MEGASIN MUSICALE’
[Just for the record, This column is about bands that we enjoy... don't really have a lot these days- some here/there- The USUAL. However, somewhere in our soaring adventures, new music finds its way to us...And it's fuckin' stellar, man! An AMAZING viewpoint for some of music's brilliant artists and the idiosyncrasies they can't do without.]
PROFILE: TWIN SISTER
[This interview took place at the Hawthorne Aeroport via telephone with Twin Sister's Gabe D'Amico. We spoke for about 20 minutes regarding the band's outlook on playing live, Sly Stone, and the lure of a prosperous future. ]
Hey, Gabe. How are you? I know you guys are busy so I’ll try not to bore you with a lot of Blah.
TWIN SISTER: It’s okay. We just played our first Show in our 2 week Summer tour. It went well.
You guys played in Philadelphia, right? Philly people make for an enjoyable crowd.
TWIN SISTER: Yeah, definitely. From the the show last night, I was able to see first0-hand how we all have grown from when we first started playing live. We have the listeners we deserve, you know. At first, when we began, playing live allowed us time to figure out what worked, who we are musically, and how to get where we are now.
How did Twin Sister come to be. You guys were totally in other bands before, yeah?
TWIN SISTER: Yeah. Bryan and I were in a band and Eric and Andrea were in another. We were teenagers back then. We would go see each other play and give one another support. But as our bands fell apart we stuck together and worked towards more musically collaboratrive efforts
In your opinion, regarding influential musicians, who kicks up the most ruckus’?
TWIN SISTER: Kraftwerk; Prince; Portishead, because it so melodic and slowly rhythmically in tune; the Talking Heads, and Sly Stone.
Yea! Sly Stone is genius. He’s not just trippy lyric but he’s also sick on guitar too!
TWIN SISTER: Yeah, I like him, them. I feel like all the musicians I mention are really amazing with honing their own sound. They did what they had to with their music and that was it. Just pointing out since becoming apart of the Domino label, we have been encouraged to present music in our format and have had that room for artistic expansion that’s necessary for us to be successful at making music. The only burdens that exist are the ones place upon ourselves.
Are there any burdens you’re facing currently.
TWIN SISTER: No. I’m just stating a principle. We have goals and one of goals we’re working on is coming together tighter and better as a band. Despite everything, we’re still pretty new and new to environments such as recording in-studio. When we were recording our studio album, we were trying to track down all the Hi-fidelity sounds, instruments, and samples while we had the experienced technicians on hand then mash it up with our more at-home lo-fi sound. We swore that it once we put it all together that it would result to a weirder sound, but instead it came out tighter and crisper.
You guys were in Europe at some point. Lately, I have developed a fascination for playing shows in Europe. I think with all the old architecture and the young modern youth, it makes for one exciting party. How was you experience?
TWIN SISTER: We settled in Europe at the end of 2010 playing shows in Belgium, the UK, Paris, and Barcelona. Barcelona was one of my favorites.It was interesting to be on a bill with some big names and playing to an audience that wasn’t as familiar with our music. I guess it was sort of a trying situation because it made it harder to read them, but we’ll be back this fall and I’m sure things will be quite different. People are more familiar with us and and hopefully we will get a chance to play out there a lot longer than before.
Introspectively speak, as creative as you guys are multiplied by the numerous amount of emerging bands, how do you forecast the future of Twin Sister?
TWIN SISTER: Personally, I want to give more effort at trying to break into our listeners, to give them a lot more back. The future of Twin Sister is dynamically diverse band of musicians where we are gratified by out effort and perseverance. It’s about pleasing one another- finding and extracting the qualities in each of us that makes us better. We want to be able to embrace ourselves differently. to be less self-conscious. All in all, we want to be more drastic. If it’s wild, let it be wild. But if it’s funky, let it be FUNKY!
PROFILE: MIRACLES CLUB
[Honey and Raf making it happen.]
Hey, Raf + Honey, how are you doing? What’s on your agenda today?
MIRACLES CLUB: [RAF] We are doing well. We are working on a couple remixes today and Honey is picking out tracks for a local ladies-night party.
