So, you have gone from major touring operation to being back in an RV. Getting back to your roots?
KC: Absolutely, it's where it all started, man. Early on, Matchbox went through it and its pretty much what any band has to go through it. It's the building an any artist. You start from the ground up. I love the small clubs where people are about 2 feet from you on stage and it's cool man. It's really personal and I'm kinda looking forward to it. It's been a while.

How much do you think you lose after being so successful with Matchbox 20? And what I mean about lose, I am talking about losing the feel of digging it our every day in an RV and not having radio and MTV really working to help the band out.
KC: Yeah, there is something. I don't know if its so much something you lose, it's just maybe some things about yourself and your own approach that you take for granted. Just like when we got like a crew of like 40 people and 8 billion lights and everyone is like flying all around ... if you get lazy you can let production do the show for you. But back down to the clubs and stuff, we deal with it, it's all about the music. It's like four people with their amps turned up hearing each other play loud rock and roll. It's everything that we make happen on a performance level has to come from us. We can't rely on a lot of that bling bling for lack of a better term. That's kinda cool. That's where it all starts. It's purity so, yeah man, I'm looking to get back into the swing of that. But you do kinda, it's easy to get lazy in that regard and coming back to this setting you can't, it's all coming from your fingers and how much sweat you put into the performance, we don't have laser lights.

And you are coming to Columbus to play a club with a lot of history, a place that although not many were at, thousands claim they saw Nirvana play there.
KC: Playing at Little Brothers, Nirvana played there really?

Coming from such a successful band in Matchbox, you are now on the road playing clubs like Little Brothers where it is almost a sin to listen to popular radio. Do you think there is a stigma or added pressure to win these music fans over?
KC: Right, is there pressure? Yeah, I think there's a stigma that is sort of attached to that, and I don't think its necessarily a bad thing. To me, good music that's good music is good music. It's hard for me to put myself in that position but I understand that there's some people that would feel that way that once the band has sold so many records or whatever, they don't have the credibility that they once had. I guess its just kinda the norm. We're all kind of susceptible to that kind of mentality I think sometimes for some reason when something gets so visible you know, you just want to look away from it. So, yeah there's a little bit of that pressure. In part because I don't want this band and the sound of this band to be judged on my musical past. My band mates to have to suffer too much from that and not get a fair shake at the music from people because all they have is "Real World," or some Matchbox hit in mind and not necessarily give it its own identity, or at least listen to it. Yeah, that's my biggest concern; that people may not want to listen it with untainted and clear ears.

Do you think you can break that mold, or are you kind of doomed into the comparison straight away?
KC: Yeah, and I kinda feel like that's gonna happen, regardless. Because once someone bridges that gap of this band and Matchbox, then it's like, "I don't like that band so I don't like this band." I'm sure it's gonna happen, there is no way to avoid that. My thing is there is a lot of Matchbox fans that have known about this project for a while but it hasn't really gotten out there.. I've been so busy, a good busy, but we've been fortunate that we have had a lot of success. Our records have had a lot of life and we've been able to tour on them for long periods of time and drop a lot of singles off of them so, the New Left hasn't been able to really get out on the road and develop its identity and sort of blossom into what it could be. It's really just more about the people that sort of known about that for quite a while that I'm hoping those people will come out and show the love. The people that feel that way about the band in the first place that are not going to come, so, I don't think that there is anything I can say or do. Once they find out that I'm a part of something that sold and someone that kinda feels that way, that any band that's multi-platinum is commercial and not cool, we may not win over. So we'll battle that. We just make the music we like to hear. We're trying to make timeless music. We're trying to stay away from trends, stay away from fads and do the same thing that was done in Matchbox. The same oath, the same sort of philosophy that we follow so people will like it or they won't like it. We just hope they come out and give it a shot.

Was it hard to keep the band together as Matchbox was doing so well and as you mentioned earlier, were just too busy to put a lot of time in the band?
KC: It was pretty tough because everybody's real educated in the New Left and the band lives out in Los Angeles and I live in Florida so, yeah, it was tough to get rehearsals going. It was sort of on and off but there was break time but we've been writing for a long period of time. On and off we've been working with Eddie Kramer for 2 or 3 years it's been going on that we've been writing and picking and choosing songs. I have a studio in Orlando that we've just been sort of cutting basic tracks slowly over the course of a couple of years and we finally just got to the point where this break seems to be like the right time for everybody in Matchbox to do solo stuff. And then we kinda felt like we had enough material in my place in Orlando to start thinking about doing some mixing and get at least an EP out for the fans. The EP was the first natural choice cause we're going at this as an independent, and we didn't want to put out a LP because it's all funded, I pretty much funded everything. It was basically all recorded at my place. I'm putting it out on my label without the help of major label support. I am also looking to expand into a wider thing as well, there's other artists that I'm producing and I hope to have a roster of people coming down the pike, cause I'm really interested in that aspect of the business to. I feel like it expands creative control. I'm all about having creative control of the music. It's nice but you know, not the advantage of the big radio promo budget like Atlantic or Warner Brothers or any large record labels that have a staff of a 100 or more people. We're really small staffed and we're kind of working it. I probably strayed from the question but I do remember the question. It's a little tough because Matchbox was really busy. We were touring internationally four or five months in a lot of cases and there would be just no activity. There was nothing we could do, even though we wanted to. We chose this break as, "Hey, this is the time. We're going to do it." Everybody in Matchbox was wanting to move on. I shouldn't say move on because Matchbox wants to make another record. We're going to make a 4th record. We all just explore the creative parts of ourselves and when we bring that back it will probably make a more colorful 4th record.