Nach zwei Alben mit der Band “The Jealous Girlfriends” brachte Holly Miranda Anfang des Jahres ihr Solodebüt “The Magician’s Private Library” heraus, das sich als wahre Singer-Songwriterperle entpuppte! Hier ein bisschen Klavier, dort ein bisschen Gitarre, das ganze angereichert mit einem sphärischen Synthesizer-Klangteppich – fertig ist eine der positivsten Überraschungen des Jahres (hier gibt es unsere Kritik). Schwierig zwischen all den schönen Liedern einen Lieblingssong zu finden – wobei sich das sehnsüchtige und gleichzeitig eingängigste Lied der CD “Waves” schon anbietet. So oder so – wir freuen uns unbeschreiblich, dass Holly die Zeit fand uns ein paar Fragen zu beantworten – Holly Miranda im Bedroomdisco-Interview!
- Name: Holly Miranda
- Residence: Brooklyn/Detroit
- Current album: The Magician’s Private Library
- When did you start making music? What was the impulse?
i started taking piano lessons at the age of seven, my parents forced me to. i didn’t want to at all, but both of my sisters had started and then quit, and since i was the youngest, they weren’t taking no for an answer..
- We read that your parents didn’t allow you to listen to music besides Motown and Christian music – what did they think of you being a musician? How do they think about it today?
They have always been very supportive of me being a musician, at first I know they would have rather i be playing music in a church… but they have really come around, and are incredibly supportive of me.
- Was there I time when you thought about doing something else than being a musician?
I wanted to be an architect when i was ten, but then I realized what I really wanted to do was actually build the houses, not sit behind a desk. I did a lot of freelance graphic design, designing websites and stuff like that.
- What was the occasion for you to write your first song?
I was 14 and a little angry, about what i don’t know.
- Do you remember a line of your first song? What was it?
“Fuck you, I don’t want to hear it.”
- The Jealous Girlfriends – how did it come to you playing in the band and what are your further plans with the band now you also have a solo-career?
I started that band about 6 or 7 years ago with Alex Lipsen, I don’t know what the future holds for The Jealous Girlfriends. We shall see.
- Why did you decide to do a solo-album in the first place?
For me, its not a solo album, its just my music. I was playing “solo” for years before The Jealous Girlfriends, and all during that band and still now.
- How was the process of working on a song for your solo-record different to working on songs for The Jealous Girlfriends?
The Jealous Girlfriends was more of a collective, we all wrote the songs together by the second album. With my music, its just me in the writing process, and then I teach it to the band and they write their parts for the song, but the structure and the song for the most part is already there.
- How would you describe your debut album “The Magician’s Private Library”?
Its a journey on horseback into the forest, where you stumble upon a small cottage with a secret door in the floor that leads to a tunnel. Lining the walls of the tunnel is Murlin the Magicians secret stash of endless symbolism… then you wake up… ya dig?
- Could you tell a bit how it was done, where, what the difficulties were for you?
It was recorded over one month in Brooklyn, New York with Dave Sitek producing it. It was one of the best experiences of my life really. It was challenging at time, but I learned so much in that month that I feel like if The Jealous Girlfriends was college, this was my masters degree. It was also working with family for me.
- How did you prepare for doing this record? We read you did write 40 songs before?
I had a collection of demos I’d been recording at home for a while, I just brought everything in with me and everytime we were ready to start a new song we would listen to all the songs and pick one. It was just whatever felt right and what got us excited..
- What were the steps then from your demos to a finished song?
It was always different. Sometimes the songs went in totally different direction than the demos, and sometimes we would really try and recreate the demo on a music larger scale.
- For the record you did work with David Sitek – how did it come to this and what influence did he have to the sound of it?
Dave has been a good friend for a while, we had been exchanging ideas and I’d been giving him my demos and taking little assignments from him.. like “try covering this song”, etc. It has always been a mutual admiration between us. SO making a record together was a very natural progression.. He definitely left his mark on this record, i love it.
- “The Magician’s Private Library” has a very mystical touch – has this evolved during the recording or was it planned to sound like this before? What intention did you have with this?
I didn’t have any intention, We just let the songs become themselves. I don’t know how to describe it really, it was very magical.
- “Waves” is one of our favorite Songs – can you describe how it came into existence, what it is about and what the story behind it is?
Waves is about wondering where the waves you make in life go.. i.e. the people you love, the things you say and do, etc.
- At the moment there is just one headlining-show of you in Germany planned. How are the chances that you will be doing a bigger tour in Germany?
I hope so!
- What are the last three records you heard and liked?
Yeasayer – Odd blood, Sade – Soldier of Love, El Perro Del Mar – Love is Not Pop
- What was your best personal experience in 2009?
Seeing Leonard Cohen play at Coachella.
- What are your plans for 2010?
Touring all over the world, taking a vacation in Australia for three weeks and hopefully get back into the studio by the end of the year or early 2011.
- How are your associations with the word “Bedroomdisco”?
That is the first time I’ve ever seen that word, so I guess this interview is my only association with it… what does it mean?
- What song would fit to your situation/mood at the moment?
El Perro Del Mar, Change of heart..
- What song makes you dance independent of the situation?
My feet.
Noch langer Abneigung versöhnen wir uns langsam mit dem Mainstream-affinen Pop-Genre – was aber auch kein Wunder ist, bei solchen Perlen, wie sie in letzter Zeit von Bands wie den Chew Lips oder eben auch von My Evil Twin (hier gibt es unsere Kritik) aus Kopenhagen veröffentlich wurden. Hinter letzterem Projekt steht in erster Linie Frontfrau und Sängerin Cecilie Enevold Nielsen – die uns für ein kleines Interview Rede und Antwort stand, wollten wir doch mehr über ihr Debüt “The Slow Escape“, die Produktion eben dessen und ihre Anfänge wissen.
1.) Band facts
- Name: My Evil Twin
- Residence: Copenhagen
- Current album: The Slow Escape
2.) Questionnaire:
- When did you start making music? What was your impulse?
When I was about 15 years old I learned 2 chords on the guitar and made a song. I’ve never been the kind of musician who rehearse scales and technique, my drive is composing, making melodies and often in a very simple way.
- What was the first occasion for you to write a song?
It was at terrible song with 2 chords. I remember me and my friends were hanging out in my room at my parents house playing guitar, singing and smoking cigarettes. Later on we made a girlband and that was the beginning.
- How do you normally work on a song?
I always start with a round of chords or a hook, either on the guitar or on keyboard, then a melody or a theme, and then build the song from that. I save the lyrics for last, it always takes me ages to do. The music comes much easier to me than the lyrics.
- What are you doing when you are not doing music?
I work parttime in a youthclub for handicapped people. Besides music I love to paint and draw pictures. The front cover on the CD is a painting I made a few years back.
