|
|
|
|
|
|
Lotus Plaza's Lockett Pundt
By Cam Lindsay
The Deerhunter family gains another member with the arrival of Lotus Plaza, the solo project of guitarist Lockett Pundt. Having spent the last few years quietly posting tracks on the band's blog, Pundt now steps out from behind the massive shadow of band-mate/best friend Bradford Cox with his debut album, The Floodlight Collective. Via email, Pundt was generous enough to inform us of how his music benefits from his friendship with Bradford, how Lotus Plaza differs from Deerhunter and what his plans are for touring.
Is it fair to describe Lotus Plaza as your answer to Bradford's Atlas Sound?
No, it's just a project that I do. It's certainly not a response or answer to what Brad does at all. I enjoy writing music too and that's all that it is.
Bradford dedicated the Atlas Sound album to you. Did you do the same for him?
Of course. I couldn't have made it without his help and encouragement. He definitely made me feel that it was more possible than I had previously thought it was. I'm really critical and hesitant at times and he kind of helped me get there mentally.
Do the two of you feed off each other and inspire one another when it comes to your separate projects?
He has always inspired me in many ways. I hope that I have done the same for him. He inspires me creatively as well. We always kind of bounce ideas off of each other as far as what we would like to do next and how we see our music progressing.
How much of an influence does being in Deerhunter have on Lotus Plaza's music? Do you see much similarity between the two bands?
I try to think of them separately. They are completely different to me. Deerhunter is a higher energy and more collaborative thing with four personalities at the helm, where my stuff is a lot more toned down or something. There are some similarities of course but it has a much different feel to me, and probably anyone who hears it I would think. We all definitely share a lot of the same influences and ideas when it comes to music in Deerhunter but they are translated in different ways. In my music, I'm definitely influenced by Deerhunter, but by the guys themselves rather than the music as a whole if that makes sense.
When exactly did you record the album? Was it mostly a solitary experience?
All of the songs were recorded from the summer of 2007 to the beginning of 2008 in my bedroom. It was all done by myself and I played everything on it except for a drum track on one of the songs called "Different Mirrors" where Brad plays drums.
The press release gives the sense that this album is divided into an A-side and a B-side. Was that your intention?
No, not really. It just kind of turned out that way.
I was kind of surprised that the album wasn't coming out on 4AD in Europe, like Atlas Sound and Deerhunter, especially because it has a very "4AD sound" to it. Was there a certain sound or period of music you were looking to capture?
I mostly wanted to have a sort of ambiguous time period. Like when you listened to the record, that it wasn't really obvious when it came out, but I had no real time period in mind. Timeless, not as in classic, but literally timeless.
The title track really shows there is variety in the scope of the music: ambient, '60s pop, shoegaze, post-punk, etc. Was there an "anything goes" attitude towards writing the music?
Yeah, I'm mostly at the whim of whatever escapes me when I sit down to write a song. It's all done quickly and without a lot of thinking. I guess it creates a kind of unintentional variety, which I like. Makes for a more interested listen I suppose.
You post Lotus Plaza tracks up on the Deerhunter blog, some of which made the album. Did you hold on to songs for the album too? What is your strategy as far as giving away MP3s?
I had no real strategy. I would just make songs and if I wanted to post some then I would. I didn't want to post too many of them since I did plan on releasing it. I do like to give away music. I haven't done it too much recently but I was going to get back to it when things kind of normalize around home.
I read that the Floodlight Collective was a band you were once in. What made you name the album after that experience?
It was some of the fondest musical experiences I have and part of my inspiration to go further with things. From there I started to record myself and was sort of the start of my own musical identity. I guess that's where the reference comes in.
Do you intend to take Lotus Plaza on tour? If so, will it be a full band or yourself with drum loops, pedals, etc.?
I'm still thinking that over. As of now, if I were to do it, I think I would do it by myself with the songs rearranged to work that way, but it would be really fun to play them as a band. Who knows...
