girl about town

Spill! Interview with Greg Hughes of Still Corners

For London UK's Still Corners, there has been a steady progression over the past four years or so. From their first self-released EP "Remember Pepper?", to a tidy few 7" records and single releases, a compilation track for Fierce Panda, and the band's mainstay for single releases via The Great Pop Supplement: this group's combination of film and daring psychedelic sentimentality must have grasped the ears of the taste-makers at Seattle's Sub Pop and given them a tug. The label soon released a single for the band's track, "Cuckoo", from their forthcoming debut LP (which will also be released on the label). The upcoming album; Creatures of an Hour, is the grand realisation of primary songwriter and keyboardist Greg Hughes--but Hughes, who prefers to stick to the background, would prefer if the focus were on each song's lovelorn story as well as his dream-scape and vision-filled collaboration with band members Leon Dufficy, Luke Jarvis, Paul Mayhew, and of course; lead-vocalist Tessa Murray, for her lovely whispered, and definitely celluloid-approved, delivery. 

As part of our interview, Hughes expressed that he would love to eventually work with well-known producer David Fridmann (Mercury Rev, The Flaming Lips, Wintersleep, Neon Indian, etc.) but for the group's debut all of the songs have definitely received very personal attention at his own hands--Hughes recorded, and mixed, everything himself at his studio in Greenwich, in the South of London.

Still Corners upcoming US dates include their arrival in Atlanta, GA and then on to NC, DC, and the group has a few feature showcases at Public Assembly in NYC as well as the sold out Mercury Lounge CMJ showcase with The Dum Dum Girls, J. Mascis and others. Also included is a very exciting Philadelphia date with The Rapture and Metronomy on October 21st, at Voyeur (for Making Time) and then Great Scott near Boston before heading on to Canada, and then back through to Chicago and Minneapolis before finally departing for home.  

Girl About Town: As well as the dream, and film-like quality of the sound Still Corners are known for--there is also an underlying dark sensuality/current to a lot of the songs that you produce. What is your ideal environment for song creation: and what type(s) of inspiration would you wish for people to take away from the songs that you create?

Greg Hughes: I'd like to think that when people listen they are transported to some where else and they are moved by the music, that they feel something.  I don't really think much past that.  I think this collection of songs is darker because they were written during a dark time in my life after a break up.

You've been releasing songs as Still Corners for around five years now; was there ever a turning point where you thought: "This is it. This is the one." the song or sound that would take you to where you needed to go (in a specific direction, or mindset) to fully realize your sound? Or are you still evolving?

Definitely still evolving.  I think with every song I just let it come out and try to get out of the way of it and wait to see if it clicks.  I wait for that click and if it doesn't happen then the song usually sits there collecting dust.

Your first full-length album, Creatures Of An Hour (Sub Pop) is due out this month. Do you find that there is a fine line when it comes to what you would like to stand out and what actually does when it comes to the final mixing/mastering process?

I think because there's no clock it allows the freedom to relax and experiment more, see what works and what doesn't.  You can potter around, dive into older songs, try out new parts, etc.  When something starts to sound good I just try to bring it to life life in the mix.  I'm not a great engineer or anything, no training, I just use my ears and go with what feels right.

Being based out of London--do you have a favorite part of the local scene that is happening in the UK that you would like more people to know about?  Is there someone or something in the local scene that helped to foster your own group while you were forming your initial sound?

London is really big city so I've found that unlike smaller cities it seems more difficult to cultivate a proper scene.  Everyone is so spread out.  The closest thing to a scene I've found is in Stoke Newington where the guys in the band live.  Tessa and I live in Greenwich but whenever we go up there, there's a good vibe.  Promoters like Lee Gordon who runs the Folke Newington night and has just opened up a bar has put on a lot of great shows with like-minded musicians and friendly people.  It's nice to go up there and have that sense of community.  All it takes is a few people and some great bands.

What types of instruments do you each play: the organ on Endless Summer in particular seems to stand out. Your music sounds very layered as well: what other types of instrumentation or effects do you hope to use in future compositions that you haven't been able to experiment with yet?

For Creatures of an Hour I used a lot of the Vox Continental organ sound and for the guitar I played everything through a pedal called a Lovetone Cheese Source.  These were handmade in England by Dan Coggins but are no longer available.  Everything went through an API Lunchbox with an API 512, 527, 550a and these modules have a wonderful warm sound.  Tessa sang through a combination of a Mojave MA200, Shure SM58, and Neumann KMS105.  Future stuff should have a more analogue synth stuff.

How did you all meet and form the band?

I met Leon a few years ago at a Hawaiian party, we talked about film soundtracks and horror movies.  When I released Remember Pepper? I thought it would be a good time to start a band and play those songs live.  I asked Leon and he came aboard and turned Luke on to it for bass.  I was looking for a singer for a long time.  One cold January night I was taking a train to London Bridge but for some reason the train passed my stop and took me another 20 minutes down the line to Kidbrook.  I got off and another person got off and came up to me and asked if I had boarded the wrong train too.  It was Tessa.  We started chatting about all sorts while we waited for the next train to pick us up.  She told me she was missing choir because of it and I thought "hmmm this is good!".  We exchanged numbers and started working on demos together...a full year later we started releasing full songs.  The rest is rock n roll!

If you could imagine a movie being made featuring yourselves or your music: would it be more of a fashion film that featured your backing soundtrack and figures moving throughout a silent storyline, or would it be something more akin to the movie Blow-Up where the audience would be solving a mystery of some sort and your band would play during a climactic scene?

Blow Up all the way.  Great film.  I imagine a David Lynch meets Hitchcock for an eerie suspenseful type of thing.

My favorite song from your singles is the B-side Wish; "just one wish, can't resist", is there a lyric that stands out when Tessa sings it in particular for the band that turns a song into something unexpected? Or a song that you can't get out of your mind after you play it? 

Thank you.  I like the lyric, "Turned around the corner and saw your face, every time I look something breaks..."  It's been in my head for a while.  Tessa sings it beautifully.

Still Corners - band site / sub pop / myspace

Spill! Interview with videographer Justin Clowes: new East Hundred video This Year

In conjunction with the release of East Hundred's brand new EP The Spells, which the group itself describes (and very touchingly, we might add) as having "a mercurial heart....kindled by Philadelphia; our relationship with the people around us, our community, the city itself." the band also releases a brand new video for their track "This Year" which was made with footage captured by our friend and local videographer and photographer, Justin Clowes. Over the years, Justin has amassed footage of several local groups, and very recently we have also seen him successfully partner in work with mixed-media artist and musician Joe Castro to collaborate with Wilmington DE's The Sky Drops among others. 

As a friend and fan of East Hundred, we have personally witnessed Justin say more kind and good words than we can count about one of his favorite local groups, and so we thought it would be a tribute to his great work with them to tell us about the video that he made for and with East Hundred in his own words. We hope that you enjoy it, we know that we did--and to Justin and East Hundred, we say "Congratulations!".

Girl About Town: Why do you consider East Hundred one of your favorite groups right now: what sets them apart for you?

JC: I think it all comes down to the songs... They absorb a lot of influences from bands that are around today but they purposefully don't sound like any of them. Their songs are very accessible and there's an emphasis on texture and melody that I love. I've always been interested in bands with a girl on vocals and when a friend told me about them many years ago, I liked what I heard. It's been fun and interesting to see them evolve over time and go from being less of a studio band and more of a live band. They're good people too, so getting to know them and working with them over the years has been fun.

How did you set about making this video--did the band ask you, or was it your idea?

JC: Probably a bit of both... I had put a video together for a cover they did of Mazzy Star's "Fade Into You" with different odds and ends of footage. They seemed to like the way it came out and we were talking about the vibe of the video and how it was pretty low key. I had more film sitting in the fridge at home that I was wondering what to do with, so I mentioned the option of making another Super 8 video. That got things rolling...

Why does this [filming with the use of Super 8] medium stand out for you; and how long did it take for you to pull all of the footage together?

JC: I was always interested in video: but sitting on a shelf, in my bedroom, was my parents' old Super 8 camera. Once in a while I'd research getting Super 8 film but couldn't find any in the Philly area. Probably about 8 years ago, I pulled the camera back out and started doing some research on the web and found some Super 8 film for sale. I filmed a couple of rolls and over time, mostly through trial and error, I started to learn the characteristics of different film stocks and what worked well and what didn't. It felt good to do something that stood out from all the camcorder stuff and the aesthetic of Super 8 just goes really well with certain bands. Film always offers an element of unpredictability but with a bit of luck and some know-how, Super 8 can give you incredible color saturation and an almost other-worldly feel. 

For this video, i decided it would be cool to have the band do some of the filming as well and make the cameras themselves part of the video so I loaded up several cameras and encouraged the band members to do some shooting. I thought it would add a different perspective to the video and give them an element of control. They all seemed to like doing some of the shooting themselves... We filmed most of the footage over a hot summer weekend in July and then I shot a few rolls of their 2nd Street Festival appearance the following weekend. Their set time was later than we originally thought though, and I was concerned that we wouldn't have enough light: but the footage came out OK.

You have also worked with Wilmington DE's The Sky Drops: what other groups would be on your wish list to do something like this for? 

JC: There's a ton of bands I'd like to work with. I just picked up the Washed Out album and as soon as I played it for the first time, I started imagining different visuals to accompany the music. On the local level, a lot of the bands I love are no longer around. Kurt Vile would be cool, especially a song from his latest album. I've been wanting to do something with big open spaces, lots of sky and scenery and the like, but nothing that fits the bill has come along. I'd do another Sky Drops video...for sure.

East Hundred photos by J. Clowes.

Do you have plans to work on any future videos? What would you do differently, if at all?

JC: I just finished up a hip-hop video, co-directed with my friend Joe Castro, filmed in Asbury Park so that should be coming out in the next few weeks. Every time you do a video you learn a little something but what was true for one video doesn't necessarily carry over to the next. Weather and lighting are huge factors in videos, especially when you're working with film. At the end of the day though, it all comes down to the song and what's in front of the lens.

You can find more of Justin Clowe's photography work online via his Flickr gallery here; and we're guessing that he is referring to locals 5 O'Clock Shadowboxers (the video that is still in production), which we're hoping for a sneak peak of soon! 

East Hundred - band site / myspace

Spill! Interview with The Superions! (Fred Schneider, Noah Brodie, Dan Marshall)

Whether you are a casual listener or die-hard music fan, everyone knows the familiar voice of Fred Schneider, the male vocalist for The B-52s.  From their most famous hit, "Love Shack", to their undeniably important cannon with songs such as "Planet Claire", "Private Idaho", "Song For a Future Generation", and of course "Rock Lobster" - Fred Schneider has been the constant face and voice of not only the Bs (as they are called), but helped to herald in the New Wave here in the US in the late '70s. While the 'States were starting to recognize the sounds of British alternative music, some bands were toiling in America to create their own brand of rock and roll. With little resources other than imagination and creativity, the B-52s worked hard in Athens, Georgia to craft what has since now been labelled as "The World's Greatest Party Band". 