- On your Myspace-page it’s says that the music is made by Cecilie Enevold Nielsen and that the songs are produced by Lasse Lyngbo – how would you describe the way you work together?
Before My Evil Twin I played in a band called Lupus, and Lasse helped us with some recordings. I really like his sound and understanding for music, and when Lupus split up I made some demos in my homestudio and I sent Lasse some of them. He mixed and produced a couple of songs. We found some people to play with us live, and went to the studio to make the record.
- How did you first get in contact with the music business as a artist?
I played in a band called Lupus for 6 years, we made an album and played lots of concerts, actually in Germany too, that was a great tour, a lot of Danish bands tour in Germany, and love it. The German audience is cool.
- How would you describe your album “The Slow Escape”?
It’s an indiepopalbum with uptempo songs and slow songs, common for all of them is my love for lots of vocalharmonies and melodic themes on keyboard. The lyrics are often about love that went wrong.
- Could you tell a bit how it was done, where, what the difficulties were for you?
The album was recorded in two really nice studios in Copenhagen, Black Tornado and Sauna Studio. Actually the album started out as an EP with 5 songs, a year later we recorded 6 more songs. Being in the studio is the best times ever with lots of ideas and good vibes all over the place. I’m very grateful to all the muscians who helped record the album. One thing I found difficult was to choose which songs should end up at the album to make it balanced.
- “Leave The Crime Scene” is one of our favorite Songs – can you describe how it came to existence, what it is about and what the story behind it is?
I adore The Cure and I think “Leave The Crime Scene” is one of the songs where it shows. The song started out with a beat I have on my old Casio – keyboard. I like the combination of a dark atmosphere and a a very fast beat.
- Which newcomer band/artist from denmark would you advise us to look up?
There are so many brilliant bands in Denmark at the moment, Vinnie Who is one of them.
- What are your three all time favorite albums? Why?
Blonde Redhead – Misery Is A Butterfly, it’s simply beautiful, strong and fragile at the same time, It still moves me everytime I listen to it.
The Cure – Boys Don’t Cry, because of the excellent songs “Jumping someone Else’s Train” and “Killing An Arab” I’m a big fan of the early Cure albums.
New order – Get Ready, an album with fantastic songs from start till end.
- What was your best personal experience in 2010 up to now?
I have worked on the album for a long time and when it came out in March, it felt really good. Another cool thing is that we’re playing at this years Roskilde Festival.
- What are your further plans for 2010?
Rehearsing for the gig at Roskilde and a tour in autumn and making new songs.
- How would your “Bedroomdisco” look like?
There would definitely be a dance floor with light in it, wallpaper with mountain landscapes, dim light and loads of red and green cocktails.
- What song would fit to your situation/mood at the moment?
My Favorite T with The Lemonheads due to what I’m wearing.
- What song makes you dance independent of the situation?
I always dance when “Move Your Feet” by Junior Senior is playing
- Who did fill out this questionnaire?
Cecilie Enevold Nielsen
Als 2007 bekannt wurde, dass sich die schottische Band Aereogramme auflösen würde, war die Trauer groß. Mittlerweile gibt es allerdings in Form der Band The Unwinding Hours eine Art Nachfolgeprojekt, bilden doch mit Craig B und Iain Cook zwei ehemalige Aereogramme-Mitglieder das Duo. Musikalisch hat man sich zwar etwas anders orientiert, blieb aber mit dem Debütalbum (hier geht es zu unserer Kritik) auf gewohnt hohem Niveau! Umso schöner, dass sich die Band die Zeit nahm uns einige Fragen zu beantworten – daher hier im Interview: The Unwinding Hours!
1.) Band facts
- Name:The Unwinding Hours
- Band members: Craig B / Iain Cook
- Founding year:2009
- Residence: Glasgow
- Current album:”The Unwinding Hours”
2.) Questionnaire:
- How did you come up with your band name/what meaning has it to you?
We wanted some sort of reference from a Stanley Kubrick film because iain and i have always had a lot of respect for his films. We decided on “The Shining” and if you watch the film very closely you will see where we got it from. We also liked how “Unwinding” can mean both relaxing and falling apart.
- How would you describe your musical style and how would you say does it differ from the current rock music – in which way?
I really don’t think it’s my job to describe our music. We don’t approach making music with an idea of what style it’s going to be. We just make the music that we want to make, whatever that might be. I’m not sure people will check out a band just by a musical description anyway. I will say this though, we are not “post rock”. That is a completely redundant term. Especially for a band with vocals.
- Which musical influences do you have?
Slayer / Nina Simone / Tom Waits / My Bloody Valentine / Aereogramme
- What would you say is the most important difference between Aereogramme and The Unwinding Hours?
I just feel TUH represents where we are in our lives now just as aereogramme did at that specific time. Certainly less angry, but hopefully also a bit more relaxed and confident.
- What did you do in the time between Aereogramme and The Unwinding Hours?
Not very much actually. It took me a full year to pick up the guitar again. I was just enjoying life at home for a change instead of being on tour constantly.
- How come that you got a bit quieter and lost the Noise-parts that you had when you were still playing as Aereogramme? Was it because of the new project (as a new start), a part of growing up or also because of the difficulties you (Craig) had with your voice before? Or do you see it differently?
No i certainly see it as maturing slightly. When i was younger i was angry at everything and everyone, including myself. The last aereogramme album (“my heart has a wish…”)was a step away from all that though and TUH have continued on that same path. It’s just a different approach. The song “Child” on the new TUH album is easily one of the most angry songs we have ever written. It just doesnt have any screaming or distortion.
- How did you produce the record (where, how long, what were the difficulties)? Iain and i produced and wrote it.
It was recorded, mixed and mastered at Iain’s studio except for the drums that were recorded at chem 19. There were no real difficulties actually since we took our time recording demos and slowly working on all the tracks until we were ready to go in and do it all properly over a two week period. It was a fantastic, relaxed way of working and the next one will follow the same pattern.
- You were recording the record as a duo, live you have a band – will the project stay just you two or may it also grow to a band?
At the moment, i’m happy to keep it as the two of us writing the songs. We used some of the session guys that we use live to play on the record but i liked the ease of writing with just Iain and i don’t see that changing.
- Did you work with a producer or did you everything by yourself?
Ourselves.
- “Child” is our favorite song on the album – can you tell us something about how it came to existence, what’s the story behind it and what it is about?
I don’t want to explain what it’s about because that’s up to your own interpretation but i will say that the original version of the song was terrible. We worked on it and it just sounded wrong so it was stripped back to the basics and built from scratch and what is on the album is a million miles away from where we first were with it. We are lucky to have had the time and space to work on that because it’s one of my favourite songs on the album as well.
- There are also already rumors about a second album, what can you say about this? How far are your plans for this? What changes will there be?
