On “Dancing Horses,” we have a whole breakdown section where we do loads of stream of consciousness and I’m free to do whatever I want. I’d imagine you’d want to keep it fresh for yourself, but do you ever make little changes here and there? Do you ever get concerned that if you change it too much the audience is gonna be upset? You were talking earlier about playing the songs that everyone wants to hear. We still do festivals where there’s big stages. Playing-wise the small clubs are better, but sometimes you do an amazing show in a big place. We’re doing a small club tonight, the Paradise in Austin. Everybody wants to hear “The Cutter” and “Killing Moon” and “Dancing Horses” and “Never Stop.” You don’t want to disappoint anybody or have to force them to listen to something new, because a lot of our songs take time to get together and get used to. It’s hard to leave things out of a set and put new ones in. The problem now is that we’ve got so many songs. Playing live, you find the weaknesses in the song, but we don’t tend to do that so much now. When you have a new song, do you prefer to play it live first before you bring it to the studio? I think that’s what adds a bit of charm to it. I’m not clever enough to know exactly how music works. It’s always the first thing that you do that sounds the best. We went out for a curry or a po’ boy, and when we came back the producer had kind of looped it straight onto tape-this is years ago, before computers-and he created this funny little intro. The beginning of “Killing Moon” was just something I did while we were warming up or tuning up or whatever.
#FREE ALTERNATIVE TO SONG SERGEANT HOW TO#
That’s funny you say that, because I just had that revelation like a week ago after listening to them for so many years.Īre there ever songs that you record in the studio as a band that you later have to figure out how to execute live? I used to think Joy Division sounded like Black Sabbath quite a lot. For much of the world, Black Sabbath will still sound great because it’s just dead, heavy chords. You can get what you’re doing with a couple of notes, rather than loads. With the minimalist thing, I always find, what’s the point in filling up every possible hole? Space is quite good in a song.
I think the best thing to do is not think about it too much and let it flow. It kind of creates itself, starts its own story. Is it true you were influenced early on more by minimal music? My Gold Mask: As a guitar player, it’s interesting to watch the evolution of your playing. My Gold Mask play Ribfest Chicago on June 10 and Pritzker Pavilion in Millennium Park (opening for Blonde Redhead) on July 21 18. Echo & the Bunnymen play the Vic on May 17. This week Will Sergeant of Liverpool postpunk band Echo & the Bunnymen chats with moody-minimalist Chicago husband-and-wife duo My Gold Mask, aka Jack Armondo and Gretta Rochelle, about the parallels between Sabbath and Joy Division and their mutual love of Lynchian simplicity. Get your UnGala tickets: A museum takeover and art party celebrating the Reader's 50ish anniversary Close
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