Deluxe Issue Twenty

It’s About Record Shops.

20

Bill Callahan – Mary Lattimore – The Lemon Twigs Orlando Weeks – Whitney – Slow Boat Records – Human Head

Why would anyone do that?

Welcome to Deluxe. For those of you who have not picked up a copy before, we really hope you like record shops, it’s a heavy theme here. In this issue we had the opportunity to speak to a couple of relatively new shops, two that we like very much and places that are adding very distinct and character-driven record shop experiences to the always thriving London shopping scene. We were also utterly delighted to have Babak Ganjei create a guest cover for us, especially as he is a regular frequenter of both the featured shops, a man caught mercilessly in their East London crosshairs.

Although we’ve always placed a heavy emphasis on the printed press, we’ve been using some down time so far this year to work on the website. We’ll be putting more and more archive content online in the coming weeks, not to mention some goods and garms for purchase from our ever widening network of creatives and record shopping obsessives.

www.deluxenewspaper.com Editorial Director: The Drift Record Shop Contributing Writter: Nick Calvino Art Direction and Design: Jenny Frances Guest Cover Illustration: Pat Thomas Printed by Newspaper Club Distributed by Forte Music Distribution © 2020 Deluxe Newspaper

ISSUE 20

Contents.

4-8

Mary Lattimore Interview.

30 - 33

Bill Callahan Interview.

16

Human Head

10 - 15

Shop Signs.

The Lemon Twigs Shop Profile.

18 - 23

The Phoenix Foundation Slow Boat Records Shop Profile.

34 - 39

Orlando Weeks

24 - 29

Interview.

Whitney Interview.

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Mary Lattimore Words: Nick Calvino Photography: Rachael Pony Cassells

Interview.

Mary Lattimore

Looking ahead to the autumn release of her latest album Silver Ladders, we spoke to Mary Lattimore about geographical inspiration, working with producer Neil Halstead, and the uncertainties facing record stores and venues during the pandemic.

Deluxe: First off: It seems like a great many artists are making good use of this time, for better or for worse. Seeing an album release announcement during this pandemic must be strange, I bet.

D: With such a close connection to your instrument, do you find your approach different when composing solo works versus collaborative efforts? Or even a general change to approach in those scenarios regardless of the instrument itself

Mary Lattimore: It’s strange, but I’m actually really grateful for it - something to look forward to. Everything feels pretty out-of-control, so having a plan to release something is a little bit comforting. More than a little bit comforting. Very comforting to have something on a schedule.

ML: I guess I see part-writing as different than collaborating through improvisation. Collaboration and improvising together, and writing solo songs through improvising, are kind of using the same part of the brain. Whereas if I’m writing a part for one of Meg [Baird]’s songs, for example, that feels really different. Listening in a different way.

D: Was this the anticipated release schedule? Or was that changed because of everything going on?

D: There’s so much on the books already of various, wonderful collaborations in addition to your solo work.

Meg Baird, Jeff Zeigler, William Tyler/Steve Gunn, Mac McCaughan And now Neil Halstead. Which caught me by surprise at first but sounds great and seems to be a great fit as a producer.

ML: This is the anticipated release schedule. When the virus first arrived, I wanted to change it, but Ghostly thought that people would appreciate the record coming out in the fall rather than waiting. It feels like a good choice now. I think everybody needs little escapes and distractions. I know I’ve been listening to a lot more music more deeply lately.

ML: Yeah. I just love his ear so much. He did an amazing job.

D: I would agree with Ghostly on that one. It sounds like great music to counteract the news cycle. Or help listeners process it with some meditative, close listening.

D: How did you two get connected for the project?

ML: I knew that I wanted to do something different for this record. For the past couple of solo records, I recorded them myself on my laptop and felt like the forward-motion move would be to find a producer and work in a studio this time.

ML: Thank you. Yeah, I think the sound of the harp really resonates with people as therapeutic somehow. Even if there are darker melodies, I think the sound of the fingers on the strings is warm.

