Tag: Interview

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Interviews

Starving For Gravity

Bass player Brett Lindenberg describes Starving For Gravity as being “one of the only bands I know that can pull-off ballads and hard rock.” I have to agree. While some of their songs are a bit more edgy, others start off slower and almost ballad-like. The guys of SFG were nice enough to send me a few songs to post on the blog for you to listen to, (I’ll post them below the interview) so check their songs out and decide for yourself. If that’s not enough for you, visit their MySpace. Below is my interview with Brett and singer Lucas Holter of Starving For Gravity.

Tell me about Starving For Gravity. How did it all begin?
Lucas: SFG basically rose out of a personal depression due to lack of music in my life. I had been in bands for a couple years, from [age] 17-20, and then I just stopped. It all started as just an outlet. Something to be creative. We did mostly cover shows for a long while, saving money to record an album. The rest is history.

You moved to California to record your latest album and worked with producer John “JR” Ryan (Santana, Lynyrd Skynyrd, Baha Men), how was that experience? Was it what you always imagined it would be like?
Lucas: Nothing like I thought it would be. It was much more personal, and much more business, all at the same time. If that makes sense? It was definitely one of those experiences you’re glad you had. It will hopefully come in handy in the future.

The California music scene I’m sure is entirely different than North Dakota. How was the transition?
Lucas: Well, the scene isn’t so much different as it is more diverse and large. It’s the same anywhere you go, musicians trying to play for people. The difference here as opposed to North Dakota is that the audience is much more receptive to originality, whereas back home, you were pretty limited to what the people wanted to hear. The transition was awesome, but slightly difficult at first. Mainly because we never had any experience putting a “show” together. We just got drunk and played classic rock tunes.

How would you describe your music to someone that’s never heard it before?
Lucas: I would say that our music is quite simply just a culmination of human emotion and stories of communication. Every song we write has a meaning behind it. Some of our stuff is very melodic and chill, and some will tear your head off, especially live, but it is all truth.

What makes Starving For Gravity different from other up-and-coming bands out there?
Brett: We are one of the only bands I know that can pull-off ballads and hard rock. Too many bands end up becoming one trick ponies by sticking to a specific style of song writing. We’ve made a conscious effort to write a collection of songs that cover a broad scope of human experiences. We want our music to reflect these different experiences.

You sent me three songs to post on my blog, tell me a little bit about each one.
Brett: I think these songs do a good job of showing diversity in our songwriting. “Shot Down” — a song we wrote about a former manager — is aggressive and melodic. “The Gun” features some great harmonies alongside a bridge that is one of the best we’ve ever written. Finally, “Urgency,” while it’s not a heavy song per say, has great tension. You can feel the tension being built in this song all the way to the bridge where there is an abrupt release.

What are your plans for the next year and hopes for the next five years?
Brett: Playing music, touring, writing, making a living. Maybe owning a condominium in an upper-middle class community.

Listen to some tracks from Starving For Gravity and let me know what you think!
“Shot Down”
“The Gun”
“Urgency”

If you like what you hear, check them out on MySpace and catch a show when they’re in the area.

Photo: Mike Cavanaugh of All Access Magazine

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Interviews

Serena Ryder

A few weeks ago I chatted with Canadian singer-songwriter Serena Ryder just after she wrapped up recording her debut full-length US album, due out later this year. Having worked with producer John Alagia Mayer, Jason Mraz) as well as collaborated with songwriters Jim Duguid (Paolo Nutini) and Mikal Blue (Colbie Caillat), Serena explained the recording process as “effortless” and “absolutely magical.” Serena talked a bit about her experience winning Best New Artist at the Juno Awards (Canada’s Grammy equivalent), her views on touring and performing and her hopes for the next few years. Check out the interview below and her MySpace for a listen.

How is everything going?
Everything’s going great! I just got back from LA. I was making my new record out there in Santa Monica and had the absolute best time of my entire life. It was so much fun. Making the record was absolutely effortless and an absolute joy to be a part of that process. My producer, John Alagia, and the band . . . it was amazing, so much fun. I stayed right by the beach, which was really nice because I live downtown in Toronto so I don’t get to the water that much. It felt just like a big vacation.

When are you expecting it to be released?
Well, for me, yesterday would be good. I was out of the edits and want to release the record as soon as possible. I’m hoping sometime fall or winter would be really great for me.

Is the record similar to your EP, Told You In a Whispered Song, which was released in the US?
Those songs were previews of what’s going on the record. The songwriting is kind of similar. Most of the songs that were on the EP are going on the record too. It’s more full band and it’s got a similar vibe.

