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Posts Tagged ‘Five Questions’

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Five Questions with…Chris “Critter” Eldridge

Tuesday, June 22nd, 2010
(Photo: C. Taylor Crothers)

Punch Brothers Photo by C. Taylor Crothers

After the breakup of Nickel Creek, mandolin badass Chris Thile gathered some seriously talented musicians, Chris “Critter” Eldridge (guitar), Paul Kowert (bass), Noam Pikelny (banjo) and Gabe Witcher (violin), and formed the progressive-bluegrass outfit Punch Brothers. Their first album, Punch, came out two years ago while their second disc, Antifogmatic, is just a week old, and its accompanying tour brings Punch Brothers—below, playing “This Is the Song (Good Luck),”—to Music Hall of Williamsburg tomorrow night. Expect original material with some cool covers (think: Radiohead and the Strokes) in the mix. Ahead of this show, Brooklyn resident Critter (pictured, above far right) e-mailed The House List to answer Five Questions.

Which band have you seen play live the most often (excluding bands you’ve toured with)?
It’s hard to say, but when I lived in Nashville I used to always go to the Station Inn to see the Time Jumpers, an old-school Western swing/classic country group. I am convinced that they are one of the greatest bands in the world.

Which bands that you listened to growing up do you still listen to?
Since both of my parents are banjo players, bluegrass is the music that I was surrounded by during my childhood. Probably because of that, I wanted nothing to do with it for years. However, lately I feel that I can learn a lot by hearing how direct really good bluegrass, like Bill Monroe or the Stanley Brothers, can be.

What’s the toughest part of playing New York City?
This city has been one of the world’s epicenters of great art and music for a long time, which can be intimidating. But ultimately it is actually a good thing because it absolutely demands that you dig deep and pull the very best out of yourself. A disproportionate number of best shows that I’ve been a part of have taken place here.

Do you have any crutches when writing a song—are there certain words or styles you feel you lean on too much?
I do have a crutch in that I have four great musical minds that I get to develop musical ideas with. If ever I have an idea that seems worthwhile but I can’t figure out how to proceed, they always have a good solution.

Your after-party is at Hi-Fi, the Avenue A bar known for its endless jukebox, and The House List gives you a buck. Which three songs are you playing?
“Move It on Over” by Hank Williams Sr., “The Curse” by Josh Ritter and, finally, “The Night They Drove Old Dixie Down” by the Band. —R. Zizmor

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Five Questions with…Alley Deheza of School of Seven Bells

Wednesday, June 9th, 2010

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Brooklyn’s School of Seven Bells (twins Alley and Claudia Deheza and Ben Curtis) are gearing up for a European tour in support of their second disc, Disconnect from Desire, which comes out next month. But the trio isn’t just sitting around until then because they’re playing tonight and tomorrow at Mercury Lounge, and the giggly Alley Deheza was nice enough to answer Five Questions for The House List.

Who are your inspirations outside of the music world?
Definitely David Lynch. First and foremost is gonna be Twin Peaks, definitely. And then, I don’t know, I like all of them. The last one was great, Inland Empire. It was fantastic. And I’m reading this book, called Ka, right now. It’s about mythology and it’s this really colorful book.

What’s the best part of playing New York City?
I know a lot of people don’t like the crowds—they think they’re kind of reserved. But I personally love the crowds in New York. Because the people who go to—at least our shows—are really dedicated people. And it’s cool because they come up to you and talk to you and they’re really, really interested in the music.

Do you have any crutches when writing a song—are there certain words or styles you feel you lean on too much?
No, because if I notice I’m doing something again, I kind of get turned off by it. I know that sounds weird, but it’s got to be different or I just get really bored.

Do you have to be depressed to write a sad song? Do you have to be in love to write a love song? Is a song better when it really happened to you?
If I’m writing a sad song, let’s say, I’m not very good at expressing myself clearly if I am sad when I’m writing it. And the same with happy. I think it’s more that I feel like I need to stand outside of the situation to really see it very clearly. It might be cliché but it’s true.

