Rock Proper was recorded in 1997 but not released until 2000. Why?
We first heard that Rock Proper would be delayed intentionally so it could be released at a key point in the
college music "cycle of life" after all the music was recorded, mixed, and mastered. You should know about
all those indie label ploys to manipulate the market. We thought that meant fall semester '98, not fall
semester '00! But seriously, it seemed like in 1997, Sonic Bubblegum was painstakingly realizing it wasn't a
real working label. Around 1998, Analogue was slowing down considerably as well... resting on its laurels.
Problems in the artwork was one of the last excuses used to explain its delay. When the band ceased to exist,
we had no bargaining power to get the record out since we could not offer anything in return.
Around late 1999, Kooky Records, a label out of England, showed interest in putting out a vinyl version of
the record, which coincided with the birth of the new band, and with about 100 emails to Sonic Bubblegum
and Rubric picking up Sonic Bubblegum's slack, Rock Proper was finally released. Unfortunately, we could
never get the vinyl masters to Kooky, but looking back, Kooky played an important part in opening up
discussion about getting the record out.
Rumor was that the vinyl packaging of Rock Proper was so intricate that
no American label
would agree to make it. What exactly were the plans for the packaging? Will a vinyl version of
the album be released, and, if so, will the packaging be plain or fancy?
See the problem was this... if we were the ones tied up, everything would have been OK. No, it's not like
Arista and Drag City were having a bidding war to see who would put it out up until they saw the cover
design and talks ceased. The original design did involve some embossing and die-cutting but that was soon
nixed by Sonic Bubblegum. During the hiatus, our friends who had labels couldn't take on the financial
burden of trying to sell a vinyl version of an album by a band that no longer existed. The aforementioned
Kooky Records was willing to do it, and talks went on and on; however, eventually, Sonic Bubblegum's
hidden prejudice against the English emerged and we couldn't get the vinyl masters. Finally, when Rubric
did put the CD out they were not interested in the putting out the vinyl format.
How does that leave your relationship with the two labels that Rock Proper was released on,
Rubric and Op Pop Pop/Sonic Bubblegum? Will you continue to work with both?
Op Pop Pop still doesn't seem to really be a working label. We met Dave and Kenny from Rubric about two
months after Rock Proper came out when we went to NYC to play the CMJ. They were very nice guys and
shared the same enthusiasm for Iron Maiden's Killers. Whether or not our musical vision fits in with their
label's overall aesthetic remains to be seen, but we definitely hold Rubric in high regards.
Since the first album, I've heard several times the name Analogue associated with the term
"revolving door membership." Is this valid for version I or II of the band?
Well, we're not like Gong or anything. The original trio quickly became a quartet with the addition of
Jennifer Greer. When Chris Karlof decided he needed to take a pay cut and intern at Reading Rainbow in
NYC, Dave Heller was chosen to "replace" him. Whether that decision was made because he "rocked" or
because he was living with car-less Matt and could give him lifts to practice has never been determined.
Occasionally, Karlof would still come down and play shows; all five of us were responsible for making Rock
Proper. It wasn't really a "revolving door" as much as it was a "bottomless pit" that we all fell into.
Analogue II is four people, three of which were in Analogue and the other being Heath Grant. If any one of
us leaves, the band will cease to exist (now doesn't that sound dramatic).
Since Rock Proper was recorded, Analogue ceased to exist, and Analogue II was formed. Why
did you rename the band? What were the reasons behind creating a new version of Analogue
instead of just starting over with a new name? How is the current incarnation different from
the one of the Rock Proper era?
The only reason that Analogue members--past, present, and future, agreed on Analogue II was to increase
the chances of Rock Proper finally coming out. Everyone in the band had their own reasons for wanting,
not wanting, or at least being weary of the name.
Analogue II has sort of followed along its natural evolutionary path, as was hinted at in various parts of
Rock Proper. Compositions now are more intricate and dynamic as well as perhaps a bit more "un-couth-fully" rock in part due to the whimsies of the new line-up.
