|
|
|
|
|
|
Comet Gain's David Feck
By Brock Thiessen
Surviving nearly two decades in pop is no easy feat, but it’s especially tough if your band happens to be Comet Gain. Since forming in 1993, this bunch of Brits have been as ramshackle as they come, going through countless label switch-ups, line-up changes and more than their fair share of disasters, on stage and off. In 1997, in fact, the band experienced a full-on exodus, leaving songwriter David Feck as Comet Gain’s only constant and original member. Yet, disorderly conduct aside, Feck and his ever-changing troupe stand as one of the most endearingly shambolic lo-fi pop acts around, making their new career retrospective, Broken Record Prayers, more than a little warranted. Culled from Comet Gain tracks from 1998 onwards, this collection of “A&B sides, new songs, session tracks and stray dogs” brings with it a hefty 74 minutes of jangle, delivering some of the band’s finest moments, as well as a great window into these under-appreciated vets.
Feck took some time out to talk to Exclaim! about the compilation, as well as the “Comet Gain curse,” the band’s two new upcoming full-lengths and what he likes to refer to as “interesting disasters.”
So what made you decide to put out this compilation?
We just have so many seven-inches on lots of different, small labels, so we thought it would be good to have them finally all together. And we had some unreleased songs that never fit on albums and new songs, and we thought it would be a good opportunity to give all that stuff some breathing space. And there’s no work in; the songs are already done, so we could just stay in our pajamas.
And what about the new songs?
There’s about four or five of them, I think. It’s always nice to add some new singles, otherwise it looks like we’ve broken up or something.
Was it strange to look back on a decade’s worth of work?
Yeah, it was weird for me to go back and listen to all those songs again. It all seemed like one entity, in the end. You more or less just remember things like where you recorded the track, the different people that played on some records and mucking around and going to the pub at lunchtime and things like that. And I’m very bad at years; it all just turns into a mulch after a while and this sort of amorphous slab of half-remembered things.
Did you cringe about putting certain songs on the compilation?
Yeah. At different times, I cringe about most of them. Some of the Peel Sessions are a bit of a struggle to listen to. We had just got the band together at the time, and it was all sort of one take and we didn’t know what we were doing.
Are there certain records or periods in the band’s history that really stand out for you?
It was fun when we did this record called the Réalistes [2002]. We decided to have this very raw approach on it, like we’d just woken up and there were these songs that just appeared in the post box and we were going to record them right away. And then, you know, go back to the pub. We’d just play a song once, record it and no one really knew what was going on. I mean, you can hear me in the background sometimes going, “Change!” We just wanted that rawness where it kind of feels like a young band who just started out, with everything being simple and raw and direct. It was quite fun to do it like that and not have to worry about anything. I think the [drummer] Chris [Apelgren]’s hands were bleeding by the end of each day because we just kept going and going until we’d fall down.
Would you say Réalistes is the Comet Gain record you are most proud of then?
Well, it wasn’t at all back then. But it holds up fairly well, in that it’s not a total disaster. I thought if that record and City Fallen Leaves [2005] could find some common ground, it would be the sort of composite of the type of Comet Gain record that I would probably be happy with.
So how do you think your perception of the band has changed over the years?
All of a sudden, they put the word “veterans” in front of our name when we have a gig or something, you know, “indie veterans Comet Gain.” And you realize that you are in fact an indie veteran and not some fresh spring chicken bouncing around. But it’s all right, I don’t mind. I suppose it’s funny that we’ve outlived all these actual, professional musicians and that this band of ragamuffins and inept fools has somehow managed to survive.
How do you account for that longevity?
Probably because we have a totally different attitude. I mean, we don’t do many things unless we really want to do them, and we don’t have managers hassling us or one particular label telling us to do this or that. Whatever we want to do, we do it. And I think people who like Comet Gain are sort of used to that now. Even at gigs if we decide to do something different, it’s not a problem.
What’s membership like in the band?
When we record it’s usually the same basic people, like [bassist] Jon [Slade] or [drummer] Woodie [Taylor] are there. But some people come and go. And for gigs, it could be anyone — sometimes ten people turn up, sometimes three people turn up. I never get to miss shows, though.
Yeah, what happened if you didn’t show up?
