Happy Pi Day! We are over here celebrating with some apple pie and basketball, but first thing is first: a new podcast episode. For our 4th installment, we sit down to chat with Philadelphia-based A Day Without Love (Brian Walker) about the way he serves his community, his music influence, and, of course, anime.
Today’s conversation is a sit down with songstress Alice Phoebe Lou, whose album Paper Castles is out tomorrow, March 8th. The lead up to this release has proven insane for her, as – since we spoke – Robert Plant opened up for her in Leeds and she recorded a Daytrotter session with Paste. Listen on for more.
A few weeks ago, we had the distinct pleasure of sitting down to chat with Talker while she was revving up for the release of her debut EP Horror Films. We also got to speak about energy healing, life in Los Angeles, growing up in the same metropolitan area, and other fun thoughts! Since then, Horror Films has made its debut as well, so you’ll want to check that out. (But only after you listen to our podcast.)
1:03 – Joshua Tree
3:47 – Sacramento
8:34 – conception story
12:13 – writing process
13:33 – new music video
18:00 – new EP
20:28 – Frenship
22:44 – things to do in LA
25:36 – energy healing and crystals
28:43 – sloth
37:17 – The Great British Bake Off
Cole Guerra has crafted a sound that balances on the edge between progressive rock and pop with latest project I Am Casting, a musical entity we have been captivated by since premiering “Clay” last year. Amidst the release of the project’s debut album, we got a few minutes to sit down and dig in with Guerra on everything music. Check it out below!
There was a time when you were studying and performing, were there any points where the focus of your studies intermingled with your song writing?
That period was well before writing any of the songs on Carnival Barkers. The overlap would have occurred primarily during the writing of an album called Scarves & Knives, which I put out under my own name years ago. I don’t believe that the focus of my studies really made its way into contemporaneous songwriting material, though I can look back and recognize that I was, at times, working some psychological stuff out (about myself) through my lyric writing.
On the other hand, my exposure during grad school and beyond to issues central to clinical psychology and social psychology has pretty clearly influenced my lyrics over the past couple years, while writing the tunes on Carnival Barkers.
Does your background in psychology help when writing lyrics?
In general, I’m sure that the psych background funnels me towards certain subject matter, even if I’m not altogether deliberate or conscious about this, and that it then informs the perspective I have on the chosen subjects. The psych background definitely influenced how I approached the material on Carnival Barkers. It was 2016 when I began working on the album, and from the start of lyric-writing I knew my framework was to write a collection of tunes that would observe, from various angles, something about the psychology of the political moment. Most of the songs offer a take on toxic influencers and/or their impact, both on those who ‘buy in’ to the message and those who do not. For example, I think of ‘Wolf’, ‘Charmer’, and ‘Lullaby’ as Pied Piper-like riffs, thematically. I view ‘Helpless’, ‘Muggers’, and ‘Seams’ as fragments of possible responses by those upended and left feeling powerless in the wake of a malignant carnival barker. ‘Flood’ and ‘Window’ are songs about the political exploitation of fear and prejudice.
Carnival Barkers will soon be released, “Flood” was the first single released from your new album. What is the background behind “Flood”?
‘Flood’ was one of the first songs written for Carnival Barkers – it was penned in mid-2016. During the run-up to the election, I was disgusted, like many, by how often Trump negatively framed non-white and non-European populations and made racial and ethnic distinctions increasingly salient. He was explicitly signalling to his political base that they should care about race and ethnicity differences, and that those outside their racial and ethnic ingroups (here’s the social psychology influence I referenced above) were clear threats. In essence, he seemed to have a strategy of stoking and then exploiting people’s fears about those in outgroups. We’ve seen this play out over the past couple years – in, for example, the alarmism about the “Caravan” or with the just-declared “national emergency”. ‘Flood’ tries to get at aspects of this, as does the song ‘Window’.
The video for “Flood” used footage of historical events that ties into the song, of the footage you used which part sums up “Flood” the most?
The juxtaposition of (a) clips from a 1957 promo piece by Redbook magazine that depicted tranquil white suburbia with (b) clips depicting the aggression and hostility of white women and men towards the Little Rock Nine during that same year.
After Scarves & Knives you kind of disappeared, what were you doing in that time?
At the time of releasing Scarves & Knives, and then touring in support of it, I was ‘on leave’ from my clinical psychology program. I had a decision to make after touring – do I finish the degree or commit full-time to music? I was invested in both possible paths and knew I wanted to wrap up the doctoral degree and keep the door open to becoming a practicing psychologist. I re-engaged in the grad program, which was a pretty immersive thing involving dissertation writing and clinical work, followed by an internship and subsequent ‘post-doc’ experience. After that, I jumped into developing my clinical psychology practice. During that stretch, whenever I tried to write music, it just felt kind of painful – like if I couldn’t do it full-on, why bother? Hard to explain, really. I somehow ended up going years without doing anything music-related. Most of that time, I didn’t even touch a guitar or keyboard. It wasn’t until 2016 that I began writing again.
