Introducing Suicidal Bunnies

"Allow us to introduce you to the extraordinary Greg, affectionately known as 'A-N-I-M-A-L.' His musical journey began at the incredibly young age of 4, when he first discovered the rhythmic magic of drums. Throughout his life, he has cherished the gift of music as a guiding light.

Greg's journey as an artist has been enriched by the unwavering support of his close-knit family. They've been his foundation, helping him flourish as an artist and providing solace during the heart-wrenching loss of his beloved wife. This tragic event served as a poignant reminder of life's priorities. For Greg, it's not about wealth or material possessions; it's about the profound connection of the human experience.

Through his poignant and crisply crafted lyrics, Greg addresses the challenges faced by contemporary humanity. He aspires to be a beacon of positivity and high-energy through his music, striving to uplift, invigorate, and inspire all those who have the privilege of listening to our band.

In Greg's world, dreams are the currency of life, and he wishes for all your dreams to find their path to reality. So, join us on this extraordinary musical journey with 'A-N-I-M-A-L,' where every note and every beat is a testament to the power of music to heal, connect, and elevate the human spirit. May all your dreams in life come true!"

 We sing, we dance, we love. These are the people I come from.

Born in Fresno, and raised in what came to be known as “silicon valley,” I was always attracted, enthused, and energized by music. As a kinder, I would wake up early and put on a polka station on the radio and listen and run around the house. About that same time an Italian man, who I never met, gave my father a small accordion (which I still have!) for me to learn on. I took a few lessons, but at five years old I had no ability to focus. Andy Naroyan, a friend of the family, brought his guitar one day and played Flamenco style music with all the thumps and slaps on the acoustic body that really excited my ears. His sister, “Auntie Sonya” (my parent’s business partners in the restaurants they owned) saw how energized the music made me and gave me my first record (nowadays known as a “vinyl disc.”): Music of the Bullfight. I loved it! I still keep trying to get any band I play in to do a version of La Magaña. It IS The Moment of Truth!!

I tried many other instruments and loved many genres of music, being raised in an inclusive ethnic environment centered by my paternal Greek heritage. I took all kinds of lessons, starting with the accordion and tap dance, through trumpet and a bit of ballet, to three years of piano lessons, and somehow never really learned how to do it well. Then my father’s brother, Uncle Gus, a large opera singer, brought a four string, solid body guitar with an amp to the nightclub when I was about 11 years old. He said it was a bass guitar and asked if I’d like to try it. I strapped it on, plugged it in, like I’d seen all my dad’s musicians do, and hit the switch. Uncle said I didn’t need a pick like the bouzouki and guitar players used, all I needed to do was pluck it with my fingers, so I hit that big fat top string. The low vibration completely resonated  through my soul and I knew from that moment what I needed to do. This all happened in “the first Greek Taverna west of the Mississippi,” as my dad would say. I took my first lessons from a serious player named Ray Dodd. He had a music store in Los Altos California and at my first lesson he asked me what I wanted to do: be a musician or play in a band, and I picked the latter. He had this gorgeous ol’ Gretch and I was thumpin my spankin new 1820 Epiphone with some flatwounds. He’d get me going on some rhythms and chords and as soon as I could kick out some sort of stable run, he’d cut loose and do some amazing jazz progressions. At the time, I was clueless, of course, but in retrospect, I was insanely fortunate to have that level of a player be my teacher. My first group had no name, but Paul Meyers, Mike Kijak, and I did our first number together, “Tequila,” because we all knew the words and could sing it together. Wonder what they’d say about seventh graders singing that now? Some other boys heard I could play bass and found me and I auditioned, they liked what I did and the lead, Jose, could play Carlos Santana licks with that insane sustain like I’d never heard. After working out a few songs, we didn't know what to call our group but one afternoon while playing with matches and farts, we were inspired and called ourselves “The Blue Flame.” That didn’t last long, although my dad let us use one of his empty offices at The Balkan Village, to practice in probably because we were way too LOUD for the neighborhood. A year or so later, about the time I got into St. Francis High School, in Mountain View, California, I hooked up with an older kid, Harvey Martell, (who could drive and everything!), and some other students from Homestead High School in Cupertino, California, to jam and it turned out really good. This was working! We practiced regularly at a church, hammered out some pretty awesome playlists sets, and started getting paying gigs. We covered everything from Elvis, (on my insistence), to Hendrix, Grand Funk Railroad, and Black Oak Arkansas. We were “The Cold Still.” We had a full drum kit, two lead guitars, a rhythm and the bass. That’s when I really learned what it meant to be “in a band.” 