How was the recording process?
It was effortless. It was amazing and inspiring. It was a lot of fun. It was absolutely magical.

This past year must seem like a whirlwind for you — getting signed to Atlantic right after SXSW last year, releasing your EP, touring. How has everything been going?
It’s been amazing. It’s been a really, really wonderful year. I’ve been traveling for quite a while and I’ve been touring and playing since I was a little kid and it’s a part of my lifestyle, but it’s been a lot more amazing now that I’ve joined up with family of Atlantic. It’s just such a great team of people. I call it family because they’re really, really an interactive A&R; based label, that’s why I chose them. I was on an indie label for five years, but Atlantic has been such a massive help for me. So, it’s been really good and also taking the opportunity to be able to record this record and do it the way that I wanted to with people I wanted to do it with.

In the last year I moved and there have been a lot of different changes that have gone on in my life. It’s been big changes, but they’ve been changes that have helped me be able to get stable and rooted and grounded enough to know where I’m metaphorically planting my seeds. I almost feel like I’ve been in training with what I’m going to be doing for the next, gosh, who knows how long. I’m still in love with what I do and I feel very blessed to be able to do what I do. I’ve been trying to be on the road, be healthy, eat right, work on my craft and my songwriting. I’ve been doing a lot of that in the last year with the new record. Different collaborations with people and learning from other people, it’s been fabulous.

Who have you been collaborating with for this album?
This album, I think is probably about four songs that were co-written and the rest of the songs I wrote on my own. I wrote with this guy named Jim Duguid in London. He’s actually Scottish. He’s Paolo Nutini’s drummer. He’s quite an amazing writer as well; he co-wrote and produced Paolo’s last record with him. I wrote with this fellow named Mikal Blue. He’s a really, really cool dude. He did all of Colbie Caillat’s stuff. It was so much fun. It was a great, great process.

You were on tour most of last year, how was that experience?
It’s been great. I’ve been touring for a long time so I feel very comfortable on the road. The last year has been really good for me because I’ve realized that is where my home is now. It’s not about going away from home and things need to change. I’ve learned that being on the road is being at home, so you have to treat your hotel room or your restaurant or the places that you eat at like, that’s your kitchen, that’s your room, that’s your house. And the more you treat it that way; you can really get some kind of normalcy or constant. Everything is different and everything is new. I just feel like I have a lot more respect for people who travel constantly. It can be really difficult to just to keep that home with you everywhere you go. I finally have the opportunity to really see it as that. I feel pretty blessed about that.

Congratulations on your Juno award for Best New Artist! How was the overall experience of being at the awards show? Was it everything you expected?
It was overwhelming and awesome. I was just trying to breathe and make it seem like I was calm and everything was normal. There is nothing normal about walking on red carpet in heels with flashes and cameras and blinding sequence everywhere. It was like being in a dream, or on TV. You only see that on TV. That’s not what your average Joe will experience and I really do consider myself a Joe.

I read you’ve been performing since you were 13.
Yeah. I started performing when I was eight. It was cover songs and stuff at legions and hotels, like Buddy Holly and Linda Ronstadt. I was the cute little kid with the band behind her with 40-year-old men. [laughs] It was fun. I started writing when I was 11 or 12 and got a guitar when I was 13 and I started playing up on stages and just anywhere I could possibly get my ass onstage I would get my ass onstage. I just had pure, absolutely unadulterated love for performing and singing and being able to communicate with people on a level other than conversation. Songs are like short stories, you have so much room to articulate and converse with people on a totally different level and I’ve always needed that, as a juice in my life, life juice.

Growing up, have you always wanted to be a performer? Do you remember the moment you were like, “This is what I want to do.”
Oh yeah, dude. I wanted to be on Star Search w

hen I was a little kid. I would
watch Ed McMahon and all those cute little kids and be like, “I want to do that!” I did initially want to be a performer, but now I think, for me, it’s not necessarily about performing. I don’t really like to call it that anymore. It’s more about being able to relate to other people, just to share it and to inspire is my main goal now. As a songwriter as well, I feel like I’ve had the opportunity with this record to really plant my roots in that I am a songwriter and I adore it as a craft and I have so much respect for it.

