Category: Interviews

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Interviews

Paper Rival

I chatted with frontman Jacob Rolleston the day after Paper Rival’s Bamboozle performance at Giant’s Stadium in New Jersey. He filled me in on how the band began, their debut full-length album due in stores June 3, and the stories behind some of his songs, one of which came from a box of old letters between his great grandparents when his great grandfather was stationed in Germany during WWII. Read on for more of the interview and check back in a few days for the audio format of the interview. Be sure to check out Paper Rival on MySpace and if you like what you hear, go pick up a copy of their album Tuesday!


Tell me a little bit about Paper Rival. I read that you guys started as two separate bands at first.
Yeah. The guitar players, Patrick and Brent were in a band together in Nashville, a prominent local band, and I was in a band in Chattanooga. My band from Chattanooga went to Nashville and Patrick actually recorded my former band’s C.D. We just weren’t super happy with what we were doing and the timing just worked and Patrick and Brent came to where I worked with our old drummer and said, “Hey, do you maybe want to start a project.” And I said, “Yeah.” And that’s pretty much it. It wasn’t really too out of the ordinary from a lot of band’s experiences, just taking members from several bands and kind of adding.

And you guys have a new record coming out soon.
Yes we do. Dialog, June 3.

How was it recording Dialog? Did you go into the studio having a concept for it?
You know, there wasn’t really a concept, necessarily. It was actually everything but that. We learned that we had to change our band name as we went into the studio last year in March. We actually went into the studio in February and started recording and then we did South by Southwest in ’07 and we had to change our band name there. When we came back we got a lot more focused and were thinking that by changing our band name it would make it easier for us to change the style of music and our writing. It actually made us a lot happier, so recording was anything but a concept. We just we went in and luckily everything came to be how it is and we’re really excited about it.

What was the whole thing with your name change? Did some other band have it?
Yeah, there was a Canadian band that had the name. They weren’t jerks to us really. We would get mixed up in press and they made it to iTunes first and that’s such a huge market that we couldn’t really afford to not be on iTunes. It was just kind of like, “Let’s just change our name now. We don’t have a full length out; we can afford to do it right now.” It was a decision on our part and to make it a little easier for everybody.

I read that “The Kettle Black” was based on letters from your grandparents. How did you go about finding those and writing that song?
Yeah. They were letters from my great grandfather to my great grandmother from World War II when he was stationed in Germany. He was in the air force. I was looking for inspiration. A long time ago, when I was 11 or 12 and my great grandmother was getting older, I kind of knew she was going to be put into a nursing home. I understood, I guess, that families fight about certain things they want from their great grandmother’s house, like family heirlooms and things like that. So I just took everything I thought that I would want in the future, that my family would want. A shoebox of letters was one of the things.

I was looking for inspiration and the whole theme of the album was building around this family/friends type of vibe, the lyrics I was writing anyway. I just kind of went into that old shoebox full of letters and was amazed at how the problems that they had when he was gone in a war, which I can’t even imagine, are some of the same problems that I’m having today. He’s in a war and he understands what he’s doing and I’m out touring and I understand what I’m doing, but none of my family and friends really. They’re like, “Why are you doing this? Come home, hang out, get a job.” And it’s the same. My great grandmother is saying then, “Come home. Why are you over there, fighting all the time?” It’s all the same problems, just having to deal with it while you’re gone. It’s kind of that mentality.

Did you write all the lyrics on the album or is it a group effort?
Pretty much. There are a couple of songs where Patrick had guitar and lyrics to and there were some that just fit and I didn’t want to change. Sometimes you’ll get a singer that’s kind of selfish and wants to write all his own words and I tried to fight that because I think anyone is really partial to what they’re saying all the time. You kind of feel like you want to be the only lyric writer, so I just fight that because I know that a lot of times what somebody is saying is sometimes better than how I can say it. So I try to see it that way. So sometimes Patrick will write something and I may write a little bit or change it to make it sound like it’s from me and sometimes I’ll have words and Patrick will say, “That doesn’t sound like you” and change it.

Do you have a favorite song on the album?
My personal favorite is probably “Bluebird.” I like the arrangement and the old music in the song is really good. I like the way the song came about, how randomly the song came about. In my opinion it’s the most beautiful song on the record.

I really like the lyrics and musical accompaniment in “An Easy Belief.” What was the inspiration behind that song?
I know in my family, there’s a lot of self medicating on both sides. On my dad’s side there’s this whole thing about living forever and wanting to go into some type of heaven forever, an eternity. On my mom’s side, she just self medicates and doesn’t necessarily believe she’s going to live forever. Why do we as humans do tons of the bad things we do and think we deserve to live forever? There’s so many other species on the planet that deserve to live longer than we do and it’s basically saying that.

How would you describe your music to someone that’s never heard it before?
I heard Patrick say in another interview that it’s like 90’s alternative rock indie music with a folk twist. There’s definitely an organic element about it that isn’t just rock and isn’t just indie or isn’t just alternative music that keeps the music grounded.

What are your hopes for the next few years?
Personally, I’d love to take small steps. I like that we’re on a label and we’re surrounded by people that believe in us and people that understand that it takes time if you really want to do what you’re doing and do what you love. Sometimes it just takes time to get there and that’s better. We want to really have a nice fan base and care about our fans and care about people who come to see us. We want to take small steps towards hopefully a big future and a long future and a long career. That’s my hope, just to continue doing what we’re doing.

I read that “Keep Us In” was inspired by an election in Nashville on the gay rights/marriage issue. Obviously it affected you a lot.
It’s just like, what year is it? I think for all of us in the band, and tons of people in the city and surrounding areas, a lot of people felt the same way. Its 2007, you know? Now it’s 2008, but it happened in 2007. It’s totally people who are living based on what their grandparents and great grandparents thought and not living and creating their own opinions and how embarrassed I am of people like that, just on any subject. Be a progressive thinker, don’t just sit and muddle in your old grandparents opinions, just closed-minded opinions. That’s kind of where that song came from. The core of it was definitely was that, but it’s more universal, just about people in general, self-centered, and close-minded people.

How do you feel Paper Rival is different than the other upcoming bands out there? What will make people want to come and see you?
Well, that’s what we are. We’re just people. We’re not doing anything, we’re playing the music that we want to play and that, I think, is different. There are bands that play the music they want to play and love what they do and there are bands that don’t play the music they want to play and love what they do. I think we’re different in the way that we’re the same person before we get on the stage as we are when we get on the stage and after we’re off the stage. We love being in the crowd and talking to people and really, all of us, love engaging the crowd and people that like our music.

For more on Paper Rival check them out on MySpace.

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Interviews

Priscilla Ahn

A few posts ago I introduced you to singer-songwriter Priscilla Ahn. Just last week Grey’s Anatomy featured one of her songs from upcoming album, A Good Day, on it’s season finale. I’m hoping to post a clip of that segment soon. In an email interview with Priscilla, she filled me in on her transition into the music industry, her recent Hotel Café Tour and hopes for the future. Read on for more of the interview and be sure to check out Priscilla’s debut album, hitting stores June 10.

Did you grow up thinking you would be a singer? Do you remember the day you said to yourself, “This is what I’m going to do”?
I grew up thinking I’d be an English teacher. I guess, the day I decided I wasn’t gonna go to college is the day I knew for sure I wanted to really try making some sort of career out of singing and songwriting.

You moved from Pennsylvania to L.A. to pursue music. What prompted that decision and how did you adjust to everything?
I visited L.A. with some musician friends from Philadelphia. We were on a songwriting road trip. As soon as we drove into Los Angeles, I fell in love with the place. One month later, I was on the road solo, driving from PA to CA. Amazingly, at 19, I feel like I adjusted alright. I was never really homesick. I learned the streets pretty fast. I met people pretty fast. I guess I saw the whole thing as an adventure where I couldn’t lose, and totally dove in head first.

Do you feel the move paid off?
Definitely. If I’d have gone to college, or just stayed in Pennsylvania, my life and career would be nowhere near where it is now.

What has been the biggest struggle for you?
My biggest struggle I think has been finding myself musically. Being a young girl I had anybody and everybody telling me what songs should sound like. It took me about a year or two to figure out that I hated writing songs the way all the songwriting magazines and crap were saying you should. I knew I was different from that, and I didn’t like my creativity living in a box. So I tore the box down and wrote less-structured songs that were fun to sing.

I saw the NYC date of the Hotel Cafe Tour at Irving Plaza and really enjoyed your performance. Was this your first tour with all the performers? How did the tour go for you?
This was my first tour with all the other performers, except for Cary Brothers, who brought me on the road last summer, which was a lot of fun too. I had a lot of fun on this tour too, granted it was only five or six dates, but they were in fun cities. The crowds were so great at all the shows, I’d definitely do it again.

Do you have a favorite song to perform?
It depends. I enjoy playing pretty much all my songs, which is a good thing I guess. Sometimes my favorites to play are the ones I don’t get a chance to play that often, and for some reason, the day of the show I decide to play it because I really need to. Those become the most satisfying, because it served a purpose for me.

I really like your song, “Wallflower.” In one of your press kits you said it was about when you first moved to L.A. and were basically a wallflower at all the parties. Has L.A. gotten better since you wrote the song?
Yes. I’ve become a little more outgoing for one. Not so aloof. Also, the parties have gotten better. Those parties were filled with a bunch of people I didn’t know, or want to know. The parties these days are more of get-togethers and dinners with good friends where we play games and stuff.

How was the process making A Good Day? Is it everything you imagined recording your first album would be? Did you go into the studio having a certain concept for the album?
The process was extremely educating as far as creative group dynamic in confined spaces go. I learned to really work with people. I was never very big into working in groups growing up. I had no idea what recording my first album would be like. I’d hoped it would be as easy as making my EP was, but it was a little different, a little more involved, and the stakes were a little higher. I don’t believe we had a real concept for the album going into the studio. We were very much like, let’s play the songs and make them fun and beautiful.

How did you decide which songs to cover?
My friend Gus Seyffert, who was a big part of the whole recording process, suggested both songs to me. “Masters In China” is a song his friend Benji Hughes wrote. I fell madly in love with the lyrics and the body of the song. Gus found “Opportunity To Cry” on an old Willy Nelson demo. Again, the lyrics were heartbreaking and also sort of sassy and funny to me.

Do you write all the music and lyrics to each song? What is your typical writing process like?
I do. I’m starting to co-write with people too, which can be really fun and rewarding too. Typically, I’ll stumble on a chord progression that in turn will evoke the first line of lyrics. Usually whatever will float off the tip of my tongue, and then I trust that whatever that first line is about, is what the song is supposed to be about, and I just go with it from there.

What are your plans for the rest of the year?
I’m hoping a lot of touring, and at the same time, a lot of time for writing. If I can maintain the lifestyle of have doing what I’m doing right now, that’d be pretty awesome.

For more on Priscilla check out her MySpace.

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Interviews

Taylor Carson

I love going to concerts and discovering up-and-coming musicians, pretty much the reason I started this blog in the first place. A few weeks ago I chatted with singer/songwriter/guitarist Taylor Carson after his performance at Sullivan Hall. He filled me in on his music and how it all began as well as shared some interesting stories of his early days and contacts, including Tommy Hilfiger and producer John Alagia (John Mayer’s Room For Squares, Jason Mraz’s Waiting For My Rocket To Come). While his most recent tour just ended, be sure to check out his MySpace or website for future shows and take a listen to his tunes, I think you’ll like him. Let me know!