The artwork seems very personal. What made you represent your music visually with images from your childhood ?
The cover is actually a picture of my youngest brother. I found the picture in a box of old family photographs and really liked it. I guess it was the last frame on the roll and was sightly exposed when processed giving it a kind of red cast over the right side of it. I saw it and thought it was perfect for the album.
Finally, are there any other Deerhunter-related projects I should be on the lookout for?
Yeah, there are, but I won't ruin the surprise.
|
|
|
|
|
|
|
|
 |
 |
Peter Bjorn and John's Peter Moren
 How do you overcome the weighty obstacle of having an unexpected international hit? Well, if you’re Peter Bjorn and John, you simply ignore it completely. With their follow-up to the enormously successful third album Writer’s Block, the famed Swedish trio have indeed looked back — to the ’80s that is. With little interest in making another “Young Folks,” PB&J rejected whistling and carefree melodies in exchange for an album focusing more on denser production. Living Thing finds the three Swedes continuing a trend that has found them pushing their pop formula with each album. The band's Peter Moren discussed how success has made things easier for the band, why an instrumental was the smartest thing they could do after "Young Folks" and why touring with Depeche Mode this summer scares them a little....Read More
|
|
|
Big Daddy Kane
 Big Daddy Kane’s impact on hip-hop culture is incalculable. It would be impressive to only note that Kane recorded certified classics such as “Raw,” “Set It Off” and the irrefutable “Ain’t No Half Steppin’,” all culled from the seminal 1988 long player Long Live The Kane. But the Brooklyn-born MC, along with MC Shan, Masta Ace, Craig G, Biz Markie, Roxanne Shante and legendary producer Marley Marl, was also a member of the virtually impregnable Juice Crew, arguably the prototype for the modern hip-hop collective. Kane was also a trendsetter who oozed swagger a full two decades before MCs began to overuse the term, with his unmistakable high-top fade cut and his playboy image. Yet behind the style there was serious substance. With his lightning fast delivery, willful manipulation of the English language and his innate gift of gab, Kane is indisputably one of the best MCs to ever do it. Recently, he performed at a 20th anniversary celebration of his career and is embarking on a mini-Canadian tour this month, showing and proving his ongoing relevance. Word to the Mother....Read More
|
|
|
Kyle Brenders
 The Canadian improvised music scene is among the most vibrant in the world and is praised and envied by musicians visiting from New York, Chicago, Paris and Amsterdam, places you might think have it all over their Canadian "poor relative." But the reality is this: while our creative music community is strong, individual artists still have do something pretty darned extraordinary to get noticed, here at home or on the worldwide stage. And that is exactly what Toronto-based saxophonist/composer/improviser Kyle Brenders did when he recorded and released Toronto Duets with one of the most influential jazz/improv musicians of the last four decades, Anthony Braxton. Duets is the kind of project that will get fellow musicians, festival directors and journalists to sit up and take notice of this major league homegrown talent....Read More
|
|
|
Karin Dreijer Andersson of the Knife and Fever Ray
 There's no denying Karin Dreijer Andersson is one eccentric character. As one half of the brother/sister act the Knife, the Swede has spent years behind a beaked mask, fetched a Grammis Award (the Swedish Grammys) via gorilla and even began work on a Darwinian opera, not to mention penned some of the creepiest avant-electro to ever haunt a play list. Still, Dreijer Andersson has never sounded as comfortable in her own private bizzaro world as she does now as Fever Ray. In this newly minted solo project, any rough edges that came with the Knife have been smoothed, trading the digital dance floor click-clack for warmer, starker, eerier slow-motion grooves....Read More
|
|
|
The Thermals' Hutch Harris