Hmm. A Ladies Night Party in Portland sounds fun. Are there any other efforts in the works?
MIRACLES CLUB: We plan on sticking around at home (Portland) for a couple weeks then heading to the bay for the Sunset Campout which is a camp out/festival where we will be playing with one of our heroes such as Mr. Fingers! Later on, we are heading back to New York for PS1 and a few other parties.
I remember a while back, sitting in my office, when my secretary emailed me a video. In the subject title, “Church Song.” I believe receiving that email to be a highlight of my day. Would you agree in saying that the avenue that Miracle Club trails upon is the re-reckoning of House music, just with a tad more art and humor?
MIRACLES CLUB: I don’t know about re-reckoning [laughs]. House music has been a constant since the 80′s in different forms and progressions. People are always finding new ways to commune with house music and I guess Church Song was one of the ways for us to experiment with house and swing. Our dancer Ryan has a huge sense of humor in his performance taking from masters such as Marcel Marceau to Pee Wee Herman. We are all visual artists in some forms or another so incorporating it into our music was just a natural movement.
What are some early recordings that come to mind that have since inspired Miracles Club?
MIRACLES CLUB: There are so many and it changes all the time but when we first started playing music together we were inspired by a lot of early Chicago house, Detroit techno and New York House songs like ‘Your Love’ by Jamie Principle, Mr. Fingers ‘Can You Feel It’, Inner City’s ‘Big Fun’, Rhythm is Rhythm ‘Strings of Life’, Lil Louis’s ‘Lonely People’, Nightcrawlers ‘Push The Feeling On’, or MK’s ‘Burning. Sometimes it comes across to be obvious stuff but it’s also really powerful. Honey and I are both really into the manchester scene of the late 80′s/early 90′s, minimal composers like Terry Riley and Steve Reich, or shoe gaze stuff like Spacemen 3 or Gas.
Before recording sessions are scheduled or shows are played, Raf, how do you approach the music of Miracles Club? What goes through your mind when you’re creating track melodies
MIRACLES CLUB: [RAF] Well first of all Honeyu and I approach the writing and recording together. I usually start with rhythms and a main melody or bass line idea. it’s usually inspired by an instrument like wanting to use like a 303 or DX for bass on a track or chord stabs with an old MPC or an Ensoniq sampler. Everything starts off with hardware and we will usually play things that we are working on out live and see how people interact with them it works well for us most of the time [laughs]. Currently, we just finished up a remix for YACHT that should be out soon on DFA. we are currently working on a remix for our friend Cosmo Baker, too! There’s should have another 12″ for CUTTERS [Dan Whitford's label] finished and ready to go by end of summer and will hopefully be able to finally find time to start working on a full-length. A long player!
Busy! Busy! Busy! I am enjoying the enthusiastic approach to music and how you both seem to embrace the task of creating and choreographing melody and style. Honey within your own contributions, describe how your involved partnership within the band compliments and amplifies the desired result of Miracles Club? Are there any specific expectation that you two set out with and how often or not are these expectations met seeing that recording and touring are critical elements of your waking hours?
MIRACLES CLUB: [Honey] Hmm yes it is interesting the dynamic of having a vision and then what ends up appearing as the result. I guess my contributions are more of the psychedelic kind. I’m always pushing for more headiness, trips and journeys. But also the pop element I suppose comes from my end of things as well.. there’s a lot of push and pull with Rafael and I in the recording process. I often have to try to ‘talk’ him into trying things my way and visa versa. I find that the fusion of our desired effect sort of blends and forms into something other than either of us necessarily want but we end up liking it just the same. I mostly play keyboards, strings, ambient effects, sing etc. Raf does all the drug programming and a lot of the bass.
I admire the sense of detail and style that presents itself via video art or your stage performance. To what extent does fashion and art play a role for Miracles Club? Any specific references come to mind?
MIRACLES CLUB: [RAF] We are all really into art and fashion. Honey has a clothing store and does some designing. Where as Ryan and I are both really into men’s fashion. I think we’ve reached a point where fashion and art are no longer separate.