Thirty years on, the B-52s are still making records and touring, most recently having performed in Philadelphia last month. Girl About Town was there, and is most impressed with the band's longevity and relevance still today. Central to that is Fred Schneider, who along with his singing mates Cindy Wilson and Kate Pierson, carry the energy and fun well into the night (oh and let's not forget Keith Strickland the the rest of the band!). So it's no surprise that Fred Schneider continues to work his labor of love even beyond the borders of the Bs. He is currently enjoying his side project with two musicians from Florida - Dan Marshall and Noah Brodie - as The Superions. What started as an introduction through mutual friends and a love of records has now turned into a four year endeavor, with the band making synth-pop that is instantly accessible and humorous. Fred writes the lyrics and contributes the vocals, while Noah and Dan work on the music (Noah playing keyboards and electric drums, and Dan doing the programming). However, this is a true collaboration, and the result is nothing short of WOW!

The Superions have recently released their first full length album "Destination...Christmas", just in time for the holiday season. This follows up their debut EP which has become an instant classic - with songs titled "Who Threw That Ham At Me" and "Totally Nude Island", The Superions have a flair for the comic and dramatic. Girl About Town had the privilege to interview the band about all sorts of things, from Fred's childhood to Noah's grandmother and of course we discussed the music. First, Royce spoke with Fred, and then Carly chatted with Noah and Dan - so we bring you what can only be called an interview extravaganza! 

The Superions - Fruitcake!

Girl About Town (Royce): Here in Philadelphia, we have two fantastic perennial radio shows on Christmas day - one is Robert Drake on WXPN, who broadcasts for 12 hours straight during Christmas Eve, and the other is Jon Solomon, who broadcasts for 24 hours straight on Christmas day.  Both DJs are notorious for playing unique holiday songs, everything from the ridiculous to the obscure to the rare gems.  Your new record with The Superions will fit right in on both shows, and I am sure will be a highlight this season.  If you were DJing such a show, what holiday songs would you play?

Fred: Well I would have to say that I would probably be playing similar stuff - I'd be playing "A Ding Dong Dandy Christmas" by The Three Suns; "Santa Claus is a Black Man", James Brown's second Christmas album. I don't think I'd be able to play Rudy Ray Moore's Christmas album, it's a little dirty. "The 12 Days of Sickness" by Sandy Kay (I think it is). This woman did a take off on the 12 Days of Christmas, it's all about liquor and she gets progressively drunker as it goes along - it's great, not that I support alcoholism. Hmmm...All my Christmas records are on the top shelf, it takes a giant ladder to get to them so I haven't been to them yet (laughs). I better get them down because I have to do a photo shoot with them.

Yes, Christmas is coming, it's around the corner!

Christmas started in September for me.

Why haven't the B-52s done a holiday album to date? 

I don't know! I wanted to do one. There's no leader in the group, you know.

Do you think then that the Superions Christmas album is filling a void - either for you personally, or do you think this is something the market needs? 

Yes, the world needs another take on the holidays. And different kinds of songs. Avalanches, deranged abominable snowmen, things like that.  There's too much wreaths and holly. I think holly is poisonous to animals.

Do you have any concerns that with a holiday themed album that people might see The Superions as a novelty act rather than taking you more seriously as a dance/pop act?

I don't worry about anything. I'm just lucky to have a second/side career (laughs). Anytime you do something humorous you're labelled camp or novelty. But most Christmas songs are novelty, especially the good ones. Hopefully people will get my sense of humor and if they don't well c'est la vie!

How does your collaboration with The Superions differ from your past two solo albums?

I worked with one person on my first solo album, John Coté. And on my second album Steve Albini put me in touch with several bands. I find that I am having such a good time with the Superions, it's real easy for me to write with them. I do all the lyrics and have a lot of say in the direction of the music, and they're getting better and better to the point that I'm really happy with everything that's going on.

With the B-52s, the bands visuals and graphics have been an important part of the image, everything from the record covers to the costumes. In certain circles, you have been a tastemaker over the years. Where did all your personal style come from?

My personal style was from not having any! To be honest my mother bought my clothes until high school, so I didn't care. I wasn't interested in that, I was interested in records. When I finally started buying my own stuff, it was horrible - like apple green bell bottoms, and polyester bell bottoms with brown shirts (laughs). And then in Athens no one had any money so you shopped in thrift stores. I like clothes from the '60s and '50s. I mean, you could get a pair of pants for 50 cents and a shirt for a quarter so that's hard to beat. You go to a thrift store now and a shirt is like $40.

You have to know that you are the quintessential icon of all things wacky and kitsch (well maybe rivaling John Waters). How do you feel bearing that responsibility?

I don't see anything that I do as kitschy. I don't see anything that John does as kitschy. Kitsch means worthless. Camp means you're funny but you don't realize it, like Liza Minelli's husband or Charo (well, I think Charo knows it). I just think it's humor. Perverse humor at times, but it's humor. I mean, I know what I'm doing and I don't just sit there and monkey type words out.

Do the other Superions share your taste in music, art, and fashion?

Oh yes! Totally. I met them at a record store, through my friend who owns the biggest record store in Florida.  He said "I have these two friends who want to meet you". I said "Oh sure, great." And we met, and a couple of years later they came up with some music and I put words to it, and when I did it was "Totally Nude Island".  Early this year we wrote nine songs in eleven days for the Christmas album, and we also have one song for a Halloween album. I don't know what we are going to do next - it will either be a Halloween album or a regular album, or both. Or a Halloween EP and a "regular" album for us. Halloween is like the gay Christmas, everyone loves it. People were saying "Happy Holidays" to me in New York (laughs), so obviously Halloween is a recognized holiday.

How did you come to be on the Fanatic Label?

Well Josh (of Fanatic) was the publicist for our first Superions EP, and he heard our Christmas stuff and went wild for it. He has a label with major backing behind it, so we know it will get attention. We have a good contract, I think, and we are doing whatever we can to promote it. I am trying to get Noah and Dan more involved. I mean, I guess I am the face of the group but I am hoping they can get more of the credit they deserve, because it's like three nuts working together! 

Noah and Dan have full time jobs, right? So it might be a harder transition for them to do promotion and touring full time.

Oh yeah, definitely. They can't quit their day jobs yet, and I can't quit mine (laughs).

You're stuck with your day job, I think!

As long as the B-52s want to keep going, I definitely want to keep going.

Which was a stranger place to grow up in: Newark NJ or Athens GA?

I was born in Newark but I grew up near Asbury Park. I liked grammar school, I hated high school. One of the reasons I wanted to go to Georgia was to get as far away as possible. I didn't have to go home except for holidays (laughs). Hopefully you find yourself after high school. I realize that a lot of the people I went to high school with are stuck in that same mindset - you know, that was the best time of their lives. 

Have you ever heard that quote from Fran Lebowitz where she says people wear the hairdo of the time they were happiest? I met Fran and she told me that, and it's so true! You still see people with the '70s Farrah flip feather do and that's the last time they were happy.

(Fred is laughing!)

What's next for you Fred?

More work with the B-52s, lots of work with the Superions...touring, writing, recording. An album for The Superions will happen when we don't have to pay to play (laughs). We haven't toured yet, Noah and Dan can't get away. Christmas is a niche market so to develop a show and take it on the road would just be too difficult.

What is your favorite thing about Philadelphia?

I love how easy it is to walk around. There's a vegetarian Chinese restaurant I love to go to. Plus I like the little neighborhoods, South Street, all that. I like to piddle. If I go some place, I don't make the scene, I just walk around with my friends. If we hit a record store, great. If we hit a junk store, great. A thrift store, great, a clothing store - whatever.

Carly of Girl About Town continues the conversation with Dan Marshall and Noah Brodie, the rest of The Superions from their home base of Orlando, Florida.

Girl About Town (Carly): Fred [Schneider] mentioned that you met each other at a record store in Orlando: was that Rock n' Roll Heaven?

Noah: Yep, Rock N' Roll Heaven, right here in town. 

Dan: Actually, it was [the owner] Ray's brother; Freddy. They both own the business, and it's kind of funny because I went in (I've been shopping there for years now) and they had a solo project (a vinyl record) of Fred's. "Just Fred," I don't know if you've heard it, but it's really good.

Right, his [Fred Schneider's] solo album.

Noah: Right, and I've been looking for it FOREVER, and they had a copy of it on the wall, and I went up to Freddy, and I said, "Man, if you ever get another copy of this, let me know!". Then he said, "Oh, I know Fred! Let me just call him!" and he called him right there, said that I was a big fan and the next thing you know, 'ol Fred sends down a signed copy of the Just Fred vinyl which I'd been looking for, for quite a while. Then just a couple weeks later, he was in town, and we ended up all meeting, and we just kind of hit it off. We were all record nuts, so we've always been collecting vinyl....

Fred has previously mentioned his love for collecting also : it sounds like a lot of his favorites revolve around the obscure which includes anything from comedy to music. What are some of your favorites when it comes to collecting?

Dan: Well, Fred got us into collecting all of the lounge, and tiki, and you know: stuff from the '50s and '60s. That stuff is great! He got us into that.

Noah: But, besides that we collect all kinds of stuff. One of my favorites is called 'Baby Lulu', it's really bizarre, it's from the '70s, it's probably this forty year old woman and her husband, and she, uh, acts like a three year old girl....

Mmmkay, well, there are fetishes for that nowadays....(both laughing)...

Noah: Yeaahhh...it's really weird, it's mostly about Jesus...Yeahhh, but it's really fun: like I said we have anything from Baby Lulu to Depeche Mode and whatever inbetween.

So, would you go so far as to say that your collective tastes in the, er, wackier side of music inspire the music that you are all creating for The Superions?

(Laughing) Noah and Dan (together): Ha ha, DEFINITELY!

Dan: You could definitely say that!

Noah: Like, I've always been into a really like, scaled-down, electronic; kind-of weird little pop things that you can find here and there. But, yeah, definitely; some of the 'wacky' stuff does influence us. And, if you've heard of them to be called Casio Chords; they're all kind of in that, you know; 'Casio' sound. 

Noah; you noted that your Grandmother's given her approval on the group's fun sound. How had you described your music to her?

Noah: Well, it would be kind of tough, because she doesn't really get "electronic", but definitely you know, "electro-pop" with a splash of 'weird'. That's how I've always described it. Certainly, you know: 'off-key' and 'out-of-the-box', I'm sure.

Your group have a few songs the new album, "Destination: Christmas" that take a kind of....mm, 'fearful' turn; like "Teddy and Betty Yeti", "Christmas Tears," and also, "Crummy Christmas Tree". Do the lyrics influence the way the song will sound, or vice versa?

Noah: It kind of goes both ways. There have been times when we've gotten the lyrics first and that kind of dictates the sound, but also vice-versa….

Dan: It's funny because this Christmas album in particular, this is funny (not sure if Fred told anyone this the other night); but we had started making a Halloween record!

Noah: Yeah, the opening track; "Santa's Disco" was originally "Zombie Disco", it was a Halloween song and we already had it in the can, but instead we just added some chimes and bells, and tried to Christmas-fy it up a little bit and so "Zombie Disco" suddenly became "Santa's Disco"!

Fred also mentioned that you still plan to do the Halloween-themed album, but that you are postponing it for next year?

Dan: Yeah, it's going to be great--it will have a great, dark and ominous sound.

So, for right now the plan is full-steam ahead for a 'regular' album between this?

