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Interviews
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Written by Matt Franciscovich
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Wednesday, 01 July 2009 |
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Hebrew Hammer Drops Full-Length Debut: Eros and Omissions
You may know actor/filmmaker Adam Goldberg from his roles in major motion pictures liked the popular high school stoner flick Dazed and Confused, the gory WWII epic Saving Private Ryan and Jewish comedy The Hebrew Hammer. Or maybe you know him from his appearances on television shows like Friends, Entourage and more recently, The Unusuals. What you may not know is that Goldberg has dabbled in the music scene for nearly 20 years. In 2002, what was once a hobby became a more serious gig as he began a long process of recording tunes that would end up on his debut full-length under the name LANDy. The album, Eros and Omissions, due June 23, is over an hour of experimental indie-rock written and produced by Goldberg that he has been in the making for years. Recorded at a number of different studios with a number of different artists including Flaming Lips multi-instrumentalist Stephen Drozd and The Black Pine, the album is finally complete, and save for a mental breakdown or two, Goldberg has emerged unharmed and was happy to share some insight on the project.
Some of the songs on Eros and Omissions veer from straight indie-rock to more experimental sounding arrangements. Was this something you had in mind, or did it develop when you were writing/recording?
There was never a conscious decision to change directives or styles, though I suppose each song is of it’s time and place. I did start playing piano and writing with piano with more frequency and I think this ends up accounting for the sound shift. In general the songs I’m able to write on piano and those I’m able to write on keyboards are pretty different, by default more than anything else.
Eros and Omissions is more of a collection of songs—some that you’ve been working on for years—rather than a traditional album. Was it hard to stay focused on how you wanted the final product to turn out due to the sporadic evolution of the record?
What began as a collection of recordings for the shear sake of recording at a certain point became more focused: around the time I worked with Steven Drozd [of the Flaming Lips] in Oklahoma in a “proper” studio setting. Since there was no deadline and my goals were unclear I just continued to record a song each time I wrote one.
Were there any songs that you had thought were complete a while ago that you came back to and refined before making the final cut?
Lots of the songs were works in progress, including the Oklahoma sessions which I was very happy with the recordings of. But there were lots of different mixes, home overdubs I made, and as recently as last year would replace a vocal here or there. But for the most part, the songs were only revisited in the sense that they needed to be “properly” mixed and mastered. One of my favorites didn’t make the cut because it was just too lo-fi to fit the song, and Aaron [Espinoza] and I ran out of time (and money).
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Last Updated ( Wednesday, 01 July 2009 )
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Written by Mike Greenhaus
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Thursday, 12 March 2009 |
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Michael Falzarano on playing with the New Riders, jamming with Paul Simon and recording his ‘not quite solo’ album
“We’re trying to stay true to
the history and legacy of the
New Riders but at the same
time move forward.”
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Last Updated ( Thursday, 12 March 2009 )
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Written by Heather Simon
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Thursday, 05 March 2009 |
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Ireland’s indie team, Paul Noonan (drums), Dominic Phillips (bass) and Dave Geraghty (guitar) have been churning out highly atmospheric wistful pop songs for almost ten years. The release of Flock in 2005 achieved immediate praise for its catchy melodies and wry romantic prose, going five-time platinum in Ireland. Like any good success story, their turbulent beginnings proved the band wouldn’t be able to survive on ambition and talent alone. The band pushed through its terse times, bidding au du to problematic members and record labels. As their forthcoming album, Bright Lights On The Runway readies for U.S. release on March 3rd, Relix had the opportunity to talk to Noonan about the band’s new sound, witty lyrics and life on the road (and in the sky).
What was the biggest challenge going into making the album— it being the successor to chart-topper Flock?
I don’t think we felt the weight of that. It felt somewhere between, fancy making another record and Fancy a cup of tea. “We make this record as warriors riding into battle to avenge the deaths of our wives and children…”
What areas of the album highlight your first time in uncharted territory?
I think we felt less self-conscious about that dirty word “jamming,” hence the couple of six and seven minute songs on the album. I think we captured moments by taking the songs on tangents, moments that we could never recreate, as though the most potent of enemies would get in the way. Songs like “How Your Heart is Wired” and “Amelia” have these I think.
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Written by Mike Greenhaus
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Friday, 09 January 2009 |
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 Old-School Approach
Mantis kind of goes back to the classic format of
putting out an album and touring behind it, which in the world of
jambands you don’t really see anymore. In the past we've road-tested
songs and developed our arrangements live. But except for a verse of
“Spires” or something, we didn’t play any of these songs live and
really tried to construct these songs without thinking about how we are
going to perform them.
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Last Updated ( Friday, 09 January 2009 )
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Written by Heather Simon
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Friday, 09 January 2009 |
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 Home-cooked finger-lickin’ good country-rock outfit The Band of Heathens were spawned from The Good Time Supper Club, a Wednesday-night series at Austin club Momo’s with Gordy Quist (guitar, harmonica, vocals), Ed Jurdi (guitar, keys, harmonica, vocals), Colin Brooks (guitar, dobro, lap steel, vocals), Seth Whitney (bass, vocal) and newcomer John Chipman (drums, percussion). They were soon redubbed “The Heathens” and the undeniable synergy between the men earned them recognition at Austin’s South By Southwest Conference in 2007, including the award for “Best New Band.”
On the eve of TBOH’s first Ski Jam appearance, Relix.com spoke with Quist to find out how TBOH went from Momo’s Wednesday night highlight to country-rock’s next big thing.
Relix: How did TBOH form?
Quist: We were in our own bands and had friends in each other’s bands. All our bands were kinda incestuous. Ed, Colin, Seth and I would meet up once a week to play at Momo’s. We called ourselves “The Good Time Supper Club” and just considered it a fun side project—a tequila-fueled open jam session. The [local] paper started calling us The Heathens. People started coming every week so we decided to make it more than just a Wednesday night thing. It evolved organically from there.
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Last Updated ( Friday, 09 January 2009 )
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