AÑO: 6 | NÚMERO 56
THE 13th UN A REV I S TA I M A GI N A RI A
PARA LIA THE PULL OF AUTUMN - REVERENDS RICHARD JAMES SIMPSON
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REVERENDS
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PARA LIA
RICHARD JAMES SIMPSON
THE PULL OF AUTUMN
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Original Spanish version: https://issuu.com/revistathe13th/docs/the13th_n_56
[ Interview with Dandy Lee Strickland, Andy Watts and Matt Boehnlein from Reverends by Diego Centuriรณn. ]
REVERENDS: THIS IS DEFINITELY A REFLECTIVE ALBUM
From Atlanta, Georgia, we got in touch with Dandy Lee Strickland, who leads a band called Reverends. The band has just released their second work called "The Disappearing Dreams of Yesterday," edited by Little Cloud Records on May 31, 2019.
To begin with, I would like you to introduce yourself and tell us how the band is formed. DLS: Well I'm Reverend Dandy Lee Strickland, I started the band with our drummer Kyle a long time ago. A friend of mine asked me to record some demos at his studio and brought along Kyle to drum. We decided to start a band because it was so bad ass. It's currently me, Kyle, Andy Watts, Matt Boehnlein and Henry Jack Buxbaum How did the name of the band come up? DLS: Years ago I got ordained as a minister online to do Matt Hollywood's impromptu wedding and everyone started calling me the Reverend. Someone booked a show for us and said we had to come up with a name, turns out I wasn't the only one who had been ordained online. So that was pretty easy.
first album "Derealization Blues". What do you remember of all that year? DLS: We recorded that record with Justin and Ed at the Living Room Studio in Atlanta. It was a learning process for us all and especially for me because it was the first time I was recording as more than just a side-piece in a band. I felt like creatively we really took-off that year, our shows got really good and we started being able to write stuff that we couldn't before. In a way, this album gave them an identity as a band. DLS: It sure did. We still play a lot of songs from that record.
Today the band is with a new album. But three years have passed in the middle. What has the band done in those years? Andy (guitar): I joined the band at the end of 2017. We went through a few lineup changes while trying to record the new album, "The His debut single was "The Dark Demon / Disappearing Dreams of Yesterday." It took Witch City". What do you remember of that over a year to record and mix. It was kind of single? a few years of a little chaos and trying to find DLS: Witch City was super fun to record. our feet again. But we finally got it finished We did a video for it with our buddy Schwab and are hoping to not have another 3 year and it's a song we still regularly play. Darren period before the next album. We recently Grealish did a really cool cover for the single played some shows around Texas and the and Fat Elvis Records from Knoxville, TN was Midwest. Right now I think we are most intekind enough to put it out for us. rested in traveling and playing the record for new audiences. 2016, it was an intense year for the band, since that same year they released their Andy, what was it like to join an already
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formed band? Andy: I was already a fan of Reverends before I joined, so it was an awesome feeling to be a part of the band. Henry (the bass player) and I were in a different band that shared a rehearsal space with Reverends, and we had also played some shows together. So, I was already familiar with the band's music and knew the guys a little bit. But I really became a fan when Dan sent me a copy of Derealization Blues shortly before it came out. When we would play live with them, I thought they were a cool band that probably loved a lot of the same bands that I did. But hearing the record, I remember thinking "wow, these guys can really write real songs." Like, not a lot of bands I've played with had a song like Derealization Blues sitting in their
back pocket. And how was it for the band to recruit Andy? DLS: Andy Matt and Henry were in a band called Weary Heads that would open for us sometimes. Reverends was going through a phase where our guitar player was just very bad and Andy was the obvious choice to replace him. I'd actually wanted to work with Andy for years and should've asked him sooner. Matt and Henry soon followed. Entering the new album. The guitars have another conversation that in the previous recordings there was not. How is the work of composing both guitars?
