Interview with indie-popper When I Was 12

November 5, 2009

*cough* Hi… well, um, Twee is back, sorta.  You know?

Depending on which circles you hang around in, Twee is either hailed as “punker-than-punk“, or maligned as “music for bedwetters.”  Nevertheless, the most misunderstood pop genre continues to tout cuteness over coolness and has the market cornered on Growing Up Awkward.

Twee has always been the most unapologetically emasculate sect of “Indie”, but it always seems to hover, smirking, just on the outskirts of popular music.  It’s too catchy to ever be marginalized, but it’s just too fey for the trampy-or-macho American taste.  Pitchfork’s excellent essay of all things Indie Pop, “Twee as Fuck” said it well:

…”indie” and “alternative” became popular in precisely the hard-rocking, masculine, centralized form that indie pop usually shied away from. The mainstream honed in on the underground’s hard-rock side, and, acts like Superchunk and Modest Mouse would go on to become Important Bands; acts like Tiger Trap and Heavenly would, for good reasons and bad, fade into history. And there on the television, ironically, was the K-tattooed Cobain, still wearing his cardigans and covering songs by the Vaselines.

So there twee sits, like the kid not picked at recess, rewarding anyone willing to seek it out.

Maybe it’s because of the excellent Juno soundtrack, but twee artists seem to be on the rise again.  The playfull Architecture in Helsinki, sallow Vivian Girls, the spider-fearing Boy Least Likely To, and the self-referential spunk of Los Campesinos!, have all attracted the blogosphere masses in the past few years (and, oddly, a large number of television commercials to boot). Fast on their heels are artists like New Jersey’s When I Was 12 – producing the sonic equivalent of a painfully joyous (or joyously painful?) prolonged adolescence.

I ran across WIW12 searching a now-defunct music site and really enjoyed their aesthetic.  The endearing strum-hook-and-harmony style burrows deep into your head and doesn’t go away — like a library volunteer into Franny & Zooey.

Earlier this year their principle songwriter, Adrianne, was nice enough to swap a few Q&A emails with me before their first non-basement gig of her young career:

Brian B (BemBang): First things first… Who’s in the band, or is it a “swinging door” type thing where there’s a core and people come and add vocals and accompaniment etc?

Adrianne Gold (When I Was 12): First things first… When I Was 12 consists of two main members: Adrianne Gold and Camille Bayas. Then some other beautiful revolving members; our friend Brianne Evans did some harmonies on “Dear Eskimo” with her angelic voice, and my guitar teacher, Mike Yelle assisted with lead guitar. When we play live friends Jenn Diaz plays bass, and Will Samtur on drums. We are so lucky to know so many wonderful people.[ …] It’s been a little hectic we’ve been getting offered shows and things lately!.

BB: Good to hear you’re busy… I hope things are going well. Is there some sort of tour in the works? When I hear the name “When I Was 12″, I immediately think of both the charming and awkward aspects of that transitional age… was that the aim?

AG: We still have two more months of high school so we’re not exactly planning a tour but we’ve been getting offered a lot of shows lately! I suppose so about the name, I mean we definitely try to be charming and I definitely am a bit awkward!

BB: Ha. Since there’s not much info about you guys online I couldn’t tell if you were in high school, or if you were just channeling your inner-highscooler to write the songs.

Your music, lyrics, production, etc seem very attuned to what I would consider classic indie-pop/twee. That is to say; sweet, clever, and fixated on youthful experiences… even when the person singing may be 30+ years old.

Ha. You’re the real deal, apparently.
What inspiration do you draw from … musically or otherwise?

AG: We are the real deal! We write about things on a high school level because it’s what we know! It’s what we are familiar with. But like I said only until June! We are so excited for summer and then of course for college! We are inspired by so many things.

Camille really likes bands such as: Los Campesinos! Beirut, The Submarines, and Seabear. I on the other hand am insanely inspired by Bright Eyes (of course, who isn’t!) Tilly and the Wall, Mates of State, and Saturday Looks Good to Me. We were actually just featured on an online mix CD, “Birdsongs, Beesongs – Eardrums Spring Compilation 2009″ and so was Saturday Looks Good to Me! So that was exciting to see!