How did you get involved in music?
The story is that I was a golfer and I wanted to pursue golf as a career and I hurt my back. I had just started to play guitar so I needed something else to focus all my energy on. I was playing golf every day. I wanted to play it in college, pursue it as a career, be a pro or whatever and I couldn’t anymore. I picked up a guitar and it was very convenient that I didn’t have to use my back so much. I learned some chords and rather than learning other people’s songs I started singing. I always loved singing and the guitar gave me a reason to sing rather than being that guy who’s the awkward guy on stage singing, which is what I never pictured myself being. I still don’t know if I could do that without guitar. It’s fun to sit in with friends’ bands for one or two songs, and I’m just singing, but that would never be my thing – like Maroon 5 guy – without an instrument.

Do you usually have a backup band?
I have a band. There’s a bass player and a drummer. I just put out a solo CD, but my first CD’s were full band. Tonight in particular, they wanted a solo acoustic guy and conveniently enough I have a solo CD out now so it gave people a taste of what’s going on with that CD.

Do you enjoy playing solo better?
Honestly, it depends on my mood. Tonight it was cool. There are definitely moments where you don’t know if you’re getting through to the crowd and you want to look to your friends beside you, and be like, “We’re in this together” type thing. But I do also like the freedom of being able to stop dead in a song and start talking to people or just go off on a tangent or tell a story. With a band, it’s more like, stay inside the box type thing so we all know what’s going on.

So what do you do when you feel a weird vibe from the crowd?
You just have to keep your confidence about you. I’m the one in the spotlight. Even if you’re feeling low, you just have to come across as being unaffected by what’s going on in the crowd, even if you’re being heckled. Say I’m being heckled, that’s just that one person. There’s still maybe someone else who’s silent and is really taking that in, what I’m doing, in a positive way. I just try to think of stuff like that, it might not be related to that one person that’s yelling at me. There are other people that will hopefully take it in and that’s what I try to get across.

You’re doing an east coast tour?
Yeah, next week is the end of it. I was touring the majority of the beginning of this year. Now we’re changing booking agencies. I teach in a music school when I’m home in Maryland, which is 20 minutes from where I live in Virginia.

I didn’t realize how hard touring is.
It’s fucking exhausting. You’re in a van constantly traveling, eating at rest stops, it’s very tiring. But it’s amazing. There’s something about packing my bag and leaving. Something about the word leaving makes me feel so comfortable. Just packing my van, shutting my door. I know I’m out to do something. I’m leaving for a little while and I’m going to try to make something of this little journey. Hopefully it turns into a big journey.

How do you prepare for tour?
You don’t really. I don’t. Until I leave I just do my normal thing, gym, type stuff every day to keep healthy. When I’m home I don’t practice that much because I’m teaching so often that I’m playing the guitar for six hours straight with kids so that’s keeping my hands fresh. When I get home I don’t really go to the guitar, unless I have an idea, I’ll be like to my friends or girlfriend, “I can’t hang out tonight, I’m working on an idea.” Then I’ll bring the idea to them and be like, “What do you think?” My friends are brutally honest and so is my girl. She’s become a great judge of what will work and won’t and it’s fun to throw her ideas in and we have arguments about it. I’m like, “Well, this is what I think” and then she’ll say something and I’ll be like, “Guess what? It’s my song.” There’s a lot of time where I take what she says.

How long have you been playing guitar?
I started playing guitar when I was 17 and I’m 26. So I’ve been playing for nine years and change. When I was 20 I was living in Nantucket and that’s when I was playing gigs all the time, so six years of being a musician I guess.

Why did you move to Virginia?
I lived in Nantucket when I was 20 and I became friendly with this guy who works in the entertainment industry who is good friends with John Alagia. He’s a producer for [John Mayer’s] Room for Squares, Jason Mraz’s Waiting For My Rocket To Come. So this guy is good friends with John Alagia and when I was 20 John Alagia came out July 4th to meet me and I worked with him on some songwriting stuff and I also met Tommy Hilfiger that summer. I would play at Tommy Hilfiger’s house and he was like, “Don’t go to D.C., come to New York.” So I went to Columbia Records, the Sony building. I was 20 and a fish out of water and I’m glad nothing ever happened with that because I would have burnt out really fast and nothing would have happened. I’m glad that I’m working at chasing it this way.

Basically nothing happened with those Tommy Hilfiger meetings. I didn’t have a place to live or anything, and this guy was like, “I’ll give you a place to live and a job until you get your feet on the ground.” So I was working at his advertising agency when I was 20. I lived in that house and he was gone all the time. It was a pretty big house, all by myself. When I was 21 I moved out, got an apartment and I’ve been there since I was 20. I didn’t have anywhere else to go. My dad gave me the boot. He was like, “Alright, enough is enough. I hear you singing these songs in your room all the time, get out there and play them for someone.” I thank him all the time. “Thank you for getting my ass in gear.” So that’s how it all started and that’s how I ended up in D.C.

Have you kept in touch with Tommy at all?
No. I met his daughter and then we went over and I met him. It was a fast world. It wasn’t for me at the time. I don’t know if would be for me now either.

Do you regret any of it?
No, not at all. Definitely not. That’s thrown in your face, you just go with it. It was cool. I was hanging out with Tommy Hilfiger. I was like, “I love your clothing. You like my songs, this is awkward.” I went to his fashion show in Bryant Park. What do I we
ar to a fashion show? T-shirt and jeans okay? You can’t be that guy wearing Tommy Hilfiger clothes to his fashion show. You have to be wearing some rival’s clothing. I’ll wear all Calvin Klein. It was so awkward. I was 20, I didn’t have nice clothes. I don’t know. I wore tight gray jeans and I don’t remember what shirt I wore. The girl I was talking to at the time, she was like, “Wear those gray jeans that are tight.” I was like, “Alright, I’ll try them out.”

So you were working with John Alagia?
Briefly. Nothing major. I met him and we hung out for a couple days. He guided me in the right direction in terms of songwriting. I was so new to it and it was so huge for me to be in the presence of him. I don’t have any regrets, you just have to learn from all of it.

So how have you kept it all up?
Just playing and writing, just keeping it fresh. My first gig was when I was 17, I opened for Dispatch. And then it came complete full circle, now I’m managed by the guy that manages Brad from Dispatch. I know Brad through my manager. From 17 to 20 it was just writing, writing, writing. Kind of slacking off, definitely. You grow from 20 to 26, in any career. You start to buckle down and take it seriously. I wish I had taken advantage of situations when I was 20 or 21 and not be like, “Eh, I’d rather go out drinking.” Now its like, “Alright, I need to play this because I want to and it will be really good for tomorrow.” I still want to have fun, but at the same time this is my job. If I want to watch it blossom I better buckle down a little bit.

What is your writing process like?
It’s so random. There is no process. It generally starts just noodling around on the guitar and I’ll just start humming or something. A lot of times I’ll start singing different ideas until I find that one line that sticks out to me and then based on that one line I build the song.

This song called “Fly” on my new CD, there was a line “I can only be told so many times to change my ways” and then it turned into more of a scat type thing. And the line morphed into “I can only be told so many times to change my ways/I mean to say/I’ve been portrayed as a fool who lost his way/It may be strange but that’s just me/If you look closely, stayed by my side/It’s possible to see the steady heartbeat of a wise man in disguise.” Basically saying to all you doubters of what I’m doing, to all the people who were, like I was slacking off, when I was admittedly. It’s like, “Alright, I accept that, look at me now, I’m doing ok.” Then it goes into that chorus. No matter how serious it gets, it comes to the chorus and its still fun.

Why did you dedicate “The Whiskey Song” to your parents?
My stepmom loves that song. She’s like, “That’s going to be huge with the college kids.” I’m like, “This song is about whiskey, yes it’s for my parents.” It’s funny, my siblings will tell me, “You know she really loves that song.” I’m like, it’s about drinking heavily and losing a girl and drinking whisky to get over it. It’s like my attempt to be a country singer in a way. I don’t even know what type of song it is.

How would you explain your music to someone who has never heard it?
Honestly, I always say death metal [laughs]. The comparisons, it’s always Jack Johnson, Dave Matthews, John Mayer. I always get those. Obviously, I want to be my own thing, I don’t always want to be pigeonholed. It’s not a bad thing to be compared to those widely successful men. I read an old article on Dave Matthews in Rolling Stone where they were saying he sounded so much like Sting. I was in this antique store and they had old Rolling Stone magazines and I was just looking through and I saw Dave Matthews, a little blurb on the cover that said Sting. I was like “What?” Alright, he went through it as well, it’s not just me.

Do you have a favorite song you like to play?
Honestly, right now “Ob-La-Di, Ob-La-Da” by the Beatles. That’s just fun to sing. It changes all the time. It’s like a relationship; you have your ups and downs with these songs. Generally, it’s the newest song.

What was the concept behind your latest album?
I had written all these songs and my bass player went on tour with Pat McGee Band with Josh Kelley. They were on tour for two and a half months and I had all these songs. My manager was like, “You have these tunes, you’re going to forget them. Why don’t we record them?” And it was just to get them out. So I went into the studio live and recorded these, just guitar and vocals and we liked it enough to put it out.

There are a lot of breakup songs. The girl I’m seeing, we’ve been dating for three and a half years and we broke up for six months. I guess a lot of songs are really personal, but I also try to take in other people’s situations as well, not just mine. You want all your material to be relatable. But everyone goes through breakups and everyone goes through meeting new people and waking up to someone new and being like, “Oh my God! I shouldn’t have done that.” I try to be as honest as possible. A lot of honesty. That’s all I want to be given and that’s all I try to give out.

Do you ever hold back on songwriting because you don’t want to reveal too much?
No. One thing I often don’t do is getting into explaining songs too much because I want people to have their own interpretation. Even telling you that the last CD is about a lot of breakups, that’s me saying a lot. It basically is my diary, it’s seriously, completely therapeutic for me. If I didn’t have that I don’t know. Thankfully I don’t have to worry about that because that is my reality and therapy. It’s just these thoughts that go through my mind and I write them down and put them to music, it’s my escape. When I’m onstage for 60 minutes, I’m away from the world for those 60 minuets. And I get off and I’m back to the grind. There’s nothing that can compare to being up there and doing that.

What do you think about when you’re onstage?
A lot of the songs I’ve been playing so many times [and] I’ll be somewhere else because it’s just going through the motions type of thing. You just think about the most random things. I thought about how I said, “This song is about getting drunk and having sex,” and then my parents are here. You wonder if people are enjoying, there’s a lot of new people, so I’m like, “Am I getting across to them?” I was wondering, “Is someone’s working my merch table right now? Am I selling any CD’s?” You think about everything. I was thinking about my drive up and how I haven’t eaten dinner yet, wondering if Reid [Genauer] was watching my set. It’s everything. It’s like what you do when you’re doing your job, you may be doing something at the computer but you’re thinking about so many different things. I do the same thing when I’m up onstage.

What would you be doing right now if it wasn’t music?
I have no idea. I haven’t thought about that. I went to college for a year and I didn’t want to do it anymore because I wanted to play music. I haven’t thought outside of this. I’m just hoping that I can maintain and get by. Obviously the dream is to be supporting myself, just traveling nonstop. I have no idea what I would do. Maybe I would go back to golf or something like that, be a bartender? I don’t know.

Where do you see yourself in five years?
I would like to be on a tour bus, playing to sold out crowds. I don’t know if I see myself ther

e, but that’s where I dream to be. I’m going to work my tail off to get to the place where I’m just playing to as many people as possible, and hopefully people want to hear the songs. Just continuing to write. As long as I’m writing and people are like, “I like that new song.” That’s cool, that’s fine. If I can pay my bills, that’s better. I’m paying my bills now, but I would love to not have to worry about money. I’m in it for the music, but at the same time it also is my job.