Andy: We went through some lineup changes while writing and finishing the songs for the new album. Matt (guitar and bass) originally joined the band as a bass player, and a lot of the songs were originally written with him playing bass and me and Dan playing guitar. We realized Dan was getting tired of playing guitar and just wanted to focus on vocals, and Matt is such an amazing guitar player that it would be best if he started playing guitar full-time and Henry take over bass. Matt and I are cousins and have been jamming since we were in middle school, so I knew he would be a great fit. Due to the lineup changes and super long writing process for the new album, I don't think it really showcases the two guitar vision Matt and I truly have for Reverends. I think the next album we record will have a much stronger true 2 guitar presence. Most of the songs on the new record were written around Dan bringing in chords and vocals/lyrics for a song and the rest of the band would kind of paint around his framework. Listening to the sound of this second album. It's more hypnotic, I feel that between the first album and it have become more harmonious and less strident. How do you see it? DLS: Hypnotic is a good word to use. This record definitely has a different feel than the first. A lot of things happened to the band and to me personally writing and recording this record and I feel it greatly represents where my head was when making it. I'm very proud of it and think it pairs well with the first. There's definitely still a lot of the more-strident Reverends music to be made.
mind. I'm proud the songs are more intimate too, honesty is integral to our art. This album has had the support of Little Cloud Records. How was the work with them? DLS: They're fantastic to work with and we're very lucky to be able to do so. Mike and the boys have one of the best things going. They're absolutely stunballs. Do they distribute their material in the USA? DLS: Yes and Cardinal Fuzz via UK and Europe. Returning to the interview and already closing. What plans do you have for the second part of 2019? DLS: Well we've been playing a lot more shows around the country and we've already taken significant steps towards the next record. It's going to be totally stunballs. We're having a great time. Do you plan to enter the studio? DLS: Absolutely. We hope to have something new done by the end of the year. We're really killing it right now. We're also looking at a reissue of our first LP Derealization Blues with a ass-load of bonus material.
For those readers who have not yet met them ... How would you describe the music of Reverends? Matt (guitar): Describing your own music is extremely difficult and often frustrating (which is why Dandy is making me answer this question...) The answer you want to give They are heard more reflective, more is "it sounds like us," but to people who don't intimate‌ know the band musically or personally that DLS: This is definitely a reflective album. I think is unhelpful and probably comes off as a shy that's why I chose the title "The Disappearing attempt to avoid the question. I could sit here Dreams of Yesterday". Every song is a story for hours and try to think of something and from somewhere in my Life and with all the never be happy with my answer, so here is pressures over the last few years there was how other humans have described our band: definitely a lot of reflection going on in my "an ethereal mixture of poignant and evocati-
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ve vocals alongside effects-laden guitars," and “outlaw space rock.". Andy (guitar): We're obviously strongly influenced by everything 80's and 90's UK guitar bands and think we wear our influences pretty proudly on our sleeves. Reverends is really just cowboy music in space. And to finish ... you want to add something that we have not spoken in this interview? DLS: We are big Redondo fans and would love to play some shows in Argentina.
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[ Interview with Para Lía by Benjamín York. Photographs: Christiane Schleifenbaum ]
PARA LIA IS AND WILL BE MELODIC GUITAR DRIVEN ROCK MUSIC.
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Without a doubt, the world post-punk scene is flourishing and creating new exponents of those dark sounds. New projects are born from all parts of the world in the post-punk waters and their derivatives. And there is always a new band that catches our attention, although many believe that there is no new music. Para Lia arrives from Germany with his young blood to arouse our interest and that is why we set out to talk to them to meet them...
Hi guys, thanks for agreeing to the 80’s. make this interview. Our music is compared with/or adviced Hi Benjamin, nice to meet you and to fans of Arctic Monkeys, Arcade Fire, thank you for your interest. :) Pixies, Dinosaur Jr., The Mission, Echo & The Bunnymen, early Editors, Miles To start with the interview I want to Kane, The Last Shadow Puppets ask you how is the name of the band This year they release their debut born? The name was born of our love for album "Soap Bubble Dreams". Greece (παραλία) meaning “beach” in What can you tell us about these ten the Greek language. We love to be in songs? Greece, have a lot of friends there, i In late 2017 i wrote the song “Soap speak a bit Greek. We love the sound Bubble Dreams.” It was the song that spurred Para Lia’s formation. I created of the word. the ‘Para Lia’ sound based on