Neil Hamburger

What can I say about Neil Hamburger that hasn't been said about Mother Teresa? If you do not know who Neil Hamburger is, then I feel sorry for you, even though, you know, I wouldn't really be surprised if you don't. But it's not his loss, it's yours. You see, Neil Hamburger is perhaps the best comedian in the business these days, and though he's had to fight adversity and had to sow a lonely row for well over a decade, it hasn't stopped him from giving his all and becoming the best Neil Hamburger that the world has ever known. I love this man's work, I really, really do. I'm seriously flattered that Mr. Hamburger would sink deeper in debt by calling me Long Distance to talk to me, but that's just the sort of man Mr. Hamburger is. I am extremely proud of the following conversation. I now know what Barbra Walters feels like after she's interviewed someone. Except Mr. Hamburger is not one of those Hollywood deviants or perverts like Mrs. Walters likes to interview. He is a good man.

God bless you, Neil Hamburger. God Bless You!


Hello?

Hello, is Joseph there?

Yes. Neil Hamburger, I presume?

That is correct!

And how are you this fine afternoon?

Well, you know, I've done better, but we're hoping the rest of the day gets better, you know what I'm saying?

Hey, the way I see it, if you wake up in the morning, you're doing all right.

You're certainly right about that! A lot of folks haven't been waking up lately, and the obituaries are filled with that information, and that's the kind of publicity you really don't want in this business.

I am happy and more than a little bit honored to be speaking to you this afternoon.

(Flattered) Thank you, sir!

Thank you for speaking with me.

I have a lot of time for this sort of thing, believe me.

Interestingly enough, I just discovered today, as a matter of fact, that you are undertaking a new adventure that will lead you to be on my side of the interview session, on a television show on this thing they call the Internet.

Yeah, we are dipping our feet in that to try to get something going. You can't just sit still in this day and age, or, you know, they throw you in the pile of "used-to be's" and washed-up acts. You know what I mean? You gotta move forward. You gotta come up with something new. So we've got a new Internet television show, "Poolside Chats with Neil Hamburger." We're hoping it sets the Internet world on fire.

I think you did quite well, in the face of such glaring unprofessionalism, on the episode I saw.

Well, I hate to say it, but I probably added a little to the unprofessionalism by drinking myself on camera. But, well, you know, we're doing another episode tonight, as a matter of fact, and hopefully we can get things going with this episode.

Who's your guest?

A young group from Seattle called Pleaseeasaur.

Are they a combo of nice young men, or are they secretly a bunch of deviants?

There's only a couple of them, and I think they've got their lives together. So it should be quite entertaining, as I've wanted to get them on the show ever since the show started…last week, that is…so we're able to get that going. Then I'm off to do some shows overseas, so this will be the last broadcast for a while.

Hopefully things will go well. There was a long weekend for people to rest, recover, relax, and get ready for the show, and hopefully they'll be on their toes.

I hope so. You know, you just don't want to have any more failures when you've got a long list of past failures, you know?

It's not easy being the World's Funnyman, is it?

No, it isn't. With these sorts of titles, you think, "wow, he's the World's Funnyman, what a life that must be!" The sad fact is, it's just a title that we claimed; it's like unclaimed mail. Nobody bestowed this on me, I just clamed it because it was unused. Unwanted. So, in fact, there's no payment. You don't get a check every month for being the World's Funnyman. Instead, you get bills. SO that's a tough thing. But, you know, we'll probably discard that title eventually. It was mainly a gimmick to sell these DVD's and to keep the record label from going into bankruptcy.

Yeah, but the same time, even though there's that thing about claiming it as your own, in my humble opinion, there seems to be a little truth to that claim, and that's what I was surprised to see. You were really winning over audiences in Canada and Australia, even though you had some problems with malcontents and drunken teenagers. Considering the acclaim from your show, your television show and appearances on Jimmy Kimmel, I think the title might actually be well-earned.

Well, I tell you what, we certainly like to hear that. We've taken this act on the road internationally in the hopes of possibly building up a small fan base. To a certain extent, it's worked. This is not quite on the level of a Carrot Top, where the man has a mansion on a hill. This is not on the level of a Dane Cook, or on the level of one of those guys who comes out on stage and urinates in a cup and the audience goes wild. I still have to rely on jokes and on putting on a great show, and hopefully, at some point, I would get out of this miniscule existence that I'm living, and I'll actually have a home, and have a car that works properly, so I wouldn't have so many show cancellations due to breakdowns. Maybe I'll get married again, have some companionship or some sort of friendships, like normal people have. Seek some medical attention for some problems I have—that is the sort of lifestyle I'd love to reach, and hopefully these shows overseas are one step down that road.

How did you come to the decision that you wanted to spend your life making people laugh?

Well, I had no choice, you know, because I have no other skill. Some would say this isn't a skill, that I don't have this skill, either. I would say maybe so, but you ought to see my brain surgery. You ought to see how well I do as a train conductor. You should see how terrible I do behind the counter of a rental car agency. Then you'll see how this is my only calling in life.

I personally think you do quite well.

Well, thank you, sir, because that is the kind of comment that really—when you're standing at the edge of a cliff, saying, "Do I jump? Do I jump?" and when you think back, comments like that stick out in your brain and you turn around, go back, and do the show to six people.

When I received your DVD, I'll be honest and say I was surprised to see you were still working, because I'd assumed you'd slipped into the din of obscurity, and I apologize. But I noticed something. Your early records were more observational humor, but your material now is pretty much straightforward jokes. What prompted this change in style?

Well, you know, in this business, you have to be fresh. On the early records, I would tour year round, and nobody at all cared. You had people coming to shows, only a few, and it was a very different time for me, and it was a very different sort of act. Eventually, what happened was some of these Rock and Roll musicians started putting me on their concert bills, and suddenly, you're performing for large crowds. All of a sudden there are people coming, and we've built what they call a "cult following," by "cult" I don't mean there's a mass suicide or any funny business like that. I mean there are people who come to my shows, they buy the merchandise, and are very excitable. So when we hit that level of success—and we're not really a success, by any standard definition of the term, but to go from playing pizza parlors for six people with that style to finding out that I could perform in Rock and Roll Clubs to a hundred people, then you've got to change the act for what people want. What those kinds of people want is filth humor and the humor that has to do with the current musicians of the day, and that type of thing. So, naturally, it evolved, like any comedian who's had a career as long as mine would, you'd find a certain level of evolution. If you don't evolve, you're like Carrot Top, and it means you're successful, and you have no reason to change. In my case, we're doing everything we can to avoid financial ruin.

So is that why you went blue?

That is why we went blue. At first, I was really uncomfortable with it; I didn't have those tools in my suitcase, as you may have heard on my first of many X-Rated albums, Raw Hamburger. I was still learning the vocabulary of the filth comedian. But now, I've spent a lot of time in the sewer, and I'm ready for anything.

I always wondered about that. I'm reminded of Richard Pryor's transformation from wholesome, Cosby-style comedy to the filth toilet humor that he's most known for, and how, ironically, that change made him famous.

Yes, because among the bowel movements and spilled bodily fluids and those sorts of things, you do have room to put out the Truth, as Mr. Pryor was able to do. Look past the filth, and you'll find a deeper meaning, and for Mr. Pryor, I believe his track record backs it up. He was able to do just that, though I did not care for See No Evil, Hear No Evil.

That was a poor business decision on his part.

It wasn't so good. I have to admit, though, if I got a call today saying, "Look, Mr. Pryor has passed on, See No Evil, Hear No Evil 2 is being made, and we'd like you to be in it," I'd probably say yes at this point, because we're trying to get any sort of income to match the title "World's Funnyman," and, of course, the fans and the journalists, who thankfully pay attention at this point.

You talk about bringing the truth to a matter of subjects. You're very brave, taking on the Hollywood elite and the powerful actors and actresses found there. Have you had any feedback from any of these people, legally or threatening towards you? I'd imagine some of these people would get rather angry with some of the things you have to say about them.

Well, they do, but I think most of these people are sitting in their mansions, in their hot tubs, and they're fuming as their servants bring them their champagne and caviar, and they're cursing, saying, "That damn Neil Hamburger, how can he say that?" as they have their seven-course dinner and get in their limousine to go to their private plane, and usually by the time the plane takes off for Monte Carlo, usually they've forgotten all about me and are thinking about the better things they have in their lives.

Plus, that's where their deviated lifestyles and illicit drug use come to your benefit.

Exactly! These people are so screwed up that they can't touch their nose with their own hand. SO, they're going to get a lawsuit going? Of course, you don't want to bring suit against somebody for something that might turn out to be true. If you bring a libel suit and then it's proven in court that you are, indeed, a degenerate, then it only makes it worse for you.

