If you’ve been following North Florida’s music scene at all in recent years, you’ve likely come across way cool guitar, camera, and carry-all strap manufacturers Original Fuzz. Though they up and moved to Nashville some time ago, the brand continues to support music initiatives in its birthplace of Jax and beyond, covering emerging artists VIA its a beautiful, hip, authoritative digital zine.
So when when Brooklyn-by-way-of-Nashville psyched-out pop outfit, Champagne Superchillin’ visited our offices for a recent Into the Void: Office Music Series performance it quickly manifest that we and Original Fuzz shared mutual affections.
From Original Fuzz’s Issue #44:
While we’ve been headquartered in Nashville, TN for quite some time, some of you old-school Fuzz Heads know that we got our start down in Jacksonville, FL—spiritual home of surfing and Void Magazine, which began as a local Jacksonville Beach surf report.
The Original Fuzz founding team spent its early days paddling the waters of Jax Beach attempting to ride the gnarly, haphazard, shark infested waves that shaped East Coast surf culture. In that regard, Void is a kindred spirit.
Fuzz Heads unite! Not only did OF jump on as Presenting Sponsors of our video of Champagne’s Office Music Series performance, they also posited a few questions to yours truly and published the interview in their most recent issue. Here’s a taste:
OF: Void started as surf report and has evolved into a culture hub for Northeast Florida. There is a ton of crossover from the music world and surf culture, especially when you live near a coast. What is it about coastal cities that breeds this kind of crossover creativity?
Matthew Shaw: I’d love to say that because surfing—and skating to a greater extent—are activities that take you places and expose you to different people, cultures, art and music, that everybody who participates in those activities ends up all the more enlightened for it. It’s not always the case, unfortunately. But going back to the golden era of surfing in the late ’50s/early ’60s, surfing was a counterculture activity and surfers really embraced that identity. The cool cats loved jazz, the kooks liked the Beach Boys. I think that spirit of outsiders looking to identify with outsider stuff—whether it music or art—prevails in pockets of surf communities around the globe. Later on, for my generation at least, the culture around surf/skate videos in the ‘90s and early ‘2000s definitely exposed a lot of surfers and skaters (us here at Void, especially) to all kinds of music—Hip hop, reggae, electronic, metal, garage were all prevalent (along with some really dated pop-punk, of which many of us still take guilty pleasure in).
Check out Champagne’s performance below and read the full interview, here.