Inspiration otherwise would of course include every boy i’ve ever known, even if only for five minutes. The boys who’s hearts I’ve broken, the boys who have broken my heart, and the boys who have yet to break my heart. Boys in bookstores, coffee shops, New Brunswick basements, and any other place you can imagine. However! I did write about my grandmother, “You Me & Symmetry” is about my grandmother, I love her. We still do arts and crafts together.

BB Hahahaha yes, the album is definitely heavy on the boy-crazy.
So…  you brought it up…  you’re from Jersey.

NJ tends to get a bad rap; some of that probably because you’re so close to the self-proclaimed cultural capital of the world.

Many big names spent time in New Jersey… , George Clinton/P-funk, Les Paul, Sinatra, Springsteen among them. What are your feelings about ‘repping from a place that has been home to many musicians but also the target of many a joke?

AG: Well I’m going to college in Philadelphia so soon i’ll have that rep and I can’t wait! It’s such a great area and so many opportunities arise there! However New Brunswick is a pretty fun area in New Jersey just last friday, we played a basement show there! Such a great vibe, I mean those are people who love and understand music! Unfortunately I cannot say the same for those at my high school!

BB: Congrats on going off to school next Fall… where in Philly? You’ve started playing a few shows in the area — will you be doing that this summer as well?

AG: Yes! We have a show tomorrow in fact, and then another one this coming friday and then the next! It’s all very exciting, I’m even starting to manage my stage fright a bit! I’ll be attending Drexel University actually so I’m absolutely pumped!

BB: That’s really cool that you were on the same comp as Saturday Looks Good To Me. How did that whole Birdsong, Beesongs thing happen? Are you familiar with any of the other artists on the album, or are they from all over?

Do you find yourself playing alongside / opening for the same bands… like, is there a like-minded scene in Jersey, or are you on your own singing to whoever listens?

AD: To be honest I am not sure how we were spotted but I am glad! The band Thunder Power from Omaha Nebraska on Slumber Party Records spotted us on the compilation and have now asked us to play a show when them they come through New Jersey touring! And we got invited to play a show in Brooklyn! We’ve been having so much fun and meeting so many wonderful people!

BB: What happens after this Summer. Will Camille be in the general area? Will When I Was 12 go on the back-burner once you start school up again?

AG: Camille will be attending Cornell, (Congrats to her! It’s really a great accomplishment!) On the contrary, once college begins, I hope When I Was 12 will be going full throttle! Because I write most of the music, melodies and lyrics, I am going to look for permanent members once I arrive on campus! You’ll have to wish me luck!

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Best Albums of the last 12 months or so… Passion Pit

May 1, 2009

Hey.  It’s May.  I continue to slack. Since the year is nearly half over, I’ll just post 12 or so albums I liked over the last 12 or some months…

Passion Pit – Chunk of Change

(#3 of 12 in no particular order)

As mentioned before, people are sick of sincerity. The world’s heart has hardened as year-after-year of more cloying emo bands  have clogged the brains of music fans and playlists of radio stations. When you hear something that’s confessional verging on embarrassing, it’s no longer a bold statement but a groaner.

Passion Pit, the nom de plum of Michael Angelakos, has the only acceptable excuse: these songs are not for you to hear. PP’s debut EP, “Chunk of Change” was recorded by him for an audience of one — his girlfriend.  Lyrics that would normally be cringe-worthy once again become sweet.  Grand imperfect love-sick gestures are somehow okay again.

What’s more, you can ignore all the lyrical content and you’re still hearing a brilliantly made laptop album. It’s an EP that mixes refreshing up-tempo samples, charmingly twee falsettos and occupational club-worthy bass. Their Vampire Weekendesque blog buzz has polarized critics, and the back-backlash should be starting soon.  Don’t worry about choosing sides… just give ’em a listen.

Their first LP, Manners, is dropping soon.


BPRB Updates – Turn Back the Clock this Spring?

February 6, 2009

New stuff added to the “Bored People Are Boring” things to-do list

Very suprised to see what bands will be making the rounds in the Spring.  Namely industiral music originators Throbbing Gristle will do two back-to-back shows at Epiphany (yes, that church place)… after playing NY and Cochella shows.