Another thing I enjoyed on your DVD is your music video, as well as the clip of you performing another song. Others may disagree with me, but I happen to think those songs are really keen. Have you ever thought about releasing albums of just comedy songs?

You know, I have thought about that quite a bit, and we've had some groups, some musical groups, asking about it, but I just haven't gotten it together yet. In the future, I'd like to get something going, but even with the lack of popularity of those songs, maybe the next one would be the one that really took off. Weird Al Yankovic has been ill lately, so maybe we could pick up and carry on in his fallen shoes.

I see you as being the next Allan Sherman, perhaps.

Why not? Those men had some sort of success, and I'd like to be the next one of those.

And you deserve it.

Why, thank you! This is exhausting work. I can't tell you all of the physical and mental ailments and emotional pain I have been through to make people laugh. It's too bad one has to make a sacrifice for the good of the many, but that's the way it is.

I think the world's catching on. Don't you?

Well, we can only hope. I tell you, when I've got enough money to get my things away from the storage locker, who seized them for non-payment, then I'll know I'm on the right track.

Whatever happened to Art Huckman, or is that a sore subject?

Well, it's a sore subject, but I can tell you he's not managing acts any more. He's got this business, ironically, working with storage lockers. He also purchases off the estates from deceased celebrities, but not the good, quality stuff. For instance, when Henry Fonda dies, everyone is going to want to get a hold of his Oscars and other mementos from his career.

I thought he was already dead?

Well, I mean, when he died. I'm saying that when celebrities die, people want to get the mementos from a great career in show business. These things get auctioned off and are priceless; some of them end up in the Smithsonian or that sort of thing. What Art realized, and correctly so, is that the Average Henry Fonda fan could not afford to buy one of his fine-tailored suits or one of his many awards, or other nice mementos from a great career in show business. On the other hand, what they could afford, which up until the point where Art stepped in, was being thrown away, and was the crappier things from around the house, such as the food that was in the fridge when he died. So you've got Art selling off a thing of Yoplait yogurt that was in Henry Fonda's fridge at the time of his death. These aren't big amounts of money you are fetching, but you can get the contents from a fridge of a dead celebrity for very, very cheap. Art's getting this stuff for practically nothing, selling it off egg by egg, as was the case of Jack Warden. Remember him? Beloved actor, and when he died, he left a dozen and half eggs, and Art was selling them off for ten dollars an egg. We're also talking about things like the content of a sock drawer. Who wouldn't like to own the sock of a beloved deceased celebrity? Normally, these things don't come on the market, but that's what Art does—he buys and sells this sort of stuff, and I believe he is making a good living at it.

It sounds like a mixture of something that's utterly disturbing, creepy, yet impressively genius to come up with.

Very much so, very much so. That's Art.

You make the world laugh, but what makes Neil Hamburger laugh?

Well, I would laugh at my competitors if they fell into large holes of their own. Finding out that Carrot Top lost his booking at the Luxor Hotel. Here's a guy who got signed to the Luxor Hotel for a year. He's practically a slave there. If I found out he got fired, that would make me laugh, because they're making so much money. The money that goes to Carrot Top's food budget just for one night is probably what I make for a whole year.

So what's next for you? I know you've got the tour, the DVD, and the TV Series. What else have you got planned for the excitable Neil Hamburger Fan?

Isn't that enough? Geez. We've got the DVD, which is supposedly out now, and of course the TV series, which may or may not last forever, and then we've got an appearance in this new Tenacious D movie. While it may only be a five or ten second spot, hey, you know, I'll take it! I'll take it!

You don't want to turn anything down. Could be your big break!

Yeah, movies last forever, on planes and things. It's exposure, plus it's a very funny movie. I'm very excited to be a part of it, and I'd wish they'd hurry up and release it!

What's it called?

Tenacious D in The Pick of Destiny. It stars Meat Loaf, Jack Black, and all kinds of celebrities, so it's an honor just to be asked to participate. I only hope it leads to further movies, because, you know, that's where the money is. You don't make money playing pizza parlors in Paso Robles.

I've been to Paso Robles. It's a rough town.

It's not a nice place. I hesitate to say that, because I've been doing Monday night pizza parlor shows there for many, many years.

So it's an oasis from the evils from the outside world.

Well, it's all I have. But wow, I'm telling you, like you've noticed, things are picking up. We've got these bands that are bringing me on the road to the music clubs. The big payment is coming min, but at least I'm getting a few more laughs, and it feels great!

I'm sure that looking out and seeing someone laughing at your jokes, even if it might not pay the bills, brings a warm sense of satisfaction to you.

It does, because it's what I'm here for.

I have one last question, and this is a joke I came up with, and I can't quite come up with a satisfactory punch line for it, but I think you're the man who can.

I'll give it my best, but I can't promise much. I'm not really quick on my toes.

"Why did Neil Hamburger cross the road?"

(Groans) Oh boy. (Sigh) To get in line at the welfare office.

(Laugh)Thaaaaaat's your life?

(Resigned) I wouldn't say it's the funniest joke line I have, but it is the most accurate one I've ever had. Hopefully next year, when we do our one-year anniversary of this interview, when you ask me that question I can say "Well, he didn't cross the road, his chauffeur drove him across the road, just like Carrot Top!"

You know what? I hope so.

I hope so, too, because it's dangerous crossing the road, with cars going right at you. To be in a position of a Carrot Top, I'd be safe. It's dangerous out there.

Even the bridges put across for pedestrians are controlled by gangs, and it's more dangerous trying to cross them than if you'd simply try to cross the road!

There are lots of pitfalls to life these days, I have to say.

You just have to keep on keepin' on, and not think about it.

You have to do the best you can do.

You look for the one little bright spot in the day and you let that shine throughout the rest, and you'll do all right.

(Impressed) That is good advice, sir, and I hope you put that in the interview with bold-faced type!

I'll definitely do that for you, Sir. A good afternoon to you, Mr. Hamburger, it has been an honor and a pleasure.

I hope to see you on the road some time soon. I do appreciate the kind words!


Neil Hamburger's brilliant concert DVD, The World's Funnyman is available now on Drag City.

Prophet Omega

Underneath the dance rhythms and beats of Prophet Omega's debut album, The Natural World lies a rather fascinating, intriguing record. Though the band is the concoction of visionary Joe Magistro, it's a record that's much more ambitious than one man. Within the grooves of songs like "Downpour" and "Party Time People" is an appealing, mysterious intelligence that separates it from standard dance music fare. Perhaps it's because Magistro's first calling was to playing drums for rock bands, or perhaps, as you'll read below, it's because Prophet Omega's existence seems to be a bit more of a happy accident than a thought-out project. Regardless, The Natural World is a pleasant, enjoyable—and, most importantly, intelligent record.

I kind of get the feeling that Prophet Omega's been an accidental career for you.

Yeah! I definitely jumped in with both feet when the opportunity presented itself. I didn't choose to start a band for exposure or to get into that mentality of, (sleazily)"Yeah, man, I got a record deal, and I'm gonna do this..." I've been working with music for some time; it wasn't like I was waiting tables and building houses. I was working as a drummer, and an opportunity presented itself to make some tracks at my house. A friend who is a DJ passed it on, and, literally, in a span of three months from giving it to the DJ, I was getting word back from Capitol Records that Andy Slater, the President of the label, wanted to fly me out and wanted to do an album. So it was pretty drastic on that level. I was like, "Wow...okay!" (Laughs) So I sort of stumbled into it.

You've been making music for yourself. Did you not think it was something you wanted to release? Was it just more of a hobby that some people happened to like?

Well, actually, I did have it kind of in the back of my head that a record would be cool at some point. But I was so busy with other stuff, it wasn't really a priority. I really was doing it just for the enjoyment of creating music. I have a few good friends that I have a lot of respect for who suggested I get a deal. Cut to a few months later, then things with Capitol started to take place.

Wow. I think that's cool.

Yeah! It's definitely cool. But it started so fast, I thought, "wow, this is happening so fast, this is really amazing." Once you get into the specifics of it… (Laughing) You're thinking, "God, this is endless!"

Have you reached that point where the magic's worn off, and as you start to look at the realities, you think, "What am I going to do for a band?"

Yeah, definitely. Once the ball starts rolling, it takes a little of the luster off. You're more concerned with the business side, the daily activities to keep it running, timing, financing and scheduling for a show or whatever you might need to do. It can be very exhausting.

Honeymoon's over?

(Laughs) Exactly! Reality's sinking in a little.

