INTERVIEW: La Dispute (USA), October 2011

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Here’s one that slipped through the cracks from my time writing for Hysteria. I have been a La Dispute fan ever since their debut Australian tour back in 2009. I gotta say, it’s a remarkable transition to go from playing abandoned houses and rehearsal studios to the Corner and the Metro. I’m glad I got to see it all go down. This feature is okay – I think Jordan was still getting used to the idea of people talking to him about his band, and I think I was still getting used to the idea of talking to people about their bands. Call it a work in progress!

– DJY, May 2016

***

As an album, Wildlife is the type of release that feels wholly satisfying – and that has almost as much to do with the context as it does the album itself. The album in the wake left after 2008’s Somewhere at the Bottom Between Vega and Altair, its particularly fiery take on emotive post-hardcore resonating with audiences worldwide. As excellent as Somewhere was, however, it simply couldn’t tide over the band’s more eager fans – a new album was needed to quench their thirst.

“Yeah, it’s been nearly three years since the last record,” says Dreyer, calling from California in the midst of the band’s seemingly endless touring life. “We’ve been keeping occupied with some smaller releases in that time – we did another Here, Hear. EP and we did a split with our good friends in Touche Amore. This last year or so, though, has just been spent piecing the record together. We planned ahead and put a lot of thought into how it would sound – and we honestly couldn’t be prouder of how it’s turned out.”

Although Dreyer feels that Somewhere and Wildlife are quite different records to one another, he is also aware that the comparisons between the two are inevitable. When it’s suggest that there is more of a linear concept to Wildlife than there was on their debut, Jordan notes that particular train of thought is on the right track. “We definitely had an idea of what we wanted it to sound like and what we wanted it to be about,” he said. “It’s important to us to create something that is very much an album experience, something that you can listen to from start to finish. We didn’t want that to be the only way that you listened to it, though – we really wanted to make sure that each track had its own individual merits, too. Essentially, we wanted Wildlife to be something perceived both as a whole and by the sum of its parts.”

In this regard, it’s safe to say that La Dispute have succeeded. As well as containing some of the best songs the group have ever written – the devastating “King Park,” the unbridled aggression of “Harder Harmonies” and the bare-bones honesty found in “a Letter” – it flows with a very smart sense of cohesion and connectivity. It’s quite safe to say that Wildlife is the band’s crowning achievement, with a sound that not only expands from the foundations laid on Somewhere at the Bottom, but also expands into new musical territory previously untouched.

“We weren’t exactly looking for a specific sound,” says Dreyer on the songwriting process of Wildlife. “It certainly required us to cover a lot of different areas, because of the lyrical nature of the songs. We never sat down and specifically said that we were going to write a heavier record or a softer record or whatever. More than anything, we just found what we were writing and recording was a natural progression from what we had done in the years previous. A lot’s happened in that time, y’know, and we’ve all experienced a lot of things – it just felt like we were bringing everything that we had learned to the table this time around.”

As with any La Dispute release, the album has a strong lyrical focus. With a myriad of literary influences (see the Here, Hear. experimental EPs for proof of this), the songs bring its listeners into a deeply personal and often quite dark area of the characters’ lives; and this is arguably more prominent on Wildlife than there has been on any other of the band’s releases. “A lot of the songs on Somewhere were about other people,” says Dreyer, who is the band’s sole lyricist.

“It was kind of my first proper attempt at conveying my ideas of storytelling. I feel that’s definitely progressed on this record – I felt as though I really needed to step up and convey a more personal perspective on what has happened to other people. There were a couple of interactions that I’ve had with people these last few years that ended up being turned into songs. I felt it was important that their story was told, but also that my viewpoint on their story was conveyed as well.”

Although nothing from Wildlife was previewed when the band toured in January of this year, the quintet were still able to effortlessly hang the Sold Out sign on several of their tour dates; once again engaging a cult craze with many fans travelling to a series of shows or even the entire tour. “That was pretty incredible,” says Dreyer with an incredulous laugh. “I mean, the shows were a bit bigger than last time, and we made a lot of new friends – and we got to see a lot of people from the first time around, too. That was really special – Australia is always so good to us, and we just can’t believe our luck sometimes.”

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Top 50 Albums of 2014, Part Five: 10 – 1

Hey y’all! Well, how about this, huh? Here be the ten best rekkids of the year done gone past. Huge thanks for seeing through list season with me. Catch y’all next time around!

50 – 41
40 – 31
30 – 21
20 – 11

10. The Gaslight Anthem – Get Hurt
Spotify || Rdio

Life isn’t all blue jeans and white t-shirts. The Gaslight Anthem have finally escaped the small town that almost killed them and have wound up strangers in a strange land on their fifth album. Get Hurt is an exploration through unchartered waters and foreign territory, a much-needed break from the comfort zone that, regardless of the quality of outcome, could well have killed this band had they remained within its confines.

Certainly, it wasn’t as if there was some drastic detour into acid jazz or anything of the sort – after all, as Brian Fallon himself sings at one juncture, “I still love rock & roll/I still call somebody ‘baby.’” There is a stretching of boundaries here, however, that is indicative of a prosperous future beyond nights with the radio and Maryanne. Get Hurt is the sound of Gaslight beginning again.