  • Throbbing Gristle, “What a Day” MP3 (c/o blog Farced)

 

Next on the suprise turn-back-the-clock list is Chicago’s own Red Red Meat.  The band’s roster is a who’s-who of Chicago indie rock icons, including Tim Rutili, Ben Massarella and Tim Hurley (of Califone), plus beloved producer Brian Deck (Liz Phair [when she was cool], Tortoise, The Sea and Cake, Modest Mouse).

 

 

Lastly in the old-news-made-new-news list this week, Bob Nanna (Braid, Hey Mercedes, City on Film) has a new full-band type project with ‘Mercedes bandmate Damon Atkinson called Certain People I Know and he’s twittering his little heart out about it.  As of right now, CPIK ranks as my third-favorite Smith-referencing bandname… right behind The Boy Least Likely To and Pretty Girls Make Graves.  Fittingly, the pride of the Illini are playing their first show in Urbana on March 13th at Courtyard Cafe and then make they’re way up to Chicago to play at The Beat Kitchen on the 19th.

  

*NOT The Cardigans.

Also of note is a band I randomly came across on The Next Big Sound site, Raise High the Roof Beam.  They’re doing not one, but TWO shows in the upcoming months.  The production value on these songs are iffy at best, but I do enjoy the sound.  It has the strum-and-pluck of solid indie pop (as the Salinger reference would infer) but I also hear a little bit of playful Johnathan Richman, and I can almost gurantee they’re fans of Wes Anderson.  Just a hunch.

 

All dates added on 2/6:

February:
Raise High The Roof Beam
GP Dreams
The Sundresses

March:
Certain People I Know
Women
Volcano!
Red Red Meat

April:
Lily Allen
Natalie Portman’s Shaved Head
Mason Proper
Raise High The Roof Beam
Throbbing Gristle
Flight of the Conchords


2008 Music: Good Stuff.

February 5, 2009

What an ego on this guy (me). Talking in the third person, jeez. Can’t possibly cut down a list of favorite albums to just 10. Way too many clever references to make, not enough blog space.

I do finally have my top 10, but the tough thing about doing a top 10 is that you can only list 10. So, below is a bunch of stuff I loved this year… alphabetically.

Fleet Foxes s/t:  Good stuff. Nice harmonies. Sometimes they sound like Appalachian hollerers, sometimes Pet Soundfetishists, the great part is they’re still so young still… such a promising band with so much on the horizon. MP3“He Doesn’t Know Why” (c/o Bridging the Atlantic)

David Byrne & Brian EnoEverything That Happens will Happen Today: On the other side of the rock spectrum are these two “oldies” that can still put together a great album. Yes, David, “These beats ARE 30 years old,” but the two of you have a feeling for song construction that has no expiration date. MP3: “Strange Overtones” (c/o Rollo & Grady)

Broke Social Scene presents: Brendan CanningSomething for All of Us: It’s a good sign that the worst criticism of this album is that it “sounds like Broken Social Scene”.  Since when is that bad?  Bored enough being awesome together, the Canadian collective has begun highlighting their individual members.  Now that everyone loves with the BSS sound, it’s fascinating to see what parts of this super-group come from which members… Mr. Canning is definitely an integral part. MP3: Take Care Look Up (c/o Lost In Your Inbox)

Crystal Castles – s/t: Playing what sounds like 8-bit Nintendo sequences is nothing new anymore, but rarely is it done so menacingly and with such flair. I’m a big fan of it. And, according to interviews, instrumentalist Ethan Kath thinks he’s pretty great too. MP3: “Courtship Dating” (c/o Raised on Indie)

Girl TalkFeed the Animals: Stretching his digitentacles even further in the recesses of the American Mind and the American Top 40, Greg Gillis makes pan-generational dance gems. Quite possibly the only way your parents might ever get to hear a Ludacris song. MP3: “In Step” (c/o Selective Service)

