indiePulse

Q&A with Santeria

 
Santeria is a Louisiana-based rock band that is set to release it's fourth album on it's own label on March 10. The band plays a brand of southern influenced rock that is dark, heavy and complex. "Year of the Knife" was produced by Grammy winner Tony Daigle and it is a fine record. Frontman Dege Legg recently took time from one his many projetcs to tell us a little about the band and the latest record. I want to thank Dege for taking the time to provide such an insightful look into the world of Santeria.

For more on Santeria please visit: http://officialsanteria.com

Congratulations on the new record. Your music has been described as “complex and compelling”. How do you describe your style and approach to making music?
We’re not reinventing the wheel…just jamming our own cards in the spokes. It’s psychedelic-influenced rock filtered through a distinctively southern perspective, but with none of the clichés you’ve come to expect from southern rock—beer guzzling and monster trucks. It’s psyouthern rock with a Deep South post-modern set of aesthetics.

Is there a project that you are taking a break from to do this Q&A?
Yes, in addition to Santeria, I play in a sonic-roots ensemble called Black Bayou Construkt—like God Speed You Black Emperor-meets-Neil Young-meets a southern Pink Floyd. Also, I do solo stuff under the name Brother Dege—like Robert Johnson on Thorazine slide-Delta Blues…all originals and no mid-life crisis cheese.

Do you have a particular musical philosophy?
Yeh, it’s called “Go with Your Gut.” The key to timeless music is to find a nice mix of butt and brains. If it goes too far to one extreme, it tends to suck. Too much butt and you get meathead rock. Too much brain and you lose the soul and only end up impressing other musicians—and they don’t really give a crap because they’re just a bunch of desperate bastards who are nuts as well.

Is there a thread to the work you do?
The thread is the vision and the vision is this: take some mellow psychedelics, duct tape two kaleidoscopes together like some freaky binoculars, and point them at people and things around you. In our case, that would be the Deep South. Look inside. Repeat. 

Growing up, did you want to be a musician?
Absolutely. There were no other aspirations. Never wanted to be a fireman, lawyer, cop, salesman, or bank teller. There was a short spell where I lost the plot and wanted to be a truckdriver, because it seemed like fun…but not as fun as rocking or being some kind of master criminal…so I forgot about it. I never really had a “plan,” nor do I now. I just knew that I was destined to not be a robot…even though over the years I’ve worked some seriously robotic manual labor jobs…it was all in service of a higher ideal.

Did you come from a musical family?
No. None of them played music. Not one. They were all farmers, cotton pickers (no bullshit), and fighter pilots. Actually, I had one old crazy, Cajun great-great Aunt that played fiddle. She ended up a spinster and lost her mind.

How do you define good work?
Good work is not defined by records sales. 3 Doors Down can testify to that under oath.  So can a lot of other bands that shall remain nameless. Good work is defined by following your own aesthetic vision, regardless of whether or not it succeeds financially. History has a poor record of doing great artists wrong during their time.

You guys are from Louisiana. Do you have a favorite local place to play shows?
The venues are unimportant. We’ve played in barns. Actually barns and swamps are the best. It’s the vibe and energy that people bring to a particular show that makes it memorable in a surrealistic way.

The album is called “Year of the Knife.” Why?
It sounded cool and conveyed a sense of what was going on with the rest of the album. Kind of like an intensity that mirrors where things are going in the world. This slow-rolling turn into the darkness of greed and corruption and selfishness paired up with each individual’s frustration with it.

One of my favorite songs is "Can You Dream?" Do you have a favorite song on the record? Why?
They’re all like my kids. I want them all grow up and lead interesting, successful lives…and inspire great things from other people. But not all of them make it. Some flunk out of school and end up in an alley. Some unexpectedly climb mountains. Some are problematic and never turn out the way you’d hope. But this record is pretty satisfying in that respect. “House of the Dying Sun” is like our “Amazing Grace.” “Mexico” is like our version of an old western movie, starring drug smugglers and Neal Cassidy + aging beatniks. “Year of the Knife” is like a post-apocalyptic, middle-eastern spaghetti western, Anunnaki hoedown with FEMA camps and Babylon/New Orleans burning with pillars of salt rising out of the floodwaters.

What was the overall tone you were going for on this record?
Just a balanced album…like an old Stones or a Beatles record. Even though we sound nothing like them, we dig the balance of tunes—light and dark, rockers, barnburners, acoustic songs,  a sense or humor backed with heavy-dark brooding tunes and old world delta blues-inspired things. As well as some experimental songs that even we don’t really understand. We dig it all and we don’t like to censor ourselves, as in, “Maybe this isn’t right for the record.” No, the only quality control is whether or not it is a good song.

