 |  |  |
Discography |  |
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• | Nefarious
(Fluffer, Ep, 1995) | |
| • |
Telephono
(Matador, 1996) | |
| • | Soft
Effects (Matador, Ep, 1997) |
| |
• | A
Series Of Sneaks (Elektra, 1998 - Merge, 2002) |
| |
• | Loveways
(Merge, Ep, 2000) |
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• | Girls
Can Tell (Merge, 2001) |
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• | Kill
The Moonlight (Merge, 2002) |
| |
• | Gimme
Fiction (Merge, 2005) |
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I
hate interviewing handsome men: I'm shy and this means I blush, cannot look at
them in the eye when they speak so I watch the walls, I hardly say something and
my mind simply switches itself off. Maybe Britt Daniel is not what you properly
call "a handsome man", but he's tall, very thin, his skin is clean and
bright and his hair, even if messy, terribly blonde: he really looks like an angel
and, for me, that makes things even worse.This is the interview. I apologize with
you, dear reader, I've done all I could. Are ten
minutes ok for you? They are. I slowly pass him a sheet like it was
a test, while I open my notes for a few questions. What is this? You
tell me. (Basically, it's a letter that a Gerard Cosloy wrote to
the Rock and Roll Hall of Fame Foundation introducing the band) Oh, this
is what seemed as a bio. Do you know this person? The person who
wrote it? Yes, he's a good friend of ours, he works at Matador Records. We've
been friends for a lot of time and he has a way with words, he's very funny. We
have to have a bio for every album which basically describes the album, but I
don't know why they call it bio because "bio" should talk about the
band, but it seems more like it's an album description or a statement of where
the band is at that moment. Things are always so boring; we just try to come
up with something a little bit more unusual. So, this letter was not actually
sent to the Rock and Roll Hall of Fame Foundation. I don't think it was.
I don't think it was actually sent, but it's very funny. First
of all my congratulations: I've heard "Gimme
Fiction" reached the no. 1 of the Billboard alternative chart. The
CMJ chart. It was good
Maybe we did some kind of alternative no. 1, I don't
know. Maybe you're right. Don't you care about things like that? I
do. I just don't know all of them. I know that it was no. 44 on the Billboard
album chart and it was no. 1 at CMJ - the college radio chart - for several weeks,
but I don't know about this alternative chart. Maybe there is one. Did you
expect these results after all this years? I know you had to finance yourself
to have your records released in the past years. Well, we've made this
recent one ourselves too. It's good that way because when you pay for yourself
beforehand then you bring it to a record label and you own it: you license it
for a certain number of years. If you are on a major label and they help pay for
the record, then they own it. So this is better. If you can pay for yourself,
you should. "Gimme Fiction" is the happiest
record I've heard in a while. Though, someone claims it has some goth atmospheres.
I was very surprised, I must say. I didn't know we'd been thought of it
as a dark album at all. When we were making it, it never crossed my mind. I think
that, maybe, the character of the first two songs on the album paints a picture
in a lot of people's mind - especially general audience listening to the record
a few times - of what the album is all about. Every review of the last album
said this is all a minimalist album and the first two songs are very, very minimal.
But, after that, they aren't all so minimal. I just think that the first couple
of songs really paint a picture for some people. This
latest record has a brand new sound, compared to your previous records. How did
you approach it? I didn't do much that very differently. You certainly
hear that the sound of Jim's (drummer Jim Eno is the other official member
of Spoon) studio, where we record, gets progress on each album. A couple of
albums aback has pretty low to mid fidelity and now, on this most recent one,
pretty high fidelity. I think it's quite a studio development. As far as making,
we didn't make it in a very different way from the last couple of records. It
is just the character of the songs that makes an album feel like what it is. So,
this changing came very naturally. Yes, very naturally. You haven't
thought: "Ok, let's play in this particular way." No, not on
the overall album thing. Sometime we'll be trying out each song and try to figure
out how each one should be played: quiet with the piano or loud with the guitar?
We try a bunch of different ways, but it's never like we sit down and say: "This
album will grow up in this direction." It just doesn't work like that. Where
did you write this new record and how much did the place where you wrote your
songs affect them? It's hard to say because I don't know how the songs
would sound otherwise. I know that, when I went to song-writing excursion down
to Galveston, in Texas, just for the sole purpose of writing, I got lot of songs
there because every day I was only doing that for about twelve hours a day and
sometimes it was a little lonely and depressing, [smiles] maybe that affects
the moods of some of the songs. Though, your sound is
really charmy and I do think, in Europe, you may achieve the same huge success
you have in the States. I know I shouldn't ask you and it's a stupid question,
but why isn't it like this? I don't know. It just happens
I think
that our records can stand up against anybody making records these days. I think
they're very good, as good as or better than the competition, but a lot of time
it isn't about quality that determines how many people like your records. There
are other factors. Maybe you can tell me. I don't know either, you deserve
it. Maybe you need to have one of your songs in a commercial. It works! Yes,
maybe we should. Oh, is it true that one of your tracks was used for the
O.C. tv series soundtrack? Yes. They just asked us and I don't know why.
That show seems to gravitate towards whatever young bands are, whatever determines
to be indie rock bands. I've never seen the show, but they asked if we wanted
to do that and we said: "Ok". We don't have problems in loaning our
songs to a tv show. We would not want loan our songs to the US Army, but a tv
show is ok. Ok, I see you're very tired. We've almost
done. Last question. I'm always very attracted by cd covers and titles: I consider
them as a big part of the record itself. Would you explain yours? I think the
cover you choose for "Gimme Fiction" is quite creepy. Yes, maybe
that's why people thought it was creepy. Maybe that's why they think it's dark.
I found an artist (Shane McCabe) and I'd really liked him to design some
record covers that I liked. I just came to him: "I want you to make something
for us." He said he was thinking about doing this photo shoot to recreate
this bizarre version of "Little Red Riding Hood" and I said: "I
don't really know if I'm gonna like that", but he shot it anyway and once
I saw some of the pictures he had taken and how he cropped them, I thought: "This
is creepy, it works." What about the title? I thought it was
a good title. I think that "gimme" is a great word for rock'n'roll.
It's one of my favorite lyrics. "C'mon" is another great one, great
rock'n'roll lyric. I just thought it sounded good: "Gimme Fiction". Thursday
watch the walls instead - it's Friday, I'm in love. Milan,
Transilvania Live Club - October 6, 2005. Thursday. |  |