I am in the process of setting up my computer so i can collaborate better with iain on demos. I have a load of new software to play with and i think i need to write a few more upbeat songs so i can’t wait to get started. I can feel the need to write new songs in my bones though which, for me anyway, is a good sign.
- 3 top albums 2009? Why?
Ane Brun – Changing of the seasons. She has a remarkable voice and is a fantastic songwriter.
Mount Eerie – Wind’s Poem because its utterly unique, strange and pretty scary in parts.
Converge – Axe to Fall because i think it’s the best thing they have done since “Jane Doe” and is the kind of eclectic brave record that they are capable of making while still being heavy enough to destroy any other contenders.
- What did you learn in 2009?
That patience really is a virtue.
- Your best personal experience in 2009?
I went to Finland and travelled to Sweden in a ferry which passes by some of the most incredible landscape i’ve ever seen. Truly beautiful, especially with a clear blue sky and a bottle of wine.
- Your plans for 2010?
Half way through and it’s going fine so far!
- What is on your rider?
A crate of beer, a bottle of red wine and a decent bottle of Malt Whisky. Great for hangovers.
- What do you associate with the name “Bedroomdisco”?
Dancing on your own to a song you wouldn’t dream of telling anyone you secretly like.
Viel hatten wir am diesjährigen Langspiel-Debüt von Talking To Turtles nicht auszusetzen – außer vielleicht, dass “Monologue” (hier gibt es unsere Kritik) mit 36 Minuten etwas zu flott vorüber ist – wollten wir doch noch mehr Zeit mit Songs wie “Monster’s Teeth” oder “25th Anniversary” verbringen. Aber was soll’s – dafür gibt es ja den Repeat-Knopf! Oder eben auch das Live-Konzert. Diesen Donnerstag kommen Talking To Turtles nämlich nach Offenbach in den Hafen 2! Grund genug dem Duo, das hinter dem Bandnamen steht mal ein paar Fragen zu stellen. Daher jetzt an dieser Stelle als kleinen Appetizer auf morgen: unser Interview mit Talking To Turtles!
- Wie kam es zu Talking To Turtles?
ttt begann als ein soloprojekt meinerseits. solo, weil ich gleichzeitig in einer rock-band als sänger tätig war und mich zu hause nebenbei an den leiseren tönen versucht habe. claudi agierte im heimischen wohnzimmer von anfang an als erste kontrollinstanz bis sie sich irgendwann ein paar instrumente in die hand nahm und dazu gespielt hat. so ist “es” passiert.
- Welche Bedeutung hat der Name, bzw. wie kamt ihr darauf?
kurz vor dem ersten ttt konzert musste innerhalb weniger stunden ein name her. der flyer sollte in druck gehen. das kam recht unverhofft. ich saß gerade mit meinem damaligen mitbewohner in der küche und nach einigem brainstormen und seinem anstoß in form von “…irgendwas mit talking…” fielen mir sofort die schildkröten ein. ein lange gehegte aber nie verwirklichter haustierwunsch meinerseits fand so zumindest den ansatz einer Kompensation. der rest würde den rahmen dieser txt-datei wohl sprengen
- Eure Debüt-EP habt ihr als kostenlosen Download veröffentlicht – was war euer Ziel damit, bzw. hat es sich für euch rentiert?
der kostenlose download war zu diesem zeitpunkt das beste was wir machen konnten. wir hatten diese fünf songs im kasten und auch den plan ein kleine auflage von selbstgebastelten tonträgern auf konzerten zu verkaufen, nur fehlten uns die konzerte. ein download beim “verein ehemaliger nachbarn” war einfach eine tolle möglichkeit viele leute mit den songs zu erreichen.
- Ihr habt euer Debütalbum “Monologe” selbst produziert – woher habt ihr das Technik- und auch Produktions-Wissen?
allein hätten wir das nie hinbekommen. schon unsere ep haben wir im berliner wg-zimmer von charlie paschen, einem freund aus rostock (heute berlin) aufgenommen. er hat die technik (bandmaschine, mikrofone usw.), den enthusiasmus und viele ideen und wir unserer songs. eine spitzen kombination wie wir finden.
- Die Produktion lief innerhalb von 10 Tagen in Berlin in einer WG ab – wie kam es dazu bzw. Was waren die Schwierigkeiten?
Schwierigkeiten gab es beim zeitbudget. klar war es kein riesiges studio, das hunderte von euro pro tag kostet, aber wir hatten etwas probleme unsere ganzen sachen, die wir sonst so machen mit ttt zusammenszubekommen. so haben wir uns also die nächte um die ohren geschlagen, gelacht und geflucht. immer wieder schön.
- Was inspiriert euch zu Lyrics?
textlich behandelt monologue viel kindheitserinnerung und kleinere bis größere schicksalsschläge. die besten ideen kommen uns meist zwischen tür und angel, kleine ideenblitze so zu sagen. dann muss schnell eine gitarre her oder die aufnahmefunktion des handys betätigt werden, der feinschliff kommt dann später.
- Eines unserer Lieblingslieder ist “Monster’s Teert” – könnt ihr uns sagen, worum es darin geht, wie der Song entstand und was die Geschichte dahinter ist?
monster`s teeth ist glaube ich der zweite ttt song. er gehört in die kategorie fieser schicksalsschlag mit langem atem.
- Am Anfang war Taklung To Turtles ein Soloprojekt, jetzt seid ihr zu zweit und auf eurer Myspace-Seite steht etwas davon, dass ihr noch expandieren wollt – welche Gründe hat das?
momentan spielen wir fast alle konzerte zu zweit. das funktioniert und macht ne menge spaß. allerdings versuchen wir so oft wie möglich mit mehreren leuten, also mindestens zu dritt oder auch zu viert, auf der bühne zu stehen. zu dritt klappt es hin und wieder. dann gemeinsam mit stefan streck ( microstern, micronaut). die songs bekommen dadurch einfach eine weiter ebene, mit drums und einigen elektronischen elementen. auf diese weise haben wir die songs schon oft umarrangiert. leider ist das dann auch immer mit viel zeitaufwand verbunden, den wir zu selten hinbekommen. aber unsere tour ende mai bestreiten wir dann in einer viererbesetzung. ich bin schon gespannt.
- Was macht ihr, wenn ihr nicht Musik macht?
wenn wir nicht musik machen sind wir noch fleißig am studieren. claudi ist fast fertig, ich habe noch 3 semester vor mir. das macht es nicht immer einfach mit ttt, aber noch geht’s.
- Kann man als kleine deutsche Band “nur” von der Musik leben? Wie?
ich weiß es nicht, ich bin selbst gespannt. noch ist es für uns eine leidenschaft die sich gerade so selbst trägt. aber auch wenn sie es nicht täte, würden wir es genauso weiter machen. wir lassen uns überraschen was mit ttt in den nächsten monaten passiert.