Would you clarify on how the lineups of the two bands are different
and how the new lineup was formed?
Months after AAD/AAA came out, Karlof left.
The four of us (Cantwell, Greer,
Westlake, and Heller) continued as a fully working band for the next year and
a half writing songs resulting in Rock Proper and playing shows sometimes
with the occasional addition of Karlof for shows and the Rock Proper
recording itself. About a year and half after that recording, Analogue hit
a stopping point. In the next year, certain members played in other bands,
and eventually three of the four (Greer, Westlake,
and Heller) joined up with Heath Grant to eventually form Analogue II.
Cantwell, Analogue's drummer, started playing in the bands Razzle and
Cantwell, Gomez, and Jordan. Karlof continued TV and film work and graduate
studies with a short musical venture with Dan Matz of Windsor for the Derby
fame.
With the big change between Analogue I and II, how has it been adapting to the new members, new hierarchy,
and other new ideas? How has it changed the band as a relationship between a group of people?
We quickly crush the new member's ideas! The musical fancies of the band members are probably more
varied these days; fortunately, this has helped the songwriting process more than hindered it. I think
problems and concerns are discussed more openly than they used to be. All in all, the band probably has a
more irreverent, almost cavalier, attitude. The "new members" have brought an added confidence which
helps.
Would you give me a short recap of the pre-AAA/AAD origins of the band? Did the band start
before or after you moved to the Triangle for college? When and where were the recordings of
AAA/AAD made? How has living in the Triangle, where there is so much music and art,
affected
your music?
Around 1993, Analogue started in Wilmington, NC with three friends, Westlake, Cantwell, and Karlof,
learning their respective instruments in order to form a band. Moving to the Triangle, provided an actual
thriving musical environment in which to play, learn, and listen. Through an online mailing list,
correspondence was made with Sonic Bubblegum which led to the recording of the "Average Luck Charm"
7" in Boston in 1995. This led to more recording in Boston, this time with Jennifer Greer, with the same
engineer, John C. Wood, at the same place, Birddog Studios, circa 1995 which became AAA/AAD released in
1996.
While in Wilmington, there wasn't much support of our brand of musical stylings from the scene (or the
lack thereof) and other local bands. However, there is one band we would like to make mention of and that is
Tex Svengali. They were an angry, lumbering rock beast. They rocked harder than anyone keeping the local
yokels happy, but they had this quirky originality that we loved that somehow slipped under the mass
audience's noses. Tex were always supportive of Analogue and even though we knew we could never be
accepted in the scene, or rock as hard as they could, we considered them our peers in a peerless
environment. We wanted to bring this up because recently Al Henderson, guitarist/vocalist/lyrical genius of
Tex Svengali, sadly passed away. Some of us were closer to him than others; Dave Cantwell had the pleasure
of playing with Al in the band Razzle (the other Analogue members were very jealous.). He will be missed by
all.
The bio in the liner notes is quite funny, however, it brings up a couple questions. A couple
times in the bio, you and/or the writer seem to mock using non-standard time signatures which seems odd considering how much they are used in your music. How
do you feel, in 2001, about math rock? Can a pure math rock band exist today and not be a
cliché? How do you feel when you use odd timings in your own music?
We feel orgasmic! For some reason, we tend to write "odd-timed" riffs. Whether it's snobbery or some
inherent idiot savant (more idiot than savant) relationship with music we don't know. One of the small
victories in our little world is being able to make some off-time section rock or flow, setting a trap for the
headbobbers and throwing them off. That is the payoff. I think over the years for whatever reason it has
become hard to accept some straightup I-III-IV chord combination without lacquering it up with some thick
irony. If things sound too obvious, then it's obvious to us that we should try something else.
