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Marcelo Radulovich's League not his own

"I’m not really looking for press or attention. If that happens, fine."

Marcelo Radulovich: "When I thought about creating a collage with Trump as the topic, I knew that League of Assholes was the perfect name to use."
Marcelo Radulovich: "When I thought about creating a collage with Trump as the topic, I knew that League of Assholes was the perfect name to use."

“Every day something new happens with Trump,” says guitarist Marcelo Radulovich, discussing the inspiration behind his latest project, Im Peach the Sequel, a “sound-collage” assembled from contributions sent to the musician and organized under the aegis of his ironically titled “League of Assholes,” a moniker he’s used since the ’90s.

“I noticed there was a lot of discontent among my musician friends who were pissed off and depressed about his presidency and it seemed like a good way to channel all that emotion into a work of art. So when I thought about creating a collage with Trump as the topic, I knew that League of Assholes was the perfect name to use.

"It’s not really a group — we don’t perform — there’s no fixed personnel. People come and people go. There’s a disclaimer that comes with the record that the L.O.A. doesn’t really exist. It’s more of a strange band of enigmatic marauders, but with a name like that it gives us carte blanche to do whatever we want. Some people will be turned off by the name, but if they really listen they will discover some serious music.”

Radulovich received contributions from all over.

“I’ve gotten a lot of submissions and some surprises as well, because the parameters are so loose — whatever key or tempo or length is acceptable. It could be ten seconds or ten minutes.”

I asked him if any of the solicited audio really stood out.

“Well, there’s this guy Bart Stull, who lives in Washington — he’s a fantastic guitarist who is really into electronics — he sends me movies that he records on his phone, because that’s his medium, and then I extract the audio from that. Another guy, Charles Maynes, is a sound designer, and he’s a master of recording gunshots and explosions for the movies. So he sent a track with machine guns that related to Trump’s claim of making neighborhoods safe again.”

Producing such incendiary material under a name some might consider offensive seems like a risky proposition in terms of the commercial marketplace, but Radulovich isn’t concerned.

“The way I deal with censorship is to bypass the market. I make everything available as a free digital download. It’s kind of a ‘Robin Hood’ mentality. I’m not really looking for press or attention. If that happens, fine, but I don’t really want this to be about me. I just throw these things out with the idea that everything resonates in the universe.”

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“I mean, when they said I couldn’t go home, I could see Coronado!”
Marcelo Radulovich: "When I thought about creating a collage with Trump as the topic, I knew that League of Assholes was the perfect name to use."
Marcelo Radulovich: "When I thought about creating a collage with Trump as the topic, I knew that League of Assholes was the perfect name to use."

“Every day something new happens with Trump,” says guitarist Marcelo Radulovich, discussing the inspiration behind his latest project, Im Peach the Sequel, a “sound-collage” assembled from contributions sent to the musician and organized under the aegis of his ironically titled “League of Assholes,” a moniker he’s used since the ’90s.

“I noticed there was a lot of discontent among my musician friends who were pissed off and depressed about his presidency and it seemed like a good way to channel all that emotion into a work of art. So when I thought about creating a collage with Trump as the topic, I knew that League of Assholes was the perfect name to use.

"It’s not really a group — we don’t perform — there’s no fixed personnel. People come and people go. There’s a disclaimer that comes with the record that the L.O.A. doesn’t really exist. It’s more of a strange band of enigmatic marauders, but with a name like that it gives us carte blanche to do whatever we want. Some people will be turned off by the name, but if they really listen they will discover some serious music.”

Radulovich received contributions from all over.

“I’ve gotten a lot of submissions and some surprises as well, because the parameters are so loose — whatever key or tempo or length is acceptable. It could be ten seconds or ten minutes.”

I asked him if any of the solicited audio really stood out.

“Well, there’s this guy Bart Stull, who lives in Washington — he’s a fantastic guitarist who is really into electronics — he sends me movies that he records on his phone, because that’s his medium, and then I extract the audio from that. Another guy, Charles Maynes, is a sound designer, and he’s a master of recording gunshots and explosions for the movies. So he sent a track with machine guns that related to Trump’s claim of making neighborhoods safe again.”

Producing such incendiary material under a name some might consider offensive seems like a risky proposition in terms of the commercial marketplace, but Radulovich isn’t concerned.

“The way I deal with censorship is to bypass the market. I make everything available as a free digital download. It’s kind of a ‘Robin Hood’ mentality. I’m not really looking for press or attention. If that happens, fine, but I don’t really want this to be about me. I just throw these things out with the idea that everything resonates in the universe.”

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