Your after-party is at Hi-Fi, the Avenue A bar known for its endless jukebox, and The House List gives you a buck. Which three songs are you playing?
I would say “Poison” by Bell Biv DeVoe, “Motownphilly” by Boyz II Men and “Nasty Girl” by Vanity 6. —R. Zizmor

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Five Questions with…Tim Fite

Wednesday, June 2nd, 2010

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Tim Fite’s latest album, Under the Table Tennis, which you can download for free here, came out last month. The new disc and ensuing tour bring him back to NYC to play Mercury Lounge on Friday. Expect “a bunch of new songs, a bunch of the old ones—people like to hear something familiar as well—so it’s a mixed bag.” Fite (below, doing “The Big Mistake”) wanted to check in before he returns home so he got on the phone with The House List to answer Five Questions.

Which bands that you listened to growing up do you still listen to? I listened to Uncle Tupelo yesterday. I listened to that growing up. We listened to some of No Depression and a little bit of a playlist of the other stuff. And I’m still listening to Public Enemy. I still listen to Kool G Rap. Still listen to Bad Brains, Minor Threat.

Who are your inspirations outside of the music world? Today I looked at paintings by Philip Guston. He’s always made me excited about living. One I like especially is “Bad Times.” It has a couple guys in a car with some guns shooting at somebody. It looked like bad times, for sure.

Which New York City musician—past or present—would you most like to play with? I would love to do a concert with Big Daddy Kane. He’s like the greatest showman on the face of the planet. He’s unrivaled.

What music or song always makes you dance? This is coming out of left field because I don’t know if anybody remembers this lady, and I don’t have any idea where I got her CD or why I love it, but it does make me dance. Her name is Debelah Morgan. I think she was an R&B singer in the ’90s who didn’t totally take off, but for some reason, if I put on her album, like especially when I’m cleaning the house, I just dance right through it all. I also like it because I read something about her: I think she was really, really fat for a long time. When she recorded the record, she was like a superfat lady, and then before she got her record deal she lost all this weight, and you could sort of hear this kind of exuberance in her ability to move in the songs, and that’s exciting.

Do you have to be depressed to write a sad song? Do you have to be in love to write a love song? Is a song better when it really happened to you? I think no to all three. I think that human beings are emotional vessels, and if you’re capable of containing emotions, you can access them regardless of where, when, how, who, what and why. —R. Zizmor

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Five Questions With…Ricky M’Coy

Thursday, March 18th, 2010
Ricky M’coy

Ricky M’Coy

On Friday night at Music Hall of Williamsburg, Unchained: The Mighty Van Halen Tribute Band, Judas Priestess: America’s All Girl Tribute to the Metal Gods and Appetite for Destruction: The Ultimate Tribute to Guns N’ Roses will do battle as part of the Tribute Wars. In advance of the show, Ricky M’Coy, lead singer of Unchained, e-mailed The House List to answer five questions.

Which New York City musician— past or present—would you most like to play with?
Well, Donald Fagen and Walter Becker, of course. If they see this, they gotta get in touch with me. I’d be a great addition to their touring band as a male backing vocalist (along with two other female singers). I can harmonize to Donald Fagen’s voice so good. I do it every day!

What’s the best part of playing New York City?
The fans. They love their music and are very knowledgeable. And, of course, THE WOMEN!!

Do you have any crutches when writing a song—are there certain words or styles you feel you lean on too much?
Put it this way: I have to stop writing songs most times because I get too emotional and I get lost mentally. Like, I’ll forget what I was supposed to do later that night or who I was supposed to meet. My songs are great, but I’m not signed to a label, so maybe it’s best they stay locked away in my world. My songs are like taking LSD. You’re never the same after you hear them.

What’s your biggest nonmusical talent?
Definitely, without a doubt, cunnilingus. (Spell it right for me!) [Ed. Note: done.]