As far as math rock being cliché, it definitely can reach a saturation point. There is the same sort of line
between technical prowess and creative composition that exists among other musical genres. You have your
Eddie Van Halens versus your Blues Saracenos in the guitar virtuoso world. In 70s prog rock, it's Genesis
versus Gentle Giant. We think the world will be getting more and more "Gentle Giant"s as time goes by
killing the math rock genre ever so softly (with all these inane, unemotional noodlings.)
The bio also makes a reference to your bass player being the "Charlie Haden of his generation."
Do you feel a direct connection to avant jazz in the music you make, or is this just something
said to be outlandish? How does the jazz you listen to influence the music you write? How
does improvisation fit into your music, both live and while writing songs?
The entirety of those liner notes was constructed by a friend who simply swiped
liner notes from the back of
an Impulse album verbatim and replaced the names of players and song titles. It
was meant to be humorous.
Most people got it, but some didn't and thought it sounded a wee bit pretentious.
Ecuadorian power folk has a closer connection to our music than avant jazz does.
I think for the most part
we view the works of Charlie Haden, Albert Ayler, _insert famous avant guy here_
with the highest respect,
but we haven't made any intentional homages or anything.
Analogue had a few bad experiences trying to "improv" during shows, coming off as bad as a Derek Smalls
type of tirade. Usually the only improvising we do is trying to figure out what
songs we can play when a
battery dies, or a fuse blows, or someone in the band is really too "fucked up"
to play right before a show.
On occasion, we will "jam," which some of the art rockers might call improvising
in order to sound more
high brow, during the songwriting process, but that work is usually funneled into something concrete. All in
all, we like to "hit our spots" and enjoy creating abrupt changes in parts, moods, etc.--we bask in the glow
that is the art of carefully constructed composition.
You've mentioned a few heavy metal bands. Lately, math rock has seemed to morph into some sort of heavy metal, with bands like The
Champs, Oxes, etc. How do you feel about AC/DC, Black Sabbath, and Van Halen becoming
big influences in "progressive" music? Does this relate at all to your music, either circa-Rock
Proper or now?
It's circular... a ride on the carousel, up and down... feel the flow. Maiden's mastermind Steve Harris's
favorite record is Genesis's Foxtrot (a friend read this) and the lead singer of Sepultura's favorite band is
the Fucking Champs (a declaration witnessed by a friend who is an editor for a renowned guitar magazine.)
I think more and more bands are breaking out of the understood limitations of "bigness" and "smallness" of
sound that indie rock worked with. This seems to make sense; how else would one achieve that level of
ROCK that one covets and cherishes so much?
What is suprising to me is the lack of "indie kid backlash." The purveyors of bedroom recordings and Mark
Robinson fanboys are not up in arms over this ROCK but are on its proverbial jock. I don't know whether
most were seduced by the satire or what. I'm assuming they were all Poison fans in junior high school
anyway. It still doesn't explain how it became "cool" to wear our old Exodus and Overkill t-shirts.
As far as how it relates to our music, the band is in constant debate about whether to cover "Rime of the
Ancient Mariner" or "National Acrobat."
What about classic rock in general, which seems to be a big, although not overt, influence on
Rock Proper? Between Analogue's two albums, there seems to be a shift from looking at and
learning from current, contemporary artists to combining that with a bit more of the past. Is this
accurate? Did the changes in musical interests of the band parallel this?
Over the years, especially the last two, we have been able to shed any remaining genre-minded mentality.
Our horizons have probably been broadened over time. We have reached the point where we just write and
perform the music we write. We have learned not to shy away from any one influence as long as it works
for us. Our affinity for classic rock is equal to our fondness of any other genre..well, maybe the nostalgic
aspect of it makes it a bit greater. The Who's Who's Next is a great record, as is This Heat's Deceit. Harvey
Milk's Good Will Towards Men is an amazing album, on par with King Crimson's Lark's Tongue in Aspic.
Roxy Music's For Your Pleasure is hauntingly beautiful, as is Codeine's Frigid Stars.
When there are lulls in production and availability of worthwhile new music, there is always that massive
canon of "classic rock" that is there for exploration. A lot of indie folk, those tired of the "twee pop" or the
blips and bleeps of electronica, seem to have taken a similar approach with respect to jazz.
