I remember you once saying that it was an “Incredible era” when it comes to technology, yet there is also a sense of nostalgia about so much of what you do. I agree with the idea that art or elements of it could be, should be free – but I find the medium of the internet really depressing. People’s way of communicating is getting more fragmented – there are more ways to communicate, but there is a communicating of less reflective things to say, or more fractured trains of thoughts. What do you think?
Oh I agree, you really do lose and you gain some things. MP3s are a perfect example, they are small, portable little encoded wonders but they don’t sound nearly as good as their source. There is a certain nihilism in too much choice. There’s a zero-sum thing that I find happens everywhere, more choice can lead to less interest.
Your work is so linked in with literature, your song such as ‘Radiant With Terror’, an adaptation of the Robert Lowell poem ‘Fall 1961’ – how important is Lowell to you, as a storyteller and writer?
I love Lowell, his language is very surprising and terse, and yet he’s always emotionally open and generous. I have always wanted to make an entire record of Lowell poems.
Following on from that, how much do you edit and draft and redraft?
I’ll edit and rewrite for weeks and weeks before I nail a final version. I usually do about six to seven versions of a lyric until I tighten it up.
You have produced bands like Spoon – how do you find the process?
Inspiring and exhausting. There is a long recovery period from producing for me because I become very invested in the music and content of another artist. I love producing, but I try to limit my projects to about one a year.
How did you actually get to grips with analog recording? To a lay person such as myself, can you explain how radically it alters the production process, and what do you think are the benefits?
Haha! It is a pretty steep learning curve, it took me years to figure out my first tape deck, an Ampex MM1000. Linear recording sounds so much better, it changes the entire process, musicians play better, performances are kept as a whole and tend to be more convincing. I would also argue it’s faster. There is nothing like the sound of a good 2″ analog recording, especially cut straight to heavy vinyl. One day digital will be great, but it might take a few more years.
I know how much you love David Lynch, have you ever given any of his records a listen? He plays the guitar very well. I am very interested in hearing his imminent electro-pop record. The way he has described the entire project is almost as if the muse took hold “I was just sitting and these notes just came” – does that happen to you, also?
Yes, his records are very interesting! I think everything he does is worth checking out. Everything I do is a little more planned, I usually start out with a narrative and melodic idea and go from there. It’s difficult for me to start without a clear idea. I do envy the automatic writer and savant-type artist.
What are you listening to, and reading at the moment?
I love the new Eleanor Friedberger record. I’m reading the new London Review of Books and Harper’s magazine. Tour is too ADD to read long form literature!
This is your eighth studio record, it is a broad question, but over the many years you have been a musician – what have been your highest and low points?
Highest point for me is right now, I love my relationships with everyone I make music with, I’m very happy with my home life (I’m married and have two cats) and am able to tour enough but not too much. Most importantly, I’ve been given the freedom to make the kinds of records I want without outside interference.
My lowest point was on my first tour, I was driving through Portland, we were late for the show, we were probably set to make $100, and the transmission of my van went out. The tour had really sucked up to that point. I felt like pouring gasoline and torching the van and flying home. I got it fixed the next day, and we continued on.
What are you looking forward to in the future in terms of creative projects?
I’ll be making a new record with Magik*Magik Orchestra next year. This one will be fast and aggressive and heavily treated and manipulated. Also, I’ll hopefully make another split EP with the Mountain Goats.
Penthouse Window by John Vanderslice
John Vanderslice plays The Dublin Unitarian Church on Friday September 30th with Versechorusverse.