Do you have to be depressed to write a sad song? Do you have to be in love to write a love song? Is a song better when it really happened to you?
Well, I’m bipolar—diagnosed very early in life. So I know all too much about depression and far too little about love. I mean, I love people, but I don’t know how to really love a person. Love to me is all the same level. I can’t figure out the mystery of love, and that makes me more depressed. As for songs and writing them, my answer is no because my moods are hit and miss. But I can write great love songs and true-life sad songs that will make a person leave the room, usually crying. —R. Zizmor

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Five Questions with…Tiombe Lockhart

Friday, January 29th, 2010

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The self-proclaimed “East Village spaced-out R&B acid-house revivalist outfit Cubic Zirconia” is known for what singer Tiombe Lockhart affectionately calls “soul white-boy nerdy disco dance house fun party-time music.” Nick Hook, who starts their music with a beat, says, “I like to write things that invite maximum participation.” Guitarist Todd Weinstock writes the chord progressions, and Tiombe comes up with lyrics and melodies. Although each person focuses on one aspect of songwriting, they all end up tinkering with each aspect. The next few days are big for Cubic Zirconia because their new single, “Josephine,” comes out on Tuesday on Don’t Cry Records—with remixes by Waajeed, Greenmoney, Egyptrixx and DJ Sega—and they play Music Hall of Williamsburg tomorrow night. In advance of that show, Tiombe took the time to answer five questions for The House List.

Which bands that you listened to growing up do you still listen to?
Sarah Vaughan, Fela Kuti and Earth, Wind & Fire.

What’s the toughest part of playing New York City?
The guest list.

What music or song always makes you dance?
Anything with some heart.

Do you have to be depressed to write a sad song? Do you have to be in love to write a love song? Is a song better when it really happened to you?
You don’t need to be depressed or in love to write about those subjects. It does help to have experienced these things, whether in a mild or extreme capacity.

It’s 4 a.m. and last call has come and gone. What’s your next move?
Not going home probably. —R. Zizmor

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Five Questions with…Matisyahu

Wednesday, December 9th, 2009
(Photo: Sean O’Kane)

(Photo: Sean O’Kane)

Matisyahu is known for combining his religious devotion with a unique blend of reggae, rock and hip-hop. His third studio album, Light, came out in August. And beginning tomorrow, he’s back in NYC for eight shows as part of his fourth annual Festival of Light: four shows at Webster Hall—with the Glitch Mob on 12/10, with John Brown’s Body and Dynasty on 12/12, with Dub Trio on 12/13 and with Brothers Past on 12/14—and four shows at Music Hall of Williamsburg—with Rana on 12/16, with Kid Koala on 12/17, with Travis McCoy on 12/19 and with Kevin Devine on 12/20. In advance of this epic run, Matis took the time to answer five questions for The House List.

Which band (or bands) that you listened to growing up do you still listen to?
Grateful Dead.

What’s the toughest part of playing New York City?
My cousins giving me shit after the show for not calling them up on stage.

What’s your biggest nonmusical talent?
Rollerblading. When I was about 13, I’d ride backward down the steps in Central Park and hold on to taxis and buses and stuff.

Do you have to be depressed to write a sad song? Do you have to be in love to write a love song? Is a song better when it really happened to you?
Yes, there is no substitute for authenticity.

It’s 4 a.m. and last call has come and gone. What’s your next move?
Go to Rabbi Korn’s house, crack open a bottle of Russian vodka and talk about how God could let the Holocaust happen. Then walk to the mikvah on the Lower East Side and wait for the old Russian guy to let me in. Then I’d sit in the mikvah ’til shacrit (morning prayers), then pray at the closest shul. Then barf. —R. Zizmor

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Five Questions with…Amy Millan

Wednesday, November 4th, 2009
Amy Millan

(Photo: Courtesy Arts & Crafts/Finn O’Hara)

Amy Millan is a singer and guitarist best known for her work with the bands Broken Social Scene and Stars. But she’s also plenty accomplished on her own. Her first album, the roots-rock-filled Honey from the Tombs, came out in 2006. And she released her second solo effort, the spare Masters of the Burial, in September. As is usually the case, an accompanying tour has followed, which brings her to Mercury Lounge tomorrow night. But we wanted to hear what she had to say before then, and Millan—who claims her biggest nonmusical talent is “making soup”—was nice enough to answer Five Questions for The House List.