 Following their fantastic 2006 album The Body, The Blood, The Machine, Portland power pop punks the Thermals are now launching Now We Can See, their fourth full-length in total and first for Kill Rock Stars. While many thought the album would falter compared to The Body’s unwavering energy and vitriolic religious critiques, Now We Can See is a fitting follow-up in its lyrical maturity, though the band clearly haven’t lost their edge. In the week following SXSW, Exclaim! caught up with guitarist and front-man Hutch Harris about the new album, the record label switch, and why going through so many drummers puts them up there with rock'n’roll royalty....Read More
|
|
|
Red Red Meat's Tim Rutili
 In the mid-’90s, Red Red Meat stuck out like a sore thumb. Despite being signed to Sub Pop, they were hardly your typical grunge band, but they weren’t straight-up rock, folk or blues either. In fact, to this day the Chicago act are still a difficult one to define, with the off-kilter group taking bits of all the above styles, putting them in a blender and coming out sounding like few bands then or now. Forming in 1990, Red Red Meat released four albums before their break-up in 1997, and it’s the third of those, 1995’s Bunny Gets Paid, that arguably stands as the group’s crowning achievement. With this in mind, it’s no surprise that Sub Pop has decided to give Bunny Gets Paid some much-deserved reissue treatment this year. Being out of print the last few years, the original 11-track album has now been remastered by Red Red Meat’s own Brian Deck and sports a whole new second disc of bonus material, making Bunny all that much more essential. Tim Rutili took a break from recording the upcoming Califone record to tell Exclaim! about his memories of Bunny, the recent Red Red Meat reunion and how it feels to get told, “Get off the heroin and play some rock.”...Read More
|
|
|
Marillion
 Few groups deserve the moniker of cult band in quite the same fashion Marillion do. Formed originally in 1979 in Aylesbury, England, the band hit their commercial zenith in the mid-'80s with the albums Misplaced Childhood and Clutching At Straws but has remained an intuitive, ever evolving act since. This year celebrates the 20th anniversary of Season’s End, the band’s first album with “new” singer Steve Hogarth. Much like AC/DC’s Brian Johnson, Hogarth still finds himself referred to as the new guy two decades on in spite of the fact he’s been a member of the band for nearly three times as long as his predecessor. On the eve of this North American debut of their convention, members of the band were kind enough to answer some questions about the new record, a new archival box set that former label EMI has released and about the convention itself....Read More
|
|
|
White Lies' Harry McVeigh
 There are a million high school bands that hope, struggle, fall into disillusionment and then get "real jobs," thinking only of their former band when telling stories to their grandkids 50 years down the line. There aren’t all that many, though, who turn a corner, rename themselves and have a debut album that goes straight in at number one in their home country, all while the band members are barely into their 20s. Perhaps that’s why White Lies are so grounded, and so incredibly thankful about the whole thing. The band are currently travelling Europe on a tour that’s headed to North America at the end of March, and we interrupted one of lead singer Harry McVeigh’s rare days off to talk about the press, the hype, and the dream come true....Read More
|
|
|
Marissa Nadler
 Hailing from Boston, MA, Marissa Nadler doesn’t really fit in any genre. Though she’s been labelled freak folk more often than not (as she’s too experimental and wispy for straight-up folk), Nadler’s latest effort Little Hells actually showcases her mastery of gorgeous, melancholy-soaked Americana that’s sounds nothing like that genre. No matter what the label, Nadler’s affecting vocals and light touch make all her songs minuscule journeys of the soul....Read More
|
|
|
Buraka Som Sistema's Joao ‘Lil’ John’ Barbosa