Hercules and Love Affair s/t: The history of the disco is much like the history of many other musical-based cultural movements… soulful, relevant, moving music that crystallizes into a social identity.  Only to be adopted by the masses and fall into vacuousness, materialism, and eventual disdain. With the help of ghostly vocal contributions from Antony (of Antony & Johnson’s fame), H&LC has stripped off the materialist and empty glamor of later-day disco to get back to the soul of the movement. MP3: “Blind” (c/o Salad Days Music)

Hot ChipMade in the Dark: The dreaded sophomore slump can not be lobbed towards the blippy geek funk of Hot Chip. First of all… it isn’t their second album. Secondly, Alexis Taylor froze the preemptive naysayers in their steps by throwing a change-up.  Dark is not quite a reinvention of the band, but a proclamation that they’re not just a dance group hardwired to peddle the same pop gold like a monkey with a miniature cymbal. The album is a hodgepodge of tracks that don’t rely too heavily on the bands talent for addictive hooks, but continually push their obvious talents toward interesting ends.

Jamie LidellJim: Jamie Lidell will always be cursed by having one the most jaw-dropping, spazmatic live shows around.  Jamie shifts to Jim, and his booty-moving electro roots shift to the hip-swinging soul of his other obvious Detroit influence — Motown soul.

Lil WayneTha Carter III: (In which a pasty white blogger has to pretend he has taste in hip-hop).  Everyone said I should like this album… I listened to it, I did.  Lil Dub simultaneously lives the thug live, and makes fun of it mercilessly.  You have to appreciate the sort of self-awareness he spouts in a Hip-Hop world that increasingly is a parody of itself.

Lykke LiYouth Novels: Precocious, sexual, childish, foreign.  There are the qualities I think of when I hear Lykke Li’s voice glide through her much-anticipated downtempo electro LP.  At times her voice can be cute and charming, at other times the same lightness can sound sultry and mischievous.  MP3“Dance Dance Dance” (c/o Bridging the Atlantic)

Stephan Malkmus & The JicksReal Emotional Trash: The songs are getting longer, but three LP’s in, S.M.’s quality control has not diminished.  He’s good when he’s silly, he’s good when he’s… less silly.  His lyrics are fun when they’re free-associative or directly narrative. The songs will vary from3-minute ditties to 8-minute guitar jam epics but they’re always a good listen.

MGMTOracular Spectacular: It became obvious the blogosphere knew more about popular taste than the music biz this summer at Lollapalooza, when MGMT played a surprisingly early set to a crowd that dwarfed any other band that day save the headliners.  I’m more of a fan of the singles on this album than the entire LP, but MGMT is young, and inventive, and goddamn weird so I’ll look forward to their next release.

Natalie Portman’s Shaved HeadSecret Crush EP: Stupid like a FOX! NPSH are spastic, silly, unapologetic nonsense peddlers.  But it’s so damn fun.  They’re all cheesy synths and drum sequencers, hand claps and sarcastic deliveries.  They remind me of what Tilly & The Wall would sound like if they came out of Brooklyn instead of the midwest, and decided to just make fun of everyone instead of being so goddamn sincere all the time.

Re-Up GangWe Got it For Cheap Vol. 3 Mixtape: From what I’ve read, the first two mixtapesof this Clipse collective are better that this one, but all I know is what I got.   Mixtapes are primarily a vehicle for hip-hoppers to lob insult grenades at eachother between albums, and there’s plenty of that here.  My fav track is the most obvious statement Clipse will ever make in their life, “They Know Yeyo”.

Sam Sparros/t:  If “back to bones” disco is why Hercules & Love Affair is commended for their LP this year, Sam Sparro should be rewarded conversely for pushing the genre further out into space.  It has the kind of bounce that you would hear at the club, but adds elements of funk, french electro, and soul that fit perfectly together.

She & HimVolume 1: I sort of slammed Paste as putting this down as their #1 album of the year but it definitely is a great listen.  Zooey DesChannel and M.Ward both share a “timeless” vibe that make these songs charming and their choice of covers wholly appropriate.

Sigur RosMeð suð í eyrum við spilum endalaust:  Gotta admit, every time I hear Sigur Ros has a new album out I’m ready to be off the band wagon, but the shit is just too good to quit.  Jon Thor Birgisson is lightening up a little, okay with songs under 4-minutes, okay with joy, okay with uncryptic album art, okay with (OMG!) singing in English, if only briefly.

