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The Bottleneck Interview with Jamie Laurie of Flobots

Flobots (image via http://liveloudmedia.com/flobots)

Denver-based alternative hip hop band Flobots play The Bottleneck October 28th. Jamie Laurie recently discussed artists that inspired him to love hip hop, creative process and his passion to create music without boundaries.

What first got you starting out in music? How’d you get going? What was your first musical memory?
I remember in 5th grade people making fun of me like, “Hey, what kind of music do you like? Why don’t you listen to music?” It wasn’t in my world. I wasn’t thinking about who my favorite band was. Once I did start listening, the first tape ever, honestly, was Willie Nelson. My dad had this tape of Willie Nelson and I liked the songs on there, then I got into the stuff that was on the radio. The first hip-hop I was into was J.J. Fad and Supersonic. Just stuff on the radio that still I think holds up pretty well.
I like Young MC and some of that pop stuff, but before long I got really into more They Might Be Giants and R.E.M. and some of the alternative radio stuff. I think it was really De La Soul and Native Tongues were some of the first hip hop artists I was into. Pretty soon after that, I was into more revolutionary hip hop like the Coup. They are still some of my favorite or most formative, influences for that.
The early ’90’s was a pretty great time for hip hop with Hieroglyphics, Outkast, the Roots and all those groups expanding what the music could be. I fell in love with West Coast underground. Quantum, Living Legends, Soulsides, all that stuff.

Quantum is really something else. Those beats are so fresh.
It’s amazing. It was an experience actually going into the industry, making the music myself. It was amazing getting a chance to meet some of those folks and have them, for a second, treat me like a peer when I’m still just looking at them like a fan.

Your music, it goes beyond styles. You’re not boxed in at all. You’re doing your thing.
Right. That’s one of the things I always admire. Especially about West Coast underground at the time. I always felt like people on the East Coast, because that’s where hip hop sort of lived in the ’90s. It’s like “Oh, that’s where the real hip hop is” people. In my little mind, it was like those people sound more similar, but I would listen to the range between E-40 and the Grouch. We were exploring. They’re just doing absolutely completely different things.
I fell in love with the ability of artists who really find their own personal style and that became an ambition for me. When Flobots really got going, we thought, at that point there were no barriers, even musically. What do we have to sound like? What does the music have to sound like? The Roots had shown that we could be a live band and be an authentic hip hop group. I think, for us, it was like, “Look, we’re coming out of Denver, Colorado. We’re coming out of very different social conditions than many other artists. We have things to say that we could say, that are unique to us and that’s why every one of us are on this Earth is just express our own truths most fully.” So we thought, there’s no boundaries anymore. Let’s have a viola. If there’s a viola player that’s excited about this band and wants to be part of it, let’s start there. Let’s bring in live musicians. Let’s just be ourselves as fully as we can be and that’s what music’s all about.

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Flobots (image via http://www.facebook.com/theflobots)

Don’t you feel like having a live band with you, doesn’t that push you lyrically? It gets you fired up as well.
It does and it also forces you to think responsively to the music. There’s songs where it’s like, “Alright. This music’s really busy, so I need to be simple.” Or, “Hey, this one is a whole lot of space, so now I can fill it in.” It’s definitely a lot more to think about in the creative process, because it’s not just put on the beat and I’ll do a rap. it’s what is the emotional journey of this song going to be and how can I contribute to that with my lyrics.

Kind of like adding to the sound or pulling away from the sound? Contrast?
Right, absolutely. I think, hip hop is doing very well these days because so many people have thought about so many different things. You look at Kanye, who was a producer first for at least a decade and then starts bringing in the lyrics and it’s no surprise that his lyrics feel like they’ve been put together by a producer. Like, “Alright, where do I want to take people? How clear do I want to be? How cryptic do I want to be? What’s the crescendo of this verse?” He’s thinking about those things. I think that makes better music when people pay attention to, how does the emotional arc of the verse match the emotional arc of the music and vice versa?