Are you happy with the final recording?
Yes. Tony Daigle and Primo did a great job of twiddling the knobs and we all sort of co-produced it. After the fact, there are always things you would change, but we can live with this one.

Were you inspired by anything specific while you were making this record?
Everything around us is fodder. Our job is just to assign our own meaning to those things rather than co-opt others’ expressions. All of Louisiana is very inspiring. The people, the land, the rednecks, the junkyards, the swamps, Cajun folks. All of it. It’s like a European ghetto with tons of soul, hidden away at the bottom of America. The Deep South is like the haunted subconscious of America. And we try to tap into that.

What was the most challenging part of this project?
Financing it. We’re not rich kids, so paying for it was a challenge. We put this stuff out ourselves. No label. No hype. No bullshit. We’ve inherited nothing but our wits, which is as it should be in creative persons. Anything to the contrary that preferentially succeeds ends up being a well-rehearsed exercise in craft.

Where did you do the recording?
Basic tracking was done in a junkyard that borders on a notorious haunted swamp where people disappear. We tracked it ourselves and had a good time doing it. Mixing was done at Tony Daigle’s studio where in between fielding distasteful questions from him about our sex lives, we mixed the record.

What is the studio space like – is it big?
The junkyard-studio was huge. Probably a football field in length. God could park a fleet of Cadillacs in there.

Why did you go with producer Tony Daigle?
He’s an old friend and he kind of inherited us in 2001. It was a match made in weirdness. We’ve been stuck with each other ever since. He’s the best game in town. I mean, what more could you ask for? 4x Grammy winner—not that that makes any difference but in a small town like Lafayette it does. It means you’ve done something. Rather than nothing. And he’s worked with some greats: Sonny Landreth, Dr. John, Gatemouth Brown, B.B. King. Etc. Although, we’re a rock & roll band, we respect the roots, because those are our roots as well. We’re not pretenders to the throne. We don’t distance ourselves from our roots and pretend we are something we are not.

How have people been reacting to the record so far?
So far there have been no negative reviews or feedback. It’s all been overwhelmingly positive. Which is strange, because you usually get a couple naysayers. In our case, it’s usually nerds who think we’re not wimpy enough or metal heads who think we’re not macho enough. Both are right in a way. We embrace both sides of our souls, which is not usually the case with most bands. Either they portray themselves as “sensitive souls” who wouldn’t hurt a fly (but secretly they are totally Nazis) or cinder block pounding meatheads who never smell the flowers (but are totally worms). Both are lies that serve to segregate emotions and compartmentalize souls into little boxes that serve them no good in the long run.

I believe this is your fourth record on your GolarWash Labs label. Do you have any plans on working with another label at any point? Have any big labels expressed interest in working with you guys?
We get major labels calling everyday. They call my cell phone. They call my mom’s phone. They even call my sister. I tell them all to fuck off, until they can show us that they have true soul. Not the plastic-fantastic speedboat Miami Vice variety. I don’t want to own the world. I don’t want to tell anyone what to do. I just want some land and few cool books to read while the mushroom clouds pop like cotton candy overhead. A label is nothing more than a bank that lends money to bands at a bad interest rate. I’m not totally against big record labels, but they would have to have faith in our creative vision. Bean counters don’t make great art…unless it’s like, origami or something. I can deal with producers. And even bean counters. And labels. But only if they let us do what we do. This music will find an audience. It already has…on its own terms.

Indies Now: Vulture Whale

Birmingham, Al-based band Vulture Whale recently released its sophomore record on the Skybucket label. Fans and critics alike have praised the band's self-produced, straight-forward brand of indie rock. They recently took some time to tell us about being an independent artist today. Thanks, guys.

For more on Vulture Whale please visit: www.myspace.com/vulturewhale

What is the best advice you ever got?
Don't trust people who wear a lot of gold and talk about Jesus  all the time.

Top 5 things you have learned from being in a band?
5. Being in a band is much better than being in a bind
4. Nobody cares near as much as you
3. Rocknroll is NOT just a young man's game
2.    The destination is the journey
1.    Cliches   rarely  work but are   sometimes necessary

What is the most important aspect of being a musician?
I would like to quote the philosopher Alan Watts here :
"When you come to think of it, playing or listening to music is a pure luxury, an addiction, a waste of valuable time and money for nothing more than making elaborate patterns of sound. What would we think of a society which had no place for music, which did not allow for dancing, or for any activity not directly involved with the practical problems of survival? Obviously such a society would be surviving to no purpose."

