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Dead Leaf Echo has been written-up more times in the past few months than most New York bands get in a year. With good reason. What LG, Mike, Liza and Ana have done is simply re-created the shoegaze sound for the modern era. You know, shoegaze: that UK-founded, skirting on post-punk subgenre of alternative that started with Jesus & Mary Chain, ended with Adorable and saw the likes of Ride, Lush and My Bloody Valentine in between. Not an easy task. To take on the great shoe-groups of the 80s and 90s is a daunting task at best, much less equal or better them. And though it’s probably inaccurate to say that Dead Leaf Echo is the sole-proprietor of this re-invented movement, they are certainly the new chairpersons.
They have quietly and subtly reached back in time, crafting a sound that rings with familiarity of creatively noisy guitars blended with that complementing croon of LG’s. But there is so much more to Dead Leaf Echo than a simple re-invention of a classic sound. LG knows exactly what needs to be done to modernize and re-introduce the genre to a new generation, as well as people like yours truly who long for yesteryear’s sounds. He has more than a list of influencers. He has gone out his way to tap into their minds and hearts to find out what made them tick, listened closely to what they did, worked with some of the greats, and, with his bandmates, crafted a crashing sonic onslaught that reverberates your mind and body to the core.
OAN: LG, let’s talk about the shoegaze movement for a minute. You and I have talked and shared some thoughts about it. Relay in your own words what shoegaze is and means to you.
LG: It's a funny word word isn't it? Once something of degradation is now worn with pride by many. Almost purely a British colloquialism 15+ years ago. I remember they called Ride - grunge here in the states when it came out. But now it's made it's big comeback especially with MBV last year and everybody loves dropping that word on anything. Any thing with reverb now on it is Shoegaze isn't it? Use delay? Oh! Shoegaze band. Press buzz word eh? But how many people really know what it references? Sure more people now than ever, but still if you asked somebody on the street, they'd probably wouldn't even look at you. Remember the old saying about the Velvet Underground? How nobody really bought their records but everybody that did started a band, it's kinda of like that with Shoegaze. There's more bands than there are fans. Are we a shoegaze band? No. Sure people say we wear our influences on our sleeves, whether you want to call that dream-pop or etherial post-punk or Regional Mexican is up to you.
OAN: There is an air of mystery about Dead Leaf Echo, meaning, you have indeed very quietly gone about your business, remained focused, created fantastic work and let it speak for itself. You’ve had two pressings of “Pale Fire” sell-out completely which is quite a feat. “Faint Violet Whiff” as well. You haven’t done many interviews, but have very much been showered with the attention and affection of the media and fans. If you would, talk about the attention your two releases have gotten (not to mention the hype coming from the soon-to-be-release) and enigma the mystery is purely incidental or crafted a bit. And are there thoughts of re-printing the first release?
LG: Well as to re-printing the 1st release- no. Because I don't feel “Faint Violet Whiff” is what it could have been- I don't much care for it, sonically and feel that some of the songs on there should be given the chance to be re-birthed under different circumstances. As far as the mystery part of it, I just think we're very private people who haven't put that much of ourselves out there, not that we've really been thrown under any spotlight or anything.
OAN: LG, Dead Leaf Echo is your creation, your passion, and clearly the band shares in your enthusiasm and creativity in what you play, but how much collaboration is there in writing and composing each song? Do you construct by yourself then tap into them to expand? Or are there concept sessions where each member brings ideas to the table?
LG: I am the carrier of the torch for this band, but it would simply not exist without the passions and drive of everyone involved, period. Mike DiLalla has been there since the beginning and has encouraged me and helped throughout all the struggles that we've faced. What Liza has given has also been tremendous, and they have both have stamped their own distinct personalities on the songs. Ana in the last year has given so much of her time to helping us out in anyway she can that I'm forever indebted to her. Regarding the song, they all grow organically from the root up and continue to evolve even after they have been recorded live.
OAN: What does it mean to you to be in New York and having this kind of passionate atmosphere supporting you. Do you think you could do this anywhere, or is the character of New York and the music scene here a big influence? I ask because your sound just seems to fit here.
