DARWIN

[ Interview with Darwin Meiners from Darwin by Diego Centurión. Photographs: Mila Reynaud, Enlight43, Linda Strawberry and David Albizo. ]

DARWIN: CALIFORNIA'S DARWIN TALKS TWO DECADES OF MUSIC-MAKING, DAVID J AND 2020 LOCKDOWN

We present an artist who already has a consolidated career with several works released under the name Darwin over his nearly ten-year career, but who also has more years of work to his credit in the world of music. His career links him at various points to bassist David J (Bauhaus - Love and Rockets) as his manager and collaborator and Victor De Lorenzo (Violent Femmes), among others. But the delicacy and subtleties of the sounds created by Darwin have a particular charm.

Before starting I would like to thank you for this opportunity today to ask you some questions. First off, how are you living through these rare times of Covid-19?

Thank you for taking the time to listen. ‘Strange days, indeed’ - as Lennon said. This has been a time of fear, anxiety, uncertainty and quite the emotional ride. Certainly one of the most challenging times of my life. My hope is that this time will remind us of how delicate life is and how much value we each have. Perhaps all of this needed to be happening for us to truly address some of the more ugly parts of our history and selves.

You just released a new single that we'll talk about ... but first, how would you describe your music?

This is my least favorite question :) - I prefer others to do the heavy lifting on this type of thing. I am always learning, very interested in moving forward so it’s always changing. I have been referred to all ‘post punk’, ‘dream pop’, ‘indie rock’ and many more. I don’t really care what people call it if they get something out of it.

Going back in time, I noticed that your first recording came out under the name of Royal Pine and the LP "Clouds Move In" in 1999. What can you tell us about that album?

That wasn’t the first recording I’ve made but the first full album I made. It was also the first time I was the front man and main songwriter for a project. We played around locally for quite some time before recording the album in a few days. It was formed with some good friends and I really enjoyed my time in that band.

The first release we see on your Bandcamp page is the “Five Beats One” EP, for which you are not yet performing simply under the name Darwin. Can you elaborate on this particular work.

That was a short-lived, but very rewarding, project. Again, formed with a group of close friends and was a chance to work with my friend Judah Nagler (The Velvet Teen) in a band environment. He normally is the singer and guitarist so he was interested in playing drums. I was very happy to be back on the bass which is my favorite instrument to play live. There was a lot of musical talent in that band. Another great learning experience for me working with those guys.

Then, under your name, you released "Starfishing" (2012), "Souvenir" EP (2014), "Horrible Cocoon" EP (2016) and "So Few Comets" (2019). Tell us about these years.

‘Starfishing’ was the first time I made an album under my own name. I also did the majority of the recording and mi

xing. A major undertaking for me at the time. I was encouraged to make this album by David J. He offered to play bass and produce it and despite being very nervous about going out on my own I couldn’t decline that offer. About half of the songs were older ones that I thought fit the vibe of the other new ones I had just finished. Having David come to my studio and show me how to produce an album was a great experience. Several of my favorite songs are on that one. ‘Souvenir’ was written on a three-week European tour with David J. I was the bassist and backing vocalist for his tour and went through a whirlwind of shows

across Europe. The experience led to the songs on ‘Souvenir’. It also featured Victor DeLorenzo (Violent Femmes) on drums. I had recently met him and he was so warm and friendly we really hit it off. He agreed to play drums and even flew out from Milwaukee to be in the video for ‘Meaningless’ (along with David J and good friend, Emily Jane White) ‘Horrible Cocoon’ is one of my favorite songs I’ve written. This song was the b-side to a limited 7” featuring David J and The Gentleman Thieves song ‘Gentrification Blues’. This was another valuable lesson in production as I was working with Brian Liesegang

(NIN, Filter, Billy Corgan) who is a studio master. Watching him work and learning some of his techniques was huge for me. He was very supportive of me and created a very creative environment. ‘So Few Comets’ was a big step for me. This was the first time I sat down and planned out an album in all it’s aspects. Everything down to the art, imagery, sound, lyrics, etc. I also didn’t have any songs prepared and was going to write it ‘in the studio’ as I had read so many of my favorite bands had done. I had recently met Julian Shah-Tayler and after we worked on one song together I knew he was the one to produce the album. I set up several rules and limitations to the process to force myself to work in ways that were new to me in hopes of getting a spark. We worked for about a year on it and it was a great experience. I’m very pleased with the album and continue to work with Julian almost exclusively since.

Now we’re in 2020 and you released an EP called “We Are Matter”, which consist of remixes and live songs from your latest album “So Few

Comets”. But you’ve also just released the new single “Dance Alone” – could we call this a quarantine single? I also ask this because of the video for this track, created by Linda Strawberry.