What is one of the defining moments of your career so far?
We played this place once and  this guy came up to me after the show and said "Nice show, man. I enjoyed you guys."  I tried to sell him a cd and he said he would buy one but he didn't have any money.

What are your thoughts on being an indie band and putting out records today, especially considering today’s changing environment?
See above answer.

What have been the challenges in reaching new fans?
Obsession with how it looks and not how it sounds, a crowded field, laziness, distance, luck, dropped calls, short arms,  obsession with sports and ignorance of art, lack of obsession with Vulture Whale.

Q&A with East Hundred

Philadelphia-based band East Hundred recently released it debut record and took time out of its busy schedule to tell us about making it. Thanks, guys.. The Band: Beril, Brooke Blair, Will Blair, Susan Gager, Dave Sunderland

Do you have a particular musical philosophy?
Beril: Songwriting/singing wise, just to be honest, sincere and not afraid of vulnerability.

Is there a thread to the work you do?
Brooke: I’m not sure we have one specific approach or philosophy about making music. We try not to repeat ourselves from song to song. We do have certain favorite guitar tones and keyboard sounds  that do appear in various tunes, so that might be a bit of a common thread that runs through the songs in a very subtle way.
Beril: Stylistically speaking we’re still striving after the ideal sonic sound, I think. Lyrically it goes both ways. I’ve heard something in my head and we’ve started that way before  (‘slow burning crimes’), but not often. Usually the music comes first I think.

Growing up, did you want to be a musician?
Beril: Yes, always.
Will: I think all of us did. Its all we’ve really ever done, and it’s the only thing we’re decent at.

Did you come from a musical family?
Brooke: I’ve always been fascinated with music since I was a little kid.  My dad had some guitars laying around the house, and he taught me a few chords here and there, so it was  encouraged.  Will and I both took piano lessons and played in the elementary school band, but we both always wanted to get our hands on drums, guitars, and keyboards.  They seemed a lot more fun than the trombone.

How do you define good work?
Susan: I think there's really no formula to good work. I know with us there are songs that take no time to write at all, then there are songs that we'll spend weeks on, and they'll both turn out to be great songs.

What might larger, more established artists learn from your approach?
Beril: Hah, to appreciate where they are, which I’m sure most do. I don’t want to sound jaded, but I think there’s an element of dumb luck involved in this industry. You can’t help but envy those who have the luxury to just focus on making music and improving their craft instead of suffocating in the business aspect of it all. But we’re working hard and feeling good about what we do…and most importantly just trying to have fun with.

You guys are from Philadelphia. Do you have a favorite local place to play shows?
Dave: Our favorite place to play in Philly has got to be Johnny Brendas.  Its a good size space (cap. 300) but it still has a real intimate feel to it.  The staff is really cool, and it also has really good food.  We find ourselves there a lot even if we're not playing.

The album is called "passenger". Why?
Will: We debated and argued and discussed a lot about this topic. We finally all agreed on Passenger. I think within the year we recorded it, there was a general sense of “being along for a ride.” Again, we are in complete creative control, and make our own decisions, but as individuals, part of something larger than ourselves…there is an equally exciting and anxious feeling of not being in the driver seat.  So much of what we do is still out of our own hands. Again, we accomplished so many goals this past year, but at the same time,  the final product is very dependant on each others’ actions and reactions, and in making this record there was a feeling of “anything can happen”.  This is bigger than our individual selves, and we have to go with the flow, as any passenger would.

One of my favorite songs is "Sigh and Wave". Do you have a favorite song on the record? Why?
Beril: For me I have parts of songs that are my favorite rather than just one song. It’s the moments where the music, the lyrics, and the vocal melody are perfectly synergetic to express the exact emotion you want to convey.   

Will: I think we all have different favorites, some favorites on the record, might not be our favorite to play live, and vice versa. As a whole, we are all equally proud of each song.

Were you inspired by anything specific while you were making this record?
Beril: Brooke and I broke up during the beginning of writing the record after a 4 year relationship. That definitely inspired the need to put that sadness and frustration somewhere. This record is very dear to me personally because of that.

What was the most challenging part of this project?
Beril: Not crying while working with Brooke, trying to avoid lyrical clichés, and singing for 12 hours straight during the vocal recording sessions.

Why did you go with producer Brian McTear?
Originally we had just heard great things about Brian around town, but had never met him. We arranged a meeting with him not even really knowing what our full plan for the album was, and Brian sat and talked to us for about 2 hours on his own time. He answered all our questions and seemed to have so much enthusiasm about the project. We all knew immediately that it was the right step for us.  (Susan Gager)

What is the studio space like - is it big?
Brooke: Brian’s got a great studio.  It’s a really comfortable space. The cutting room is really big and it has windows!  Natural light is such a great thing when recording.  It’s a pretty rare thing is studios.