Taking people on a full journey with a song.
Right. It challenges you to think, maybe, more in depth. I revise way more than I ever did before. I used to go, “Okay, what’s the music? Cool? I wrote a verse. Alright, I’m done.” Now it’s like, “Wait, maybe that verse isn’t everything it could be. Let’s try a new verse.” On the new album we have, I have probably written 3-4 verses for every song and I love where it ended up.

Basically, you’ve gotten better at drafting ideas.
Exactly. Honestly, it took me a while to not be stubborn because I’d be like, “What are you talking about? I already wrote a verse for that. It’s done. No, I can’t change that word because then I’d have to change that other word.” I’ve just learned to have more confidence in the finished product. I think of it like a sculpture where you, you know there’s something that already lives in that rock and your job is to remove the parts that are obstructing it. By the end, it’s like I’ve peeled back all the layers and revealed what the song really is. It’s taken a while, as an artist, to be humble enough to realize that the first thing I did wasn’t necessarily the work of genius that I thought it was in that moment.

That’s got to be a fun challenge, looking over your past work and trying to expand all the time. You never want to stagnate.
Right. Exactly. There’s lots of ways to move forward. You can move forward by just creating a whole lot of things or you can move forward by saying, “Alright, let’s keep wrestling with this song until it is so undeniably compelling that you know it’s finished.”

You never want to put anything unfinished out there. You have a certain standard of what you want. How often do you find yourself writing songs? How often do you find yourself writing lyrics? Is it every day or is there a certain time of day that works for you?
It’s fun to do in the morning. It’s fun to just get up and write but, honestly, it’s all over the map. There was a year, 2010, where I actually made a commitment that every day I would put a new verse up on YouTube and so I did this thing called “The Rhyme of the Day.” It basically meant I wrote a new verse every day. Sometimes, I used old ones that I’d never put out. That was really as a creative exercise. As a artist you can have this feeling, “I have all these ideas. When am I going to get to try them?” In the course of a band where a song is a big production that involves a lot of people, it was easy to think like, “I never get to write a verse that just speaks to what happened that day in the news, or whatever whim I had that day,” so it’s the little idea factory needed to be satiated. Taking a year to just indulge in that was pretty gratifying.
In the process of the last two years of writing this album, it was kind of a back and forth. Someone would come with a bass line and it’s, “Alright, let me react to that bass line. Here’s a verse that reacts to that bass line. Now, based off that verse, we want to do a new bass line. Okay, cool. Let’s bring in this guitar, this. Oh, look the song has evolved and now it’s not really about what it was about. Now, it’s more about this. Alright, let’s do a new verse, let’s try that out.” I don’t know if you ever worked with a t-shirt designer or someone who’s like, “Here’s some potential logos. Here are seven ideas. I like this one, can you take that and expand it?” It kind of feels cool to be a craftsman like that too and also to reach back into that crafts place back into the soul place and see what I’m doing. Let’s go back to what I’m trying to say and what is authentic to me about the song.

Everything is tied into each other, connected, like in the creative process.
Exactly and songs reveal themselves. We have a song on the new album called “Carousel.” I’m trying to remember what we thought it was about in the beginning, but now it’s very clear. It’s a song about that feeling when you’re just playing with your phone, looking for something that you will never find. Whether it’s laying in bed late at night or in the early morning before you get out of bed, just being stuck in this little swirl of this pretend world of likes and follows and instant approval from other people that you’re seeking. I think it consumes so many of us. The song’s about that. The Carousel is that. It took a while to figure that out. First, it was just this chorus, this other set of ideas. It’s exciting when you listen to the song and let it reveal itself to you.

