My Q&A With: Strawberry Runners


Together, Emi Night, Eli Saragoussi, Tomas Campos, David Runge, Davy Timm make up Strawberry Runners a “shimmery, gritty, tender-hearted pop” band based in Denver, Colorado. Check them out!

Where did the name Strawberry Runners originate?

Emi:  So, the origin of our name is a bit of a mystery.  No one can remember who thought of it or when it originally came up, but it’s a name that had been bouncing around in my head for a while, maybe even years.  I was talking with a friend about it recently and I immediately thought of one of the first associations I have with strawberries – my mom grew them in the little strip of garden in our back yard.  Our garden was pretty pathetic.  We tried to grow all sorts of things, but most everything died except for the strawberries, which seemed to come back stronger and bigger every year.  I also used to run away a lot as a kid too, from home, from school, from babysitters, from friends…etc.  Probably as an adult too, just in new ways, you know. So there are associations all around.

You recently played at South by Southwest music festival. How was that experience?

Emi:  South by Southwest was pretty chaotic!  We got to see lots of good music though!  My favorite show was the Don Giovanni showcase on Friday night.  And some of us got to see this unbelievable show with an amazing queen named Christeene the same night.  We were hosted by our incredibly hospitable friend Santi from the Austin band, Growl.  We all got tattoos and/or piercings that week too…haha!  We danced a ton and ate delicious food, made new friends, wore lots of earplugs, saw tons of beautiful people everywhere.  Overall it was a bit of a mess, but I’m glad we went!

 David: The difference in the shows was pretty surreal. One day would be an empty field, the next would be a packed bar. Other than that, I felt like we got really tight from playing so many shows back to back.

As a band based in Denver, Colorado, do you find the popular music scene there heavily influences you?

Emi: I draw influence from so many musicians and artists here, even though a lot of the music that comes out of Denver is super different from what we make.  I’m influenced most by our friends who also make up the bands in our community:  Mega Gem, Chase Ambler, Disaster Canyon, Doo Crowder, Cop Circles, Bonnie Gregory of The Horse Latitudes, Stelth Ulvang, Anna Smith, Meeca, Spirits of the Red City, Laura Goldhamer and a couple former Denver bands: Papa Bear and Dovekins

What do you find are your biggest influences?

Emi:  Well, usually it starts with a feeling about something.  That will make me want to sit down and write for awhile.  So feelings… tied to memory, family, friendships, love, stories, and personal myth-making.  I’m most influenced by these things.  Being able to see my life and what I’m experiencing right now as part of a bigger story can be super empowering.  Stories.  I love songs that tell stories, especially stories that are a little off-beat with some familiar elements, so some of my biggest musical/story-telling influences are Belle and Sebastian, The Mountain Goats, Joanna Newsom, The Weakerthans, Neutral Milk Hotel and Saintseneca.  And one of the biggest influences in making music, and just living + creating in general is my family.  My mom and my brothers.  We’ve been through a lot together, and right now we live far apart because that’s what works for us, but writing songs helps me to stay close to them.  And they always give me something to write about.  haha

NPR listed your song “Hatcher Creek” on their mix for SXSW. Did you expect this song to be received so positively? How did the song come about?

Emi:  Haha! Well, no actually, not really!  We’re a totally unknown band otherwise, almost monastic, even!  We sort of just put this out there like, hey NPR, so here’s this… but, well, you know, I actually also gave them a good amount of background information about my writing and this song.  I was pretty open and honest about my process and the experiences that led to the writing of this song in particular.  Sharing this information with some total strangers sort of made me feel differently about my work.  Exposing these vulnerable and sometimes painful roots of my creative process was a choice, and when I made it, I had this sense for some reason that I couldn’t go back.  And maybe they saw that too.  Or maybe they just heard a catchy pop song!  I can’t say!  I mean, when you put your heart and soul and sweat into something for a long time, and give it all the love and care you have, I just have to believe that something will come of it.  Like, I know this isn’t a stone I’m planting.  It’s a seed, and when I care for it, it’ll thrive.  Who knows what that looks like?  I guess that’s kind of how I think of my work.  I just give it my best and hope it survives out there!

If you could play a show for one night with two other bands/musicians, what bands/musicians would you choose and why?

David: Spirits of the Red City and Tune Yards probably. It’d be a weird show, but I love both of those bands like air.

Emi:  Ooohhhh, I’d probably want to play with Belle and Sebastian, because they’re my favorite band of all time, and the Music Tapes.  Julian Koster creates the most magical show experience I’ve ever, ever had.  I have no idea how this show would actually look, honestly.  I’m sure it would be totally weird, because I feel like both of those bands stand best alone, with such incredible, engaging performances, that it’s pretty absurd to try to pack in other music experiences around that.  So maybe my ideal show would actually be one in which all three of our bands collaborate for one totally freaky, bizarre, and magical performance.

10941381_262784630558875_3122819799254733456_nThe lyrics of your songs are often very personal. Do you have a particular writing process or ritual?

