The Orwells. Photo: Kelly Puleo

 

A few years ago I was really into checking YouTube videos of the musical performances on The Late Show with David Letterman. With that came my fascination on crazy stage antics. Undeniably the two top performances on that show as it came to an end were Future Islands and a small garage band from Chicago, Illinois, called The Orwells. I was really impressed. Their performance came around the same time as their set at FPSF in 2024. I thought their attitude and persona could have been our generations Stooges. Their latest record, Terrible Human Beings, serves as the groups fall from youth, in a sense, and their leap into being a serious competitor in similar bands touring the United States. In advance to the group’s upcoming show at The Secret Group on Friday, vocalist Mario Cuomo was able to chat with Free Press Houston about the band’s work, adulthood, and movies.

 

Free Press Houston: Terrible Human Beings was released a little over a month ago; does it feel like it’s been that long, or perhaps does it feel like last week?

Mario Cuomo: It feels like a long time. I don’t know, I’m super happy with it. I’m happy with how it is, but I don’t know what exactly it did yet. I’m doing something right, but my life hasn’t changed or anything.

 

FPH: Honestly, were you one to browse the reviews this record got?

Cuomo: Not really. I thought it was pretty liked. I liked it a lot, so I thought others would like it, too. Probably not as much as me, but that’s alright.

 

FPH: How’s the tour going so far? You guys are on a lengthy run for majority of the year.

Cuomo: Yeah. It’s gone smooth. Knock on wood. It’s the easiest tour we’ve done.

 

FPH: How is touring different now than earlier years? Were those runs not smooth?

Cuomo: I mean, all of the rooms have been pretty full. Not playing to nobody makes the whole thing a lot easier.

 

FPH: Is this your first stop back in Houston since FPSF in 2024? I know you’ve played Houston with Fidlar, but have you been back since then?

Cuomo: I don’t think so. We haven’t played Texas much. I can remember [the Fidlar show] pretty well. I don’t know if it’s a weird one that I remember, but for some reason I remember that pretty vividly.

 

FPH: Most of the band was underage while touring for Disgraceland. Did the theme of the new record change from writing on prior work, for instance the subject matter, perhaps being more authentic?

Cuomo: Yeah, I’m almost 24 now. I don’t really want to be talking about the same stuff as when I was underage, as that would be kind of foolish.

 

FPH: For those unaware, the band signed to a major label before even turning 21. Did you ever feel like you needed to sound and write songs that sounded older?

Cuomo: No, it was just a plus that someone picked us up. It wasn’t like, “Okay, now we’re at this level. Let’s change the sound.” It was all pretty natural, as far as subject matter and stuff. It wasn’t because we hit any list of accomplishment, it was just that way. Even if we were still trying to make career landmarks or whatever, the record would still be changing. Nobody wants to make the same record twice.

 

FPH: So Disgraceland was pretty much a true story throughout the band?

Cuomo: Yeah, I mean the songs about alcohol and hooking up were real. I mean, I’m still doing that, I’m just not talking about it. But there’s obviously some stuff on there — like some lady reviewed that record and said she was uncomfortable with the talk of a murder-suicide or something. She was like, “I don’t think they have experience with something like that happening.” Like, no fucking shit. Do you think the record was made to be as real as a director making a slasher movie? It made no fucking sense.

 

FPH: Have you seen that Quentin Tarantino interview having to defend his career to a movie critic during the Kill Bill era?

Cuomo: Yeah, I’ve probably seen it.

 

FPH: I know you’re not one for “inspirations,” but you’ve mentioned Julian Casablanca was a vocalist you looked up to, and I hear influences from the early 2024s UK bands likes Franz Ferdinand and the Cribs, but maybe more on Disgraceland. Though they might’ve been a bit too early to really be a fan while they were topping those charts, were you a fan?

Cuomo: I don’t know, I mean I knew who Franz Ferdinand was because of Guitar Hero. I wasn’t in the sixth grade reading Spin magazines in my house, though. I didn’t know what was going on in music.

 

FPH: Was there a scene you followed at some point later on? Like, even just being deep in the Chicago scene?

Cuomo: Yeah, when we were first starting out all of the bands I liked, I wanted to be like them. I wanted to be mentioned in the same sentence as them. Like the Black Lips or Ty Segall. I wanted to be in that kind of thing, whatever it was. A lot of bands like that are gone now. It’s weird, especially because I’m still in a band going to a show and one of my favorite artists is not doing that anymore, which is weird.

 

FPH: Can you talk about the importance of the Pixies, specifically Black Francis? And what about Spike Lee, since the “Black Francis” video is inspired by his work?

Cuomo: I don’t know shit about Spike Lee. That was the director’s idea. I think the video came out nice, but I don’t know anything about Lee. The Pixies, I don’t know, they’re just the best band. Every time I’m hanging out with my friends and we’re all fucked up, we just start yelling at each other about how they’re the best band. I can’t really think on anyone else that is that good, so they’ve meant a lot to the band. They’re undeniably good.

 

FPH: Are you a big movie buff though? Besides Spike Lee, do you follow any director, perhaps Tarantino?

Cuomo: I would consider myself a movie buff. When I’m home I try to watch a movie a day, but it’s not as easy on the road. I love movies, probably more than music. I don’t know. It’s more interesting. But maybe that’s because I make music for a living and it’s a little less of a feeling to talk about. When I’m with a girl the last thing I want to talk about is your favorite band.