Who is your dream collaboration?
Honestly, I think John Mayer is a genius. Anything that guy touches turns to gold musically. There are so many. I was a huge on Spin Doctors, Counting Crows, Blues Traveler. Ryan Adams would be super cool. There’s too many. I would love to do something with Wyclef.

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Interviews Q&A

Vince Scheuerman

Being a writer myself, I’m always curious at how a musician goes about writing lyrics to a song and if those songs are better when inspired by real life situations (do you have to be sad to write a sad song? in love to write a love song?) or just fantasy. I chatted with Army of Me frontman Vince Scheuerman while he ran some errands to the Post Office in town before their show in East Stroudsburg, PA, about writing songs and performing, the struggles of being in a band and his dream collaboration (it might surprise you). Check back in a few days to read more interviews with the guys from Army of Me as well as listen to some MP3 files of those interviews. And if you haven’t yet, be sure to check them out on MySpace and catch a show when they’re in town!

How do you prepare for a tour?
The way we that we prepare for tour is about 30 minutes before the van is supposed to leave we pack our bags, frantically looking for enough socks to get us through a week and then we stuff everything that we can possibly fit into the van. Then we figure out a way to pack all of our equipment and merchandise. We have this system for packing our van because we haven’t been using a trailer. We took out the back two benches of our 15 passenger van, there’s not an inch of space in the back of the van and we all have our bags with clothes and stuff. We did not even practice and we left late, we do this every time. We say, “Okay, we’re leaving at this time” and then three hours later we’re still there and haven’t left.

As far as preparation for tour, we don’t really do that, with one exception. I do preparations for my voice. Because when you hit the road and you’re getting ready to sing full on, every night, if you go into it completely cold, you might have a rough time with it. Every day I try to sing a few songs, practice belting all the high notes.

What do you do on your days off?
Well, today I had the day off in D.C. and I spent it trying to fix a bunch of problems in my house. We got home at five or six in the morning, went to bed and I didn’t realize that there were some people coming to replace the carpets in our house, so they woke us up and we had to vacate the premises in the morning so that kind of sucked. When I got back last week we had another day off, the gas got shut off in my house so there was no hot water, no heat and no stove so I was trying to deal with those things.

It depends. If we’re in the middle of tour and have a day off you’ll maybe sleep late, catch up on emails, watch a movie, write music, something like that. If the tour is over and we have a couple weeks off, I’ll maybe try to find a job. I was working at a hardware store in my neighborhood, making a little bit of money, just trying to pay the bills.

Do you guys have any pre-show rituals?
Actually, this tour we started a new pre-show ritual, believe it or not. About three dates into the tour we realized things weren’t going well and the sound guy from The Used got us together and gave us all these pointers. He basically gave us the kick in the ass that we needed to get on stage every night and really bring it. The second night of the tour we were getting stuff thrown at us. I got hit by a lighter, cigarette buts, coins, and whatnot. There was stuff flying on stage the entire show. We were like, “Man, this really sucks. This crowd doesn’t like us, what are we doing?” We kind of got a new attitude which was to just come out on stage every night and really try to make the audience care. When you first get on stage, they might not give a shit because you’re not the band they came to see, but hopefully if you play your songs and you mean it and you are good then they will. So we kind of got our shit together so to speak and we’ve been playing a little bit better. One of the things we do is about an hour before the show we all get together and start warming up. Everyone’s playing their own thing. It’s a place you don’t want to be ‘cause everyone’s playing something different and it’s just noisy and it makes no sense. But it helps us get warmed up and come together.

The other night you crowd-surfed into the audience and another time you jumped off the balcony. How do you know if the crowd is going to catch you?
You don’t know if they’re going to catch you, I’ve gotten dropped. One time, not too long ago, there was a pretty big crowd, pretty packed and I thought for sure they would be able to hold me up and I kept going until my back hit the floor. The other night, we were in this club in Scranton, Pennsylvania called Tinks. I, in the moment, climbed up on the balcony and was looking down, thinking in my mind, “I really want to jump, but I don’t know if they’re going to catch me.” But I went for it and they caught me! That was very good because that would have been a long drop. I was maybe 10 feet up. It’d be hard to play shows with a broken neck.

It’s just one of those things, getting into music and wanting to connect with the audience too. One thing I like to do, and try to do at our shows is to break down the barrier between audience and stage. Sometimes there is a physical barricade, which I don’t like. I always liked when we used to play shows and there was no stage at all. We’d be standing there eyeball to eyeball with the audience and I always thought that was pretty cool. For me, music is about communication. I don’t want there to be a separation. Sometimes I’ll physically walk out into the audience and sing to try to make that connection.

What do you feel is the biggest struggle being in a band?
Trying to do what we’re doing and have a career at it. The odds are about the worst odds of any career you could ever possibly have. And the amount of work that you put into it is more than any job you would ever have or any career you could ever have. Sometimes you think to yourself, “What the hell am I doing with my life?” But then you think, “I can’t do anything else, or I don’t want to do anything else.”

It’s kind of a blessing and a curse because as an artist it’s really cool to have a gift, to express yourself and be able to sing, play music, write songs and reach people on an emotional level. But at the same time, you give up other things – your stability, being confident that you’re going to be able to pay your bills next month, or knowing what you’re going to be doing a year from now. This could all end tomorrow; I don’t know what’s going to happen. There’s no stability, there’s no guarantee over anything when you’re in music. It’s kind of like jumping off a cliff and you’re not quite sure if you have a parachute or not. I’m going to do this and not look back. And that’s how you have to do it. You can’t do this rationally. So many bands, they come and go. You hear about bands that were so amazing and no one ever knew about them. That can’t be the reason for success. Art and m
usic is about communication.
If you have that passion to do it, then that’s what you’re doing and it’s sort of a pure thing.

When will you consider that you made it as a band?
When we’re on the cover of Rolling Stone magazine then I’ll be like, “Yeah, I think we made it.” [laughs] In a sense we have made it. We put out a national record, been in stores, gotten on radio, gotten on MTV, all this really exciting stuff. At the same time, I don’t even know if I’m going to be able to pay my bills next week. I don’t know if you look at success as financial success to say that you’ve made it or you look at the fact that you have people who will die for your band. Even if it’s just a handful of people, that’s pretty cool too. You’ll meet kids that have tattoos of your band, and you’re like, “Holy shit, this must really mean something to somebody.” That’s really awesome. Then you’ll look at people like Dave Matthews who packs 15,000 people into an arena, well that’s pretty cool too. I don’t know. As long as I’m still doing what I’m doing and I’m happy and I’m playing music I want to play with my friends and we’re having a good time and we’re still touching people and connecting with people on an emotional level, I’m stoked.

What inspires you to keep writing, playing songs and touring?
Inspiration comes in different form. For right now, it’s all I really want to do; it’s all I know how to do. This is my life, this is what I do. I play music and I believe in my music. There’s not really a question in my mind of, “What are you going to do today?” I know what I’m going to do today, I’m going to play music and if I have a few minutes I’m going to try and write a song. As long as I feel that way I’m going to keep doing it. The day I wake up and I’m like, “I don’t want to do this anymore,” I’ll figure something out.

What musicians do you look up to?
I look up to different musicians for different reasons. I look up to Jeff Buckley for instance, because he was such a great singer, the beauty that he captured in music was so amazing, just breathtaking. When you put on his record Grace, it changes the temperature of the room that you’re in. The beauty that is captured in that music is just overwhelming. A band like Radiohead for pushing envelopes so much and changing what they do and really pushing, artistically, their limits. A band like U2, who have tackled big, important issues in their music. I love The Edge’s guitar sound, it’s so signature, he can play one note and you know its The Edge. Bono, I like his voice, but the things they talk about in their songs are deeper issues and that’s something I can connect with.

Are you guys working on a new album?
Not officially. We’re always writing new songs, but we haven’t begun a new album yet. I feel like the current record, Citizen, isn’t done. Our record still has a lot of life left in it. This record I really love so much and I’m really proud of the songs and the lyrics and what it says. We have that one song, “Going Through Changes” and the video, and it gets played on the radio. This record is more then just one song and I think there are a lot of people that haven’t heard it yet. I want to keep working this record for a little while and hopefully have more people check it out.

Do you feel you have to be depressed to write a sad song or in love to write a love song?
Different things inspire songs. I think if you’re sad it helps writing a song, to put what’s really happening when you’re sad into a song. Things that you might write in a song, since you’re feeling it, it might be easier [to write]. Since you’re feeling it you know how to express what it feels like. You don’t necessarily have to be sad to write a sad song or in love to write a love song. I tend to write about what’s happening in my life, what I’m going through, what I’m learning, how I’m growing, all those different things.

The experiences you write about, if they’re real, do they come out better in the songs?
No, not necessarily. In order to write a song you have to have experienced life. To be a compelling songwriter, you have to have experienced something. If you’ve never gone through anything hard in your life then you can’t really write good lyrics about going through something hard. Having had that experience of going through something hard, you don’t have to necessarily be sad at that moment to write because you know what it was like to feel like that, even if you’re not feeling like that at that time. So, to write a song about being in love, you have to have been in love at some point.

Are there any songs that you sing later and they lose meaning for you, either after singing them so much or if you’re at a different point in your life?
No, they don’t necessarily lose meaning. They’re always about what they’re about, but sometimes they take on new meanings when you go through other things. Sometimes I’ll be singing a song and I’ll be thinking about something else that’s going on in my life and I get into that aspect of the song, like its describing something else or I make up new meanings for what it is. Songs are cool like that; they can be interpretive in different ways.

Who would you want to collaborate with?
I always thought it’d be cool to collaborate with Rufus Wainwright. I love his music and his voice. I wouldn’t mind collaborating with Carrie Underwood on like, making a baby. [laughs] I have to be careful because I only get one shot at this. I have to figure out who my idea celebrity girl would be. Sienna Miller. She is so beautiful to me, I think she’s perfect. I don’t know anything about her personality though. I kind of live in a dream world. I’m an artist; I kind of live in an alternate reality sometimes.

What do you love about music?
Initially, I started playing music for all the wrong reasons. When I was a teenager I thought it’d be cool to be famous, be a rock star, meet lots of girls and be rich, like all the guys on MTV. I think over time, growing up a bit, it’s not about that anymore. It’s kind of a search, in one sense, to find beauty, to find meaning, to express myself and to communicate with other people. Music, the way it makes you feel, there’s a certain power in music. It’s amazing. Music has had a big impact in my life. When you get to that place in music where you’re making music and you get that feeling, it’s a great feeling; it’s kind of like a drug in some sense. That glimpse of beauty, that glimpse of how it makes you feel, its a little taste of heaven. Ultimately, if we can communicate that feeling to other people and other people can have an experience that’s meaningful to them, to me that’s what it’s about. If our music can lift up somebody whose feeling pretty low, that’s really awesome and that’s what I hope our music can do.

Did you think growing up you’d be in a band, touring across the country?
No, never. Never thought I’d be in a band. I didn’t really get interested in pursuing music seriously until I was in college. I never thought this was going to happen, it was kind of a fluke that it did. A friend of mine that was in another band invited me to try out for his band to play guitar and I was like, “Dude, I’m awful at guitar. You don’t want me in your band; you don’t want me to bring your band down to that l

evel.” And he’s like, “No, man, we’re just having fun, its cool.” So I tried out for his band and I really liked it, and I fell in love with being in a band and from there I started this band with Dennis and the rest is history.