I’ve been a huge Slowdive fan for such a long time - feel like that music shaped me. I was playing a music festival and Slowdive was too and my friend Dana is friends with them. She was also at the fest and she was like, “Mary wanna meet Neil?” And I said “of course,” so she introduced us. We all went out for a beer and that night I went back to the hotel and the idea popped into my head. So I wrote to him on Instagram. He was really open to it and I didn’t even know what the situation would be like, what the studio was like or what the town in Cornwall would be like. But just kind of jumped into it and it was a pretty magical experience.

D: Is it too far a stretch to make the connection of tangible, intimate connection with one’s instrument with a warmer result? I hesitate to ask about the harp, specifically because I feel you must get questions about that a lot.

ML: Oh, my relationship with the actual harp? It’s a very close companion and I can see that producing a warm result. You’re using eight fingers at once and it’s a very physical instrument to play. Sure, that makes sense It’s also an instrument you have to really haul around and commit to. And they’re wildly expensive, so when you get one, you feel very attached to it.

D: Cornwall is a pretty spectacular place. Do you think the

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Interview. surroundings guided or influenced the sessions?

ML: Yes, my friend Becky Suss painted it! It’s the interior of a lighthouse -a painting based on the book Cheaper by the Dozen.

ML: Oh, yes. For sure! Have you been to Newquay? The surroundings and the architecture and the weather and all of i.t

D: I haven’t heard of that one. Could you elaborate on it?

D: I’ve only been to the south of there - Newlyn, Mousehole, etc.

ML: I haven’t read it yet, but it’s a children’s novel about a family of twelve kids with scientist parents. The funny thing was, I found the book in a free book bin the day after I picked this painting. I think it’s based on a true story

ML: what a crazy beautiful area D: It’s bizarre to travel from the Eastern bit of the country and then come upon beaches and semi-tropical plants.

But it was such a kind and inviting area beyond the scenery, as well.

D: That’s some great serendipity, there. Did Becky also do the cover art for Hundreds of Days.

ML: Yes. For The Withdrawing Room (my first one), At the Dam, Hundreds of Days and Slant of Light, my record with Jeff Zeigler. These were all her paintings she graciously let me use for covers. This is our 5th one together! Her paintings are like floor to ceiling, so huge, just magnificent.

ML: There’s an island near there I’d really like to check out. And yes, the people there were SO nice to me. Very welcoming.

D: Which island?

ML: Ack...I cant remember what it’s called. I’m digging around for the name. But I talked with Neil’s partner, Ingrid, about going there next time I visit. Oh! Isles of Scilly!

D: That’s a great connection to have - talented friends sharing and re-purposing work for new endeavors.

D: Whatever it is, it’s likely worth the trip across the Atlantic for sure.

ML: Yes, I feel very lucky.

D: Being an appreciator of music (and other art, as we’ve seen), I wanted to dip into some questions about records and record shops if that’s alright.

ML: Yes! We took a day trip to St. Ives and that was gorgeous.

D: Was the atmosphere a bit stark at times? I feel like Cornwall can pivot from this idyllic surfer’s paradise into quite a gloomy experience, depending on the weather.

ML: Oh, yes. Sure! I love record stores so much.

D: Do you recall your first experiences with them?

ML: Definitely going to the shops in various malls when I was 11 or so. Buying cassettes.

ML: It was but that was part of it, too. Very rainy and kind of gloomy, but then the sun would come out. Dramatic and romantic

D: Any formative finds from those days that you’ve held onto?

D: What was the process like working with Neil on his home turf?

ML: I don’t have the cassettes anymore, but I remember getting Wish by the Cure and listening to ‘Friday I’m In Love’ a million times in a row on my Walkman. They’re still my favorite band.

ML: It was great. Hanging out in his studio, seeing all of his synths, driving around, having a good lunch. Just felt immediately cozy. I’m really glad I went there. Felt very intentional and meant-to-be. I was definitely taking a risk because we didn’t know each other at all but we really got along so well. This won’t be the last time we work together, I’m sure.

I worked in record stores for many years later on in life and I definitely hold them dear as favorite places.

D: Oh, that’s a great one to get into so deeply. ‘High’ is such an amazing song. Are the stores where you worked still in business?

D: Beyond Cornwall, the title of the album is taken from an experience in Croatia. Is that correct?