LG: New York awakened me to many things, and gave me a much needed ass-kicking. It's very hard here but for good reason, if you can survive here you will position yourself well in the world. As far as the music scene here being an influence that would only extend to certain friends in my close circle, as I feel there's always an extraordinary amount of extraneous waste you have to wade through on a daily basis. Of course there's not really any one scene here, its way too big for that, that's the conflict right? Everywhere else nothing to do, here too much on your plate. And no I don't think we could pull off what we're doing here in most parts of North America, I think New York or maybe parts of the West coast are the only places that could accept it. Europe on the other hand I think would take to it with open arms.
OAN: I actually might take those as words to live by. Thanks.
Your contacts, your collaborations, your work with outside personas is a must-discuss. We’ve talked about your conversations that you’ve had with Piotr Fijalkowski (Adorable). And you’ve worked with both John Fryer and Ulrich Schnauss. Describe what your experience in working with some legends has been like and how it’s affected your music.
LG: Well I've only spoken to Pete briefly over email, but he's a major influence for me and I hope to cross paths with him one day. I've been extremely lucky to work with both John and Ulrich. Especially with Ulrich- he's like no one else I've met. He's most the most supportive person I've meet in regards to this crop of new artists that are coming into focus now.
OAN: Are there any other creative outlets you explore to kind of step away from music? I ask because you have some very interesting album art. So perhaps photography is something you dabble in? Or do you leave that to better hands?
LG: The complete visual image is of integral importance to the band. Vision+Sound is a complete package especially when in regards to Dead Leaf Echo. Album artwork is very important to the work whether I'm designing it or working with someone else on it, and then there's moving images. Live we use original visual projections on the band created both from digital and celluloid formats. The 1st three videos we released were shot all on Super 8. We're now working on a new video for 'Half-Truth' shot on 16mm.
OAN: Anything else you want to tell the fans? Anything at all?
LG: Vinyl! We're gonna bring it. Hopefully a 7 inch first. But really the band hasn't even really started yet, everything up to this point has purely been experimental in terms of exposition. We've only done these small collection of pieces so far, but the band has to grow first as a unit in addition to outside factors stepping in to elevate the band to the next level on both an artistic platform and as a functioning entity.
OAN: LG, my friend, thank you for taking the time to answer a few questions and letting myself and everyone get some wonderful insight into someone who is truly passionate and frighteningly well-versed about what they create. I thoroughly enjoyed the show at Public Assembly and am looking forward to many more. Cheers!
MP3: Act of Truth - from "Truth"
MP3: Pale Fire (Ulrich Schnauss Mix) - from "Pale Fire"
LG's Mix-Tape
MP3: The Moon Seven Times - Her House
MP3: Orange Yellow Red - Into Your Arms
MP3: The Mary Onettes - Dare
MP3: Adorable - Vendetta
MP3: Her Vanished Grace - Sirens
MP3: New Fast Automatic Daffodils - Bruises
MP3: The Boo Radleys - Alone Again Or
MP3: The Durutti Column - Believe in Me
MP3: Kitchens of Distinction - Elephantine
Official Site
MySpace
Purchase "Truth," First Pressing
About two years ago at this time, I was given three tracks from a self-released album off home-grown label “Hits the Fan” by a band quirkily named “Frightened Rabbit.” It took one listen for me to run to anyone who would listen proclaiming “you gotta hear this.” I was not the only one who took notice. Fat Cat Records quickly reeled in the talented Scott Hutchinson and brother grant to polish the not-quite-demo, not-quite-studio first full-length LP for release in Autumn 2007, which I quickly devoured and again put into the ears of anyone who would listen. A most unique holiday track was released a few months later. Then, Frightened Rabbit went into the studio and recorded one of the most inspiring, gut-wrenching collection of songs these ears have heard, “The Midnight Organ Fight.” It’s an album that thrust them into the limelight of music rags, new adoring fans, and won over critics the world over, none of whom could get enough of Frightened Rabbit. And they were happy to oblige, putting out a live track-for-track show of “Midnight.”