- Das haben wir 2009 gelernt?
das ttt ziel 2009 war monologue fertig zu stellen und rauszubringen. das hat geklappt. wir haben also gelernt wie es sich anfühlt seine eigene platte in der hand zu halten.
- Eure Pläne fur 2010?
konzerte, konzerte, neue songs!
- Wer hat den Fragenkatalog ausgefüllt?
Flo, i.A. von Claudi
2010 nähert sich mit großen Schritten dem Ende der ersten Hälfte. Zu den Gewinnern von 2010 gehört schon jetzt das kleine französische Styler-Label Kitsuné, das neben einer Kompilation auch mit zwei Debütalben groß abräumen konnte: Two Door Cinema Club räumten mit “Tourist History” genauso ab, wie Delphic mit “Acolyte“. Grund genug bei letzteren nachzufragen, wie sie anfingen Musik zu machen, wie ihr Album entstand und wie es in Sachen zweites Album aussieht – die unterhaltsamen Antworten dazu gibt es in unserem Bedroomdisco TV Delphic Interview! Passend dazu verlosen wir auch wieder etwas: Ein dunkelblaues Herren T-Shirt (Größe M), unterzeichnet von allen drei Bandmitgliedern. Wer es gewinnen will, sollte uns eine Mail an info@bedroomdisco.de mit dem Betreff “Delphic” und seiner Adresse schicken. Einsendeschluss ist der 2. Juni! Viel Glück und jetzt viel Spaß mit Delphic im Interview!
Montagabend fielen wir aus dem Ponyhof in Frankfurt, beglückt von einem besonderen Konzert und einer besonderen Band: Solander. Nachdem wir diese Woche schon unsere Meinung zu deren Album “Since We Are Pigeons” (hier) verbreitetet haben, gibt es heute aus gegebenem Anlass ein Interview mit der Band – logisch, wir sind ja total neugierig. Also Brillenputztuch geschwungen, Kontaktlinsen an den Start gebracht und ab dafür!
1.) Band facts
- Name: Solander
- Band members: Anja Linna, Fredrik Karlsson, Mikael Persson, Klas Sjöberg
- Founding year: 2004
- Residence: Malmö, Sweden
- Current album: Since we are pigeons (Tenderversion)
2.) Questionnaire:
- How did you come up with your band name and what meaning has it for you?
It started off in a great interest for botanics. Daniel Solander was one of Linneus apostles and one of the greatest swedish scientist of all time. It felt like a good idea to join the interest for nature science with music.
- How would you describe your musical style?
I think it´s best described as Indie Folk music. At the moment we are reaching beyond the folkish ground that we started off in, but there will always be a great connection to both swedish and american folk i guess.
- Which musical influences do you have?
I listen a lot to jazz at the moment but for influence I’m more into books and landscapes. I think that the greatest influence for the next album will be the long winter that we just had and the major relief we all felt when king bore let go of his grip in our hometown a couple of weeks ago. When it comes to books the influence is wide and thriving. I work at a library in Malmö so I’m surrounded with books all day long.
- What are you as a band doing at the moment?
Touring Europe. Working on visuals for the live shows and carving out new songs for our upcoming record. This process is reallly fun for us and we are now working as a creative core of four. The solander team is getting tighter every day and the next album will most certainly be different due to the people involved.
- Can you describe what the listener can expect from your album?
”Since we are pigeons” is a neofolk album with a lot of structure. A young man once said that he thinks it sound as a circus and a man in sorrow. That was quite spot on.
- You are from Malmö Sweden – how is the environment influencing your writing?
As I mentioned earlier it does influence us a lot. It would be strange if it didnt. Malmö is a vibrant city and also very close to the capital of Denmark wich makes it even more interesting. Also the music scene in Malmö is really inspiring with bands like This is head, MFMB and Vit Päls.
- How do you normally work on songs?
The core of the song is carved out by one of us at first. Then Klas and Mikael puts the groove to it. Meanwhile Anja loops her cello over it and finds the harmonies that Fredrik could´t find while writing it. We always record the process and by that we find new ways to make the process more effective. Also the recordnings serve as a good ground for studio recordnings later on.
- How does it happen that you work with different musicians – are they all friends of you, is it the collective-character that you like of working like that?
I´m a very social person and couldn´t stand to work alone. Also I like the picture of artistic processes that was formulated by the english artistst Gilbert and Geaorge. For me they killed the lonely genius and once for all stated the process of artistary to be a social thing. Together we are stronger.
- With which person would you like to work together and why?
Big Fox, a lovely voice and artist from Malmö that I have listened a lot to lately but never met. If you read this, please get in contact! For the moment I listen madly much to Phil Elvrum (Mt Eerie, Microphones) so his way of recording would be really interesting to learn and be a part of.
- How come that after three EPs without Label “Since We Are Pigeons” is now released through Tendervision?
Kenta on Tenderversion called me a year ago and told me that he wanted us to tour with Scraps of tape. I said yes and praised the lord. Then he called an hour later and said he wanted to press the album Confessional Failures (2008), i said Yeah and praised the lord. After one more hour he called me back again and said: Please make an entire album for Tenderversion. I said: ”Lovely”, and went to work. The guys at Tenderversion are really professional and we feel so lucky to be on this train.
- You made the soundtracks for different movies – how did it come to this and are other projects planned?
In some ways I think our music is soudtrack marterial. And because of our goal to make new friends during the process we are always trying out new ways to work. We have some new plans but I dont want to ruin the surprice.
- The swedish music scene is very vivid (or at least it seems so for us) – which newcomer band would be you recommend for us to look up?
Besides the band I mentioned earlier I would suggest you listen to Bakers at dawn. Marcus from Malmö who is a fantastic songwriter. If you are in to experimental music you should check out Skeppet and Ved. Dont forget to check out Björn Kleinhenz who we played with yesterday in Nürnberg.
- 3 top albums 2009? Why?
Girls – Album
“The best that happed to pop music in the 21th century” – Klas
Taken by trees – East of Eden.
“Going to Pakistan to record album was a great idea and the result is stunning”
Bill Callahan – Sometimes i wish i was an eagle.
“Because it lush, airy ad filled with lyrical twists”
- What song fits to your actual situation?
While sitting in the van we listen a lot to old stuff like Missippi john hurt, but there is always a good moment to boom some Why? on the roads. Also the song “Awake at the wheel again” by the Glorytellers is really suiting.
- Which song makes you dance independent of the situation?
Ola (Tour manager): Dr Dre – Still D.R.E
Fredrik: Paul Simon – You can call me Al
Anja: Divine – Sebastian Tellier
Klas: Metal Guru – T-Rex
Mikael: I feel it all – Feist
- What do you associate with the name “Bedroomdisco”?