[Honey] I’m really inspired by the 80′s designs of Vivienne Westwood and Zandra Rhodes but also the spiritual/modernist japanese styles as well like Issey Miyake. Fashion and dance have long been associated because of the flow of clothing and movement of dance. I remember going to New York in the 90′s and tripping out on watching a break dancing crew throw down on cardboard. Their outfits were identical in color and shape like a uniform and it was the first time I made the connection. Last time we were in New York, Ryan went to a vogueing ball after our show at Williamsburg Music Hall. Traveling is great for inspiration.
Which one of you guys knows the person with the Goat? I have to say, seeing a goat in your video dancing around with the other kids was a true celebration to the time? Who’s call was that to have included that in that video?
MIRACLES CLUB: [RAF] After sending out invites to the dance show, a friend of ours wrote and asked “can a man bring his goat?” I thought he was joking and said “but of course!” However, much to our surprise a man DID bring a GOAT! [Laughs] Thankfully the TV station didn’t mind. Besides chewing on camera cables the goat seemed to really enjoy the dancing.
That’s so awesome on so many levels! Here’s an awesome question for you guys, if you were to play an impromptu show any (3) places in the world, where would they be and whom with?
MIRACLES CLUB: [RAF] Japan with the Boredoms at one of their awesome hippie raves. 2) Ibiza cuz’ it’s Ibiza 3) Burning man
PROFILE: CLASS ACTRESS
[INTERVIEW with Elizabeth Harper of Class Actress. Photographed by Pete Deevukal on Sunday May 22, 2011. It was a pleasant day in Brooklyn.]
Introducing Class Actress!… You are…?
CLASS ACTRESS: Elizabeth Scott Mark whoever you want me to be…
This issue is all about rarity. I once saw a film where it discussed How rare it is for people to meet, not mentioning forming a solid relationship. How did you guys come to meet? What were some of the attractable differences you recall?
CLASS ACTRESS: I think rarity has to do with a sequence of mutual desires that attract. It is rare. Mark lives in Philly. Always has. He just happened to be here in NYC for a moment. We met at his sister Juliet’s show in NYC, when I was the opening act. He was playing bass and I was just struck by something about him and I knew we needed to meet. So I just walked up to him after the show and gave him my number. Totally out of character, but one of those moments where you just have a feeling this person will have a great impact on your life.
Scott and I meet in a guitar store. Very casually we just got to talking.. gave me his number, I lost it, then over the next few months we kept running into each other around the city and I remember playing a solo show and was playing a song on electric guitar and in the middle of it I just busted into The Smiths refrain “if I double Decker bus killed the both of us, to die by your side oh what a heavenly way to die” and I heard a resounding yelp from the audience and it was.. Scott. So alas, I knew we were to be friends.
I see. In early speculation of the current wave in music this year, I feel the modern sound of 2011 will revolve around a great mass of female vocalist. Last year’s indie circuit leaked and emerged with efforts from Victoria Legend of Beach House, Aleila Diane, Sarah Barthel of Phantogram, and Alaina Moore of Tennis. I’m really stoked to see what you bring to the front lines this year. Especially after the last EP which almost played to bright perfection of modern New Orderly Wave, yet punishingly too short in running time. To what lengths will Class Actress go on the forthcoming works? What interests are you in pursuit of that will manifest itself your coming efforts?
CLASS ACTRESS: This Fall we will debut a new Lp, Rapprocher, on Carpark and already have way too many new recordings to even fit on it. My interests are combining classic pop songwriting with desperate and uplifting beats and synths. Like life, its dark and sad and wonderful and thrilling. People die and grief keeps you up all night, and then there’s falling in love and sunlight… Life is always in flux. This is just my soundtrack.
What’s a Good song you’ve heard that brought you to an intense emotional state?
CLASS ACTRESS: Alica Keys “Unthinkable” and perhaps
Depeche Mode “The Things You Said”
How important is Visual art to this band? Any artists come to mind that serve as influence or inspiration to your music?