Categories
Interviews

The Used

As promised, here’s the first of many interviews to come from the “Get A Life” tour. My friend Wendy (concert photographer extraordinaire) and I were lucky enough to talk with Jeph on their infamous tour bus. Jeph chatted with us about touring, the truth about groupies and their upcoming album, which he says is “the record of records.” The interview is a bit long, so feel free to come back and read, it’s not going anywhere. Check back later this week for more interviews with Army of Me as well as MP3 format of the interviews!

What’s it like being on tour? How do you prepare for a headlining tour?
This one run right now, isn’t really a headlining tour. We wanted to hit a bunch of spots that we hadn’t been to yet. It’s kind of an out of the way, off set tour. We’re not hitting any major places. We’re going to the little guys and going around because we still have fans out there. I try to get all my stuff in order at home. Just make sure I don’t have anything left at home. For me, going on tour is more like going back home. I feel more at home on tour. I don’t feel as weird. Maybe it’s because the past eight years of my life have been on tour.

How long have you guys been together?
The band started, I want to say, the beginning of 2001. We had a different drummer for the first two records and he left. Dan, he’s our newest drummer, he just got here about a year ago, so he’s been with us for a year now. Yeah, originally it was four of us, again. We’re kind of all the other dropouts of all the other bands on the scene. We’re kind of the black sheep of the whole Utah Valley scene cause we’re not even from Salt Lake, we’re like an hour south of Utah Valley. We’re little town boys.

Even worse, not only are we the drop outs, we also would get kicked out of every show we’d play originally. Random things would happen, it was all just blaming it on us because we were the heavy band at the time. We were the outcast band, so no matter what Bert did, it was scary. Bert’s always been like that, unpredictable kind of dude.

You guys don’t get kicked out anymore, do you?
They do. We’ve been kicked out of places still. Quinn got kicked out of our CD release party, he was either pissing on the floor or he was breaking beer bottles on something. Yeah, things happen.

What do you love most about touring?
Being on tour I feel like I can get away from everything, like all my worries. Anything I have that’s been bugging me and bumming me out is gone, because what I’m doing right now I love. This is my favorite thing to do – be on tour and play music. We’re kind of finishing up a record right now on tour. Everything about it is great to me. Waking up in a new city and not knowing where I am for a couple hours, meeting new people, I love meeting people, even though I’m a little shy sometimes. I’m great with faces, horrible with names. I’ll remember kids I meet at one show for years. Not all the time, but if they change their hair, it’ll fuck with me.

Do you have a favorite city you’ve played?
It changes everywhere. Australia is a great, great crowd. Japan is always a great place to go. The kids there are insane. Every time we play there it’s the weirdest/best crowd. We just played Chile and that was the best show by far. It was our first time there and there were kids waiting at the airport. There were like 300 kids there. They were pulley too, like grabbing your arm, your clothes, your hair. It was pretty scary. Once we got to the venue, kids were waiting at the hotel with a big sign they made so you could see it from the hotel room. At all times there was at least 20-50 kids out front of the hotel. They opened the doors six hours before we played because there were 2,000 kids in the street trying to get into the venue. Loudest show we’d ever played. They were in there hours before we played, just waiting and pumped and screaming at everything, it was crazy. If you look up videos online of it, it’s insane.

How about the U.S.?
Utah’s always a great show, it’s going home. But hometown crowds are always the same thing, love/hate. Either people love you because you’re from Utah, it’s a pride thing or they hate you because they don’t think you deserved it, you didn’t work for it, you didn’t do anything for it. But we worked our asses off.

How do you deal with it?
You can’t really care what anybody thinks. At the end of it, it’s all about if you love what you’re doing and you’re doing a good job. If nobody likes your band and you’re happy with it, who cares, you’re happy with it. If you make 10 kids happy, those are 10 kids you just made happy, so cool.

What would you be doing if it wasn’t for the music?
I’m a traveler. I like traveling and going around and visiting. I would probably just save up and travel if I could. The lucky thing is I can actually travel being in a band, so it’s cool it works out. I take every country, every place I try to go out. There’s some scary places where you’re not supposed to really, so I don’t there as much, but I still try to. I’ve seen a little bit of everything, not every place all over the world. There are still so many places I still want to go to.

Do you have a favorite song you like to perform every night?
There’s a bunch. “Paralyzed” is my favorite to play. It’s like the danciest one. That one’s really fun to play, in the beginning of it me and Dan go into some little funk, getaway grove part. That’s the funnest part of my show, that little funk jam. That song is really fun to play too because it’s dancy. I’m kind of into dancy music, I grew up loving James Brown and stuff like that. It’s got that sort of a vibe, but not quite. I like heavy stuff too, ‘cause heavy stuff is always fun to play, “Pain” is kind of an in between, it’s got this grove/heavy to hit. There’s this really cool, tappy bass line in the second verse. You can’t really hear it recorded, but it’s so much fun to play for me.

Screaming songs are fun. I like the singy stuff. There’s a lot of bands lately that have overdone the singy/screamy stuff. Bert’s a really good singer. He’s very good at piano and he has an ear, he has a really good overview, he can hear something for a song and know the biggest picture. He can see the planet. When you’re writing a song you build the continents together. He can see the planet before the rest of the continents is built. Quinn’s really good at
that too. Me, I settle with p
ieces more and I’m not so good at seeing the giant picture of everything.

Do you all help out when writing the music?
Yeah, we’re open for anything. We’ll sit and we’ll jam songs out. If Quinn’s like, “That’s cool, but why don’t you try playing this note here instead of this one.” I’ll try it and most of the time it’s cool. Me and Dan will have a jam down and Quinn will play something over it and it’ll just be magic. It depends every time. There will be times it takes forever.

How do you know when a song’s a hit for you guys, or when it’s right?
You can just tell. There’s a feeling, like “Wow, this song’s great.” Right now, we have a song that doesn’t have any words to it, but it’s great, it’s my favorite song we’ve ever written by far. So I can’t wait to hear it with words. That usually makes or breaks songs. Usually, most of the time if the song is really, really cool, the words will probably wind up cool too.

What percentage have you guys been on tour/writing/in the studio this year?
We got off our last tour in November and we had a month off and we started writing in January. I went to visit some friends for a week, hanging out at home. After that we started jamming again, started writing, did that till the beginning of this tour, three months, two months of that and then we went straight to tour. The next album comes out the end of the month probably. This is going to be the record of records. I’m excited about it. I can’t wait to have the finished, because all I have is the bits and pieces, but I can’t wait for the ending, to finally hear it.

What makes it different from your other records?
We’re going to a different producer. The same guy has produced our last three records so they kind of have similar sounds almost. All of his sounds and all of the stuff that he uses, all of his equipment is the same so every time we record it kind of sounds the same, but its different songs, different feelings and different vibes. But we want it to be very different; we don’t want to be on the same path at all. We want to take a big left turn and switch everything up as much as we can, just to do something different, just to try something new because bands need to change, they need to mature. We’re not the same people we were seven or eight years ago, nobody is. Your surroundings make up who you are. Since we started as a band, every year it’s just changing constantly and changing it up. We want to show how much we changed in a good way. I think it’s very important for bands to do that. You can write songs that work, and whatever music that works, but to me you’re fake unless you’re really showing how you can change a person.

Do you guys record in L.A.?
Yeah, usually. This record we’ll probably record in L.A. as well. We’re trying to record it as fast as possible, we want it to take a month or less. We want to get to it and get it done, we want it to sound a little dirty, a little raw. The less we take worrying about details the better it’s going to sound in that sort of way. We’ll see how it sounds. It’s really hard to leave it as it is, leaving it as breathing as opposed to going back and tweaking it and making it perfect. If you just let it breathe and let it be as it is, it’s almost more difficult. That’s what the plans are, we’ll see how it works out.

What is it about the music that keeps you going – going on tour, recording?
It’s hard. You kind of have to say goodbye to everything. You have to be willing to give up everything. Family, friends, relationships, anything really is all on hold until you’re done being in a band. It’s pretty difficult. It’s difficult on your mind, difficult on everything.

How do you deal with that?
Don’t think about it. I really have given everything for this band and I would do it all over again. I don’t regret anything. It is what it is and you have to take it as . . I think you have to be a bit crazy, maybe, to be on tour.

How many months is this tour?
Oh, this tour is pretty quick, it’s about a month and a half. Longest tour I’ve ever been on was two years. There were breaks in between, like a week break and then another week break, two months, three months later. The reality of it is we didn’t stop touring, which I don’t mind. I’m happy on a bus, I’m happy hanging out with these guys. I have some of my closest friends here; I have other ones of course. It’s weird when you go back home too because it’s almost like your friends start up where you left off, it’s like you didn’t miss out on anything. A lot of friends can’t handle it, but they figure it out. It’s weird to watch them grow up in a different way, seeing them get families and get married and stuff.

Is there anything you miss most about being on tour? Your bed maybe?
I like bunks. They’re dark. You close the thing, it’s completely silent . . . well, not really silent because usually Bert’s screaming in the hallway or something. But it’s comfortable, you get rocked to sleep every night. When I came home after touring for two years straight I couldn’t sleep. I had to turn a fan on because I had to have some kind of noise and still it wasn’t right. Now it’s easier because we don’t tour as much, but I actually get more depressed when I’m not on tour now.

What are you thinking about when you’re on stage?
It’s different every time, sometimes it’s random. It depends, you never know, sometimes you’ll be so into the show that you can’t think of anything but what’s going on. Sometimes I’ll think about random stuff, like I’ll be looking at the ground and I’ll see something and think about, “What the fuck do you think that is?” Your mind wanders. It sort of becomes less you’re actually playing the song to an action. You’re sort of in the mood and in the vibe and the song is sort of playing you, if that makes sense, a little bit hippie-ish. It’s like writing is the same way, the music is flowing through you. Sometimes I’ll think of something funny and I’ll start laughing.

What happens if you play a show and there’s no energy from the crowd, how does that affect you as a band?
Oh it kills it. The crowd is half the show. I put every little bit of my life into every show. I put everything into it. Like what I was saying before, not pay attention, but I’m still completely involved in the show. I’m not gonna just play and be like whatever, “Let’s just get this fucking show over.” If you look at a crowd and they’re just standing, staring at you, usually I have to close my eyes and be like, “I can’t look at these guys.”

Most of the crowd is here to see you, do you think it’s hard for the other bands?
Oh, yeah. It’s tough, starting out too. That’s how it was for us for years. Playing in front of people who’ve never heard us before. But you have to win the crowd over. That’s sort of fun, because it’s hard but at the end it’s like, “How many people did we win over. It’s like, fuck these guys, let’s win. Let’s show them what kind of band we are and what we’re made of.” It’s really fun. If you can get the crowd cheering by
the end of the show, it shows that you won.

We’ve played some hard tours, we’ve played Ozzfest once and we’re not the heavy band. We’re a little heavy, but we’re not like Ozzfest heavy. Nine in the morning playing shows, it’s really hard to get kids into the shows. But at the end of those shows, we won over the majority of the crowd. Except the guys who were still drunk and pissed off, maybe not those guys. Now they probably like us, so whatever.

Do you guys party a lot on tour?
There’s usually a party going on the bus. I’m very moderate myself, everything in moderation is good. I guess that depends what moderate means to somebody. There’s usually a party on the bus after the show. We’re all friends, hanging out.