One thing I noticed is that within your computer-generated beats, there's real instrumentation, too. But on a couple of tracks, you play around with field recordings and samples, and occasionally, I pick up on almost a world music vibe to what you're doing, even though the sound is more dance-oriented. Is this something you've wanted to explore further?

Um, I don't know if it's like a world music concept.

I'm just speaking in general.

Hmmm. Yeah, there is that kind of stuff on there; there's a field recording from Alan Lomax. Hmm, I guess some of the beats I programmed have a sound that's similar to that; not necessarily samples, but I like that cool sound on vinyl, it's kind of shocking to hear, but there's something really intriguing about capturing the atmosphere of an old field recording and blending it, like you said, with an electronic sound. You're hearing that voice recorded forty years ago on the other side of the planet. And I try not to over-program things. I try to keep it organic. I like doing electronic stuff, but it's nothing like having the feeling of real instruments in hand, like a Moroccan tambourine or old African percussion or things like that. A lot of those elements I try to integrate, because they're all around my home. When I set up, those instruments are on the other side of the room. I'll start shaking a tambourine or hitting my drums for inspiration on other things. I'll play around, develop a rhythm that way, and then develop it further.

And it all ties back into the title, The Natural World.

Yeah! And it also ties into the cover art in a tongue-in-cheek way, with busted-up cars, and it's like a comment on social entropy. That's our natural world.

I know you're a renowned drummer, and you were in the band Darlahood in the 1990s, but is this the first time you've stepped up to the lead, in terms of singing and songwriting?

Not so much in terms of songwriting, no. Fronting a band? Yeah. In Darlahood, I co-wrote about 95 percent of the music. I'd have to say that the person most likely to have written in Darlahood was me. Lyrics, about a third of them, I'd say. Plus, in Darlahood, we had a lot of harmonies, so I was singing and playing harmonies. But for fronting a band, yeah, it's new.

Was it scary, stepping up front?

Yeah! It's funny. I've done so many things over the years, I wouldn't say making music is second nature, but the first time I did so, I got butterflies. It was new for me.

But I'm sure it is invigorating, stepping outside of your comfort zone.

Definitely! That was the biggest feeling, when I started to do Prophet Omega, things really started to roll with Capitol, who are really into it, and all of a sudden, it started to feel really, really cool.

Prophet Omega's debut, The Natural World, is available now on Astralwerks/Capitol Records

Grand Mal

For those who are familiar with Grand Mal, then you might be slightly shocked by the musical maturity found on their newest album, Love is the Best Con in Town. Instead of the trademark crunchy, glammy rock and roll, the band (which is essentially Bill Whitten at this point) has taken a turn towards a mellower, more melancholy sound. Interestingly enough, this is the first Grand Mal record not produced by longtime cohort Dave Fridmann, and the recording process for this record was a different experience, as you'll read below. Love is the Best Con in Town is a subtle affair, but it's one that's worth the time to experience. It's a lovely, pretty album that's worth seeking out.

Fallen in love with the piano?

I have! Part of the reason I started writing and recording on it was it sounds a lot better than the guitar I have. The gear I've been using over the years, it…I dunno, it sounds so good and the recording sounds so much better on piano, spread across channels, and plus, I wanted to get away from my guitar.

Had you done any writing on piano before?

Um, just one song on Bad Timing…

One of the criticisms or observations made with Grand Mal is that it's never really had a solid lineup, especially with your last album, which you didn't tour for. Do you think that with you writing on piano, you were creating songs that weren't reliant upon having a band, so that if you wanted to play live, you could do so by just having a piano?

No, actually, I'm not good enough on piano to play live. I mean, I'm not terrible. The reason I don't usually have a band is because there's no money involved with me. The guys I play with are so good I couldn't have them. They can write songs with me, but not when it comes to playing live.

Do you think of yourself as much of a live performer?

No, I guess I've always had ambivalent feelings about playing live. I like playing music, or playing with people in a band, and sometimes a show I could enjoy playing and singing. It can be a cathartic experience. I've always been kind of mortified about people "rocking out," people who jump around in energy. That's always made me kind of ambivalent. Nick Cave, he says when he gets onstage, he becomes the person he always wishes he should have been.

It seems some people—like, you'll meet a frontman who is really energetic onstage, but when they step off after the show, they're shy and introverted. The energy of performance takes them over.

Some people like to be the center of attention, think they have to do that to get the love of the fans or they have to vie for the attention of their audience or their parents or their whatever…

I read on your website about how you were enjoying the writing and recording of this record, as opposed to previous recordings. Do you think it was because you weren't spending an amount of time working on it? Like, when a band is on a label, they get sent into the studio for two weeks or three weeks or however long it may be, where they do nothing but work on their record intensely. I get the sense that you just worked on this record whenever you had free time to do so, with no set goal in mind.

Yeah, whenever I had some friend around, or I'd call and ask them to stay for six hours one afternoon, and we'd just do it.

Do you think this method is what helped make Love is the Best Con in Town sound the way it did?

Yeah, definitely. It's like you said, in the past we'd spend time in the studio and knock it out. Ive never made a record at home like this. I got to enjoy the sound more. I've never really done that before. I never really understood engineering and production. I'd hear things in my head but never appreciated bringing them to fruition.

Was it scary, producing your own record for the first time?

Yeah, it was pretty scary. You know, you have to wonder how much self-delusion is involved in what you're doing, or understanding reality.

Grand Mal's Love is the Best Con in Town is available now on New York Night Train

Dani Siciliano

Dani Siciliano's latest album, Slappers, embodies a healthy eclecticism that is as easy to enjoy as it is to appreciate. Utilizing an "everything but the kitchen sink" approach (though, truth be told, we wouldn't be surprised to learn she used a kitchen sink!), Slappers never falls victim to being too ambitious. Though based in a heady, electronica-style mindset, Slappers is something more; from catchy dance rhythms ("Didn't Anybody Tell You") to enjoyable jazz crooning over beats ("Big Time"), Siciliano masterfully creates intelligent music with a happy-go-lucky approach that results in one of this year's more enjoyable records. Of course, it's hard not to fall under the spell of a record that contains a song like "Why Can't I Make You High," which features the backing vocals of British rockabilly girl group Kitty, Daisy, and Lewis. Slappers is, quite simply, a rare jewel of a record.


It seems that you had a 'no holes barred' attitude when recording this record. Did you take a bit of a 'let's just record and see what happens' attitude to the process, instead of having a careful, thought-out approach as to how the songs should sound? If you did, did any one particular song's outcome surprise you?

The first brief I gave myself for Slappers before I even started the writing process was that I wanted to achieve a "bold" sound. That being said, it is never as easy as "let's just see what happens." Each song has a slightly different process attached to the writing and construction. There comes a point where you need to adopt a more concise attitude in the studio; for instance, when you are working with session musicians. Of course there were moments recorded from the musicians improving over a track, but mostly there were charts involved. The spontaneous moments are just that; something that can happen at any given moment during the entire process of working on an album. For instance, the track "Why Can't I Make You High" was recorded in London. There was a moment that i wanted to work to a click track so that I could record the vocals at home. One of the players was vehemently opposed to using a click...as a result of this the track is super, super live. All elements that were added to the track later had to be done in real time thus changing the approach for the rest of the production on the track. That one decision informed the rest of the music.


Listening to Slappers, it's hard to miss the elements of jazz and pop, even though the style you are working with is electronica and dance in nature. Is working with that style a means to an end to producing another kind of music that you are interested in?


I like to see it [jazz, electronica] as an influence rather than a means to an end. As of yet I have not decided to make a purist album of any particular style or genre. So until then I will always do what I do-as best as i can.


Was Dani Siciliano's first love with jazz, or with dance music?


I think I came to appreciate them somewhere around the same time. I remember when I was singing in trio with my friend Randall. I would be around at his place rehearsing and would have my walkman with some house tape that I would play for him. i would get overly excited about possibly making all this music but for a big-band....someone else beat me to the punch line!


When you perform live, is reproduction of your music difficult? Considering the complex textures of the new record, would it be safe to say that you're coming close to forming a full band, or, at the very least, that desire is there to express your music with other musicians in that way?


I do not want to try and duplicate the recorded album for my live show. The process of creating a live show involves distilling the tunes down to their core and working that back into a piece of music for a live audience. I believe that this helps you to free yourself up from disappointment and it makes it more fun for the musicians as well.

One of my favorite songs on the record is "Why Can't I Get You High," and what's made the song better is discovering Kitty Daisy & Lewis as a result. How did you discover this interesting group, and will you work with them again?