Another change between the two albums is there are no longer any vocals. It seems like a
natural step considering how your music evolved, but what were the specific reasons for doing
so? Do you find it harder, as a songwriter, to convey emotion or mood through a song without
using vocals?
Actually, it seems harder to convey the same level of emotion vocally that we think we achieve
instrumentally. We didn't want our vocal limitations to detract from the music. If we had an Ian Gillan, a
Dave Bjorjkback, or a Yoshida Tatsuya in the band we surely would use the human voice much more as an
instrument. Once we come up with an appropriate level of confidence and a worthwhile vocal "idea" that fits
the music, then perhaps we will once again let the caged bird sing.
Another key element to your music are the keyboard atmospheres and generated sounds. What
types of equipment do you use to manufacture sounds? What types of pedals and effects do you
use on your keyboards and guitars? Has a new effect ever inspired a song, writing the song just
to be able to use the effect?
Jennifer pretty much has an arsenal of analogue synths and organs. Rock Proper was pretty much limited to
the Arp Solina, the Yamaha YC-35D organ, a Crumar Performer, and an Arp Quartet. On Rock Proper,
there was a tendency to run more of the string-oriented synths through really basic distortion pedals that
you find at yard sales with ridiculous names like "thrash master" and "classic tube overdrive sustain
enhancer." Banging on guitar amp reverb pans is always nice for a tone here and there as well. Stomping,
clapping... it's all good.
One casualty of the recording process and a former champ was an Ibanez Chorus/Flanger/Reverb pedal that
appears on the track "Lyric Sheet Competency Test." It just didn't make it through, and now when you
hook it up, it just sort of fiddles about. Sad really. Nowadays, the new champ is the coach's whistle--Jennifer is (re-)establishing the whistle as the post-rock instrument of choice for the new millenium.
There has been numerous occasions where a "new" sound will rear its head and we then MUST write a part
that will incorporate that new-found gem. Also, new toys, whether they be ghetto or top dollar, always help
resuscitate the songwriting process. You buy a new guitar, you write a new song...that just seems like the
way it works.
Related to effects and created sounds, are you at all interested in using software as an
intermediate step, or does this conflict too much with the in-joke of your first album's title and
the band's name? How important are the properties of analog devices to the sound of your band?
We are all fans of the analog aesthetic, from the the clunkiness of old synth levers to the overall unreliability
of being able to recreate a sound you just found the day before. This appreciation will not prevent us from
trying other ways to write, well maybe not write, but record and present our music. However, we don't see
ourselves strolling up to the club with each one of us having a laptop under our arm "ready to rock."
Perhaps the addition of the two Roman numerals in the band's moniker may have eliminated any
subconscious pretension, or prevented any imposed pretension regarding this topic.
The album was recorded with Nicholas Vernhes who has recorded artists like Versus, Guv'ner,
Spent, Les Savy Fav, Tara Jane O'Neil, etc., which seems like an odd match, although you cannot
argue with the results. How'd that come about, and what was it like working with him, someone
who is better known for recording pop records? Do you prefer recording in a studio with a
producer, or are you equally satisfied with home recording?
Analogue working with Nicolas Vernhes was set up by Sonic Bubblegum. Mike Hibarger (Sonic Bubblegum
head honcho) really dug the Evergreen record that was recorded at Rare Book Room, and some other bands
on his label had recorded, or were going to record there at that time. We had no idea that Nicolas was a
"somebody," but he did have that aura about him. He was really cool to work with and very helpful in the
process. Unfortunately, he hasn't returned any of our messages about recording with him again, so maybe
his Rock Proper experience was not as positive as ours.
As far as recording in general, we like the idea of being able to get the music to sound the way you hear it
and/or want it to sound without limitations. This would usually involve a more studio-oriented set-up. If we
were actually good at home recording, we wouldn't have a problem with it. However, there is not a one of us
who is a Will Simmons-type character who can make beautiful instrumental records using a few mics and a
four track.