Dan: Yeah, like Fred says, some regular songs…

Noah: The plan is just a full-length, just a 'regular' record if you will. And then either a Halloween EP, or a full-length. Just a few more songs and we'll have a full-length, so….

Dan and Noah, have you both worked together before?

Noah: No, we've known each other for years--we've been friends forever…! We were so lucky to have met Fred, and for this to kind of become what it's become; we feel really lucky! No we've always been long-time pals…

Are you originally both Floridians? 

Noah: Dan's from Massachussets….

Dan: I'm from Cape Cod originally, I went to Florida to go to school and shortly thereafter is when I met Noah. We would work on music, you know just for fun.

Had you ever played live before--or was this just something that you did in the studio and then Fred came along?

Dan: We would work on music just for fun--it was more of just, a studio thing.

Where do you perform when you're ready to record your songs? Where did you record "Destination: Christmas"?

Dan: In our house. We just have a ProTools setup on our iMac, and with ProTools, we run a midi-keyboard and electronic drums. We stick Fred in the hallway with a microphone.

You've been busy working with the performance artist and musician Peaches as well?

Noah: Yeah, we just started, actually it's almost wrapped up now. We're doing a song called 'Threeway Freeway'.

Did you say 'Threeway Freeway'?

Noah: (laughs) Yeah, 'Threeway Freeway' with Peaches and Fred, and I don't know if you're familiar with Shunda K; she's an up and coming Rap artist that was with the band called Yo Majesty. She does a rap on it with us. It's really good, yeah--and Peaches is amazing, of course! 

So what do your co-workers think about your band? 

Noah: Dan, do you want to cover that?

Dan: Oh, they think it's cool and exciting and that it's…well, it was two years ago when we released our first single, and four years ago that we formed and we did it for fun at first. People suggested that we put out the first song that we did--called "Totally Nude Island" so we released that on our own digitally, and you know--just to see what would happen? We got a good response, so we just moved forward with our EP, and a couple other singles and now this Christmas record. Everybody just thinks that it's great! 

Noah: For my co-workers--they keep asking me 'So how much longer are you going to be working here?!' and you know record sales are through the roof, but you know it's so hard these days….to do it full time.

Right, and you both have day-jobs, so that must make it kind of difficult.

Noah: Yeah, and you know Fred still has a really busy schedule with the B's and you know, but we're trying!

It looks as though you are having a really great time together. Even your videos portray this. "Who Threw That Ham At Me" is so riotous, camp, and just….such a complete hoot to watch; certain scenes giving the video a John Waters turn….you must have such a fun time filming your videos; it seems like something where you could just get your friends together and have a great big party while making them!

Whose idea was it, for the 'Ham' video?

Noah: Well that was actually all shot up in Baltimore, but me and Dan did some footage down here on our iPhones at Universal [Studios] where we work, so we have some of the street set; like we were in New York, and Hollywood, and we shot six hours down here and then we sent it all to Baltimore, and they filmed all their stuff so a lot of it does have that John Waters' vibe although I think a lot of that is the back-drop and the crazy characters. Fred is the one that really comes up with a lot of the concepts for the videos (like the general ideas) and then we all chew on it together and throw out some ideas and whatnot, and then it becomes a collaboration between everyone. 

Dan: Have you seen our new "Fruitcake" video? It's on YouTube right now for people to see online. That one's really fun and we did that all here at our house!

If you had the chance to work with another producer, would you prefer to work in a bigger studio or have something that was a bit bigger-ticket than you're working now? Or do you enjoy having your own say?

Noah: Yeah, we've talked about using other producers, but we love having the control. We definitely wouldn't mind having a producer, and we've talked about it--to maybe take it to the next level. I don't know who we would use--there are just so many great people out there. We've talked about it and we really just don't know.

As you seem to be the band who loves a holiday theme--what's your favorite holiday?

Noah: What's your favorite time, Dan?

Dan: I love Halloween! But we missed it this year because we got so busy working on our Christmas album.

Noah: I don't know why, but I've always loved New Year's. There's just something about New Year's because it's a fresh start. That's my favorite. Christmas too. I've worked in the entertainment business for so long, and we're always working on Christmas and the big holidays, so I don't get to spend those with family too often.

How does working as a part of the entertainment industry translate for you (into what you're doing now)?

Noah: Well, you know I've been in Universal forever. I started there working at "Back to the Future". I'm an Entertainment Manager; I work with the "Beetlejuice" show, and we have a "Blues Brothers" show as well. Universal is a very musical kind of place. Both of the venues that I operate are music venues, you know. Music has always been in my life, when I was a kid I was always in chorus. For me it was always a kind of, natural thing. Dan too…! Dan went to school for creative sound, working with sound and doing music as well. We're all very creative in that way.

Do you feel that the group has a clearer idea of where you would like to take this because you work in the entertainment industry?

Dan: Well, I don't think there's a clear way…at all! 

Noah: Yeah, I think--you know, it all started on a lark! It seems like the more we laugh, the more fun we have. It just works, we're just trying to have a good time. We're not out here trying to make mysterious records--these are FUN records!

And Fanatic was a great choice for your label, because they also have a seasoned PR team built-in.

Noah: Yeah! Josh is great! He was a promotion guy, and he totally hooked us up and so when we did the album they were definitely first on our list.

Will you try to play dates on weekends (and start to test the waters) in the future (for live tour dates)?

Dan: Yeah, we couldn't really take a Christmas album on the road….! We want to get out there and start playing live.

Noah: Yeah, we actually booked our first live performance on December 1st--we're doing a charity party at Borders in Manhattan! Yeah, it's for World AIDS Day, so we're really happy to be a part of that!

That's really wonderful! I'm sure people will be excited to see you live and for a great cause!

Noah: Yeah, that's our first performance! We're really excited! It's going to be great too, because there will be so many other things happening in New York as well. It's going to be great!

The Superions - myspace

Spill! Part II: Interview with Tim Burgess of The Charlatans (UK), Philadelphia PA - 9.15.2010

Photo by Chris Becker, www.artistsweetsbecker.us  

Tim Burgess - Everything In 'F' Sharp (live interview audio) 

To continue our interview with The Charlatans (UK)'s Tim Burgess, we'll start off with a lead from Part I of our live interview feature where we discuss the recording of the band's new album "Who We Touch" and the significance of the 'F' sharp; a note of which you may, or may have not guessed―has many, many, positive redeeming qualities. The Charlatans' brand new album "Who We Touch" is another wonderful turn for a band who, since 1990, have delivered unique, and adventurous recordings, playing on their sound over the years and taking a page from various genres including soul, reggae, pop, as well as a most early and formative 'baggy-era'-groove. It is important that we note that this year is the 20th Anniversary for the original release (and now-re-release) of the group's "Some Friendly" debut as well. Although, always a great time to revisit the group's older recordings--we find ourselves, more than ever, anticipating where they'll go next.

Girl About Town: So tell me more about the track, “Smash the System”. How did that song come about?

Tim Burgess: Mark came up with it....well, me and Mark really. Well, Mark brought in the instrumental pretty much fully formed. No drums, just an instrumental―a guitar instrumental, no vocals. I got a melody together, ehm, and wrote the lyrics to it, so I kind of took over a little bit after, the initial parts.

So you took over!

Well, I have to, and I had a vision for it. What’s it about? It was about smashing the system from inside of you―or smashing your own system. I also, believe that it’s probably...about someone who we worked with in the past, so I also believe that it’s probably an anti-human song, if you know what I mean.

Is it therapeutic to have it come out on stage?

Oh, I love singing it!

When I first heard it, I’ll tell you honestly―I kind of felt as though there was something just a little bit off in the vocals, but when I heard it live for the first time; I thought, ‘Well, I get it.’ It’s a great live song, and it really comes across great―it has great energy live.

Me too, it comes across better. You know, the thing is, we did this album, we recorded the whole album; seventeen tracks in fifteen days.

That’s so much, in so little time!

Yeah. Well, we...so that’s like one track a day, plus a jam in the evening. So every song, was kind of rushed. But that’s okay, that’s okay. But no, on “Smash the System”, I actually do really believe that that’s probably my worst vocal on the album.

I hate to say this, but I was wondering if it was the way that the vocals may have been layered...or...

Well, no...

But, no: after I heard you play it at Maxwell’s, I have to say that it’s definitely, now: one of the definitive tracks that sticks in my head. So...

Some people in some of the reviews have said that there is vocal tuning or whatever. No there isn’t any of that.

Right, so, then you’ve got to 'debunk' the myth.

Yeah, there isn’t any. There’s layers and stuff like that, but...I don’t know, in a lot of ways...you know Alan McGee? Well, we had Alan McGee managing us, for a couple of years. And, he was just very disappointing. He was a legend, you know; a music legend, but, I find him very disappointing and...”Smash the System” is about him, in all honesty.

 Photos by Chris Becker, www.artistsweetsbecker.us  

Wow, hm, that’s intense―but you’re allowed to have your say.

He’s very rich, so it’s like, “I don’t belong here in your garden / I should be up there on your throne,” yeah.

So are you happy then, to have the new album come out on Cooking Vinyl?

Well, yeah, I mean; I, you know my favorite labels growing up were obviously “Factory” and, to be honest, “Creation” you know, and outside of that, I didn’t really care. I’ve never been on a label...when we first put our records out, we were signed to Beggars Banquet, which is now 4AD again; which is a really fucking cool label. But at the beginning of Beggars Banquet....Beggars Banquet wasn’t that cool. It did have The Fall, it did have The Cult, and it did have Bauhaus, ehm, but it wasn’t as cool as Factory. And I always wanted to be on Factory because of New Order, and Stockholm Monsters and stuff like that. That’s the top coolest label of all time!

So, I’ve never really been on a label that I ever really had huge desires to be on. You know what I mean? So after Beggars Banquet we were signed to Universal, which was kind of like, well―you know...then they dropped us...I think you have to sell something like a hundred thousand copies just to justify your existence...and I think like one of our albums didn’t do that. And then we did our own record through a free download.

I read that the download was a huge economic disappointment, but otherwise?

Well, that’s true. As an experiment, as getting people to hear our music....I mean, there was probably like, I think over a million people downloaded it from this one site....and this was even before when we had sites like Aquisition,Megaupload, and Rapidshare, and all sorts of things. And that was just through Xfm radio station. So, in terms of numbers and people hearing the record―it was amazing. But, what was really disappointing is that we went into partnership with Alan McGee, and it was mine and Alan’s idea to give it away for free. He paid for it, to have it done, but then after it was given away: he wanted his money back, and quit as well [the music industry], in total. And eh, when we couldn’t pay it back at a certain day―he issued us with a lawsuit. So that’s...

So there’s a little bitterness there.

Yeah, I mean―obviously, we’re kind of really, grown-up these days, and you know, we don’t take that to heart. It’s just, the weird thing is, is that Alan still wanted to be my friend, even though he was suing me. Which was really, weird―very, bizarre. But, I would never say that....well, I’m not disheartened by it, at all. I think it was great. And it was a brilliant record, it was a great record.