Do you have any pre-show rituals?
We hug each other, we get in this big circle of hug and we just kind of pump each other up and get stoked and just talk about something really quick. Sort of like, bring our own vibe together, a togetherness vibe and then go play. It’s a little gay, a little hippie.

So I have to ask about the groupies . . . is it cool to sleep with the band?
Groupies are gross. Groupies are the girls that sleep with all the other band dudes. I’m not down with that. It’s hard to meet people on tour because they either like you because you’re in the band or they like you because they just saw you play a show or they like you because it’s cool. So it’s pretty hard to meet people on tour. Although touring is pretty lonely at the same time. A lot of our crowd is mid-younger age too so that wouldn’t work out. I try to meet and hang out with our fans as much as possible, because it’s cool to meet them and stuff. It’s weird when they just come to try to sleep with the band. It’s like, “You’re fuckin’ 17. You’re not old enough.” That’s why you usually have to ID check before you bring anybody on the bus usually, because we’ll go to jail.

Relationship-wise, if you guys have girls at home is it hard to stay loyal?
It’s weird, being lonely on tour is a hard thing to pass. No matter what, relationship or not, three months alone is three months of being alone. It’s not like three months and then you’re okay. It’s constant loneliness in a way. It really is what it is. You either have a girlfriend and deal with it or you don’t and you deal with it. My favorite phrase and saying is “it is what it is.” It stands for everything. You have to deal with it. It is hard. I’m not about to go date some groupie girl. That’s fuckin’ nasty. “Which band did you sleep with? Oh cool, you wanna hang out later.” I like making fun of the groupies. Which is very fun. Most of them are pretty stupid. I mean, to want to just sleep with band dudes to make points. What else do you have going on for you, what else is your life worth?

How do you know the difference between a groupie and a real fan?
It’s obvious. You didn’t really come to meet anybody, you came to sleep with somebody. It’s fun to mess with them. We bring them on the bus and tease them, but not let them know we’re teasing them. Its fun, it passes time.

Do they really exist? Do you recognize people?
Oh, yeah. It’s really hard too, meeting people. I consider life moments, sets of moments in your whole life. Because I’m not religious at all, I don’t believe in anything really like that. I believe in moments and that your whole life is sets of these things and each little moment you capture is great. Being on tour you have select moments with people because you’re not going to see that person again or those people again for months probably. You have a day to have a moment with somebody, and that’s pretty much it. It is what it is. But moments are a good thing, you can either share moments and hang out, or you can share moments with other people on the bus and hang out. That’s why I enjoy hanging out with people, I’m all about it.

I’ll hang out with fans, but it gets weird a little bit. You’ll hang out with fans and share a moment with those guys, you’ll be hanging out and they’re super cool and maybe you’ll go get a drink at Starbucks, you and five random kids. And then next time you come through town they get mad if you don’t, which is weird, it’s like, “Sorry, man.” To them it was a big moment, but for us, we’re trying to hang out and spend our time wisely. Next time we come through town, maybe we don’t have time, maybe we’re doing press or maybe we’re hanging out with somebody else and all of a sudden they’re offended because they’re waiting for months to hang out again. I feel bad about it. I’m an asshole. I’m pretty good because I remember fans faces. There’s a lot of ups and downs.

Are there ups and downs to having really close, loving and adoring fans?
Yes. There are three types of fans that I’ve noticed. There are the best ones, which are the loving fans, that love you so much for what you do and they just love to see you and come to your show. And that’s it. That’s all they want – to come to the show, see the show and be happy because they got to see a live concert of a band that they love. Those are the best fans by far because we’re writing music for them and we’re touring for them. They’re accepting of that.

Then there are the fans that just want to meet you because you’re in a band, and that’s okay. I don’t mind, I love meeting people. But, some of those fans get angry when they don’t meet all of you and they get angry when they only meet one of you and they start getting really mad at you because they only met one. They think it’s pointless that they even came to the show because they only met one of you.

Then there are the fans that want something of yours. Your hat, your shoes, your belt. And they get mad if you don’t give them something. Even the ones that want a lot from us, they’re still good people, they’re good fans. It’s just hard to please everybody.

How do you keep motivated each night for every show?
I love playing music. For me, it makes me happy to play a show. The vibe you get from playing a show I can’t really tell you what it feels like playing a show. It’s like telling a blind person what red apples look like, it’s sort of orange-ish. No matter what mood you’re in when you go play a show, you’ll probably be in a better mood. If you have a bad show it will probably put you in a bad mood too. But you’re still probably in a better mood then being in a real bad mood, if that makes sense. No matter what, it’s going to uplift you a little bit to a lot.

Do you guys have a musical background?
Yeah, it’s different for all of us. I think I know everybody’s background. Quinn’s dad was a drummer, so Quinn picked up music easily because his dad was a musician. I think they would jam together a little bit. Quinn’s naturally good at music. When we met him, he was the best guitar player we ever jammed with. This was back in the day, he was 17, I was blown away. He was just so good with what he did. I think the first thing he learned was Lynyrd Skynyrd’s song. The whole solo from one of those songs. I think it’s the “Freebird” solo. Bert is really good at piano, he started out playing piano and taking lessons I think. He can play trumpet too. His musical background is excellent. It comes f

rom piano. Piano is the best way to start. I wish my parents would have forced me to take piano lessons. My musical ear is sort of hazy sometimes, but piano solves that whole problem.

Dan, his whole family are musicians. His dad too, is a guitar player and Dan’s a drummer so he just jammed with his dad and played with his dad all the time. Dan is definitely the best drummer I’ve ever played with in my whole life. Honestly, he’s one of my favorite live drummers, which is incredible that he’s in our band now because we used to watch his band and just watch him. I’d never seen anybody hit like that, I’ve never seen anybody play like that. He uses these thick marching sticks, they’re huge. I’ve seen him playing and he’ll break one, and he’ll pull one out and he’ll bust the next one in half right in the middle. He’s crazy, he’s an excellent drummer.

Me, my musical background’s weird because nobody in my family is a musician. I’m kind of the black sheep, my dad’s the black sheep of his family and so in a way, being a musician, kind of makes me the black sheep, even though I’m not. I picked up music, because my best friend growing up played guitar, and we always looked up to these other little, local bands that were awful, but great at same time. I was into weird music when I was a kid and I always liked bass stuff and for me bass was a calling almost. I picked up bass because he played guitar and it felt like that’s what I should play anyway. I’ll never regret that. I love bass, it’s my favorite. It was probably a good decision.

Check out The Used on MySpace to hear some of their songs and for current tour dates.

Categories
Interviews

Lost Tricks

Starting out with $2,000 and the hopes to buy a motorcycle on eBay, Trevor Oswalt’s original plan soon changed when someone else bought it seconds before his purchase. Instead, he bought an Mbox and the rest is history. Trev took some time out Friday for a phone interview with me explaining the history of Lost Tricks (which he explains as piano driven, indie-pop rock), the inspiration behind his music, and the new EP, Keep It Together. Stay tuned later this week for two tracks from the EP! And be sure to check them out on MySpace or their website.

For the full interview in MP3 format click here.

For more on Lost Tricks, check out their MySpace and website above. I’ll be posting two tracks from their latest EP later this week too.

I’m curious to know if you all like listening to the live interview instead of reading the transcription, or both. If so, leave me a comment or an email at atreuter@gmail.com. Thanks!

Categories
Interviews

Sia

I love interviewing bands, hence why I started this blog in the first place. But what I love most is how, despite often asking very similar questions to each band, some musicians can be incredibly refreshing and give very unexpected answers. Australian singer-songwriter Sia Furler is a breath of fresh air in the music industry. Her quirky answers during my phone interview with her and infectious laugh throughout made it such a delight to talk to her. (Read on to find out what I mean!)

You can find the full interview with Sia below or listen to part of my phone interview here. In addition, you can read my write-up featured on Rolling Stone‘s Rock & Roll Daily blog here. Feel free to leave comments and let me know what you think! In the meantime, check out this stream of her performing on Late Night with Conan O’Brien. For Windows. For Quicktime. She’s playing a sold-out concert at Webster Hall in NYC Saturday, March 8. I’ll be covering the show, so keep on the look-out for a full review sometime next week!

I love the colorful album artwork. Did you design it all yourself?
Well, we started out, me and my friend Eric [Spring]. I’ve been doing Apple Art on the computer for the website. I started for fun at airports when I couldn’t get wireless Internet to surf crap gossip websites. I decided to start for fun, matching art for the song titles because I felt we need a reason to sell C.D.’s. People just don’t buy music unless there’s something in the packaging that’s worth having. I thought it would be fun to do pictures, make flashcards for every song. Halfway through, because I’m an incredibly lazy fucker, I got tired of doing it, so then we engineered a competition for the fans, like 20,000 fans. It had to be cohesive with the cover, so we gave them the cover, which I did with my friend Eric in the Le Parc Suite hotel after breakfast in Los Angelis. A lot of people don’t really notice that on the cover art work there is someone who is being rained on, who is really having a bad day with a big frown. And then there is another person who is smiling but has no arms and legs. That’s what I meant when I said, some people have real problems and they’re not complaining.

How did you choose the title for your album?
We would make jokes about it all the time. During recording people would come in and complain about, I don’t know, like their coffee bang ditter or traffic, or that their cleaner didn’t do something. And I’d say, “Some people have real problems.” Like, they’re waiting for a lung or they don’t have a mum. When anyone would say a really, stupid, rich person’s complaint then we literally would say, “Yeah, some people have real problems” and it would be hilarious and it just stuck. I thought it would be a funny name for an album. And then I thought people would ask me about it a lot and if I were to get rich and successful I would remember to not turn into an asshole. But I am one, so it didn’t work. [Laughs] No it’s working.

Did you go in having a concept for your album?
No. I just wanted to make an album that didn’t really sound like it belonged to any particular era. I just wanted it to be . . . not really fashionable or anything. I wanted to make an album that had good songs and was recorded mainly live. That’s all. I had about 48 songs, ‘cause it had been a long time since I had put out my last record and I’ve been writing so much. So I just gave them to Jimmy [Hogarth] who was the producer and I said, “Could you choose the best songs?” He came back with 18 and then we ran out of money between 14 or 15 so we just ended up with those ones and then we chose the best out of those. The ones we were most attracted to, sexually [laughs] and that was it.

I don’t really have as much involvement in it. I like to just write the songs and then once I’ve written them and recorded them, when I’m in the studio I’ll know if I really hate a sound that someone uses. I like to trust all the musicians, all of them are awesome. Generally, they bring their own great thing. Jimmy has good taste and I trust him. I only really listen to them when I’m writing them and then when I’m recording them…I didn’t even listen to the mixes. I didn’t have any headphones so I listened to them through my Mac speakers and I thought they sounded good. There was only one thing that Jimmy sent me that I went back on. The horns were too jazzy and I didn’t like it. We had to redo the horns. I wanted them to be like a marching band. But that’s all, that’s the only thing we had to redo.

Do you have a favorite song on the album?
“Academia” is my favorite and then I like singing “You Have Been Loved,” it’s a good song to sing live. But yeah, I think “Academia” is my favorite and I like “Buttons” too.

I love the lyrics on “Academia.”
Thanks! That was like a vomit song. You know, when you just literally pick up a pen and they just go “bleup.” That took five minutes to write and then we researched it just to make sure all the words are right.