Yeah, Kitty Daisy and Lewis are great. It was just Ingrid and Kitty who were in on the session but they were fantastic to work with. I'm super pleased with the result. As for working with them again, I have no immediate plans to but i would never rule out the possibility!

Slappers is available now on !K7 Records

Bobby Bare, Jr

It's hard not to smile when you listen to the music of Bobby Bare, Jr. He's got a clever way with words; his singing voice might not register as 'perfect' by traditional standards, but that's okay, because, hey, who needs tradition when you've got talent? His first two solo albums were lush, pretty things—both made the tops of my best-of lists for the years they were released, a claim I still stand by—full of lovely weepers and the occasional rocker. With The Longest Meow, Bare and company decided to do something a bit different, and different is the best way to describe it. This record is as close to live as you could possibly get; I don't want to say too much about it here, because, well, Bobby has some great things to say about it below. If you've heard his previous records, The Longest Meow might seem a bit shocking, but that's okay. It's a great record. It was a real honor to speak to Bobby, and I hope you take the time to seek out his work.

What inspired you to do a long, eleven-hour session? Was it spontaneous, or was it well planned-out?

It was something I'd planned. We did eleven days of pre-production for the album. Me and Carl—Carl from My Morning Jacket lives like a mile away and their drummer Patrick was really wanting to play drums, because they were just sitting around for a while. So I lucked my way into playing with those guys, and we had a blast! We had a total and complete blast. We kind of did songwriting for about six days in my living room. After we did six days of writing, we recorded it all with the producer and got all the arrangements down. I only really co-wrote two songs with them, but we did all the arrangements with the producer, Brad Jones. Then we took all of that, we recorded the album on a computer, as a dress rehearsal, as a blueprint, never meant to be heard by anyone. We then worked out all of our overdub ideas, we worked all of those ideas out on the computer in the rehearsal space, and then we taught 'em to the band, the eleven different people who were playing on the record, and then we just went into the studio and recorded the session. Instead of spending two weeks recording at a less expensive studio, I just rented one day at the nicest studio in town, and had the most fun I've ever had in my life…so much fun.

It's definitely one of those records that I hear and think, "dang, I wish I coulda been there."

Yeah, I wish you could have, too! It was nothin' but happy people doing happy stuff, even if some of the songs were really miserable subject matter. There was such a happy vibe in the room. Jim James showed up and sang, and he was such a cheerleader. We just rocked out and had fun.


Would you say this is the quickest record you've ever written?

Not really. Some of the songs have been around for a few years or so, and some of them are brand new. It's the quickest actual recording. We did some trumpet overdubs and I did some vocals and stuff back at Brad Jones's studio. Other than that, everything you hear is from that day. The Pixes cover I did at the rehearsal space all by myself one day. So that one we didn't do. But 99% of everything you hear was done that day, recorded live. We weren't even using headphones.

Were you surprised at how it came out? Even with the preproduction, did it surprise you how well it came off?

Yeah, we were all in disbelief that we actually pulled it off. The very last thing we did was the song "Sticky Chemical."

That's perhaps my favorite on the record.

Oh, it is? Thanks! At the end of that, we all went "YAAAY!"

Were any of the songs written during the session?

Nope! No, but some of the words, I was finalizing that day, but no.

Because I assumed "Uh Wuh Oh" sounded like a spontaneous thing.

Those are actually lyrics from the song "Back to Blue." It has twenty verses to it, but I only used six or seven on the finished song. Those lyrics are two unused verses from "Back to Blue," and I'm singin' "Makin' my way, just makin' my way uh wuh oh"

When I look at pictures of you playing live, the energy just shines through. You really love playing live, don't you?

It's a lot of fun, especially when you have people you really enjoy being around onstage with. We just did two weeks and there were six of us onstage, and it was a blast. A total blast.

I get the sense that you enjoy playing live as much as you do working in the studio.

Yeah, they're both fun. This last studio record was as much a live record as it was a studio record. My original plan was to be able to say, this album was recorded between 1:00 and 1:57 PM on Thursday," or whatever, and really do the whole thing live, but, really, we really needed to try two or three versions of the songs.

Your previous two records were pretty and well-produced in the studio. Did you want to capture that live-show energy?

Yeah, 'cuz even though those two albums are really quiet, when we'd play 'em live, they'd be really loud and really crazy.

You do a Pixies cover, and you've referenced Black Francis on your debut. Have you heard from Frank Black, and has he ever given you any feedback?

Yeah! Actually, I sang on his new album. It was really fun. I walked into the studio after they played the Ryman, and there was Ian McLagan of the Small Faces on keyboard, Levon Helm on drums, Steve Kropper on guitar, Tom Petersson from Cheap Trick on bass, and everybody in the room was rock and roll hall of fame. It was amazing, and they let me sing background on vocals.

Did he give you any sage advice?

I just shook his hand and said, "Hey, I'm your biggest fan!" (chuckles)

The Longest Meow is available now on Bloodshot Records

The Draft

The Draft consists of three-fourths of the band Hot Water Music, who broke up last year after nearly a decade of consistent touring, recording, and record releasing. The Draft's music is catchy and driving; their music sounds great driving down the highway, and it's probably just as exciting and fun to experience live. We spoke with bassist Jason Black the day before they took off on their fall tour. It was an interesting conversation about the breakup of his seminal band and the hope and excitement that he feels with his new direction. What better way to start our new change of direction, than by talking to a band that embodies the same form of change?

Let's start with Hot Water Music going on hiatus. Was this an unseen thing, or did it really come as a surprise?

It had kind of been coming on. Chuck (Ragan, lead singer) had discussed how he didn't want to tour anymore for a while, and you can never tell how much of it is someone saying that who is frustrated at the moment, or how much of it they actually mean, because everyone feels that way at some point in time. We were treading lightly about the subject as much as we could, until it became apparent to us what would happen before he even really said, "I don't want to tour any more." And we knew; we could tell that it was what he was going to say. So we weren't totally unprepared for it. When it does happen, it's never going to happen at an opportune time. We sort of had agreed to do a little more touring, and then we had our discussions about things and decided, "Well, could we at least go ahead with this game plan, and then after that we'll reevaluate where we're at?" But we didn't quite make it through that. So that was probably the only real sour moment of the whole thing, but overall, he didn't want to tour. We wanted to do this hiatus, he wanted to do this hiatus, and that didn't make any sense after a while, because we were all doing different shit, so why should we keep saying that we were going to keep the band on hiatus? There's nothing going to happen in the future, and if it does, it's far enough down the road that it made more sense for us to address what we are going to do now, without that looming over our heads. It would be easier to take things back later rather than keep living through them.

Plus, with Hot Water Music being a consistent touring and recoding machine for nearly a decade, it was time for you all to take a rest.

Yeah! Like I said, none of it can ever happen at a good time, especially because we were all depending on—the band was how we paid our bills—so that was just a whole other element that you don’t want to have to think about when it comes to that sort of stuff. But that's the reality of it. Aside from the actual lifestyle changes, as far as that goes, it was something that needed to happen anyway.

So, on the day that Hot Water Music's break is decided, was forming the Draft a no-brainer for the three of you?

Yeah, pretty much. We definitely had talked about it a little bit, just sort of brought it up to each other when we were together, and we asked ourselves, "Do we want to keep going? Everybody, retreat to your corner and think about it, because it's going to be a total reinvestment of the same type of program we'd been through, though we're not going to be starting out at the same level we're at right now, it's going to be even harder than it is right now, so is everybody ready for that?" I think on a lot of levels, it was a no-brainer. I think on some levels we've been waiting to see how things will be when the record comes out. So overall, everything's gone great, and everybody's really starting to get excited about the album and having it out to tour for.

Does it really feel any different?

Yeah, it actually feels totally different, and it's great! (Enthusiastically) Especially compared to the end of Hot Water Music, just because it was so…I don't want to say "negative" at the end, I don't want to make it sound like it was a terrible thing at all, because it wasn't. It was more like…we could tell when everyone in the band was having fun and when everyone in the band was not having fun. It's nice for all of us to be having fun out on the road once again. We really love playing, and to not have it feel like such a chore, you know, it's wonderful. When you do something over and over and over and over again, your attitude towards it can become, "meh!" Especially if one person isn't excited about it as the rest of the band, it's not really an easy thing to make it feel good or do well at.

Compared to your mindset from writing for Hot Water Music, how would you compare the experience of writing for The Draft?