Now, anyway, after the free download: Cooking Vinyl approached us and said, ‘Look if you want to do something physical,’ you know, 'We can put out some CDs,' you know, 50/50 split. I thought 'Great!', or I can pay for it, and then we got 50/50. So, I thought, that was really cool! And then, we, made this new record with “Big Life” who are our managers, and they funded this album. And then, Cooking Vinyl came up and they said, ‘Well, we’ll do this one too, if you want,‘ and it’s like ‘Well, I think Billy Bragg is great―but, the kindest thing to say there, is that, you know I think he’s amazing, but he’s just not on my radar, really....’ Ehm, Poison Girls are on there, and quite a cool band....again, the guy who runs Cooking Vinyl, he’s the manager of Poison Girls, who again (with Crass), [are] at the forefront of the punk scene and have been around forever.

So, it’s a very good match for you, then.

Yeah, I think it is, I think it is. Yeah, and they just put our record out and there’s no minimum for us. And you know what’s great? I kind of just realized that I’ve not really met anybody this time around from the record company. Our managers just go to them, and turn it around. I’ve been quite happy. My main issue, is, the artwork―which I think is brilliant.

Photos by Chris Becker, www.artistsweetsbecker.us     

Who did the artwork for you?

Gee Voucher, who did all of the Crass artwork too. So, Penny, the guy who sang on the last track [the drummer from Crass] he lives with Gee. You know, they’ve lived in the same house since the ‘60s. They still have punks....camping in their garden. Gee did a great job on the art―she did it all based on my lyrics. I’m really crazy about it, and Cooking Vinyl did a good job on the printing. We’ve got the double LP and vinyl is coming out next week in Britain.

We’re coming back though―that’s the great thing, the thing is; it’s coming out on The End Records over here, and they’ve already said that you know, ‘We want you’s to come back in the Spring’. You know, late February and early-March. Now, if that happens, it could be huge―but we have a lot to do before we come back. It would be good to get some TV, it would be good to go to Seattle, and Portland, and Vancouver we’re not going to, we’re not doing anything in Texas this time around--to play Detroit, and Arizona―we haven’t played Arizona in a long time....maybe we’ll be able to finally go to some of these other places. If we don’t come back ‘Oh!’, I’ll be so upset!

Have you ever been to Philadelphia, and do you have a favorite thing about Philly?

We really liked playing the TLA! I remember wearing a bear hat once, not a real bear (obviously) because bears are one of my favorite animals, but that was fun!

Oh well, you realize that you are possibly going to get sent photos of fans with stuffed bears now, right?

Oh, well, I like all kinds of animals; bears and sharks, and tigers, and little dogs too!

Right, funny that you say that; we saw you in the live feed for the Best Buy show being a pal with that little doggie right before you started playing!

Ah, right! Well, I have a Yorkshire Terrier, 13 years old, I love little dogs.

What’s his name?

What’s his name? It’s Dylan.

After Bob Dylan, right?

Yeah, and his middle name is Keith, after Keith Richards....

Well, that’s a raspberry, right in the middle there.

Yeah, it is, right?

The Charlatans (UK) are currently on tour in Great Britain and headed to other parts of Europe with replacement drummer Peter Salisbury of The Verve, and according to Tim Burgess who was quoted as a source via BBC Radio 1's "Newsbeat", (on Tuesday, September 28th) the news regarding drummer Jon Brookes is that he made it through surgery safely, and is hoping to recover with enough time to resume playing in order to join the band's pre-planned Australian tour (in or around six weeks from now).

The Charlatans (UK) - band site / cooking vinyl records / myspace

Spill! Part I: Interview with Tim Burgess of The Charlatans (UK), Philadelphia PA - 9.15.2010

  

For Tim Burgess, of The Charlatans (UK), reinvention became in large part, the bright spot of his group’s creative process. Tim (whose own muse of invention this time around was borne on the forming of one prolific note: an “F” sharp―see more in the interview that follows) was recently very quick to note, that the most interesting turn for him was his band’s brand new album. “....it’s kind of resonating in a way, that, I really hoped it would...and [doing] what, in a way, none of our records have done before. They’ve never crept up on you [like this]...”

“Who We Touch,” released earlier this month on Cooking Vinyl in the U.K. and on The End Records in the U.S., became a positive output for The Charlatans in both shape and form. However, the work for this album didn’t begin and end with The Charlatans, the group’s management team or their label: it became something far more...poetic.

A collaboration with Tim’s favorite band from his teens; the anarchy-punk group Crass, and their most outspoken creators―Penny Rimbaud and Gee Vaucher, who are described by Tim in a youthful tone, with grinning candor, marveling at their iconic status and what it still means to him: “You know, they’ve lived in the same house since the ‘60s. They still have punks....camping in their garden.”

For those of you looking for an album from a band that you know, or that you thought you knew; "Who We Touch" by The Charlatans was meant for you. Tim has been setting up every show with the remix of "Love Is Ending" by The Horrors well before the band goes on, and with the material included with the double LP; the new album is just brimming with extras and interesting outtakes. The text that follows is from the first part of our interview with Tim which touches on the new album, the band's history, personal experiences, the group's writing process, and on a slightly bittersweet note―the group's former manager; Creation's Alan McGee. For Part II of this series, please check back this weekend.

Girl About Town: We've noticed that you're loving the Red Bull both on stage and off….?

Tim Burgess: To be honest with you, well; I’ve been pretty much trying to be caffeine-free for about, a year and a half. But I’ve been [on tour] here, now....I don’t know, maybe 8, or 9, 10 days now, and it’s a bit annoying, but well... (it keeps you up?) it just, it gives me that little bit of perkiness.

Does your music make you get into the songs on stage or is that a persona? You seem to have this real playfulness about you on stage. The lead singer of Sherlock’s Daughter (your openers on this tour) just, has such joy on stage: and I feel that way about you too...

I always thought that I was moody on stage…!

As in 'a moody bastard'?

Yeah, I don’t know what it is. I don’t want to think that I become like a completely different person on stage or anything like that. But, you know, listening to music makes me really happy. We’re seeing people in there [the venue] and knowing that....that, the music that I’ve just put together, you know, before we play and stuff like that....is really important to me as well. And, just listening to music makes me really happy, and makes me become something else. Going about your day-to-day life; it’s just kind of normal and mundane, and then, as soon as [when] the music gets turned on, it’s like “woo-oo-oo-ooh”. You know?

1. You're Not Very Well
2. Weirdo
3. Blackened Blue Eyes
The Charlatans (UK) live @ Johnny Brenda's - Sept. 15, 2010

If you could choose a type of music―I guess my thought would be, that if you had a thought bubble over your head with music in it: what would it be? What kind of music is turning you on lately?

I’m quite into noise music at the moment. You know, like, the gray area. Sometimes if you go into the music store; it’d be like avant-garde, slash “Noise”, slash ‘gray area’. So that’s kind of what I’m really into at the moment. I don’t really know if you’ve seen this band yet come on tour....but we’ve just gone onto a remix by them. The Horrors remix a version of "Love is Ending". It’s kind of like this dissonant-noise-abstract thing....it’s like a warm- and fuzzy feeling and I feel like if there were a bubble over my head; then this would be it.

It’s interesting that you chose a genre as abstract as noise because I feel as though this album is so accessible, so upbeat.

Yeah, that’s interesting. I think it is. I think with the album, I think it’s positive―first off. You know. And when you’re writing a song: sometimes you might have an end section, or something like that, and you think that, ‘Mm...that’s not positive enough’, and then you turn it around a bit and because it becomes positive the whole song becomes positive. Do you know what I mean?

Although I was conscious that I wanted to make a positive record; I did want it to have dark moments (obviously), I wanted it to have abstract moments, I wanted it to be, ehm, deep on a level that we’d never really touched upon before, and I wanted it to be shiny...all of those kinds of things.

You sound really proud.

I think, what I wanted to do....was achieved, I think. It’s, like―really, what I really wanted to make, was an epic film. You know, of....like, ‘gigantic proportions’? I don’t know, but, when you say stuff like that you’re gonna fail....but, [that’s] really what we tried to do.

I’ve seen your band play many times over the years; you played Detroit quite a bit in the '90s and the last time that I saw you was at Industry in Pontiac, Michigan!

Oh wow, yeah, that was a great one! I got my tattoo when we did that show.

Over the years, you’ve never stopped playing―but I feel as though this album is different for you, and maybe that’s because it just seems to have popped up, and really come out of the blue for me. I was really expecting this to be the late summer of Teenage Fanclub with the new release of their album “Shadows” coming out. I was so surprised when I heard your new album; because I felt like―to me, this [yours] was the album that I wish they had written, somehow. That this [album] was what I was waiting for.

Oh, that’s a really big, great compliment. Thank you.

I felt like you really, you just really hit the nail on the head with a lot of your songs: it is really positive, it is really shiny―it’s a great album. And, on some level I almost feel as though....with the 20th Anniversary of “Some Friendly” this year….

You think that crept in there, somewhere? Yeah, I do too.

Yeah, I feel like the sunshine is coming out for you, and that it’s a great time to be back.

I think so too, what was kind of weird about doing the “Some Friendly” anniversary is that, you know that was obviously running parallel with....Well, I was writing the new record, as well. And I think, ehm....four or five years ago―I might have picked over “Some Friendly”, and been thinkin’ ‘Yeah, you know, it was a long time ago, that record...I don’t really want to see it again.’ But, I felt really great about seeing it. Well, noo....ehm, maybe because…

Probably because it’s something to do with the cycle of it being twenty years. And then, we’re writing a new record as well, and then; I actually thought...'You know what? “White Shirt” was a great second track on that album,' and we need to have a really great second track on this album, like a real positive one, and that was “My Foolish Pride”. So we kind of, like, that was basically: I tried to rewrite “White Shirt”. It’s nothing like it. Not even the same notes, of course, but the same feeling.

What I love about “My Foolish Pride” is it’s underlying clever melody. When you listen to a recorded song in your home, versus hearing it live; sometimes there are so many layers that are built in―that you miss the important parts underneath. There is a very clever line built into the lower melody of the music that took me completely by surprise with its bit of soul riff, I feel like it's really prevalent live [in the song] as well….

Oh, yeah! That, ‘bum-bum-de-dum-dum, de-dum-bah-de-dum-dum’ yes, I think it’s a clever play on "Time Has Come Today" [The Chambers Brothers] or something like that…

I started meditating....a year and a half ago....so I think that’s been a real influence on the record. Like transcendental meditation....[like] the Maharishi, taught the Beatles. I started doing that....you know, I wanted it to have an effect on the record. So I like meditating twenty minutes in the morning and twenty minutes in the evening, and before I would sing, I would do, like, an extra ten minutes (or something like that) to experiment a little bit, to see..... I thought that would actually be quite good to...[to try]. I know that David Lynch is a huge 'meditator'…

I did not know that. That’s interesting.

Yeah, he’s been meditating for, something, like twenty-five years.

That actually makes quite a lot of sense…!

It makes a LOT of sense. When you watch his films, and you start thinking, ‘Oh my God, this is like really deep, and transcendental.’ And I thought, well; I’m doing it properly, but I’ve only been doing for a year so it’s not going to be integrated into my spirit, body, soul, like―as intensely as it is with him, but you know, it will have some sort of effect, I’m sure, and I thought, well....

Do you feel more calm about how you look at things?