T.I.Paper Trail: Can a guy do MORE guest spots?  Seriously.  Yes, there’s nothing really earth-shattering about T.I. but what he does he does so well… namely talk-singing about inane rap-type things, but goddammit if it’s on in a bar, you’re lip syncing along and pointing at the ground with finger guns

Times New VikingRip It Off: Perhaps a bit overrated, and difficult to distinguish one song from the other, but cut through the fuzz (and the obnoxious recorded-bad-on-purpose aesthetic) and these are sure fire-melodies that deliver like a sugar pill wrapped in flannel lint. MP3“Drop-Out” (c/o Bridging the Atlantic)

Vivian Girlss/t: “Oooooo-Ohhhhh-La-La-La-La-La!”  Ack!  It’s the ghosts of twee past!With magnetic ribbons of C86 mix tapes fluttering confusedly around it!  It has teeth, and fearsome sarcasm, and haggard pop harmonizing, and unrelenting indifference to the fact that indie pop is supposed to be adorable.


Passion Pit Drives Schubas Crazy

January 28, 2009

Just reviewed Passion Pit for UR Chicago here.

Will re-post the article below, and extend it with some more rambling commentary…

 

In a giddy fit of keyboards, falsettos, and saccharine dance beats, Boston newcomers Passion Pit are charming their way west during their first national tour.  P.P. bounced their way through a congenial but criminally short set last night at Schubas, as Michael Angelakos engaged the audience with the same disarming manner and sky-high vocals that seep through every track of his debut EP, Chunk of Change.

PassionPitSchubas1.28-7 

The set started out playful and keyboard-heavy with Angelakos’ ear for pop melody pushing to the forefront.  Flanked a guitar, drums, two Rolands, a Moog, and sitting behind a Yamaha synth himself, Angelakos’ dare-you-to-sing-higher-than-me octaves pierced through riffs, piano lines, and programmed back-beats. Espousing sentiments that in lower vocal ranges might be cringe inducing diary entries, the proper set ended with the dance-happy electropop of “Sleepyhead” and “Better Things” to which the sellout crowd lost their collective brains to, bloggers and ALTBros alike.

Angelakos apologized repeatedly for the abridged set, but, the audience couldn’t blame them for succinctness – Passion Pit just haven’t been around long enough to have a full set.

In a backstory that’s impossible not to repeat; Passion Pit’s origins couldn’t be more endearing: Originally a late Valentine’s Day present for Angelakos’ g/f, the “Chunk of Change” CDR made the rounds at Emerson University, made waves in Boston, and made headlines after some stellar sets at this year’s CMJ music fest in New York. A few months later, after some east coast practice gigs, they’re on tour backed by new label Frenchkiss, playing the six songs that everyone knows and road-testing a few new ones.

Passion Pit’s sincerity and DIY style fits with just a few other bands who somehow dodge be criticized for being goddamned “sincere” all the time — people have seemed to get really sick of that recently. (The fact that, as 20-something culture consumers, we already have issues with earnestness is fodder for a different blog).

I see Angelakos along side other singer/songwriters like Khaela Maricich (The Blow), Ben Gibbard (a-la The Postal Service), and Robert Wratten (Field Mice) as artists that manage to be shmultsy but nevertheless loveable.

Let it be a lesson to those aspiring coffeehouse guitar wankers… if you’re inspired to put your love / breakup letters to music and share it with the world, do two things:

  1. Sing higher and/or softer than you’re comfortable
  2. Put some good fucking beats behind it

You’ll be a blogosphere hero in no time.


Muttering Retreats Say Something, then Depart

November 10, 2008


The Muttering Retreats  – Originally uploaded by thegrue76 /TDAOC

This little Q&A with The Muttering Retreats‘ Tim Thornton unfortunately did NOT make it to (Internet)press on time, but far be it for me to deny you insight on this Cleveland-based little band that could.

