Self-described “musical soul mates,” Karl Briedrick and Marie-Claire Balabanian of Speck Mountain prefer to call their music “ambient soul” which is fair enough, but they are leaving out the “subtle beauty” that protrudes.
Their second album – Some Sweet Relief – was recorded during a cold winter in their home city of Chicagom, in what Briedrick describes as a period of “heavy mental hardships.” Despite the desperate feelings that might conjure from such a period, Some Sweet Relief’s theme is not your typical rock record – fidelity. It’s the theme of wanting to give in to desire and the constant struggle with fidelity. While most musicians take their liberties as part of “the package” and as a guttural theme for their music, Speck Mountain creates through the release of temptation through the byway of art and imagination.
Although the band’s influences evoke Mazzy Star and The Staples Singers, the band evoks some of the same dusty piano, organ, and sax charisma from Cat Power’s recent Stax influenced albums. Space-rock, dream-pop, shoegaze and American have also been tossed around in the mix of tired descriptions, but there is a modern strength and a prevailing voice in the band that speaks years beyond their young age. We recently caught up with Briedrick for a quick run-down on the mountain of “speck.”
On Summer Above, you allowed yourselves to explore different musical territory and sounds without overthinking it – what twists and turns does Some Sweet Relief unveil?
On Summer Above we were concerned with trying to make a debut record that didn’t sound like a debut record. We wanted everything to be very tasteful and subtle and not make the mistakes most bands make the first time around. On Some Sweet Relief we knew what we were doing a lot more in the studio and were willing to take a lot more risks with the sounds. We also didn’t limit ourselves to purely analog effects this time around. We broke all the rules we made for ourselves when we recorded Summer Above.
Did Some Sweet Relief come together quickly, considering it came just a year after Summer Above? What was the creative theme or energy behind it? Were most of the songs written on the road or did they come together through a specific writing/recording session.
I wouldn’t say it came together quickly. It was more like it appeared out of thin air. It was an intensely cold winter in Chicago and Marie-Claire and I were both going through some pretty heavy mental hardships, and in my case physical ones. We weren’t getting together and playing together but we were writing songs separately, almost secretly. Then one day we were in our practice space and started playing each other demos we had recorded. In some ways we both thought each other had given up on the band but it turned out we had written a whole record. We started collaborating lyrically and putting our own touches on each other’s songs.
We regained trust in each other and learned to be a band again.
The theme behind this record is desire. Wanting to give in to desire, the constant struggle with fidelity of what we know to be true and good and the ultimate redemption and release from that bondage through art and imagination.
The terms space rock has been used numerous times to describe Speck Mountain’s sound. How do you most like to describe your own sound? What is the greatest misconception listeners have about Speck Mountain?
We like to call our music “ambient soul.” The space rock thing is funny. It’s a throwback to the 90s and was always sort of a nerdy thing to call a band…so I never mind when people say it about us. Truthfully though, I don’t think it fits.
I think the greatest misconception about the band is that we’re a Mazzy Star cover band.
Do you see your sound as Americana? What comes to mind when you hear the term Americana?
I think we’re Americana, in that, a lot of the lyrical imagery and struggles we go through are very American. “Shame on the Soul” has a lyric that says “I want that sinner so, I hide behind your way.” The idea of abstaining from something you crave and doing so through following something you perceive to be greater is very American. It is quite puritanical really.
What is it like for a young band trying to carve its niche in a city like Chicago where there is such a diverse pool of bands? What bands have you felt the most sense of community with and what venues in the city have felt most like home?
I love Chicago. I think we feel closer to the labels, studios, and working musicians around town rather than any particular band. There are so many talented players in Chicago and whenever we’ve been in a bind or just wanted to add something to our sound live or in the studio we’ve always been able to find people who want to help out. Our favorite places to play are the Hideout and Schubas Tavern. They’re intimate rooms and Chicago crowds aren’t afraid to show that they are into what you’re doing.
You mention the Staples Singers as prime influences – what is it about their sound that has made such an impact on you and if we were just starting to get into them, what albums do you recommend from them or any other of your influences?
Every song the Staple Singers wrote was about how they were on their way to heaven despite earthly suffering. We find it very uplifting and though we’re not religious ourselves we’re inspired by the sheer joy and hope expressed in their music.
You should start with their first album “Uncloudy Day.”
Are there any songs that you have recorded that sound too much like your heroes and is there a song that is definitive original Speck Mountain?
I don’t feel like there is a song that sounds too much like our heroes. I would say that Some Sweet Relief is a definitive Speck Mountain original.
Do you feel as if Speck Mountain has its breakthrough moment yet? If so what would that be?
I feel like we have a breakthrough moment every time someone comes up to me and tells me they love the music or someone buys a record at a show….honestly. Probably the best compliment I’ve ever gotten was at one of the first shows we played at Glasslands Gallery in Brooklyn. A guy came up to us after the show and said “I’m starting a band tomorrow! You guys made me realize I can do it.” That was really moving.