Hmm, good question. (Thoughtfully) Actually, I'd say it took a lot longer, because I think we started it a lot earlier than we normally would have had we been writing in the Hot Water style, but then, we kind of could. After all, nobody's expecting a record by a band they've never heard before, you know? (Laughs) It wasn't like we were saying, "Oh, shit, it's time to put out another record!" We were afforded a lot of relief from that sort of pressure. At the same time, we were thinking about, "well, not only are people expecting something out of the people who were in Hot Water Music, we're also decidedly not Hot Water Music." So it's going to be kind of tricky to see how everyone reacts. Overall, though, I think the writing process was easier, because we weren't dealing with one of our members moving off to Los Angeles, so that's helpful! (Laughing) Most of all, it was better because we could treat it exactly as it is—a new band. We wouldn't really have anything to live up to as far as actual musical history for this band, which is really great, and is a nice to have that kind of experience.

The concern you're talking about was echoed in your press kit, but now that you've played out and the fans have heard the record or downloaded it, how has the reaction been to The Draft from the hardcore Hot Water Music fans?

I haven't actually seen any negative response from any fans as of yet. Well, I've read one negative review, but it was from a guy who hated Hot Water Music, so I was like, "Okay, great, I'm glad he got to review it!" (Laughs) But overall, people have been real supportive. I think that the fans that are gonna come along, who were fans of Hot Water, will be fans of The Draft. Hopefully, they're not going to think, "Man, I wish this were Hot Water," and they'll realize that this is a new thing and treat it that way. Hopefully if that's the way people look at it, then it should go pretty smooth. There really haven't been any negative reactions to us so far, no.

How has Chuck reacted to it?

I haven't really asked him if he's heard the record yet. I haven't actually sat down and had a real heart-to-heart with him about it yet; on the surface, he's been totally fine with us and really supportive. I also think he realizes that this was going to happen, and, really, you can't say too much if you're the one who stopped things from rolling in the first place. I think he did everyone a favor by doing that, and he seems so much happier, and we are, too. He came to our LA show and was really into it, and that's the only response that I've gotten from him. I don't know if George or Chris have spoken to him more about it recently, though.

I notice that there have been great pains made to state that Hot Water Music has not broken up, but is just 'on hiatus.' Would you say your first devotion is to Hot Water Music?

No, we actually broke Hot Water Music up.

(Shocked) Oh, you broke up? I haven't really seen anything official…

Yeah, it's been kind of quiet, the news quietly snuck out that we had split. I think people know for the most part, but yet I'm not sure that they do. But yeah, we went ahead and made it official. A hiatus didn't make sense after a while.

Well, that kills my next two questions! (Laughs)

(Laughing) Well, you can go ahead with 'em!

I know that there have been bands that go on hiatus for one reason or another, but the members are still friendly with each other, and a few of them form another band, then the one that decided to go on hiatus suddenly decides that he or she wants to do something with the original band again, and it conflicts with the other band, and it causes splits and problems. I was going to ask where the priorities were with you guys, if such a scenario were to happen/

Definitely The Draft, and if anything like that were to come up, I think we'd have a pretty hard time…I would, anyway, have a problem with, "Oh, (sigh), forget all of this that I've been working on for a while, we'll go ahead and do the old shit we've worked on for ten years," you know what I mean? For me, right now, if I were to play with Hot Water again, (emphatically) it would absolutely be for a paycheck. I could be totally different in a year from now. I hate saying stuff like that, because people change their minds, but as of right now I have no interest in doing it. I don't think anyone else does, either—and not in a negative way, just because of what we're doing now.

You had a good run with Hot Water Music, why become a punk-rock oldies act?

Yeah, totally, why beat that dead horse?

So are you going to spend the next six months straight on tour?

Hopefully not straight! (Laughs) We've got stuff lined up full for the next few months, and we always take a break around the holidays. But yeah, we definitely want to get out and hit the road and do this record justice, but at the same time none of us want to kill ourselves out on the road, either. I think there's definitely a line that you can cross by being on the road way too much, and we really don't want to get anywhere near it, if we can avoid it.

Is that one of the lessons you learned the first time around?

Yeah…hopefully! (Laughs)

I know you guys were extremely prolific in Hot Water Music, but does The Draft have any new recordings or releases coming soon?

Yeah, we've got a whole bunch of stuff that didn't make it on the record. Chris is constantly writing, so I'm sure we'll be releasing an EP some time after the record's dropped for a little while. I think it's how it happens for us, so I'm sure that will be somewhat similar.

Anyway, I'm sure you've got a ton of things to do to get ready for tour today, but thank you for taking a few minutes to chat with me this afternoon.

Oh, sure man! No problem!

The Draft's debut album, In a Million Pieces, is available now via Epitaph Records

A Letter From The Editor

I have an announcement to make about Mundane Sounds.

First, you will notice that we've redesigned the site. I like it. It's very....minimal. I like minimalism. I like having things that aren't big and flashy and overwhelm the content. So I hope you like it, too. I was going to do this on Monday, but I just couldn't wait to share it with you!

At the beginning of this year, I decided to switch over from a more static website to a blog format. I don't regret that decision at all. But somewhere along the line, something changed. I don't know what that something was, but it relates to feeling bogged down in an ever-increasing "blogosphere," where everyone has a mp3 blog and the overwhelming amount of opinions have clouded the world, polarizing things and compartmentalizing things in such 'neat' little boxes. The world isn't that pigeonholed. Why pigeonhole your artistic experience? I don't dig that. That's an entirely different rant, though.

Next week, Mundane Sounds will begin a new chapter in its five-year history. Our site will focus less on personal opinions and will focus more on trying to capture and understand that evasive goddess, music. We will spend more time talking to the artists about the music that they make. Our predilections will take a backseat, because, really, everyone has an opinion. My personal tastes---well, they're just that, my personal tastes. You can visit other websites and read about the 'next big thing.' That just doesn't interest me any more; I want to understand the artist, not pontificate on their creation. And when I talk about something or I talk to an artist, it's with the understanding that they are worth your time. Why talk about something you don't like or don't care for? It just seems so insincere. The people we talk to will be people worth listening to. The records we talk about will be records you need to know about. We don't care about being hip or trying to wow you with the latest unknown band. That's just not exciting.

But guess what? The things we have in store are exciting. I hope you enjoy them. I know I am excited about what's coming up. But thank you for five years of readership! I couldn't do it without you. We told you this year would bring lots of exciting changes. I don't think you'll be disappointed!

Tune in next week, as Mundane Sounds 5.0 is unveiled!

Love,
Joseph Kyle

Howdy!

Just a friendly note to let you know that we will not be updating this week. We'll see ya next monday!

The Earlies' "No Love In Your Heart"

Great news! Everyone's favorite Texas/London collaborative orchestra pop band The Earlies have released a new song off of their forthcoming album, The Enemy Chorus. "No Love In Your Heart" is a larger-than-life song that follows in the footsteps of their previous work, only this time, they've melded a rather obvious dance rhythm(!!) to their sound. The result can only be described thusly: wonderful. Check it out!

Listen To: "No Love In Your Heart"

Cities "Variations"

Don't know which is odder: that a atmospheric rock band can be found on the mainly Alt-Country record label Yep Roc, or that said band would take things a little further and actually release a remix record, featuring the work of big-name electronica acts, including Ladytron, ISAN, and Daedelus? Regardless of such things, Cities defies classification and expectations, not only with their excellent self-titled debut, but with Variations, a collection of remixes of songs from their self-titled debut. As you might expect, the remixers add their own touches to Cities' songs, and the results are a bit surprising. While the band's debut might have more in common with bands like Jimmy Eat World, Coldplay, or even possibly Radiohead, these remixes apply their own skills to Cities' handiwork, and the results are intriguing. The two takes on "Writing on the Wall," by both ISAN and Ladytron, are perhaps the most compelling and interesting. The others remixes are more of a mixed bag; interesting, compelling, but not necessarily that captivating. Still, it's hard to find fault with a band that's willing to have a dalliance in a more experimental way. The curious should start with the debut, but for those already in love with that record, Variations is a curious diversion.

We recently caught up with lead singer Josh Nowlan and asked him a few questions about Variations:

How did the idea for a remix record come about? Was this an idea the band had had for a while, or did it simply happen on its own?

It started out as a remix contest. Then we just asked our favorite electronic artists if they would remix some tracks and they were very receptive. It wasn't a project we really thought about beforehand; it just snowballed into this great record with cool artwork.

Of the remixes, which do you find the most impressive?

I'd rather not say which I think is more impressive than the rest. The great thing about this record is that it represents talent from many different places in electronic music and comparing them becomes something like apples and oranges.

How do you feel about hearing your music manipulated by outside minds? Were there any new ideas or concepts that you've gleaned or realized thanks to hearing what these artists did to your songs? Do you think that the electronica element that the EP offers adds a new element to your current songwriting?