What is your typical songwriting process like? Do you carry a notebook wherever you go?
There are lots of different ways to write a song and I’m still trying to hone it as a craft. With this record, I actually for the first time consciously sat down and was like, “Okay, what do I want to talk about? What’s my message?” Most of the time songs would just come to me. Now I totally believe that there’s no ownership in art. You create something, it doesn’t belong to you. It’s like a child; your children don’t belong to you. They’ve chosen you to be their parent and they’re going to learn from you and they’re going to leave and they’re going to hopefully take something. I think music is like that as well, songwriting, everything really. There have been so many different ways…sometimes a song just comes to me, sometimes I sit down and contemplate, meditate on what I’m trying to speak about or trying to articulate or communicate with people.

Did you go into the studio having a concept for the album?
When I went into the studio I had all of the songs finished. It was definitely a body of work and a vibe but I also went into the studio knowing I was working with an absolutely phenomenal producer and band. I went in with an open heart and open mind and trusted they would bring a lot to the record. And they did. They took it places that I didn’t know it would go. It was better than I had imagined it would be, pretty phenomenal.

Do you have a favorite track on the album?
One song “Is It Ok” is one of those songs that was just written. Sometimes it’s difficult to write songs when you’re in the middle of an emotion. You need to step outside of yourself to see. It’s like writing a movie with your experiences. The lyrics came to me in this big burst of passion and the reason why it’s my favorite song is because the band makes me want to listen to it. The band was so phenomenal, they brought it to another level. The band made it so powerful. They brought this whole other life to it. It was the song that surprised me the most.

What are your hopes for next few years?
I feel absolutely satisfied with where I am right now. I look forward to really being at home wherever I go. I’d love to help people feel comfortable in their own skin, if that’s possible. Everyone has their own karma and their own lifestyle and their own choices in their life to be or do whatever they want to. I really would love to shed a little bit more light on the fact that it is a choice to some extent, especially to us who are very blessed to be in Western society in certain ways. There are always ups and downs and there are different things that are great and there are things that are horrible. I just really hope that I can make people realize that they are so huge and so wonderful and so capable of leaving so much greatness in the world.

What is your advice for singer-songwriters or aspiring musicians?
That’s the thing; I don’t think I could have heard anything. Even if I went back and talked to myself as myself, just time travel and go back and knock on my own forehead and say, “Hey, don’t do that, do this.” I don’t really think there is a place for that or people who would really actually be able to hear. I think the only way I know personally how to do that is by writing music and just being as honest as possible in the moment.

How would you explain your music or lyrics to someone who has never heard one of your songs?
I wouldn’t. I really wouldn’t. I would just let them listen.

Listen to Serena’s song, “Brand New Love” here and see for yourself. For Windows users you can listen here.

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Q&A

Audio Interview with with Mike Rosenberg of Passenger

Here you go! This is my interview with Mike of Passenger for you to listen to and enjoy his lovely accent. I’m hoping to upload my concert review from tonight’s show at Mercury Lounge tomorrow before I leave for vacation for a few days. This week will be a fun-filled week of Passenger coverage for you all! They’re going back to the UK for a bunch of upcoming tour dates, but check out their MySpace if you haven’t yet and their full-length album out later this summer! Below is a video if you want to put a face to the name and learn a little more about the band.

[youtube=http://www.youtube.com/watch?v=lFoKDVIUsD8]

(Special thanks to my friend and former Jane intern Monica Perry for creating this awesome graphic for me! And the previous soundbite graphics for my blog!)

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Interviews

Passenger

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Q&A

Audio Interview with Jacob Rolleston of Paper Rival


As promised yesterday, here is my phone interview with Jacob from Paper Rival. Listen to him talk about changing their band name, the new album and what inspired some of their songs. Enjoy! Be sure to check them out on MySpace and if you like what you hear, pick up their new album, Dialog, in stores June 3.

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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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Q&A

Audio Interview with Vince Scheuerman of Army of Me

Editing down these interviews has taken a lot longer than I had previously expected. I’m hoping to get more of my interviews up in audio format from the “Get A Life” tour soon . . . can’t make any immediate promises though. Here is my interview with Vince broken down into two segments, each about 10-minutes long for your listening pleasure. Let me know if this is a good length, I know everyone has busy lives and you don’t really have time to sit down and listen to a 40-minute interview, so I tried to cut it down to the most interesting parts. Enjoy!

Click here to listen to Vince talk about how Army of Me prepares for tour, what they do on their days off and how their new pre-show ritual came about.

Click here for more from Vince on how the audience’s vibe impacts his performance, getting dropped when jumping into the crowd to crowd-surf, the struggles of being in a band and more.

