Interviews Archives - Page 2 of 3

HT Interview: Turbine Propels Forward with Blue Light City

Ryan Dembinsky June 7, 2011 3 Comments

The back story of Brooklyn’s Turbine is a rather serendipitous one. When lead guitar player and vocalist Jeremy Hilliard moved to Manhattan from Virginia back in the late ’90s to study music and form a band, he happened to move in next door to guitarist and harmonica player Ryan Rightmire. The two musicians could literally hear each other playing music through the walls of their respective apartments, so ultimately they approached one another to jam. The pair quickly found that they shared a mutual affinity for jazz and Bob Dylan, particularly the stripped down singer/songwriter/harmonica tunes of his early career. So, they began writing tunes together and before long, they recorded their debut album as a duo in 2004.

Eventually, as the pair began exploring more improvisation and psychedelic channels, they decided to add a rhythm section and they found bassist Justin Kimmel, who literally showed up at their first audition. Shortly thereafter, Octavio Salman joined on drums, and the rest, as they say is history. Now, having two studio albums, a live release, and performances at Bonnaroo, Wakarusa, 10K Lakes, Gathering of the Vibes, and the Telluride Bluegrass Festival under their belts, the band hopes to take a big leap forward with their latest album, Blue Light City* (June 24th).

On the Feel of the Album

For the first time, the band worked closely with a professional producer in the studio setting with John Davis, who recorded The Black Keys’ Grammy winning song Tighten Up off their recent album, Brothers. Turbine felt that Davis’s gritty and psychedelic, yet modern approach was perfect for what they sought to accomplish on Blue Light City. “We had definitely never worked with a producer to this degree, and I think it’s by far the best our music has ever been presented,” Jeremy Hilliard explains. “John came to our rehearsals, so he knew the music going in, and he helped us with arrangements, the ordering of the songs, and some really key decisions to make the record sound like a whole. Take Eddy the Sea,” Hilliard continues, “the song itself is pretty rootsy, so you might think it should have some piano or something, but he chose to make it more ambient and psychedelic.”

Listen: Eddy the Sea

[audio:https://glidemag.wpengine.com/hiddentrack/wp-content/uploads/2011/06/Eddy-the-Sea.mp3]

READ ON for more about Turbine’s new album…

Interview: Grace Potter, The Anti-Diva

Ryan Dembinsky February 3, 2011 7 Comments

The year 2010 marked a huge milestone in the career of Grace Potter and the Nocturnals. The band broke out in virtually every conceivable way: they were featured on VH1 Divas Salute the Troops, Grace sang a duet with Kenny Chesney and the band had songs prominently featured in the feature films, Tangled and Alice in Wonderland. Shortly after the VH1 Divas performance, the band even outsold the Beatles on iTunes as the single top selling artist. Let’s just say the past few months have been nothing short of life-changing in the world of Grace Potter and the Nocturnals.

[All photos by Jeremy Gordon]

“It’s always a funny thing when things start happening quickly,“ Grace comments. “You know that these things have been in the works for a long time and all of the sudden they get delivered to the world. Sometimes things hit really big and sometimes they don’t. I was really pleased with how quickly people responded to everything from the Tangled song to the VH1 Divas performance to the duet with Kenny Chesney. All that exposure hit a fever pitch, and I guess people finally had to look us up online. Our website crashed the day of the VH1 performance. It was really rewarding to finally hit that moment where everything really fell into place.”

It’s rather ironic how the VH1 Divas performance breached the tipping point whereby Grace Potter and the Nocturnals catapulted into the limelight, because for years Grace has playfully shunned the diva mentality. Even in performing on the program, she sensed VH1 chose her based on the perception that she was going to show up as the Vermont girl in the flannel and boots, yet got a big surprise when she appeared in one of her emblazoned mini-dresses. Even now that she has embraced her style and performs in much flashier outfits, Grace still gets a good laugh out of the whole idea of herself as any kind of diva. READ ON for more…

Interview: Al James of Dolorean

Ryan Dembinsky January 24, 2011 No Comments

Beyond the obvious associations of flux capacitors, 1.21 gigawatts & lightning, there’s a new distinction we need to make regarding the DeLorean. Doc & Marty have inspired a pair of great bands to name themselves after their stylish time machine: the one spelled “Delorean” is the Spanish dance-rock band, and the other, the focus of today’s interview, spelled Dolorean, is a fantastic Americana-folk group led by Al James out of Portland.

[Photo by Sarah Jurado]

After releasing three albums in just five years prior to 2007’s You Can’t Win, Dolorean took the last four years as a reprieve, having come to the realization that they needed to slow it down. The constant studio output and subsequent touring grew exhausting, so they decided to put the music on their own time-line, and in doing so, put forth one of the first great records of 2011 called The Unfazed.