Yeah, yeah, more calm, more....ah, braver; I think. But, obviously I like the idea that I don’t drink anymore because you know I think five years and no alcohol, is really great―and no drugs. I think, yeah, it's kind of....I dunno, I just think that it's, that, everything that I do is real now....really, real.

Tim Burgess / GAT Interview Mini-Audio

Good for you, Tim. This kind of brings us back to one of my previous comments in that your onstage persona....I guess I would describe it as being very ‘playful’, and I’m sure that there are some people out there who (not knowing that you are so personable), if they didn’t know you: might think; ‘is this guy on drugs, or just too happy all the time, or…’?

Oh, yeah! No, and good. No, I’m glad you’re saying that. I’m the least on drugs person, you could imagine, and when I was on drugs; I wasn’t very personable. Ha! But, you know―I had a good time on drugs to be honest, but it was just towards the end that you get older and you get over it....

On a completely different page, do you mind if we talk politics for a moment?

About women?

Oh, because we're 'Girl' About Town? No, not specifically about women, but--okay; do you feel political when it comes to women?

Well, you know, on the album....there’s a track by―a hidden track―with a guy doing this big speech thing over top of it named Penny Rimbaud, and he’s in a band called Crass; have you heard this track yet?

I'm familiar with Crass, from like, high school years....wow, yes. Go on.

So, at the end of the album, you go into that. This guy doing this big, speech thing. So the very last track on the album [Who We Touch], is called “I Sing the Body Eclectic” it’s a hidden track; part of the “You Can Swim” thing....at the end. And, it’s just like--he was in Crass, and they were a political band from the late ‘70s, right, and he’s now something like sixty-seven years old, and he was their drummer.

We got into (going back into whether I felt political about women).... When I was thirteen years old, Crass put out this album called “Penis Envy” and it was all about Women’s issues and it was all about Women’s liberation. And, ehm, I pretty much became a feminist over night, and I was like thirteen years old, and it’s all down to Penny, in a lot of ways.

Basically, Crass, for the first two albums, it was mostly Steve Ignorant doing the vocals and a couple of the songs by the women in the band; Eve Libertine, and Joy De Vivre, and Gee Voucher. But, on the third album, it was just all of the girls just singing and no men at all, but Penny still wrote some of the lyrics, so it’s all really cool. It’s quite amazing to get The Charlatans and Crass on one record, I think.

That’s really cool, Penny's voice is haunting. Speaking of liberation and politics; since you are living in the United States now, what are your thoughts on Proposition 8?

Well, that’s a big deal because I live in Los Angeles. It was kind of one of the most intense things that I’ve seen really, in my small community. There was one guy voting for it and, one guy voting against it within a block of eachother, and there was....cars going past―quite violently....not opposed to it. And then, cars going past the guy who was....you know, against it. Of course―live and let live, always have been. What did I feel about it? I think it actually got through now thankfully, so...

It’s an interesting time; politically.

I think marriage is, kind of...you know, it’s about two people, isn’t it? As a bond, and a commitment--it’s legal. Equality, yeah, but it’s a legal contract. And if people want that contract then, they should be able [to have it]....

Having just played “Best Buy” the other night; did you know anything about the recent controversy surrounding both this company and Target in regards to their recent political donations to MN Forward (Target CEO apologizes)? Not necessarily that you were informed of this ahead of your gig date; but what are your thoughts on this as a practice/being in a band that might play a venue such as this?

You might find a threat, that is tied to something else in anything. Sad about Target though, I don’t care about Best Buy to be honest, but I’m sad about Target....

Well, I think that neither were well informed and that it was all an economic decision, and in the spirit of getting a tax break more than anything else; which doesn’t make it okay, necessarily, but it means that they weren’t very well informed, or looking to be informed.

I’m all for partners being able to get the same, I’m married, you know what I mean; and I mostly get insurance for her, but I’ve got no insurance for myself. It’s kind of like, you know, the whole thing about that, is, that it just seems so bizarre....When I go to my local hospital or the big hospital in Los Angeles where I live (and it’s so just, fucking huge) and it’s just so overwhelming, it’s....unbelievable....

I grew up in Canada, and we have our health care system there. It's like that in the United Kingdom as well?

In the U.K. there’s something called 'National Health,' and everyone is entitled to free health-care, which is incredible, you know?

Do you miss that? Would you move home again?

Yes, I would move home again. If I got really sick and I was living in L.A.....if I was in L.A. or whatever, and if I, well, I would probably have to go and have any operation or whatever I needed in England...and my wife is American. and if something happened, like if either I needed an operation, or if my wife―if she needed assistance, and I couldn’t be there; I would want her to get the best health care around. Absolutely.

It’s interesting hearing your take...

Sure, I mean, being caring. I care about what happens...I care about people.

 

Getting back to brighter topics: let’s talk more about the album and your current tour; what excites you the most about the current album?

Well, the album’s actually only been out for a couple of days....I’ll tell you what it is: I think The Charlatans have had many, many, many, kind of like, phases. You know? Our first phase ever: our first album went direct to the top of the charts, was an ‘instant smash’, the second one was like....a flop, a complete flop. Alright? The third one was building it back up again. It’s like, you know, it got to maybe, number, maybe....ten in the charts, or something like that. We’ve had all of these highs and lows....we’ve experienced everything! That’s what I see, I don’t see it as a...: there’s no down side to it, at all.

You’ve experimented...

Yeah, we’ve experimented a lot. The thing that I love about this one, is that people weren’t expecting a lot. Expectations were low, or, medium: or there weren’t expectations at all. People ask me, what were my expectations on the last album, and I said, ‘I don’t have any’ and I just wanted to put it out, you know? This one, what I’m really hearing is, or what I’m really enjoying is, is that people are hearing it, and it’s doing okay--something like number eighteen or something like that on the first week. What....well, people are hearing it, and it’s: more people are going out and getting it, and it’s kind of resonating in a way, that, I really hoped it would...and [doing] what, in a way, none of our records have done before. They’ve never crept up on you [like this] and then build and built and build and build.... And I think, and I feel, that, the more people hear this, that the more people will get turned on to it....and just....I think, that....it’s just got its own....

[Tim pauses thoughtfully]

Well...I read this pamphlet, I read this pamphlet and....and, while we were making the album, and it said that the World rotates to the tone of ‘F’ sharp. Right? So the whole World, it just revolves...and it’s like, so it’s goin’....‘auuoohmmm...’

Like an ‘Om’?

Yeah, like an ‘om’ kind of thing, and I thought, that’s really interesting―I’m going to write every song on this album in an ‘F’ sharp! Right?

And did you?

I wrote about five or six, immediately, you know, yeah! No, no, but I mean, you know--it’s kind of, I just thought it was, kind of, it’s an interesting story. And, obviously, we wrote about twenty songs for the album....maybe four or five of them ended up on the album and they’re in ‘F’ sharp, but the beginning; the very first one is in ‘F’ sharp, “Love Is Ending”...and “You Can Swim” is in ‘F’ sharp―the very last track. And, I just....hope, that, with these little...with this tone; it’s going to attract people from all over! It’s just people won’t be able to resist it! That’s what I thought...!

Like the Pied Piper...!

Yeah, man...! [Tim winks while making the 'clik-clik' of a camera-sound]

Ha ha, you want to be the Pied Piper? [ribbing Tim]

I don’t know! Is that....so bad...?

You are the Pied Piper, Tim.

Oh, well, thank you very kindly... That’s very nice of you.

 

For The Charlatans, the beginning of their recent tour brought them to play dates in Washington, Hoboken, New York, and most recently; Philadelphia. A few days earlier, Girl About Town had witnessed the group in top form playing at Maxwell’s in the aforementioned Hoboken, New Jersey. Later the next week, It was pre-show in Philadelphia and we found ourselves speaking in the stairwell of Johnny Brenda's to Tim Burgess, right after he had thoughtfully finished taking a song request from a fan named 'Loraine' who had shown up early to see the group (requesting, the now fateful, “Tellin’ Stories” during which drummer Jon Brookes collapsed due to a seizure, and of which he is thankfully now recovering).

For more updates on The Charlatans's tour dates and on beloved long-time drummer Jon Brookes; make sure that you check in with their official site www.thecharlatans.net

Earlier yesterday, in an official email from the group, it was announced that they will replace Jon Brookes (in the interim) while he undergoes treatment for what was discovered to be a brain tumor. The band will soon continue their tour, sans Jon, so that he may have time to take care of his health (and we hope) fully recover....Today, drummer Peter Salisbury of The Verve was announced as the group's choice to play the remaining live dates in place of Jon Brookes.

The Charlatans (UK) - band site / cooking vinyl records / myspace

Spill! Interview with Steph Hayes of The Good Problems

 

Steph Hayes and her band The Good Problems open for Kaki King tonight at The TLA (4/28/10, Philadelphia). You may already be familiar with Hayes, who was one of the main guitarists and writers for (local) well-known groups Cory, or (the famed) Stargazer Lily. Her longstanding songwriting friendship with Susan Rosetti who was also in both bands brought them from being signed to a large major label all the way to where the two female musicians are today--making music on their own terms, with the wry experience and tell-tale stories of working with some of the biggest known songwriters in the World. 

While their original bands are now defunct, both ladies are kept busy playing in Philadelphia-based Slo-Mo right now as part of the band's ensemble players and Steph Hayes also makes time for her aforementioned The Good Problems, and another group called Chris Schutz and The Tourists. The Good Problems originally released their album, 2006's Dirty Hearts, and then 2008's Mostly True Stories, to local fanfare, and the material stays true to Hayes' own style of folksy roots-rock music. With her husky vocal style and unique take on pop and rock-songwriting, Hayes will be the perfect accompaniment to Kaki King's more stylized indie rock this evening. 

The Good Problems will hopefully release their forthcoming album "Made to Change" soon, but in the meantime; Hayes will be debuting material from this album for the show tonight as well. We can see why Steph is excited to have her band open for another seasoned player like Kaki (who has also guested and played with groups Tegan and Sara, Northern State, and The Foo Fighters), but we also see Hayes' own material as the best compliment for the mix of groups performing tonight. 

"Opening for Kaki King is a really exciting for us. We are pleased to be on a bill with such an innovative artist and we are looking forward to playing on a nice big stage! There are seven of us, after all, that means there’s much less risk of anybody gettin’ an eye poked out with a bow or something. We want to reach a larger audience with our songs and this will open the door for us to do that." 

No stranger to Philadelphia and NYC herself, Kaki King and her bandmates tour for their new album "Junior" (reinventing King's unique sound once again for her latest release) and come to Philadelphia straight off of their European dates for this album. An Horse open as well. Take a listen to The Good Problems' track "Aliens" below.

 
The Good Problems - Aliens

Girl About Town: How long have you been playing music for? When did you first realize that this was who you wanted to be?

Steph Hayes: My brother and i became obsessed with The Beatles when we were kids. We both got guitars and taught ourselves to play. i became fascinated with the music from the sixties; especially folk music. i loved Dylan, The Byrds....my brother went in the hard rock direction, he listened to G n' R and The Black Crowes, so we never really played together as kids and over the years, our tastes in music have both come full circle. We've played in two bands together now, Shooting Ropes and also, The Good Problems. i always loved singing before that. My mom played tapes of bee-bop and oldies music every Friday night and we'd dance around the kitchen. My dad was into The 'Dead, Hendrix, New Riders of the Purple Sage...i was a hippie in high school. in the 90's. 

i always loved singing and playing but i loved writing the best. i was always pretty shy, creating something that could express my thoughts was my outlet for a lot of social inhibition. I'd still rather write it in a song than say it. Basically, I've known my life's goal since i was about twelve and i consider myself fortunate for that clarity.