Aside from playing their first Chicago venue show earlier this summer the day before Pitchfork, TMR has stayed busy this year… dropping their first proper LP (complete with adorable Wes Anderson-y art direction) and recently releasing a cover of Belle & Sebastian’s “Sleep the Clock Around” (Mediafire) — one of my personal favorites twee-as-fuck songs.  They also just learned a bunch Beck songs to perform as America’s Most Acceptable Scientologist for a Halloween show at The Beachland.

If you’re in the vicinity of Ohio in the next few weeks, make sure you stop by to catch Muttering Retreats open for Casiotone for the Painfully Alone; the band that wouldn’t stop touring, on 11/22 at Beachland.

  • The Muttering Retreats – “Sleep the Clock Around” MP3
  • The Muttering Retreats – “The Capitalist & The Communist Vie For Our Hero’s Affection” MP3 (c/o  A Cloud of Starlings)
  • The Muttering Retreats – “Pastiche” MP3 (c/o I Rock Cleveland)

 

 

And now to go back in time to late July when Tim discussed “crusty” recording, album cliches, and being in a band while also living actual lives with 9-to-5 jobs…

Arms, Distance (Brian): First of all, congrats on the release of the self-titled full album! Though, this technically isn’t your first official release — The Muttering Retreats released a limited edition tape last year didn’t you?

Tim Thornton of The Muttering Retreats: Yes. Our initial release was also technically self-titled, but it came to be known as “The Letter Tape,” due largely in part that the alphabet was a bit of a concept with the tape. [The original “pressing” featured music on side A which was then played backwards on side B. The second batch was labeled side C and D, and so on].

Roughly two weeks before our first show in April 2007, I decided that we absolutely needed some sort of product/souvenir of the show, so we cobbled together 15 minutes of audio … and we made a super lo-fi collage and put it on a 30 minute tape. The other side of the tape are those same 15 minutes, only backwards. We did three runs of the tape … but we only have a couple copies left and aren’t making any more. It’s a real ramshackle affair, I wasn’t expecting to keep it in print this long.
As for the choice on the format, it was just a foregone conclusion by that point. We wanted to have something really simple and charming that was also an artifact of a certain point in the band’s career. The super-crusty sounds on that tape really sum up what we were early off.

AD: I wanted to touch on that, actually. It seems that the use of dated technology, like the cassette tape, fits well with the aesthetic of the group. Aside from the nod to indie pop history, making tapes instead of CD-R’s is just one of the voluntarily analog, or organic, or like you said “crusty”, processes The Muttering Retreats seem to take in crafting music. Was this cultivation of your sound just a natural process, or more of a back-to-basics type manifesto?

T: It wasn’t at all a statement about analog or digital or sound clarity or any of that. All of the material on the tape had entered the digital realm at one point, so it wasn’t purism in any form. Rather, it was done as a reminder to the audience that the material on the tape wasn’t meant to be taken so seriously, as it was something cobbled together in such a short amount of time that we couldn’t really even begin to approach it as a traditionally commercially viable product.
 
AD: How does that compare to the new CD?

T: We went a totally different route. We tried to make the full length more cohesive, more of a full length statement. We really went out of our way with what might seem like minor details, such as sequencing.

We didn’t want the album to sound like we had one or two ‘singles’ and put them first on the album. We didn’t want to have a slow, sappy closer. We still fell victim to a couple of sequencing cliches, but we’re still happy with what we came up with. Also, there are a few things about the physical CD that can’t be translated over to a digital format. I won’t go into detail as to what they are, but they are all compact disc specific “Easter eggs.”
 
AD:Sounds very cool, and a nice reward for buying the actual album instead of getting a leaked copy. Hmmmm, what’s the worst sequencing cliche you can fall prey to?

T:I think the biggest faux pas is putting your weakest song as the second to last track … I’d say that putting some of your best stuff on the second half of an album is such a great reward for listening to the whole album. One example I looked to for this album was the newest Spoon record. “The Ghost of You Lingers” is the kind of track most bands would put as the second to last track, but they put it as the second song! Such balls! Even though they put such a difficult song as track 2, they put (arguably) the best song as the second to last. “Finer Feelings” is by far my personal favorite on the record… it’s such a great example of how thought out sequencing can help an album a lot.

