[All photos by Andrew Schreck.]

Every blue moon there is a band that hits my radar screen and I immediately get excited by name alone. Color me surprised when Dale Earnhardt Jr., Jr. lived up to the hype generated solely by their chosen moniker. Last year the Horsepower EP was released by Quite Scientific Records to much acclaim. Along with a unique blend of electronic, pop and folk sensibilities, the band has a lot of fun living up to that idiosyncratic mystique you’d expect from a band called Dale Earnhardt Jr. Jr.

With so much music saturating iTunes playlists, torrent trackers and your Facebook News Feed, it’s refreshing to hear a group have such a heartwarming approach to pop music. If I were to draw a comparison to any current musical outfits, Portugal comes to mind as well as Miniature Tigers, The Flaming Lips plus throw in some MGMT for good measure; however, Dale Earnhardt Jr. Jr. still has enough unique charisma to set them apart from the rest of the pack.

Prior to attending their show at the White Rabbit last month, I did some research while gorging myself to second helpings of their first full-length studio album It’s a Corporate World. I dug through reviews specifically through Pitchfork, Stereogum, and Paste’s online review sections. Personally, Pitchfork doesn’t have much to say unless it’s pretentious for pretentiousness’s sake but the latter two generally will be as impartial as possible without pissing you off. However, I had the opportunity to catch Dale Earnhardt Jr. Jr. live before the interview, which, in my opinion is perhaps the most accurately objective approach to calculating not only the musicianship of a band you’re covering, but also the live rendition of the album in question. It is a testament to its gravity.

Before I get ahead of myself, I would like to say a couple of things about the record. I noticed there were many comments about the band’s getup in their video for “Nothing but Our Love,” almost arbitrarily as a commentary on how to not take a band that spoofs NASCAR too seriously. I disagree wholeheartedly with that sentiment simply because I admire Dan and Josh for going the extra mile to develop a motif that compliments their music. It’s a Corporate World is a continuation of the Horsepower EP in the sense that you can get a vivid glance into the carefree and fun-loving world they attempt to (and succeed in providing) relay to their fans. “Vocal Chords” takes me to a world of road trips with the top down, falling in love with the muse by my side while driving to parts unknown yet not unfamiliar.

The serendipitous aspect of Dale Earnhardt Jr. Jr.’s music is due in part to their wonderful ability to use close harmony with mellifluous ease. Case in point: their cover of the Beach Boys classic “God Only Knows” (which was released on the Horsepower EP). To tackle Brian Wilson not only takes confidence but the pipes to channel the dual vocal harmonies. Despite interpreting the song instrumentally with a calculated use of their artistic license, it’s the vocal arrangement that really gets you where it counts.

And that’s the gist of this album and Dale Earnhardt Jr. Jr.: subtle yet effective execution of pop sensibilities with two-part harmony, thought provoking lyrics you can relate to, and clever use of electronic dithering amidst the traditional weapons of choice for folksy indie rockers. “Morning Thought” is a perfect example of this homogeny. Sampled strings, drums fills and random filtered doo-dads make this jam one of my favorites on the album. It’s a Corporate World is worth a listen or three, if not more.

There is much more to say about the tracks I did not mention, but I believe it is best to discover them on your own, holding more importance than my personal “play by play” synopsis of tracks 1 through whatever. Take my word for it: It’s a Corporate World is one of my favorite records of 2011 and Dale Earnhardt Jr. Jr. are a musician’s musicians. If that’s not enough to pique your curiosity, I suggest you go read some more reviews on Pitchfork to get your spoonful of what’s cool enough for you to spend time listening to.

One more thing before I wrap this up: Josh Epstein and Daniel Zott are two of the most down to earth individuals I have ever had the privilege of meeting. I watched their show from beginning to end, mesmerized by their uncanny ability to recapture the essence of the studio recording of It’s a Corporate World. I love getting new music, but I’m sold when I hear the live performance and after that show I was signed, sealed, and delivered without hesitance. You could say I’m a passive D.E. Jr. Jr. acolyte now and forever. If you know me, I’m pretty picky with my musical/creative tastes and interests so you definitely know this is saying a lot. I cannot speak highly enough about these two guys from Detroit so I suggest you find out for yourself before the summer’s done. You can catch them playing at Lollapalooza in Chicago the weekend of August 5th- 7th or at the Austin City Limits festival in Austin, TX, which runs September 16th – 18th.

