Geologist
Animal Collective’s Geologist, a.k.a. Brian Ross Weitz, has been on a creative surge lately. After last year’s A Shaw Deal (with DS) and Music Excitement Action Beauty (under the supergroup moniker Motherfuckers JMB & Co.), Weitz has now released his first ever solo album, Can I Get A Pack Of Camel Lights?, on January 30. We contacted Weitz to find out more.
How are you doing Brian? How has 2026 kicked off for you?
Geologist: Personally... great for the most part! We’ve had a lot of snow and ice where I live and that’s been a little stressful on my very old and poorly weatherized house, but nothing serious there yet. Second year in a row I’ve started the year off with a record in January so it’s nice to get going right away. In general, it’s a dark time in America and I live right down the street from the center of our government so it’s always casting a negative energy.
Why did you choose this title for your record?
Geologist: It has a lot of layers for me. I thought about things I say to myself like “I’m not capable of making a proper thought out solo record.” It doesn’t feel good or healthy to hear that every day. It made me think about quitting smoking and how I said the phrase “can I get a pack of camel lights?” every day. To stop saying it, I had to quit, and since I did, I’ve been healthier. So to stop saying things about my inability to make a solo album, I had to make one. And I also wanted a question because I’m still not that confident. So it’s actually like “Can I?”
The hurdy gurdy plays a major role in Can I Get A Pack Of Camel Lights?. What draws you to that instrument, and what other instruments / tools do we hear on the album?
Geologist: There is something about the drone. It took me some time to get into drone music when I was a teenager but once I discovered Tony Conrad, it started to click. I like the open fifth. So I got one just to drone without knowing the fretting was laid out like a piano keyboard as opposed to a fretboard. I can play piano and am pretty practiced in noodling on a monophonic synth from my work in Animal Collective, so it clicked right away to start doing melodies as well.
The other main instrument you hear and that I used to compose is my modular synthesizer rig. It’s doing all the programmed beats and electronics. When I play this material live, it's just the hurdy gurdy and modular parts. We have some crucial live drumming on there too from Alianna Kalaba, Emma Garau, and Ryan Oslance. Adam Lion on vibraphone, Shane McCord on clarinets, Mikey Powers on cello, Dave/Avey Tare on bass, and my son on acoustic guitar. I also have some recordings of me playing a bass psaltery there.
What is the “incendiary live witness one night in the clubs in 1998” part you mention in your liner notes that inspired the music all about?
Geologist: That would be Keiji Haino playing his hurdy gurdy during a three night Halloween residency at the sadly now-closed NYC club Tonic. I promoted their shows on my college radio show in exchange for guestlist spots so I saw many amazing gigs there. But Keiji Haino filling up the room with his hurdy gurdy in 1998 was undoubtedly the most memorable one. Shout out to The Cooler and Knitting Factory as well from that time period.
What other memories from your psychic archive inspired this record?
Geologist: This would be too much for one question since when you do your first real solo album at 46, you have a lot stored up! But I have to give some credit to the time I spent living in the desert outside of Tucson in the early 00’s. It’s kind of like the desert side of my brain meets the NYC side of my brain because I was going back and forth between them. I lived about 45 minutes outside of town and if I was downtown for a show and had to drive home at night, I needed a good record that would take me the whole way. This album is sequenced for that drive.
Apart from memories, have you ever kept dream journals? Does anything from your dreams shape your music making?
Geologist: Gotta be boring and say no. I don’t keep a dream journal. I do hear music in my dreams more in my 40s than ever before. Nothing worth keeping but it seems to be originating from within me. It never really happened before, so I assume it’s just that the part of my brain that engages with melody and composition is more active than it was before so it’s available to me in dreams. Again, just because it’s available doesn't mean it’s worthwhile, but who knows what’s coming next?
You have already made two collaborative records last year. Are there any other collab records currently in the works?
Geologist: Yes! I have a couple yet to be announced so I can’t say much, but thinking at least two more will be out this year.
Is there an instrument you haven’t tried out yet, but would love to?
Geologist: Yes, Ellen Fullman’s Long Stringed Instrument. She plays it by slowly walking across a long room and touching the strings with rosin on her fingers, so her body is the bow. It’s so beautiful. I was on my way to see her do it a few weeks ago, but the gig was a few hours away. I got stuck in traffic and missed it and cried in my car. I sent an unsent email to her in my drafts folder in 2021 just offering to help with a soundcheck so I can feel what it’s like to play.
When you check out your streaming platform’s play history, what are the last three songs you listened to?
Geologist: Hmm, well I was on a plane last night and didn’t pay for the wifi so when it stopped working, Apple Music went to the downloaded songs on a playlist I made for Snail Mail when Lindsey asked me to DJ the house music at her Valentine’s Day Fest in Baltimore. Does that count? If so, we have "Some Things (I Can’t Get Used To)” by Angst; “Stranger” by Love Joys; and “Out For Revenge” by The Squad.
What do you wish from 2026?
Geologist: Humans treating other humans like they’re actually humans.
Can I Get A Pack Of Camel Lights? is out now on Drag City. You can order the album on Bandcamp.