And you recorded that song with Beck, right? How was working with him?
Yeah. It was good. He came out for the day. I had a day where I gathered all of my friends to help me sing backing vocals. ‘Cause I wanted a big choir-y sound on “Death By Chocolate.” And then he came down and I asked him if he would sing on “Academia.” I had already asked him in an email but I asked him again because he hadn’t responded so I asked him in person. I was like, “Do you hate it? Do you want to do it?” and he said sure. That was a bit of a treat. But really, he’s just being really supportive. He’s doing me a favor. When people like you ask me about it and then you write about it and when people Google Beck, my name comes up. So he’s basically doing me a big favor.

What is your writing process like?
I write everyday. It used to be much more loose. I write with people, I can’t really write by myself. I mean I can, but it’s not as fun. I like to be part of a team. Mid-day we usually schedule one or two songs with different writers. Sometimes I have an idea and I just write it down and remember it, like one sentence and then I can build a song around that. Normally it happens while I’m in a room with another writer and it’s been scheduled, but it’s different every time. Normally the chorus comes first and then the music gets the feeling of the song from me and it just comes out and if it doesn’t come out then we move on and we start a different kind of song.

How do you feel this album is different from your previous albums?
I guess I’m in a better mood. I wasn’t in a good mood the last album. And this album I’m in a much better mood and I think that’s reflected in the times. And it’s hairier. A lot hairier. [Laughs] It needs a haircut actually.

I was curio
us about your song “Lentil.”
Did that title confuse you? [Laughs] It was a dog called Lentil, that was the first dog I ever fostered and I couldn’t take him with me back to London because he didn’t have the right rabies shots and it was in Australia. I had to go back to London to work and I had to leave him in Australia and I felt so bad because I loved him so much. I found him a really good home and he’s so happy now. I see him every summer. He’s a good boy.

In “Playground” you sing, “I don’t want to grow old/Bring me all the toys you can find.” I feel everyone can relate to that, is that a fear of yours, growing old?
Totally. Yeah, and also I just don’t want to stop having fun. I think it’s a decision to grow old. I saw my mum made a decision and she just got old over night. It was like she made a decision and it was like, “Why are you doing that?” She just reversed that decision. She came to New York for Christmas, where I live now. And while she was here she reversed that decision and I’m so glad. But yeah, I just don’t want to make that decision to grow old.

How are you staying young?
A lot of dancing, shopping, hanging out with good people. Dancing, more dancing. Singing a lot, good dating, a lot of good dating. Making stuff, fun stuff, crafting.

Were you originally a back-up singer for Jamiroquai?
No. I mean I was. I went down there and recorded some stuff and he paid me and everything. But then he said my voice was too distinctive and he never used any of it. It’s probably for the best. He was really nice to me when I was first starting out as a singer and he actually gave me a bunch of money to help me pay my bills. He was gonna start a record label and wanted me to sign to it but it never happened. And we never saw each other ever again.

And you’ve sang for Zero 7 too. How do you feel all these experiences and people have influenced you and your music throughout the years?
Well, a lot because I don’t listen to music. When I’m surrounded by those friends and musicians they play music constantly. So I guess I’m heavily influenced by whatever they’re listening to at the time. And of course by dynamics, band dynamics and friendships and all that sort of stuff. But yeah, I can’t do that anymore because I’m getting busy with the solo stuff so I’m not doing the next Zero 7 album. That’s sad because that was the best fun and I think my best work has been with them. But maybe one day we’ll be able to do some more. It would be nice.

Over the past 10 years, you’ve progressed so much. Do you feel your fans have changed at all?
No, I feel like they’ve stayed the same, but then maybe they’ve grown slightly. Like its’ expanded, like they’ve told their mums. [Laughs] That’s what I think. I know I have a loyal fan base because a lot of them have been on the message board for five years. But yeah, I think it has definitely gotten bigger.

How is your tour going?
It’s been amazing, people are so nice! They’re giving me gifts. They pass me notes while I’m on stage. I love it! It’s been really good audience participation. Like, sometimes there will be a note that says, “Could you dedicate the next song to blah, blah from blah, blah. We danced our wedding to this song.” It’s so nice. Other notes would just be like, “Show us your tits.” I’ve gotten presents; someone gave me a handmade scarf the other day. Other people gave me the most amazing toiletries and smelly bath things. Someone gave me so much beautiful essential oils. Another bunch of people gave me awesome joke presents, like silly masks, whoopee cushions, and suspenders. I think they all seem to know what I like, which is really weird. Nobody has given me a present that I’m not into. I’m becoming a really good receiver! [Laughs]

What was your inspiration behind Some People Have Real Problems?
It’s a long time coming. It was like four years of accumulated experiences. One of the songs didn’t make the last record another one was a song that didn’t make a Zero 7 record. One of them was one I was writing as a pop song for some other pop star. When I thought maybe my solo career was over, I started thinking I would try and write pop songs for big stars. Like Shakira and Paris and Britney. In the end, we realized I was going to make another solo record and so I collected all the songs I had been writing. There’s a few B-sides that we didn’t use and didn’t put on the album. It was a pretty simple process for me anyway. Probably not for all those poor fuckers at the management company and the record label and everyone who’s working their asses off to do the other stuff that I don’t even know about.

My life is so abstract. Like my life right now, I’ve done seven interviews before you and everyone’s been asking me, “So, you’re really blowing up right now. Your face is everywhere, how does it feel?” And I’m like, that is hilarious to me because that is so abstract. I have no awareness of it because my days are exactly the same. Every day I get off the tour bus in new city. I get into a hotel room, I take a shower, I get into bed and I do, like five hours of interviews, and then I get into a taxi and go to the venue, do a sound check. If it’s not catered at the venue I maybe will get to go around the venue to the closest restaurant to get some dinner and then come back to the venue, do the show, get back in the tour bus, drive overnight, wake up in a new city and do it all exactly the same all over again.

Yesterday was my first day off in 2 ½ weeks and I went on a mission to buy my love interest some underpants alone. I was like, I need a mission. I was so grateful for the mission because I actually left the hotel room even though I was still tired. I’m working really hard. But I was so grateful. I’m in Chicago and I left the hotel and went for a walk and it suddenly occurred to me that I hadn’t been for a walk or outside with real people, like humanity, not just working or in a venue or in a hotel room or in a taxi or in a tour bus for 2 ½ weeks. I went into a Starbucks to get a coffee because normally my manager will bring me a coffee while I do interviews or whatever. I don’t even do the normal stuff that normal people do, like stand at a bus stop with people, what I would normally do in real life.

It’s been so surreal. It’s so funny, because I go into a Starbucks yesterday and nobody recognizes me. I’ve been recognized once in Starbucks. I’ve still got jet-eye so nobody ever recognizes me if I’m walking on the streets. All the posters are down now, that was for the first week of the release, they had posters all over the streets in the cities or whatever. Now I’m doing all this promo and it’s in the papers the days before I get to the city that I’m getting to. But I don’t even get a chance to read any newspapers or anything like that, you know. It’s totally abstract to me, just totally surreal. I have no awareness
because my life is me, in a hotel room with the shits. [Laughs] It’s so funny because I’m sure people think it’s really glamorous, like I must be living the fucking high life right now, doing the shows, traveling every night. It’s a lot of hard work. It’s just working hard. I guess that’s why the success is happening now.

Do you think your song, “Breathe Me,” being featured on Six Feet Under’s final episode was part of this success?
Oh absolutely. That laid the foundation for sure. Because I had a very small fan base in America thanks to Zero 7. But yeah, I think that really launched my solo career, absolutely. I have a lot to thank that music supervisor of Six Feet Under for.

What do you think you’d be doing right now if it wasn’t for your solo career?
I’d probably be making another record with Zero 7 or I’d be a dog rescuer, or video director. Yeah, I might be a filmmaker or something like that.

How would you explain your album to someone who’s never heard it before?
I have a standard response. I say its easy listening, just because it keeps people’s expectations low. You can’t really go wrong if you say that to someone. It is pretty easy listening. You either like my voice or you don’t. It’s definitely an acquired taste, but if you like it your generally gonna like it. It’s not going to offend you; it’s pretty middle of the road. It’s not really trying to be anything…its just doing its thing, existing. I think that’s normally what I say. Or I tell people its thrash metal if I want to confuse people. [Laughs]

What’s the most rock-star thing you’ve ever done?
It’s probably spending a lot of money on my dogs. On spending a lot of money having them looked after while I’m on tour and then having them flown to New York from LA at the end of the tour. I guess that’s pretty privileged. If you’re talking about getting drunk and hurling on a celebrity, like that kind of rock-star gossip, I haven’t really got any of those for you. I have a cache of successful friends, but I’ve never vomited on any of them or gotten pregnant from any of them.

Amy Winehouse or Britney Spears?
Whose baby would I like to have? [Laughs] Well, I’m rooting for both of them. I care about Amy. I care about her because I am a fan and I’ve met her a couple of times and I kind of stalk her. I’ve got her phone number and whenever I listen to her album and I love it I text her and say, “I’m listening to it again, it’s so good!” Or when I saw those pictures of her after they’d been in a fight and I felt really sad about it I sent her a text saying that I cared about her, and I wished her lots of love. She never responds. I know she gets them though because her manager told me. She doesn’t really respond to anyone, she doesn’t do email. If I had Britney Spears’ number I’d do the same for her. I care about people in pain, you know? You’ve got to be a careless person not to care about people in pain. I’ve had my fair share of ups and downs. I had total nervous breakdown when I was making the last album. The reason I care and that I write to Amy is that I can identify with people in pain, I guess. One of my fans told me he was in pain on the message boards recently and I gave him my phone number. I was like; “If you’re going to hurt yourself just call me.” I don’t know. I’m rooting for both of them. I don’t want to see anyone in pain. I don’t know about ridiculing people in the press, its mean and it’s dangerous.

Who’s the coolest famous person you’ve ever met?
Probably Chrissie Hynde from The Pretenders. About seven years ago, I had a hit in the UK that went to number 10 and I was on this show called, Top of the Pops. She was on the show that night as well and she introduced herself to me and she just gave me a lot of great advice. She said don’t read press. If you believe the good, you believe the bad and there will be bad, it will suck you up. I’m a huge fan. I’ve met a lot of people that I admire. I’ve met Annie Lennox, Stevie Wonder, Ryan Gosling, Beck is a friend of mine. People who I’ve respected and I adored growing up and even more recently, people whose art I respect. It happens, its more and more common especially since I moved to L.A. for three years, it’s crawling with celebs.

Speaking of Beck, you’ve collaborated with him and Giovanni Ribisi on your album, how did those collaborations come about?
Well, Beck I met through Nigel Godrich, who produces all of Beck’s albums and Radiohead and Air and who was actually an original member of Zero 7. Then he got the Radiohead gig and he got really busy with that. I met him through the Zero 7 bunch. And then Nigel introduced me to Beck about five/six years ago. Giovanni is Beck’s brother-in-law. So I met him through Beck.

Working with them is always really fun. They’re really nice and really supportive. Any time I’ve ever asked them for help they’ve helped me. The thing is I’m opposed to thinking that everything is competition and that we should all be helping each other. I asked Amy Winehouse to do a collaboration and she said, “No way.” And I was like, “Why not?” And she said, “I’m intimidated by you. I’ve been listening to you since I was a teenager.” I was totally shocked because she’s my favorite contemporary voice. Her and Lauryn Hill. I just think that’s shocking to me and because we sound so different. I was just shocked.

Who else would you want to collaborate with?
Jeff Buckley, Elvis [Costello], Barr, this artist called Barr, I love him, he’s like a poet. Har Mar Superstar.