 In a very short while, Buraka Som Sistema have become the official flag carriers for the Angolan/Portuguese Kuduro movement. So what is Kuduro? Picture breakneck speed tribal BPMs, dirty-bass-driven dancehall rhythms and blaring MCs and sirens blasting off all over the place and you’ll get an idea of where to start. Similar to Baile Funk but with an African flavour, Kuduro is the newest kid on the ghettotech block, thanks mostly to Buraka Som Sistema and globetrotting tastemaker Diplo. Their first full-length release, Black Diamond has music critics re-evaluating what “world music” really is and has dance floors rumbling all across the globe. Talking over a crackling cell phone from their studio in Lisbon, Portugal, Buraka Som Sistema’s Joao ‘Lil’ John’ Barbosa talks to Exclaim! about Kuduro, Jean-Claude Van Damme and water guns....Read More
|
|
|
Superdrag's John Davis
 The life of Superdrag is a story of Behind the Music proportions. Formed in Knoxville by John Davis in 1992, the power pop four-piece found themselves living the ultimate rock'n'roll cliché: scoring an MTV Buzz Bin and alt-radio hit with the throat-wretchingly brilliant single "Sucked Out," and modest sales of their 1996 debut LP, Regretfully Yours then facing major label rejection by Elektra after 1998's Head Trip in Every Key, an overlooked effort, failed to find much of an audience. But after six years, the band are back at it with the original line-up, the first time they've been together since 1998. John Davis took some time before a trip to Austin for SXSW to tell us why he reformed the band, how the band differs now, why he leaves religion for his solo work and what sparked the fiery punk songs that adorn his new album....Read More
|
|
|
Brutal Truth's Dan Lilker
 It has been two years since the pioneering grindcore band Brutal Truth resurrected from the dead. The unorthodox and intense sound of grindcore was defined when legendary NYC bassist Dan Lilker (ex-Anthrax, Nuclear Assault, S.O.D., and multiple others) formed the band in 1990 and even during the band's long hiatus, they weren't forgotten. After a 2007 Eyehategod tribute and a couple of tours, the grinders – along with a new guitarist – decided to lay some new tracks down. Ten years after their last full-length album, Brutal Truth now unleash Evolution Through Revolution and are heading out on the road to support this highly anticipated release. The now 45-year-old Lilker discusses the reformation of Brutal Truth, the new album, and his undying passion for grind....Read More
|
|
|
Seeland
 Birmingham's Seeland are more familiar than you'd think. Formed in 2004 after the demise of playtronica darlings Plone and the dissection of pop experimentalists Broadcast, the duo of Mark "Billy" Bainbridge and Tim Felton took their love for vintage electronics and art-damaged pop music to the next level. Borrowing a name from a song by Krautrock legends Neu!, Seeland took their time over the last few years, releasing a couple of EPs on Stereolab's Duophonic imprint, while honing an album that took some shopping around to secure a release. Eventually the newly formed LOAF came to its senses and signed on to release the band's brilliant new album, Tomorrow Today. Felton fielded some questions for Exclaim!, filling us in about how they came together, discovered their sound and weren't afraid to consider their previous bands in order to build Seeland. (More after the jump.)...Read More
|
|
|
Anvil's Steve “Lips” Kudlow
 Despite being one of the genre's most innovative acts generating worldwide praise in the early '80s, this Toronto-based outfit, comprised of guitarist Steve “Lips” Kudlow, drummer Robb Reiner and bassist Glenn “G5” Five, have been holding the short end of the stick for some 30 years. Still, they never stopped playing. Not for a minute. And now, thanks to the support and caring of old school Anvil fan/director Sacha Gervasi, the band are finally receiving their due. Gervasi's feature-length documentary Anvil! The Story Of Anvil has been grabbing attention internationally. As Kudlow and Reiner's touching tale of dedication to their craft — and one another — unfolds on the screen, it's impossible not to feel like you're rooting for the underdog, hence praise from the likes of Michael Moore, The Osbournes and some of the world's toughest film critics. Anvil! The Story Of Anvil helps push this elemental metal band back towards the top. Kudlow discusses the state of Anvil post-film....Read More
|
|
|
Grandmaster Flash