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Q&A

Audio Interview with Tim Foreman of Switchfoot

As promised, here’s the MP3 format of my interview with Tim Foreman a few weeks ago. Special thanks to my friend Tom for making this possible! I interviewed Tim after Switchfoot’s Rutgers show while the guys were hanging out and chatting with fans. There is a bit of background noise, but I think you should be able to hear him pretty well regardless. Listen to Tim talk about the upcoming album, their Music Builds Tour and the writing process behind latest song, “This Is Home” here.

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Q&A

Q&A with Dennis Manuel of Army of Me

This is my third of four interviews featured from the guys of D.C. based band Army of Me. I’m hoping to post my last interview as well as get some audio formats of the interviews up soon. If you haven’t yet, be sure to check out Army of Me and catch a show! They’ll be playing Bowery Ballroom in NYC next Thursday, May 29! Below is my interview with drummer Dennis Manuel. One of the founding members of Army of Me, Dennis chatted with me during the “Get A Life” tour about the arduous task of naming a band, how he came to be a part of Army of Me and signing his first autograph.

Tell me a little bit about how Army of Me began.
We just kind of met through mutual friends, me and Vince. I wasn’t really playing any instruments yet. I was screwing around enough to keep a beat. We got together in a buddy of our’s basement. I think we jammed like once and then I moved to New York for two years and I was still kind of playing. When I moved back we got together again. I don’t think we were taking it seriously. I don’t think we’re taking it seriously now, it just kind of snowballed slowly and slowly and slowly and then we got into songs and what’s best for the songs and it got serious. It’s kind of weird because this is my first band and to have come as far as we have. Normally, it’s the third band.

What were you doing in New York?
I was 19 and I basically wanted to get out of my mom’s house. Instead of college, I went to New York and I went to a trade school for recording. I didn’t really know what I was doing. I just was going up there to see what it was like, working in the studio. My friend got married and me and his cousin went up there, had one drunken night on a roof top and decided to form a band and take over the world. That didn’t really work out, but it did get us to move to New York, which was fun. That wasn’t really serious; I think we got together once a month. I moved back because I was tired of being broke and Vince called me up, two years after that one jam we had, and he had written a few songs. We just started there, song after song.

You guys went by different band names.
We started as a three-piece and we were trying to come up with a name and we had all these lists. It was such a painful process. I had this basement apartment where we rehearsed all the time and Vince’s girlfriend at the time came downstairs and we were throwing names at her. And she was like, “What about Lioness.” After everyone had said like a hundred no’s, we were like, “That sounds cool. Where did you come up with that?” And she said, “It’s on your wall.” I had this hook and knot that my first babysitter made for me. They look like rugs, but it’s a picture. And it was of Lioness from Charlie Brown. So that was our first name. I actually have a Yoda hook and knot in my kit drum. It’s for the force. So Lioness was our first name and then there was another Lioness and we had to change the name.

One of your names was Cactus Patch?
I think it was actually Catus Hatch, which I don’t know how we came up with. It was really an awful name. But, again, with the lists, the endless freakin’ lists. It’s impossible. On one of Vince’s lists, I saw catus, and I thought it had a ring to it. I was like, “What is it?” Vince is a fly fisherman and catus is a certain larvae from a fly and when they come out of the eggs and come to the surface, the larvae, all the bass come to the surface. So it’s a particular fly, and it was catus and I thought, “What about Catus Hatch?” It seemed brilliant at the time. And then everyone we told the name to were like, “What? Cactus Patch?” And it basically became Cactus Patch. It was so ridiculous at one point I wanted to make a T-shirt with Cractus Catch, Cactus Patch, Catus Hatch, Lemon Snatch. Basically, we’re called whatever you want us to be called. That happened and then we had a couple of EPs, actually we had a full-length under Cactus Patch, which I’m afraid to even think about listening to.

And then you became Army of Me?
Well, by that time we became a three-piece for a while, but then we wanted to change it up and get a bigger sound, so we got another guitarist. We were coming out with a new EP and we had management at the time, and they were like, “Well, if you want to change the name.” I remember the end of Cactus Patch. We played this place called Palomas in Baltimore, which doesn’t exist anymore because it was so sketchy. They had the radio on over the loudspeaker while we were setting up and the commercial was like, “Come to Palomas tonight for a night of country and zydeco with Cactus Patch.” And we were like, “Did they listen to the demo at all?” So we were like, “Okay, we sound like we’re a jam band from Arizona with the name Cactus Patch.” So we had to change it. Our manager at the time told us to write down album titles and song titles of artists we love. Like, Radiohead was the “Talking Heads” song, stuff like that. So, Vince wrote “Army of Me” because it was a Bjork song and thought I’d like it. That’s the arduous task of naming a band. The rest is the future.