I felt surprisingly comfortable having other people completely reconstruct our songs. I thought it was very interesting to hear what the songs could be given the proper electronic tools and talent. Hearing them does not change the way we feel about songwriting, maybe instrumentation, but in the end we are a rock band and we feel that way even more now that this project is complete.

Happy Fifth!

In case you didn't know, today marks Mundane Sounds' fifth birthday. It seems like only yesterday that we started publishing, yet it seems like I've been at this for damn near forever. In any event, I want to take a little time to say thank you to YOU, dear readers. I appreciate the fact that you choose to read our humble little website, and that you've (hopefully) stayed true to us over the past half-decade. Things have changed a little bit since those first humble days, but things have only changed for the better! (At least I think so.) I was going to write some big, happy, wordy essay, but I decided against it, because hey, we have things to do. We're making some really big improvements and changes back behind the curtain, and we have some exciting things planned for this fifth year. We hope you take the time and stick around.....you'll be glad you did!

Love,
Joseph Kyle
Editor, Mundane Sounds

Growing "Color Wheel"

For fans of contemporary drone music, NYC duo Growing has always served as a serene yang to Sunn0)))’s sinister yin. Both bands love stretching one chord for as long as humanly possible and overwhelming listeners with low end and feedback in the process. However, they use this modus operandi as a means to opposite ends. The difference is made clear in their album and track titles: before putting either CD in your player, you can tell that “Friendly Confines,” the second track of Growing’s latest album Color Wheel, will be a much smoother listen than Sunn0)))’s “Cursed Realms,” which appeared on last year’s Black One. Nonetheless, both Color Wheel and Black One are watermarks in the bands’ respective discographies, albums that find them successfully experimenting in order to transcend a formula that could’ve quickly and easily become stale.

On previous albums, Growing’s songs were edifices that simply stated a theme and let it linger. On Color Wheel, however, the duo constructs and deconstructs its music in real time, producing for the first time songs that have beginnings, middles and ends. The first four minutes of opening track “Fancy Period” find Growing slowly layering one sound on top of the next: scintillating keyboards, sprinkler-like hissing noises, woolly clouds of bass, and guitars that make curlicues up and down the major scale. Shortly after the four-minute mark, the duo breaks the drone back down into its separate components, chopping each instrument up until it flickers in and out of silence, producing a vaguely percussive effect. This trick is repeated on penultimate track “Peace Offering.” Groggy, pitch-imperfect guitars are chopped into bits, scattered across the stereo spectrum, and disrupted by a bow mercilessly grinding against the strings of a double bass.

Color Wheel is also distinguished by some rather bipolar sequencing in the middle: the album’s shortest and least orthodox song (“Cumulusless”) is succeeded by its longest and most predictable (“Blue Angels”). “Cumulusless” barely qualifies as a drone: the guitars and keyboards are too staccato to have the trance-like properties that Growing’s music usually aims for. To me, it sounds more like Kraftwerk’s “Trans-Europe Express” with the drums removed from the mix. “Blue Angels,” on the other hand, comes across as a 16-minute encapsulation of everything that the duo has done up to this point. It starts with a drone so radiant that it sounds as if it’s been beamed in from a faraway pipe organ. At the four-minute mark, the drone doubles in volume; the resultant over-modulation produces an array of phase shifts and overtones. The drone finally recedes during the song’s last two minutes, leaving in its wake a cacophony of fuzz guitars that blare like bagpipes.

Album closer “Green Pastures” demonstrates Growing’s newfound appreciation of the element of surprise. At the three-minute mark, the bassist plays a loud, grinding chord that sounds like he’s thumbing a hot cable wire. This chord abruptly retreats into silence, only to return every few seconds with even greater fury. This process is repeated for the next two minutes, until the song starts sounding like the aural equivalent of electroshock therapy. Even after multiple listens, “Green Pastures” never fails to make my hair stand on end. It’s hard enough to make an album that staves off boredom at every turn, especially when you’re a drone band. Growing pulls it off effortlessly with Color Wheel.

Artist Website: www.growingsound.com
Label Website: www.troublemanunlimited.com

Interview: Viva Voce

Portland, Oregon husband-and-wife duo Viva Voce have returned with a new record, Get Yr Blood Sucked Out, which is their first for new label Barsuk. This record is a wonderful collection of instantly catchy yet musically impressive psychedelic rock, and unlike many spousal duos, their sound is larger than their lineup would lead you to believe. Just take a listen to a few of the songs and it's clear that these folk think large and record and compose even larger. With mellow and utterly beautiful moments like "We Do Not Fuck Around" and "Special Thing" (which has a vibe that's rather Lou Reed, if you ask me) fitting in nicely between tribal folk-rock numbers like "Believer" and harder psych-rock numbers like "When Planets Collide" and "Helicopter," Get Yr Blood Sucked Out is a varied and compelling head-trip of a listen. Best number of the record is the epic "So Many Miles," which mixes all of these elements into one loud, gloriously wonderful rock head-trip. All in all, a wonderful little record.

We were able to speak to Kevin Robinson, and though our funky little tape player kind of made part of the interview unlistenable, here's what he had to say:


Tell me a little bit about the recording process.

The recording process for this one was immediate. We didn't really deliberate a whole lot about it. Sometimes the danger of recording at home is you'll spend six months working with no one looking over your shoulder. So we kept everything very deliberate. We didn't obsess too much; we just went in and did it.

When you play live, do you perform as a two-piece, or do you expand your lineup?

We've toured as a two-piece for about four years, and we've just added a new member; her name's Kim Baxter, and we bring her out for a handful of shows. But yeah, the core is me and Anita, but it's nice to play with others. We could do the album by itself; it's not really a stripped-down two-piece construction at all. It's tricky, though. It's taken me about ten years to figure it out. (Laughs) It's a secret family recipe to how we get things done.

Seeing as this was your first record for Barsuk, do you think you used this opportunity to expand your sound?

Hmmm…maybe. Yeah, it is a new starting point, and I think we definitely thought we had something to say musically and lyrically, so it was a good foot to step out on with them. I don't think it was a conscious decision, but I think we were both ready to do something a little bit different.

Wolf Eyes "Human Animal"

Okay, let's just get it out of the way: Human Animal scares the crap out of me. Looking at the artwork, it's going for that whole "black" motif, and, as you'd expect, it fits quite well. That thing on the cover---I have no idea what it is, but last night, as I was looking at it, I turned away for a second...it moved! I swear it did! It's going for that death metal sound, and by "death metal," I don't mean melodramatic songs about death; I mean beating you to death with a piece of metal. They aren't trying to glorify death; they're trying to be death.

But this is Wolf Eyes, after all, and for them, this sludge and drudge and violence and noise is not only par for the course, it's an art. And even for all of the scary moments and the general freakiness of the Wolf Eyes concept, it's hard to deny that theirs is not compelling music. It's like watching a head-on collision….from the point of view of the front headlight of one of the cars.

Enough about all of those things, though. Human Animal, for those who have no idea what Wolf Eyes sounds like, mixes the sound of percussion, sonic manipulation, guitar, and a ton of other things that I don't know how to describe (simply because I don't know what they ARE), and they throw these things together with lyrics that are disturbing, and they blend it all together in a way that results in very sick, very twisted, and very haunting music. Sometimes, they sound like Hell. Dante's Hell. Cacodemon Hell. Here, let's let you listen to one of their songs, and tell me if such statements are not without merit:

The Driller

Pretty scary, isn't it? Well, throw in seven more songs with such wonderful titles as "Rationed Rot" (which contains some pretty interesting poetry, truth be told), "Rusted Mange" (which sounds like Trent Reznor-in-real-Hell), and "Leper War" (which is just downright scary). For a kid who was freaked out in first grade when teacher played a "Sounds of Halloween" record, you can only imagine how I might take something like this. (I think I made a mistake when I listened to it at night, yet for some reason I think it might be even scarier when played during the day.)

Human Animal is a very disturbing record, and even if you have a tolerance for music that is scary and disturbing, this record still might be too much to bear. But for what they do, they do well, and it's hard for me to find fault with it. I'll just admit that this isn't something I can handle much of the time—and by "much of the time," I mean "ever."

Yet…yet…yet…I can't explain it, but I kind of dug Human Animal. Okay, so it scared the everlovin' crap outta me, but sometimes, you gotta be afraid. And Nate Young, man, more power to him for making this kind of music. How he does it, I don't know. Wait. Scratch that. I don't WANT to know. When it comes to freaky, demonic music that encapsulates the dark side, there's none more black.