What’s the best part of playing New York City?
The first time I came to New York many years ago, I knew its reputation as being rude. I found it to be the opposite. It’s extremely friendly compared to say, Toronto. People don’t live in fear, so it’s easy to have random chats about random topics with strangers, if you aren’t an asshole.

What’s your favorite place in New York City to hang out? And do you ever feel like you could live here?
Angel’s Share, Central Park, Babbo to name a few. If I ever become a millionaire, I will definitely get a flat and spend more time there.

Do you have to be depressed to write a sad song? Do you have to be in love to write a love song? Is a song better when it really happened to you?
There is a current of all emotion that you can dip your fingers into at any time if you wish to. There is a world sadness that is ever-present. So no, I don’t find I need to feel depressed to write a sad song. As with the last question, love is everywhere. Even in the gutter. It’s all happening to me. Even if it’s my reaction to someone else’s story, it’s still being interpreted by my feelings.

Your after-party is at Hi-Fi, the Avenue A bar known for its endless jukebox, and The House List gives you a buck. Which three songs are you playing?
“Lovely Day” by Bill Withers, “Only You Babe” by Curtis Mayfield and “The Whole World” by OutKast.

It’s 4 a.m. and last call has come and gone. What’s your next move?
Well if for some insane, drug-related reason I was not already in bed, then out the guitars would come and we would sing until the sun came up. —R. Zizmor

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Five Questions with…Casey Crescenzo

Tuesday, October 27th, 2009
(Photo: Dan Gillan)

(Photo: Dan Gillan)

What began as a side project for singer-keyboardist Casey Crescenzo to use as an outlet for music that didn’t quite fit in with his then band, the Receiving End of Sirens, turned into a full-time gig with the more experimental and progressive group the Dear Hunter. Their second full-length studio album, Act III: Life and Death, came out in June, and they’ve been touring ever since. The Dear Hunter plays The Bowery Ballroom tomorrow night, and last week The House List got Crescenzo on the phone so he could answer five questions.

Who are your inspirations outside of the music world?
Terry Gilliam, who’s a director. I grew up on Monty Python. One of my, like, favorite childhood stories is that my dad got to play chess with John Cleese. And he has an awesome joke that I forgot. But, yeah, I mean Monty Python, I loved. I love Terry Gilliam, from movies like Brazil. Brazil’s my favorite movie. Film directors like David Fincher. Who else? Chuck Palahniuk.

What’s the best part of playing New York City?
I don’t know if it’s because getting in and out is such a bitch, but when you actually get there, the audience is very happy, very responsive. The audience is the best part. But also, I think for us, all of our, like, business end of things—our booking agent, our manager, our label—are all in New York. So we get to see them and hang out with them, and that’s a rarity. And that’s also a lot of fun. So the audience, but also seeing all our friends.

What’s your favorite place in New York City to hang out? And do you ever feel like you could live here?
I don’t think I could ever live there. I have such anxiety getting in there. It’s not until we’re parked and inside a venue that I feel even close to stress free. And I walk around and I feel very much like an outsider, like everybody knows that I’m not from there, so I’m not part of the club…. But I really like the area around The Bowery Ballroom.

Do you have to be depressed to write a sad song? Do you have to be in love to write a love song? Is a song better when it really happened to you?
I don’t think you have to be depressed when you’re writing it, but if you haven’t felt depression and you’re writing a sad song, or you’ve never been in love and you’re writing a love song, you’re just estimating. And unless you’re writing about a search for love, it definitely is better when you’ve lived it because otherwise you’re sort of just a stenographer. And I think it’s pretty transparent…. When any emotion is genuine and it’s coming through in music, it’s infinitely more powerful than something contrived.

