November 2006 (PDF) - Antigravity Magazine

ehearsals when we were writing the record, and he wantedto create a space for us, both physically and mentally, wherewe were really comfortable playing together. So that wasdefinitely part of it. And (keyboardist) Franz (Nicolay) and BobLevine—on the last record, they were kind of new membersat the time. This time, we did so much touring for SeparationSunday, I think we found our stride as a full band. The writingof it was really great, a real collaborative effort.AG: There’s your guitar licks, of course, but Ithink the sound that really defines the record isthat amazing grand piano. Like, somewhere outthere Bruce Hornsby is pumping his fist.TK: [Laughs] Franz is such an incredible player and an incrediblemusician. I’ll bring in an idea for a song, and we’ll just sit downtogether and hash stuff out. We deliberately wanted to featurethe piano on this one.AG: What were some of the other goals headinginto the studio?TK: Obviously, a big element was going into this as a bandmore so than in the past. And the other thing is, Craig hadbeen writing so much—he’s constantly writing stuff. I wouldalways look over at him in the van, and he’s scribbling stuff inhis notebook. While it certainly isn’t a concept record like thelast one, we definitely had a solid theme that we wanted totry and tackle on this one. And I think that (opener) “StuckBetween Stations” was the first song we actually wrote for therecord. Listening to the lyrics come together on that one, weall sat down and talked about what, thematically, we wantedthe record to be about. It had a really heavy influence on thesongwriting.AG: Was it obvious right away that it would bethe first track on the album?TK: Um … We didn’t know it would be the first song onthe record. But after we got all the tracks down and startedthinking about which ones would make the record, we werelike, “This would be a great way to open.” And it’s even gotthe (Kerouac) line in it: “Boys and girls in America have sucha sad time together.” It was like, alright, let’s let people knowwhat we’re doing. And with Craig really having such a cohesivehandle on what he wanted to sing about, it was easy to writethe record around.AG: In one of your reviews, the writer statesof Craig’s singing, “It’s a unique and, at times,profoundly irritating voice.” I thought it funnythat even when he’s annoying someone, Craig stillmanages to make it profound. Are some of themore vocally impressive tracks like “Citrus” and“First Night” a kind of fuck-you to your critics?TK: First of all, let me start off by saying we’ve been incrediblyfortunate with the critical praise we’ve gotten so far. It’scertainly not a reaction oranything like that. I thinkthat he intentionally wantedto try and use his voice asmore of an instrument onthis one. I’ve been playingwith Craig since Lifter Puller,and he’s a great singer. It justdepends on what he’s tryingto articulate. Sometimes thenarrative direction of thesong takes precedent. Butwith Franz and I singing a lotof backups on this record…AG: I was going to askyou about that—thebackup vocals on thisrecord really are great.Is that all you?TK: Yeah, yeah, on thegang vocals. Like, I wasjust listening to AC/DC[singing]: “TNT … Oy! Oy!”And I was like, “We needsome stuff like that.” Gangvocals have always been myfavorite—bands like NakedRaygun totally championthat. So that was definitelya big influence. Songs like“Citrus” and “First Night,”that’s just us growing andprogressing as a band, trying to step out of our comfort zoneas players and try new things. The guitar part on “Citrus” wasjust this little thing I wrote for my daughter that I played forher all the time.AG: I read a hilarious quote from you about that… You were saying to Craig, “Please don’t make itabout some chick who ODs.” I can just see him inconcert: “This one goes out to Tad’s little girl!”TK: [Laughs] Yeah, totally. But with things like that, I probablynever would have brought that in to the band in the past.The bands that I really appreciate, bands like Fugazi and Wilco,when you look at their first record and what they’re doingnow, there’s a real, obvious growth. This sounds like such arock ‘n’ roll-cliché fucking answer, but to watch their craftgrow like that, to watch them grow as players—that’s alwaysbeen super inspiring. Hopefully, we’ll continue to do that.AG: You’ve said that album sequencing hasbecome something of a lost art …TK: Where did you read that?AG: Not sure—in one of your recent interviewsonline, probably.TK: I really do believe that. Obviously on the last record,Separation Sunday, the sequencing was something that we hadto think about, but just given the narrative thread throughoutthe record, that played into the sequencing. On this one,because it wasn’t a concept record with a real cohesivenarrative thread, it was one thing that we tried to pay realclose attention to. [Laughs] And came