OAN: Scott, you, Grant and Billy are playing like mad and very busy, so I can’t thank you enough for taking the time to sit down and chat. Let’s start with Midnight: we seem to be coming into an age of a rebirth of the concept album, an album that tells a complete story. Do you consider Midnight to be one, as it seems to tell a very personal story from a moment of time in your life.
Scott: It wasn't conceived as a concept album, but when we put the tracks together, it became quite plain that there was a story there. I am a fan of albums that take you somewhere, start to finish, and feel like a slice of someone's (or a group's) life. There is definitely that aspect to the MOF. When I grab on to a subject, I often become rather obsessive, and explore it to its bitter end. That's really all that happened there.
OAN: You write with a unique mix of poetry blended with plain language. How do you conjure the words and combine it with a truly uncommon instrumentation? Which comes first, your endearing Scottish croon, or the twangy, catchy melodies?
Scott: Melody is always first. If you don't have that to hang the words on, then I don't think you have a song. One of my favourite responses to our music is when people say they have been singing along to our tunes for days or weeks before they realise what they are singing. The content kind of creeps up on them, because before they were simply enjoying the melody and the beat. This may sound weird, but when I listen to other bands, I'm not really a lyrics person. Its always something else that draws my ear in first, so that 'other' draw will always be a high priority.
OAN: Let’s talk about your relationship with Fat Cat and how influential they were in promoting your work, putting that much time into Sing the Greys and carefully marketing your assault on the music world. Your relationship with them seems to be completely symbiotic. But clearly, they were a big propellant for your current success.
Scott: They have been incredibly supportive from way before anyone else (perhaps even our families!) knew that Frightened Rabbit existed. Our relationship spans back about 4 years now, from the day they put our Tascam demos up on their website, then we began emailing, then they put us on a FatCat showcase at The Great Escape in Brighton, even though we didn't sign to the label until about 18 months after... They're the only external force that has always been there, and that is a really wonderful thing.
OAN: Something a bit different now: I’ve seen you perform four times. And your on-stage persona is, well, quite a bit different from the material you sing and play. On stage you are this warm, joking guy who has been known to crack a chuckle while playing some of the most woeful material out there. Is it a mind-set you have to prepare for? The contradicting personas you have within writing his songs and performing them?
Scott: I feel really at ease in front of a group of people. There's an element of control when you perform for an audience, which i really love. Its another, very seperate skill to presenting a live show that many bands seem to ignore. I quickly found that, even if we sounded like shit, a few wry observations would set the show on the right track. Its a fucking life-saver some nights.
OAN: The live album really shows if off. Why did you decide to record a live version, track-by-track, of Midnight. And though I haven’t been a personal witness to it, why did you decide to occasionally cover “Fake Empire” as a prelude to “Backwards Walk?”
Scott: The label were keen for us to perform the whole record, as a kind of bookend. Lots of people really took to that record in a rather intense way. It was important that we recognised that by playing the show in our hometown. The disc is essentially a souvenir of that for ourselves and those who were there, if nobody else. As for Fake Empire, I fell in love with that song and with that band, and played it for that reason really. Plus they are both in the key of C, I think.
OAN: Album art has to be discussed. I know quite a few people impressed with your diverse artistic talents. Is illustrating something you’ve always had an interest in? And what else do you do to stimulate that creative charge?
Scott: Illustration is the only thing I'm actually qualified to do. I studied for 4 years at the Art School in Glasgow, got my degree and then didn't draw for around 2 years. I'm drawing more regularly now for the sleeves etc, but its always interested me to give new things a go, things that I have no training in, to see if I'm any good at them. Might give astrophysics a bash after this record...
OAN: Too funny, Scott Hawking. Are you working on any new material or are you just enjoying playing live for right now? What are some of the most memorable shows you’ve done (I ask because you play some very intimate venues and have a lot of personal interaction with the audience. Surely, there has to be a great story or two in there.)
