ZapTown

We get a lot of promos here at the Zaptown offices, and the process of combing through them isn’t unlike the search for the haystack’s needle when it comes to looking for a release that is going to make your day. When I first heard Columbus’d the Whim (Two Syllable Records) by Holiday Shores, it was clear to me that something special was happening down in Florida and that my day had indeed been made. Columus’d the Whim has been in heavy rotation at my house for the last couple of months and is in no danger of losing its position as “my summer album 2009.”

What can you tell us about the recording process? At times throughout the new album there are portions where it sounds like you have 20 people playing at once and evokes images of The Band’s “The Last Waltz”. Were most songs recorded in a group setting, or did you use a multi-track approach? Was this album really recorded in your living room?

The record is primarily multi-tracked. Resources were kinda limited throughout the process. However, we weren’t in the kind of multi-track situation where we could do endless takes of tracks and tweak and fiddle forever.

It felt more permanent like recording to tape feels. The time constraints surrounding us helped coerce ideas and focus that an unlimited amount of time likely wouldn’t have. I work well under pressure I found out. The album was recorded primarily in my bedroom and my living room. The drums couldn’t really fit in my room, with the exception of the drums that are on the track “Phones Don’t Feud.” We did alot of drum takes with two people on one drum kit. Alot of times, roommates would have to walk through our setup during a take to get into their rooms. You can hear dishes being washed. One vocal track I remember mixing has the bass frequencies of a band practice that occurred during the vocals takes I was doing. It was a little makeshift. Next time, I will definitely focus the sessions more. Soundproof more, etc. Without a doubt, the recording process was determined by my school schedule. The record was recorded during the first three months of my final semester in college. I’d get home from school, write and record until midnight, and mix til three or four, and repeat. Without a doubt, the highlight for me must have been during the final track I did: It was at three-thirty in the morning, one hour before my flight to New York (where I was headed to mix the record). I was recording glockenspiel tracks for “Days Drag” on my floor, in my underwear, with a drumstick, after a marathon 72 hour recording weekend that involved writing a whole song, and finalizing all the little recording issues before my trip. Also, I’m a pretty major fan of the “Last Waltz.”

I’ve read descriptions of the recording quality of the new album such as ‘poorly recorded’, ‘messy’, ‘trashcan’, etc. (all part of positive reviews), but to us it sounds like the closest thing to Pet Sounds yet. In many ways, it is the Pet Sounds album that Robert Schneider has been trying to make for years. Set the record straight – was the sound of the new album something that you planned? For example, if you had a chance to record the album all over again in the greatest studio in the universe, would we still get to hear the haunting reverb guitar sound that peppers most songs?

I had very very specific ideas in mind for how I wanted each part to fit into other parts. The record consciously has an aesthetic. This aesthetic is formed partially out of limitations of recording equipment and partially out of a conscious decision to make the record sound sonically unique. A part of me didn’t want the record to sound like someone who was trying to make a home recording sound like a studio record. I was confident that the compositions alone would prevent someone writing this off as a “home recording.” Not to digress, but it feels as if labeling something as a “home recording” has become more of a subtle excuse for songs being bad. In the back of my mind, I knew that we didn’t need this record to sound to perfect in order for it to be respected. I think artists like Ariel Pink, The Band, Arthur Russell, have all made amazing records and songs despite not recording in a studio. I just happened to be in a place where I’m not out and out committing to a lo-fi aesthetic yet not striving to sound like a faux-studio record. It’s a weird middle ground that this record falls into to.

The Pet Sounds comparison is a little overwhelming in that I feel like that record is pretty untouchable, as most people do. In fact, I don’t see alot of the Beach Boys references bands get, including my own. There’s a balancing that exists on Pet Sounds that somehow manages to sound minimal (when do you ever hear a full drum kit) but yet so expansive it almost seems like an orchestra filling the room. The perfect balance is something I’m striving for still. It’s something that wasn’t exactly achieved. You have to have alot of confidence to believe in just a few tracks being able to carry a song, versus a million things going on. This is also true for reverb. I’m a huge fan of tape-delays and icey spring reverbs, as you know from the record, yet it can be a huge crutch if you’re unsure of a how a part sounds, especially when it comes to vocals. I’m still working on that ability to cut back.

I love the songs “Dens” and “Experiencer”. In both songs the vocals become another instrument in a larger tapestry of sound and we can’t make out the lyrics. Can you tell us what they are about?