It’s 4 a.m. and last call has come and gone. What’s your next move?
Last-call drink, I guess it depends: If it’s at that point where you need something to sort of seal the deal, then you have to order some sort of bomb. But if you’re just enjoying the night and you wanna have your one last drink, for me it’s definitely gin and tonic with Bombay or Hendrick’s. But the next move for me, if I’m not already asleep, it’s probably just sleepin’. I’m a really boring guy. —R. Zizmor

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Five Questions with…Taylor Kirk

Wednesday, October 7th, 2009

Taylor Kirk

Taylor Kirk is a talented singer, songwriter and guitarist, and his blues-folk band, Timber Timbre, sounds dark and ragged. He put out Timber Timbre’s first two albums on his own, and the third one, Timber Timbre—released in January by the indie record label Out of This Spark—has earned him much acclaim. In advance of Timber Timbre’s first ever show in NYC, at Mercury Lounge on Saturday, Kirk checked in with The House List to answer five questions.

Which band have you seen play live the most often (excluding bands you’ve toured with)?
I think it must be the Sadies, from Toronto. Although it’s been a long time since I saw them last, but for a few years I would see them every time I had a chance. They’re the only band I ever danced to.

Do you have any crutches when writing a song—are there certain words or styles you feel you lean on too much?
I think I rely too heavily on minor chords in my songwriting. Especially E minor.

What’s your favorite place in New York City to hang out? And do you ever feel like you could live here?
I don’t know the city well enough. I’ve only visited a few times. I don’t think I have the energy required to live in NYC—I couldn’t take the pace. But I like visiting.

Do you have to be depressed to write a sad song? Do you have to be in love to write a love song? Is a song better when it really happened to you?
I don’t think that songwriting needs to be so literal or earnest in order to be honest and or successful.

Your after-party is at Hi-Fi, the Avenue A bar known for its endless jukebox, and The House List gives you a buck. Which three songs are you playing?
“Real Talk” by R. Kelly, “I Put a Spell on You” by Creedence Clearwater Revival and “American Girl” by Tom Petty and the Heartbreakers. —R. Zizmor

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Five Questions with…Gavin Hayes

Wednesday, July 29th, 2009
Dredg

Dredg

Dredg is a four-man band straight out of Los Gatos, Calif. Since forming in the mid-’90s, the group’s music has been described, among other labels, as “agro,” “alternative,” “metal,” and “progressive.” In other words: they’re a rock band. They released their fourth studio album, the 18-track The Pariah, the Parrot, the Delusion, in June. And now they’re touring the country with RX Bandits. They hit The Bowery Ballroom on Friday, but Dredg singer-guitarist Gavin Hayes answered five questions for The House List in advance.

What band are you most ashamed to admit listening to?
The new Kanye West record.

What’s your favorite place in New York City to hang out? And do you ever feel like you could live here?
I love a falafel at Mamoun’s, a coffee at Abraco and a drink on the Lower East Side. I would love to live in New York.

Do you have to be depressed to write a sad song? Do you have to be in love to write a love song? Is a song better when it really happened to you?
I don’t think there are any limits or rules to writing a song, but for me, I feel that the more personal the material, the better.

Your after-party is at Hi-Fi, the Avenue A bar known for its endless jukebox, and The House List gives you a buck, what three songs are you playing?
The drinking song “The Wild Rover (No Nay Never),” “Shady Lane” by Pavement and “It’s a Great Day to Be Alive” by Travis Tritt.

