We’ve been going about recording this album in a more nomadic fashion than we’re used to. First we did pre-production at our practice space and at Annie’s home studio in Greenpoint, but she has cats so I couldn’t spend that much time there without having an asthma attack. Then we did a few days of tracking at a studio called ‘Salt flats’ in Dumbo, which was, incidentally, down the hallway from our old Boggs practice space, Ah, memories. We did a bunch of tracking at Amber Studio in Manhattan and at Erika’s house, before moving to L.A to do ever-more tracking (mainly vocals) at Thom’s studio. After L.A., Annie, Erika, and I took a two-week break, giving Thom time to do plenty of re-amping, comping, and finessing-in-general. He flew back to NYC for Thanksgiving because his wife’s family is here, and so we took that opportunity to set up a studio at his mother-in-law’s house on the Upper West Side. But we didn’t want to overstay our welcome there, so we moved to Erika’s house about a week ago, and have been hanging out here in her living room ever since. She baked a pumpkin pie this morning that we’ve all been thoroughly enjoying. She also makes good coffee. That’s pretty much all we require of a studio.

We’re going to be here until December 22nd, after that we’ll take a two-week holiday break then start up again in L.A at Thom’s house. We’ll be there for a just few days before moving on to an undetermined location to do mixing. We’ve got a mastering date set for January 20th at Golden in Ventura, so that’s our deadline, but we still have four songs to record, so that’s a bit stressful. Two of those songs were written a while ago, but we never got around to tracking them, and the other two were written during our November break. Hopefully no one will have any new songs pop into their heads until February.

We’re all thrilled about how things are going though. Thom is an amazing gear-head synth-geek genius, so we feel truly lucky to have found him, although we didn’t really find him, Bjorn (the B in P.B.J) actually suggested Thom for us, so we’re indebted to him for that tip. None of us could imagine making this particular album with anyone else. We were looking for someone who had the ability to find a way of expanding our sound while continuing to honor our imposed limitations of being an all-keyboard band. We still don’t have guitars, we still don’t have a live drummer, but Thom has managed to help us make yet another entirely keyboard-driven album without it ever sounding tedious. At least, I don’t think it sounds tedious! Our keyboard sounds came from a long list of vintage synths that we either owned or borrowed from friends, our beats are all from vintage drum machines again. I don’t think that there is a track on the whole album that hasn’t been tweaked in some way through re-amping, pedals, or whatever else it is Thom is doing when we’re not looking. A magician never reveals his secrets. We also spend a lot of time listening to Suicide, which seems to have become more of an influence on this album than we ever imagined it would be, but there is something about Suicide’s powerful simplicity that resonates with the kind of aesthetic we’re going for, which is a much different aesthetic than our last album.

With ‘The Bird of Music’, we struggled with trying to reconcile our desire to hear a sense of space with our greater desire for everything to sound lush and layered, and when that confusion was coupled with our inability to effectively articulate what we wanted, the consequence was finding ourselves with an only half-achieved goal. It was our own fault though, we’re still learning as we go along obviously, and the forming of a cohesive idea about who we are, what we’re trying to say, and how we want to sound never fully jelled until we went out on the road for two years and were exposed to the world. Not that we were sheltered or something, but both of our past records were conceived and produced from within this little world that we created where any whimsical fancy of ours was explored and included. Like, we wrote a song about horse races, about calculators, teenage Mexican boys, etc. And its not like we don’t think those songs are great, but we were kind of stylistically all over the place. We’d have some emotionally evocative song like ‘Through the Backyards’ on the same record as ‘The Disco Song.’ And for me, our live shows always felt almost schizophrenic because at one point we’d be playing a song like ‘Lark,’ which has all these gothic moments, and then play an 808-laden dance song about media politics the next minute.

ERIKA ON FORTUNE COOKIE BREAK

This album is much more introspective, but I mean introspective as a group as opposed to individually. The three of us have become so close these past few years from constantly being together that we’ve become more similar people as a result. It would be impossible at this point to not write songs which all complement one another’s because we’re all coming from the same place emotionally, and since we’ve all shared the same experiences, we naturally are expressing similar things in our music. It’s also become impossible for us to hide what our songs are about from one another. All new lyrics are always met with an interrogation starting with ‘that’s about so and so!’ with knowing smiles, finger-pointing, and blushing. In the past, I felt slightly embarrassed about recording our music and publicizing it before because I wasn’t sure if I felt comfortable with opening up our private world to people who would judge us, but this is even worse! This new album is like our shared diary, so we’re very protective of it, and are being very careful with it.
I just asked Thom to describe this album in five words and he says:
‘pulses, gust-of-wind, gossamer, rustling leaves, minimal’
That was not what I expected to hear! Also not five words.
But I like that description. I think its kind of hilarious that what I would have described as ‘loud’ and/or ‘powerful’ he would describe as ‘gossamer.’ Shit. I guess we don’t really know how to rock.