The best part about it, though, is that being on Sub Pop, one secretly wishes that Wolf Parade fans might think this is a new record....

Interview: Lucero

Lucero's latest record, Rebels, Rogues, & Sworn Brothers is easily this Memphis band's strongest recording to date. After years of making sweaty, gritty, no-frills country-rock--and then touring the hell out of it--the band turned its focus inward, and in so doing, produced a record that's as much a progression forward from its well-developed sound, yet it cements everything that makes the band great. You'll read comparisons to Bruce Springsteen, but I don't think such descriptions are apt: lead singer and songwriter Ben Nichols has the ability to tell a story that moves your soul and gets you rowdy; whether he's singing about a girl that tore the hell out of his heart or simply telling a story about having a good time on a Saturday afternoon with his friends, he sings with such conviction that it's hard not to find some sort of common ground with what he sings. The band's fifth album is full of songs like that; lead single "I Can Get Us Out of Here" is a song many of you might have heard already, but it's merely one song out of a dozen excellent others. I'm personally fond of "She's Just That Kind of Girl," but I'm also totally into the classic-rock powerhouse of "The Mountain"—and yes, comparisons to Lynard Skynard aren't too far off the mark. Rebels, Rogues, & Sworn Brothers is a simply excellent record, and for those who say it's one of the best records of 2006, I have to say: I agree! The formula is simple, the songwriting is excellent, and though I know some might say if you've heard one Lucero record, you've pretty much heard 'em all, all I can say is: if the formula's this good, why change it?

We were fortunate to catch up with affable guitarist Brian Venable, shortly before they took off on their most recent tour. A confession, though; in the process of talking with this really nice fellow, our tape machine messed up, so what you're getting is a condensed version of the conversation. Still, it was a nice chat, even if every awesome thing wasn't fully captured…

It's the calm before the storm, isn't it?

(Laughs) You know, with every Lucero record, from the very first record, someone's said, "this is going to be a big record for you!" It hasn't happened yet, even though people have said that it would. So…we'll see. With each record, we seem to double our audience and hopefully, with the new one, we'll finally reach that goal of being able to liff off of our music.

A scene in your documentary Dreaming In America showed Ben being amazed at writing a non-personal song. Would you say there's more of that here?

Oh, definitely. Like, the first three songs on the album…Ben's an amazing songwriter; he's turned into this amazing writer, and the record reflects that. But you know, that's a natural process, growth as an artist. Our first eighty songs, all of those records, were all about personal stuff, like Ben wanting to get to know his grandfathers, getting heartbroken by women, having a good time with our friends. It's cool to hear him now, because he's an amazing writer.

Tell me a little bit about the recording process for the album.

It worked out really well. This is the first time we've ever made a record that felt like "work," in the sense that we simply focused all of our time on just recording. We'd work in the studio, which was in the basement, then we'd hang out in the kitchen, get drunk, whatever, record, sleep until noon, wake up, play all night. It was really, really fun.

How was it working with David Lowery?

Oh man, Lowery is amazing. His knowledge is just so…vast. Like, we'd be doing something, and he'd be sitting there, playing on the computer, and we'd think he wasn't really paying attention to us. He'd say, "Sounds great, I love that," and we'd think, "yeah, right." Then he'd start singing the song, or he would give us really intricate ideas and details, and we didn't think he was really paying attention! We were lucky, working in the studio we did, and the weather in Richmond wasn't too hot, so it really worked for us on a lot of levels.

Tell me a little bit about the business aspect of Liberty & Lament. It seems that, in terms of labels, this is the first record Lucero's made where things are calm in that regard.

It's great, man. We're able to make our music and release it and not have to worry about several aspects. Like, we made Nobody's Darlings without a label. With this one, we recorded the album earlier this year, finished it in June, and released it in September, and we didn't have to do anything with it after we finished it. Normally, when you make a record, you record it, finish it, and then have to wait six to eight months or more to release it. With this one, we could do it quickly, and get it out quickly. Sure there are other aspects about it that are more work, but it's cool when you're working at something you love to do.

I was amazed at how lush the new record is...

Yeah, that's definitely what we were trying to do. Like, with Nobody's Darlings, we made the raw rock record we'd always wanted to make. With this one, though, we kinda wanted to blend up the best elements of all of our four previous albums, take those things we liked best, and I think that's what we did, and I think it came out well.

So, what's next?

Oh, the usual—touring. That's what Lucero does. We're doing the US, and we're going to Europe, and, hopefully, back to Japan. Our two-record deal with East/West is coming to an end, and we're waiting to see what goes on with that. We've talked about maybe doing a live record, and we're trying to get our first three records back, and treat those records right. Other than that, we're just playing out.

Will the split with Against Me! ever come out?

Man! (Laughs) I don't know about that…here's the story on that. We were on tour together, and one of us probably said that'd we'd like to do a split, and then somehow, that gets reported as real news, and then it started coming up on news sites. Then the Jade Tree guys said, "we'll put it out!" and we were like, "uhhh…." Then it just kind of became our next record, even though we'd never really said anything about actually doing it.

Drunken in-joke gone way too far?

Exactly. Don't get me wrong; we really love those guys, but it was never seriously planned out, as we've both been busy and haven't had time to seriously consider it. It's our great, long-lost Lucero record that never actually existed. Maybe if one of us did three songs, the other would be prompted to say, "uh, okay, we better do those songs!" And maybe ten years from now, we'll have the time to do it! (Laughs)

Video: "Two Across the Mouth" by Boduf Songs

Though the album is not out until next month, this startling and haunting (and hauntingly beautiful) video is a wonderful taste of what you can expect from Lion Devours the Sun, the proper debut release from Boduf Songs, out October 30th on Kranky It's a record that is certainly one of the most beautiful records I've heard all year, and I'll definitely be talking more about this record in the future. But for now, fold your hands, turn down the lights, light a candle, and watch this beautiful film.

A question: What have you done today...

...to make a person's day brighter?

respond below.

Reviews: Some Singles

I've had a few CD-singles and EP's that have been awaiting review, so I took a little time last night and gave 'em some spins, and we think you'll like them, so check 'em out! (Apologies for no artwork; Blogger is being wanky this morning!)


Some Singles:

Sunrise is the second single from Caroline Lufkin's excellent debut album, Murmurs. It's a gorgeous, simple song that is accentuated by her delicate, childlike voice and gentle, unhurried, delicate beats. Indeed, it does create an atmosphere that reminds a lot of a sunrise; in fact, if you listen hard enough, you'll hear crickets in the faint distance. The album version is about as close to perfection as you can imagine; the Logreybeam Mix, well…It's an okay number, but I'm not sure how I feel about a beautiful, perfect song like this should be made into a glitchy instrumental. Okay, it feels like a coda to the original, and I can accept it in that regard. "Everylittlething" is another Murmurs song, and the beats of the original are honed down and manipulated, and it actually works to the song's benefit; the original version's beats sounded a bit generic, but the work of DJ Poignant has turned it into a much edgier song. Still, Sunrise is a lovely little record that serves Caroline quite well. (Temporary Residence)

Andy Werth is a fellow from Seattle, and he makes pleasant, 70s AM-radio pop, similar in nature to folks like Paul McCartney, Christopher Cross, and, um, Bobby Goldsboro. The three songs on Back To The Sun are extremely pleasant, a mixture of piano and brass that works quite well, and there are some excellent harmonies, too. Really, this sound might be called retro, but it'd be a shame to be so dismissive of such a great record. There are only three songs, but they're of such an impressive nature, you'll not want more. My favorite has to be Back To The Sun, but, really, the other two numbers are equally wonderful. Seriously, this guy's music doesn't sound at all retro; it sounds like the real thing, and I've really dug the transport back to simpler times and the era of more sophisticated pop music. Werth is a fresh young talent that's worthy of your attention.