What has been the reaction to the record so far? Was the label supportive while you were experimenting?
Will: It seems the reaction to the record has been very positive, which we are thrilled about. But to clarify, we are UNSIGNED! We tend to run the band with the mentality of a small label.  In addition to playing of course, we all have different “business” roles to make sure we get things done. It is a very tough balance to write and create and perform, but still invest a lot of time into promotion, booking, fundraising, networking, and general day to day business that a label is normally responsible far. Its tough, but I guess at the end of the day we make all of the final decisions.  So in a sense, we are our own label. So our vision was pretty much fully realized with this record, and yes, we were supportive of out own experimentation!

Q&A with Bosque Brown

Texas-based band Bosque Brown is getting set to release their sophomore record on March 3. Entitled "Baby", the record marks a strong step forward. Although it took a while to complete the recording, the band worked with producer Chris Flemmons to get just the right sounds. Mara Lee Miller is the band's principal songwriter and she recently spent some telling us about the new project. Thanks, Mara.

Congrats on your new record. Your music has been described as “haunting and touching”. How do you describe your style and approach to making music?
i just write when i am ready. i don't live and breathe it. i do always write about actual things that happen to me or family or friends. i don't really write stories or try to get a "point" across.  i definitely feel like i focus much more on vocals than playing guitar. i am not a guitar player. the people i play with are my family. we all just try to honor the song and make it as close to our own as possible. we are as personal as we can be

Your live show has caught people’s attention. What do you think it is about your live show that stands out?
to me our live show is a struggle...we always are hard on ourselves after we play...we don't have the luxury of being in the same town so it is incredibly difficult just to practice...not to mention the fact that almost all of us have never played in any other bands...so i have no idea what "stands out"..it's scary as hell to play..and it's not my favorite thing..

Do you have a particular musical philosophy?
i don't like to ever single a listener out..the most common threads that hold people together are prevalent in my music..i don't really write about idealistic topics..it is more about common experiences we all share

Is there a thread to the work you do?
everything i write about is situational and circumstantial

You guys are from Texas. Do you have a favorite local place to play shows?
dan's silverleaf in denton is hands down the best place to play shows anywhere period.

The album is called “Baby”. Why?
i use the word in a lot of songs so i just thought it was appropriate...i mean there is some literal significance in my personal life as well since my one and only sister gina who plays the piano and does backing vocals had her first child...and this is our first project together as a band...

Do you have a favorite song on the record? Why?
i was really pleased with "oh river"..the first version we did was so strikingly different than the final..i enjoyed seeing the change and i was pleased with the production chris did on that song

Were you inspired by anything specific while you were making this record?
not specific...the first record was more about my youth..this record is more about having to be an adult

What was the most challenging part of this project?
just taking a long time to get it done...a lot of waiting..i am not a patient person and it was all just very time consuming.

Where did you do the recording?
we recorded in chris flemmons' (of the baptist generals) house in denton tx. it was a living room with two friendly dogs

Why did you go with producer Chris Flemmons?
i have a lot of respect for chris and his music...we also have a lot in common..i knew he would put his heart into it and he did...it was important to me to work with someone who knew where i came from..liked what we do and wanted to push us to really work on the record and he did all those things.

Was the label supportive while you were experimenting?
yeah. there were times when they got frustrated with the time it was taking us but we all just wanted to get a good record out when it was all said and done

Buy this album:
From Insound
http://www.insound.com/search/results4.jsp?from=23890&query=bosque+brown

Q&A with Marykate O'Neil

Marykate O'Neil is a NY-based singer-songwriter who has just released her fourth solo record. Her brand of "literate pop songs" has caught on with fans and critics alike. We recently caught up with Marykate and she told us a little bit about herself and the making of "underground". For more on Marykate you can visit www.marykateoneil.com.
Thanks, Marykate!

How do you describe your style and approach to making music?
I always just start with the song. Depending on if I am writing by myself or writing with someone else the process can change. I usually write a little, record a little, write a little more, rinse, and repeat. I have never made an album all at once.

Growing up did you want to be a musician?
When I was in kindergarten or the first grade I wanted to be in the Monkees. I have no idea how I got this in my head b/c they were long gone before I was even born. But every year for Christmas I would ask for a guitar and I would get a fake plastic one. Then in about the fourth grade I got an acoustic one. I have been writing songs ever since I think.

