Eef Barzelay – Loving The Unknown

Eef Barzelay, founder and creative force of the much-loved alt-country combo Clem Snide  and noted filmscore composer, has recently released his second solo album –Lose Big. Recorded in the span of 2 weeks in late 2006, Lose Big is Barzelay’s second solo project (following the release of  Bitter Honey in 2006) since the dissolution of his former band.  With the help of musicians Jared Reynolds (co-producer, bass, piano), Joe Costa (drums/percussion) and Jay Cooper (organ), Ee focuses his newfound sense of artistic freedom and self-described “desperate liberation into the creation of an eclectic, yet highly personal recording.

Born in Israel and now residing in Nashville, the singer, songwriter and multi-instrumentalist has created a highly personal collection of songs.  Adorned with distinctive musical textures ranging from mid-tempo rock to lighter acoustic  flourishes (the album was recorded in Ben Folds’ studio), the songs are charged with a heightened sense of intimacy that Barzelay had not tapped into under the support  of his former band.  Glide recently had a chance to ask Eef a question or ten.

It appears that Lose Big’s theme is “liberation.”  Is the liberation a reaction to the dissolution of Clem Snide, artistic freedom or something else? 

I think clem snide finally breaking up had much to do with it and also I went through a nasty divorce with my manager and both of my record labels quickly and unceremoniously dissolved. I had to take a good hard look at the possibility that I wouldn’t be able to keep making records and touring. The “liberation” theme is there I suppose, certainly in songs like true freedom and make another tree, but it’s more a reaction to feeling lost or disconnected. Also my mind has a tendency to stray towards the apocalyptic but I’m father so I have to be hopeful.

What songs on Lose Big are most definitive of where you as “now” as an artist and why?

I actually made Lose Big two years ago so it’s hard to say but in general I’m trying to get out of the way of the songs and just let the characters speak for themselves.

It was printed that your main objective in songwriting has been said to play ironic head games with people, but Lose Big is considered more “grown up” lyrically.  Do you feel that the objective and the result are related?
 
When I first started writing songs I felt obliged to make the words unexpected and interesting. It just seemed so pointless otherwise and I did want to confront people with my spunky post-modern suburban angst. As I’ve gotten older life feels more real to me and less reflected back from a TV and or movie screen. I suppose I’m more empathetic.

How Dare They” is inspired by the Zen exercise of stepping outside of oneself for a more objective view.  How do you incorporate this exercise into your songwriting?

I read somewhere about an experiment where by a Buddhist monk had an MRI done while deep in meditation and the part of the brain most active in that state mind (left prefrontal cortex) is the one in charge of compassion and empathy.

Do you feel the dissolution of Clem Snide provided a creative urgency that you haven’t felt before?

I did feel a creative charge in starting over as myself and not clem snide. I think I held on to Clem Snide as a way to put off getting older and needing the comfort of the surrogate family that it was. I feel sad about the whole sordid affair but I gotta keep dog-paddling my way through it all, you know.

Residing in Nashville, renowned for its country scene, what advantages and disadvantages does it hold for an artist in the singer-songwriter/rock mold like yourself? 

Nashville is a good place to be a musician/song writer for many practical reasons. I’m not really involved in the country scene so I couldn’t really say but there’s a lot of fresh music here e.g. Lone Official, Matiod, Ghost finger, Ole Mossy Face, The Clutters, to name just few. I like to play at the Basement.

Residing in Nashville, renowned for its country scene, what advantages and disadvantages does it hold for an artist in the singer-songwriter/rock mold like yourself?  What venues do you most enjoy hearing live music there?

Nashville is a good place to be a musician/song writer for many practical reasons. I’m not really involved in the country scene so I couldn’t really say but there’s a lot of fresh music here e.g. Lone Official, Matiod, Ghost finger, Ole Mossy Face, The Clutters, to name just few. I like to play at the Basement.

You’ve done some score work recently, including Rocket Science and Yellow Handkerchief – do you hope to do more of this in the future?  What directors/film makers do you hope to work with?

I would be very happy to do more movie work. I have great time doing it and I end up making music that I most likely wouldn’t have otherwise, which is cool. Also, I actually get paid which doesn’t happen so much from making records and touring. I really like Gus Van Zant. If only I could pry him away from Eliott Smith.

Your musical influences run deep and diverse.  How did you develop your own sound/voice and how would you most personally describe it? 

I love a lot of the old timey music, but I have a weird ,not immediately accessible voice, so I work with what I have and rely quite a bit on the actual words and writing.  Musically, I’m a little bit crude and simple and it seems that indie rock has become increasingly sophisticated and slick in recent times, so I think my style can seem a little clunky in comparison.

What is the greatest misconception that listeners and critics alike have about your music? 

It seems I’m either too cool or not cool enough. But, you know, I mean well.  Listening to my music is like eating a bowl of steamed broccoli, it’s good for you.
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