melodic rhythm guitars and a special lead guitar, How and when is the band born? The idea was born in late 2017 and mellotron sound and analog keys as in the beginning of 2018 the first songs well as the dark male voice combined were finished. In April 2018 we strated with Cindys bright voice. So the songs as Para Lia with uploading 2,3 tracks came into my mind one by one and the result was a collection of melodic, on Soundcloud. melancholic guitar driven songs with a For those who do not know their more dark atmosphere. music, how would they describe it? Melodic, guitar-driven indie/alt rock. Now they released a single called With elements of post punk, dream "Hawk Hill". Tell us what it is ... is it pop, prog rock. Influenced by the alt a preview of a new album? rock of the 90’s and the dark wave of ‘Hawk Hill’ i wrote and recorded in
moment, reminding me of the street I walked down every day to go to school. The vocals reflect today's view on a town with the same fate as many small towns in rural East Germany. After big political changes in early 90’s Germany, many jobs were lost, youth moved out, schools and cultural centres closed, the cash flow stopped and small towns like Falkenberg fell dormant -kind of like a I read that in "Hawk Hill" you speak dead end street. You still can smell the of your childhood, of the place where fragrance of the past. you have lived. Tell us a little about From the perspective from Berlin, that… Hawk Hill is about my love/hate how do you see the music and the relationship with the small insignificant relationship between the musician town of Falkenberg, where I spent my and the audience? Para Lia is not a live band, so we childhood. Both Cindy and I grew up in Falkenberg and even lived on the same cannot share any experience in the street, but we never met back then. We relationship between the stage and met years later and understood that listeners. We went a different way: In we've walked the same streets and Germany the time for artists playing indie rock with english lyrics is more shared the same roots. In German, 'Falke' means hawk and than difficult. Even on Soundcloud we 'Berg' means mountain. But in fact have the most plays in UK, USA. So we Falkenberg has no hawks or mountains. are in contact with listeners, fans, other The words 'Hawk Hill Lane' popped musicians who like the stuff we do – but into my head one day while working less in Germany, more in other parts of on a guitar riff -it was a ‘Penny Lane’ the world! So it is very cool for us to get late 2018 and it is a stand alone single – the album tracks of SBD are darker while Hawk Hill has a more bright flow and more catchy pop elements. So i decided to release it as a single. And we are very happy with all the good publicity we received in blogs and zines with the song and all the radio play. Seems it was a good desicion.
We have in mind to work on a Para Lia live project with guest musicians. But it’s a long way to go to realize this. We are indie musicians and do not earn money with the music. So we are both in jobs and the time we have we use for writing, recording, working on Do you think Para Lia's music is new stuff, doin’ promotion, feeding the going in some specific direction? I socials etc. mean ... do you have an established Do you have a new album planned goal, both musical and artistic? We just found our sound. Musical for 2020? Para Lia is and will be melodic guitar We have new material we are working driven rock music. This is the base. on. Well, there are always new songs Every new song idea is like a satellite in my mind. :) I don’t know yet if it will circelling around that base, reaching become a new full album or an EP. Every out either to become more dark, more new big project requires resources, bright, more pop or prog or psych money included. We think about stuff oriented. So that it is always Para Lia – like crowd funding to realize the next bigger thing. As an unsigned artist in different shades. you are own your own. So hey, music Being a duo, how do you pose the lovers, support unsigned artists! :) songs for the live shows, do you What plans do you have for the rest have guest musicians? Para Lia is a studio project at this point. of 2019? a very kind and nice feedback to our music from all around the world and also to our english lyrics and the way we sing it. We are not native speakers, so this is much appreciated, that our listeners seem to like the accent ! :)
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Recording, mixing and mastering new tracks. Also release some new songs. Maybe also doing collaborations with talented musicians and friends on Soundcloud. To end this interview and thank you for your willingness to answer our questions. Do you want to add something you have talked about and I have not asked you? No, we just hope that you like our music! And of course we are happy if you tell everyone to support us on Bandcamp, Soundcloud and on the socials! :) Thank you guys! Thank you Benjamin! Greetings from Cindy and Cheers, RenĂŠ
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[ Interview with Richard JamesSimpson by BenjamÃn York. Photograps: Richard JamesSimpson. ]
RICHARD JAMES SIMPSON: WE ARE LOSING OUR CONNECTION TO NATURE AND THE DIVINE
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A few weeks ago Richard's second album was released, the first one, "Sweet Birds of Youth" is from 2017, and now it brings us "Deep Dream" and we are pleased to have this talk with him.