Did you come from a musical family?
Kind of….but not in the traditional sense.  Nobody really played instruments. I have a lot of memories of family sitting around singing.  It seemed to happen at about every occasion for any reason. It may be an Irish family kind of thing. But it was really fun – even if I was the only sober one. I still tend to burst into song at parties I have, the difference is now I hand out all kinds of instruments to my friends, most of who all play something. I think it was also good in that I learned to appreciate all kinds of music.

How do you define good work?
I think good work is something that you want to hear over and over again. Something that doesn’t grow tired. I also think that something should be enjoyed at many levels – so that upon the 508th listen you’re like…hey I never noticed that cool little bit.

Are you still living in Boston?
No, right now I live in NYC. But I love Boston. It is really a special place.  I recently just played a show at the Lizard Lounge and I have one coming up at TT’s. I love the community feeling that exists among the musicians there. Every time I play there I try to book the whole night so that I get to play with all my friends.

Do you have a favorite local place to play?
I like to play at the Lizard these days. I used to love to play at Green Street. I have a song on my record about that place. I used to love going there on Monday nights when they would have half price dinners and live music.

The album is called “underground” – why?
A couple of reasons first is the most obvious I guess --it is a title to a song on the record. Also I think it is because I have an obsession with underground movements in pop culture – beatniks, yoko ono, bohemians. Also, this is the fourth record I have released on my own where I have done all the recording myself and all the artwork myself with the help of a group of friends. It feels nice to have this little community of talented people who I get to work with.

Were you inspired by anything specific while you were making this record?
I think that the time I was making the record I was obsessed with this Todd Rungren record called  “The Ballad of Todd Rungren”. I am sure that somehow crept its way into these songs.

What was the most challenging part of this project?
The most challenging part for me is always the same --- money. Making records is expensive. All the people who helped me make this record did so in the spirit of friendship.   THANK YOU!

Where did you do the recording?
I started the record at Roger Moutenot’s studio in Nashville where we did most of the basic track with Roger, Ken and Jill.  Then, I did more recording at home in Brooklyn with the help of my friend Jacob Lawson running protocols, engineering and co-producing.  Then, I went to my friend Dave Shuman’s house in Connecticut where Ken and I did more recording. Dave’s ‘home studio’ is really better than most ‘real studio’s’. He has all kinds of vintage microphones and a Neve board. Then, I went to Stratosphere Sound in NYC where Ken and Jill and I added more overdubs.  I brought the whole thing back to Nashville where Brad Jones mixed it and added in a few more overdubs. Then I mastered it at Sterling Sound with Ted Jensen.

Did the label have a vision of what they wanted this record to be?
It is a joint release with my own little collective/label and through Nettwerk Records. They have been really great and supportive of my past couple of records.

Q&A with The Bodies Obtained

The Detroit-based band, The Bodies Obtained, recently released their debut record. The band expresses themselves via electronic-based music that seems to span genres and generations. They have also received some praise from RCDR LBL. I recently caught up with one of the anonymous co-founders to get a little insight into the band and project. For more on the band, please visit: www.myspace.com/thebodiesobtained

Your music has been described as 'electro gloom'. How do you describe your style and approach to making music?
I’m fine with any description, usually indicates somebody gave it a listen, which is all we’re hoping for. Our approach is, I’m sure, similar to other artists, could start with rhythmic idea, lyric fragment, chord change. In general, we wobble forward, until a path seems to be presented.

Do you have a particular musical philosophy?
That there must be something important in sound, something beyond what we understand or imagine.

Growing up, did you want to be a musician?
Didn’t want to grow up, some would say we never did.

What might larger, more established artists learn from your approach?
Not sure, sometimes for musicians it’s the reaction “against” that motivates.

You guys are from Detroit. Do you have a favorite local place to play shows?
We haven’t played a show as The Bodies Obtained. Would like to pursue concerts like The Knife have, release a few albums and then if a live show could be seen as an “event”, we would put together a show.

The album is called "From the Top of My Tree". Why?
I liked the image, “in a tree” for what, an advantage, for protection, for enjoyment? Also a lyric in, “If You’re In Love With Me”.
 
What was the overall tone you were going for on this record?
Couldn’t see us using any tone but dark, smudged, “paint in black” like tones.

How have people been reacting to the record so far?
Our hope is that one out of every ten Throbbing Gristle fans will relate.

Top 3 bands or records that inspired you to start a band?
Roxy Music (a song with color), Suicide (a song with pain), East River Pipe (a song for those who see a little more in the world).