Out of all the musicians and songwriters that you've worked with; have you ever taken any advice to heart that an artist has given you (good or bad)?

Susan from Stargazer Lily used to say my lyrics tended to be too obscure and poetic and i should be more clear. i think ive learned to be better at that. My brother taught me how to be truly improvisational. Working with Mike Brenner [Slo-Mo] has taught me how to keep the parts of the song simple so that all the instruments can work together to compliment one another. Being signed to a big record label development deal taught me that i don't want to be written for.

You have been a member of the Philadelphia music for many years being a part of Stargazer Lily, Slo-Mo, and more--do you feel like this has helped you to form your own sound?

Yeah, definitely. There is so much variety in this city. I'm in a hip-hop band, a country band, a folk-rock band.... Stargazer was pop-rock i guess. and there's a place for all of it in Philly. but i take a lot of inspiration from other sources too. i'm really into anything Conor Oberst does, Wilco, Ryan Adams...just to name a few artists, and i love traveling too. That inspires me as well.

Why did you decide to name your band The Good Problems?

At the final Stargazer Lily show, we had sold out the World Cafe Live. We were trying to get people in any way we could. Our manager kept calling me and saying so and so was here, 'Can we get them on the list?'...i was annoyed because i wanted to chill with the band and get ready for the show, but i thought to myself, "this is a good problem to have". And then i thought to myself, "My next band will be called 'The Good Problems'". i must admit that we haven't had that exact 'good problem' yet; but i hope we will.

What is your favorite thing about Philadelphia?

My music family.

The Good Problems - myspace

Spill! Interview with Joey from Yes, Giantess!

 
Yes, Giantess, who were slated to open this week for Bernard Sumner's Bad Lieutenant (before volcanic eruptions put the kibosh on air travel in Europe) have been making waves with their own house-party, college make-out, brand of electro-pop. The group who count former members of Passion Pit, and The Death Set among their ranks are trying to create something that will put the joy back into mainstream music. Are they making their mark? We think so, but we'll let you decide! Joey Sulkowski talks to us about everything from the group's first singles, to saving money while on tour, to making their upbeat, and party-driven tracks must-have jams for the masses.  

Girl About Town: How did YG get together with Neon Gold to release the “Tuff n’ Stuff/You Were Young” single? When do you think the group's takeoff point began (for you/the group)?

Joey Sulkowski: We met Derek through the guys in Passion Pit. They had just released the Sleepyhead single through Neon Gold and Derek heard Tuff N' Stuff. When Derek hears something he likes, he wants to be a part of it. He's pretty good about that. So, he offered a 500 vinyl run, and we couldn't say no. That's probably where a lot of people started hearing about us. Neon Gold has ins in the UK along with the US, so we started getting recognition internationally as opposed to just Boston/NY. Either that release or the Little Boots remix. Both were pretty big for us.

Looking back and having worked with and played in different bands: what do you hope to accomplish differently with Yes Giantess?

The idea behind Yes Giantess has always been "everyone is welcome". We want to make accessable music that anyone can enjoy, whether its on a deep lyrical relation, or just, "That drop was sick bro!" In previous bands, we all were a little more indie, or punk and more niche related. We all enjoy pop music, and we want to be able to share that with anyone who wants to be a part of it. No egos, let's hang out.

What would the ultimate remix compliment be for your band (in the sense of either an artist remixing your single, or being asked by an artist to remix theirs)?

Still waiting on that Ke$ha remix offer... haha. The Lovers and Gamblers remix was pretty flattering, but this is a tough question. Obviously, friends wanting to remix our songs is really flattering. I can't imagine being approached by someone like The Crookers or Fake Blood asking us to remix a song. At that point all you can say is, "Well... yes, of course." As far as remixes we'd be flattered to do? Still waiting on that Ke$ha offer...

Were you excited to open for Bernard Sumner’s Bad Lieutenant: what are your thoughts on the Icelandic volcano situation that’s currently affecting people and air travel across the World?

We were really excited. Some of the other guys and I are big New Order fans. Opening for Bad Lieutenant means sharing the stage with legends. Unfortunately, Bad Lieutenant couldn't make the show so we had to cancel. Maybe/Hopefully it will get a reschedule. They couldn't make it over because of the volcano. It's wild to think that there are some things that people can't toy with. Mother nature will always be the biggest baddest thing. We've been seeing friends' status's and profiles saying "stuck in the US for 10 more days" or "can't get over for Coachella!" and it just makes you step back and realize sometimes we just have to accept what Earth is giving us.

What is a Yes Giantess staple (food, happening, place, exercise, etc.) for on-the-road travel?

There are a couple things. Peanut Butter sandwiches are a big staple.  One jar of peanut butter and a loaf of bread is around 3-4 dollars. THAT'S AT LEAST 10 MEALS. I'm such a fan, I bring a loaf of bread and PB on day trips. Other things include the famous local breakfast diner of whatever city we're in, and the cheapest beer in town. Future staples will include daily push-ups and sit-ups and carrying a BMX bike along.

Who are some of the artists that are inspiring your own music right now, and why?

This may be strange, but Wale is having a big influence right now. Three of us grew up in DC where Go-Go music is a both a hometown favorite and secret. It's heavily groove based with all sorts of percussion like bongo's, conga's and timbale's. The Wale album (DC native) is full of Go-Go hints as far as the grooves and percussion. Along with Wale, other DC favorites like Rare Essence, Chuck Brown, Backyard Band, etc. Other than that, Ke$ha for her choruses, Gorillaz for the production quality, and old Yes, Giantess for the re-visit to roots.

What is the greatest thing (advice, afterthoughts, never-again-moments, etc.) that you’ve taken away from recording and working with different artists and producers?

DON'T RUSH ANYTHING. If you have a day in the studio and all you come out with is the realization that you don't like a certain drum or synth sound, THAT'S ENOUGH. Don't try to create a masterpiece in one day. You come out feeling stressed, overworked, and unsatisfied. Be prepared going in, and hope for some enlightenment on the track. You can't expect a hit over a weekend. Man, you really can't... We've spent an entire day working on a vocal melody and at the end of the day, we realized we weren't going to use the song. These things take time.

In a lot of the press for your group, there is a similar returning sentiment: making ‘pop’ positive again, and having a large stage presence while you do this. What types of things are standing in someone’s way if they want to make this a part of their band’s Mojo (so-to-speak)? What has been your own group’s greatest obstacle and how do you hope to get past it?

Realizing pop tracks live has been difficult. We want the focus to be that this music is coming from a band, not hired musicians that are told what to play. Its tough when most of the music is written on the computer. But sorting out parts in practice and making it a live sound is both tough and fun. Its important to be excited about what you're playing, and the fact that you're actually able to do it. Every night we play with someone like Little Boots or La Roux, the fact that we were opening for these amazing artists gets me so excited just to be there performing. The obstacle for us been spending time together, (the four of us live in three different cities now). We struggle with having time as a band but we've got plans to spend more time together practicing and writing.

What is your favorite thing about Philadelphia?

Niam from Spank Rock. No! That Dr. Dog track, "Shadow People." NO! When the Star Wars Convention was at the Franklin Institute, (I think thats where it was) and that HUGE Darth Vader head was on the stairs up to the museum... yeah... NO!!! Charlie Day. Yeah, Charlie Day is my final answer.

Yes, Giantess - band site / myspace

Spill! with David Gedge of The Wedding Present

David Gedge has an easygoing, interesting, and very engaging manner about him--he's someone who you can hang out and really have a long chat with (hard to find these days). Not only is he the main remaining member of the original UK group, Wedding Present, but he is the group's spokesperson and the remaining guide who has carried the band to the sound that they create today. A lovely bloke, as they say. For this tour, the band has been playing songs from The Wedding Present's second album, "Bizarro", and besides having the fans chime in about what the group has meant to them over the years--we decided that it was high time to let David have his own say, as well. 

Girl About Town: How do you feel about the U.K. loonies following you around on tour?

David Gedge: Hah! It's nice actually, because they did it last tour as well, but they did the West Coast; and now it's the East Coast as well this time. Obviously it's nice to see British people/fans because we have so much in common. It's difficult sometimes though because they're down in front talking to me, and I don't want to exclude the rest of the audience and I'm not sure how they feel about that...I think they're on holiday as well, so I want them to have a good time too...

Is it a 'closer' feeling for you to do shows on your own home turf?

No, not really...places like, let's see: Japan is especially weird.

Silly question: does your band get chased while you are there on tour?

Not so much, but they do get a little....kind of, overexcited. I think I meant that the whole culture's different. Because, you know, we play New York and North America, and you know...it's different...but it's not that different. It's kind of the same as playing Britain really, and it's not that far away. With Japan, it's like; a different world.

Do you feel a bit 'lost in translation'?

Yeah, you do feel a bit cut-off.

How many times have you played Japan?

Well, this May will be our third time. I've been on holiday there as well, so....

Has any fan-item ever struck you as odd while out on tour?

There's loads, you know. I've signed a lot of things, but recently there was this girl in Los Angeles and she had said, 'can you sign my hip?', and so she pulled her trousers down and I signed her hip. She came back again, and it was tattooed...

That's what the fans do on the Morrissey tours. He has kind of a childish scrawl...(ha ha). 

Oh yeah? I've never seen that before. Yeah, I've seen his signature--it is kind of like a five-year old or something like that, isn't it...ha ha...

You were quoted at one point as saying that the album "Bizarro" should have been your "George Best", do you still feel like this?

No. Actually, I don't. I've changed my mind. Well, because in my mind...because obviously I don't play my old music. Really, for fun or anything... I hadn't heard George Best and Bizarro... for years--until we did the 'George Best' tour and then this tour. And in my mind I always thought; they were kind of similar, but that Bizarro was better and so that it's the same kind of music. And then we did the George Best tour, and that was fine, and then we came to do Bizarro and I thought, 'actually, this is quite different.' Because, I think George Best is kind of these....short, kind of pop/punk-y, jangle-y songs and that Bizarro is actually more a wall of sound, you know--quite hypnotic with kind of layers, and just guitars for ages. And it's just completely different, you know I don't even know why I thought that it was the same. It's weird how my memories play tricks on me from twenty years or something. So, now I feel like it was probably appropriate that George Best was the first album, which kind of belongs to that....and then we got into the process of making interesting recordings, you know, and could progress from...just, like, a bunch of songs that we did. So, yeah, it's changed.

Do you feel as though you follow a formula now from album to album?

No, not at all. Actually just the opposite. What we try and do...it's kind of been what we do over the years: if we make a certain type of record, we always try to get away from that formula. Like, certain bands....I suppose I could always use R.E.M. as an example. Every track I hear from them, seems to be the same. And I always think, you know, they've made the same album over and over again. Which is fine! If their fans like that, then alright, but: it's not for me, really. I always think, I've got to move on, and try something different. Like somebody will come up with this weird idea, and maybe it's not necessarily The Wedding Present and I'll be like let's just try it, and let's just see what happens and it might end up that The Wedding Preset sounds 'like' that and really, hopefully; that's the way we've always done it over the years. I think that every album has had it's own kind of, personality to it.