CLASS ACTRESS: Robert Longo, Lichtenstein, Caravaggio, John Galliano, I could go on and on.. can’t help it love the drama.
Really!? John Galliano?! I have to say maybe on the creative side he’s a bit washed up. Oh, well. Are there any recent collaborations with other musicians? What came of it and what was the experience like?
CLASS ACTRESS: Caroline Polachek of Chairlift and I have a project we started called Girl Crisis. Its been going on 3 years now and has become a revolving group of Brooklyn women who are also in bands, come over to my place, then we learn and arrange a cover all in one day and film it on super 8. The experience is very powerful and I feel lucky to be able to do it with some really special ladies.
I’ve sen some of those videos. I like the out of focus quality to it… That way you pay more attention to the song instead of who’s singing it. On another subject, what book are you reading?
CLASS ACTRESS: Facebook.
Who’s the film buff of the Gang?
CLASS ACTRESS: Well I can’t speak for everyone, but I think I have and do watch the most films by far. So yes me. On Christmas day, Caroline and I watched “Who’s afraid of Virgina Woolf”.
“Martha: I swear, if you existed, I’d divorce you.”
[Martha has changed into an embarrassingly tight and revealing outfit]
George: Why Martha! Your Sunday chapel dress!
If you were home in bed on a rainy day, What album would you likely play? What movie would you watch?
CLASS ACTRESS: The soundtrack to the French film Betty Blue (37°2 Le Matin) is very good, its by Gabriel Yared. So film wise… hmm anything based in Paris. Rain always makes me think of Paris…
[Class Actress' Rapprocher is out thus Fall on Carpark. Special thanks to Pete Deevukal and Masayuki for making this happen.]
PROFILE: MEMORY HOUSE
Hi + How are you / What’s new in your world?
MEMORYHOUSE: Things are well, we’re just busy at work on recording at the moment. Lots of excitement/nerves.
Really?! So there’s an LP in the works, yeah?. You guys just released an EP with Sub Pop titled, The Years- Congratulations on the release. On the EP, The Years, there are some familiar tracks featured that reveal itself in a new nature. Do you feel that since your induction to the Sub Pop stable, access to certain elements came to use when crafting the new works?
MEMORYHOUSE: I tend to think of the original recordings, released back in 2010 as sketches. It was our first real attempt at pop music, and we were really just feeling our way around ourselves for the most part. We have a better grasp of our own identity now, and I suppose a greater sense of purpose. When we re-worked the songs on The Years, our intention was really just to have people be able to see and hear more of “us” in the music. Much has been made about the obscure tendencies in our recordings–the watery layers of guitars and pianos–but I think underneath all of those nuances is just very straightforward pop music, and that’s something I wanted to emphasize.
Were there any ideas, sketches of songs that remain from The Years are worth considering for future forthcoming’s? What do they sound like?
MEMORYHOUSE: There were some untended ideas left-over from the recordings and demos, but nothing I feel the need to revisit just yet. I guess sound-wise, they would be typically sparse with heavy atmospherics. It’s a sound I’ve grown a bit detached from; it’s hard to identify with that kind of material anymore, which is why I suppose they remain the way they are, unfinished.
I really enjoy hearing you guys live and have often wondered if Memoryhouse has been the first band the two have been apart of. Did you guys know each other coming up or simply put, How did this structural mass of melody come to be?
MEMORYHOUSE: Memoryhouse is the first band either of us have ever been in. I’ve worked with orchestral projects before–baroque projects with lots of instruments and layering. Memoryhouse was a bit of a conscious effort to shy away from that kind of thing, though I think parts of it crept in. Denise and I met informally, and we weren’t aware of each others work. I think the “structural mass of melody” comes from a very vulnerable space. The arrangements are always so heavily rendered, yet the core of our melodic phrasing comes from some kind of introspective plain of existence. It sort of just happens. “Quiet America”, one of the new tracks from The Years reissue is a good example of this; the arrangement had been poured over for months yet Denise’s melody was a completely raw, improvised one-shot take, and she just nailed it.