Hello Richard! A pleasure to say hello and be able to ask you some questions. To start and after listening to your new album ... How would you describe Deep Dream musically? Hello Benjamin. It is a pleasure to speak with you. “Deep Dream” is a collection of songs and musical vignettes that are more of an experience rather than just typical songs. It is set in a time right before and after a dystopian world is implemented, in which its inhabitants are trying to save humanity and later trying to regain their freedom to be human once it has been lost. Musically, I tried to fashion the album similarly to what Bowie did with his albums “Low” and Heroes,” in which he combined traditional songs with more experimental pieces. I also drew inspiration from such film composers as Fred Karlin, Vangelis, Michel Small, and Pino Donaggio. I was also wanting to assimilate such older genres as punk rock and experimental soundscapes and try to fuse them with a 21st-century sound. I would describe the album as a trip into the visible and non-visible, but with sound, with heavy elements of fabulism or the more common term magical realism. We live among
supernatural experiences all the time, but we either cannot identify them due to them being outside of our human frequency range or we close ourselves off to that world. For this album you have surrounded yourself with many musicians. Tell us about who they are... On this album I had the pleasure of working with several extraordinary artists whose musical resumes span from the 1970s to now. The players are a very diverse group. Jill Emery who was in Hole and Mazzy Star as well as Teardrain along with me and Mark Reback of Vast Asteroid and Slaughter and The Dogs appear on the album. I also worked with several musicians from the early days of Los Angeles punk rock. They include Geza X, who has produced some of the most iconic bands, The Dead Kennedys, The Germs, Black Flag as well as himself being a solo artist, he played guitar on the album and mastered it. In addition, Paul Roessler who was a member of the legendary synth punk band The Screamers and worked with Nina Hagen, produced and sang backing vocals on three of the songs on the album. The prolific Don Bolles,
drummer for The Germs, played drums on the songs I recorded with Paul. Also, Ygarr Yagarrist of Zolar X and The Spys (a band which included my brother) played all the instruments on a song called “Free.” Finally, Dustin Boyer, who is lead guitarist John Cale’s band, is also on the album. I think the variety of players gives the album a unique flavor and voice. It was a real honor to work with all these musicians. Aside from the three tracks done with Paul Roessler, I produced the remainder of the album. I also sang all lead vocals, played guitar, synths, percussions and soundscapes, and wrote most of the songs on the album. I cowrote three songs with Jill Emery and one with
Dustin Boyer. In 2017 you released "Sweet Birds of Youth", your first album, what can you tell us about that first solo work? It was my first solo album, prior to that I had strictly recorded as a member of a band, so this was a new animal for me. Whereas “Deep Dream” is about the future, “Sweet Birds of Youth” was about the past. It is a collection of songs that encapsulate the early part of a person’s life. “Sweet Birds of Youth” emphasized our humanity and “Deep Dream” puts our humanity into question: do we have the desire to retain it? Dustin Boyer was instrumental in the
creation of “Sweet Birds of Youth.” We recorded several tracks for that album over a few sessions. There are also some older recordings on that album that symbolize the very early years of someone’s life. In particular, there is one song called “You,” which features Joey Burns of Calexico on cello and vocal harmonies. I like to think the albums complement one another. They are parts of a trilogy. From what you heard in your new work, experimentation is a fundamental part of your sound, how do you create those sound
passages that are so corrosive? A lot of the album utilizes such natural sounds as rainfall at 4 a.m., crickets, barking dogs, subway trains, knives sharpening, and household items as percussions to produce an experimental, steely, cold futuristic style. All the sounds were manipulated to the extent that they became almost unrecognizable. I wouldn’t describe the sound as corrosive, but instead visceral. There are sounds of screams that were slowed down and the pitch changed to such a degree that they now sound like far away trains from some distant past wailing out to not
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be forgotten. The sound of the album is reflective of the times in which we are living and what we are facing as a species. People are on edge; people are longing for human touch and voice. We are losing our connection to nature and the divine, urged to be increasingly dependent on technology instead of each other. It can be cathartic to stare into the abyss and dare to believe it can be beaten. This album is provocative from the sound, eclectic and irreverent. But I know that there is a conception of "awakening" the human being against artificial intelligence, as a wake-up call to this present. Is there any of this? Yes, I agree that the album is provocative in some ways, and eclectic; however, it is not irreverent, it is meant to be serious and listened to as a warning, a not so gentle reminder to be careful what you wish for. Of course, it is fitting that so many people who were involved in the origins of punk rock are on this album, because punk rock was meant to challenge. Yes, it was also meant to be entertaining, but I remember the goal of most of that music was to reject convention and speak truth to power. The acceleration of technology has been astonishing over the past few decades, but it pales in comparison to what will take place throughout the coming years. People should be mindful when allowing this technology into their lives, especially A.I. that can remove free will. I am not against using this technology to allow for medical breakthroughs, but it is evident – even if you do the bear minimum of research on this topic – that is not really what this technology is intended for. There are dangers with using an external computer, can you imagine