I think of the song “I rather Dance with you than talk with you” by Kings of convienience. Very close ad friendly even though its a song for disco dancing.
- Who did fill out this questionnaire?
Mostly Fredrik with the helping hand from Anja, Klas Mikael and Ola (Tour Manager)
Fenech-Soler werden unter der Hand schon als die Nachwuchshelden des Dancefloors betitelt – und das schon nach 2 Singles und obwohl die vier britischen Jungs noch keinen Plattenvertrag an Land gezogen haben. Doch auch so werden wir die Songs der Band dieses Jahr wohl noch öfters hören. Zum Beispiel ihre neue Single “Stop And Stare“, die diese Woche erschienen ist und hier via itunes digital zu erwerben ist. Doch wer steckt hinter diesem komischen Bandnamen und was ist vom wahrscheinlich im August erscheinenden Album zu erwarten? Das alles gibt es in unserem Interview mit der Band!
1.) Band facts
- Name: Fenech-Soler
- Band members: Ben Duffy, Ross Duffy, Andrew Lindsay and Dan Soler
- Founding year: 2008
- Residence: Kings Cliffe
- Current album: Coimg out in August this year.
2.) Questionnaire:
- How did you at first start to make music and what was your impulse?
Ross and I are brothers and come from a very musical family. Our dad was a country musician and toured with people like Tammy Wynette, Dolly Parton and Charley Pride so we grew up with instruments close to hand. We met Dan as he went to school with Ross and later met Andy as he was an engineer in a local studio we used. It wasn’t long before we got bored and bought an apple mac and started messing around with electronic music at home. I think discovering early Chemical Brothers and Daft Punk records really set us off in our desire to learn how that kind of music was made.
- How did you become a band?
It wasn’t long after we started writing music at home that we knew we wanted it to turn into something we preformed live. I suppose it changed how we approached recording as we started to envisage it on a large stage. There was however quite some time of ‘getting it right’ when it came to recreating the songs live. I think bands in the club world always have a hard task to produces electronic sounds live. There is a fine line and it can go wrong!
- How did you come up with your band name, what were the reasons for choosing it?
It’s actually Maltese although many people thought we were French when we first appeared on the blogs. We did release our first single on Alan Braxe’s French label so that probably didn’t help but we quite enjoyed the mystery that surrounded it. It’s part of Dan’s name in truth, full name being ‘Daniel Francis Fenech-Soler Trezbiatowski’…
- When did making music get serious for you?
As soon as my brother and I got that computer it has been serious. It took over our lives and hasn’t let go…
- How would you describe your musical style? What are your influences?
As mentioned, our introduction to dance music was early Chems and Daft Punk and it was also at the time we started going to Deepgrove’s club night; ‘Play’ in Bristol. It was this amazing period of realisation that there was so much music out there to be consumed and we were just at the start of it. I personally still love techno and minimal electronic music but we take influence from lots of pop records. Modern American pop sounds have recently interested us with producers like The Neptunes and Pharrell along with Bloodshy and Avant and the Miike Snow record. Songs from the late 70’s early 80’s are continuously high on our list.
- What are you as a band doing at the moment?
Well we have just finished recording our debut album at home and our now in the process of doing the final finishing touches. It’s been a labour of love and we are very proud of it. Our attention will then turn to the live set which is going to be a lot of fun. We have 30 festivals coming up this year so it’s nice to create a show with those kind of environments in mind.
- At first you were making music and touring without a label, you’re now rumored to be signed to Moda Music (while your Myspace-page is still saying you’d be unsigned).
Moda Music has been absolutely fantastic and have put out our last two singles. We haven’t signed our album yet so in that sense we are still unsigned.
- How is being signed to a label make your lives easier? Otherwise why did you decide to stay unsigned?
I’m not sure many bands decide to stay unsigned out of choice. We have just been working on our record ourselves and have been building a fan base by actually going out and working hard. We thrive on activity and keeping busy. I think to stay as self dependant as you can is a good look especially with the current situation with record labels. I suppose you have to empower yourself on every level.
- You produced your songs up to now yourself – how did this work and where did you have the knowledge from?
Everything we have learnt has simply been by a trial and error approach. When something goes wrong, which is a lot, we would take a few steps back and figure out what happened. It took a while but I think is the best way. Andy is the same but understands sound engineering to a very high level. He’s the technical one!
- How do you normally work on songs? What are the steps/processes? And when do you think of a song as finished?
We have two different home studio set ups. The first one is at mine and Ross’s house and that is where we write the songs. Once we have them to a level we are happy with we take them over to Andy’s and start using all the amazing old analogue synths he has. He has quite a collection.
- You’re working on your debut album – what can we expect from it?
Well there will be some of the songs that people recognise like ‘Lies’ and ‘Stop And Stare’ but we have some heavy tracks that we are really excited about. There is a more down-tempo side to the record that has been very satisfying to record and work on. Stonebridge is a good example.
- Your new single is “Stop & Stare” – could you tell how it was done, what it is about and what’s the story behind it?
Well it was done in the same way as all the others really. The drums were recorded in Andy living room and we produced and mixed it in our studios. The song first came about when we were in Edinburgh playing a show with Groove Aramda. There was a piano where we were staying and we just started writing the chorus which immediately stood out. As soon as we got back from that tour we started to place it all together.
- Do you already know if your record will be also released in Germany?
Without a doubt yes.
- Is there something you have always with you and which is most important wherever you go?
I personally have a lucky chain I wear round my neck that never comes off. I’m not sure about the other guys…
- What would you do if you weren’t in a band?
Difficult question as I know we haven’t thought about anything else in a long time. Maybe using my degree in someway but it bores me thinking about it.
- Which newcomer band/artist would you advise us to look up?
Hudson Mohawke is very good. We saw him at SXSW in America last month. He has a track called ‘Joy Fantastic’ which is amazing. Check him out!
- How would your “Bedroomdisco” look like?
If it could be like the main room at Berghain in Berlin but with a bed in the middle I would be happy. Best disco I’ve ever been to!
- Which song makes you dance independent of the situation?
Anything by Soulwax.
- Which song would fit to your actual situation/mood?
Right now it would probably be something from MF Doom. I work best to his music. Very relaxed.
Wie lange ist das eigentlich schon her seit der letzten Platte? Egal – viel zu lange auf jeden Fall. Die neue You Say Party! We Say Die!-Platte “XXXX” steht jetzt zumindest schon in den Startlöchern und entschädigt für das lange Warten. Grund genug mal bei den Kanadiern nachzufragen, was sich denn in der Zwischenzeit getan hat, wie das neue Album entstand und was es überhaupt mit diesen ganzen Xen auf sich hat. Angereichert wird das Ganze mit der großen neuen Single “There Is XXXX (Within my Heart)” (siehe Video unten), dem Hinweiß, dass das Album ab dem 18. Juni in den Läden steht und dass die Band am 26. April live im Hafen 2 in Offenbach (empfohlen und präsentiert von www.bedroomdisco.de) zu sehen sein wird! Egal was ihr sagt – für uns sind das genug Gründe zu feiern!