Last week, I hung out with a friend to See Midnight in Paris. Have you seen it? It’s about nostalgia. If you had to pick a moment in time to reference your love of art and music, what would it be. Which is favoured- The past, present, future?
MEMORYHOUSE: We have not seen it yet, but I’m thrilled that Woody Allen has had such a creative resurgence the past few years, I’m a big fan. It’s difficult to think of one moment, I think like most kids, these things come in phases. You have that pristine pop music phase, then the Nirvana phase, then the Beatle phase. It all goes downhill from there. I enjoyed my Beatle phase, but it gave way to the modern intellectualist phase and it all went downhill from there.
Let’s talk art. What I’ve always valued about crafty musicians and artist or designers are the transparency of emotion into their product or craft. Memoryhouse presents itself in a prettier nurturing form of sentiment. What experiences have stimulated or influenced the band, if at all,results to such a compelling and lovely sound.
MEMORYHOUSE: Thank you, that’s quite a compliment. I think our songs come from an ugly place; the songs are generally about some kind of disappointment or lost potential. There’s an underlying sense of anger or bitterness that just gets entirely subverted through Denise’s impeccable delivery. I’m kind of the bitter one, not in any lasting sense, I’m just more curmudgeonly and pessimistic, whereas Denise is a very genuine, good-natured, and optimistic person, so if I’m writing something like, Lately, or Lighthouse for example, it’s like, it’s heavy, downer content, but Denise makes it sound very pretty, if you will, or at least identifiable. I always prefer Denise’s lyrics more, she’s very to the point, and affecting, again something like Quiet America is a good example of this. As far as experiences that influenced the band, I guess with The Years–the original one–I just felt like someone that wasn’t really doing anything with their life. I was reading Waiting for Godot of all things, and one of the final monologues really struck me– it was as if I was being directly called out for being too passive and loathsome. Anyway, it woke me up, in a manner of speaking, and I never went back to sleep.
Again, your music tends to roam about the idiosyncrasies life via melody and very warm in appeal… Or at least this is how it’s interpreted by many of your listeners. What are some of the specific efforts that each of you contribute to the band to envelop this consistent core known to be Memoryhouse. For example, when you guys are hanging around your practice space and messing about with instruments and melody, does one of you go, “No, man! We just made a song about having fun at brunch on a Sunday! Let’s make a song about making mistakes and old riots (Slang for ex-lovers).”
MEMORYHOUSE: Ah, very good analogy! That is how we operate these days, somewhat. I generally present Denise with a piece of music and we’ll have these pitch sessions, like bad sitcom writers. We always obsess over making sure whatever language we’re using is like, real-life language. People always say things in songs that are so earnestly said, but mean absolutely nothing, I think we try to keep a sense of realism in the writing, even when it slips in and out of a sort of imagined dream-state like Lighthouse.
Explain the buzz-worthy visuals show-goers have talked so much about. Who’s behind the video projections and how integral are you with the added personality to the overall band. Would you, on the record, say that the visuals are an additional instrument to the Memoryhouse assortment?
MEMORYHOUSE: The visuals were all created by Jamie Harley. He is an incredible talented cinematographer based in Paris. I think they do a lot for our live show, they’re really a show unto themselves. I’d say that yes, the visuals are in a way, their own instrument, it’s important for us to have a defined visual aesthetic, we’re very conscious about that kind of thing, and Jamie’s work fits that aesthetic better than anything else I’ve seen.
Here’s a fun and yet truly random question, What songs are song mostly in the shower? Or is this a non-admitting activity that you’ll leave me answer-less?
MEMORYHOUSE: I’m a smooth R&B in the shower type of person. Stevie Wonder is a staple. Part-Time Lover.
Finally, A question to ponder and It may not deserve an answer just this second, but feel free to go for it: Where do you see Memoryhouse in the future. As of now you have a sound that possess a distinct quality. How do you see your evolution? How do you envision the successes, failures, wild passions, and contributions this band will make? Where do you see your influences shift toward? Do they make you better musicians or better recognized at being a band that plays music?
