— Billy Corgan takes our Questionnaire and shares a rare moment of personal reflection in the July issue of Exclaim!
Caribou is currently opening for Radiohead on a North American tour, and with two Canadian stops coming up in Montreal on June 15 and Toronto on June 16, he took some time off from rehearsing to talk with Exclaim! about his highly anticipated followup to 2010’s Swim LP.
Lockett Pundt of Deerhunter and Lotus Plaza sat down with Exclaim! for a Web Exclusive interview. He reveals his struggles with stage fright, hints at a possible Lotus Plaza/Atlas Sound collaboration and discusses the differences between this year’s Spooky Action At A Distance and 2009’s The Floodlight Collective. Read it here now!
By Chris Dart
Fans who pick up Odd Future’s new release, The OF Tape Vol. 2, looking for more of the scatological violence and general misanthropy that filled Tyler, the Creator and Earl Sweatshirt’s solo work won’t be disappointed. What may surprise fans who aren’t familiar with OF’s already vast library of solo material is what else is on the album. The group have spent the last year saying that they’re more than suicide references and violent sex rhymes. On OF Tape Vol. 2, they prove it. If The OF Tape Vol. 2 proves one thing, it’s that Odd Future aren’t just a product of the Internet hype machine. They’re a talented group of oddballs who aren’t afraid to be strange and who have a frighteningly high ceiling.
Why’d you guys opt to start your label and then get distro with Sony, rather than straight-up signing with Sony?
Hodgy Beats: We won’t fuck with nobody; we’ve always dreamed of having our own label and shit. For us to actually have it and just be able to do what we wanna do, I believe that’s the way it was supposed to happen. Otherwise, we’d be signed and just trying to make mainstream hits when, like, our new album ― this whole album knocks.
How much are you personally producing right now?
I produce when I’m on the road and I write when I’m back home. A lot of these niggas, they don’t even rap over my shit; it’s me that raps on my shit. It takes a while for me to showcase my production. I’m not bad ― I’m not such an amateur that I can’t make a tight ass tight beat ― I just want to be comfortable enough to where I have enough tracks of my own, recorded, on my shit that I can be like, “Tyler, rap on this. Now!” LeftBrain actually rapped on some of my shit ― a song we made called “Crap.” I made that beat and then just randomly released it.
Sonic Youth fans clamouring for more than a couple Lee Ranaldo songs per record will be ecstatic about Between the Times and the Tides, a stellar rock’n’roll debut from the gifted songwriter. Ranaldo has been prolific beyond Sonic Youth, but until now, his discography has primarily reflected his interests in noise, jazz and exploratory guitar experimentation. As a published poet with a keen ear for language, Ranaldo has a knack for conveying cool ideas without sounding detached. Airy, vaguely psychedelic and meaningful, Beyond the Times is a gorgeous exhibition from a thoughtful, voracious artist relishing a whole new outlet.
In your liner notes, you suggest that these songs came together rather organically and unexpectedly. Clearly a lot of thought has gone into the lyrics, arrangements and sounds though. Can you clarify what the process was like?
I was invited to do a concert in the south of France in the spring of 2010 and they requested specifically an all-acoustic concert, which was kind of an unusual request. I don’t do that often, even though I’ve always been an acoustic player. While I was practicing for the gig, “Lost” just kind of popped out of the guitar one day and I thought, “Well, that’s interesting.” Two weeks later, I started the concert with it, which was fun and empowering. Somehow doing that opened up a faucet and all summer songs just kind of popped out of the acoustic guitar and I kept collecting and working on them, and by the end of the summer, I had a group of songs I was pleased with. By the fall, I was in our studio making demos and really thought I’d make a guitar and voice record — something simple I could do on my own. As I started getting into it, I thought, “This song could use a rhythm section” and I got a little more serious about it, calling in favours from people to play on it. It just built up really gradually; it was a very pleasurable process, in that I didn’t have any assumptions at any point. I was just following behind these songs and one thing led to another.
— Gavin Gardiner, the Wooden Sky
— Nick Thorburn, Islands