ML: Nope, unfortunately not. All of them are gone. But I feel like, at least pre-pandemic, LA record stores do better. These where I worked were all on the east coast.

ML: Yep. I went to Croatia last year, to this little town called Stari Grad on the island of Hvar. Just spent time there alone and, as I love to swim, went swimming a lot in the sea. There were ladders leading right down into the water. I’d never seen that before - swimming pool ladders right into the sea.

D: Which towns/cities? I feel like even just New York, Boston and Philadelphia have had several of the best shops I’ve ever seen.

D: That’s really strange but very beautiful. Almost as though you cannot improve on the quality of the sea with a manmade artifice.

ML: It’s the best thing.

ML: Yes! Two were in Rochester, NY and one was in Philly.

All of those cities have amazing stores. It’s so true! I can’t wait to get back to shopping in person for records! Best feeling.

D: The cover art is fairly cosmic, as well. And also looks like the coziest place.

D: Have you encountered your own records in the stacks?

What does that feel like?

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Mary Lattimore

“Having the object there feels like you’ve captured something ephemeral or abstract”

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Interview.

Mary Lattimore

ML: I love it! such a good feeling. Feels good to be in the mix.

D: As a former employee of record shops, that also sounds like a cool shift from taste curator to the music creator then being shared by those same folks.

ML: Yes, definitely. And to have this physical symbol of your time, intent, thought, sound, and work as an object that sits with the other objects that represent other people’s hopes and work is really cool too, if that makes sense. Just in this beautiful store that showcases all of these dreams and experiments made real. Having the object there feels like you’ve captured something ephemeral or abstract.

D: There’s a wonderful immediacy and impact that a site like Bandcamp is having at the moment. But I’m guessing it’s no substitute for the atmosphere of a record shop. Do you have any insights or suggestions of how best to assist those shops that might be struggling alongside venues during the pandemic?

ML: I just don’t know. I love Bandcamp because I feel like their love of music feels sincere. And their support of musicians/labels feels sincere. But yeah, going to the shop is just the whole experience.

I’ve been buying records online from different shops.

It also helps out the struggling US Post Office. I just don’t know what’s going to happen with record stores and venues.. Hard times for things that we love that feel important to the fabric.

‘I don’t have the cassettes anymore, but I remember getting Wish by the Cure and listening to ‘Friday I’m In Love’ a million times in a row on my Walkman.

They’re still my favorite band.’

D: Along those lines, are there any records you’d recommend for folks at the moment? Perhaps that they could order from a favorite shop…

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Image: Jason Schulmerich

ML: I’ve been listening to Plantasia a lot by Mort Garson. I just got the new Samara Lubelski record called Partial Infinite Sequence - experimental violin record. Hmm what else, Meara O’Reilly’s Hockets for Two Voices . Nailah Hunter’s Spells , this beautiful tape, she’s a composer and harpist. Highly-recommended.

I think the LP comes out soon.

bear’s den & paul frith fragments

marilyn manson we are chaos

sophie hunger halluzinationen

sylvan esso free love

matt berninger serpentine prison

action bronson only for dolphins

m huncho x nafe smallz dna

nas king’s disease

The Lemon Twigs The Lemon Twigs are exactly the sort of band that we love. Their rich and dense music skates the knife edge of pomposity with wild originality; every gesture feels steeped in all of musical history at once. We were excited to talk to Michael D’Addario about how, much as it might not seem it, they are just like us.

Illustration: Pat Thomas

Photos: Michael Hili

Interview.

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Michael D’Addario

‘Just a picture of us with a killer quote like that and plaster it all over the place!’

Deluxe: I wanted to start off my talking to you about the recording of your new LP Songs For The General Public.

Recorded as I understand between Sonora Studios in Los Angeles, Electric Lady in New York City and back home in Long Island. What did all of those buildings bring to the mix?

MD: I think we would have gladly just done it at home, but it became a little bit of a limitation not having all of the equipment that we wanted to use. Also working out of our parents house wasn’t quite the right fit and we wanted to feel a little bit more official so we went out over to Los Angeles. We did some work over there, like two weeks of work in the first month, in and out depending on the availability and then we ended up coming back home as ironically we ended up missing it. But we again had the limitations of needing to do stuff like going through reverb or recording a vocal, so we went into Electric Ladyland to process the entire LP through their gear.

know? For a long time, it was an impossibility to work on film, but it’s not, it’s really not you just need to be smarter with the production.

