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VanGaalen Brings ‘Island’ to Soda Bar

Canadian illustrator, sculptor, musician and producer Chad VanGaalen hasn’t had much of a break in the last few years.

Content for a long time as a visual artist, someone heard some of the recordings he had been making in his makeshift basement studio in 2003 and thought they were better than the handmade/hand-drawn treatment they were getting. Before he knew it, a collection of VanGaalen’s scattered compositions was being released as his debut on the Canadian label Flemish Eye, and the album, Infiniheart, was picked up by Sup Pop Records shortly after. It’s been quite a whirlwind ever since.

VanGaalen has released three more of his own full-lengths for Sub Pop and one of more experimental material, under the moniker Black Mold, for the influential Seattle label. He’s created all of the art for his albums and videos, as well as the art and animation for artists like Dinosaur Jr.’s J Mascis, Guster, and Holy Fuck. VanGaalen also served as producer on both albums from fellow Canadian indie darlings Women. His latest offering, Diaper Island, takes its cues from that last trip to the studio with his fellow countrymen and incorporates much more of a guitar-driven sound than VanGaalen has ever done before. I recently spoke with the multi-tasking artist — and father of two — from his home in Calgary about the new album, a new studio, his role as musician and how he manages to keep up with it all. 

Scott McDonald: Diaper Island definitely has some new sounds on it. Result of the new studio?
Chad VanGaalen: The first record I produced in the new studio was Public Strain — the Women record — and having a real space for the first time, I was actually able to get some good guitar sounds with very little between the amp and the tape machine. And I really liked how it turned out. So, I guess, part of it is just plain laziness. I also had another kid in the meantime, so I was like, “OK, let’s steal a lot of the production notes from the last record.”

SM: It does seem far more guitar-driven.
CV: Well, I’ve always been pretty jealous of the rhythm- and lead-guitar parts, and I’ve always been scared to do more of it because I’ve never been able to do that live. I’ve never had two or three guitars going on. But on this tour, there’s no bass; it’s just three guitars and drums. So the timing is right.

SM: It also seems like the new record is more, for lack of a better word, streamlined.
CV: I had a lot of time with the other records — maybe too much time — and I’m definitely quarantining the sounds now. I’ll be putting out a couple of drone records at the end of the year, as well as an instrumental, synth-rock record. In the past, maybe all of that would have been appearing on one album in a jumbled fashion, and I just feel like when I’m making that stuff now, I want to focus on one sound. And I feel like it’s been hard to properly represent all of that in the live setting anyway.

SM: How do you represent all of the different sounds live?
CV: We whittle it back to the song. There’s a lot of singing and harmony, and lot of times that will be a synth line or something like that, but it definitely doesn’t sound like the records. It’s far more rock & roll live. I’m sure that sounds pretty boring, but that’s what it is. I mean, we were carrying around things like acoustic drum machines and all kinds of miscellaneous noise-making devices for a long time, but that just got tedious. I don’t want to be just pressing a button or something. Ultimately, that’s the worst thing you can do. Then, there’s no growth, it’s just the same thing every night.

SM: Is the new record indicative of the direction you’re going, or do you feel like a return to your lo-fi roots is possible?
CV: I definitely think there’s a digression needed. At least that’s what’s in my mind right now, with the ideas that I have. As I get older, I’m simplifying everything and trimming the fat. And it is going backward in time. The most hi-fi that I’ll ever be has probably already happened.

SM: Especially with a family, it really seems like you have a lot going on.
CV: I’m actually glad you said that, because it does feel like a lot. I’m totally in love with visual art, first and foremost. I’m totally comfortable doing it. Music for me is … well, first of all, I don’t know who the fuck decided that this was a good idea, but it is so hard. It’s just so very hard for me to maintain it. I never imagined myself a musician, so it’s been pretty daunting for me to legitimately be like, “Hey, this is who I am.” Visual arts are way easier for me, just because I’ve been doing it for so long. And producing is just … I don’t know … I just go at it. And it helps when the people you’re working with are your friends. But I couldn’t go into some big studio. I’ve just been working on that equipment for the last 15 years, so I know how to use it. But it’s a lot. And throw two kids into the mix, and it really is a lot. But I’m a visual artist, and this winter I’ll be doing at least a couple of paintings and probably a little sculpture.