The Unfazed works as a quasi-concept album about acknowledging life’s anxieties without getting too bent out of shape; rolling with the punches. It’s entirely apropos in that the album’s mantra serves as a direct parallel to both the band’s hiatus and the album itself, as a living embodiment of being “unfazed.” By accepting the stresses, regaining control of the process and doing it at their own speed, Dolorean gave the music time to grow around the easy feelings and in essence, created a perpetual spiral, whereby this idea of The Unfazed flowed through into the music and the music in turn now embodies the idea of being Unfazed.

Hidden Track: So, let’s begin with this idea of “The Unfazed” that permeates the new album. I gather that this is saying something to the effect of “The Unfazed” are people who can sort of deal with bullshit and go about their lives without being too affected by the annoying burdens?

Al James: In some ways it’s about not dealing with the bullshit, but the flip side of that. It is accepting it, embracing it and not being surprised by it. It’s about not being caught off guard when things go completely off the rails (because the usually will) and just maintaining perspective. Living unfazed is a position of empathy and understanding.

HT: It’s probably not a great example, but that idea made me think of Bernie Madoff for some reason. The guy never showed an ounce of emotion in the face of blunder that probably caused more stress than any human could normally endure. So, who are some other people that come to mind when you think of The Unfazed?

READ ON for more of Ryan’s chat with Al James…

Interview: Michael Franti Bottles Sunshine

Ryan Dembinsky September 22, 2010 5 Comments

When Michael Franti followed up his ambitious, politically-charged 2006 release Yell Fire! with dancehall mass-appeal on All Rebel Rockers back in 2008, it wasn’t entirely clear if he took a palpable 180° away from his activism, or more likely, just got swept up in his Jamaican studio environs. Apparently, the former proves truer as his latest effort, The Sound of Sunshine, takes it a step further as he reunites with Sly & Robbie in Jamaica for a portion of the record, and leans heavily on the formula that produced his first big hit the last time around: catchy-as-hell reggae grooves, dancehall sit-ins, and a fat dose of the Edge’s delay-laden guitar tone.

[Photo by James Minchin]

In retrospect, Franti’s Yell Fire! project served a contradictory purpose in that what he expected to drive him toward an album of 15 angry songs, taught him about the importance of simply making people feel good with his music.

“I get scared, man,” Michael emphasizes in reminiscing about that period. “Being in Iraq especially, I mean, I hate to say it, but I couldn’t wait to leave. And I say that, because I met so many people there who were beautiful, kind, generous, and loving people, both Iraqis and Americans, who couldn’t leave. When I was just able to hop on a plane and get out of there, they were stuck in that situation. So, one of key things I learned there came from playing music on the streets for Iraqi families. A lot of times, I’d start by playing some quiet political songs and they would turn to me and say, ‘that’s really nice, but play something that makes us laugh and sing.’ It was a real lesson for me in making happy music.”

READ ON for more of Ryan’s chat with Michael Franti…

Interview: David Lott, Life After Licorice

Ryan Dembinsky September 1, 2010 2 Comments

After spending years upon years toiling away as a band playing countless shows, traveling thousands of miles, recording various studio projects and building an original catalog, to say it’s a hard decision to change directions, re-brand and move on to something new is like saying it’s hard to beat Mike Tyson in Punch Out: an understatement of the highest order.

After nearly five years, the popular Brooklyn jam/jazz/funk/fusion band, Licorice, decided it was time for a change. Three of the original four members, David Lott (guitar, vocals), Matt Epstein (bass) and Josh Bloom (drums, vocals), plan to stay together in the form of The Whitewalls, but with a new direction, a more song-focused trio and perhaps (gasp) less extended jamming.

Despite the mental struggles that come with debating a name change and a new sonic endeavor: giving up the brand recognition; wondering what to do with the recorded catalog; questioning if the fans will follow; and summoning up the energy to build something new from the ground up, David Lott and The Whitewalls have a reinvigorated spirit and they know they did the right thing. Look no further than Lott’s recent months for proof. He’s already released an E.P. with The Whitewalls, recorded his own solo EP, landed a role as the lone guitarist in an Off-Broadway gig and continued to perform relentlessly.

Ryan Dembinsky: So let’s start with some background; I ran into your lovely wife Emily in Saratoga before the Phish shows and she passed along the news that had Licorice split up, or was at least on hold for the time being. It sounds like the intent is that you are planning to focus on writing for a new band called The Whitewalls as well as on your solo material. So, without digging up dirt, what happened?

David Lott: My wife starting seeing Phish regularly, and so, I had to get out of the jamband race – that’s some stiff competition.