What was your favorite album when you were 14?
When I was 14 . . . I was like 11 or something when I first got into Terence Trent Darby and the Bangles. That was the first record I ever bought, the Bangles’ “Manic Monday.” I was listening to Soul II Soul when I was 15 and Malcolm McLaren.

What’s on your current playlist?
I don’t really listen to music; I’m going to be honest with you. I don’t have a playlist. I have a playlist that I made to deejay to this stand-in in Hollywood once. That has on it “The Macarena,” Billy Joel, “We Didn’t Start the Fire,” “Candy,” “Madness”, “On the Wings of a Dove,” Blondie, “Hanging on the Telephone”, Joe Jackson, “Steppin’ Out.” Just fun, dancing around songs really. I dance a lot. If you go to my website, siamusic.net, you can see me dancing. I love to dance. I’m a big dancer, a big fan of the dance.

When do you think you’ll know when its time to retire?
I don’t know if I’m really that keen on getting a whole bunch of plastic surgery and anything like that. I think I’m just gonna do it for another couple of albums and then I’m gonna start doing movies, like directing movies. I’m writing one at the moment called Sister, which I want to direct in the next four years or something. But I think I should concentrate on the singing while it’s happening and ju
st develop those movie projects.

So do you see yourself directing huge movies or more underground?
I think a nice fine line between indie and Hollywood blockbuster.

For more info. on Sia or for future tour dates, be sure to check out Sia’s website or herMySpace

Categories
Interviews

The Ataris

In a way, I feel like I grew up while listening to the Ataris. Everyone has that one album they remember listening to like it was yesterday. That album for me was So Long, Astoria. The entire album was the anthem to my senior year of high school – you know, that tumultuous time of having no clue what you want to do with the rest of your life and the thought of becoming an adult causes more anguish than anything else. Okay, maybe that’s being a little too dramatic. But come on, “Being grown up isn’t half as fun as growing up/These are the best days of our lives/The only thing that matters is just following your heart/And eventually you’ll finally get it right.” Those lines from “In This Diary” were my motto just five years ago and I’d like to think they still are today.

Kris was nice enough to sit down with me last Friday before his show at Maxwell’s in Hoboken and talk to me about the Ataris, the state of the music industry and his current acoustic tour, among many things. I’m going to break up the interview into two posts because it’s way too long for just one and you guys really should read the entire thing. He’s not only a good interview, but an amazing musician to see live so be sure to check out his MySpace and see when he’ll be playing your city!

How is the tour going so far?
Well, hands down, this has probably been the most crazy, cursed tour I’ve ever been on, at least the beginning of this part of the tour. I did a small run on the West Coast and those dates went amazing. But the first four shows of this tour, two got canceled due to the fact that the shows were double booked and two got canceled due to winter storms. But, as of last night, that was the first show of the tour and it ended up going really well and tonight’s show is nearly sold out so I think the curse is coming to an end finally so that’s good.

I saw on your MySpace the massive bulletins, “Please repost tour dates.” Do your fans request certain places to play?
In the years I’ve been touring, you make a note of where you actually can play and draw people. This tour was pretty much all booked by me off of our MySpace. I made a kind of, rough routing and then I went over it and started filling in the gaps. Usually when you’re booking the tour you start with the weekends and get the good cities where you know you’ll draw good on the weekends. For instance, I know Hoboken has to be a weekend and Long Island and other parts of New Jersey are usually some of our stronger markets. I wanted to make sure that our strongest markets I put on a weekend. A Monday is a Monday no matter where it is. It’s usually your weakest night and you just try and fill up the dates. I try not to take any days off. It’s usually 50 some odd dates with no days off and then I go to South America and Japan on the same tour. It’s definitely a lot of fun and it’s the best thing I could be doing. There’s no overhead hardly on these shows. Just a hotel room and gas every night. Me out traveling in my car. It’s a good way to make a living I would say.

Have you always been a very DIY type of band?
I think this band was kind of founded on that belief that you just gotta do everything yourself. No one’s going to do it for you. There’s so many bands out there that the harder you work at it, the better the shows are going to be and I think that’s pretty much how this band started getting to people, our C.D.’s got into people’s hands. We just toured enough that finally we were probably halfway through our second tour ever, right when our Blue Skies album came out and at that point we started realizing it went from 50 people at the shows to 300 people at the shows and we didn’t do anything different other than keep going to the same areas and get in the van and people would come out and see us. Just continue that kind of mindset and it really works.

Do you think it’s been word of mouth?
Oh, yeah. When we started there wasn’t that mentality, there was no MySpace, there was no Facebook or any of those places where you could just get on and promote it like that. It was all word of mouth. It was you go out and play a show and they’re like, “Hey, we saw this good band play last night. Go out and check them out next time they’re through.” And you trade phone numbers with other bands and are like, “Hey, there’s a place that books bands in Albuquerque or in Phoenix.” Now it’s easy because you put up a bulletin and are like, “Hey, I need a show in St. Louis.” And somebody emails you and says, “Hey, I book shows here.”

Also, I keep a list of all the people who have booked good shows for me in the past and now I have good contacts and most of them stay current and you write them back and say, “Hey, can you book me on the next tour?” But we have a good booking agent; he books some of the biggest bands in rock music. But the thing is he’s got so many bands I didn’t want to trouble him and ask him, “Hey, will you book an acoustic tour for me?” He books the Ataris and I was like, I can do this myself and I just wanted to see if I could do it. First time I did it and it went well. He actually emailed me the other day and said, “Man, I gotta compliment you on your booking” and jokingly said, “if you ever need a job as an agent, you know where to call.” And I was like, “Sorry, I hate dealing and haggling with people, I’ll leave that to you.” I just want to go out and play. Anything to get a show, I’ll do it.

Do you take fans requests?
For the most part, if it’s something valid I will. I’ve done some weird things. I played this guy and girl’s wedding once and that was great. An endless bar and their mom paid me $1,000 to play a wedding and paid for all my travel. It was like, “Alright I’ll do that. Sure.” I’m probably more reasonable than any band. If you had a reasonable request and could meet the guarantee of the tour, pay the costs, I’ll play anywhere I don’t really care. I mean I’m not a whore or anything, but I’ll definitely do anything within reason as long as there will be people there and it fits into the current routing of the tour.

You guys have been together since, what, 1994?
I think our first real tour, when we really put ourselves on the map was more like 1997 or 1998. I’ve been recording songs myself since, the first Ataris album. All the demos were just me and a drum machine and I’d give that to bands we’d see. Through that we got a record deal and put out three independent records. Probably about halfway through our second record, Blue Skies is when people started actually taking notice. I think for our first record when it was out, nobody paid attention. Once we got out there and really started touring, at that point, ’97, ’98 that’s when people actually started coming out to see us.

That’s been 10 years. Have you seen a huge change in the music industry since when you started?

/>Oh, for sure. There are two things you notice. Obviously, when we started, the Internet was beginning, but it wasn’t a prominent factor. Now, it’s over saturated. There are so many bands. Anyone and there brother can record music and put music out. B. Like I said, booking shows is so much easier. There’s pros and cons of it. I think that it was better for rock bands then on some levels because it was so much easier to make an impact. Now, if you put an album out there are 10 other bands that are just as good as you that have an album out too so it’s harder to make headway and really get your name out there. Whereas then, there weren’t as many bands doing it. But, at the same time, it’s easier to do it now. I don’t know. I try to change with the times. I’m just utilizing the tools I know I have compared to back then when I didn’t have them.

So, over the past 10 years, have you ever had to have a day job?
I’ve worked so many odd jobs. Literally, I can go down a list. I’ve worked restaurants, I’ve worked at a factory, I worked in an adult bookstore for six months, I worked at a K-Mart, Taco Bell. I’ve done it all. That was like from 15-20. I think about 22 or 23 was the last time I had a real job outside of this band. So I feel very blessed that I’ve been able to spend nearly seven, eight years of my life job free other than the music. There are definitely times now and in the last four years that have been a struggle. The one thing that I will say about the music industry is that it is very inconsistent. There might be six months where you make a lot of income and then the next six months it’s very slow. So that’s why, right now, if I’m out and I stay touring and stay busy I’m able to pay all my bills, but if I’m not, then I might as well work an odd job, because you’re sitting around at home and you’re not making any money when you’re sitting around at home.

I read on Wikipedia that you sold an old drum set to pay for rent.
First off, never believe anything you read on Wikipedia because that’s the most inaccurate account of anything. When I first started dating my girlfriend, her mom wikipedia’d me and there was stuff on there that I went on Wikipedia and changed myself. I was like, “Holy shit, your mom wikipedia’d me? And now she thinks I’m a drug addict or this or that because I wrote one thing in a song.” Wikipedia is so fucked. Some other Internet sources are fine, but Wikipedia is a joke. I’m sorry. And you notice that because you start doing a bunch of interviews and everyone gets their questions from Wikipedia. And you’re like, “This is so easy.” So me and John one night, we were like, “Let’s go on Wikipedia and change it because we’ve got like 20 interviews in one day coming up next week.” And we changed it and wrote shit that wasn’t true to see if they’d ask us based on that and it was totally, probably 5 out of 10 interviews were like, “So, I heard you were once a drug dealer in Columbia.” And we were like, “Yeah, I lived in Bogotá for five years of my life and I dealt smack and lived down there, and yeah, I lived in a hut.”

I am resourceful and within reason, when I’m sitting around at home, everything is expendable when it comes to material possessions. I’ve sold all kinds of shit on my eBay. For me, I’ve got a lot of things and I keep everything and I’d rather a fan to have it then for me to have it. But I don’t play drums regularly and so I never sold a drum set. I’ve sold like old lyrics I’ve had and art photography, and old guitar equipment. But, for me, if I don’t need it and I’m not using it and it’s sitting in my closet, I’d rather one of our fans to have it and be stoked on it. So, yeah, whatever. Mortgage. It’s a hard thing.

You guys broke away from Columbia and have your own label now, right?
Quite a while ago. We did our last album, Welcome the Night, on this label Sanctuary and then about five months after we put that album out the label folded and they basically decided that they weren’t going to put any future records out from anyone. There were a lot of good bands on the label like Morrissey, Tegan and Sara, the last one they released was the girl from the Cranberries, her solo album. After that they said they were just going to keep her back catalog and not put anything else out. Currently, we’re basically just waiting to record some songs and then we’ll start deciding where we’re going to put it out. We have label interests, but not until we have some songs to play for them can we really decide what we’re going to do.

We have our own label imprint on our last album. But in this market, it’s not something I would expect to pursue. I wouldn’t want to have a label per say. You can put your imprint or whatever you want to call it. That was pretty much the extent of it. It was strictly in case we wanted to exercise that option really.

A lot of bands are breaking away from the major labels. Do you think that’s the future?
I think on some levels it is. Unless you’re a band that can exist by selling records through the big conglomerates like Wal-Mart and places like that. Those are really the only places that people buy full records I feel. Independent record stores don’t make enough of a dent in it anymore. People buy the song on iTunes that’s a single or they’ll download the record for free. Unless you’re like a pop, R&B;, hip-hop or country artist. If you’re a rock band, you probably sell a small fraction of what you would have sold six years ago. A band like the Foo Fighters who would win a Grammy, they would sell like, maybe 800,000 of a record now, where six years ago would probably be a double platinum album which would be a couple million. That’s just the changing market if you’re a rock band. I think you just have to change with it and realize that’s how it goes.