It’s 4 a.m. and last call has come and gone. What’s your next move?
Vomit and then try to find a bar that is still serving. —R. Zizmor

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Five Questions with…Will Dailey

Monday, July 27th, 2009
Will Dailey

Will Dailey

Singer-songwriter Will Dailey showed how far he’s willing to go far for his passion when he sold his car to pay for his debut album. Dailey’s most recent album, Torrent, Vol. 1 and 2, is a combination of two digital EPs he released earlier this year—the first highlights ’60s- and ’70s-inspired music while the second focuses on acoustic work. But you can check out all of his influences when he makes his second-to-last stop on his current tour tomorrow night at Mercury Lounge. (And you can check him out, below, playing “How Can I Make You Happy” earlier this month on The Late Late Show with Craig Ferguson.) Last week Dailey checked in with The House List from the road to thoughtfully answer five questions.

What band are you most ashamed to admit listening to?
I have a hard time feeling guilty about things, but I am on the road right now and Meatloaf came on the radio. It was a long song, many twists and turns. Nobody suggested we change the station. Were we intrigued? Frozen with fear? Just when I was about to get really angry about someone calling himself Meatloaf, I found myself singing, “Let me sleep on it/ I’ll give you an answer in the morning.”

Which bands that you listened to growing up do you still listen to?
The Black Crowes, Grant Lee Phillips, R.E.M., Pearl Jam, Fugazi, but I also listened to a lot of classic rock, and I’m always looking for that great classic recording from that era. Just found an amazing female singer: Karen Dalton.

Do you have any crutches when writing a song—are there certain words or styles you feel you lean on too much?
Run-on sentences can get you. I haven’t analyzed my crutches, but now I will. Thanks. I have spent too much time wondering if I can write a song without prepositions. Truthfully, I find it a process and evolution that never stands still long enough to call it one thing or another. It will continue to grow and mutate and I hope to be the most surprised…and with no limp.

What’s your favorite place in New York City to hang out? And do you ever feel like you could live here?
My love for New York comes from visiting for long stretches and short, mad bursts. To live in New York might take away from our on-again, off-again relationship. My favorite spot post-show as of late has been the bar 2A.

Do you have to be depressed to write a sad song? Do you have to be in love to write a love song? Is a song better when it really happened to you?
I think no matter your emotional status, you need to be open and a good listener to everything around you to write a good song. If you can cry while writing, more power to ya. —R. Zizmor


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Five Questions with…Brad Clifford

Thursday, July 9th, 2009
Poison the Well

Poison the Well

With the economy still tanking, what’s a better bang for your buck on a Friday than to see 10 bands for just $10? Madball, Poison the Well, Terror, Vision of Disorder, This Is Hell, Death Before Dishonor, Trapped Under Ice, Crime in Stereo, the Ghost Inside and War of Ages all descend on Terminal 5 tomorrow, July 10th, as part of the 10 for $10 Tour. In advance of the show, Brad Clifford, a guitarist for the Florida post-hardcore band Poison the Well, checked in from the road to answer five questions for The House List.

What band are you most ashamed to admit listening to?
Yesterday in the van, Ryan [Primack] asked me what I was listening to and looked really bummed when I said Tegan and Sara. But I have no shame!

Who are your inspirations outside of the music world?
A lot of art [by people] like Sylvia Ji, AJ Fosik and Thomas Hooper. Every city I go to and the things I see there. People who are positive and have interesting things to say. It all gets me pumped and keeps me happy.

What’s the toughest part of playing New York City?
Getting everyone I love in on the guest list and making time to hang out as much as I can. Leaving it also sucks.

Do you have any crutches when writing a song—are there certain words or styles you feel you lean on too much?
I think that relying on the open low string as an anchor is something that kind of plagues almost every band in heavy music, ourselves included.