THREE TOP TRACKS: Stay Vicious, Get Hurt, Break Your Heart.

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9. Sia – 1000 Forms of Fear
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Sia Furler, for a time, was the ghost of pop charts past. Her writing credits and, if listening closely, her unmistakable voice, infiltrated dozen of singles from some of the biggest names in the industry. It’s a life that could well have made a sustainable living for the rest of her days. The call of work under her own name, however – on hold for several years at this point – eventually grew too strong.

There were stipulations: No touring, no media campaign, no public appearances. It was a fair compromise, however, when in return we received her greatest LP since 2004’s spotless Colour the Small One. Marrying her intrinsic, introspective songwriting with the sensibilities gained from her double-life in mainstream pop, Fear allowed us to see behind the blonde bob wig. We may not have seen her face all year, but this allowed for something greater – we saw her heart.

THREE TOP TRACKS: Elastic Heart, Big Girls Cry, Chandelier.

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8. Die! Die! Die! – S W I M
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An exercise in irony: The definitive album from a veteran band has its title based on an online acronym for “someone who isn’t me.” Truth be told, this is an album could not have come from any other band – after over a decade sharpening and refining their throttled, scorched-earth take on noise-heavy post-punk, all roads that Die! Die! Die! have travelled have ultimately lead to S W I M’s creation.

It snarls, scratches and seethes through envy, paranoia and disconnect – in other words, it’s a decidedly ugly, ruthlessly aggressive listen. It’s not user-friendly or accessible, of course. Die! Die! Die! have never been as such before. The difference is that they have never sounded so vital and purposeful in the execution of their ideas as they do here and now.

THREE TOP TRACKS: Angel, Get Hit, Out of Mind.

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7. La Dispute – Rooms of the House
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A house is not a home. That doesn’t mean that it never has been, of course. Finding the house that was once a home – your home – can trigger so many memories, stories, truths and once-faded thoughts. This is conceptually explored – with considerable depth, it must be added – on La Dispute’s third studio album.

The hyper-literacy and Jordan Dreyer’s foreboding poetry that weaved its way through previous releases not only recurs on the album, but arguably latches onto its strongest subject matter to date. Each room sparks something different, allowing the protagonist to reflect on how much has changed since the transition from home to house. It’s often not for the better, but it’s perhaps this that keeps one hanging on every single word. Rooms of the House is a creative work in every sense.

THREE TOP TRACKS: Woman (In Mirror), For Mayor in Splitsville, Stay Happy There.

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6. Pinch Hitter – When Friends Die in Accidents
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A chance encounter. A dead-end job. A fear of flying. An untimely demise. A sudden realisation. A friend in need. These things, while separate entities from a contextual standpoint, are tangled together in the half-hour-and-change that comprises the debut album from this unexpected team-up.

While many came to know the project from Nick van Breda and Dave Drayton from their live shows – simply two men, two voices and, yes, two banjos – Accidents allows the two to flourish in a wider spectrum. Their musings and noodlings are guided by xylophone (“Nine-to-Fine”), flutes (“All of a Sudden”) and even typewriters (“They Said This Would Stop” – no shit). It’s all tied up with the four-part title track that weaves in and out of the tracklisting – and its final blow is still as devastating long after the first time you hear it.

A folk album without guitar? It’s possible. Anything’s possible. Everything’s matter. Everything matters.

THREE TOP TRACKS: All of a Sudden, Part IV, Nine-to-Fine.

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5. Death From Above 1979 – The Physical World
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Back in a time when the American president was public enemy number one, Kanye West was a debut-album rookie and dance-punk was as legitimate as any rock subgenre, one guitar-less duo ruled over their six-stringed contemporaries with a half-hour of power known as You’re a Woman, I’m a Machine. It was cemented by ear-splitting live shows, instant cult status and an unforgettable performance on Conan with none other than Max Weinberg sitting in.

It would take two short years for everything to fall apart for Death From Above 1979, and that – so we thought – was that. Several contributing factors lead to the band’s eventual reunion, but the most prevalent ended up being unfinished business. Despite becoming quote-unquote “adults” in the time they were apart, there was still an agenda to make loud, visceral and ripsnorting rock & roll.

That’s where The Physcial World comes in – a rarity insofar as being a sequel that not only matches up to its predecessor, but threatens to rival it so often it may well swallow the thing whole. Long live Death.

THREE TOP TRACKS: Right On, Frankenstein!, White is Red, Cheap Talk.

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4. Sun Kil Moon – Benji
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Were you told about Benji on paper, one would rightly distance themselves from it as soon as humanly possible. Just think – a late-forties dude mumbling about his parents, his dead uncle, various sexual encounters, James Gandolfini and his home state of Ohio. What could possibly be appealing about that?

