Les Claypool, a triple-threat player
By Chris Nixon
Foir The San Diego Union-Tribune
June 22, 2006
'I am the foreign body in the host,” says the fast-talking bass maestro Les Claypool, describing (in his own oddball way) the recent blur of activity in the mediums of music, film and long-form fiction. With his triple crown of art projects, Claypool and his outsider mentality are showing up at every turn.
Project No. 1: film.
Claypool is making the festival rounds as a first-time filmmaker with his mockumentary about the nouveau hippie band Electric Apricot. Featuring cameos by Mike Gordon (Phish) and Bob Weir (Grateful Dead/Ratdog), “Electric Apricot: The Quest for Festeroo” takes a hilarious look at the holier-than-thou nature of the jam band scene. Songs like “Burning Man” (Hey are you going to Burning Man? / I've got a recipe for cosmic flan) accent the overblown self-righteousness of jam bands much like Rob Reiner's “This Is Spinal Tap” lampooned heavy metal.
Project No. 2: book.
Meanwhile, he's also releasing his first novel, “South of the Pumphouse,” 180 pages of Claypool's classic unconventional musings. His publisher, Akashic Books, describes the book like this: “a dark, clever tale of two brothers, a fishing trip, misconceptions, drugs and murder, 'South of the Pumphouse' skillfully combines classic motifs of epic struggle and intelligent layers of imagery, reminiscent of 'The Old Man and the Sea,' and the raw, tweaked perspective and hallucinogenic tutorial of a Hunter S. Thompson novel.”
Project No. 3: solo album.
The former Primus bassist is currently touring in support of his first official solo disc, “Of Whales and Woe.” Claypool explains: “It's my first real official solo record. I've had solo records in the past, but it's always been with Holy Mackerel or Frog Brigade or Sausage. This is the Les Claypool record.”
The 42-year-old musician first gained attention with Primus in the late 1980s. His percussive style on the bass completely redefined the instrument, and shot Primus into the limelight. The trio headlined Lollapalooza in 1993 and played the Woodstock 1994 festival.
Claypool meandered through a bunch of side project groups like the aforementioned Sausage and Frog Brigade along with the powerhouse trio of Stewart Copeland (Police) and Trey Anastasio (Phish) in Oysterhead. He also penned the title song for the animated series “South Park.” Despite tons of albums and music projects, Claypool has been content to stay a bit more underground than his Primus years.
“Of Whales and Woe” features Claypool on almost all of the instruments, except for a little help from sax player Skerik, Mike Dillon and sitar player Gabby La La.
“I think it's much more in your face than anything I've done in a long time,” says Claypool from his home in Northern California, which he calls “Rancho Relaxo.” “I'm playing my four string and I'm smacking the hell out of it. It's right up there in the mix. I've found that the response has been: 'This is a little more aggressive than we've heard you in a while, Claypool.' ”
So Claypool is firing on all cylinders, seemingly mastering three mediums in one shot. Not so, says he: “Right now it appears that I'm this gushing source of creativity because all these things are coming out at once. The book started out as a screenplay 10 years ago and it just happens to be coming out now. The film we worked on last year. And the record I picked away at and finished it up end of last year. So, to me it doesn't seem out of the ordinary, but to most people it must seem like I'm vomiting my notions on the world.”
Thursday, June 22, 2006
Doug Martsch does the dishes for you
Solid Built to Spill is 'almost like a new band'
By Chris Nixon
For The San Diego Union-Tribune
June 22, 2006
As guitar heroes go, Doug Martsch doesn't fit the bill. Between tours and albums with his band Built to Spill, the 36-year-old singer and guitarist leads an unassuming life in his hometown of Boise, Idaho.
He raises his kids and does normal household chores. During our recent phone conversation, Martsch is participating in a most un-rock 'n' roll activity: He's doing the dishes.