D: You come from a film background, so how important is the visual identity - artwork, sleeve, videos - of the band to you?

D: Heavy kit benefit

MD: I dunno, I think of it all as one slideshow you know?

It’s all just there to support the mood of the music. I have a lot of images stored, I watch lot of films, way more than I listen to music. You can take things from other mediums.

MD: Yeah, that was what we wanted, we didn’t have a plate… we have like one Neumann whereas they have like a bunch of old kit that’s incredible sounding. You know, at our house we have everything we NEED, it’s just not of the highest quality.

D: Do you have anxiety about consuming art too much in advance of writing a recording, what if you end up writing a sequence that sounds pretty good only to realise you’ve kind of re-worked… ‘Freebird’ or something?

D: When people talk about plate reverbs, I always have experienced it in the digital age, so more filters and modules and stuff, but the plate reverb is like a massive tray right?

MD: Well, I’m not really worried about that. I think if I wrote ‘Freebird’ or whatever I am self-aware enough to realises it. I’d be happy I guess, start again? I really enjoy watching and listing to… media? You know, all of it. I listen to a lot of music that has a lot of surface level music, stuff with real surface level beauty… the same for movies too.

MD: Yeah. It’s a big rectangle.

D: (laughing) I think I get kind of excited about seeing that stuff working.

MD: I guess? I am pretty used to it I guess.

D: In terms of the production?

D: When you went into the studio, did you feel like you had the record ready in your heads? How much did you take in?

MD: All of it. The lyrics too, you know? Like songs about living a happy time and partying D: So, more gratifying?

MD: We take the songs, but I think a lot of it happens when you’re there. You have a general idea, but most of it happens right there. Brian has more of a dream maybe of what is going to be there before he puts his hand on an instrument, but I like to find it, I like to experiment, maybe it works, maybe it doesn’t?

MD: Well, yeah, but I like moody music too. I just really don’t like it when people try to be smart, I really don’t. I just stop paying attention.

D: What has been a particular influence of late, or maybe with the the LP specifically?

D: What does that look like, is it a whole bunch of performance?

MD: Lately? I’ve been listening to a lot of that rapper La Chat from Memphis. Also, Bladee from Sweden.

MD: Yeah, basically, I just like to keep recording… you use a lot of tape though.

D: How do you go about finding stuff?

MD: You tube.

D: Do you feel the pressures of having to treat it like a job…

D: Really! Okay.

MD: Monetary?

MD: When I was a teenager I’d buy tons of stuff, loads of records. I’d then use to the internet to devour their whole discography or whatever, I’d get into people based on a cool cover or a play on the stereo. I was pretty obsessed

D: Yes, like, you’ve punched in at the studio?

MD: I have felt that, maybe more with the videos? The budgets are so small, you have to really stretch it you

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Interview.

Michael D’Addario

with old things as a teenager, but now I am not obsessed with old things. Nowadays, you can’t really find what I am looking for in the crates, so to speak.

it entirely on a computer? If it was tailored to be sounding all warm and recorded on tape or whatever, then I guess it requires that whole “lossless” thing.

D: What was your first record shopping experience?

D: I guess that surprises me a little as the intricacy of what you have recorded as The Lemon Twigs is so… complex?

MD: Oh god, I dunno you know? I bought all sorts of stuff when I was 12 or 13 as we had a record player and inherited all my dad’s old records, but I wasn’t really conscious about any of it until I was like 15? I had a girlfriend who got me into records. It would have been in LA, I would have been about that age, but I don’t remember it that clearly. I am not an exhaustive collector.

MD: I couldn’t be less of an audiophile, I just love sound a lot and I am interested in how sounds trigger emotions. I’m not an audiophile. I listen to stuff on my iPhone speaker all the time. I was very much; I am very much the same with films. In High School and Middle School - before I knew about The Criterion Collection or whatever, I always watched movies illegally in TERRIBLE quality… it was just about the film, old movies and important movies and even dumb movies that I just wanted to see. I think I have seen pretty much all of Dustin Hoffman’s movies, but I’ve hardly ever seen one that wasn’t in lousy quality, like 240g.