Another big difference for me with making this album is that for the first time I’ve been able to put forth 100% of my effort into doing just music. During this point in the process with TBOM, I was still trying to juggle my astronomy studies with my music, which was stressful for me. Consequently, I feel that both suffered from my inability to choose one. This time, I’ve decided to dedicate all of my time to the album, and put science aside for the time being. But I still feel a deep longing for it-studying science gives me a much different feeling of excitement than getting to play music does–I guess because its much more challenging for me than writing music–although the high that I get from suddenly understanding a physics formula is actually quite similar to the high that I get from writing a song. Both produce a sense of accomplishment. But I miss my friends at Columbia, I miss being in class and going to lectures…at the same time, I also realize that reaching the goal of this album turning out how I want it to requires that I be nothing less than fully present, and fully participating. I can’t be daydreaming about life on other planets if I want the album to sound good. I know this because there are so many decisions that were made on TBOM that I don’t remember being present for, and I know that I would have been more thoughtful about those decisions if I hadn’t been so freaked out about finals. Being able to do nothing but concentrate on our album has been good for me, and good for the album, but alas, bad for research.

We’ve been watching a lot of Youtube videos at the end of each night. Thom is a big fan of Juana Molina and Imogen Heap and after watching their videos I’ve started to obsess about doing more on stage now, despite the fact that this album doesn’t call for real-time sampling or vocoders. But I’m smitten by these talented one-woman-bands and secretly fantasize about what we would sound like if we all did as much. Imagine a band of three Juana Molinas!

Besides even that, I’m just smitten by musicians who are actually good at their instruments. I’m not even trying to be funny or cynical or something, its just that there is a lot of amateurish stuff out there, and I know I’m personally guilty of contributing to that. I saw Marnie Stern recently and though I’m not a huge fan of her music, I left the show being so impressed with her undeniable talent at playing guitar. I want to be like that, better at playing my keyboard, better at programming drum machines, better at doing more on stage, better at singing and though that seems like a pretty obvious thing for a musician to want to do, for me, its not. Up until we started touring all the time, I’ve regarded being in this band as a kind of highly involved excurricular activity or as an after-work lady’s club, one that gradually took over my life until suddenly I found myself managing my own record label and writing ‘musician’ in as my profession on my landing cards. But five years later, I think the imposter syndrome is finally wearing off, which probably means that the album will tank.
I’m ok with that too though. I’ve finally made something I’m proud of that isn’t lasagna.
xxH

HEATHER D’ANGELO’s band, AU REVOIR SIMONE, followed the 2006 release of the ‘Verses Of Comfort, Assurance & Salvation ‘ E.P. with a debut full-length,The Bird Of Music’ in 2007 for which they toured extensively throughout Europe, North America and Japan. A student at Columbia University, Heather also keeps a science blog called ‘Hello, Poindexter’.
ARS
HELLOPOINDEXTER.COM

 

Soul Jazz digs deep for a more than essential compilation and book on the roots of Dancehall. They have the knack of pulling together these deep cut compilations that perfectly slots in with a certain mood in the air. A few years ago, Big Apple Rappin’ arrived just as Jeff Chang’s roots of hip-hop book, ‘Can’t Stop Won’t Stop‘ and Buddy Esquire-like flyers stared popping up everywhere. Those flyers and others like it had been the initial jumping off point for The Boggs’ ˜Forts’ LP cover which I was in the middle of putting together when Big Apple Rappin’ came out. Now similarly, the Dancehall compilation and book have dropped while the stripped raw dance sounds of 80’s Jamaica have been holding a certain fascination. We cobbled together our ‘Undressed In Dresden’ video from a few youtube clips featuring Yellow Man, Cutty Ranks and Jossey Wales toasting. There’s something totally mental about these clips. It’s all so dark and dirty and the sounds are so vicious and obliterated and everyone’s so weirdly still. It’s punk and folk and you can feel the sweat in the room as the breathless voices race over the distorted rhythms playing out.



 
It’s actually surprising that Soul Jazz haven’t ever done a compilation quite like this before. Ska, Dub and Roots have all been stable reference points for the underground for some 30 years but somehow the sexed-up dance styles never quite broke through in the same way. Maybe it’s just the passing of time slowly slipping something into focus, but recently everyone from the likes of Santogold to LCD to The Bug have been all out appropriating and reinvigorating Dancehall beats so the time is definitely right to revisit the roots. And it doesn’t disappoint. The tracks are a healthy mix of Dancehall from late 70’s through to the early 90’s offering more than enough as a first time initiation or as a party mix.

We’re particularly fond of the ladies, Sister Nancy, Lady Ann. Listen to them and sample the rest of the tracks here.