Actually, I didn’t once and that probably the best gig Comet Gain ever did. I was determined after all those years to finally get a rest, while the rest of them had to do the work.
How many people do you think have played in the band at this point?
I think I worked it out and it’s about 60. If you play once that means you’re cursed — you’re part of the Comet Gain curse — and you probably won’t last long. I think there have more people in this band than have been in the Fall, but with us there is less violence involved.
Yeah, there was this point in, like, 1997 when the entire band left and you were the only remaining member. What ever happened there?
Oh, you know, political disagreements. [Guitarist] Sam [Pluck] and [vocalist] Sarah [Bleach] wanted to do something more pop, and I think they were more interested in being in a more “together” band, with maybe a career in mind. And I’m not saying it in a mean way. I mean, I think most bands form in hopes they are going to make some money and get successful, but it’s quite the opposite for me. And I think Sam and Sarah thought any success was just not going to happen if I was involved in the band in any way. And fair enough, it was up to them. And [bassist] Jax [Coombes] and [drummer] Phil [Sutton] I think thought it would work out better for them if they went with, you know, the others, rather than wait for me to somehow get it together. But it worked out for everyone.
Do you think your fan base has changed over the years?
Well, there haven’t been a lot those, to begin with. But lately, in London, there’s been a lot of kids getting into Felt and the Shop Assistants, early Primal Scream and that sort of thing, and I think that’s true in America as well. And in a way, those kids have put us in with all that, or the second generation of that sort of thing. So we get a lot of young whippersnappers coming to our gigs nowadays, which is quite nice I suppose for an old band like us.
Does it trip you out that a lot of younger kids are into more indie pop stuff these days?
Yeah, it’s weird. When you grow up with certain records — seeing the bands play and seeing their album get released — you forget that for young people they become like some ’60s records were to me, like these sort of faraway, legendary things. Now bands like Felt are seen in the same way bands like Big Star were viewed by me when I was young.
What’s your take on that surge of indie pop bands coming out of Brooklyn these days, such as Crystal Stilts and the Pains of Being Pure at Heart?
I felt when there was that generation of bands that listened to Sarah Records and that sort of thing, they took the things I didn’t like about those records and glorified that aspect of it, forgetting about the rawness and weirdness of it all. It was less punk and more pop — not that that’s a bad thing, I just found it a bit all insipid and twee. And that word “twee” — everyone would just tar you with that brush even though you had nothing to do with it. It would get me annoyed when the Comet Gain were referred to as a C86/Sarah Records band because it was completely the opposite in my head. I can’t help it if that’s how we sound. It’s not meant to. I mean, I don’t listen to Sarah Records at all — I listen to 13th Floor Elevators or something. But when we do a record, it might accidently sound like something that we don’t like. But to try to answer your question, basically with the American bands, there is a lot more rawness to them, which is good. But I’ve only heard bits of what they are doing.
I’ve heard that you guys have quite the reputation for having some pretty chaotic live shows. Is there a lot of truth in that?
Yeah, with Comet Gain, you never really know what to expect. I think we’ve improved over the last couple of years, though we don’t really rehearse still. Sometimes our shows would be disasters — well, interesting disasters — where one person would tell us that was the dumbest show they had ever seen but another would say it was the greatest.
Could you give me an example of such an “interesting disaster”?
Well, there was this one show where no one showed up apart from me and Woodie, the drummer. So I had to get different people from the audience to come on stage and just asked the DJ to play a few Comet Gain songs and we mimed. And then I think we did some sort of sonic assault at the end where everyone collapsed and I threw my guitar at someone. You know, that kind of thing.
Why haven’t Comet Gain released a proper full-length since 2005’s City Fallen Leaves?
Well, we have loads of stuff. It just takes a while for us to get it out there. But I think we are going to have two albums of new stuff out this year. One of them is going to be really slow and sad, and meant to be played late at night when you’re not feeling great. I’ve always like those “mood records.” You know, when you are in a particular mood you can play a whole record of similar material, rather than having a couple of sad songs and then a punk song or something. If it’s late at night and you aren’t feeling too crazy and you want a whole record that has a feeling or ambience to it, this thing will be that. The other record is going to be more of a pop record of pop songs. But they will hopefully be out this year, if we can get our thumbs out of our mouths long enough.