 Along with DJ Kool Herc and Afrika Bambaataa, Grandmaster Flash is one of the the three founding pioneers of hip-hop culture. His trailblazing style and techniques on turntables have laid the foundation for DJs across the world. With his group the Furious Five, highly influential and game-changing singles such as “The Message” and “White Lines” were recorded, earning the group the first slot allotted for a hip-hop group in the Rock and Roll Hall of Fame. But Flash is far from done. After releasing an autobiography last year, he’s back with The Bridge, his first album in 20 years, featuring a mix of newcomers alongside veterans such as Q-Tip and Snoop Dogg. Grandmaster Flash took some time out to speak to Exclaim! after returning from a tour of Australia....Read More
|
|
|
Niney the Observer
 Roots reggae producer Winston Holness’ nickname "Niney" stems from an unfortunate accident in a workshop where he lost his thumb. As for the "Observer," well, that part of his nickname is explained a little bit in this interview. Niney was one of the most important producers of the first half of the '70s. Though he rubbed shoulders with many of reggae’s all-time greats, he is likely best known for establishing Dennis “The Crown Prince Of Reggae” Brown’s superstardom with a series of definitive collaborations. Niney may have become less active since the '70s, but his classic material has generated many reissues. Fittingly, his smash hit “Blood And Fire” became the name of the best-ever reggae reissue label. Since January, reggae uber-label VP has issued a greatest hits collection entitled Roots With Quality on its 17 North Parade subsidiary, and also reissued the Niney-produced Mr. McGregor disc by Freddie McGregor and the Heptones’ Meet The Now Generation. Exclaim! spoke to Niney over the phone from London....Read More
|
|
|
New Kids On the Block’s Donnie Wahlberg
 Oh, sure, it’d be easy to write this one off. But there’s more than meets the eye here: after all, when a teen boy band get back together after a 15-year hiatus and are playing arenas, something big is up. Armageddon? A comeback disc, The Block, full of songs written to such a degree of catchiness it sounds as if machines have constructed and performed them? A music industry in flux and an economy in crises combining to leave people wanting to have fun, comforting music? I have no fucking idea, but Donnie Wahlberg, taking a bit of a break from his acting career to hit the road with New Kids On the Block, is reaping the benefits. Yup, this boy band from decades past is back, and, somehow, they’ve made it work....Read More
|
|
|
Scott Crouse of Earth Crisis
 Earth Crisis started it all, pretty much. Opening the door for countless metal/hardcore hybrids and setting the bar for politically motivated heavy music, Earth Crisis trailblazed their way through the '90s with a series of landmark releases, particularly the Firestorm EP and Destroy the Machines. Recently, the group reunited, toured a bit, and recorded their first new record since 2000, To the Death. Guitarist Scott Crouse gave Exclaim! a call from his California residence to fill us in on recent events, as well as give some insight into the band’s history and convictions....Read More
|
|
|
Nick Johnston of Cut Off Your Hands
 Raucous New Zealand crew, Cut Off Your Hands, took their time bringing debut LP, the Bernard Butler-produced You & I, to North America. When the infectiously ebullient disc finally turned up in January, it had a lot of international mileage and deserved hype behind it. With a fawned-over live show and a bevy of new tracks waiting in the wings, the band will take a month off to ready a new drummer and possibly pop out a few aural tidbits. Before the penultimate gig on the latest jaunt, singer Nick Johnston took a brief break to discuss the future, orchestra pop hangovers, and the tactlessness of gratuitous encores....Read More
|
|
|
Priska Zemp aka Heidi Happy
 Heidi Happy’s Priska Zemp can sing until the Swiss cows come home. That’s because she’s never at a loss for musical fodder. Built out of bricks and fuelled by a fascination for humanity’s two faces, the Switzerland native has a knack for seeing beyond all false pretenses. Which makes her latest record, Flowers, Birds and Home a large and intimate collection of everyday observations turned on their heads. Zemp takes the time to answer some questions via email about her decision to pursue music, her classical influences and how the world is made up of much more than a single perspective....Read More
|
|
|
|
|
|
|
|