Crack

For credible music artists the modern day rise to fame and fortune is predominantly internet based.

The days of A&R guys hunting you down and propelling you to the dizzying heights of stardom are near extinction. Bands with inventive methods of garnering attention from blogs and internet publications, give themselves a much stronger chance of success.
Larger record companies are progressively dwindling after diminished efforts to streamline. Attempts to sting new artists into three album tie ins have resulted in tricky situations where the money dries up after the first album. Cue an unforgiving series of law suits and artist complaints.

Unsurprisingly acts are turning to indie labels with a perspicuous profit share or selecting the much safer DIY route incorporating self-publishing and self-promotion. The ADHD way in which we devour and repudiate new music as our eyes and ears are caught up in the next ‘in’ wave is considered the norm. Longevity is now an omnipresent rarity, as musicians are granted their five minutes of fame with the knowledge that the Warhol fantasy may simply result in being propelled back to the dimness, forever condemned to play out the rock and roll Shangri-la sans music royalty stockpile.

An act who have slowly been bubbling away and have achieved notable success of late are Yeasayer (Chris Keating, Ira Wolf Tuton and Anand Wilder). A Brooklyn based once four piece, now trio, who found press acclaim conversely off the back of blogging and in 2007, released their first album All Hour Cymbals, on the We Are Free label. The promising debut featured heavily layered synthesizers soaked in gospel dust and left to dry on the vibrating beats of world music.

After part-producing Bat for Lashes’ 2009 album Two Sun, they are back with their own offering Odd Blood, an eclectic fusion of pop sensibility and hooks, none more congruous than Ambling Amp a ruthlessly catchy and optimistic track.

Crack caught up with the enigmatically charming Anand Wilder on the Bristol leg of their European tour. Vocal indicators from Chris Keating were that Bristol was his favourite UK crowd, (well they all say that don’t they) yet I felt inclined to believe him, the atmosphere was alive and it was tinged with contented appreciation.

How important is it that music reflects technological advances?

"The whole idea of being a retro band and trying to imitate sounds from the 70s or whatever feels pointless to me. If you're willing to pay homage to those kind of bands it would be better to embrace the technology of the day as much as they embraced the technology of their day. There is definitely a time and place for warm analog sounds, but to ignore the use of samplers or midi keyboards would be to create something that was not contemporary and not reflective of your own era."

How do you think music is shaped by modern culture?

"I think a lot of it has to do with globalization. Music is so much more readily available through re-issues, iTunes, and Spotify. 40 years ago you would have only had that one record store in your neighbourhood. They were responsible for curating what’s in store and the radio of course."

What’s your stance on file sharing?

"I don't think that anyone can be blamed for downloading music for free. I'm grateful that people are interested in music. I don't think its right that the perceived promotional copies get uploaded onto a computer, it’s a bit like drug dealing. I don't think we would exist as a band if it wasn't for the internet, file sharing, the blogs and all that stuff that came with the internet. The whole democratisation of music means there are no more rock stars anymore. The major labels are collapsing."

Has music always played a large role in your life? What’s your background?

"I've been playing music since I was a really young kid. My parents were really enthusiastic, very encouraging. I went orchestra every Saturday, cello every Thursday and choir Mondays and Wednesday. I was constantly inundated with music. I was learning classical, but my love was pop music - The Beatles, Stones, Bowie, Beck, Nirvana, shit like that. I grew up in Baltimore and I went to a school called the Park School where they put on rock concerts when you were 13 years old and you could play in front of all your friends, write songs and do covers. Once you go through that experience you realise what you want to do. I’m reading about great writers who appreciate all this music and act in all these plays; I don't want to just appreciate that - I want to do it. I don't think growing up anyone ever said that's impossible. There was always a passion to create art and also a passion not to have to do some shitty job."

Talk me through your creative process - is it always the same?

"I think the most difficult part for me is getting myself to sit in front of a computer and say today I'm going to write a song, today I'm going to do something. Once you start laying down ideas then you become a critic, you become a listener, you have the same facilities as any non-musician. You think that sounds stupid, that sounds cool, maybe I’ll take that little part and I’ll make that the crux of the song. Sometimes I’ll take songs that I’ve spent hours making and then use only five notes. I'm not a poet or anything with sheets and sheets of lyrics. For me it's more about singing twos over a backing instrumental track and seeing if you can compliment it with some vocals. Then you work on a theme as if it was a homework assignment to write a poem about missing someone, or whatever."

Aside the occasional live falsetto warbling, which have a smidgen of Mika about them, Odd Blood is a credible progression from All Hour Symbols. Choosing a more accessible pop sound is not only justifiable, but wise in today’s climate. As Anand discusses, it is difficult to follow the path of the creative in any field, the money has dried up and widespread appeal is the key to survival. It’s not all doom and gloom - the music still focuses on the positive aspects of the ‘dying world we have been born into’ and the uplifting realities that result. Melancholic smiles abound.



Tune: Ambling Alp

http://www.myspace.com/yeasayer

Interview: Leo Stamps

Words: Martina Randles

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