Spoon counts on its skillful sonic mix
By Chris Nixon
For the San Diego Union-Tribune
November 17, 2005
Before strapping on a guitar full-time for his band Spoon, Britt Daniel worked for Austin, Texas-based computer game maker Origin Systems, composing sonic moods and background noise for games like "Wing Commander" and "Ultima."
"It was a great job," said Daniel during a recent phone call, sounding worn out on a tour stop in Asheville, N.C. "I was making sound effects for video games; that was my first experience with (computer recording software) ProTools."
After departing from a company whose motto was "We Create Worlds," Daniel spent the past decade creating his own world with Spoon. Filled with details like syncopated hand-claps, intricate strings and the occasional beat-boxing, Spoon recordings overflow with studio minutiae and aural niceties. Still, at its core the quartet's five full-length albums are well-crafted indie rock albums.
The band's first two albums – 1996's "Telephono" and 1998's "A Series of Sneaks" – featured less ear candy and more guitar-drums-bass rock. While both records contain aggressive tracks and a punkish guitar sound, they have their mellow moments ("Agony of Laffitte") and a sense of humor ("Laffitte Don't Fail Me Now").
"Sneaks" almost didn't see the light of day after Elektra killed the album's release for lack of a commercial hit in the disc's 16 tracks. Elektra's loss. Spoon self-released the album, then signed with indie label Merge Records for the three albums since.
"Girls Can Tell" – released in 2001 – found Daniel, drummer Jim Eno, bassist Joshua Zarbo and keyboardist Eric Harvey stretching out. The album added more atmospherics and keys while centering around Daniel's gritty vocals. "Kill the Moonlight" followed just a year later in 2002, recorded as "Girls Can Tell" was in Eno's studio in Austin. Mike McCarthy (... And You Will Know Us By the Trail of Dead) helped to create both records, contributing production skills.
"Moonlight" marked Spoon's crowning achievement (to date), ditching rhythm guitars for more sparse composition. The space allowed for more sonic experimentation, giving more weight to Daniel's vocals and lyrics. After an intense touring schedule, the band would have to wait another three years before releasing its next studio album.
You been gone so long, Daniel sings on "The Beast and Dragon, Adored," the opening track from Spoon's 2005 release "Gimme Fiction." Where you been for so long? / I went to places unknown.
Actually, Spoon went on the road, a place where Daniel has difficulty writing songs.
"We've basically been touring a lot (for the past three years)," said Daniel. "I have two four-tracks I use: one at home and one on the road. But it's hard to write on the road. The one at home gets used more."
The new Spoon album displays a penchant for distorted, atonal guitars solos ("My Mathematical Mind" and "The Beast and Dragon, Adored"), but adds strummy acoustic guitars to even out the sound. While not as experimental or edgy as the previous two albums, "Gimme Fiction" stands as a solid collection of tunes performed by a band with passion.
As Daniel sings on "The Beast and Dragon, Adored": I got a feelin' it didn't come free / I got a feelin' and then it got to me / When you don't feel it, it shows they tear out your soul / And when you believe they call it rock and roll.
Chris Nixon is a San Diego writer.
