive. Without their collective courage I wouldn't be here much less standing on a stage in Europe. Everything I do is because of them.

Q: What venue do you consider to be your "home", where you feel most comfortable, with the crowd and the place itself?
A: Café du Nord here in San Francisco. Everyone who works there is so professional and warm. I have to give it up to Terra, Guy, and Robert G in particular. I like to work hard for people who work hard too. In addition, the vibe of the joint is pretty special. Red velvet suits me.

Q: Describe the most enjoyable show you've ever experienced as a fan.
A: Wow. There are so many. The first time I saw …Trail of Dead and Quintron and Miss Pussycat was at Emo's in Austin like 2001. The audience was throwing beer bottles at TOD, but it never overshadowed the songs. Then, I remember someone from TOD fell on top of Miss Pussycat's puppet house and chaos broke out. See, sometimes it’s not about the music, but what happens when the music moves people. Okay, this is too sentimental, but hands down, seeing Dolly Parton at the Hardly Strictly Blue Grass Festival was amazing. I can relate to a broad who looks plastic on the outside, but authentic when she sings.

Q: What are your thoughts on comments from the press that you and your music "challenge" and "defy" gender? What does this mean to you?
A: It means I actually did what I set out to do and somebody picked up the vibe! I know I deliberately set out to come across a certain way and develop my tone, delivery, and content – all of which have a balance between the masculine and feminine in certain regards. I don't want to sound like a sugary girly-girl nor do I want to sound like a screaming angry woman who calls herself "grrl" trying to be a punk rock boy. I am a woman, thank you and I don't run from that. When in doubt, I refer to film noir femme fatales as that balance is mindfully seductive: it's always the witty, cool, smoky-voiced cookie that every jewel thief wants on his side. The femme fatale doesn't really defy gender – she just manages to be mysterious enough without hiding her strength or shapely ankles. To stay cool you must have strength of self-procession and the will to not lose it. There is no rescue fantasy in my stories.

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