All kidding aside, after nearly 5 years, Licorice had accomplished so much, from our Blue Note extravaganzas to playing with jazz legends as regulars at the Telluride Jazz Festival in Colorado to the stages in NYC like Bowery, Brooklyn Bowl, Blender Theater, The Knit, Sullivan Hall, etc. We had come to a point, a sort of fork in the road, where we wanted to attain the production level, artistic intention, and lyrical value of the bands/artists we were also learning from in addition the bands in the jamband world.

It was not “Licorice” anymore once we made that choice. The intent was different, and so, the name, had to change. Licorice may always exist – it’s like my first child, but I want to have a bigger family now.

READ ON for more of Ryan’s chat with David Lott…

Interview: Dana Leong’s Blurred Boundaries

Ryan Dembinsky August 24, 2010 No Comments

Something old, something new, something borrowed, something blue: You know the old wedding tradition where the bride incorporates a symbol from each of these categories to provide her with a link to the past, the optimism of the future, a reminder of where she came from and an emblem of purity.

[All photos by Mat Szwajkos]

Well, nobody’s getting married today, but this seems fitting for Dana Leong, the cellist, trombonist, composer and centerpiece of MILK & JADE, who is rapidly evolving into one of today’s groundbreaking musicians. Leong truly pushes boundaries and does something, dare we say it, new. Steeped in a classical and jazz background, Long takes his past musical training, his influences in hip hop from his California youth, deft compositional skills, and clever wordplay and weaves it all into authentic and complex hip-hop/funk/jazz/classical/improvisational music. Fans of jazz, classical, hip hop, and world music are paying attention, as Dana Leong doesn’t cater to any particular style, other than his own instincts; it’s music in its purest form.

Fresh off the release of his latest knockout album, MILK & JADE, we caught up with Dana when he took some time to chat with us via email from backstage at FELA! on Broadway where he has been filling in for the musical director of the show.

Ryan Dembinsky: Let’s start at the very beginning. I always like to hear about musicians’ childhoods. What were you like as a kid?

Dana Leong: As a kid, I was a wild misfit, a ball of energy, volatile when prompted with sugar, but constantly eager to learn. I took apart pretty much every electronic piece of gear I could get my hands on. Eventually, my elder brother and I called it what it is, “clobbering”.

RD: For whatever reason, it seems most bowed string musicians tend to focus on one format, be it classical, bluegrass, jazz, etc, so that’s really cool that you make the effort to bridge so many gaps. How did you develop a taste for such a diverse palette of tastes across genres?

DL: I always tell up-and-comers to “follow artists who inspire them, listen to the music they feel wholeheartedly and to create music they love.” I often remind myself to “taste my own medicine.” I am a fan of melody, strong beat and lyrics with a message, in other words “it’s gotta sound and feel GREAT!!” Another important factor is that you should surround yourself with musicians whom with you enjoy making music. By doing exactly this, I have been able to play and be enriched by so many styles of great music (funk, hip hop, rock, latin, jazz, classical).

READ ON for more of Ryan’s chat with Dana Leong…

Hidden Track Interview: Bill Kreutzmann

Chad Berndtson June 30, 2010 1 Comment

For a guy who was not all that long ago described as “semi-retired,” Bill Kreutzmann seems to be everywhere these days. No sooner did his BK3 trio peter out than a new band with Papa Mali, 7 Walkers – a fierce little unit spawned from a place where psychedelic Dead meets the spiciest, unruliest New Orleans funk and R&B – came to the fore.

[Photos by Andy Hill]

And wouldn’t you know it, neither unit will be Kreutzmann’s main focus this summer. That’d be the Rhythm Devils – Kreutzmann and brother in arms Mickey Hart – back on the road with a retooled lineup that features percussionist and longtime associate Sikiru Adepoju, as well as Keller Williams, singular as ever, bass ace and former Gov’t Mule anchor Andy Hess, and, most intriguingly, Back Door Slam frontman and shredder Davy Knowles.

Hidden Track briefly caught up with Kreutzmann as the Rhythm Devils tour prepares to get underway.

HIDDEN TRACK: You’ve got so much going on at the moment and plenty of projects, from Rhythm Devils to 7 Walkers. What’s top priority these days?

BILL KREUTZMANN: Right now it’s Rhythm Devils, 100 percent. I’m just focusing on that. I like to focus on one band at a time.

HT: Fair enough. You have a new and interesting lineup for Rhythm Devils, for which I guess Davy Knowles is the wild card. Can you talk a little bit about how you and Mickey put this lineup together?