Just as I had released ‘Souvenir’ right after ‘Starfishing’ I wanted to do a follow up EP to ‘So Few Comets’. One of the rules I put in place for ‘So Few Comets’ was that there was to be no attention paid to how these songs could be played live. We were to make the album and then deal with the live part later. Once I started playing the songs with a live band they began to take on a different form. I had been asked to play the Mystic Theatre and thought it would be a great opportunity to get some live recording in that grand venue! Having grown up listening to bands that often put out remixes I like doing that too. ‘Dance Alone’ was written before the lock-down, actually. I had sent a demo to Julian and didn’t have the lyrics re

ady yet. I was using a lyrical place holder of ‘I don’t feel like dancing / dancing is dumb’ of all things! I often do that when I like the melody but don’t have the right words yet. The goal for this song was to make an outright dance song that was a bit like a New Order song. They are the masters of making a dance tune that is simultaneously happy and sad. Once I got to the vocals we were well into lock-down and the performance, and song, took on a new light. I met Linda Strawberry briefly when she was in Billy Corgan’s solo band for the ‘Future Embrace’ tour. Ironically, Brian Liesegang was also in that band but I didn’t realize it at the time. I formerly met Linda again when she was asked to direct ‘Gentrification Blues’ video. Her artistic talent is obvious but she is also an incredible person and very hard worker. Once I got the idea to have people send in videos of them ‘dancing alone’ I realized I would need

someone who could make it look somewhat cohesive. I gave Linda a bunch of footage from all over and she was able to make that video. She’s a bit of a miracle worker.

Considering your history of collaboration with David J. of Bauhaus and Love and Rockets fame, both administratively and musically, what can you tell us about the influence he has had on your music?

Before I ever met David had already made a big impact on me. I was so into Love and Rockets in high school and particularly him. I loved his image, attitude, bass playing and incredible lyrics. When I went to buy my first bass I knew nothing about basses. The sales person asked me which bas-

sist I liked and I said, ‘David J’. The guy looked puzzled and said, ‘Who?’. I remember really liking that as it made me ‘underground’ or something… ha ha. Since meeting and working closely with him his influence continues over me. Getting to see how he prepares, performs, works with the industry, his fan base, other players… it’s really an endless lesson. The fact that we would become as close as we have is not something I would have ever imagined but something I am continually thankful for.

Your music is evocative of a past and future with electronic subtleties, while also maintaining the song structure. What is the process of composing like for you? Do you partially utilize analog instruments or is everything virtual via computer?

Thank you. I think I will always have a good part of my formative, musical years in my songs. It’s just the perfect time to have that type of thing really embedded in you. Many of the bands that I loved growing up like New Order, Joy Division, The Cure, Kraftwerk, Love & Rockets, Tones on Tail … got me into all the electronic and drum machines. But I also am a huge fan of political music and great songwriting like The Beatles, The Clash, Tom Petty, Nick Cave, Big Audio Dynamite, Public Enemy, Dub - I guess it all comes out in the wash. I record everything on my Mac but have an analog/tube front end. Everything goes through that before going into the computer. Often times I will take synth, synth bass or drums that I created in the computer and run them out through tube amps and back through the analog front end. Julian and I have a work flow set up that includes lots of passing files back and forth online, lots of texts, calls, FaceTimes, etc. Things come to me in a variety of ways: a lyric, a melody, a riff or part but often it comes from just a sound. I am very much a gear head and am always toiling away trying to create exciting tones and sounds. Several songs on ‘So Few Comets’ literally started with a sound only. Where Julian comes in so well is that he has the ability to do things I simply can’t. So there are ideas I can’t do and some things I would never thing to do that he will come up with. It’s a very good, respectful way of working.

Jumping ahead to the near future, despite today’s obvious uncertainties, can you tell us if you will be following up with any new releases anytime soon? Yes. There is quite a bit on the horizon. I have a brand new song and video that is nearly finished. This one was inspired by a short story by my friend Dani Burlison and and is the first time I have written from a character in a short story’s perspective. It’s much darker than the last one :)

I have a handful of demos that Julian and I will get to work on eventually, too. We have also been working on a new art project that features myself, Julian, Dustin Heald and artist Mark Gleason. We are working on lots of songs right now but I’m not sure when it will be ready for release. I’m very excited about this one!

Thank you for your time for answering these questions. In conclusion, please tell the reader who is reading this interview, why shouldn't they stop listening to Darwin?

Thank you again. I would never be that presumptuous! What I will say is that if you intrigued please take a listen. This isn’t a hobby or passing fancy for me and I am going to keep doing this until I can no longer do it. I promise to keep things interesting and sincere.

www.mutanteradio.com