Yeah sure. We should definitely talk about that too. How do you approach a live show differently than your work in the studio? How do you go about it?
For us, the way we came up in Denver was because of our live show. My grandpa used to say, “Your audience is like a greased pig. If they can get away from you, they will.” We think of it from the audience perspective. If I was standing out there, what would I want? What would hold my attention? What would I actually feel good about if I paid and came to a show, brought some friends and told them to trust me, this is going to be good? What are the things that I would want to see happen? How would I want to feel? Were there elements of the show that would actually engage me?
We put a lot of energy into the live show. It’s great having a live band because if you have a bad ass viola solo right before lyrics that captivate people, all of those things go a long way. We really look at our shows as almost like church for a secular world. Come here, we want you to move your ass, want you to intellectually be on board but we want to touch your soul too. We try to send people on a journey that at the end of the night they’ll be like, “Hey, I’m satisfied, I feel good.”
With the election and the climate in the country, it’s really easy to sit at your computer, look at Facebook and just be like, “Hey, we all hate each other. Everyone’s a horrible person and there’s no hope for anything.” Actually, that’s not true and the best way to remind ourselves it’s not true is just to be in a community of people where we can actually celebrate just getting together. It doesn’t mean there’s not things that need desperately to be transformed, because we do. We need social movements. We need to confront hard questions about police violence or climate change. Those need to be transformed. Those systems need to be transformed to be more human things. We can do that in a way that invites everybody into the process and to the solution.

Music, live especially, is the catalyst for positive change.
Yeah, I think it definitely can be. It can be a lot of things, it can be catharsis, it can rally, be a place to pour out our anger, pour out our pain but the over all effect of doing that in a group of people is that we remember that we are not alone. I think that’s the problem where you sit at your computer and you have all these feelings, but you have them by yourself. There’s no affirmation of ultimately moving towards something because there’s other people that feel the same way and we can do something about it. The concert is a shortcut to that feeling. That’s why it was important for us to go out on a show where we’re doing this, really, because we just looked at the situation right now and we need to be out there talking to people.

Making something happen.
It reminds us that we’re not alone, you know?

Yeah, of course. It benefits everybody.
Right, exactly. Anyway, thank you to whomever is reading this. If you’re not sure about coming to the show, come to the show. We promise you it’ll be a good time. Even if you never listen to our music or think you don’t agree with our politics or something, come to the show. We want to see everybody there.

The Bottleneck Interview with Evan Hawkins of Through the Roots

Through the Roots (image via http://www.throughtheroots.com/ )

Through the Roots is a California-based band. They are playing The Bottleneck October 27th. Lead singer and guitarist Evan Hawkins recently discussed how he became interested in reggae, his songwriting approach and the beginnings of Through the Roots.

Did you come from a musical family? Were your parents musical?

I did come from a musical family, my father was a musician, he played guitar and bass for ?Marvin Gaye and other Motown acts in his day. My brother was a singer, so I guess I just found my abilities naturally.

What was your earliest musical memory?

My earliest musical memory was spending countless hours at my best friend’s house playing all of the instruments that his father had collected. I think that is really where I found my obsession with playing them.

What was the first album you bought?

I honestly can’t remember, but it was probably Hanson or Offspring Americana or something. 

What first got you interested in reggae?

My mom used to play reggae for me around the house when I was very young. At that young age I really found a love for the grooves and easy listening.

What do you remember most about your first time onstage?

I just knew that was where I belonged. I never felt insanely nervous or anything. The stage is my comfort zone.

How did Through ?the Roots first get started?

Started writing songs in my first and second year of college. I had a close friend that influenced me who passed away, and I wrote a song for him, “man down.” Once I found that people were digging the music, I got some guys together and we started putting more music together and playing shows. 

How does your creative process work when songwriting?

Normally I just like to be in a quiet place with a good vibe. I normally make the music first and then find something to write about that fits the mood.

How did “Bear With Me” come together?

Eric Rachmany and I came up with the riddim for the song in 2013 on the “Give Thanks” tour. The song sat untouched and was revisited when I first toured solo with them on the “Count Me In Tour.” Eric came down to San Diego and we finished it in the studio together. 

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Through the Roots (image via http://www.throughtheroots.com/ )

What have been the biggest obstacles you’ve had to overcome in your career?

I would say every day is a new obstacle, none bigger than the other. In this industry you have to learn to adapt, while maintaining the grind. We’ve had our bus burn down, switch our members, tour for countless years not making a dime. Starting a band is no joke. However, it is one of the most rewarding things I have ever been a part of. We are very fortunate to have this outlet. 

