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Carrying the Legacy: An Interview with Maddie J Quin on Music, Memories, and Making a Difference.

Maddie J Quin discusses her joruney while carving her own path in the underground punk scene, while using her music as a platform for activism and personal expression.

© Maddie J Quin 2024



 

GH: Thank you so much for agreeing to do this interview with GoatHead Records, Maddie! Let’s start with what inspired you to write music.


Maddie J Quin: Thank you so much for getting back to me.I am excited to be able to do this interview with you all. PThank you to Frank as well. Well, I inherited my late aunt’s guitars. I’ve been singing since 2018, then picked up guitar in 2019, did shows that same year, and started writing lyrics. In 2020, I really buckled down and released my first project, Self Destruction and Rage. I composed and wrote all the lyrics and booked a session at The Compound Studio in Long Beach, where we recorded a 6-song EP in one session. A close friend, Paul K., taught me some basic chords, and from there, I just took off. I had the tools to write music, and my mother always tells me I have a great way with words. I never thought about recording these songs; I just wanted to carry on my aunt’s legacy. She was a touring recording artist in the ‘80s and early 2000s.



GH: That’s a beautiful way to carry on her legacy. Can you tell us about your first gig?


Maddie J Quin: My first gig was with Paul K. and his band, The Jam Daddies, at Glory Days Sports Bar & Grill. I was eighteen, and I had no stage presence whatsoever. It was nerve-wracking—cameras came out, and I didn’t know where to look or what to say! My most memorable gig, though, was opening for Ethel Cain at El Cid in 2021. Hayden and I had been chatting on Instagram, and she even bought two of my CDs. It was my first sold-out show, and I remember panicking because the bouncer wouldn’t let us in at first! Thankfully, Hayden’s manager got us inside, and the night turned out to be amazing.


GH: That’s such a great story! How has your songwriting process evolved over the years?


Maddie J Quin: My songwriting process has definitely evolved. In the beginning, I wanted to honor people like Mia Zapata, Denise Huber, and my aunt, Susan J. Paul. But over time, I stopped trying to make everything so clever or perfect. Now, I focus on writing more freely, without putting myself into the characters of the songs. I’ve moved away from the slower ballads and personal reflections and am now more about having fun and rocking out. *Cult Of Ana* from my recent record is a favorite of mine. It’s simple, fun, and I can’t wait to play it live.


GH: It sounds like you’ve really found your voice! What motivates you to keep creating music?


Maddie J Quin: It’s the people I’ve met along the way, and having bands I look up to recognize what I’m doing. Steve Moriarty from The Gits was the first ‘pinch me’ moment. I drove up to Oakland to work with him, and we recorded songs at Secret Sound Studios. Another highlight was meeting Donita from L7 after a show—I ran up to her and told her she was my bisexual awakening! Meeting these idols and having them pay attention to my progress is both intimidating and amazing.


GH: You’ve been involved in activism too, especially with your *My Rights My Fight* project. Can you tell us more about that?


Maddie J Quin: After Roe v. Wade was overturned, I felt sick. In the ‘90s, they had *Rock For Choice*, and I wanted to create something similar for our time. I reached out to *Grandmothers For Reproductive Rights* and organized a benefit show with local bands like FLYING V, MOTH, and Nihil Amoris. We raised awareness and funds for GRR, and I wrote *Ball and Womb* as part of it. It’s more than just a song; it’s something people can look into and educate themselves on.


GH: That’s incredible work. What can we expect from your next project?


Maddie J Quin: The next project will be more cleaned up and inspired by L7’s *Bricks Are Heavy*. It’ll be less scream punk and more rock. One track, *Man With A Van*, is already out on all platforms. Another one I’m working on is called *Blackout With The Band*. It’s got a catchy riff and simple drums—definitely something people can nod their heads to or hit replay on!


GH: Sounds exciting! One last note—you mentioned working with Ben Rew from Camerosmith and Steve Moriarty from The Gits. Can you elaborate on that?


Maddie J Quin: Yes! Ben Rew from Camerosmith has been a huge influence, and working with Steve Moriarty, who drummed in The Gits, was a surreal experience. These connections have helped shape my music in ways I never expected.



 

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