The Return of Rainer Maria
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st record anyway--really show for all the work.
TWEED: Now, the new album is coming out in the spring. You've finished recording but is there a title yet?
KYLE: It's usually a process to get a title. I think it'll come when we are under the gun. There was nothing that really popped out at us from the lyrics in terms of a record title. There was a lot of good stuff but there wasn't that obvious thing. We haven't even tried to name it at all.
TWEED: How does that work usually?
CAITHLIN: Once it was a lyric. Once it was something a friend came up with.
KYLE: All the rest, I came up with.
CAITHLIN: You did?
KYLE: Ok, so I named one fucking record. Well, I kinda named Long Knives... because I wrote that line--the only fuckin' line I wrote on the whole record. But if anyone asked, that's the one I named. Ok, so I named one record--leave me alone.
TWEED: Tell us about the recording sessions. What was that like?
WILLIAM: It was intense. It was intense. We recorded with Malcolm Burn. Malcolm is Canadian. We recorded in his big blue mansion in Kingston, New York. He got a copy of our last album and really liked it so he invited us up over the summer to record a few songs to show us what he thought he could do to the songs and show us what he could do to help us. And we went up there and recorded two songs in a day and decided he was wonderful. So we went up in October. For me--personally--he really pushed me a lot as a musician. He brought a lot out of me as far as arranging a song, stylistically, my playing style--he really brought great stuff out that I am sure I am going to use in the future.
CAITHLIN: He was sorta like your Zen Master teacher who, if you were approaching it sorta half-assed, he'd swipe you down. Like in Kill Bill--he'd take your eye out.
KYLE: Just the whole mood was different. We had just about the same amount of time as we had with Long Knives but it feels like we got more done. It was more about setting up situations where spontaneous musicality could occur and it would happen and you'd have it on tape and be like, "yes!"
WILLIAM: Yea, like rather than playing a song over and over again, he would just set up mics and it's like, "Okay. Play it like this."
TWEED: Well, what does this say about your sound? Is it a lot different?
KYLE: Some of it is more stretchy but, you know, if you're a band--a band for a long time--there is really something immutable about what you do. Like, it's still the three of us playing music so it doesn't matter if my guitar is acoustic or electric or if Caithlin is on bass or piano.
TWEED: So is this one going to be on Polyvinyl?
KYLE: We don't know.
CAITHLIN: We're not sure yet.
TWEED: I mean, from Look Now, Look Again until Long Knives Drawn, you guys had a lot of critical acclaim--whether you want to admit it or not.
TWEED: A lot of accolades from Spin, New York Times. I expect it will happen again. I'm not gonna jinx it or anything.
TWEED: Now you talk about maybe not being on Polyvinyl. Where do you see yourselves going right now? What is your goal? What are you looking to do?
CAITHLIN: I think we really just want the opportunity to take risks and keep doing this but you know--we want to work with people who have creative ideas and are into growing. I don't mean bigger necessarily but just in different directions like, we went to Japan for the first time last year. We haven't even been to Europe yet. For us, to keep it really great is to try new things. So that's what we tried to do with this album.
Stewart Smith contributed to this interview.
Wednesday, 16 February 2005
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