Do you have a favorite show from this tour, favorite venue or favorite crowd?
It’s kind of impossible to have a favorite crowd because they’re always different, you can’t keep track. I’d say favorite venue is 9:30 [Club, in D.C.] of course, The Knitting Factory upstairs is always good and Bowery always sounds really good onstage. Favorite shows, I don’t know if I ever come off stage satisfied. There are very few times that I’m like, “Yeah, that was cool.” It’s usually when I feel like I’m in control. When I feel like I’m playing like somebody else, it’s like “That wasn’t me.”

When you travel is there a certain crowd that’s more enthusiastic?
I think there was a weird thing that happened for at least a little bit, where it was freakin’ kind of weird. It was like that thing where you go to Europe and you have no idea how you’re being taken over there. When we hit the west coast it was right at the time that KROQ picked up our single and they were playing it in heavy rotation and at the same time we had a video on MTV and all this mainstream with this huge umbrella of reach was happening. Everybody on the east coast were like, “Finally!” and everyone on the west coast were like, “Who the fuck are these guys?” We were playing all these outdoor venues and people were calling you sir and shit. It was really weird to have that because we hadn’t really played the west coast. And then we do, we had all this stuff hitting at all different angles. It was like, “Wow, can I borrow $50,000 from you? You must be rich.” Or, “Woah, who are you? You’re amazing.” It was definitely, kind of eye opening. I wish it were like that every day, just to be treated slightly differently, like a king. I just thought it was funny. We played the HF Festival in 2001 and this little kid came up to me with the booklet for the festival and a sharpie opened to our page. And I was like, “What?” I was totally clueless. That was my first autograph. I’m not a dumb person, but I had no idea.

How is it being away from your girlfriend on tour?
I think it’s different for everybody, obviously. As long as she has something to do and you’re both busy doing your own thing, it helps to where you’re not concentrating. She’s a stable manager so she’s responsible for a lot of stuff, a lot of horses. It definitely keeps your mind occupied. We’re both very independent people. I’d call her and we’ll basically say five words, we’re kind of used to it. When you get to the three week period, it sucks.

Is it possible to make it work?
Oh, yeah. It’s just a certain kind of person.

How would you explain the band’s dynamic?
Sings: “Well I’m a little bit country and he’s a little bit rock ‘n’ roll.” I think we just all come from . . . like, aside from Dave with us playing, because he hasn’t really written any songs with us. Brad’s definitely a country, folk queen. I’m probably the indie guy. I like weird stuff. I like Jon Spencer and stuff like that. Vince wants to take over the world. We’re very different people. It’s weird, I feel like a lot of people say we’re about the music and stuff like that. But, I feel like we’re just into writing really good songs and we could really do without jumping around and whatnot. It’s about how interesting a core progression is, whether or not one part’s stepping on another. We’re just trying to write smart, good songs and it’s weird because I feel like the world doesn’t want that right now. Vince was talking about last night, they’re [the crowd] like, “Am I aloud to like this? I don’t know what to do. No one else has told me this is cool, so I don’t know what to think.” It’s not like we’re going to quit. What else are we going to do? Become investment bankers? Become mortgage brokers?

What is the writing process for you guys?
Vince will do the lyrics, that mainly comes with the melody. Essentially, a song we’ll screw with the arrangement of it and the vibe of it and then we’ll start arguing about it and then we’ll finally settle on something.

How do you know when a song sounds right?
It’s kind of hard. If I hear a live version of something, where it’s a song that we haven’t recorded, even some songs that we recorded I’m like, “Why did I do it that way?” Being in the studio is definitely different, it’s like part writing. The only way to really hear your parts is to not be playing it while you’re playing it. If you can step back, it’s a little easier to edit. Sometimes you don’t even realize how stupid something is until you hear it played back to you. Even a lot of stuff on the album I don’t play the same way. I was in there [the studio] for two days and I was done and then they went to war with guitars, so they were there for another two months. There are three songs on the album that are pre-production tracks which are just while we’re working on the song they decided to keep the drum parts. I didn’t really have a chance to think about it. But now that I have, the songs have evolved and I’ll go back and listen to the recording to get some of my original idea and then, kind of marry the two. I’ve been playing it for a year and a half and then go to what was the initial feeling. That’s what I usually like. There’s a lot of energy, but you can hear the thinking going on and there is still flow. When that happens it’s pretty cool. But there are some things that I don’t like that I did and I’ll change them. Especially after you get a chance to hear it, it’s definitely a lot easier to edit.