We really tried to emulate that brave approach, putting an atypical song as the first track, then putting a completely opposite song as track 2 and so on.

AD: To that point, it’s obvious T.M.R. has put a lot of thought into this album. From how you’ve progressed as a band, to the sound production nuances, to the art direction and liner notes. Is the release of this album a turning point for the band? … Any thoughts about the progression of
this project?
 
T: Well, the band is still relatively young. We officially formed on the second to last day of 2006, and didn’t play a show until April of last year. Releasing this CD isn’t really a huge step, but rather our biggest project so far. We’ve already got a few new, small projects in the pipeline already. We’re planning a couple of new small-run releases, including a quasi-live cassette collecting a bunch of our favorite performances and adding new material right on top of it. Also, we’re contemplating a possible collection of remixes and a 7″.

The three of us have very normal lives with the responsibilities that go with them, including 9-5 jobs, student loans, and upcoming wedding plans. [Tim and Cari are currently engaged]. We can’t live the life of a ‘career’ band, at least not in the sense that you can expect us to pack up and go on tour for weeks on end.

Right now we’re happy to play Cleveland regularly and make day trips out to surrounding cities. With gas prices the way they are, we might even be trailblazing a whole new model, but we can’t really say that it was our intention.

As far as “progression” in the band, the CD is a definite raising of the bar for us. I’m already looking forward to the next one. But we even know it’s not time to quit our day jobs.

AD: Wow, lots of stuff in the works. That is an interesting point, too — that the cost of a “proper” tour must be astronomical now with gas prices. Maybe gas sticker-shock will foster stronger musical communities, supportive hyper-local scenes, etc.

So, you’re multi-tasking this weekend too — attending the Pitchfork Music Fest while you’re in town. What bands are you most excited about seeing? Which of the bands on this year’s docket would you most want to play with? Besides Spoon I guess.

T:Personally, I would really not ever want to play with Spoon, they’re just too good. I’m excited to finally see Spiritualized. They’re a perfect example of the kind of band we’re trying to be … Spiritualized can make their songs work with a 100 piece orchestra or just a guitar and a vocal. We’re really interested in that sort of songwriting.

An obvious choice would be The Apples in Stereo, but it’s warranted, they’re a great band. Most of the bands I’m really excited to see are the ones who dare try to pull off something really unique live. Health, High Places, Animal Collective, Atlas Sound, !!!, Caribou, etc etc… all of these bands have a lot of nerve to go up and try to present (to a festival crowd, no less!) a really unique live set, and I really hand it to them for that. It’s hard enough to try to play a simple pop song to a crowd, let alone a song/set of something completely different.

Oh, and Public Enemy… just because that set is going to be the most fun moment of the summer.

AD: It’s going to be a nice three+ days of music (and people watching).

You mentioned Spiritulized songs can work simply or with lots of components–in that way, how does a Muttering Retreats set work? Your music has elements of both straight-up pop but I know you’re also big into sound experimentation. You feature a fair amount of guest instrumentals and some of the production can also be quite dense: how does all this work live?

AD: Well, sometimes it just doesn’t work. But we try, honest. Our live setup at the very beginning was very convoluted and complex, it just led to a lot of technical difficulties. We had a laptop up there, midi controllers by the drums, wires everywhere, headphones… all this stuff. That didn’t last long.

Our live set depends on our resources. Sometimes there’s a drum set, sometimes not. Sometimes we’ll need a sax, other times a clarinet will do. Recently, we’ve even been messing around with completely re-arranging songs… adding new parts, having someone else sing, playing it faster/slower/on different instruments…

A lot of bands are out there with six or more people up on stage and we simply aren’t one of those bands, though I could see people making that assumption listening to some of our songs. Every once and a while we’ll get someone extra to come up and play drums or trumpet or something, but it’s less often than you might assume by listening to the CD.

We’ve all been getting into the business of making a bit of a soundscape under our songs. There’s a bit of that on the record, but it’s something I like to create in a live setting using loops and such. Chris is currently working on a setup that will allow him to make loops/soundscapes of his violin and piano, but that project is still in the works.