STEPHEN SPAZ SCHNEE: OUT OF MY HEAD is about to be released. How are you feeling about the album and the reaction to it so far?
PAUL COLLINS: I’m very happy with the entire process of making this record. Usually, the making of a record is a lot more difficult – for some reason all the aspects of this recording came together relatively easy. The music, the recording and mixing, the artwork, we were so lucky to get Bob Gruen for the photos, and then, of course, our label Alive did a superb job of bringing it all together! The reaction has been great so far but as always there is a lot to do to promote a record.
Field Music is a UK outfit formed by brothers David and Peter Brewis in 2004. The band’s clever and unique approach to Pop music set them apart from any and all of their contemporaries. Instead of following any ‘current’ musical trend, the band blended Psychedelic-era Beatles influences with C86 jangle, Synthpop swirl, Baroque Pop, Indie Twee and angular Post-Punk. Add some truly mesmerizing melodies, eclectic arrangements and a pure love of music making and you’ve got the recipe for great recordings. Embracing Pop music but ignoring the limitations of the standard Pop formula, Field Music is a band that can easily be compared to other music mirth-makers like 10cc and XTC. Even the brothers’ side projects School Of Language and The Week That Was are worthy additions to your collection.
Stephen SPAZ Schnee was able to send off a few questions to David Brewis, who graciously took time to discuss the band’s new album OPEN HERE and more…
TRUTH OR DARE:
STEPHEN SPAZ SCHNEE: TAKE ME APART is just about to be released. How are you feeling about the way the album turned out and the reaction to it so far?
KELELA: I feel great about the way the album turned out. I spent so much time on the album to make it be exactly what I wanted to hear so that’s been very gratifying. The reaction to the album has also been really positive but I definitely think of it as supplementary. I try to make things I like to hear myself and then hope somebody digs it. I’m trying to make something that is sincere and so it’s just an extra plus that anybody else is vibing with it.
A MOMENT APART:
STEPHEN SPAZ SCHNEE: A MOMENT APART has just been released. How are you feeling about the album and the reaction you’ve had so far?
HARRISON MILLS: This album represents the next chapter of our project. We’ve wanted for so long to push our sound and mature as musicians. With A MOMENT APART we’ve accomplished a denser, more cinematic sound that incorporates a lot of organic, symphonic instruments. We’ve always considered ourselves an album band, so it’s hard to give people a song out of context, and even harder to choose those singles. The advance releases cover a lot of styles and genres, so it’s been interesting to see listeners kind of pick and choose their favorites. We’re excited for people to be able to listen to the album in full – the narrative of the album gives a lot of context to those songs.
The Return of FASTBALL
Over two decades after the release of their debut album, Austin-based trio Fastball is just getting started. Still
comprised of Miles Zuniga (vocals/guitar), Tony Scalzo (vocals/bass) and Joey Shuffeld (drums), Fastball has nothing left to prove. They’ve achieved everything that all bands strive for when they first get together – a record deal, tours, hits (1998’s “The Way” is their biggest so far) and respect. Now that they’ve been able to step away from the spotlight for eight years, they sound refreshed, focused and re-energized. But please don’t call STEP INTO LIGHT a comeback album. Comebacks are often desperate attempts at replenishing the bank
accounts by taking advantage of fans’ fond memories. Fastball is merely picking up the bat, taking a swing and knocking another one out of the park. STEP INTO LIGHT is a fantastic album that reminds people just how good this band has always been. In fact, it may be their most consistent full-length platter to date. The boys have a home run on their hands and they’ve left their contemporaries – new and old – in the dust. Again.
Stephen SPAZ Schnee was able to pitch some questions to Fastball member Miles Zuniga, who graciously took the time to throw back some answers…
THE ECSTATIC MUSIC OF ALICE COLTRANE TURIYASANGITANANDA
An EXCLUSIVE Q&A with Luaka Bop’s YALE EVELEV
STEPHEN SPAZ SCHNEE: Your self-titled album is about to be released. How are you feeling about the journey to make this album and the reaction to it so far?
ROBYN HITCHCOCK: Well, the people that normally like my records like this one, so far. And that’s it really – if you like this one, you’ll probably like the others. If not, I’m not your flavor. That’s why the record is simply my name. The journey? Well it was the lucky coincidence of my moving to Nashville at the same point that Brendan Benson was getting in touch, asking if I’d like to come and record with him there.
SINCERELY, FUTURE POLLUTION
STEPHEN SPAZ SCHNEE: SINCERELY, FUTURE POLLUTION is about to be released. How are you feeling about the album and the reaction you’ve had to it so far?
TAYLOR KIRK: I’m extremely proud of the recording. I feel it’s without a doubt the best effort yet. Reactions are encouraging.
DAVE RAYBURN: The new album is titled WESLEY STACE’S JOHN WESLEY HARDING, and is your second record under your given name that you’ve reverted back to. I understand that, among several factors involved in choosing the title, there was a bit of a nod to Jeff Lynne in the mix. Can you elaborate?
WESLEY STACE: I can. My last album, SELF-TITLED, was the first released under my real name, Wesley Stace, but I felt the word didn’t quite get out, so I thought it was worth clarifying. Secondly, I happened to see the new version of ELO. For whatever legal reason, they are billed as “Jeff Lynne’s ELO”, presumably partly to differentiate it from any other rogue version of ELO. This reminded me that, though I had, in a sense, broken up John Wesley Harding, I didn’t want any interlopers touring under that name, playing my songs and pretending to be me, when I was elsewhere being me too, playing those same songs (better). With WESLEY STACE’S JOHN WESLEY HARDING, I am reminding you that this version of John Wesley Harding is the only version that counts. And finally, I wanted to differentiate myself, once and for all, from the Bob Dylan album of the same name. I have many times been mistaken for this album, due to a certain similarities between the name of this artifact, an LP from 1967 made of vinyl and cardboard, JOHN WESLEY HARDING, and my erstwhile performing name, John Wesley Harding. Obviously, it’s a ridiculous mistake, but still. So this isn’t Bob Dylan’s JOHN WESLEY HARDING; it’s Wesley Stace’s JOHN WESLEY HARDING.
STEPHEN SPAZ SCHNEE: STITCH OF THE WORLD is just about to be released. How are you feeling about the album and the journey you took to make it?
TIFT MERRITT: I’m feeling really proud of this writing, these performances. I feel really, really lucky to have worked with this cast of characters. Marc Ribot is my favorite musician and one of my favorite human beings. He’s plugged into the sun. And I am forever grateful to Sam Beam for his input and generosity. To be in conversation with him about songwriting gave me a new eye on lyrics, on what to look for in third verses, on countermelody. But honestly, I don’t know that I ever truly have perspective on my work. I just have the sense of having had a creative experience that hopefully opened me more and will inform my next creative experience. I think that is what it is all about.