Scott: The new album is pretty much written, and I've demo-ed it up with the exception of the drums. I prefer this aspect of the band to the live stuff. The touring can feel a bit mechanical and draining. That said, some of our shows have been the most memorable times of my life. I'm not much good at anecdotes... The ones that stick out for me at this point were our recent London show at the Scala, and our shows in Chicago and Ann Arbor during the last US tour. Specific stories escape me now. I'm not very funny when I'm not on stage. Sorry!
OAN: You're too humble. I hear a bevy of sounds that emanate from your guitar and keyboards, not to mention your brother’s percussion. What are some of your biggest influences, either genres or bands or songs. I hear everything from twangy American southern soul to flat out rock-n-roll. But it all has that Frightened Rabbit twist, no pun intended.
Scott: Its all in there. Our influences are pretty wide, which hopefully keeps it fresh. I don't care for sounding like just one band, but as far as the next record goes, I think there's a fair bit of The National, TV on the Radio, disco, Jens Lekman, Death Cab, LCD, King Creosote and the usual dose of country and Dylan nad The Band (mine and Grant's greatest obsession). I'm a total thief when it comes to carving out a sound, but hopefully the pieces I've taken and put together originated far enough away from one another that it doesn't come through too obviously in the final song.
OAN: Anything else you want to tell the fans?
Scott: Eat three pieces of fish a week.
OAN: Heading out for sushi now. Scott, again, thank you for your time. I look forward to your next trip over to the States and whenever you release shiny new material. I owe you a beer or three when you come to New York City next. Cheers!
Mp3: Square 9 - Sing the Greys
MP3: Old, Old Fashioned - Midnight Organ Fight
MP3: Fast Blood - Liver! Lung! FR!
MP3: Be Less Rude - Live Acoustic Session
Scott's Mix-Tape
MP3: The National - Fake Empire
MP3: TV on the Radio - Wolf Like Me
MP3: Death Cab for Cutie - Your Heart is an Empty Room
MP3: Bob Dylan - Lay Lady Lay
MP3: The Trammps - Disco Inferno
MP3: LCD Soundsystem - All My Friends
MP3: King Creosote - No Way She Exists
MP3: Jens Lekman - I'm Leaving You Because I Don't Love You
MP3: The Band - Up On Cripple Creek
Links:
Official Frightened Rabbit Site
Frightened Rabbit on MySpace
Fat Cat Records
Buy Frightened Rabbit on iTunes
Normally, the Saturday 8-Track would be reserved for Saturday. But I was a tad busy, so better late than never. The theme is basically about the weekend: Eight bands in four nights, with lots of beer. Lots.
mp3: Guided by Voices - How's My Drinking?
But man, what a blast. So, here's your mix, from Friday to Monday.
Friday night, new friends Coyote Eyes played a stellar set at Cameo.
mp3: Coyote Eyes - Clumsy
Saturday, I went to check out Fires of Rome (a friend's brother's band) at Church Lounge.
mp3: Fires of Rome - Dawn Lament
Sunday, The Antlers, Papercuts and Vetiver at Bowery Ballroom. I don't think this show needs any further commentary.
mp3: The Antlers - The Universe is Going to Catch You
mp3: The Papercuts - You Can Have What You Want
mp3: Vetiver - More of This
Monday I went to see friends Phantogram bring it at Santos, and had a couple pleasant surprises.
mp3: Phantogram - Voices
mp3: Big Bang TV - Hollywood
mp3: Free Blood - Grumpy
I'm exhausted recapping that.
Enjoy.
PS - New segment tomorrow!
Dead Leaf Echo has been written-up more times in the past few months than most New York bands get in a year. With good reason. What LG, Mike, Liza and Ana have done is simply re-created the shoegaze sound for the modern era. You know, shoegaze: that UK-founded, skirting on post-punk subgenre of alternative that started with Jesus & Mary Chain, ended with Adorable and saw the likes of Ride, Lush and My Bloody Valentine in between. Not an easy task. To take on the great shoe-groups of the 80s and 90s is a daunting task at best, much less equal or better them. And though it’s probably inaccurate to say that Dead Leaf Echo is the sole-proprietor of this re-invented movement, they are certainly the new chairpersons.
OAN: I actually might take those as words to live by. Thanks.
