clean and
sleek... and the clothing happens to work
well with my body type.
But beyond that, there is something about the
sixties that felt very
subversive. There is always a very clean
shell on everything, but if
you get a little deeper you realize that
there was a very interesting
and dark underbelly to things.
2. What is your writing process like? Do
you start with lyrics,
melodies, a particular instrument? How do
you capture the moment?
With the bird and the bee, Greg and I will
usually start at the
piano, find a melody and chord progression.
Then as he works on the
track I will come up with the lyrics... When
I'm working alone it's
just me and a guitar. But it's usually me
starting with a melody and
then putting lyrics on later...
3. Is there a particular circumstance
that stands out in your mind
while you were making "All Rise" with Michael
Andrews? How does he
like to work and what did you like about it?
That was a great experience. It
felt old fashioned in a way... we
all spent a lot of time together. Tracking,
breaking for lunch,
which I usually would cook... it had a "band"
feeling to it. I
think we all had a wonderful experience. And
Mike is such a genius...
I learn so much from him.
4. How is the process different withThe
Bird and The Bee sessions (genre
aside)? What do you like about your
collaboration with Greg Kurstin?
Greg and I work fast and super
efficiently. It's just the two of
us. And Greg, who is also a genius, plays
everything so we can
finish a song very quickly. I have never
experienced anything like
it. We can sometime write and record a song
in a matter of 2 hours.
I love our collaborations...
5. What was it like when you found out
that a remix of The Bird and
the Bee song "Fucking Boyfriend" topped the
U.S. Hot Dance Club Play
Chart in April of this year? Did you notice
a significant change in
your audience base? Has it changed the
amount of pressure you feel
about recording and writing?
It
was really fun to have something climb the
charts... but I have to
admit, I don't think it changed anything for
us. We come from a
completely different world. With that said,
I doubt any of our
friends can say that they had a #1 hot dance club
play... And I love that
we can say that.
6. How has your approach to writing,
recording and touring evolved
since your first albums with the bands Lode
and Merrick?
Well I hope that I'm
better at both. I can't really put my finger on
it, but I know that it's gotten easier...
7. How has growing up in the LA music
scene encouraged/discouraged
your aspirations? I've seen the resurgence
of "Pay to Play" but also
quite a bit of support from radio stations
like KCRW and KXLU. Is
there a real sense of community or is it
"divide and conquer?"
I think it's what you make it. I think
overall that good music gets
heard... some more than others... but if you
keep at it, you'll find
your audience.
8. In light of recent events (ie
announcements by Radiohead, Oasis and
NIN that they are forgoing major label
contracts and offering their
music directly from their websites and the
RIAA law suits regarding
illegal downloads), what are your thoughts on
the general state of the
music business? Does this stuff affect you?
Should it?
I think it's a scary time for some, and a
really exciting time for
others. Change is great... and it seems like
it's going to be great
for musicians. I think the reason that
labels are in the position
they are now is because it is so hard for
them to change. There is so
much resistance but to believe you can stop
what's happening on the
internet is foolish. So to embrace it, like
Radiohead has, is the
absolute smartest thing to do... well at
least that what I think.
9. What are you listening to lately? Any
old or new albums that are
inspiring you?
I've been listening to some world music...
Camaron del la isla
(Flamenco Singer), France Gall, Gal Costa.
10. What are you working on right now?
What's next for you?
About to
start my next solo record. Mike is producing
and Van Dyke
Parks has orchestrated the whole thing... I'm
super excited!
Merrick s/t