the ominous possibilities that will rear their ugly heads if we allow technology to be inserted into our bodies? There are no guarantees with anything in life, but the telecom agencies who want 5G don’t even want to test for safety, they just want to roll it out as quickly as possible. I find that to be incredibly alarming, and I am astounded that many people think just diving into something that could be detrimental to the public’s health is no big deal. It’s very similar to the public’s comfortability with wiretapping. Prior to 911, people were outraged by the idea of someone listening into their private conversations; now, it is considered par for the course. It isn’t. Does the world seem safer to you? All these measures put into place to protect the public and yet horrific events occur daily, events that these measures are supposed to eliminate. The album tackles these issues with the idea that silence will be considered consent, and it truly is if you blindly accept things and don’t even consider the ramifications for humanity. There is a song on the album called “The Giver.” It is not sung by a human, the lyrics are spoken by a computer. The computer is warning humankind of the road to ruin on which they are headed. It speaks of philanthropy as an inanimate object, rather than a means to help those in need. It is judging those who only care about themselves and think of future generations in an abstract way. They are incapable of anything other than selfishness. It is Implicating individuals who could instead oppose this move to complete control over human beings. Already with our personal computers we are vulnerable to having some very unsavory people entering our homes via hacking, do we want to go a step further and allow these individuals
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into our heads? Of course, there is an extremely enticing promise of having unlimited knowledge and eternal life being dangled like a carrot in front of those who are being targeted for implantable chips into their brains; however, will this technology really be privy to anyone other than the wealthiest in society? If people of lower economic levels are privy to this ‘upgrade,’ I personally do not think it will be for altruistic purposes. People are already feeling regretful about allowing Alexa
and other ‘oracles’ into their houses when they it laughs for no reason at 3 a.m. and refuses to answer answerable questions. This is the future and it entails such terms as voice sniffing and smart dust. Voice sniffing permits the oracle to record your environment 24 hours a day and the recording is then handed to a third party; smart dust will be added to prescription drugs, clothing and a lot more, all with the potential of exposing human beings to unsafe levels of radiation. These are just a
few examples of giving up privacy and with other songwriters. On my first album I wrote all the songs; however, safety for convenience. I love collaborating, especially with I am struck by the fact that your the artists with whom I cowrote the albums have a number of songs, songs. I think “Deep Dream” took the which they do not comply with experimentation process many steps a certain norm that expresses further. There is a song on the album this reality of "immediacy and called “My Psychedelic Mother,” which short times". There I also find that is very reminiscent of my early years provocation that I was talking about playing in an art, noise, punk band. It has a heavy emphasis on distortion on all earlier, am I thinking correctly? Yes, I believe it is provocative in the instruments and voices, even on bells. sense that I wanted to convey to people Again, I always like the unexpected that nothing is set in stone when it and having to create sounds that you comes to music and sounds. It is true have no idea from where they came. I that both of my solo albums have had think a lot of the public don’t have an more tracks than most albums out now, appreciation for noise rock, and that’s and it may be jarring for some to see a shame. To me, there is music in so many songs on individual records, everything: a sledgehammer, a siren, but the length is no longer than current an earthquake, a blade, and feedback. albums with fewer songs. If you go These sounds can be intimidating, but back to the 1970s, many bands were if you are going for a dramatic sound, releasing double and sometimes even you don’t really want to play it safe. triple albums, and those are among some of the most beloved albums to What plans do you have for these date. I always really appreciated artists next months? who didn’t comply with the status quo, For the next few months I will be and especially those musicians who promoting the album and focusing on brought new sounds into the world the next album, which has a working of music. Experimentation makes life title of “Pearls Before.” I will also be more interesting. Again, I wanted these finishing the videos for “Deep Dream.” albums to be experiences for people, There will be a video for every song on and like life itself, it isn’t always short. I the album. also think the audience is often talked down to with music and I like to think the To finish and thank you for the time people who listen to these albums are provided I leave this last answer for looking for something that approaches you to say what you want to our readers... them with respect. In closing this interview, I want to give What changes do you perceive in one more example to your readers of the your way of composing, if you feel choices they will have to make. In the any change, between the first album field of neuroscience and technology there is a newly established term called and this new work? The main difference between the ‘cognitive liberty.” This essentially composition of my first solo album is the idea of whether there are any and my second is that there are constitutional protections for freedom of about four songs that were co-written thought or mental privacy. These rights
do not yet exist, only the right to not self-incriminate, which is only verbal. In India, a different type of technology was used where an individual’s brain was queried, while they remained silent and the responses that their brain provided was used against them for the purposes of criminal conviction. We are headed for a world which greatly resembles “Minority Report,” “1984” and “Brave New World” if we do not arm ourselves with as much information to stop this.