Links:
Official Site: http://www.daleearnhardtjrjr.com/
Quite Scientific: http://www.quitescientific.com/
FaceBook Page: http://www.facebook.com/daleearnhardtjrjr
Twitter: @dalejrjrmusic

And here’s a video shot by local videographers Monkey Eats Monkey from the White Rabbit performance:

Dale Earnhardt Jr. Jr. – “Vocal Chords” from MonkeyEatsMonkey on Vimeo.

I’d like to start by thanking you both for taking the time to take part in this interview.

Joshua: Absolutely…

When did Eugene Levy Join the band? I won’t lie, I got a little excited when I saw that one of the founding members of SCTV had replaced Josh on the album cover when I saw it for the first time.

(Laughing)
Joshua: Well we’re both Jews so there’s probably a genetic lineage that we share somewhere down the line.

I saw the album cover and thought to myself “This doesn’t look like the guy from the video at all with thatt vibe from American Pie that screamed “Go get some sex, son!”

Joshua: Well, my wife doesn’t like the picture either and apparently Vice Magazine christened it the “worst album cover of the month”.

Daniel: I love it! It’s sort of a bad portrait because it’s not finished…

Joshua: Did you know that? That vice magazine called it the worst album cover of the month?

Daniel: No; I know people said it’s goofy, ya know…

Joshua: My friend wrote me an email that said “congratulations on being named Vice Magazine’s worst album cover of the month!” It’s funny that I heard it that way because I can’t read what people say about us because if it’s good I’ve already moved on yet harboring a strange resentment for what I’ve done, but if it’s bad I get really sensitive about it so it was easier to find out by proxy.

I can empathize. Nothing is harder to stomach than a negative critique, let alone the anticipation of one that you don’t know is positive or negative. So I totally feel you on that.

Joshua: it’s just funny, ya know?

So, without prior knowledge of the band hailing from Detroit, it would be easy to assume your catchy pop-folk would come courtesy of a group from Bellingham, WA, or Williamsburg-Brooklyn. So, aside from the obvious fact that the Motor City is famous for Motown, Kiss, MC-5, Iggy and the Stooges, White Stripes, and dare I say Insane Clown Posse, tell me about the homegrown artists that influence Dale Earnhardt Jr. Jr. to stray from the sound Detroit is famous for?

Joshua: Stevie Wonder! (ironically playing in the background!!) …Motown!

Daniel: I don’t think we strayed much beyond the modern technology element, because back then they didn’t have some of the toys we get to play with. But we try to stay true to what Motown was about which was creating good pop songs. Technically, it would be wonderful for musicians to enjoy our music, but people on a grand scale can sing the melodies ‘cause they’re memorable. So where we’re coming from is a mixture of that Motown vibe we grew up with, but we liked hip hop and making beats, working with electronics and tinkering with production so I think that’s essentially how our sound developed.

That seems to be a logical progression from hypothetical group to full-fledged recording artist. So, ever since last year when I first heard the Horse Power EP, I kept catching myself drawing comparisons to other bands, namely Miniature Tigers, The Flaming Lips, and MGMT. Despite the similarities, I can’t help but focus on your subtly effective use of drum machine programming, synth sampling  and other miscellaneous electronic ambience. Is this a result of techno being such an integral aspect of modern Detroit’s creative consciousness?

Joshua: Possibly … I think that definitely going to shows a lot and seeing what people are doing gave us a glimpse as far as what kind of equipment other artists were using. I’m always trying to get my hands on new gear and figuring out how to use it and implement it into what we do. When we first started this project neither of us realized how suited we were to making music like this together. Daniel’s really good at making beats and I like really weird music, so I think it’s good that people who gravitate towards that sort of creativity can be suited to making music that’s in a popular format. Maybe that’s what the flaming lips have that’s going for them that other people trying to make pop music don’t have is that they’re weird but when they write they write pop songs.

I would consider it being brave; almost like there isn’t a glass ceiling for their creativity.

Joshua: But it comes out in a popular song format…well, sometimes…maybe not all the time. But I think the songs that struck a chord with the masses for them were “She Don’t Use Jelly” which was the most pop song ever or “Do You Realize,” which are perfect songs, ya know?

That’s a perfect example. So alongside the creative usage of synthetic sounds, I’ve also picked up on Dejj’s exquisite use of close harmonies, especially through the cover of “God Only Knows,” and the album’s “Simple Girl” and “The Fisherman.” Could you elaborate on the juxtaposition of electronic and vocal elements and the influences driving it?

