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Winston Hightower, the creatively restless, do-it-yourself musician out of Columbus, Ohio, has been quietly releasing music on the internet over the last few years. A staple in the Midwest underground scene, his first work under the eponymous moniker was a self-released tape in January 2015. Since then, he has put out over 100 songs on various formats, causing many to refer to him as "the Black R Stevie Moore." K Records and Perennial got a hold of Hightower to release his first-ever proper album titled Winston Hytwr, which flawlessly pairs previous and impossible to find tracks with newly recorded ones. We chatted with Winston all about Columbus being a champion for the underground and outlier rock 'n' roll, scene politics, and the story behind his exploratory one-man home recordings.
Paperface Zine: Tell our readers a little about your background. What was it like growing up in Columbus, Ohio and how did you get into playing music?
Winston Hightower: I was born on 3/11 (yes I know) in 1993. I was adopted at a birth into a very dynamic family and grew up in Clintonville, a small once hippie-like town. My dad always tried to get me to play piano which was hard for me to catch onto as a kid. Later when around the age of 13, I got my first drum set and it kind of started a new spark in music for me. I was headed towards a career in art during high school and found myself falling in love with punk instead of art school.
PZ: Columbus has such an underappreciated music history with garage bands like Screaming Urge, True Believers, The Blades and Blunt Stiches. Have you enjoyed any of the music out of there locally from the past or present?
WH: I'm glad you think it's underappreciated as well! I would say 70% of my true inner passion behind the music I make comes from my inspiration from local/Ohio bands. Some of my favorite past Ohio bands/artist are Times New Viking, Nervosas, Ron House, Psychedelic Horeshit, Electric Eels, Necropolis, Vile Gash, Pizza Hi Five, etc. Some of my new favorites are Wasp Factory, Golomb, Hydrone, PAL, Forest Fucker, and Invasive Species.
PZ: After you got that drum kit, what led you to self-record your own music? What was your set up early on and how has it evolved to where you are now?
WH: When I started home recording, I was using a Tascam 4-track that my friend John gave me in high school along with other miscellaneous instruments like keyboards and guitar effects. I think I was struggling to find the proper process of how to record songs to get in a rhythm. A lot of my first songs I made were just me playing over a repetitive drum track and lying down multiple guitars.
PZ: What has it been like playing live? Who's in your band or is it ever-changing depending on the location of the show?
WH: Right now I'm with a three-piece that is called "Winston Hytwr's Perfect Harmony." My friend Mario Malachi on drums, absolute shredder basically a human drum machine, Mickey Shuman on guitar and you wouldn't be able to tell by recordings, but he plays without a guitar pic, and I play bass. I had a band before Covid that played fairly often and then after I played solo shows here and there until recently starting up with the new band.
PZ: How have you felt about the nickname I've seen associated with you, "The Black R. Stevie Moore"?
WH: When I started chiseling away at forming my stylistic craft I was really inspired by R Stevie Moore. I think if you'd tell me in 2015 I was gonna be referred to as "The Black R. Stevie Moore" I would probably lose my mind in excitement [laughs]. I became Facebook friends with him, but I don't use it anymore. Right now, the comparison doesn’t bother me at all. To be honest, I'm still tryna take everything in so I haven't thought much on it.
PZ: How do you feel looking back on your catalog? Do you still like or relate to them in any way?
WH: To be honest I myself enjoy listening back to the songs. As far as how they're perceived by others, I try not to think about it much. Part of my fear about the debut record was that some of my songs were older and "lacked skill" compared to new ones.
PZ: How exactly did the new album come together?
WH: I was pitched the idea of doing a "Greatest Hits" by K/Perrenial. Basically taking a couple tracks from hard to find past releases on side B and then new unreleased/recently released tracks on Side A.
PZ: I really love the song "Hip Swayer." How did that come together exactly?
WH: "Hip Swayer" is a song that I originally wrote with the intention to slightly pay homage to the twee sound of K Records by having a minimalistic drum beat and soft guitar. The lyrical content is a homage to my dad and the times we spent more so when I was younger.
PZ: What's the story behind "Insubordination Rules"?
WH: So "Insubordination Rules" is kind of mockery of the "scene" and its similarities to the hypocrisy of the government and outside forces. "Are you gonna be the one to end the tragedy begun, among the ones who run all the spaces, and leave them all with egg on faces, or choke" basically challenging people. Are you gonna remain complacent and comply with people due to the position they hold over you in these elitist ways or are you gonna create your own path or how you believe music should be shared with others and break that ugly cycle and mold.
PZ: "Blind Pig" is another one I really enjoy. What were the inspirations behind it?
WH: "Blind Pig" is a song about the two strips in Columbus where a lot of music happened past and present, High Street and "Washington Beach." The song talks about going from one bar/show to another and sometimes back to the previous spot twice in one night which was a common occurrence when I was younger and going to shows more often. An homage to bar culture/after hours genes the name "Blind Pig."
PZ: What can you say about "O N O"?
WH: "O N O" is one of my attempt at a cute flirty song [laughs]. It's about the beginning of love and that brand new feeling. A subtle "One Night Only" that leads to many more.
PZ: How did "TF" come together?
WH: "TF" is actually my first attempt at making a truly house/pop oriented track with more digitalized drums and synth progressions. To be honest, it was one of the first times I visualized a concept and was able to see it through how I imagined it.
PZ: Which song from the record means the most to you (and why)?
WH: To be honest I'd probably say "Insubordination Rules." I feel like there was a period in music for me where everyone was telling me how to think and how to carry myself. Then one day they all were doing the things they told me not to do. After that day I told myself, I'd just always make my own path and semi have a "kill your idols" outlook on things now.
PZ: What else is on the horizon for you?
WH: Currently just touring on and off and continuously writing more music. I want to focus a lot more of videos/visuals this coming year.
PZ: Thank you for taking your time. Last word is yours.
WH: Love what PAPERFACE Zine is doing and appreciate you keeping it in the culture! And thank you for including me in, it means a lot!
Winston Hytwr is out now on K and Perennial Records.