SM: I hope that doesn’t mean no more music.
CV: That there are people who like what I do is the only reason that I’ve kept the ball rolling. That is … well … it’s just incredible to me. I never imagined that anyone would ever care. I’m completely flattered that anyone is out there listening any more.

Originally published by NBC San Diego  on October 10,2011

Arctic Monkey Business

Sheffield rock quartet Arctic Monkeys haven’t known much struggle in their time together. The first demos the school chums put together became an Internet sensation in their native England and beyond, and by the time they released their debut, 2006’s Whatever People Say I Am, That’s What I’m Not, their popularity was only rivaled by their hype. Fortunately, that album was a snarling collection of well-written, infectious tunes, punctuated by half-witty, half-sardonic lyrics, that both showed a distinct maturity beyond young men freshly in their 20s, and helped to validate much, if not all, of the hype.

The record became the fastest selling debut in UK history and won the Mercury Prize that year. In the five years since, the band has released three more albums, toured the world and continued to grow in popularity. Their latest offering, Suck It and See, was released in June and is quite a departure from 2009’s Humbug, a release they recorded with Queens of the Stone Age’s Josh Homme at his Joshua Tree Studio. Suck It was recorded with producer and longtime collaborator/friend James Ford in Los Angeles and features drummer Matt Helders’ first shot at lead vocals on the track “Brick By Brick.”

I recently spoke with Helders, who was at Santa Monica Beach, where the band was “just having a couple of relaxing days off before the tour starts” — a tour that the Monkeys are sharing with indie powerhouse TV on the Radio. They’ll be making a stop at SDSU’s Open Air Theatre on Saturday night.

Scott McDonald: The new album is quite a bit different than your last.

Matt Helders: I think it’s always been a conscious decision of ours to always move on and do something new. I think it’s also something we all find exciting about making a record as well: doing something we didn’t do last time. And one leads to the other. I don’t think we’ll ever say, “Well, let’s go back to what we’ve already tried.”

SM: The change seems more noticeable this time.

MH: Humbug was more about going in and doing something with someone new and we’ve never worked with before. But I think the songwriting has changed as well, and that’s contributing to a different sound overall.

SM: How much did James have to do with that?

MH: We feel comfortable with James, and we’ve always worked with him  — in one way or another — but this is the first record where he did the whole thing. He’s confident and talented, and can play a lot of instruments, and we felt really good about him getting involved in all of the ways he did.

SM: How was your first foray into lead vocals?

MH: I definitely enjoyed it — and I do have a taste for it. It was a lot fun, and I’ve always enjoyed when I do the backing vocals. I really like singing in studio as well — when you get it right. I’m certainly open to the possibility of more of it and singing on other projects. I’m sure I’ll get around to it eventually.

SM: Was it strange that you guys were well known before you even released an album?

MH: Well, I suppose that’s true in some places. But I think it all depends on where we are. It’s certainly different here than it is in England. We still have a lot of work to do here. I mean, we’ve always been at a level where we could come here and have fun, not worry too much, have a good tour and do some shows that were sold out. And I guess that seems somewhat successful, given all of it. But in America, we have plenty more to do.

SM: You guys have packed a lot into just five years.

MH: I think we all know that we’ve done quite a lot within the five years since our first record — and by the time we’re all 25. It’s quite a special thing, I think. But it is what it is. We’re not all that far into our career, really. But it’s definitely a good start, and we’re getting more comfortable as we go along doing what we do. We’re getting a lot more used to it. It may seem like it’s been a long time since the first record came out, but it really isn’t. And these five years have gone by quick.

SM: But you’ve known each other for a lot longer than that.

MH: We all grew up together. It’s a bit strange, but I think that’s just the kind of relationship we have with each other. It’s more than just the music, and that helps with everything. We have a lot more to talk about than just the band.

SM: You’re on tour with TV on the Radio. How can you write when you have them to watch every night?

MH: [laughs] This time, we’re just doing the tour. We’ve done it before where we write songs while we’re still on the road, but we’re just going to ride this one out. After that, when it’s all done, we’ll regroup and decide about the next bit.

First published on NBC SoundDiego September 23, 2011