 

With the changing of band members over the years, your ideas must form and change also: how has this been for the most recent formation of the band; is this the most creative that you've been?

Well, it kind of goes in little bursts to be honest. Because obviously, we've had quite few line-up changes over the years, and when ever someone new comes in there's this period where they've got loads of new ideas. It's like a little 're-birth'. Yeah, you know. And it's different than El Rey which is good (because of what I said before). I think in retrospect, I didn't realize at the time that El Rey was quite a 'poppy' record I think and it's quite....hard but still pop songs, and the new songs that we've been working on sound less poppy somewhat--they sound a bit more...harder or something.

Well, I think fans know instinctively why they love your band: and that with the music you make that it is going to be melodic and it is also going to be pop. But, it's definitely good to keep people on their 'toes' so-to-speak!

I think there are people who do appreciate that, but then there's another section who don't want that. You know, they kind of want...well, first we did Bizarro, and then we did Seamonsters. And I think some people were like 'aha, I don't like this because it's sort of different'. I've said this before, but if you go and like, buy a box of Corn Flakes, and you go back and buy a second box of Corn Flakes and you want them to be Corn Flakes and not something like, 'Oh no, this is Wheatabix', or some other weird cereal. I think it just put some people off. You know, even when we did Cinerama we lost some....or the Ukranian stuff.... Through the years, we've had some weird little ideas and projects. And, people don't like it, people get quite angry with you. You know? It's like, 'Wait, why aren't you doing the same stuff that you were doing on Bizarro?'.

They want you to keep pressing on with the same formula.

Exactly. I did a show once in the mid-90s in England, and this bloke came up to me and I said, 'So did you enjoy the concert?' and he said, 'Actually, no I didn't. Because the only album that I've got is Bizarro, and you only played like three songs off that.' And I said, 'Well, it came out over ten years ago. And we've got a new record and we've made some albums since, and eh, we're probably never going to play it', and, ironically, we're playing it NOW...! (laughter) He was quite aggressive, though, saying 'I came here for Bizarro songs though, and you didn't even play any Bizarro songs,' and I said, 'Well, here's your money back, then...' and I probably obliged him not to come again! (more laughing) So I REALLY hope that he comes on one of these dates because then he's finally got his dream, then...!

This brings me to my next question.... Since you've released two live albums, your first 'Live 1987' and your most recent release 'Live 1988'... What is your own personal standpoint on nostalgia versus importance as far as releases like these are concerned?

If you'd have asked me a few years ago, I would have said that I'm not really a nostalgic person and I'm alway s more interested in moving on and that I don't care about stuff really, but, over the last few years I've kind of come around to it more. And I think that the George Best tour started it. Against my better instincts, I quite enjoyed that. It was interesting to go back and look at stuff that we did twenty years ago. It's sort of like, rereading old diaries or looking at old photographs...'Oh, look, did I really do that? Oh,' and that kind of thing...

Do you get that look on your face, like, 'Oh God, did I really write that...?'?

Exactly! Exactly like that, yeh. I think it's nice to embrace something like that I suppose. You know, I'm getting older, and it seems part of the process to think that the past is something...that it's a part of you. Exactly. I'm kind of no longer ignoring it. 'Cause, you know--we were legendary, and we used to play higher up on the festival bills and we would play all new songs and people just seemed to you know, they would hate it! They would be like, 'We want all the hits,' you know? And we were like, 'Well, no, we're looking forward, so...' And now, I think I'm more open minded about it really.

What is the perfect last song to play at the end of a set for The Wedding Present?

Again, we're kind of not really traditional in that respect. We do tend to end with odd stuff really. I mean, on this one, that's "Be Honest", which is an odd track really...because you do "Take Me!" and it's high and loud, and then you do "Be Honest" which is a bit flat, really--sort of an acoustic song. Again, we've had a history with that really, we'd be ending with "Don't Touch That Dial" before it was released because we just loved it, but people would say, 'Why are you ending with that? It's a miserable, slow song...' It seems to be done that way on the album because, like on El Rey, oh what's the ending on that one--oh, "Boo Boo" which is the obvious finish, and then you've got "Swingers" on there--which, again is a bit of a weird one. I dunno, I quite like it, really, I quite like doing that.

 

The Wedding Present, live at Maxwell's (Hoboken, NJ) - 4/10/10

Tell us about the Edge of the Sea Festival.

We were in a cafe in England--a place called the Little Chef, a little diner, on tour. And we were talking about festivals and I said, 'I'd love to do a festival...'. And then everyone was, 'Yeah, yeah! Let's do one!'. Everybody in the band, and the sound engineer, and that were like 'Oh yeah, you should do this, and you should do this...'. And in the space of about fifteen minutes, yeah; I was doin' it! And we had this song already called, "At the Edge of the Sea" that was an obvious title for it and then... So, that was the easy part! I was supposed to be co-promoting it with the official promoter, so. Because it was bands that we personally knew or who were friends of ours, we had to be really involved in all of it: who's going to play, what are getting paid, when they're gonna go on, and so it actually got like, I probably did more work for it than I did for an entire tour! It was a bit more work than I thought, but I absolutely loved it on the day! I don't know if you've ever been to Brighton, but it's a really nice little town on the south coast, the weather was gray, and the venue's right on the beach... It was a really nice atmosphere, and people came to see all the bands and come out and at the end of the day it was like a Wedding Present concert, but people came to see everybody, so it was a nice time!

What is the date for the Edge of the Sea Festival this year?

It's just one date, on July 28th, 2010. We did think of doing two dates, with The Wedding Present on one night and Cinerama the next night, but it's just a lot of work really...ha ha! So far we have this one band called Sharks, but no one has really confirmed yet! You should come over for it in the summer it's a really fun time...

A question closer to your heart: If you could have a conversation with Mark E. Smith about his discography, or ask him any kind of question that's been unanswered for you over the years--what would it be?

Oh! Yeah, I'm a massive The Fall fan. Well, I've already had loads of conversations with Mark simply because our paths have crossed... The main thing that surprised me in talking to him, though, is that he's actually a really nice bloke especially if you can get him in a one-on-one conversation or get him to talk over a drink--he's quite relaxed and all that. And in running into him from time to time I was firing loads and loads of questions at him! And, I think he was actually getting a bit annoyed...like, 'what is this some kind of a fucking interview or something?' ha ha

Yeah, it's like the fan of a fan, of a fan--love it, very funny...!

Yeah, I grew up listening to The Fall, so...

Okay, something fun: Cathy Gale, Emma Peel, or Tara King?

Wellllll, I'll have to go with Emma Peel. Everyone does though. And, I think that this, I don't know if I'm being influenced by her. 

Diana Rigg: was that your favorite era?

Well, no, I watched it all, really. Although I kind of lost interest after she went...I just wasn't that into it after that. It just kind of peaked at that point....

And on that note...we'll end the interview. Talking to David Gedge was as interesting as it was fun. Catch Wedding Present on tour now to see them perform songs from their 1989 album "Bizarro". Thanks to Dave, the rest of the band, The Barmy Army, and especially Jessica, for making Wedding Present Weekend so memorable and a part of our hearts! We hope to see you all very soon. Stay tuned for further features as they come in...

David Gedge and your very own Girl About Town... 

The Wedding Present - band site / myspace

Spill! with Fanfarlo's Amos Memon

All Fanfarlo photos by C. Marcoux 

U.K.-based Fanfarlo headlined at the First Unitarian Church on March 31st in Philadelphia as part of their ongoing tour. Opening for the group were newcomers Robert Francis and Fanfarlo's tour support Lawrence Arabia (who seemed, already, to be a crowd favorite). Robert Francis' Springsteen roots-rock definitely strays to the side of southern-rock (during his set there were two exuberant fans running out to clasp hands and dance to the catchy pop of his recently released single, "Junebug"), while Lawrence Arabia's music landed purely into 70s Beach Boys harmony-laced pop territory, treading only lightly on the fey-folk sound similar to that of headliners' and tour mates Fanfarlo.

Lawrence Arabia photo by C. Marcoux

Robert Francis photo by C. Marcoux

Fanfarlo headlined to a largely cheering crowd who knew which lyrics to sing along with as the band launched into their first songs (having also become familiar with the group from their album Reservoir, and previous visit to Philly). Wearing pastel and looking every bit in preppy style with their mid-80s garb--barring bassist Justin Finch's staunch punk look--the group played it cool, switching easily from instrument to instrument between songs as they warmed up the crowd--urging on hand-claps and conversing with everyone easily from the stage. Although the set was long, the encore felt as though it had ended too soon as people lingered, hoping for one last track to cap Fanfarlo's already lovely evening set.

Fanfarlo's drummer Amos Memon spoke to Girl About Town via email this past week discussing everything from the band's sound, living their dreams, and their favorite songs...

Girl About Town: For "Reservoir" there seems to be so much happening in the background as far as instrumentation for each song. Was it your original intention to have such full songs, or was this brought out after discussing your ideas with your album's producer, Peter Katis? Was he much of an influence or mostly a guide?

Amos Memon: It was our intention to layer the brass and strings on certain songs on "Reservoir." When we arrived at Peter's studio we decided to plunder nearly all the vintage instruments he had there and as a result a lot of songs ended up with that "full" sound you mentioned. Peter was into the idea of layering our songs and sometimes he'd be the instigator for some crazy ideas, but at other times we'd be thinking of ways to beef up a song. "I'm A Pilot" is a good example of this where Mark was shaking a box filled with stuff and everyone else was stomping, clapping and slapping their thighs for percussion. Then we got every guitar we had in the studio and recorded all of us simultaneously playing them for about five takes. That changed the dynamic of the song and gave it a textured feel. To think I used to play that song live with brushes…

Would you say that the release of your band's album "Reservoir" has collectively changed your lives?

It has changed our lives in as far as it demanded that we quit our day jobs in order to be able to tour and dedicate time to the band. As a result we haven't spent much time at home this year.

Sometime after Reservoir's original release date in 2008, you offered it as a $1 download for a limited time on your website until the beginning of July 2009; do you feel like you made an impact by doing this and would you do it again with any future releases?

The $1 download was a success for that moment in time, but we wouldn't do it again with future releases. "Reservoir" had only been out for a few months and as it was self-released, it wasn't available in the shops and could only be purchased from us via our website or at our shows. We thought it might bring us some attention and help shift a few physical albums that we'd paid to have made.

Your album art and video imagery fits the sound of the music perfectly. Did you feel an instant connection with Iain Forsyth and Jane Pollard for the making of your video featuring European escape artist Roslyn Walker? And had the making of this surreal video impacted yours or your bandmates dreams at all?

Simon and I had seen Iain and Jane's video installations and art before we worked with them as a band, and Simon used to work alongside Jane on other projects, so there was already a connection by the time we decided to make a video together. The video inspired us to use an escapologist for our show in New York last year which we may not have pursued if we hadn't had seen Roslyn Walker up close that day.

What has been your most flattering moment for the band since the release of "Reservoir"?