Do you have to be depressed to write a sad song? Do you have to be in love to write a love song? Is a song better when it really happened to you?
Almost Famous call out! I always think stories are better when they’re real and have a living backbone, but a few true artists can create amazing pure fiction. —R. Zizmor

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Five Questions With…Patterson Hood (Plus a Bonus MP3 at the Bottom)

Thursday, June 18th, 2009
Self Portrait

Self Portrait

Patterson Hood was destined to be involved in music. His dad, David Hood, was the bassist for the legendary Muscle Shoals Rhythm Section. And Patterson began writing music before he turned 10 and joined a band before reaching 15. He went on to receive much acclaim as one of the Drive-By Truckers’ founders, songwriters and guitarists. The Truckers have put out several successful albums in addition to serving as the backing band on the sublime soul singer Bettye LaVette’s The Scene of the Crime and, more recently, on Booker T.’s Potato Hole. (Together they performed as Booker T. and the DBT’s in a terrific show last weekend at Bonnaroo.) And as if all of that weren’t enough, Patterson brings a whole new band, the Screwtopians, to Music Hall of Williamsburg next Tuesday (June 23rd) and The Bowery Ballroom next Wednesday (June 24th) in support of Murdering Oscar (And Other Love Songs). In advance of these shows, Patterson was nice enough to answer five questions for The House List.

What’s the last band you paid to see live?
Probably Springsteen in Chicago in ’07. I went to a local show in Athens, Ga., not long ago and paid cover to support the scene.

Which band or bands that you listened to growing up do you still listen to?
Probably most of them. I’m still always seeking out new bands to love, but I still love the old ones, too. At home I have music playing nonstop unless I’m writing. Now I get to play records for my daughter and I get to turn her on to cool music. She loves the Clash, Centro-matic, the Kinks and Dolly Parton. She’s four-and-a-half and has great taste.

Which NYC musician—past or present—would you most like to play with?
Sonic Youth. I’ve been a fanatical fan since around Sister. Tad Kubler and I keep discussing a possible project someday. I’d love to produce a Patti Smith album.

What’s your favorite place in New York City to hang out? And do you ever feel like you could live here?
I’m fond of the Lakeside Lounge and National Underground. I think The Bowery Ballroom is one of the best-sounding rooms in America. Yes, I could definitely live here if I could work out the logistics of commuting for the band and moving my family.

Your after-party is at Hi-Fi, the Avenue A bar known for its endless jukebox, and The House List gives you a buck, what three jams are you playing?
Wilson Pickett’s “Hey Jude,” the Stooges’ “1970” and Curtis Mayfield’s “We People Who Are Darker Than Blue.” —R. Zizmor

Listen to “Pollyanna” off Murdering Oscar (And Other Love Songs)—out next Tuesday.

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Five Questions With…John Parish

Thursday, June 4th, 2009

pjharveyjohnparish

John Parish is a musician’s musician. He writes, produces, composes and performs. He’s collaborated with many—including Tracy Chapman, Eels and Giant Sand—but most notably with PJ Harvey. Their first album came out in 1996. The follow-up, A Woman a Man Walked By, was released at the end of March. And now Parish and Harvey are touring the U.S. They play the looking-better-than-ever Beacon Theatre on Tuesday, June 9th. The well-spoken Englishman checked in from the road—in Kentucky—to answer five questions for The House List.

Is there something specifically difficult about playing a New York City show?
I think there is actually. A couple reasons: One, you’ve always got friends there—and it’s always a bit tougher playing in front of friends than it is playing in front of people you don’t know. And, secondly, you’re probably playing in front of your peers as well. And that makes me feel slightly more on edge.

Are there any bands that you listened to growing up that you still listen to?
Absolutely. My first few favorite bands are still very important to me, and I still listen to them. T. Rex’s Electric Warrior was the first album that I had as a kid, and I still play that record a lot. And I still use it as a reference when I’m making records because there’s something about the sound of it I really love. And also as a kid, after T. Rex, I was really into Led Zeppelin, and I still really like their records as well. So, yeah, they’ve really stuck with me.

Are there any new bands you find yourself gravitating toward?
Nobody brand new. The last records that really, really blew my mind were the two Wilco albums that Jim O’Rourke worked on, Yankee Hotel Foxtrot and A Ghost Is Born. I think they’re fantastic albums. I mean, they’re not that new, but they seem pretty new on the grand scale of things.