Final Quote:
“coo coo c'choo c'coo coo c'choo”

Q&A with The Midway State

The Midway State recently released their debut record - an album full of driving beats, personal stories and engaging melodies. I recommend the track "Fireflies".. Nathan Ferraro recently took some time to tell us about the band and the project. For more on The Midway State please visit: http://www.themidwaystate.com
Thanks, Nathan.

Do you have a particular musical philosophy?
We don’t have a specific musical philosophy. We make music that we think is great at the time and we are constantly, constantly, always trying to get better and make it better. We’re never satisfied for long.

Growing up, did you want to be a musician?
I honestly learned a lot about astronomy when I was young and I wanted to be involved in that, when I turned 14 and learned to play guitar though, then I wanted to be a musician. Since 14 I’ve always wanted only to write and play music.

Did you come from a musical family?
Yes, my mom taught me to sing and play guitar a bit when I was younger, my dad, though he’d never admit it, loves poetry and words. There was always the music of Neil Young, Cat Stevens, Carol King, etc as I grew up and those are my main influences I think.

How do you define good work?
In terms of music I have to listen to it. Then inside I’ll define whether or not I think it’s any good. I don’t always give my opinion though, with art, that’s a slippery slope.

You guys are from Toronto. Do you have a favorite local place to play shows?
I grew up seeing shows at the Kool Haus, so naturally, I LOVE playing there. It’s always surreal.

The album is called “Holes”. Why?
We called the album Holes because that theme came up in so many of the songs, it was organic the way it came to be and we all felt that it fit. I can’t imagine the record being called anything else.

What was the overall tone you were going for on this record?
This was our first LP and so we didn’t have a particular tone in mind when making it. We’re a pretty melancholy and blue band, and I think that colour comes through a lot in holes, but mostly, we just try to have each song get what it wants.

Were you inspired by anything specific while you were making this record?
We recorded this record over about a 6 month period, in that time we traveled to Europe and through all of North America playing shows and what not, we met so many people and were in so many incredible places that whenever we’d get home to the studio in Toronto, mainly the down time and calmness would inspire us. Honest.

Why did you decide to do your recording in Toronto?
So we could concentrate. I’ve always been the most creative when I’m home, alone, sad, quiet. Being in another city is mostly distracting for me and all of us, we knew that we needed to be inspired and calm.

Why the decision to go with producer Gavin Brown?
We decided to work with Gavin because with him our band wouldn’t be what it is. He is our 5th member and he gets what we are trying to do.

Did the label have a vision of what they wanted this record to be?
Nope, well maybe, but we never really asked and they never told us…

What was the most challenging part of this project?
The most challenging part of making the record is finally letting go. Its saying “its done.” If it were up to me I’m not sure it’d ever really have been finished.

What is one of the defining moments of your career so far?
When I was 17 and I came in from school and before dinner I wrote Unaware. That was when I started to learn about song writing.

Who has influenced your playing style most?
I love Bruce Hornsby as a piano player.

What do you think of the new records you have heard so far this year?
MGMT is one of my new favorite bands. Their record is incredible.

Have you noticed any trends in the work?
Yes, I hear less and less guitars in music these days. But, I’m sure they’ll be back soon!

Q&A with Facing New York

San Francisco-based band Facing New York recently released a fantastic new record called "Get Hot" on the Five One Inc Label. Originally a five piece, the band has scled down to three members. The band's singer, guitarist and songwriter, Eric Frederic, recently told us about the latest project. For more on the band please go to: www.facingnewyork.com.  Thanks, Eric!

Your music has been described as being influenced by prog rock and post-hardcore. How do you describe your band’s style and approach to making music?

I think we dropped a lot of prog rock pretensions on this album.  We like records that have a big bottom end and that groove hard.  From Led Zeppelin to Fela Kuti.  We consider ourselves a left of center rock band with a mean rhythm section.

 

Growing up, did you want to be a musician?

I took piano lessons from a young age but didn't like it.  I listened pretty exclusively to rap and my mom's R&B records until I discovered punk in junior high.  I wanted to be a musician so I could write songs for my junior high girlfriend.

 

Did you come from a musical family?

My mother is a bit of a musician, but her side of the family is very musical.  My uncle Chris is quite the pianist, my grandfather is a jazz drummer, and great grandmother was supposedly a killer organist.  She could turn out ragtime like nobody's business, all stompin the bass pedals and everything.  Don't think the church liked it very much. 

 

How do you define good work?

If it comes to music, it's defined by the artist, the player.  If someone is dedicated to honing their craft, its good work.  If you're talking about life's work, it really is about doing exactly what you want to do and doing it well.  I think its very simple.

