November 28, 2008
Autolux posted a new instrumental track on their myspace today somewhat erroneously entitled “Fat Kid.” It doesn’t sound particularly related to childhood obesity (which according to ads that played during today’s cowboys/seahawks game will kill us all before our parents) to me. Maybe like a fat kid disposer from that frenetic drum beat. Danceaerobics anyone? What it does sound like is a pretty big departure from what I was expecting from Transit Transit. Maybe the band read my mind, in the message that accompanied the song announcement they revealed that “Fat Kid” wasn’t going to be included on the now postponed album (that’s right apparently industry politics are trying to get between me and Transit Transit again. Its now slated for release “after the new year”) I wonder what project this song is a part of. Is it too early to speculate on what type of sound the band is currently into? Is this what album three holds in store? I mean, the band writes at such a faster pace than their mastering and release schedule that I always kind of assume that they’re bored with the album by the time it comes out. The sounds they’re producing are pretty impressive considering their process as Robert Densworth’s message makes it clear that “if there are any sounds on it that remind you of a tuba or tympani – that happens to be greg getting those sounds out of his guitar.”
“Fat Kid” will be available for purchase on itunes in a couple of weeks.
November 11, 2008
SC: I have to say I think you guys handled the leak as tastefully as I’ve ever seen. Most bands come off sounding kind of disconnected from reality at best and tool-ish at worst but your letters just made it sound like you really cared about your record.
NY: Thank you.
SC: How would you say this current album differs from your previous albums?
NY: Every album is a journey, taking us to another place both musically and thematically. Missiles is a step along this adventure, one that reflects on the past and looks to the future. For this reason, no two Dears albums will ever truly be “the same.”
SC: The idea of missiles tends to imply the larger more sweeping realm of politics and organization for me because of their own massive scale of destruction but the lyrics on the album seem more concerned with personal results of these grand systems. How do you see the content of this album relating to the album’s title?
NY: That’s kind of it: an alternate working title was “Threats,” which also implied an impending doom, or the insecurity of modern, Western living.
SC: The video for “Money Babies” has some pretty direct imagery, what were your roles in the shaping of the video? (you can view it here)
NY: We are into scifi/apocalypse: Murray and I wrote our own treatment for this song and it kind of combined the films Children Of Men, Perfume: a Story of Murder and The Village. When we read this treatment by Anton Purr, we were totally into it because he nailed the fatalistic concept. Read the rest of this entry »
November 10, 2008
This came out of absolutely nowhere to me which I find incredibly surprising. For one thing, I am a rabid At The Drive-In fan and as such I follow The Mars Volta with a mixture of admiration and resentment for what rose out of that band’s ashes. (I’ve even got that Defacto stuff) Plus I’m an avid music blog/magazine reader on top of whatever press releases I get anyways. In theory Lopez shouldn’t have been able to release an album on a high profile label like Stones Throw without me hearing about it until the day of its digital release. But that is just what he did. Read the rest of this entry »