Daniel:  Well, I think one of the fun things about this project is that Josh and I were lead singers in other bands. So I think when we joined forces it was easy because we trusted each other. That fact simplified things for us in terms of improvisation and harmonizing; plus, having an appreciation for Simon & Garfunkel, Crosby Stills & Nash or bands that are proficient with harmonic vocals didn’t hurt, either.

Joshua: It’s such a beautiful thing when you listen to Simon & Garfunkel. It makes a simpler melody so much more powerful when two vocalists with complimentary ranges are working together. “Sound of Silence,” for instance, would still be a great song with one guy singing it but the combination of Paul and Art’s voices make it powerful, ya know?

Personally, when I heard the EP, I thought to myself, “No shit!? They covered The Beach Boys!?” That takes some serious stones.

Joshua: Or it takes two guys that absolutely had no idea they were going to put out an album that was going to reach people.

Daniel: We were doing it for the love; we like the song so why shouldn’t we go for it?

Has Brian Wilson responded to it all, by any chance?

Daniel: Does he respond to anybody??

Joshua: He does to some extent…I saw him play in Los Angeles and my lawyer had given me a ticket to the benefit show where Brian was performing. He started playing, he finished his set and his band walked off the stage but Brian was still sitting at the piano, and I was like, “Oh awesome! Brian Wilson is going to play a song!” Three minutes went by when someone came out to tell him the show was over. It was so depressing! He literally sat at the piano for three minutes without doing or saying anything.

Poor Brian. Since we are on the topic of covers, I think it’s appropriate to mention “We Almost Detroit,” considering the recent passing of Gil Scott Heron.

Joshua: Hey! You’re the first person that’s asked us about this when we thought everybody was going to.

Ha! That makes me feel special! I’m curious as to why you chose this particular song? Is it a metaphor in regards to the current urban meltdown in Detroit or is there another sentimental motive for covering it?

Daniel: I think it has a lot to do with what is currently going on in Detroit. I think we were doing a show in Detroit and we were looking for a song to do and I feel like it was such a good song because of the way it’s performed, ya know? A lot of people are looking at it because Gil just passed, which is a good thing because people should be aware of him and his work, but at the time it felt to us that this is a song with amazing lyrics that everyone in Detroit should hear and know the story behind the lyrics. We felt like it should be covered so at least a wider audience could hear it via our own interpretation of “We Almost Lost Detroit”. I’ve covered a lot of Joe Jackson songs who I think unfortunately in the 80’s did not have the production quality in a musical sense to give his work the justice it deserved, so it always ended up sounding kind of cheesy despite him being such an amazing lyricist/songwriter. Even a guy like Daniel Johnston, has songs people just don’t hear because they can’t get past the non-popular musical troubadour style he uses as his creative vehicle. I think more musicians should cover artists like Jackson and Johnston, for instance, to keep those great songs going beyond the spheres they influence in their original state for future generations.

Joshua: When Gil passed away we had a talk about whether or not we should keep playing the song. I think that the biggest hope that an artist could have is the sentiment they’re expressing could be redefined 30 years later. I also think it’s interesting to note that the power plant mentioned in the song almost melted down again six months ago.

Really? Damn!

Joshua: In a grander scheme of the record, “It’s A Corporate World,” what a perfect summation of that sentiment when no one stopped to think about the people residing nearby this massive power plant. I think the song expressed that better than we could have said it, to be honest. I don’t think there’s any shame in admitting that even when we reinterpreted the song to suit our style.

I was a little surprised to read the LA Times can your rendition of it.

Joshua: Oh really? I didn’t read that.

I think it’s great, quite possibly my favorite track on the album just because it’s more “electric” than the rest of the songs on Corporate World.” It was a nice contrast to hear guitar riffs and a little more grit juxtaposed with the more ethereal and pop-driven tracks on the record. Plus, it took some real nuts to cover The Beach Boys and Gil Scott Heron, especially when the latter has such a socio-political gravity. those instances, in my opinion, speak volumes on your artistic integrity.

Joshua: I don’t read reviews…try to stay away from them.

Daniel: I think I read it but it didn’t stick…oh well…

So what’s in store for Dale Earnhardt Jr Jr following the tour’s grand finale stops at Lollapalooza and Austin City Limits?

Joshua: We probably need to write another album which I’m really excited to do.

Daniel: We’ve worked on a couple of songs already so we’re motivated to get in the studio once the tour is in the rear view.