to blows a couple oftimes over what songs should be first and what songs shouldbe last.AG: Really? There were arguments over theorder?TK: I mean, I shouldn’t say that. But a lot of, “Oh, that songshouldn’t be there.” In the end, we really left it up to John.That’s what’s so great about having a fresh set of ears—somebody who’s not attached to the songwriting process.Working with a producer like that, it was kick-ass to hearwhat he had to say about it.AG: Side A just kills. I think the first four songsare the best beginning to any album this year.TK: Yeah, when I hear it now, I love the way the record opens.There was a lot of debate over what songs should be first andwhat songs should be second. I think we went through threeor four different sequences, and the final one, after listening toit, we were like, “Yep.”AG: I want to ask you about some specificinstrumentation from the record. In my notes on“Chips Ahoy,” I just have “organ/guitar orgy.”Can you explain?TK: [Laughs] Yeah. I think in the past I would’ve thrown a bigguitar solo in the middle of that breakdown. Instead, on thisone, it’s like, “Man, this motherfucker can play. Let’s let himdo it.” It’s really tremendous to watch Franz in the studio. I goin, have a couple beers … I wouldn’t say I’m blasé, but I just letit happen. Whereas he goes in, and it’s so intense when he’sdoing overdubs and stuff—he’s painstakingly accurate. I kind oftake the Jimmy Page approach. [Laughs] The dynamic that thekeys play in the band right now, I just think it’s great. Therearen’t a lot of bands that are doing that.AG: Totally. There’s this perfect quote from Craigin a recent interview: “Irony is the enemy of theHold Steady.” There’s no less ironic instrumentthan a grand piano, right?TK: [Laughs] Exactly. We did this little private showcaseyesterday at the Gibson showroom in L.A., right in the lobby.And we got to play with one of Liberace’s old grand pianos.The sound guys are setting up the stuff, and Franz just bee-linesright for it. He sat down at it and just started to do this huge,grand solo. I literally almost got tears in my eyes, watchinghim with his fucking mustache sitting at this mirrored, concertgrand piano. [Laughs] Now that’s right, you know?AG: Never thought I’d be saying this, but there’ssome fantastic Frampton-like guitar talk on “HotSoft Light.”TK: That’s me and Franz—he’s actually on a Wurlitzer runthrough a wa-wa pedal. It’s me soloing with an octave pedal,kind of like … What’s that song? [Humming] “Fool In TheRain,” that’s it. (Led Zeppelin’s) “Fool In The Rain” was anenormous inspiration for that one, as far as the guitar solo andthe piano going back and forth, the organ solo on that one.AG: Wow—that’s a keyboard? It really sounds likea guitar. How’d you do that?TK: Literally, he just ran a chord out to a wa-wa pedal, andthen into an amp and we mic’d it. You should’ve seen it! It wasinteresting to watch.AG: I have this idea of the Hold Steady’s worstnightmare: the five of you alone in a dark alleywith Rod Stewart, a pack of rabid DJs and theRapture. [Laughs] Craig even makes fun of thedance/punk bands on your MySpace page.TK: [Laughs] Actually, I do the MySpace page, and I like to takelittle jabs. Not so much at other bands or other scenes somuch, because I never want to be that guy who takes the easyroute and makes fun of shitty bands. And plus, there are somany great bands out there. But as far as the dance/punk thinggoes, it’s just like, “You know what, dude? … Yeah.” [Laughs]Chicks aren’t into that. Come on. And if they are, they’re notthe kind of chicks you want to be hanging out with anyway.Give me a break.AG: You guys do live in Williamsburg though,right? That’s like ground-zero for the dance/punkmovement.TK: Hey, I live in the city, man. Come on. And Craig’s actuallyin Park Slope now. But we both used to live in Williamsburg.Like, if you looked out our back windows, you could see eachother’s apartments. About a year ago I moved into the city,and then he moved out to Park Slope. Which sucked, becauseI loved our old neighborhood. But me being a parent now, it’seasier.AG: Has the success of the band enabled you toquit your day jobs?TK: A little bit. Our schedule’s been so crazy. All of us sort ofwork here and there still. For the most part, the band has justtaken up so much of our time. Knock on wood, hopefully thatcontinues. It’s funny: A friend of mine owns a restaurant in NewYork called Freeman’s, and I’ll fill-in bartend on the weekends.This girl that waitresses there, Cat, she’s hilarious—I come inone morning for a Sunday brunch, and she’s like, “Dude, I sawyou guys in Spin yesterday, and you’re playing Irving Plaza thismonth?” So I’m like, “Yeah … “ and she goes, “What the fuckare you doing here?” [Laughs] It’s like, “Rock ‘n’ roll is a muchdifferent proposition than it was 20 years ago, baby. You haveno idea.”antigravity: your new orleans music and culture alternative_21