Soon, the bearded Martsch will be on the road supporting BTS' latest barrage of layered guitars and alt-rock anthems, this year's “You in Reverse.” With his Neil Young falsetto and the J Mascis-inspired fuzzy solos, the guitarist earned an indie, rock-underground rep through constant touring and the band's six studio albums.
“We just sort of do what we do, what comes naturally to us,” says Martsch, who signed a major-label deal with Warner Brothers in 1995. “We never tried to get on a major label, never really pursued this. We never had a manager or sent our records in to people or anything like that. So, we never felt like we needed to do this. It's great, and we're glad it's worked out. But it's not like we were desperate to be on a major label.”
From its inception in 1992, Martsch remained the primary songwriter and main inspiration for Built to Spill's guitar-saturated tunes. Drummer Scott Plouf and bassist Brett Nelson have been core members since the band's early incarnations, along with a loose association of guitarists and keyboardists that have drifted in and out of BTS' lineup.
After 14 years of touring and recording, the dust has settled on Martsch and his band. Along with Plouf and Nelson, Built to Spill added longtime collaborators Jim Roth and Brett Netson.
“In my mind, it's more a band than ever before,” says Martsch, putting away the last of the dishes before settling down to talk about the new album. “It's almost like a new band in a way to me. I'm looking forward the kind of stuff we'll be able to come up with and what our band will be like.”
A solid lineup allowed Martsch to lean more heavily on his bandmates for the recording process of “You in Reverse.” The album evolved out of a year of jamming by the band. Martsch would literally pick riffs or phrasings out of extended jam sessions and mold them into songs.
“A lot of times people will come up with things that I would never dream of coming up with,” says Martsch. “It's more interesting to hear what other people come up with, as opposed to slaving over it myself.”
Beyond “You in Reverse,” Built to Spill plans to tour and record a new studio album in the near future: “We produced enough stuff for another record during that year of jamming. There are a couple of songs that we're either going to finish up or redo for our next record.”
After a span of five years between 2001's “Ancient Melodies of the Future” and “You in Reverse,” BTS' fans can expect a shorter wait for new material from Martsch and company.
“So, it's not going to be a lengthy time between albums this time around,” says Martsch. “In fact, we're going to be recording on this trip. When we're in L.A. playing a few shows, we also have time booked in a studio there. We have six new songs to start recording.”
Chris Nixon is a San Diego music writer.
By Chris Nixon
For The San Diego Union-Tribune
June 22, 2006
As guitar heroes go, Doug Martsch doesn't fit the bill. Between tours and albums with his band Built to Spill, the 36-year-old singer and guitarist leads an unassuming life in his hometown of Boise, Idaho.
He raises his kids and does normal household chores. During our recent phone conversation, Martsch is participating in a most un-rock 'n' roll activity: He's doing the dishes.
Soon, the bearded Martsch will be on the road supporting BTS' latest barrage of layered guitars and alt-rock anthems, this year's “You in Reverse.” With his Neil Young falsetto and the J Mascis-inspired fuzzy solos, the guitarist earned an indie, rock-underground rep through constant touring and the band's six studio albums.
“We just sort of do what we do, what comes naturally to us,” says Martsch, who signed a major-label deal with Warner Brothers in 1995. “We never tried to get on a major label, never really pursued this. We never had a manager or sent our records in to people or anything like that. So, we never felt like we needed to do this. It's great, and we're glad it's worked out. But it's not like we were desperate to be on a major label.”
From its inception in 1992, Martsch remained the primary songwriter and main inspiration for Built to Spill's guitar-saturated tunes. Drummer Scott Plouf and bassist Brett Nelson have been core members since the band's early incarnations, along with a loose association of guitarists and keyboardists that have drifted in and out of BTS' lineup.
After 14 years of touring and recording, the dust has settled on Martsch and his band. Along with Plouf and Nelson, Built to Spill added longtime collaborators Jim Roth and Brett Netson.