BK: Well, it’s true, when playing with different musicians, the more people you play with it, the fresher it makes it. The driving force in the Rhythm Devils — from the Devils, meaning me and Mickey, — is to have new players. The one we work with all the time is Sikiru, he’s a master drummer from Nigeria, but the new energy with different people is exciting. I’m looking forward to rehearsal.

READ ON for more of our interview with Bill Kreutzmann…

HT Interview: The Ramblers

Ryan Dembinsky June 22, 2010 No Comments

It’s hard to believe that 18 months have past since we last touched base with one of our first Blips acts here at Hidden Track, The Ramblers. Not surprisingly, it’s been a busy year and half and an whole lot has changed since then for the Brooklyn-based Americana band.

[Photo by TR Smith]

The group underwent a large-scale reshuffling of members, yet with “trudge on” approval of all parties involved, the Ramblers kept at it: growing by leaps and bounds; expanding their reach; and most recently, releasing a knock out second album, Getting There. Fans of The Band should definitely give this album a spin as it’s the real deal. Hidden Track recently caught up with the Ramblers’ guitarist/lead vocalist Jeremiah Birnbaum and keyboardist/vocalist Scott Stein to chat about the new record and the band’s progress.

Hidden Track: To start off on a light note, if you could characterize The Ramblers as a cast of movie characters, who would you guys be?

Jeremiah Birnbaum: Back to the Future meets The Warriors. Now what exactly Doc and Marty could have done with The Warriors is beyond me, but they had a time machine. Anything could have happened there. Plus, our drummer looks good in a vest.

Scott Stein: Teenage Mutant Ninja Turtles. I have an inkling as to who would be Master Splinter, but I don’t want to put it in print in case someone feels it unflattering to be compared to an oversized rat. That could cause a rift in the band, and I’m pretty sure that’s why Oasis broke up.

READ ON for more of our chat with Jeremiah & Scott of The Ramblers…

Hidden Track Interview: Mumford & Sons – Brothers from Another Mother

Ryan Dembinsky June 9, 2010 4 Comments

Something about Mumford & Sons raises an air of curiosity. It’s not just the obvious question regarding the roots of the staunchly American brand of music with its firm roots in bluegrass & folk – despite emanating from four English lads – but there’s also the question of how they got so big, so fast? At face value, folks tend to credit their success to being a U.K. version of the Avett Brothers or sounding like a bluegrass Dave Matthews, but the more you dig in; it becomes evident that there is an intangible element in their friendship that serves as the tie that binds. There exists this natural chemistry that makes this band instantly likable, brothers from another mother.

By now, we’ve talked a lot about Mumford & Sons music around these parts, so in chatting with double bassist and vocalist, Ted Dwane, we focused this particular conversation around the dynamics of the bandmates’ relationships and their emphasis, first and foremost, on friendship.

“We met in a very strange way, through friends and other people’s music. In West London, there are a lot of singer/songwriters and we used to play all the time. Back then, Marcus was usually the bass player and I was usually the drummer. Eventually, we just wanted to play music that we wrote, so that led us to become friends before we were thrown into everything,” Ted explains. “The one thing we never let ourselves forget is that before anything else, we’re friends really. I’m so thankful we get along as well as we do. They are my best friends; we’re all each others’ best friends.”

READ ON for more of Ryan’s chat with Mumford & Sons…

Tracks of the Trade: Peter Katis

Ryan Dembinsky March 26, 2010 6 Comments

Today, we’re kicking off a new column of occasional periodicity here at Hidden Track called Tracks of the Trade, whereby we swap stories with some of the more interesting folks in the music industry, the producers. These folks are the sonic equivalent of surgeons; charged not only with the careful dissection of dozens of tiny interactive pieces and ensuring their cohesive functionality, but also developing strong emotional bonds with their patients (often mental), offering varying degrees of bedside manner, and even sharing potentially critical advice.

To kick off the series in style, we invited one of the most prolific producers/mixers in music today, Peter Katis, to drop by to chew the fat. Peter Katis has collaborated on countless modern classics by the likes of the National, Frightened Rabbit, Interpol, Fanfarlo, Tokyo Police Club, Jonsi (Sigur Ros), and The Get Up Kids.

The “Sound” of “Music”

In thinking about our little surgeon analogy, in a likeness to the way we all go about choosing a doctor, it’s important to understand the mannerisms of a producer. After all, you have to like the person as much as the work. Specific to music, different producers take different positions as to where their role fits in with the musicians.

“I’m on the opposite end of the spectrum than say someone like a Rick Rubin. He really focuses on the songwriting aspect, the arrangements, the words, whereas to me, those things like lyrics for a band, that’s their own thing. I really don’t feel comfortable messing with that.” READ ON…

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