Moreover, there are videos called deep fakes in which by using someone’s voice you can essentially put words in their mouths, and no one would be the wiser. This is technology we now have. Imagine what will eventually be engineered to plant in someone’s brain – thought crime perhaps? In times like these we need art. Artists are supposed to be the truth tellers. As Bertolt Brecht said, “Art is not a mirror held up to reality but a hammer with which to shape it.”
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[ Interview with The Pull of Autumn by BenjamÃn York. ]
THE PULL OF AUTUMN: THE SOUND OF TWILIGHT GLOW
If there is something in common between this new band and who writes and conducts this interview, we both love Benjamin Holton's band, Epic45. This band with a sound that captures the exact moment of that first glow of twilight. The Pull of Autumn was born from the collaboration between Daniel Darrow and Luke "Skyscraper" James. So we communicated with them and we were able to ask them some questions.
Before starting this interview I want to thank you for the possibility of asking these questions. And to begin with, how was the name of the band born? The name of the band comes from A song called “Against the Pull of autumn” from the group Epic 45, my late wife adopted the phrase “The Pull of autumn” as the seasons changed so frequently living here in New England.
If you have to tell someone who has never listened to the band, what songs should they listen to first? Well from the first album I’d suggest “They came down”, though not particularly radio ready, Luke and I felt a strong connection with this tune that lends its influence from David Bowie and Brian Eno. One more from the first album I’d like to give a shout out to as well is “Breath” with the brilliant Jeanne Batting on vocals. From the second album “Afterglow” I’d suggest “Haunted by the rain” by Richard Vincent Adams of Hood and accompanying him on keyboards and electronics my son Matthew Darrow from The Woods Decay and Fall.
How and when was the idea of creating the band born? One of my heroes Luke “Skyscraper” James from the band Fashion responded to some of my videos online, being a lifelong fan of “Fashion” i was thrilled when Luke had suggested to me about working on a project together. In a year they have released two We are shocked and thrilled with how albums, which I think is fantastic. it’s grown! What can you tell us about the path traveled to get to the first self-titled His music is quite eclectic, his album? sound varies from song to song. Well basically Luke and I just entered For those who don't know The Pull into a stage of nonstop recording and of Autumn, how would you describe creation. The flow at the time was just their music? brilliant and at times we were recording A mixed bag of eras and remnants 3-4 songs in only a weeks’ time, not to of the past coming together to create mention the stems I was getting from something new in the modern era. all the other artists who contributed on Tough to put a label on it, but post-rock the album. is a good starting place.
A few weeks ago they just released their second album "Afterglow". Tell us how was the writing process between the first album and this new work. We began writing songs for “Afterglow� while they were still promoting the first album, a lot more people were on board for this one and it was fun and at times challenging to adopt to their various and varying recording methods.
If there is something that caught my attention in both albums is the number of songs in both works. In today's times it is difficult to capture the listener for a long time, but you don't seem to mind that. How do you see everything from the immediacy of everything? I like to create at my own pace, I think with things coming out so rapidly today they come in many varying forms from
“lightning in a bottle” to “Absolutely Mediocre”, not to be harsh but I feel like if you don’t put time, love and care into the work that you love and craft, that will also be felt by those your trying to express your art too.
the color pallet is a bit more bright and the figure on the back cover with arms lifted, is embracing change.
What plans do you have for the coming months? Nothing in the pot yet, but me and Another thing that has caught my Luke definitely don't see slowing down attention is the album covers. Do they anytime soon! both belong to James Johnston? Yes they are both Works done by the To end this interview and thanking amazing James Johnston, at one point you for this possibility, is there he was doing one painting a night while something that I have not asked you touring the world playing in PJ Harvey’s and that you want to tell our readers? band. Recently he has had several When you hear bands practicing shows in England and his art is getting in garages as you walk by, stop for recognized at a much larger scale and a minute and listen. Nothing beats that is absolutely deservedly so. The two guys with guitars, an out of beat first album cover with the dark wave on drummer and musicians who have no the front and the figure turning away on concern of technical virtuosity because the back cover represents to me letting there is where you will find the great go. The second cover represents the music. juxtaposition from the first, where as
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