1.) Band facts
- Name: You Say Party! We Say Die!
- Band members: Becky Ninkovic – Krista Loewen – Stephen O’Shea - Derek Adam – Devon Clifford
- Founding year: 2004
- Residence: Vancouver and Abbotsford, British Columbia
- Current album: XXXX
2.) Questionnaire:
- How did you become a band?
Orginally we were a bicycle gang called “the smokin spokes”, when it started to rain, we came in doors and started a band.
- How did you come up with your band name and what meaning has it to you?
it started as a song. the crowd chanting PARTY! and DIE! it was a decision to get the “too cool for school” attitude in our hometown scene to disappear
- How would you describe your musical style?
we’re a new wave band
- Which musical influences do you have?
music made with synthesizers between the years 1978 and 1982 - orchestral manouvers in the dark, rational youth, new order, section 25
- In your biography on your myspace-page is included that you as a band had reached a breaking point in late 2007 in Berlin – what happened there and what kept you holding together?
in november 2007 we stayed at the rock and roll hostel, the rooms are about the bars, half the band went to sleep and the other to the bar to party. after trying to sleep the people upstairs came down really angry, lots of yelling and fighting. the next morning it took 8 hours before anyone would agree to get in the van and drive to the next show.
- With “XXXX” you seem to go in a new direction, which seems to be also been influenced by new wave and dance-pop – how did it come to this and how would you describe it?
it came very naturally, we were actually trying to write songs that would fit in between the fast punk songs we’d released on our previous 2 records. we want to have songs that added variety to the set.
- What kind of development would you see in your sound to your previous records?
there is a new ablility in the musicianship to hold back and allow room for the vocals, instead of everyone playing all at once, then becky stepped up into the role to become an amazing lead singer.
- The artwork and the videos also seem to be effected by a mixture of hearts and Xs – what is the connection of x and love/why is Love xed (like in the title of “There is XXXX (Within My Heart)”) out?
on the release of our first EP, (DANSKWAD), while becky was creating the artwork, she added 4 paper X’s as her mark of love. Those X’s were carried forward and are on all the releases since, when making this record, but suggested the title.
- How and where was “XXXX” produced? What were the difficulties during the production process? What was the best moment?
The album was produced by Howard Redekopp (Teagan and Sara, New Pornographers). We recorded it in Vancouver from February till August. It was amazing to get to spend that much time recording, in the past we’ve spent only 2 to 3 weeks on them.
- “There Is XXXX (Within my Heart)” is one of our favorite songs from the new record – can you tell us what’s the story behind it, how it came to existence and what makes it so special?
we wanted to create a dancefloor ready song, becky brought the riff idea to the band along with the lyrics. we worked on this one hard to get it just right. this song had a lot to do with the healing becky went through after the crazy band fight of november 2007 and the recover from health problems she had on that tour.
- The record will be released in Germany through Snowhite – how did it come to this and why did you decide to go with them?
SNOWHITE IS AWESOME! we love the label! they’ve been our friends since Kitty-yo released our GAP 7″ back in 2006, we’re glad to be working with them!
- With which person would you like to work together and why?
These New Puritans – they’re making the only interesting music i’ve heard lately. Haunting sounds and excellent execution. Perfectly Dark and Engaging
- What are your plans for 2010?
Release the record in Europe, Keep touring, throughout north america and the rest of the world, then head to china for more touring and spend a bit of time working on some new material.
- 3 top albums 2009?
the horros – primary colours
the gossip – music for men
fever ray – fever ray
- What is on your rider?
pita and hummous, ginger, lemon, hot water. that’s about it
- Which song makes you dance independent of the situation?
early interpol singles
- Who did fill out this questionnaire?
this was filled out by stephen (bass player)
Thanks Stephen! See you all in Offenbach! XXXX, Bedroomdisco!
“William Fitzsimmons is one of the oddest people you will ever meet”, ist der erste Satz der Biographie von William Fitzsimmons und wahrlich verbirgt sich hinter dem großen Amerikaner weitaus mehr als ein großer Bart: Ein großer Songwriter und einer der nettesten Interview-Partner, den man sich vorstellen kann – was unter anderem an seiner Ehrlichkeit liegt. Also logisch, dass wir William gebeten haben sich unseren Fragen anzunehmen – was er mit großer Ausdauer getan hat. Was dabei herauskam gibt es jetzt hier zu lesen. Weiterhin wollen wir noch mal an unser Akustik-Set mit William erinnern und auch daran, dass man ihn Ende Mai (um genau zu sein am 25.05.) im Mousonturm in Frankfurt wieder live sehen kann!
- Name: William Fitzsimmons
- Residence: Jacksonville, IL, USA
- Current album: The Sparrow and The Crow
- How did you first come in contact with music?
Music was always around, from the moment I was born. My parents educated me with music from the very beginning and used it as a way for our family to communicate and connect, especially because of their disability (they are both blind); it was a way for us to speak to each other that didn’t require sight.
- What was the first instrument you could play, with which age?
My mother sat me down at the piano from a very young age, probably 3 or 4, but at that point I’m certain I was just banging on the keys like most children would. Once I was a little bit older, though, perhaps 6 or so, I was taking lessons and learning organ as well.
- What influence did your parents have to your music style?
Nearly my entire musical knowledge and education came from my parents and living in the household I was raised in. I owe all of my abilities to them. From the folk and classical records they played, to the music we played together as a family, they gave me the desire to play and improve daily.
- Would you say that you have another contact to sound and music because your parents are blind? How would you describe it?
Music to me isn’t something just meant for entertainment, or enjoyment, or background listening. Music is a language in and of itself, and it’s the most powerful and meaningful language humans can speak. I have always understood melodies to be able to communicate feelings and ideas in situations where words fall short. That all came from my parents, and us as a family needing to find a way to get along and understand each other without working eyes, or light, or the normal activities other families would take part in. I know that makes me somewhat strange probably, but I wouldn’t have it any other way.
- You studied mental health? What influence can music have on ones mind?
Music is a powerful tool. It can be an agent of healing, but I think it can also be a drug. It really depends on how a person uses it. When we go to music as a way to release emotions, or understand ourselves or others, I think it can be an amazing way to gain some wisdom. But I know of many, and I’m guilty of it myself, who use music as a way to numb feelings, or ignore wisdom. The power that it has definitely needs to be respected.
- As you’re singing mainly about things that are sad and maybe have a weight on you? how would you describe the importance of making music for yourself? Like a therapy?