You don't seem to tour much. After AAA/AAD came out, I read claims that you didn't tour
because various band members were in school. Is that still the excuse? When are you going to
learn what is really important in life (i.e., rock and roll)?
We are now down to only two members still traversing the world of academia. We are proud to have an M.A.
candidate in Communication Studies and an M.S. candidate in Bioinformatics in the family. I think with a
little more prodding from the other members and maybe some kind words from the masses, rock and roll
will eventually take us away from our 9-to-5 lifestyles. The lack of touring has hindered our chances of
meeting "like-minded" bands and people, which is unfortunate. Even though we still have the academic
dilemma (as it will be referred to herein), we have always had the mindset that if someone wants us to play a
show, anywhere/anytime, we will drop everything else and eagerly accept the offer.
Three to five years ago, it seemed like every band from North Carolina was labeled either
"sounds like Polvo" or "sounds like Superchunk." Now, whatever music makes it outside the
state (of which there is less and less), seems to be more varied. How has the music of the area
changed in the past five years?
Chapel Hill is still full of those types of bands that you mentioned. Although nowadays, they are described as
"a trippier Superchunk" or "Polvo on crack." Perhaps that shows a trend in creativity? Another thing that
is all the rage in Chapel Hill is this thing called "emo" have you heard of it? I thought I read that this was a
phenomena from about five years ago, but for some reason there seems to be a lot of emo-centric folk
around.
Over the past couple of years, there has been some very unfortunate band deaths within the region. I think
the demise of the Bicenntenial Quarters, the comatosed state of Spatula, and the most recent and harshest
castration of the Goddamn Mercury Birds has affected a lot of folk. But there always a new dawn and
several bands have risen out from the more rock fringes of the triangle. Moth Light, Rebar, Cherry
Valence, the Torch Marauder, Allnight, and Cantwell, Gomez, and Jordan are all making wonderful music.
The King's Barcade in Raleigh has become a premiere place for touring and local ensembles to play, and the
annual Transmission Festival is always garnering some attention to the area. It ain't no Poughkeepsie, but
it's fine by me.
After I saw you play once, it inspired me to start a band called Xylophobia that was made
entirely of xylophones. Unfortunately, it was hard to find enough people to join
the band since no
one seems to have any xylophones, including myself. Do you think that band would have been a
good idea?
You shouldn't have quit so easily. You could have mimed the xylophones. We would
pay to see that. Or
better yet, get some rollerskates and call yourselves Xylo-du.
Does anyone ever pronounce the name of your band with a hard A sound on the first A? Does
that annoy you? Do you mind if I title this interview "All Black All Analogue?"
Do you think your readers would really get this obscure Paul Newman reference? What's up with their third
record anyway? That guitar tone is kind of suspect don't you think? We've heard the "Anal Log" and the
"Anal-o-Goo", but the worst was to hear the band referred to as "Analogy" over the radio. It would just be
such a bad name... worse than Renaissance, or even Romeo Void.
As long as you don't title it "ANALOGY All Black:All Analogue::Renaissance:Romeo Void" then I think
you'll be okay. Otherwise, Heath might have to Wing Chun your ass.
Are there any releases, projects, or recordings in the works for Analogue II?
Any old recordings still left to be unleashed on the world from Analogue I?
Well, we finished Operation:Danzig last month. I would say it was a success; still trying to get all the fake
blood off the bass cabinets. I think the plan is to put Operation:Tuesday@the Troubador in action in March
and play the first night (a Wednesday) of the SXSW Festival. Also, Operation:Web Presence is in the works
and soon all the pertinent Analogue II information will be available at www.analogueII.com. We are
currently investigating into places to record, trying to figure out what's right and what's best for us. And we
will continue to look for like-minded souls who would be keen on assisting "th'logue" in releasing some
proper music to the masses.
Thanks for your time.
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