MEMORYHOUSE: It’s hard to say where I see Memoryhouse in the future, it’s never easy to gauge just how far a band can go in the digital age. Hopefully we’ll come up with a catchy meme or something, or get a Saturday morning cartoon where we drive around solving mysteries. In terms of our evolution…I guess I want to get more naked. I think the ambient-pop sound has reached it’s apotheosis; it can only go downhill form here. Which works for us, I think that sound reached it’s logical conclusion with The Years reissue, which serves as a jumping off point for us to explore deeper, more nuanced sounds that pack more of a visceral punch. The new stuff is a little more confrontational, confident, present. Memoryhouse are recording our Rocky II right now; we’ve got all the sweaty desperation of a small time player who had one of those rare opportunities to put their talents on display, and we want to capitalize on that momentum and push forward, we want the belt.
PROFILE: YOUTH LAGOON
[Youth Lagoon is Trevor Powers. Something good is Getting Younger.]
When did you begin the effort called, Youth Lagoon.
YOUTH LAGOON: I started Youth Lagoon about a year ago. I had been working on these songs for quite a while before I was able to record them, but I had a certain vision in mind the entire time.
From following Youth Lagoon’s reverb exploration in music, what are some of the determinations that prompt the dynamic mood of sound you produce?
YOUTH LAGOON: I want to make honest music, sounds that are very familiar yet distant at the same time. Often, my music tends to build a lot towards the end of tracks, and it’s not necessarily something I even do on purpose. I try to let each song be itself, and most of the time that means that a lot of emotion is involved since I’m singing about very personal things.
At the moment, how do you describe yourself? How would you characterise the musicians you partner with for your recordings? What are some personalities you vibe with more when it come to making music?
YOUTH LAGOON: I eat Taco Bell a lot and have a passion for New Castle brews. My friend Erik Eastman who did the guitar work on the recordings is a Guinness guy. I tend to vibe a lot with musicians who are capable of adding their own touch to the music and knowing how to apply it to what I hear in my mind.
I love New Castle Brown ales, too. It’s a very good and clean ale. Good taste, man! While on the subject of flavour and taste, What better suits your personal tatse: Lo-Fi or Hi Fidelity?
YOUTH LAGOON: Lo-fi. Sounds more honest.
I tend to believe that artists and musician are 90% feeling… And Feeling conjures memories. If you don’t mind, Share with me a memory of the past that returns often to your mind? If you can write a song about it what would it sound like?
YOUTH LAGOON: One memory that has been re-occuring lately is that of hearing the news of my uncle passing away. We were really close and he passed away years ago when I was in high school. I think the reason I still remember where I was when my mom got the call with the news, and it’s just still a very emotionally trying memory. If I was to write a song about it, I’m not sure what it would sound like.
While on the subject of memories, How important is nostalgia to Youth Lagoon- lyrically or instrumentally?
YOUTH LAGOON: VERY. Instrumentally, I’ve been really inspired by older recordings. The one I always talk about is Cocteau Twins’ album “Treasure.” It’s hard for me not to bring up because the first time I heard that record and the way it was recorded really blew me away. Lyrically, nostalgia fuels all my music. It’s impossible for it not to when trying to write honest music.
Recall a moment when you felt at your very best or worst. What was settled from the experience?
YOUTH LAGOON: When the love of my life left me, I was at my very worst. I remember walking to class one of the days after that and looking over this big bridge into the icy water and wanting to just jump off and end it all. But thank God I didn’t. I have learned so much from that trial in my life and wouldn’t trade any of it, as painful as it was.
When was the last time you were inspired by another artist? Whom was it?
YOUTH LAGOON: I would have to say the last time I was really inspired was when I heard Therapies Son. I heard his track “Touching Down” first on my buddy Matt Jones’ blog Audio Milk and was truly captured.
Yeah that song is brilliant! So many textures in the melody and even in the vocals. I may have to reach out them- Ha! Finally, What objectives remain in the year for Youth Lagoon?
YOUTH LAGOON: I’m going to be touring hard. My debut album The Year of Hibernation is going to be released by Fat Possum on September 27th so I will be working very hard on the road.