I suppose I started writing for that reason, to get some shit out of me that I was sick of dealing with. I definitely was only looking inward from the beginning. I’m trying to become the type of writer that can look elsewhere, to other stories as well. But up till this point, I thought it made more sense to deal with my own struggles first, then try to handle external things. But yes, music has been therapeutic for me. I think I’ve also let it bring some very dark things into my life as well, some awful choices. But that’s more about my own shit than music I guess.
- How did music then change from a hobby to composing your own songs for your first CD?
I wrote my first songs as an exercise while I was finishing up my graduate degree in mental health counseling, and by the time I finished recorded them, I thought it might be fun to put them online to let my friends and family hear them as well. After a little while, I had more and more people writing me and asking for the music, and I didn’t really know what to make of it. I was never trying to be a professional or anything, but I was very fortunate that enough people seemed to connect with it so strongly that they wanted to share it with other people. Over time people just kept passing it along to their friends, and by the time I was practicing therapy on my own, several TV shows were using the songs. But it really started out with those first fans sharing it with their friends and spreading it around.
- You first recorded your debut for yourself, how did it come that it was released afterwards?
Once I was finished with school and working on my own, I had to make the decision whether I wanted to continue down the path of therapy, which I had worked towards for years, or take up music full-time. I already had a job and a plan and I was doing what I always wanted to. Once I finally did make the choice to take on music, I thought it would make sense to make the songs available for people that wanted them. At that point I was completely on my own, no label, managers, and so forth. So I started out just selling them out of my house and sending them to people that wanted them.
- Why did you return to study after making your first CD?
That choice to leave Psychiatry was one of the most difficult things I’ve ever had to do, and even after I started recording songs, I hadn’t yet given up the idea of leaving my profession behind. It was something I worked very hard to achieve, so I thought it would be irresponsible and a waste to just abandon it. I felt I was always meant to be a therapist.
- How did it then come to your second CD?
The personal relief I felt once I began writing songs was a very addictive thing for me; it still is really. The “Goodnight” record was about taking the time to process all the horrible things that happened to and in my family, and I wanted to finally be done with all that and be able to move on from it. But at that point it was still about finding a way to deal with my past, and not about writing hit songs or something.
- While the first two records were about you growing up and your parents, “The Sparrow & The Crow” is even more about you. Did that change a lot for you?
I’ve always looked at my writing as a personal experience, but I suppose I never was completely honest with it at the beginning and I felt it was only appropriate to hold back some things. But with “Sparrow,” because it was about speaking to my ex-wife and about confessing everything I fucked up, I needed it to be as personal and disclosing as possible. If anything changed I gave up the idea of holding anything back and just told the whole story as it really was. That was the only thing that felt right.
- What is the record about?
That record is the story of how I completely fucked up my life and my marriage, and my pleading for forgiveness from my wife whom I wronged. Nothing more and nothing less than that. I don’t say it that simply to be insensitive or crude, it’s just the truth.
- Why did you for that record work with a producer for the first time?
“Sparrow” was too important for me personally to take the chance that I might not get it absolutely right. I wanted it to be as clear and good as it possibly could be, and doing it all again completely by myself was too much of a risk. The other issue was knowing that with the previous records, I had to devote so much time to engineering, mixing, producing and so forth, that I wasn’t able to just focus on being clear and creative. And I wanted the space to sing and arrange the songs and not worry about microphones, or improving the acoustic treatment of the room; all those things that made me crazy for the first two albums.
- How was it to not have the control for yourself anymore?
Exciting and extremely frustrating. I’m fine with giving up control on something when I know I don’t know what the hell I’m doing. But when I feel I have expertise in an area, it’s very difficult for me to let anyone else contribute at all. But I’m glad I did cede some control, because I think the music came out much better than if I had made every decision on my own.
- As your songs are mainly about love and are very sad, is there no positive love for you? Or is it just that you’re just writing about sad things, while you tend to enjoy the positive moments?
Of course I have positive and happy moments, and I have had many wonderful things happen in my life. I’d be lying if I said my whole life was shit, cause it hasn’t been. But I’ve been through a lot, from my childhood on, and I’ve also caused a lot of hurt in other people’s lives as well. I sing about those things because I think people don’t think enough about them; about the dark parts of life: the lying, cheating, depression, death, etc… My goal is not to make people depressed, but rather to offer hope that even with all of that, we can heal and get to a good peaceful place. But we don’t get there by thinking and writing songs about drinking, or clubbing, or meaningless bullshit. We get there by taking an honest look at ourselves and the world around us and pointing out and changing the ways we’re fucking up. Look, I like happy music as much as anybody (well, maybe a little bit less perhaps), but there’s plenty of that out there. I see it as my responsibility and place in this world for the time being to sing to the people that are hurting and need some sort of comfort. If people don’t want to listen to those things, than don’t. But if they need these songs, they are there for them.
- What are you doing at the moment?
I’ve only been home for a couple weeks and I’ve spent the great part of the past year touring. So for now I’m taking some time off to recuperate and reading and researching for a new record. I don’t want to jump into anything too quickly, because I believe I’m the type of writer who needs space between one project and the next. But I’ll slowly start to put together the pieces for new music soon. Until then, though, it’s beer, friends and family.
- What did you learn in 2009?
That mixing alcohol and sleeping pills on a long flight is a really terrible idea. And that honesty and humility, no matter what the consequences, are also a wise choice.
- What was your best personal experience in 2009?
There were too many quiet, small, wonderful things that happened to pick out any single one. The thing that makes me feel I’m an incredibly lucky person is being able to connect with people through music. I’m extremely thankful for that opportunity and it’s something I will never take for granted.
- What are your plans for 2010?
Researching, reading, and writing. I love getting to tour, but this year was busier than I would have liked, and I went to stay home and spend time making new things. Making the best music I ever have. Past that i haven’t thought too much about it.
- What do you associate with Bedroomdisco?
It sounds like a full on dance party in the bedroom. Which basically would be the coolest thing ever.
Thanks a lot William, looking forward to hear you play live again soon!
Es passiert selten, aber es passiert: Man verliebt sich in eine Band und weiß schon nach wenigen Songs, dass einen diese Musik noch lange begleiten wird. So war es bei mir bei Death Cab For Cuties “Plans“, so war es bei Nada Surfs “The Weight Is A Gift” und so war es auch bei “421 Wythe Avenue” von Alcoholic Faith Mission. Die Musik der Dänen, irgendwo zwischen melancholisch und verspielt anzusiedeln, umarmt einen, berührt und hat auch die nötigen Kanten und Ecken, die es schaffen, dass man sich einfach nicht an ihr satt hören kann. Das hat sich auch nicht auf ihrem gerade erst erschienenem Album “Let This Be The Last Night We Care” (hier gibt es unsere Kritik) geändert – also nur logisch, dass wir schon auf das Konzert am Freitag in Offenbach im Hafen 2 hinfiebern und euch dieses noch mal ausdrücklich ans Herz legen wollen! Doch viel aussagekräftiger als diese Liebeserklärung ist unser Interview mit den sympathischen Skandinaviern – am besten während dem Lesen im Hintergrund schon mal die Myspace-Seite der Band laufen lassen…und ja…sich verlieben!