It could well be argued that Benji, as an album, succeeds on account of these traits and not in spite of them. Mark Kozelek has been known in the past to allow his simple, sombre style of songwriting and storytelling to uplift ordinary things, places and people into the extraordinary. Jim Wise sounds like an odd, weird dude. On “Jim Wise,” however, he somehow turns into an endlessly-fascinating character. The same can be said of Kozelek’s second cousin, his drummer and even his dear mother (“My mother is 75/She’s the closest friend I have ever had.”) They are – or were, in some cases – just regular people until Sun Kil Moon reels them into his world.

Whether you find him driving to a Postal Service show or tripping out on Led Zeppelin in his younger days, Mark Kozelek somehow makes the cold all the more inviting. Benji is a journey – a long, exhausting and depressing one; but one any self-respecting music fan should take at some point in their lives.

THREE TOP TRACKS: Richard Ramirez Died Today of Natural Causes, I Love My Dad, Carissa.

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3. Ben Howard – I Forget Where We Were
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“Has the world gone mad?” opines Ben Howard mere minutes into the first track on his second album, before adding a further line of questioning: “Or is it me?” By the end of I Forget Where We Were, you won’t have an answer. Hell, you won’t even have one after a dozen spins. As it progresses, the album poses far more questions than it provides answers or traces of resolve.

Perhaps it’s this that makes it such an intriguing prospect – from a songwriting perspective, it allows Howard to less scratch below the surface and more dig down as far as humanly possible. Besides bearing his name, precious little else lies on the common ground between Forget and its predecessor – here, we work through varying degrees of light and shade; love and loss; truth and lies. It takes you to points where you fear you may never return – points you feel, as a listener, you may well not be entirely prepared to go.

Herein lies the rich reward of I Forget where We Were. Ben Howard has evolved from being a mere singer-songwriter – here, he has become a journeyman.

THREE TOP TRACKS: End of the Affair, I Forget Where We Were, Conrad.

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2. Pianos Become the Teeth – Keep You
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Ray Charles, an r&b star, once made a country album. Kanye West, a rap phenomenon, once made an album where he sang for its entirety. Radiohead, at one point the most promising prospect in guitar music, once made an album where they barely touched the things. More than once, now you mention it. What is this all leading to? It’s simple, really: The notion that risks should not only be taken, but actively encouraged. Who knows what awaits on the other side? Perhaps true greatness.That’s what happened on Keep You.

Pianos Become the Teeth – an emo band in the true sense, bypassing the mall to arrive at Orchid’s discography – made an album where their harsh screams and dissonant guitars were traded in for what are known in hardcore circles as “clean” vocals and a collective dip into the waters of the indie and post-rock spectrums. It was an all-or-nothing movie – make or break, sink or swim. The Baltimore natives risked everything and won it back tenfold.

Not only is it the finest of their three long-players, it also serves as a shining beacon from their immediate scene – a message to the outer reaches detailing the adventurous versatility at work within it. For an album whose final line is a cry of “Let’s say nothing some more,” Keep You says more in its actions than words ever could.

THREE TOP TRACKS: Repine, April, Old Jaw.

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1. Sleaford Mods – Divide and Exit
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Around ten years ago, in an interview with NME, Carl Barât was asked his favourite album of the year as part of a generic series of questions asked of several musicians. Barât chose A Grand Don’t Come for Free by The Streets, reasoning that the album was a reflection of England that many may not necessarily want to see or hear about.

This is being brought up a decade on for two core reasons. The first of which is to sound the trumpets to signal the arrival of a new outfit less holding up a mirror to contemporary British society and more smashing said mirror and holding up a jagged shard, just to feel the pain that the pricks of blood bring. The second is admittedly a little more petulant – it’s because the reference and the people and publication which it contains would be immediately be despised by James Williamson, the spoken-word half of Sleaford Mods who barks, grunts, prophesises and spits through every last thing that displeases him.

It’s a cruel, frustrating world in which he lives; one that constantly brands him a fool and a ne’er-do-well when it should be acknowledging him as the smartest guy in the room. “I can’t believe the rich still exist,” he laments within the album’s opening minutes. “Let alone run the fucking country.” It’s said through fuzz and distortion, and yet it lands with all the clarity of being yelled directly into your ear. He may soapbox his way through several tracks (“Liveable Shit,” “Tweet Tweet Tweet”), but certain things slash through a raw nerve. He may seethe at an upper-class acquaintance he’s attempting to manipulate (“I’m a connoisseur!/I’ve conned you, sir!/I just wanked in your toilet!”) but his envy is quick to undo him entirely (“I want a house like this, how do I get it?/It’s beautiful! It’s fucking ridiculous!”).

There are layers of complications, deep-running waters of disarray and the throbbing pain of a hangover following another bottomless night in the sewerage of another disgusting city. Divide and Exit was the sound of the everyman’s demise, the death of the common people and the experiment starting over. Sleaford Mods might not want to change the world, nor is it looking specifically for a new England – and, yet, both are achieved and found, respectively, on Divide and Exit. A voice raised to its heights for years on end has finally shifted to the forefront and being paid the attention it deserves.

THREE TOP TRACKS: You’re Brave, Tied Up in Nottz, Liveable Shit.

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