“In my mind, it's more a band than ever before,” says Martsch, putting away the last of the dishes before settling down to talk about the new album. “It's almost like a new band in a way to me. I'm looking forward the kind of stuff we'll be able to come up with and what our band will be like.”
A solid lineup allowed Martsch to lean more heavily on his bandmates for the recording process of “You in Reverse.” The album evolved out of a year of jamming by the band. Martsch would literally pick riffs or phrasings out of extended jam sessions and mold them into songs.
“A lot of times people will come up with things that I would never dream of coming up with,” says Martsch. “It's more interesting to hear what other people come up with, as opposed to slaving over it myself.”
Beyond “You in Reverse,” Built to Spill plans to tour and record a new studio album in the near future: “We produced enough stuff for another record during that year of jamming. There are a couple of songs that we're either going to finish up or redo for our next record.”
After a span of five years between 2001's “Ancient Melodies of the Future” and “You in Reverse,” BTS' fans can expect a shorter wait for new material from Martsch and company.
“So, it's not going to be a lengthy time between albums this time around,” says Martsch. “In fact, we're going to be recording on this trip. When we're in L.A. playing a few shows, we also have time booked in a studio there. We have six new songs to start recording.”
Chris Nixon is a San Diego music writer.
Calexico in N&D
Calexico: A departure from routine
By Chris Nixon
For The San Diego Union-Tribune
June 8, 2006
With its dual mariachi trumpets, atmospheric vibraphones and strumming nylon-stringed guitar, Tucson-based sextet Calexico captured the clash of cultures along the border with its Southwestern-styled indie rock. Over its first six albums, the band perfected the art of depicting the border's beauty and sadness.
For their seventh album, “Garden Ruin,” singer-guitarist Joey Burns and drummer John Convertino – the duo at the center of Calexico's creative output – decided to evolve the group's sound. Instead of picking up a nylon string guitar to write “Garden Ruin,” Burns chose a more rock-oriented steel string setup. Instead of Convertino's trademark brushes, the percussionist started drumming with traditional wood sticks.
As a result, “Garden Ruin” is Calexico's most song-oriented disc to date, drawing on the pair's indie rock background more than the sound of strolling mariachis. The bones of the band's music remain: Burns' contemplative lyrics and Calexico's talented cast of musicians.
“After years of touring and heading in a natural progression musically, we wanted to challenge ourselves: in the studio, in regards to writing and trying to involve the band members – the touring party – more,” said Burns in a recent interview from his home in Tucson.
“This band has had a natural growth as far as the albums, the instrumentals and the songs with a lot of the Southwestern influence. So this record is quite a departure for us; it's a vehicle for experimentation for us. But instead of it being an experiment in noise and the element of chaos, it's more an experiment in pulling back and being more refined in structure, text and production.”
Ranging from intimate acoustic tunes (“Yours and Mine”) to seething, swirling rockers (“All Systems Red”), Calexico tackles new sonic territory without forgetting the Southwestern aspects driving the band in the past. Burns looks at the band's development as an experiment, something that Calexico has never been afraid to do.
“I think all of us are more experimental than the music at times sounds on our records,” said Burns, who performs Monday at the Belly Up Tavern, the band's first stop at the Solana Beach club. “Our live shows, especially in San Diego, seem to have this spark. Maybe it's because we start our tours in San Diego, and then we head up the West Coast.”
Calexico – guitarist-trumpeter Martin Wenk, stand-up bassist Volker Zander, trumpeter Jacob Valenzuela and pedal steel player Paul Niehaus along with Burns and Convertino – took a leap of faith with “Garden Ruin.” By stepping away from their bread and butter, the band has created its most cohesive album to date.
“I think it's really important to pull back every once in a while,” said Burns. “I think if we had continued on and released another 'Black Light' or 'Hot Rail' record, it would feel unnatural. It's so important to challenge yourself. It's not about how many records you sell or if your songs get on the radio, it's about challenging yourself.”
Chris Nixon is a San Diego music writer.