1.) Band facts
- Name: Alcoholic Faith Mission
- Band members: Thorben, Kristine, Sune
- Founding year: 2006
- Residence: Copenhagen, Denmark
- Current album: let this be the last night we care
2.) Questionnaire:
How did you become a band?
There’s a lot of winter in Denmark. Lots of time to spend indoors and wade around in one’s wounds. Do that enough and you’ll need a place to put all that pain and perspective. I think, as a band, we have different reasons for making music but it’s definitely a path to solace for all of us. A canvas on which to paint away all the boogiemen hiding in our heads. Alcoholic Faith Mission was born out of an attempted departure from music rather than a sought arrival into it. Sune and I had been in a few bands together but it wasn’t until we decided to walk away from making music that we found the momentum to embark on this Alcoholic Faith Mission. Coming back to DK, we sat around Thorben’s apartment one night, slightly drunk if not completely and decided, just for kicks, to record something on Thorben’s computer. That recording stands to this day still. Which is why we came up with the first rule: only record something once.
You started as a duo, now you are a band – why did you decide to add more members to the band line-up?
After playing mainly acoustic show, and recording acoustic songs it was only natural for Sune and Thorben to evolve and explore their options. They did so by making Kristine integral in the creative process on LTBTLNWC. As a live band we’ve always been the five of us. But now it was time to stir things up a bit – and having Kristine chip in on the song writing is a huge part of why it turned out this good.
How did you come up with your band name? What meaning does it have to you?
The name of the band is more of an ironic corruption of “apostolic faith mission,” than a nod to the over-indulgence it implies. It’s from a neon sign in Brooklyn from which Thorben and Sune set off on their search for a musical road-less-traveled.
How would you describe your musical style?
Folktronica
Which musical influences do you have?
I think each of us have different influences but it’s difficult not to mention Port O’ Brian, Broken Social Scene, Arcade Fire, the Antlers and the Danish band, Efterklang
What are you as a band doing at the moment?
We’re preparing for 2 European tours that we’re doing this spring.
For “421 Wythe Avenue” you worked in New York – how did the city and the place of recording influence the record?
It was a way for us to get away from the familiarity of Copenhagen and to see about getting lost in a really big city. New York is a place with heart and soul, but it can leave you with a broken heart (or jaw) if your not taking care of yourself. It was important for us not to feel on secure ground in order to make this journey. Had it been any other way it wouldn’t have been genuine.
Your songs are often very sad, but are at the same time very playfully instrumented – how come and what environment do you need to write such songs?
As to the sadness, well we’re Scandinavians… – hence natural melancholic’s!
We think it is important not to be too even solemn. You have to be able to take the piss out on someone/thing at some point. Other wise everything will be too serious – “seriosity “ is good, but in small doses – that’s our motto.
Your album “Let This Be The Last Night We Care” is already out – can you describe if there is a difference for you to “421 Wythe Avenue” and how you see the development?
The biggest difference is that now we have Kristine in on the crating side – this is a huge asset for us, and has made us grow. We still feel we’re true to our sound, way – we’re not trying to re-invent the wheel, we just want to evolve with our music, not because of it. And Kristine is key player in this process.
Could you tell us how and where the album was done? What were the difficulties?
It was recorded in Thorben’s bedroom. Adding another song creator to the mix will always stir up some emotions, but we’ve dealt with them very maturely and have come out on the other side bigger people. Other than that we didn’t really have any difficulties other than sometimes Thorben needed to be alone (!!)
How do you normally work on songs? What are the steps/processes? And when do you think of a song as finished?
It varies really. Sometimes one of us shows up to a session with a new idea or a new riff or a new verse. Sometimes we’re fooling around and land on something unexpected that inspires an exploration. As mentioned, we used to make rules for the music like there’d have to be booze and candlelight and a cramped space and no percussion. It defined us in Misery Loves Company. For 421 we locked ourselves up in a furnished Brooklyn flat for 3 months and created every track with our guitars and stuff we found in the flat. We really try to create a space or an atmosphere and see what grows out of there, that’s about the extent of the premeditation.
“My Eyes To See” is one of our favorite songs – can you tell us what it is about, how it was done and if there is a story behind it?
It’s a song about the fools we all are for not wanting to opt for change in the world. We let politicians run us and are surprisingly conform to that. It’s really just a “question-to-self: is this really all that there is”?
Is there a song on the new album that you would describe as your favorite, which and why?
Well “Sobriety up and left” is one of the most honest and sincere song we’ve ever written. It’s about having time to make up for all the bad shit you’ve pulled in you life.
With which person/band would you like to work together and why?
Broken Social Scene. It’s not a secret that we feel very inspired by the whole Canadian indie scene – and broken social scene it’s pretty much everyone’s favorite band.
What was the weirdest or funniest thing that happened during a show?
We played a show in Modena, Italy – a young couple had driven 800km from the south of Italy to see us. That was kind of mind-blowing.
Is there something you have always with you and which is the most important wherever you go?
YES! Gustav!
3 top albums 2009? Why?
The Antlers – Hospice
Definitely the biggest musical thrill of 2009. We were excited already months before Hospice was released in March. The expectations were high – but definitely fulfilled! Hospice seems so carefully prepared and worked through. The songs have so much energy and feeling, the melodies are catchy and the story line is simply amazing (all of the lyrics describes the story of a man who loses a loved-one to cancer). All in all a great album!!
Dirty Projectors – Bitte Orca
We love their way of mixing different genres together – still ending up with a very melodic and popish sound. Not all of the songs are equally good, but the song called Stillness in the Move is simply sublime and has been a part of the soundtrack of the greatest parties during 2009. We love their vocal harmonies and their use of percussion.
Mew – No More Stories
As the last part of our list for 2009 both Grizzly Bear and Animal Collective could’ve been obvious choices. Both the release of Veckatimest and Merriweather Post Pavilion have been highly adored within the Alcoholic Faith Mission. Yet the last album picked from 2009 is by the Danish band Mew. Once again they released a fearless and challenging album that contains some magnificent songs. This album has been a continuously choice in the tour bus.
Your plans for 2010?
To keep creating and to keep finding audiences that feels our music. Other than that, it’s pretty standard stuff like fame, money, sex and power
What is on your rider?
Pretty standard – food, drinks and good times.
What do you associate with the name/word “Bedroomdisco”?
Porn – but the best of porn
Who did fill out this questionnaire?
Thorben/everyone
Thanks a lot to everyone who filled out our questionnaire – we are looking forward to see you live soon!