Dens and Experiencer both share thoughts that are a little more topical for me. Both kinda of deal with working and being broke. Mainly, Dens comes out of watching my parents struggle financially. Experiencer used to be called “Working” and it’s about summer jobs. Primarily, it’s about working jobs that make you feel less than your worth.

When describing to friends the sounds found on Columbus’d The Whim, I threw out Brian Wilson, Brian Jones, Syd Barrett and Ringo Starr (“Photograph” era). What inspires your music?

Brian Wilson is the one I probably try to emulate that most, like most artists do.”Surfs Up” probably determined alot of chord progressions in the record. I’m also a big fan of Brian Jones’ general insanity. However, I’ve never been a big Pink Floyd or Solo Ringo fan. During the recording, I remember listening to alot of Ram-era McCartney. I was really getting into Taking Tiger Mountain by Strategy by Brian Eno at that time. Alot of the drums sounds on the record were influenced by that record, primary the Phil Collins drums on “Mother Whale Eyeless.” I really decided to make songs have the ability to use two drums because of that song. In addition to that, Odyssey and Oracle is a huge huge influence. My decision to start playing and buying organs stems from the Zombies. Anytime you hear the organ sound collaborate with guitar sounds on the album, I was likely using Odyssey and Oracle as a blueprint. Kate Bush is a constant inspiration from production to the way she writes melodies.

How important is cover art in an era when people seldom look at it?

I think actually people might look at a cover more than they’ll listen to a record. Especially with blogging and the digital age of music purchase, all you have to go on sometimes is a little thumbnail of a cover. I think there needs to be a re-emphasis on the actual product. The resurgence of vinyl releases is such a good thing. Seeing album art, especially on a gatefold record is such a perfect way to see things. But to answer the question, I think cover art is hugely, hugely influential. I have some records that look so cool, despite not sounding that good. I’ve found myself re-listening to them in an attempt to like the record just because of the art.

Also, Ben Tousley did such an amazingly beautiful fucking job on the whole album’s artistic direction.

Think about about itunes and file sharing role in song format re. the single vs the long format. Multi stage music festivals, too, seem to change the live experience, too, in that your not locked in, you can wander to the next act if you’re not turned on. I often wonder if we’ll start seeing touring festivals again. “itunes top 5 acts of the year performing their hit singles.” In that case, I’d be interested to hear what 5 other bands “holiday shores” would like to share the lineup with.

I’m pretty guilty of that attention deficit sometimes when it comes to music and shows. I skip the opening act all too often. Current bands I’d love to play with would be: Women, Dirty Projectors, Girls, Grizzly Bear and The Walkmen.

The whole American Idol/Rock Star/Guitar Hero DIY attitude of the entertainment industry could possibly be a concern to serious musicians. I saw an interview with Wynton Marsalis where he talked about the threat posed by those mediums. He argued that people’s sensitivity to actual legit musicianship is dulled over time if it’s not respected. I’d like to know how they perceive the effect of easy access to home recording and the recent surge of music as entertainment above artform on the musicianship of current hit bands.

I think they’d probably look down on it with much disdain. For most trained musicians, I feel like to an extent they are out of the loop with the whole of independent music, tho there certainly are exceptions where musicians with a classical or performance based education slip into this little realm of the music scene. However, I feel like there’s a sense in the world of commercial music, if you will, that adheres to having only the “best” gear (i.e. expensive) and fastest playingtechnique and whatnot. I think this world sees home recordings as something neat but not the real thing. There’s this sense of being defined by the studio you record in, or the mic you did vocals with, or the pedal board you have. I can’t relate to that. However, I dislike the emphasis on entertainment over artform as I would feel most classical musicians would. I guess to be clear, I’m not lumping classical musicians into the same realm as the kind of people that think brands or expensive gear is the be all and end all of music. I think trying to make show simply ‘entertaining’ would be misguided and it seems people in Wynton Marsalis’ league would probably agree.

What do you do when you’re not making music in order to make sure the rent is paid?

I’ve been unemployed for quite some time, but have recently found a job at a coffee shop. I have trouble being productive when I’m not working, so this is a good thing.

How do you see Holiday Shores evolving over the next 5 years? What would a Holiday Shores big budget studio album sound like?

I see Holiday Shores evolving into more of a band dynamic, which it already is. There will probably never be a big budget studio album ever. And if there was, it’d probably sound pretty shitty.

Be sure to check out Holiday Shores on tour on 8/24 in Bloomington, IN. Venue TBD.   Special thanks to Bill Purdy for the assist.