Performing on "The Late Show with David Letterman" was probably our most flattering moment to date. We never expected to be asked to do anything like that.

As poetic-related as your band name is; do you have other favorite poets beside Charles Baudelaire (where the name Fanfarlo came from)? Our favorite poem by him of course, is "Get Drunk!".

Leon recommends T.S. Eliot as one of the greatest poets of the twentieth century.

Would you say that any particular writer influences the way that you frame your lyrics from the page to actual instrumentation?

In this case, Simon says Jorge Luis Borges is an influence.

What are your thoughts on playing SXSW this year? Are there any bands that you think will make a big splash besides yourself that you are hoping to catch while there?

We didn't want to play SXSW this year after playing for the previous two years, but that would have made no sense since we're still a new band to a lot of people. Regarding new acts, Cathy saw Mountain Man and attempted to see Washed Out but the queue defeated her (it was too long). Simon saw Yellow Fever and liked them enough to purchase their LP. Goatwhore gets Justin's vote, but they've probably been around for a bit. I saw Gonzales at the Presbyterian Church, but he's not fresh off the boat by any means. He was touting a "demonstration cassette" at his gig and hoped to get signed while he was at the festival. The audience knew it was part of his show but went along with it anyway.

What would you say to someone who has never seen you play live--what do you feel would draw people to see you play live?

We purely just try to play our songs with energy and conviction. We spend a lot of time putting a set together, and people often comment that we're better live than on record, so I'd go with that.

When can your fans expect a new album, and will you work with Peter Katis again?

We need to take a break from playing to write new songs, demo them, play them live, re-arrange them. I don't think we'd work with Peter for our second album, just because we're interested in working with different people, but that's not to say it might happen in the future. Anyway, expect a new album next year.

How does the band decide on a particular setlist, and what are your favorite songs to play compared to what the crowd responds to?

Piecing our setlist together is like trying to solve a jigsaw puzzle. You have all the shapes but you're not sure how they fit together. We don't like having a lot of trumpet heavy songs in a row and we also need to play a couple of slower songs for our own benefit, then there are new songs or covers that we sometimes throw in. It takes a while to make a setlist. My favorites are I'm A Pilot, Finish Line, Luna and Ghosts. The crowd responds to The Walls Are Coming Down, Luna, and depending on where it is in the set; I'm A Pilot.

Lastly, Fanfarlo will be playing Philadelphia again very soon--what is your favorite thing about Philadelphia?

We had an hour to walk around the city last time we were there, so I know where the record shops, art galleries, community allotment and vintage stores are now. Everyone I met seemed easy going and friendly. It's got a nice atmosphere about it. Much better than when we stayed in West Philadelphia and the pizza shop owner near the hotel told us to make sure we turn left rather than right out of the shop to avoid any trouble. In answer to your question, I'd say the people.

Fanfarlo, live at First Unitarian Church, 3/31/10

Fanfarlo Set List, 3/31/10:
The Walls Are Coming Down
Finish Line
Harold T. Wilkins
We Live By The Lake
Atlas 
I'm A Pilot
Waiting In the Wings
Ghosts
Comets
Luna

You can see Fanfarlo live one more time (at the Paradise Rock Club in Boston, MA) on April 11th before they head to Europe for further dates! Watch for the band's new 7" record (to be made available as a Record Store Day exclusive on April 17th) which includes two tracks; side A's "You Are One" and on side B, a cover of Fleetwood Mac's "What Makes You Think You're The One".

Fanfarlo - band site / myspace

Spill! with Dee Dee from Dum Dum Girls

This weekend, Girl About Town had the opportunity to speak with Dum Dum Girls' Dee Dee after the all-girl group performed live at Swarthmore College in Swarthmore, PA at the college's resident venue: Olde Club. Nestled in amongst the trees, stone-clad residencies, and halls on campus--finding the actual club after dark was no small feat! The show was intimately attended as the crowd seemed to be there more for the laid-back house party atmosphere and the free beer rather than the band itself, but as soon as the Dum Dum Girls urged the crowd forward: dancing broke out like wildfire. 

The gig showcased the group's dark and atmospheric garage-sounds with a mixture of new songs from their upcoming album "I Will Be", with their first B-side from the group's Jai La La 7" (a cover of The 'Stones "Playing With Fire") leading off their fiery set. The Dum Dum Girls music and look make us think of black and white 50s B-movies where the girls are all in hot cars out in the desert drag-racing the boys for their pink-slips! Available for sale? Their special pre-release: a black and white cover design of their new LP (out this month on SubPop) on Chicago's "Hozac" records; home to The Mayfair Set, Duchess & The Duke and more... Openers Fluffy Lumbers (a VERY solo Sam) were a bit out of sorts on stage, but otherwise pulled off an...interesting solo set culminating with a bizarre and almost unrecognizable number by The Who. We were glad to be there to catch Dum Dum Girls for an early set but they will also be playing Philadelphia later this week, on April 2nd, 2010 along with The Girls at the latest Making Time venue: Voyeur (1221 St. James Street, Philadelphia). We're expecting another great show; but this one with a lot of heat to generate as well--there is sure to be a big crowd so get your tickets soon if you haven't already!

Girl About Town: As far as the new album: what has been the feeling on how far the band has come and where you see this project going?

Dee Dee: It’s come very far because it started as just a solo recording project that I was doing out of my house. I did that for about a year with just a few small releases. When I signed with SubPop to put out a record, I was ready to make it a live band so it just took a few months to figure out who the lineup would consist of and then we played our first shows together in October at CMJ.

Is the lineup that you have right now solid?

Yeah, it hasn’t really changed that much in my mind. We played, well--the first show was just really premature and I played it because it was Mike Sniper’s [ed.: Woodsist, Captured Tracks, etc.] festival and my EP was the first thing that he put out so it seemed important to be involved in some way; and that was just asking friends so that I could make it [me playing] possible.

I played two or three shows with Jules (the guitarist) and then some friends filling in--and that was just because my husband’s band was on tour with The Raveonettes and I wanted to play a show with that lineup of bands on a bill. But, it was probably only four shows until this lineup. It’s not, you know, set in stone...although I’m assuming that Jules and Bambi are going to be lifelong members, but Frankie...Because she has her own project and she’s been working on that more seriously...it was never supposed to be the permanent solution--she was just the first girl to help me make it live. I can only imagine that at some point, she’s going to need to focus on her band, which we all are really happy for her to do. We have really had a lot of fun playing with her, but she is just so much more than a drummer.

Who do you see as the influences that helped you create your sound and that also help to keep it original?

My references are little more distilled than that just because I think that what really impressed me when I was a kid; what really formed my opinion about what I loved about music  was a lot of the stuff that my parents were listening to. You know, they had a lot of doo-wop and vocal groups and I had my mom’s later sixties stuff because they were pretty far apart in age. You know? They were teens from different decades. From The Supremes to Jefferson Airplane, early ‘Stones, Beatles, Creedence....stuff like that. Those were my first loves. And when I was a little bit older and started connecting the dots, and kind of the lineage of rock n’ roll; I was really taken with The Ramones. And I say The Ramones mainly because they weren’t ‘technically’ amazing musicians, and so for me it was inspiring that I could pick up a guitar and write a three-chord song--and you know, a lot of the vocals that Joey Ramone sings; they could be girl-group songs. And I just think ‘oh, shit!’ they were listening to a lot of the same stuff that I was in love with when I was a kid. For me, and because I’m also a singer, it was about combining a real focus on vocal melodies and developing harmonies with the reality of my limited musicianship. I’m a drummer, and that’s my best instrument, besides being able to sing--so the guitar is pretty new to me. I basically just learned what I needed to, to start writing songs. And I’m working on getting better, obviously, but I don’t pretend that the music is where the interest may lie.

What would you say to other women wanting to start a band?

I just know, that for me: I just wanted to be. I wanted to be Grace Slick, I wanted to be Patti Smith, I wanted to be Siouxsie Sioux, and I didn’t understand that the first step towards doing those things was, and is: doing them. It’s not just ‘thinking’ about how cool it would be. A lot of the first attempts that I made in being a musician were within the context of other people’s bands: mainly guys. You know, I didn’t have a ton of female friends growing up, and I don’t know why it didn’t strike me as something that I could do myself. It’s sad that it took me until I was twenty-four to....

That’s still so young...

It’s true, but I....you know, when I was like; when I was twenty, that was when I was like, ‘fuck--you know, I have to do music.’ And then it still took me four years of not knowing whether or not I could do it on my own. It’s really just: pick up a guitar and learn a Beatles’ song, and the minute that you can play a song; that’s the moment that you understand that a song can be really simple and that it’s just a matter of doing it.

For me, I was always drawn to female performers, but to me they always kind of seemed to be....the Soul: the female member of the band. Something about being the only female in the band didn’t hit me: it wasn’t inspiring or direct enough, and it took me seeing all female bands in order for it to actually hit me. If anything, I hope that girls who see our band get that from it. That to me is really important.

When we speak about female artists like early Tina Turner, The Ronettes, and The Supremes, they all had a specific look to their act that went with the style of their music: and your outfits tonight seemed to be inspired in a cohesive way as well. Do you think that your group attempts to also tie your looks and style into the type of music that you are playing?

I can only speak for myself when I say that I definitely wanted to have a cohesive look. For me, that is something that I find appealing--when there’s a visual aspect.

Right, it doesn’t have to be superficial.

Right, and this is something that I struggled with for a while. You know, it’s not ‘vain’ to have a ‘costume’. It’s something that’s been in music forever. Like, if you’re going to call bullshit on us, then you need to call bullshit on a bunch of Legends. There’s absolutely nothing wrong with it, but I think it’s just about the personal choice. For us, we kind of like to get into a group mentality and for me it’s kind of a confidence boosting thing too. I feel like, we go out there; and we’re a unified front, and it really helps me to tap into the attitude that fuels the songs.

Do you feel as though having a ritual like this makes you closer as a group of friends as well?

Yeah, definitely. I mean, we get ready together, and we (laughs) you know, fuck around in the bathroom together as a bunch of girls and it’s really a lot of fun. And for as heavy a look as we have on the stage, we do also try to maintain a focus that’s pretty intense. But we’re all really fun people and we have such a great time doing this--it’s a really new experience for me and I’m having a great time!

For the next little while you will be on the road, and soon you will also be making it to Philadelphia as well. What is your favorite thing about Philadelphia?

Oh, well, I love Philadelphia. I’ve definitely done different versions of Philadelphia. You know, I’ve done the historic stuff, and I’ve hung out with friends and gone to the rival cheesesteak places; it’s just a great city. I definitely don’t love all cities, but I do enjoy Philadelphia--and I truly enjoy, “It’s Always Sunny in Philadelphia.”!

 

Dum Dum Girls Set List, 3.26.10:

1/ Play With Fire
2/ Hey Sis
3/ Catholicked
4/ I Will Be
5/ Yours Alone
6/ Bhang Bhang, I'm a Burnout
7/ It Only Takes One Night
8/ Rest of Our Lives   

Live at Swarthmore College, Olde Club w/ Dum Dum Girls 
(live Dum Dum Girls recording thanks to D. O'Toole)

Dum Dum Girls - band site / sub pop / myspace