Joshua: I’d like to go somewhere, alone, so I can write some songs and bring them to Daniel so he can make them beautiful! (awwwwwwww!)

Is there going to be a remix album of Corporate World?

Joshua: Yeah Yeah! We’re having some remixes done…but ya know, people are taking the remix thing to another level, kind of a like a day job. They’re asking for excessive amounts of money for work I don’t believe should be worth that much in the first place. Honestly, I think remixing should work like a barter system: “You remix our song; we’ll remix your song. Sound good?” So when someone asks for $10,000 to do a remix it almost forces you to respond with a “Fuck you!” What makes you think your one remix of my music is worth that much? I didn’t even make $10,000 to make the record so why do you think your one hour of time is fucking worth $10,000?!?!?

Daniel: Especially when a lot of the remixes scream “lack of effort”. You can’t expect to rehash a song with a corny techno beat then to consider it a worthy remix. We’re trying to change that.

I could see that if the remix was more than just a few soft synths, some new fills and an edit or two done in reason or fruity studio how a studio remix would require an exorbitant fee like ten grand, to go the D.A.W. route with an official album remix is an amateur method. In my opinion, which could only end up resulting in the track becoming an afterthought instead of a creative continuation of the original.

Joshua: Did you hear our remix of the Junip song?

I did not know there was a remix EP for Horsepower until tonight.

Joshua: No, we remixed Junip!

Whoa! I’d like to hear that!

Joshua: When we remix things, we erase all the original music and rewrite the entire song from start to finish. I think that’s an interesting way to do it. I’m not saying that’s the “right” way to do it, it’s just us trying really hard and taking it as serious as it is our own song. I wish people would remix our music like that’s why we had the Horsepower EP remixes done by people who take remixing seriously.

The remix industry is kind of weird to me. It’s like “Let me bounce you these stems” and voila! “We have a remix! It’s a new song!”

Joshua: We got commissioned to do a remix for Grinderman (Nick Cave’s side-project)…but I loved this song so much that I could not even begin to change it! I tried everything I could possibly think of and I came to the conclusion, “You know what? This song is better than anything I can do to it.”

So did you just leave it on the shelf?

Joshua: You (Daniel) were gone at the time so you weren’t able to do something with it. I spent maybe 24 hours on it total and couldn’t do anything to it. It’s their best song and in my opinion it was just perfect the way it is.

I picked up on the band’s humorous quirk considering Dale Earnhardt Jr Jr is a prime example of that tongue in cheek levity. So, I have to ask, what does #88 have to say about it?

Daniel: He like our music! Josh actually wrote him a letter because we wanted get an answer as to whether or not he was aware or upset with us for using his name in the band. He was extremely kind which you don’t find with people who have massive amounts of money, ya know? As popular as he is, he was surprisingly very thoughtful and gracious and said he was a fan of our music. That was nice since we were concerned he was going to come after us for using his name. Jimmy Johnson told him about our name and the rest is history.

That’s pretty cool! At least he wasn’t an egomaniacal prick that thought you were lampooning his name.

Joshua: He’s so far from that…it’s so strange because I think a lot of musicians get hated on by music fans because they’re so compartmentalized, ya know? If you like techno music you might think what we’re doing is cheesy because we’re using some of the same sounds. I think that in that way Dale Earnhardt Jr. gets mistreated because people view him as this country bumpkin NASCAR driver. On the contrary, he’s really smart and super nice plus a decent guy to boot. If you research him, he’s involved in so many great charities and personally invests a lot of time to them…I think he’s just a really great guy. Communicating with him was definitely a lesson in “never judge a book by its cover” so hopefully we can be a part of teaching people that.

If there’s a feel good story here it’s knowing that nugget of truth! Thank you very much and I appreciate you participating.

Daniel: Thank you!

Joshua: Yes, thank you very much…nice to meet you, George!

Well it was an honor to present them to you. Thank you for an amazing time and another round of gratitude on behalf of ZapTown readers.

Joshua: it was our pleasure!

—

Let me wrap this up with one final note. I have brushed elbows with quite a few famous musicians, DJ’s and artists over the years by chance or by attending shows and events. After this interview, you can only imagine the feeling when Josh Epstein gave me hug instead of shaking my hand when I presented it to him. If that doesn’t speak volumes on the character of these guys I don’t know what does. Arigato’, Josh and Daniel, I hope we can do it again soon!