By Chris Nixon
For The San Diego Union-Tribune
June 8, 2006
With its dual mariachi trumpets, atmospheric vibraphones and strumming nylon-stringed guitar, Tucson-based sextet Calexico captured the clash of cultures along the border with its Southwestern-styled indie rock. Over its first six albums, the band perfected the art of depicting the border's beauty and sadness.
For their seventh album, “Garden Ruin,” singer-guitarist Joey Burns and drummer John Convertino – the duo at the center of Calexico's creative output – decided to evolve the group's sound. Instead of picking up a nylon string guitar to write “Garden Ruin,” Burns chose a more rock-oriented steel string setup. Instead of Convertino's trademark brushes, the percussionist started drumming with traditional wood sticks.
As a result, “Garden Ruin” is Calexico's most song-oriented disc to date, drawing on the pair's indie rock background more than the sound of strolling mariachis. The bones of the band's music remain: Burns' contemplative lyrics and Calexico's talented cast of musicians.
“After years of touring and heading in a natural progression musically, we wanted to challenge ourselves: in the studio, in regards to writing and trying to involve the band members – the touring party – more,” said Burns in a recent interview from his home in Tucson.
“This band has had a natural growth as far as the albums, the instrumentals and the songs with a lot of the Southwestern influence. So this record is quite a departure for us; it's a vehicle for experimentation for us. But instead of it being an experiment in noise and the element of chaos, it's more an experiment in pulling back and being more refined in structure, text and production.”
Ranging from intimate acoustic tunes (“Yours and Mine”) to seething, swirling rockers (“All Systems Red”), Calexico tackles new sonic territory without forgetting the Southwestern aspects driving the band in the past. Burns looks at the band's development as an experiment, something that Calexico has never been afraid to do.
“I think all of us are more experimental than the music at times sounds on our records,” said Burns, who performs Monday at the Belly Up Tavern, the band's first stop at the Solana Beach club. “Our live shows, especially in San Diego, seem to have this spark. Maybe it's because we start our tours in San Diego, and then we head up the West Coast.”
Calexico – guitarist-trumpeter Martin Wenk, stand-up bassist Volker Zander, trumpeter Jacob Valenzuela and pedal steel player Paul Niehaus along with Burns and Convertino – took a leap of faith with “Garden Ruin.” By stepping away from their bread and butter, the band has created its most cohesive album to date.
“I think it's really important to pull back every once in a while,” said Burns. “I think if we had continued on and released another 'Black Light' or 'Hot Rail' record, it would feel unnatural. It's so important to challenge yourself. It's not about how many records you sell or if your songs get on the radio, it's about challenging yourself.”
Chris Nixon is a San Diego music writer.
Hard-Fi: 'We sing about what we know'
Hard-Fi's humble roots provide fodder for a career; catch them at X-Fest and see what the buzz is about
By Chris Nixon
For The San Diego Union-Tribune
June 8, 2006
Consider this: Right now, at this very moment, scruffy, skinny kids are creating the next new sound in pop music in their own space and on their own recording equipment.
For the British quartet Hard-Fi, the place was an abandoned taxicab office in their hometown of Staines, a sleepy London suburb near Heathrow airport.
“It's a lot like every other satellite town in the UK,” said Hard-Fi guitarist Ross Phillips about Staines. “There's just nothing there. There are no decent bars. There's no culture. There are no music venues. There are no rehearsal rooms. Until recently, there wasn't even a bookshop there. It's just kind of mundane.”
Hard-Fi rented an old cab shop and recorded the demos that would become the 2005 release “Stars of CCTV.” Brimming with splashes of punk, ska and indie rock, the band's debut immediately captured the attention of British radio and press. Phillips, vocalist Richard Archer, bassist Kai Stephens and drummer Steve Kemp were propelled into the spotlight, though the band's roots remained the wellspring of inspiration.