Will those be released on Kill Rock Stars like your past couple full-lengths?
Who knows? You never know. A couple of labels said they were interested, but I’m not sure yet.
Maybe this is a dumb question, but what sort of phase or period would you say Comet Gain are in now in your career?
The exact same phase we were in ten years ago. We all keep saying we should do more things, we should do everything more professionally, we should record more songs, we should do more touring and do all sorts of special things. And then five years later, we’re still saying the same things. There are very bad communication problems in this Comet Gain. In fact, if there was to be one moral to the whole Comet Gain voyage, it would be bad communication.
So what do you think has kept Comet Gain going?
Well, we’re all friends and we don’t often see each other unless we’re doing Comet Gain stuff. So in a way, it’s just to keep our friendships going. Also, there’s this thing of me never being happy with what we’ve done. I just keeping waiting to make that record that I’ll actually be pleased with. Plus, without Comet Gain, what else would we do? The band keeps us off the streets.
|
|
|
|
|
|
|
|
 |
 |
Ben Folds
 It’s hard to believe, but Ben Folds has tickled our funny bones and broken our hearts - often at the same time - for almost 15 years. He’s the real Piano Man to dedicated fans who have stuck with Folds’ throughout his prolific career, first with the Ben Folds Five, then on his own as a solo artist. Since lampooning fickle indie rock audiences on “Underground,” Folds has worn many hats in the world of pop music, producing Amanda Palmer’s solo debut and recording his third solo record last year alone. Folds took some time out of his busy touring schedule that brings him to Toronto this week to talk about his new record, that other new record and what’s in store for the future....Read More
|
|
|
Gob's Tom Thacker
 It has been so long. So long, in fact, that most fans don’t even recognize that reference from Gob’s 2003 release The World According to Gob. OK, well, some may. And it has been just over a year since the Vancouver quartet released Muerto Vivos, so they certainly haven’t vanished from recent history. But, after 15 years of punk rock fun it sort of feels like they have… right? Well, lead singer Tom Thacker is ensuring that thought doesn’t become a reality. Touring Canada during the dead of winter, he took some time to talk with Exclaim! about their current tour, cavity searches and his love for the accordion....Read More
|
|
|
Neko Case
 In advance of the feverishly-anticipated release of her new album, Middle Cyclone , Neko Case flew into Toronto in late January for a quick promotional blitz. A somewhat tired-looking but still animated and eloquent Case sat down with Exclaim! for the following interview....Read More
|
|
|
Here We Go Magic's Luke Temple
 Having already slipped two albums and two EPs under the radar using his own name, Luke Temple has struck a chord with his new project, Here We Go Magic. Dropping the singer-songwriter guise has done the trick, and though Temple's music was always a lot more urbane and multi-dimensional than your average coffee house loiterer with an acoustic, with Here We Go Magic, he's transformed himself into an unpredictable and stimulating force with this experiment, which uses his stream-of-consciousness for inspiration. Luke took some time out to field some questions about his new musical venture, discussing how HWGM operates as a band, why he dropped his name and how much the term "singer-songwriter" irritates him....Read More
|
|
|
Charles Spearin
 As one of the principle supporting pillars of Toronto’s rich music scene, Charles Spearin has demonstrated the beauty and selflessness of his artistic vision time and again. From the evolution of Do Make Say Think’s pioneering post-rock to his experimental electronic pop collaboration with Kevin Drew as KC Accidental, right into the great musical amoeba of the north, Broken Social Scene, Charles Spearin has been an integral background player in shaping the musical identify of this country. Now, Charles finds himself in the leadership position for the utterly fascinating Happiness Project, a unique album based on the melodic and rhythmic patterns that form randomly in human speech. Charles took some time away from recording a new Do Make Say Think album to discuss the process of documenting the universally musical sounds that emerged from a series of recorded conversations he had with his neighbours on the topic of happiness....Read More
|
|
|
Leroy Burgess