 

What might larger, more established bands learn from your approach?

To loosen their shoe laces a bit and fuck around more.  Don't get me wrong, there are plenty of big bands who take us to school.  And of course the old legends like Sly Stone, Television, Can who told us all how to do our shit.  But a lot of bands now have this weird fixation that people will dislike their record unless its the cleanest, tightest, edited (BORING) thing they can make.  It's good to let your hair down in the rehearsal space or studio and have fun.  Don't be afraid to laugh or cry on record.

 

You guys are from San Francisco. Do you have a favorite local place to play shows?


Bottom of the Hill, in Potrero Hill, SF.  That's our home base.

Is there a thread to the work you do?

Yeah, haha.  We call everything that we do "haphazard and apeshit."  Always last minute, late, almost missing the mark, so we go overboard with enthusiasm and recklessness to compensate.

 

The album is called “Get Hot”. Why?

It's a phrase we picked up in this ill Time Life book on culture of the 20s-30s.  Getting hot is about stepping up and handling shit.  I was going through some tough times in the last few years, I had to just man up and handle it.  Our generation does a lot of lip flappin and not a lot of following through.  The record is about puttin your money where your big mouth is.  It's about work.

 

What was the overall tone you were going for on this record?

Human.  Trying to be really honest about how we are as people.  So it wasn't very appropriate to have an intense dark record or something.  We're all mellow, silly dudes.  So we wanted it not to be so straight faced.  Of course there are moments of intensity like we all have.  But it was time to drop the metal tough guy thing and just represent ourselves sincerely.

 

Were you inspired by anything specific while you were making this record?

So many things, its hard to pinpoint them.  A lot of Fela Kuti, Steve Reich, Talk Talk, the latest Spoon record.

 

Where did you guys record the album? Why?

PopSmear Studios in Marin County. It's a studio I've worked at before, and I'm very familiar with the system.  It's also close to home so we can wake up in our own beds and then hit the studio.  Except for when I spent weeks straight sleeping on the studio floor.   Ha!

You produced the record. What are the pros/cons of having a band member produce the record?

No firm outside opinions is a big con.  That's also a big pro.  Nobody was griping about song arrangements or anything.  Then again I had to focus so much on engineering aspects, instrument tones, mixing, etc that it can take away from the creative process at points.  But, this one went well because Omar, Brandon, and myself were all so involved.

 

How have people been reacting to it so far?

This way and that.

Was the label supportive while you were experimenting?

Very supportive of the experimentation process.  It took us a whole 3 years to write the record and our label was very patient with us.

 

Top 5 things you have learned from being in a band?


1)  Don't do hard drugs.

2)  Don't throw your life away trying to be a musician if you're not 100%.

3)  Touring can ruin lives.  Do it smart.

4)  It's all about songs.  Nothing else.

5)  How to get a good drum sound on record.

 

What is one of the defining moments of your career so far?

Making "Get Hot," and touring Europe and Japan.

 

What do you think of the new records you have heard so far this year?

Heard a couple good ones. Fucked Up.  Lykke Li.  Passion Pit.

 

Have you noticed any trends in the work?

Taking it back to the songs!  At least that's what the good ones are doing.  It's not about having some dumb name and dumb haircut.  Those bands will be the Motley Crues and Flock of Seagulls or whoever of the 2000s.  And sure in 20 years, people will think its ironic to dress / play music like those bands.  But the ones with staying power have always made records focused on songs and graceful production.  From Kraut Rock, Prog, to R&B records or whatever.  We're trying to pull that off, still.

 

Any CDs you're listening to now that you would bring attention to?


The aforementioned.  Plus gotta give shout outs to the Anticon Label, with great groups like Why? and Themselves.  Currently listening to This Heat - Deceit.  Grab it if you haven't.

 

Final Quote:

Get hot.

 

Q&A with Unknown Component

Keith Lynch releases music and performs under the name Unknown Component. He recently released a CD of new material called "In Direct Communication". Recently Keith took a few minutes to tell us about the latest project. For free songs and more from Unknown Component please visit www.unknowncomponent.com . Thanks, Keith.

Your music has been described as lively folk rock. How do you describe your style and approach to making music?
I'm not sure how you would describe it exactly, I tend to write frequently and can sort of feel when it's time to sit down and write something. I try to incorporate different styles.

You are from Iowa. Do you have a favorite local place to play shows?

I like to play a few places in the area, The Picador and The Mill are usually good places to play.

The album is called “In Direct Communication”. Why?

I like titles that can be interpreted in different ways. I think it's interesting how the same words can be interpreted as communicating directly or communicating indirectly. It allows the reader or listener to create their own meanings.