“We sing about what we know and what we see in our lives and our friend's lives,” said Phillips, taking a break from a European tour stop in Naples, Italy. “ 'Living for the Weekend' is about everyone working all week, getting paid on Friday, going out to the pub and getting drunk. That's what goes on in towns like ours. 'Tied Up Too Tight' is about getting away from that kind of boredom and frustration.”
Despite a 2005 Mercury Prize (the British Grammy Award) nomination and critical acclaim, the title “Stars of CCTV” would be a bit of a mystery to listeners on this side of the pond.
“It stands for 'close circuit television,' ” explained Phillips. “It's these security cameras. In the UK, they are absolutely everywhere. Whatever you're doing, you're being watched. You're having a drink at the pub, there's a camera looking at you. If you walk through London, you get caught on an average of 800 cameras a day. So we're asking the question 'Why are you watching us?' ”
A lot more people are watching Hard-Fi's every move these days. With the band's raw DIY style and willingness to combine punk and ska, many critics liken the group's sound to another classic English band.
“The Clash. We love the Clash,” said Phillips, who will take the stage at tomrrow's 91X-Fest at Corrs Amphitheatre. “They're a great band and we love them to bits. But there is much more stuff in our music. We listen to everything: hip-hop, dance and early house music, Rolling Stones, a lot of reggae, Lee Scratch Perry, dub music, ska music, anything really. As long as it's good, we listen to it and we draw influence from it.”
Chris Nixon is a San Diego music writer.
By Chris Nixon
For The San Diego Union-Tribune
June 8, 2006
Consider this: Right now, at this very moment, scruffy, skinny kids are creating the next new sound in pop music in their own space and on their own recording equipment.
For the British quartet Hard-Fi, the place was an abandoned taxicab office in their hometown of Staines, a sleepy London suburb near Heathrow airport.
“It's a lot like every other satellite town in the UK,” said Hard-Fi guitarist Ross Phillips about Staines. “There's just nothing there. There are no decent bars. There's no culture. There are no music venues. There are no rehearsal rooms. Until recently, there wasn't even a bookshop there. It's just kind of mundane.”
Hard-Fi rented an old cab shop and recorded the demos that would become the 2005 release “Stars of CCTV.” Brimming with splashes of punk, ska and indie rock, the band's debut immediately captured the attention of British radio and press. Phillips, vocalist Richard Archer, bassist Kai Stephens and drummer Steve Kemp were propelled into the spotlight, though the band's roots remained the wellspring of inspiration.
“We sing about what we know and what we see in our lives and our friend's lives,” said Phillips, taking a break from a European tour stop in Naples, Italy. “ 'Living for the Weekend' is about everyone working all week, getting paid on Friday, going out to the pub and getting drunk. That's what goes on in towns like ours. 'Tied Up Too Tight' is about getting away from that kind of boredom and frustration.”
Despite a 2005 Mercury Prize (the British Grammy Award) nomination and critical acclaim, the title “Stars of CCTV” would be a bit of a mystery to listeners on this side of the pond.
“It stands for 'close circuit television,' ” explained Phillips. “It's these security cameras. In the UK, they are absolutely everywhere. Whatever you're doing, you're being watched. You're having a drink at the pub, there's a camera looking at you. If you walk through London, you get caught on an average of 800 cameras a day. So we're asking the question 'Why are you watching us?' ”
A lot more people are watching Hard-Fi's every move these days. With the band's raw DIY style and willingness to combine punk and ska, many critics liken the group's sound to another classic English band.
“The Clash. We love the Clash,” said Phillips, who will take the stage at tomrrow's 91X-Fest at Corrs Amphitheatre. “They're a great band and we love them to bits. But there is much more stuff in our music. We listen to everything: hip-hop, dance and early house music, Rolling Stones, a lot of reggae, Lee Scratch Perry, dub music, ska music, anything really. As long as it's good, we listen to it and we draw influence from it.”
Chris Nixon is a San Diego music writer.
Subscribe to:
Posts (Atom)