Is there any overall advantage from working primarily from your home studio?
Yes, absolutely, especially as I’ve come to view tracking itself as an important part of my songwriting process – things are pretty iterative at this point, so I benefit from having the ability to easily go in and adjust, rinse, repeat, etc. I guess I could just call what I end up with a ‘demo’ and then go to a full-fledged studio, but the home studio is sufficient for me to obtain most of what I’m after – there are exceptions, and I did leave the home space to record some stuff.
What element of Carnival Barkers are you most proud of and why?
Probably that it feels like an album. There are thematic threads that connect the tunes, as I was describing earlier, and I think there are musical threads that do the same (arrangement choices, tonally coherent). Hopefully, if a listener takes in the full LP in a single gulp, there is a “whole is greater than the sum of its parts” type impact.
You studied piano as a child, how did this set you up musically for your future musical endeavors?
I’m sure that early exposure to an instrument was one of the things that contributed to a love of music, along with extensive music-listening as a young kid. I’m also pretty sure that playing the piano made it easier to learn and play the guitar, which I picked up just after high school. This is conjecture, but maybe the most significant impact of playing an instrument as a young kid was that it introduced me very early on to the idea that one’s experience with music can be that of an active participant.
What was it about Richard Buckner’s Since that captivated you so much?
Just about everything, really. Chord progressions and melodies that grabbed me immediately and then somehow continued to grow on me after a ridiculous amount of spins. The sound itself – dry vocal upfront, immersive + emotional musical beds. The tunes cohere as an album, and yet there is a great amount of variability in song tempos, tone, structure, and length. I usually don’t weigh lyrical content that greatly in my music preferences, but Buckner’s lyrics on Since are just incredible. And lastly, the tunes seemed so specifically him – I didn’t have a clear sense of ‘influences’.
Since also introduced me to the work of producer and bassist JD Foster, who had produced the LP as well as Bucker’s preceding album, Devotion & Doubt. A few years after the release of Since, I invited JD to a show I was playing in NYC – the conversation with JD after that gig eventually led to the making of Scarves & Knives.
Why did it take a text from Ian Schreier to get you making music again, had you not thought of your music before that point?
There was something motivating about re-engaging with people I’d worked on music with in the past – Ian had mixed Scarves & Knives and been involved in some of the recording as well. Also, quite frankly, it was probably that the messages from Ian over a couple months, along with some other input from musicians I respect a lot, helped to build up some lost confidence. The initial communication from Ian led to a couple meetings at the studio where he typically works, and to me taking a plunge on buying some home recording software/hardware – I’d never had any recording gear previously.
When creating music for Carnival Barkers it was the lyrics that came second, what is your usual creative process of writing?
Lyrics have always come relatively late in the process for me. Frankly, as a listener, the music (the chord progression, the melody, the texture/sound/feel, etc.) speaks to me far more than does any lyric. A bad lyric can put me off, but I’ll listen to a great-sounding tune with middling lyrics. A good lyric is like a bonus of sorts, icing on the cake.
Though I’ve always written music before lyrics, the creative process did change quite a bit for Carnival Barkers. Prior to CB, I’d write the progression + melody + lyric while sitting with a guitar or at the piano, and think about arrangement and texture after the song was, in essence, ‘done’. With CB, the home recording setup and software enabled me to write and record percussion (and other) parts in tandem with the keys or guitar, and the rhythm and ‘texture’ tracks ended up influencing my progressions and melodies to a degree I never would have predicted – I really prefer this newer approach. As I start playing with a vocal melody over a progression I’ve already written and recorded, a lyrical idea or theme will sort of emerge – usually a phrase or two grab me and then I shape the remaining lyric accordingly.
Thank you for giving Imperfect Fifth this interview, is there anything you would like to add?
No, other than thanks for expressing interest in the album!
Each week on Thursday, we will be releasing a new conversation with someone from the industry. Musicians, writers, publicists, managers… you name it, we’ve spoken with them. And, sure, we’ll get down to the nitty gritty on everything they’re promoting, but we are also over the moon thrilled to be discussing offbeat topics, like aliens, mysticism, magic, and more! This week, you get us raw and with no theme music. And our guest is the incredibly intriguing Kirsten Carey, brainchild of Throwaway. But if you listen closely, we have a special guest quietly intro into our first question. The first episode is now live, and can be heard here.
We will be up and running on all streaming platforms soon. In the meantime, feel free to download directly to your space as well here.
Throwaway also has a stunner announcement! Today, they’re releasing the new video for “The Brilliant Society of The Illustrious Mule” in tandem with our podcast release! It looks to include clips of some of our favorite Disney characters parading about the park, and is just as entertaining as the incredible woman behind it all! Check it out below!
