A wonderful conclusion of MOJO‘s review of Lambchop‘s new album, out on Friday.
2014 19 Mrz
Lambchop: This (Is What I Wanted To Tell You)
von: Manafonistas Filed under: Blog | TB | Tags: Lambchop | 2 Comments
2 Comments
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Michael Engelbrecht:
My FLOTUS interview:
Michael: Where are you just now, Kurt, any hip-hop to be heard in the neighborhood?
Kurt Wagner: I’m in Castelion, Spain, on my off day which happens to be a bank holiday in Spain. Last night was Halloween. Not much hip-hop in this town this morning but it has yet to wake up.
Michael: To open this album with IN CARE OF 856309, is a courageous decision. A slow burner, the vocals quite deep in the mix (sometimes the deep range of your voice placed close to the bass). Words become sounds, and the listener is not forced to do semantics in the first place. An „ambient song“, kind of.
Kurt: Making this the first track on FLOTUS seemed to be the only logical place for this track to go. For this particular record I think it introduces the vocal distortions in a confident way, almost relentlessly. The flow of the words and the almost ultra wordy prose makes the case for a certain amount of drift by the listener much in the same way great dense hip hop words work. But also Dylan.
Michael: Additionally, you cannot always distinguish exactly between the real voice and the manipulated one.
Kurt: It is true that the vocal processing does balance between the more natural voice and the processed. My hope is by the end of the experience you have either accepted the notion, or turned the track off. It gives you the space to decide.
Michael: Speaking of „Auto-Tune“. What is it that attracts you here, from besides of paying attention to your hip-hopping neigbourhood, and the distorted sound of their ghettoblasters?
Kurt: In my case, this machine enables me to to go beyond my limitations as an artist. It can suggest and infer possibilities, it can open up ideas by virtue of its design. And it happens in real time as the source is presented, it’s like a performance enhance for but the mind and the mouth.
Michael: I have big fun when reading the lyrics of JFK (“ … We must build a culture of understanding / just shy of the radio: I’m a pharmacist … „) – and simultaneously listening to the song. What has been the inspiration to a song that may have some sad undercurrents. But then, yep, the dancing groove of the second part, me oh my …
Kurt: When I was helping my parents move a few years back I was cleaning out their basement and I came across a drawing I made when I must have been 6 or so. It was a picture of JFK at a desk in the oval office with the presidential flag behind him. (the same flag that’s on the FLOTUS record cover). It now sits in my office and I see it everyday and i move it from place to place not knowing really what to do with it. I even made a crude wooden frame for it back then and signed it on the back. I must have been quite proud of it I suppose. I do remember that when I was very young we went to see the eternal flame at JFKs grave in Washington DC and that I am told I broke away from my parents and slipped under the rope that protected the area and made a break for the grave and flame. A U.S. Marine guard had to run me down and return me to my parents. The song was written while looking at and contemplating the drawing.
Michael: You often used your small orchestra as a kind of paintbox carefully chosing musical colours, so that it resulted in a kind of chamber folk, maybe with the exception of NIXON. Now starting these songs alone with some new electronic devices allowed you to build up songs from scratch, with no prefigurations by favoured or well-trusted guitar lines. But it still sounds intimate and colourful. Even when a „club feel“ enters. And the long last, most „groovy“, most electronic track of the album sounds so much more contemplative than switching on fireworks-mode.
Kurt: With the help of technology I’ve been freed up to realize a song idea in a fuller more complete and complex way. But that said it still needs the human touch to be a Lambchop record or performance. It is that intimacy that Lambchop has with the listener that is one of the cool things about this record. I feel it’s still there in the sound and the songs.
Michael: I know that many of your songs start with everyday observations. So, looking at a song like OLD MASTERS, what (the hell) has inspired it? A good example that you don’t need to have the faintest idea of anything to love a song.
Kurt: Stay hungry, my friend.
Michael: I have been listening to the whole album just about six, seven times now, and I’m very sure that this whole thing is a damned tricky beast. You are never trapped in a formula, e v e r y song has a different and distinct atmosphere. I think you like downplaying this sophisticated element by presenting yourself as a man of certain age looking at the younger generation for doing a bit of trial-and-error stuff.
Kurt: I’ve indeed been convinced that in order to move forward through a creative life one has to look to younger generations to see where things are heading. Most but not all people my age tend to settle into a place that is more about the past than the future. Partly because the future for my generation is pretty fucked in a broad sense. So let the children play so to speak and interact with their sounds and ideas. I am in no way a complete idea but rather one that is in need of learning and refining the ideas that are out there and the ones yet to be thought of.
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Michael Engelbrecht:
Am kommenden Montag geht das Päckchen raus an unseren Filmrätselgewinner in Bielefeld, 1 mal Lambchop.