Which NYC musician—past or present—would you most like to play with?
I really like that whole New York scene in the late ’70s, the CBGB’s scene: Patti Smith and Television and Talking Heads, the Ramones. All those bands I really, really like. And they were all important to me.

What’s your biggest nonmusical talent?
You know what? I’m not such a bad cook these days. That’s probably the area in which I’ve shown the most improvement, I reckon, over the last few years…. My family appreciates it, definitely. —R. Zizmor

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Five Questions with…Pete Bauer

Wednesday, April 15th, 2009
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The Walkmen

The Walkmen hit Webster Hall tomorrow night for a sold-out hometown show before beginning an arena tour with Kings of Leon. Pete Bauer, the bass and organ player, kindly took time to exchange e-mails with The House List to answer five questions.

What’s the last band you paid to see?
I think I actually paid to see Pearl Jam because my wife is some kind of crazed superfan. There have been several disagreements about this around the house, especially with the Eddie Vedder solo shows.

Which bands that you listened to growing up do you still listen to?
I still listen to the Rolling Stones and Bob Dylan and Roy Orbison and all those sort of golden oldies. I have also been listening to the Nation of Ulysses a lot again recently, which is something I listened to often growing up. I heard some of Extra Width by Jon Spencer on the radio the other day, which I hadn’t heard in years, but they cut the song off in the middle, which was weird.

Who are your inspirations outside of the music world?
I don’t know. I guess I like several writers a good amount. I always really loved Jorge Luis Borges and have really dug in deep with him for years. He is a real constant.

What’s the toughest part of playing New York City?
Historically, I would say it was always loading out. Putting all our crap back in our studio was always a disaster because everyone wants to go out and have a good time and someone always gets stuck with the piano. We solved this problem by getting equipment insurance and leaving everything in an unlocked van.

Have you ever experienced fear onstage?
The first time I ever had a show with my old band, the Recoys, I threw up as we went on. —R. Zizmor

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Five Questions with…Tim Kasher

Wednesday, March 11th, 2009
Tim Kasher at The Bowery Ballroom

Tim Kasher at The Bowery Ballroom (Photo: R. Zizmor)

In support of their just-released sixth album, Mama, I’m Swollen, Cursive rocked two sold-out dates at Music Hall of Williamsburg and The Bowery Ballroom. A few hours before last night’s show, singer-guitarist Tim Kasher was kind enough to sit down with The House List to answer five questions.

Which New York City musician—past or present— would you most like to play with?
David Byrne. It’s one of the best concerts I’ve ever seen. I saw him in Vegas, and that might seem like it kind of takes away from it. It was at the House of Blues, which might seem like it would take away from it. (laughs) But he was just amazing.

What’s the toughest thing about playing in New York City?
Probably the toughest thing about playing here is the pressure you put on yourself. ’Cause you’re always trying to remind yourself that it’s just another show. It’s not as if these people in the crowd—New Yorkers—are so different than in Boise, Idaho. They want to have a good time, and they want to take it in…. I think a lot of people see it like the New York shows are the ones where you really get graded.

Do you ever experience fear onstage?
I can be prone to being really self-conscious—feeling like I’m losing the crowd. And that drives me crazy, because you really shouldn’t be bothering yourself with that. Now I’ll probably do that tonight.

Do you feel like you could ever live in New York City?
Yeah, I love it. I want to move here. I was supposed to a couple years ago and I ended up, on a whim, moving out to L.A. instead. And it’s not that I would compare the two, but I’m just kind of trying to make my way here.

Do you have to be depressed to write a sad song? Do you have to be in love to write a love song? Is a song better if it really happened to you?
I’m trying to become a good enough writer that I don’t have to do that. But I think some of the best writers—the technically great writers—would probably stop at that and be like, “Why would I need to be depressed to write something depressing?” But I still feel like I do have to lean on that. You don’t want it to be some kind of affectation. Maybe with music it’s better that it does come from an honest place. And maybe when you get into other forms of writing then it’s a little more lenient. —R. Zizmor

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