Southern California-based psych/folk musician Elizabeth le Fey has been making beautiful strides with her music under the moniker Globelamp. We’ve been bedazzled by her presence ever since 2014’s Star Dust entered our lives, and watching that progression has been an absolute pleasure over the years. Luckily enough, we got a few minutes to speak with the masterful le Fey about her music, and we also got a few other fun questions in.
Romantic Cancer is your most stripped down album to date, why did you decide on this for your third release?
I wanted to finally put an album out that sounded closer to how I sound live. When I perform live, I play alone. Although I love experimenting in the recording studio, I thought it would be good for Globelamp to have an album in my discography that was true to what the roots were of my music making – guitar, piano, and me.
You recorded Romantic Cancer in Bohemesphere Studios not far from Woodstock, which is a name synonymous with music. Did any element of Woodstock appear in your music?
Yes I think the elements of Woodstock were in my music even before I went there so it was extra cool to be inspired by the actual location of Upstate NY. Growing up, there is so much mythology around Woodstock that if you are a musician, you probably have romanticized it.
Your new album focuses on how we pull ourselves back together again after a breakup, how would you hope this would help and inspire people who are just going through a breakup?
I hope this album would encourage people to love again even if they have been hurt before. I hope I’m not the only one who relates to the emotional low of “lowest low” haha. I think that sometimes you don’t realize you are romantic until you date someone who is afraid of romance or love. Or maybe you are that person who fears love because of fear of abandonment or hurt. This album could be for either person in that scenario – the hopeless romantic – or the closed off emotional shell who secretly longs for love.
How did Romantic Cancer lead on from The Orange Glow?
The Orange Glow in my mind is more a psychedelic dark forest fairy tale. Romantic Cancer is more of a journal entry exposed.
You are a fan of British folk music of the 60’s, what is it about the music of that era and place that influence you so much?
I think I love the minimalism of it and the raw talent that was around in that time period. Now people can hide behind so many effects in music, it’s hard to tell who is actually creating what. I love the British folk music of the 60’s and how they tell stories and create a whimsical atmosphere with their words and phrasing.
You recorded a few songs on Romantic Cancer in just one take, what was it about the song and the emotion of the song that felt right on the first take?
I think it’s because I had practiced the songs so many times and envisioned how they should sound so it was easy to just bust some of the songs out. Of course people recording with you always want to add more, but in my mind, I already knew what some of these songs sounded like and I had a very clear vision of it. There is something powerful in recording one take of a song when you just KNOW you got it.
Why was love such an important subject for your new album?
Because I used to think that showing emotions and being vulnerable was weak but these last few years I realized that it is actually strong to say how you feel – because most of the time people can relate to those things the most. We all know what it feels like to fall in love or get our heart broken.
James Felice joined you on Romantic Cancer, what was it like to work with him as you are a fan of his music?
It was amazing and a total honor. I am a huge fan of the Felice Brothers and I think James Felice is so talented and he is also a sweetheart. I love the additions he added to the album. I can’t even imagine “Blinded” or “Black Tar” without him now.
When you wrote “Blinded” you wanted it to have a synth-pop sound, now I’m a big fan of synth-pop so what bands would have influenced you?
Hmmm I’m not really sure. 80’s stuff and the song “I wish You would” by Taylor Swift. Kinda a random answer but the backup vocals on I wish you would made me want to write a song like that (didn’t happen) but I kept imagining the vocals on “blinded” going “you and me you and me” over and over again the way Taylor goes, “I Wish I I I wish I II wish II I wish you would”
You speak a little bit of German and have visited Germany, what is it about Germany that is so magical or draws you there?
I guess their creepy history and the actual land, it feels magical. Growing up I always thought German was the ugliest language and had no desire to visit Germany, but after being there, I changed my mind. My uncle is a professional trumpet player in the Bonn Symphony Orchestra so I have had the pleasure of spending a good chunk of time in the country. I have always been fascinated by fairy tales and the Grimm’s fairy tales are German. When I was a student at The Evergreen State College I also took a course called “Blood and Beauty; the study of Germanic paradoxes of their love of mystery and order”. It was a really intense class. I love how Germany is helping the refugees from Syria, especially with the German’s dark past. My uncle has a whole Kurdish family from Syria living with him. They have their own house on his property. I feel very blessed that I was able to become such good friends with the Kurdish family. Since none of them could speak English, I had to get better at German. I actually wrote a song about them, and refugees in general, that I cut from Romantic Cancer. It didn’t fit the theme and I plan to put on the next album.
What do you feel is your most ethereal song you have ever written?
Wow hard question. I guess it matters if I am performing it or listening to a recorded track. Faerie Queen?
What do you feel are the most important elements of your music?