 

What was the overall tone you were going for on this record?

I guess this record is a bit more positive than my previous albums. But there is still a bit of melancholy on this one as well. I don't know if there is an overall tone to it.

 

Were you inspired by anything specific while you were making this record?

Not that I can remember, I'm sure there were experiences here and there, but they usually tend to get lost somewhere in the song.

 

How have people been reacting to it so far?

The critics seem to like it. The live audiences have also been responding positively.

 

What was the most challenging part of this project?

The most challenging part of releasing an album is organizing all the promotion and publicity that goes along with an independent release.

 

What is one of the defining moments of your career so far?

Probably being chosen for 'The 4th Life' film soundtrack directed by Francois Miron who designed the cover for the

Arcade

Fire album 'Neon Bible'.

 

Any CDs you're listening to now that you would bring attention to?

I just picked up an album called "Invisible Baby" by Marco Benevento.

It's got a nice futuristic jazz sound.

Q&A with Oh Captain My Captain

Portland, Oregon-based Oh Captain My Captain recently released their first record on Bladen County Records. "Recklessly She Split the Sea" is a great record by an emerging band with a lot of promise. Jesse and Josh recently took some time to tell us about the band and their creative process. Thanks, guys!

For more on OCMC:
"On My Mind" MP3: http://www.ocmcpdx.com/uploads/1/0/9/2/1092799/04_on_my_mind.mp3 
OCMC on Myspace:  http://www.myspace.com/ohcaptain

What is your name and your role in the band?
JB: My name is Jesse Bettis, I write, sing and play guitar and keys for Oh Captain My Captain.
JS: I’m Josh Spacek I play guitar, write and sing for OCMC.

Do you have a particular musical philosophy?
JB: I watch a lot of cop shows. I feel like my musical philosophy is very similar to that of a cop. Hard lines.
JS: Let the song evolve.

Growing up, did you want to be a musician?
JB: I was about 14 when I played my first guitar, and that’s pretty much all I've wanted to do for the last ten years.
JS: I wanted to play drums really bad, but I was broke so I bought a guitar. I’m still broke.

How do you define good work?
JB: When you can't quite put your finger on what it is that’s good about it.

JS: How do you pin a wave upon the shore?

What might larger, more established bands learn from your approach?
JS: We bowl a lot. Our approach is pretty strong, but we still need to hone in on our follow through.
JB: I think the amount of bowling alley hotdogs you eat is directly related to the grace of your approach. Getting drunk helps.

You guys are from Portland. Do you have a favorite local place to play shows?
JB: Rontoms. House shows.

The album is called "Recklessly She Split The Sea". Why?
JB: It's a lyric from "This Ships Gonna Sink" it seemed to sum up the feeling of the record pretty well.

What was the overall tone you were going for on this record?
JS: Jesse and I smoked a shit ton of cigarettes, worked for 17 hours a day for 5 days in a row working on ideas for the album and lost our minds. That really set the tone.

Were you inspired by anything specific while you were making this record?
JS: When we initially recorded the demo version of the record, we were working in this huge orchestra room with a shit ton of cool instruments. There was a baby grand, tympani’s, bells, a couple of vibraphones, a Rhodes. I could go on. We experimented a lot which resulted in the sounds you hear on the record now. It was quite inspiring.
JB: Also, I was listening to a lot of Sabbath and the Fucking Champs, as well as Of Montreal and the Beatles. So, if some of the songs meet somewhere between stoner metal and Brit pop, that's why.

Why did you decide to do your recording at Miracle Lake Studios?
JB: Skyler Norwood had become a good friend of ours and we really dug the records that were coming out of his studio. It just made the most sense.
JS: Skyler totally rules. He has lots of experience and is probably the nicest person I know.

What was the most challenging part of this project?
JB: We recorded this album once almost two years ago and after it became a nightmare in the mixing room we decided to scrap it and rerecord it. It was aggravating. I'm glad we did though, Skyler did a great job and I think the record is a more honest representation of what Oh Captain is all about.

Was the label supportive while you were experimenting?
JB: Definitely. Having the co-owner of your label playing drums for you has it's advantages.

Any CDs you're listening to now that you would bring attention to?
JB: Recently I've been listening to a lot of Dr. Dog. They're Fucking great.
JS: Agreed. I’ve been way into Ricky Nelson lately. He’s amazing. Find an old greatest hits and sit down and listen. “Poor Little Fool” will destroy you, and if it doesn’t try “Lonesome Town” Also listen to Sam Cooke. It’s good for you.