Emi:  Hm.  My lyrics are often very personal.  My early life was dark and silent.  Now, sometimes I write about the abuse and trauma I experienced growing up.  As for ritual, I’ve made rituals an integral part of my daily life, but in songwriting, specifically writing about these dark experiences, this is the closest I get to it:  I’ve forgotten most of my childhood.  It’s a normal reaction to trauma, to forget.  But in many ways, my body still remembers.  This can be maddening.  So when the confusion between these two disparate experiences of my body and my mind becomes overwhelming, I spend time intentionally retrieving memories.  If one returns to me it can be powerful – painful.  Playing a song – just humming with my guitar can be very soothing in these moments.  And as I work through some of the pain of the memory, I try to give voice to the experiences I recall from my childhood through writing.  I try to tell the story from a place of empowerment now, rather from the perspective of a victim.  Often the only way I can access my memory, without re-traumatization, is through song.  Does that make sense?  I have to write, because somehow the child I was, her life, little more than a whisper, has a new chance to speak in these moments.  It is less a ritual than it is a compulsion which I make space for in my somewhat ritualistic life.

Aside from being members in Strawberry Runners, you all play in other bands as well. How do you manage this? Have you had any interesting experiences with this?

David:  It can be tough, but is usually more of a positive influence than a burden. It’s nice to step outside of the Strawberry Runners sound as an exercise.

Emi:  Well, nothing too interesting, honestly!  Strawberry Runners and Mega Gem have for a long time been very entangled.  Davy and Tomas are two main members of both bands, I’ve been an auxiliary member for years, singing harmonies and playing a variety of instruments, Eli has filled in on bass a number of times, and just to keep David in the loop, Mega Gem threw him on glockenspiel for one of their shows at SXSW.  I played bass for Mega Gem during their Midwest/east coast tour last summer.  I also toured with them, playing Strawberry Runners songs as Moth Mender – the name of my solo project, which has recently been mostly absorbed by Strawberry Runners.  For a couple of our shows Mega Gem backed up my set, and that’s actually what influenced me to ask Tomas and Davy to join Strawberry Runners later in the summer.

Is there anything else you would like to add?

Not at the moment!  Thanks so much for interviewing us, and for patiently awaiting our super late responses!

* Photos and quote via the band’s Facebook page

My Q&A With: Eric Lilavois


Eric Lilavois has proved himself to be a man of many hats. His achievements and contributions to the music industry are vast and numerous. A few accomplishments to note: record producer, SXSW panelist, composer, talent buyer, recording artist and owner of two recording studios, to name a few. Eric has created, mixed, and influenced countless works and remains a highly influential producer in Southern California. Lilavois currently owns Crown City Studios in Pasadena, California and the renowned Seattle London Bridge Studio, in Washington.

How did you initially get involved in music production?

I was always fascinated by sound, I couldn’t fathom how all that emotion got on to that little spinning disc and I was dead set on finding out. When I started writing my own music and going into studios to record I was always the guy checking out every single piece of gear in the building and curious how it contributed to the sonic landscape. I had such a respect for recording engineers, and producers, they were magicians in my eyes.  I played in a popular band and then my friends bands asked me to record them and it just went from there.

It must have been very exciting becoming a partner at London Bridge Studios, a place where you had previously recorded your own music. What was that experience like?

London Bridge Studio is an incredibly special place, so many iconic and legendary records were recorded there, Pearl Jam, Mother Love Bone, Soundgarden, Temple of the Dog, Alice in Chains, Blind Melon, Fleet Foxes… The list just goes on and on. You feel it when you walk in there.  It’s an honor to be involved, and I’m deeply dedicated to preserving it’s history as well taking the studio into the future with my partners Geoff Ott and Jonathan Plum. We’re in the process of restoring the original 1970’s NEVE console that all of those records were recorded on, as well expanding, remodeling and revamping the studio to keep it intact for generations of musicians to come. 

Your credentials and list of accomplishments are very impressive. What has been your best experience to date?

Saint Motel holds a special place, I produced a good part of their debut full length “Voyer”, we spent a really long time working together, and we recently did a cover of “A Quick One” by the Who for a tribute album from the music of Wes Anderson films that was just a blast. Working on the Acoustic version of “Trojans” with Atlas Genius stands out too. Keith and the guys are very present and we had a lot of fun geeking out together on gear and talking shop. Honestly though, each and every artist and session is memorable, even if some of those memories are, you know, hazy, haha!

You also record your own music. How would you describe your style?

I have a sound that is often characterized as Americana and folk with touches of rock.

My newest single is God in Our Glass and is a tribute to my close friend for over 20 years Ryan Hoherd, When you lose someone that suddenly, that close, you start thinking about all the missed calls, all the times you couldn’t make this thing or that. Suddenly it’s not, what would I do for another 5 years with this person, it’s what would I do for just one more hour. Ryan was a force, the life of the party, and an absolute prankster.

God in Our Glass listen link:

What would your advice be to upcoming artists trying to begin recording their own music?

Play your ass off, own your craft, your vision, and your art. Think about what inspires you, but don’t necessarily live strictly by the rules of your hero’s. Learn from them, but be mindful that they have different lives in different time zones. Be relentless, and don’t be afraid to surround yourself with people who are different then you musically, artistically, but make absolutely sure you surround yourself with people who share your desired destination, and are willing to work as hard as you to get there.  Find people you respect and trust to work with, seek them out and once you do, actually trust them. There’s no use in working with a producer or A&R guy, studio or anyone else if you’re just going to revert to every old decision you would have made without them. At some point you need to say to yourself I’m working with this person in this place for a reason, and if you don’t believe that deep, deep down, then just don’t do it, do the other thing. 

How can someone reading this interview get in touch with you to discuss a recording opportunity?

 Email me at  I love to work with a myriad of bands and would love to hear from bands who are interested in working together.