After moving to Juneau, Alaska, in 1990, I was wrenching with a cat named Steve Griffin and noticed he had some guitar strings in his tool box. When I asked if that was some cool mechanics trick, he said no, he was a guitarist. I asked what he liked to play and he said rock and blues. Steve could play and truly liked to collect fine guitars. He had a couple of vintage (60’s) strats and a unique Les Paul with only two piping stripes and no serial numbers. Steve said he thought it might have once belonged to Jimi who really played Strats, but figured Gibson had sent a prototype to him to woo him away from Fender. Steve would end up getting the first bookmatched red Tiger Maple PRS I’d ever laid eyes on and woah, did he start sounding better than ever. We gigged around town with various drummers as “The Two Car Garage Band.” Steve got married and that kind of took him out of the action, but Fester (Geoff Cates) “my drummer” knew another guy who could play pretty good, Tony Bell. Tony wrote some originals and got us going down that country rock road which I’d already learned to love back with The Cold Still. We found a decent lead, Lonesome Dave, and put together “The Gasteneau Channel Cats.” Man, did we do some fun stuff in Juneau and Wangell. I wound up moving north to The Kenai and after finishing up an addition on a house on Bald Mountain, I happened to meet Homer Alaska’s bellydance teacher, Rowan Mulvey. I saw her putting up posters for her class and I asked if she danced, she asked if I drummed, I said, “no, but I know all the rhythms.” We became fast friends and I drummed for The Shivering Gypsies for a couple of years. Rowan introduced me to The Reverend Poorchild, Richard Olsen, who did mostly all originals on guitar and said he could use a bass player. We jammed a couple of times and the next thing you know, he’s got gigs doing the Alaska Folk Festival circuit. I had a love hate relationship with “stupid fucking Richard.” That guy could play a guitar and wrote some awesome music, but sang like a drunken pig. We eventually built up to a fairly awesome 4 piece that got a lot of folks' attention at the Talkeetna Folk Festival, but when we lost our singer, Aaron, who I’d found singing Karaoke with Dax at the Anchor River Inn, things just kind of disintegrated. I would end up going to college and getting an education degree, so I haven’t been on the scene for almost two decades. Thanks to the persistent and relentless harassment by the lead singer for “The Suicidal Bunnies,” I’m Back Jack and Ready to Rock! Let’s make this fucking happen!

Kris has been singing and performing since the tender age of 3. Growing up she would make up random songs and sing to anyone that was willing to listen. Early music influences include X Ray Spex,  The Cure, The Donnas, The Misfits, The Dead Milkmen, Siouxsie and the Banshees,  Lunachicks, Concrete Blonde, The Ramones, Sex Pistols, and of course The Cure! When she is not rocking the world.. she is tryng to save it. The owner of a successful functional medicine practice in anti-aging medicine. Kris is grateful to have an amazing supportive family that encourages her musical endeavors. She is passionate about helping today’s youth have a love for music and be open to all that life has to offer. Her philosophy is:

We should all stop living in boxes. Boxes people, media, and medicine put us in, but more importantly the boxes we trap ourselves in. I was a homeless high school dropout and my box was supposed to be poverty and a life of barely scraping by. My box was supposed to be hard, lonely and difficult, but I have a beautifully broken life. My music and my message. Do not remain a fish in a barrel so easily shot but swim in the oceans of possibility.