What advice would you give to musicians just starting out?

Never give up, even when it seems impossible. You’re hardest day, might make someone’s greatest day. 

The Bottleneck Interview with Max Doucette of Skydyed

Skydyed (Image via https://www.facebook.com/Skydyed/ )

Skydyed is a Colorado-based band. They play The Bottleneck September 28th. Guitarist and keyboardist Max Doucette recently discussed how he became passionate about music, the evolution of Skydyed’s sound and their creative process.

Did you come from a musical family? Were your parents musical?

To a certain extent yes. My dad is also a guitar player and though he never took it to a fully professional level, he was certainly the one who first got me started as musician. My guitar that I tour with was actually handed down to me from him from his musician days which I’m very grateful for. My great-uncle was also a big influence on me guitar-wise and many other members of my family have sung or played piano as a hobby. Shane’s family had no musical background before him, but they supported him from a very early age giving him the resources he needed to grow. Andrew’s dad on the other hand made a lifelong career as a professional musician and was a huge influence on him too.

What was your earliest musical memory?

Honestly it’s probably from the old VHS tapes my parents have of me as a little kid dancing to various children’s songs, although I don’t actually have the memory. Earliest memory I can remember would probably be the first time I tried playing my dad’s guitar just whacking on the strings having no idea what I was doing, but being absolutely mesmerized by it.

How did Skydyed first come together?

Skydyed really started as a reggae-rock band between a couple friends and myself in high school. Andrew and I were already friends then and it was around the time he joined that we both started dabbling in electronic music that he joined the group. After we moved to Colorado post-graduation our original lineup kind of fell apart and it was there we met Shane who eventually joined us once we started developing our new sound.

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Skydyed (Image via https://www.facebook.com/Skydyed/ )

How does your creative process work when writing a song?

It often starts out as one of us just making a simple demo in Ableton and then if everyone likes it we’ll start building upon that as we go, but sometimes two of us or everyone will sit down and start something together. For example, Andrew and I will often both leave the drums open for Shane, or I’ll leave a lot of the bass parts and arrangement open for Andrew, or Andrew will give a lot of room in his compositions for Shane and I to add on to. It’s really just writing on the fly between the three of us so that we can end up with something we all like and think others will like as well.

Your songs have a really great flow to them. Do you try and record tracks as live as possible?

Not necessarily, we do a lot of the writing within Ableton itself but we try to approach it in a way that we can replicate live after the fact. Every now and then an idea will be something someone comes up with on the spot, but usually we spend a lot of time tinkering with various sounds and trying new things out to see what sticks. Something Andrew really brought to the table is putting an emphasis on making sure our arrangements are really solid and not too repetitive feeling, so I think he deserves a lot of credit for that. Shane is also quick to change up the beat a lot which gives everything a lot of movement I think.

How do you go about writing a setlist?

We usually first consider the tempo and key changes first as we try to be as fluid as possible and not spend to much time in silence on stage. We’ll also consider what kind of instruments begin and end each song. Something I’ve started dabbling in is figuring out what songs blend together well so we can mix things up live a bit more a like a full on jam band would per say. Even though we often extend out songs out live in improv/solo sections we have yet to really dial in those kind of changes that you often see in the big names of the scene, something I personally look forward to seeing us develop with our sound.

Do you have a favorite quote or motto that you live by?

I can’t think of anything that the whole band together would say, but I’ve always been a big fan of the phrase from the philosopher Jiddu Krishnamurti that is, “Truth is a pathless land” which I often look at from an abstract point of view not just the literal meaning.

What advice would you give to musicians just starting out?

There is no final plateau as a musician, so always look to improve your craft. Never become arrogant no matter how far you get. Always show respect and appreciation to your fans and musical peers. Also, be sure to remember professional music is not just an art, it is also a business whether you like it or not. Most importantly of all never forget that music is beyond ourselves and to never lose sight of the the underlying importance it has to this world and the people in it.