They’re actually talking about lowering the number it takes to have a gold record. Now, currently, it’s 500,000 for a gold record and a million for platinum. Within this coming year I think it’s going to lower in half, like 250 or something for gold and then platinum is going to be like 6, 7, 8 I don’t know. That’s pretty crazy because for the size of our country, I mean, based on other countries, a gold record in the UK, it’s a small country, but it’s less than 100,000. It’s changed a lot. It’s really put a dent in the music industry. On some levels, I think that’s good because it really shakes shit up and I’m all for that, but if you’re a real starving musician and you’re trying to support yourself on your art, it kinda fucks you really bad.

For part two of the interview, to read about the upcoming album and Kris’ typical writing process as well as the change in the Ataris’ fan base over the years, click here.

Categories
Interviews

Phil Bensen

Fellow New Jersey native Phil Bensen sat down with me before his performance at The Knitting Factory. Bensen’s music is the perfect blend of soulfulness reminiscent of the Jackson 5 intertwined with pop influences of musicians like John Mayer and Maroon 5. Before warming up for his set, Bensen took some time to discuss his musical influences, hopes for the future and the inspiration behind some of his songs. Be sure to check him out at the Bamboozle Festival this May and visit his MySpace for more tour dates and album tracks.

I read that you started out performing in college.
I always wanted to get into music but I never had the patience to sit down and do it. My college was a real liberal arts school, it was very artsy – people playing music in courtyards and stuff like that. They had these coffee houses and the first night I went to one of those I was like, “I have to do this. This is what I have to do.” And that’s when I started to play. I had played before that, but I really got inspired. I loved it. So then I started playing, never thinking it could be a career. And then just getting better and my voice developing, writing some songs it was a natural progression. Here I am two years later, there you go.

You’ve been on tour the last two years, right? How has it been touring with bands like Lifehouse and the Jonas Brothers?
Well, technically I guess the last, yeah two years. But not really always on tour. Kind of getting shows here and there and recording and getting all that stuff ready to go. I only played one show with Lifehouse. The Jonas Brothers have been great to me. It’s not like, the best fit for me musically, but it works. For them to be playing sold out House of Blues and stuff like that and to invite me along because they like my music is a really cool thing. And so I’ve done shows with them, toured the west coast with Secondhand Serenade and Powerspace and just shows like this, up and down the east coast with Sparky’s Flaw. Bamboozle. Two years ago I was there, but it was on the small stage and no one knew who I was. Last year I played on the main stage and it was really cool. This year I don’t know yet. I know I’m in the line-up.

What inspires your music?
The great songs with great hooks, songs that are not cheesy, that are real music, you know? Like The Beatles, Hendrix, Stevie Wonder, John Mayer, Maroon 5, Bright Eyes I love. There are so many. I’ve always been a big fan of Elliott Smith. My stuff is . . . I don’t know, I’m kind of breaking away from the acoustic ballady kind of stuff and going more towards funky, cool, more pop-rock sort of stuff. That’s sort of the direction I’m going in. But also having some of the ballads too.

I really like your song, “Paper Airplanes.” What’s the story behind it?
It’s actually a good story behind that song. I was playing an open mic, trying to get anywhere in music, and there was a guy singing a song, “Paper airplanes fly so high” and I’m thinking to myself, “No they don’t. That’s kind of a dopey thing to say. They crash. It’s a piece of paper.” And I thought, “Hey, that might be a cool concept.” You know, with something delicate and beautiful and it gets destroyed. I thought it’d be a cool thing to pair that to life in general. It’s sort of a pessimistic view on the world.

There are all these stories within the song, what inspired those stories?
A lot of times, especially when I was in college, after partying it’ll be like 2 in the morning and it was always cool to look up at the sky and just see planes go by and I don’t know, it was just almost like a somber, sad kind of place. And then, the train story in there was a real thing. You see yourself and you see a guy that’s 20 years older and a guy that’s really old and you’re like, “Wow, that guy was once my age, once this young.” And there was this guy on the train ready to die. I don’t know. That’s my song. It’s almost like a Catcher in the Rye inspired song in a sense where the guy in Catcher in the Rye wants to be protecting all the kids jumping over the cliff and there’s no way he can do that.

Do you have a favorite song to perform?
You know, it changes every night. It’ll be like, “Wow that song felt really great or that song didn’t.” I like to play “Bruised.” I think it has a bit of a dynamic. It’s just a MySpace special, but it will be on my next album. Then there’s this song called “A Little Respect” that I like to play. “Not Good Enough” I like to play. There are more, but I like to play the more upbeat songs because they’re just more fun to play.

Do you have a favorite venue you’ve played at?
I played the Ryman Auditorium in Nashville and that was awesome. There’s so much history. The people there were so nice and they kind of carried on the tradition that old-folk, country singers have and they’re so into that tradition of music. They’re like, “Hank Williams was here and he did this and this and it’s so great to have you guys here.” The venue itself is really cool. The balcony wraps around and so you’re almost covered in the audience. That was cool. It was the Jonas Brothers’ show and there were thousands of people there. It was really cool.

What are your hopes for the upcoming year?
I hope to get a big deal like Sparky’s Flawless and I don’t know, write a song like “Who Let the Dogs Out” part two [laughs]. I really want to get a deal and write a record. My record’s gotten out, but something that people listen to and are like, “Wow! I love that!” That’s my goal. And really continue to build a fan base.

How would you explain your music to someone who’s never heard it?
I try and do that all the time. I’m like, “You know Maroon 5? You know John Mayer? Well, it’s kind of like a mix of those two.” That’s like the best way to describe it. Sort of like a soft pop/rock/soul/jazzy. Jackson 5 too.

Categories
Interviews Q&A

Sparky’s Flaw

Take four friends from high school, add a college roommate to make the band total five, mix in a recent record deal, touring Thursday through Sunday to keep up with classes and you get the current life of Sparky’s Flaw. Frontman Will Anderson took some time out on his way to class for a phone interview and told me all about the band, their album plans and the story behind the band’s name. Listen to the interview here.

Tell me a little bit about Sparky’s Flaw. I read that four of you were friends growing up, did you always want to start a band together?
We were all best friends in high school – the four of us – and then our drummer actually started a band with a couple of guys and we all got really jealous. He was our friend and he was playing for this other band. We all played instruments, I played guitar and the other guys play, some of them played or just picked it up for the sake of joining the band. We decided despite our drummer, who was in this other band, we were going to start a band and then he decided he wanted to join our band so it worked out well. We played all through high school, tried to play as much as we could around town. Then we got to college and met our great guitarist, who was my best friend going through college. I’ve known him all four years so it worked out well.

So are all of you in college?
Three of us go to school. Two of us go to the University of Virginia, myself and our guitarist, and two of the guys are not in school and the other one goes to Mary Washington which is about an hour up the road.

How do you deal with prioritizing school, touring and working on your record?
That’s a great question. We’re still trying to figure that out. I’m going to class at 12:45 and then we leave for Philadelphia at 1:15 so I’m going just so I can get the check saying that I was here. We missed a week of school going to L.A. recording our CD. It’s a struggle, but we’ve all sort of gotten the hang of it. And the teachers are pretty cool when we tell them what we’re doing. They seem to live vicariously through us, so we just show up and let them know what we’re up to.

So you just signed with Mercury Records and you’re working on your first album, how is that going?
We’re working on it right now. We’re halfway through with it. We did basically six songs over our winter break and we’ll finish up the rest of it this month and then over spring break through the big chunks of free time that we all have at the same time. We will go back to L.A. the first week of March and knock it out.

Do you have a name for it yet?
No, we haven’t really thought of it. We still have the other six songs to choose. We don’t even know what songs we are going to do yet. We’ll figure that out when it comes, but definitely nothing yet.

Do you have a tentative release date?
It’s supposed to come out in the summer I think. Sometime in the summer, I don’t know when.

What can fans expect from it?
Its cool. Its rock, its very rock. Its rock with pop twists and soul. We’re still honing the sound, trying to get some continuity to it. It’s definitely rock ‘n’ roll, but it’s good. I think they’re catchy songs and they’re fun to listen to. We’re just trying to have fun and hopefully when they listen to it they will too.

I read that your song, “The New Year” was featured in the Rose Bowl. How did that happen?
Yeah, it was crazy. Our managers got an email from ESPN saying “Hey, we like the song and we want to use it in the Rose Bowl.” We didn’t really think it would actually happen but yeah, we were all watching the Rose Bowl and there we were. They played it during highlight reels and stuff. It was pretty crazy because we had no idea it was coming and thought it was a passing thing and it wouldn’t follow through. We were all watching at home in the off chance that it would and it did. It was sort of out of nowhere. It was a good boost of encouragement.

Since you write all the songs, what is your typical writing process like?
I have a really weird sleeping pattern so at midnight I’ll start writing songs. Actually, I sit down and write every night because it’s a good habit. Ninety-five percent of time it’s stupid stuff that I write and I usually give up after about a half hour. But on a night that something good does come up it’s one of those all-nighter things where at 5 ‘o clock in the morning I’m banging on our drummer’s door, screaming, “I got a good song, listen to this,” and wake him up and make him listen to it. It’s usually an all night sort of trance thing where I go into the zone and knock it out as quickly as possible. Often times I’ll come out with it and come back and rewrite all the words in a few weeks once I realize how terrible the idea was. Usually the music comes first and lyrics come later. But you definitely know very quickly if it’s a good song or not.

I’ll have the entire song laid out, the lyrics and the melody and then the guys will add their opinions to it. It’s just a matter of they add their little twist to it eventually. But I usually come in with a full song ready.

Where do you find the inspiration behind your songs?
Everywhere, really. Often times, if it’s about somebody I’m very specific about who I’m writing the song about. If I meet somebody interesting or hear an interesting story about somebody usually that’s a big one for me. And then sometimes just fiction, and random things that I think about.

I really like your song, “Under Control.” What was going on in your head when writing it, what inspired it?
That’s a funny song. I used to do this thing where I’d advertise, ‘cause on the east coast sororities, especially in the south, are huge. So to advertise for shows I would go into sororities and sing to the girls. It’s like 130 girls, college-age, it’s the perfect age – who we’re shooting for basically. I wrote that song with the melody and I had this crush on this girl for probably about three years all through college. She had no idea who I was. So, I wrote that song in the off chance that she would hear it and realize it was
about her. But unfortunately,
she did not and she still does not know who I am. It’s kind of weird. I don’t think she has any idea that she has that song written about her. It was definitely for that one girl who I met at that one sorority and who I still see all around and she went to that school.

Is your band really named after one of your friends, Sparky?
Yeah. When we were in high school there was this kid who we called Sparky and he was a cool kid, he used to wear tailored suits to school every day so he looked really good every day. The only problem was that he also wore duct tape shoes to school every day. So that was his only flaw. We were desperate for a name and we came up with Sparky’s Flaw and it sort of stuck.

How would you explain your music to someone who’s never heard it before?
Its catchy songs, but its rock and roll and soul.

Do you have a favorite song to perform?
“Under Control” is probably my favorite song to play. We do some cover songs, “Under Pressure” by Queen. Our saxophone player and keyboardist sings it, it’s an incredibly high song so it’s fun to watch him sing it while I get to sit back and not do anything.

What are your plans for the rest of 2008?
We graduate in May. So we’ve been doing Thursday through Sunday touring. It’s crazy, but we’ve been doing that this semester so far. The moment we graduate we’ll hit hard and I don’t know who we’ll tour with. I know they have names in mind but I don’t think we can confirm them. But we’ll definitely be out all summer and through the fall and hitting it hard. Which is fun, we’re excited about that.

For more info on Sparky’s Flaw, be sure to check out their website here.