Hella's new EP, Acoustics, is a rather fascinating thing. For the hardcore Hella fan, it's nothing new; apparently, these songs were out and about in Japan some time ago. But for those not quite down with Hella, this EP is an interesting diversion. The duo took a few of their songs and recorded acoustic versions of them. A simple concept that's actually quite entertaining. Hearing the band take on their loud, intricate material in a stripped down setting is fascinating, and it helps to highlight just how talented and complex their material is. Plus, the songs are even more insane sounding. Just check out the 'unplugged' version of "Cafeteria Bananas" and tell me that there's nothing insane and complex about what they do. My personal favorite would have to be "Woman of the 90's," but, really, I've enjoyed the entire EP—and I don't even like Hella! (5 Rue Christine)

Alias & Tarsier's Plane That Draws a White Line is a nine-song remix collection built upon songs from the duo's debut album, Brooklyn/Oaklyn. For those who might not have heard the album (or who were slightly disappointed by it), then this is "EP" almost serves as an alternate album in its own right. Though Alias might be known for experimental hip-hop, what he and Rona Rapidas (AKA Tarsier) have created is more akin to straight-up trip-hop, not unlike the better moments of Massive Attack or Portishead. While moments like the title track remix by Boom Bip, the new song "Sleepy," or the funky Odd Nosdam version of "Ligaya" might up the pulse just a tad, the overall sound of the collection is mellow. Very mellow. Rapidas's voice is extremely seductive, especially on "9:24 Cigarette" and "Dr. C," and Alias's acumen with creating erotic yet gentle beats creates a record that is one of the more impressive records released this year. For those who weren't necessarily won over by the duo's debut album, this collection will make you want to reevaluate their collaboration, for it is a fascinating record and an album in its own right. (Anticon)

I really don't know what to make of Xiu Xiu's latest EP, Tu Mi Piaci. It's a cover record, and though it's intriguing in some of its choices, some of the songs sound…tossed off. The covers of Nina Simone's "He Needs Me" and Nedelle's "Blueberry Mine Shaft" are quite beautiful, and the cover of Bauhaus' "All We Ever Wanted Was Everything" isn't bad, but it's not Steward's best. The Pussycat Dolls' "Don't Cha" should never have seen the light of day, and will people please stop covering "Kangaroo?" It's trite. Still, for Xiu Xiu's track record—one that isn't always consistent in quality--Tu Mi Piaci is a pleasant yet not particularly substantial diversion. (Acuarela Discos)

The Sharp Ease's latest record, Remain Instant is a collection of fine indie-rock, power pop, and just plain good songwriting. These ladies have been around for a while, but this is my first introduction to them, and wow, what a great band this is! Though there are comparisons to be made to other bands, their sound is one that is simply their own. I like the roots-vibe of their music; I mean, really, "Hands" rocks, but there's an earthiness to it that makes it even more pleasant. But when they want to be loud and raucous, they can; just dig the crunchy guitars of the title track or "Peoplewich," you'll be convinced that this is a powerful live band. This record is simply, utterly fun. (OlFactory)

5ive's latest EP, Versus, collects two songs, "Soma" and "Reso-1," from a split EP with Kid 606, coupled with two remixed versions of "Soma" by noise guru Justin Broadrick, aka Jesu. The songs—and their remixes—all follow the same formula: loud, heavy, dark, and long. (Well, not the first track; it's less than two minutes long.) Are the songs really that distinguishable? Not really. But try not to think of it like that, because taken together, the record flows almost seamlessly, the rising and falling guitars and noise sounding not unlike a day by the sea. Sure, the sound might tire some listeners, but maybe that's the point: loud music that seems violent can actually be quite beautiful, rewarding, and ultimately, relaxing. If that's the case, then they've proven themselves quite well. (Tortuga Recordings)

What Made Milwaukee Famous "Trying to Never Catch Up"

We reviewed this record way back in 2004, when this little album blew us away. It's since been reissued by Barsuk. I can't really add anything to what I've said before, so I'll just repeat it again:

Hmm, let's see: "What Made Milwaukee Famous." Another band from Austin, Texas. Another band with a bulky name. Another band that's mixing up elements of all different genres and creating their own sonic smoothie. Another band who's releasing their own music and giving the concept of independence a good name. Title taken from a Rod Stewart song. Could it be any good? Could it possibly exceed my expectations? Could it be a radically wonderful record that comes directly out of leftfield and then goes right back?

Yes. Yes. Yes!

This little band from Austin, Texas, has surprised the hell out of me. The first few seconds of "Idecide" had me thinking 'electroclash.' By the time we get to song two, "Mercy Me," I'm thinking they're doing the DC/Dischord/ postpunk thing, but then lead singer Michael Kingcaid opens his mouth, and he's got a slurry vocal swagger that sounds a bit like Morrissey and no one else. "Almost Always Never" then turns around and sounds like a sweet Jeff Buckley outtake. "Next To Him" then sounds like the Shins! Now, repeat this over the rest of the record, and you'll still not completely have them described.

Do you get what I'm getting at, folks? What Made Milwaukee Famous never ever ever sits still. You're never ever gonna pin Trying To Never Catch Up, so don't even bother. They go from loud to soft to sensitive to detatched quite quickly-and, it must be said, quite effortlessly. Such stylisitc variety might be the death of some bands, but like their local neighbors Single Frame, What Made Milwaukee Famous can pull off such a feat without ever once seeming like a bunch of indie-rock dilettantes. Perhaps they've learned the secret: if you slam your listeners with the best of all possible things, it's to your benefit, and you'll prove yourself to be the smartest kid in the class for it.

Try as I might, I've found it's impossible to pin down what What Made Milwaukee Famous sounds like. It's melodic, it's smart, it's intelligent, and it sounds like everything you probably like and nothing you've probably heard. Is this review a sign of lazy journalism on my part? I don't think so. Do I hope this review is the start of a beautiful relationship with this record? Heck yes!

Catching Up with Silber Media

This weekend was hot, sultry, steamy, stormy, rainy, gray, depressing, and utterly wonderful. I spent the weekend catching up on many of the wonderful new releases from Silber Media, a label that specializes in music that fits the descriptions mentioned above. In a way, their style seems to be the crossing point between the esteemed experimental label Kranky and goth/darkwave innovators Projekt. Sure, you might not be familiar with most of the bands on the label, but please don't let obscurity be a barrier to experiencing these wonderful records....




Plumerai is a bit of a different kind of band for Silber, in that it's a pop band. Okay, it's a pop band that's more influenced by Portishead, The Sundays, Lush, and other bands from that early-90s Britpop era. Not that they're Britpop, but they've definitely got that sexy, moody sound thing down. Res Cogitans is a four-song EP, but those four songs are so substantial and meaty, you're left both wanting more and feeling quite satisfied. I really, really dig the sexy singing style of Elizabeth Ezell. All four songs are interesting, and all of them are new favorites, but I really dig the seven-minute "Avernal" and the shimmery, should-be-a-hit "Illuminata." Great music, and hopefully the promises delivered here will be followed through next year with their forthcoming LP.



Alan Sparhawk's solo debut, Solo Guitar, is, indeed, a true solo release, as it only features him playing, well, solo guitar. This no-frills concept is also a no-frills collection, with songs that glisten in reverb, noise, and drone. Musically speaking, the music found here is not unlike the music found on Low's former label Kranky. Truth be told, the record contains two extremely long compositions, and the rest are short, brief numbers, but those songs are just as good, such as the opening "How The Weather Comes Over the Central Hillside." This is true ambient music; it simply falls and fits into the background, and you can easily forget that you're listening to a record while listening to it. It's also a very, very narcotic record; it's easy to slip into a woozy state while listening to it. Is that a good thing? Is that a bad thing? It really depends on your point of view. Personally, I love it, even if there's really not a lot to say about it.




Goddakk is the project of Plumerai's Martin Newman, but it sounds nothing like Plumerai. monuments to a lost age a complex collection of dense, electronica-based compositions. For music that is seemingly difficult, it's also amazingly easy on the ears. The songs appear to be a blend of loops and guitars and synths, and even though the music is dense, there's a pleasure to be found within the soundtrack-like songs inside. Comparisons to bands like Aphex Twin and Coil are not without merit, though Goddakk never gets as weird as either. Best moment: the wonderful, Robin Guthrie-esque "Opened," which, appropriately, opens the record.




Vlor is Silber's This Mortal Coil-like supergroup, featuring members of the roster in collaboration with label head Brian John Mitchell. Joining him in the jam-sessions are Rivulets' Nathan Amundson, Jessica Bailiff, Aaartika's Jon DeRosa, Remora's Jesse Edwards, and Lycia's Mike VanPortfleet. The music found on a fire is meant to burn is mostly instrumental, all guitars, and fits nicely between the folk/rock/drone stylings of the collaborators. At times the music is rough, such as on "Houses Not Homes" and "New Machine," other times, it's extremely hypnotic, such as on "Wires" and the rare vocals of Bailiff on "Suncatcher" makes for a nice treat amongst the focus on instrumental acumen. This is mood music for the thinking man; it's never too dull, never too flat, even though it is mainly an instrumental collection. Best moment: the gorgeous ambience of "Days Like Smoke," where Mitchell and Mike VanPortfleet turn in a Lycia-like soundscape that's extremely lush and utterly beautiful.