 To say that Leroy Burgess has made an indelible impact on soul music and disco sub-genre "boogie" is an understatement. Beginning his career in his teens as the lead singer of the New York City based Black Ivory, that trio created such sweet soul classics as “Don’t Turn Around,” which are still cherished by die-hard soul connoisseurs to this day. But that’s only half the story. A look at Burgess’ vocal and production efforts from the late 1970s to the early 1980s: Logg’s “I Know You Will,” Convertion’s “Let’s Do It,” Fonda Rae’s “Over Like a Fat Rat” and the Aleems’ “Release Yourself” among many, many others have made him the subject of worldwide devotion from fans of streetwise dance music. He’s now come full circle for a reunion with original Black Ivory members Russell Patterson and Stuart Bascombe for the soon to be released Continuum....Read More
|
|
|
Company of Thieves' Genevieve Schatz
 Company of Thieves, as the name might suggest, is most definitely not just a "girl singer with a backing band." The Chicago three-piece are as much about inter-band equality as they are about making their big dream come true, and these two key values are more than apparent on their first long player and Oscar Wilde-influenced Ordinary Riches. First released almost two years ago, their debut album is getting another burst of attention with a February 24 re-release on Wind-Up Records and a supporting U.S. tour with Thriving Ivory. With so much growth between then and now though, is such a personal album still relevant? Lead singer Genevieve Schatz took the time out to explain her views on life, society, and why the band deserves your attention this time around....Read More
|
|
|
Black Diamond Bay's Patrick Krief
 There are always two sides to every story. When the Dears released last year's Missiles, Murray Lightburn and Natalia Yanchak did it with a whole new band in tow, leaving only vague explanations as to what actually went down. Well, now two of those former members, Patrick Krief and George Donoso III, have resurfaced, not just to tell their side of the story, but also to show that outside of the Dears they still have music flowing within them just dying to be heard. The result is Black Diamond Bay, a band of like-minded, sweeping rock that has been in the works for a few years now. Finally they're making their move, thanks to a newly released self-titled debut and a number of upcoming North American dates. Krief took some time to set the record straight and tell us all about the freedom of Black Diamond Bay....Read More
|
|
|
Thieves Like Us' Andy Grief
 After appearing in the Kitsune label's umbrella in 2007 with the narcotic-heavy sing-along "Drugs In My Body," American/Swedish electronic pop trio Thieves Like Us released what many thought was their debut album, Play Music, a tripped out amalgam of American hip-hop, Swedish pop and French touch suited for the aftermath of a debauched night out. According to vocalist Andy Grief, however, what made its way onto the internet was only the shell of the record, which now makes its way into stores (courtesy of Fantasy Memory/Shelflife) completely finished and ready to be consumed on March 10. Grief took some time out to answer some questions, clear a few things up and enlighten us with some history on the band....Read More
|
|
|
Napalm Death's Mark "Barney" Greenway
 After almost 30 years and 14 albums, most bands lose their musical steam and have little new to say. As luck would have it though, like their confrontational music rich in quick tempos and societal observations, grindcore stalwarts Napalm Death are far from either slowing down or running low on opinions. Never ceasing to toil away at their craft, vocalist Mark "Barney" Greenway enlightens as to what finds these guttural gurus releasing what both critics and fans are calling their best albums to date....Read More
|
|
|
Toubab Krewe's Luke Quaranta
 The music of the ancient Malian empire has become more popular in recent years thanks to the success of Toumani Diabate, Ali Farka Toure and Salif Keita. Each of these artists has experimented with American musical influences, but Asheville NC's Toubab Krewe flips the script. The sextet have developed an amazingly genuine crossover of musical styles since its formation in 2005. Traditional percussion patterns and characteristically West African guitar lines combine with the deepest music of the American South - blues, zydeco and more – to create an incredible danceable sound. Toubab Krewe have been road warriors, enjoying success in the jam band scene, but pretty much everywhere they go, they win new converts of all ages and walks of life. Their second album Live At The Orange Peel was released digitally at the end of last year, and comes out in disc form on March 10. Exclaim! spoke with percussionist Luke Quaranta at his home in Asheville....Read More
|
|
|
|
|
|
 | 
|
Taking a break at about the halfway mark of director Kathryn Bigelow's Iraq war drama, The Hurt Locker, I realized my jaw was sore. I had been unconsciously clenching it from the first moment of The Hurt Locker, which chronicles a three-man team of explosives ordinance disposal (bomb s...
Full Review
|
|
|
|
|