Aaron Behrens is a strong believer in the idea that if you’re an artist and you embark on a side project there is no point in making it exactly like your main project. As one half of the electro, laser-loving dance duo Ghostland Observatory, Behrens is stepping away from the untz and moving into the role of moody rocker. Along with his band the Midnight Stroll, which consists of young and talented musicians from his home base of Austin, Texas, Behrens spent this fall releasing his debut EP and hitting the road for a major tour. Besides Behrens’ distinct wailing vocals, the band’s sound is a complete departure from Ghostland. The five songs on the EP shift smoothly from being dark and atmospheric to soaring, grandiose and arena ready. Fans of Ghostland Observatory may be surprised by Midnight Stroll, but the decision to take a break from dance music and focus on rock and roll is a refreshing change for Aaron Behrens, who’s more excited to discuss his new direction.
You’ve just finished a big tour. How was that and what has the reception your new material been like?
I’m stoked about it. It definitely wasn’t as packed as I’ve been used to, so I found it interesting because, say there are 20 people in the audience, I like thinking these 20 people are about to get the show of their life. After every show I’ve sat there and really talked to everybody just to kind of reconnect, and it’s been so nice with people who are like, “I love Ghostland [Observatory] but this is still you doing your thing with a different sound!” The band’s been really great and the crowd’s been really reactive to it.
The sound of your new band is obviously much different from Ghostland. Was that something you were going for from the beginning?
I just wanted to listen to myself more and write from more of where I’m at in my life. As a writer I’ve always written from my center and I feel like if I’m not connecting to where I currently am in my life then I’m lying to my audience and myself. Art has always represented truth and it’s the way you get out your feelings and connect with people. I didn’t set out to do something different. I’ve always played acoustic guitar and written songs from that standpoint even before Ghostland, so for me it was kind of both, but it was like what’s the point of making a side project that will sound like your main project. I don’t get that shit and I don’t know why anybody does that. The point of not doing Ghostland is to do something exactly opposite, so that was my take on it, but also these are just songs that came out of me. I couldn’t really deny myself of this music that was just laying at my doorstep.
Have you encountered hostile Ghostland fans?
No everyone’s been really cool, but they’re definitely there to judge.
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The Ghostland stage show is much bigger than what you’ve been doing. What’s it like to strip things down and play without lasers?
It’s really interesting because I feel like in a way it’s made me a better performer not so much relying on hiding in the lights. It’s really kind of helped me become a better singer and watch the smaller nuances of performing a little bit. With this type of music too I’ve had to dial it back and deliver it in a different way. Ghostland was just so aggressive, from start to finish we’re going, and it’s like taking a DMT trip where we are blasting to the moon and next thing you know you’re sitting in your living room. That was Ghostland, but with [Midnight Stroll] it’s more like a sexy stroll down a dark road. You got to get into a different groove and for me I have to sing differently. I’m still performing with everything that I’ve got but it causes you to be different and I have to have proper delivery. This is probably the hardest record I’ve to do vocal-wise because I’m actually having to really sing and there’s no autotune or anything going on.
How much of the songs were done by you on your own before you brought in a band?
I’ve recorded this record twice, not just the EP but I have a lot of other songs that aren’t released yet. Plus before that I did all my demo sessions where it was just me in a room layering all these different songs. I did all the instrumentation, but when you bring in better musicians they play the parts better. That’s what I realized; I’m not going to be some cocky dude and do it all. I can do it all to a certain extent, but I can also show you, so for me I was just trying to do the demos of the songs and then show the band. The demos were kind of a blueprint for what I wanted and then could take it to the architects and be like check this out.
It’s interesting that you mention “Keep On Rising,” which to me feels like the standout song on the album. It has kind of a U2/The Edge thing going on. Was that something you were consciously going for?
Exactly. That one I felt was probably the song that made the most sense. I actually wrote that song to a Ghostland beat. I had an actual electronic beat from Thomas [Turner] because I wanted it to be a Ghostland song and it ended up not working out, so I took away all the beats and added regular instrumentation to it. I see it as one of those big arena rock songs. I love U2’s Joshua Tree and we all grew up in that time so how could you not be influenced by it in some way?
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You did an Austin Chronicle interview back in September and said you were stressing over band members leaving and all that stuff. Do you feel better now that you’ve got some more shows under your belt?
I feel a lot better now. It’s interesting because with this project I have to kind of find my past again. With Ghostland it was just so easy to be like, yeah we’re putting out a record and we’re going to play and people will just be there. Just add lasers and people will be there. With [Midnight Stroll] it was time for me to get my boots on the ground, and with coaching a band I can’t just have a beat box and some synths and be good. I love the way Beck and Wilco do things; you just have these members coming through that are amazing musicians. The guys that have been on this tour have been great, and we’ve all gotten along really well and played well together.