D: If you were wanting to go out and flip racks, where is your local?

MD: There is a store called Human Head in Brooklyn.

It’s a good place, that’s 100% the New York place. The Manhattan stores are all kind of too expensive. I used to always do it on the road, it was like… a compulsive way to spend time? Buying clothes and records… oh man, that’s just such a common thing? You know? That’s THE common thing? You really want to put that in an article? (laughing) that’s just what everyone does

D: (Laughing) I like that we’ve been talking about discovery though… well, not record shops actually. So how do I win you back? How would I use my shop to catch young you’s attention and sell Lemon Twigs?

D: (laughing) which stores did you really hit though?

MD: You should just use all the quotes that we had made up for the album. That will really make people interested, that’s all that you need.

MD: Ohhhhh I don’t know?

D: (laughing) It can be for a bad reason?

D: (Reading) “You see; the Twigz are more popular than you, they are greater than your favorite band, they are a phenomenon.”

MD: I guess I have a bad memory for the specifics.

D: What would you look for in a record shop?

MD: Well, I hate it when you go in and a store is just a “shop”, like, it just has all the new records out of the factory, or expensive reissues… that, you know? I would always want to go to a record store that feels like a real store, somewhere where you can find anything or… something?

MD: Exactly, those wise words are Sam France of Foxygen. Just a picture of us with a killer quote like that and plaster it all over the place.

D: Well, I did offer I guess… so I suppose I best get printing up that quote nice and big on a banner.

MD: Yes! Exactly, that’s great. (Laughing) we did one that had a picture of us and just said “The Lemon twigs are just like you… And me”. Very mysterious.

D: Do you feel like those sorts of shops still play an important role? They’re still part of the landscape?

MD: You’re asking the wrong guy, I don’t buy anything, I am just listening to trap music and you can’t buy it. I don’t like “indie” music, I don’t really like any of that stuff that would be considered to be my contemporaries. Not even just the stuff that we get compared too, it’s even the same bands that we share bills with, I just find I have less and less interest in it. If I could buy trap music, I would buy trap music.

D: I guess that’s the fascinating thing with Trap music, outside of bubbles there is just no connection to physicality, it really is primarily a digital artform.

RECORD SHOP MENTIONS:

MD: Maybe they do, I don’t know, but if it was made entirely on a computer, why shouldn’t’ I listen to

www.humanheadnyc.com www.instagram.com/humanheadnyc

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“You see; the Twigz are more popular than you, they are greater than your favorite band, they are a phenomenon.�

SHOP SIGNS

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HUMAN HEAD RECORDS NEW YORK. 17.

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Shop Profile.

The Phoenix Foundation Slow Boat Records, NZ. Jeremy Taylor from Slow Boat Records in Wellington, NZ talks to Sam Scott and Luke Buda from The Phoenix Foundation.

Photography: Ebony Lamb Illustration: Adam Errington, Wellington.

Slow Boat Records

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Shop Profile.

Jeremy: My earliest recollection of The Phoenix Foundation would have been around 2001, not long after I had relocated from Christchurch, having recently returned from the UK, and started working at Slow Boat. My workmate, and curmudgeon of some repute, Steven Clive Hinderwell, turned up one Friday morning and announced that “That Phoenix Foundation band played the Bodge (the old Bar Bodega) last night - they used to be crap, but they’ve got quite good”. This, believe it or not, was actually quite high praise from a man who mostly likes novelty covers of 80’s hits played on the banjo.

I was faintly aware of whom he spoke from co-frontmen Luke Buda and Sam Scott coming into the shop - bearded, be-cardiganed, and interested in indie rock. Over time, we became firm friends, to the extent that I now feel the histories of The Phoenix Foundation, and Slow Boat Records (Wellington NZ’s longest serving independent record store) are almost inextricably linked.

They have even played instore at the shop, three times now, and Luke and Sam’s solo projects (Teeth, and Bunnies On Ponies) have also both played in-house, each of them on the occasion of a Record Store Day (and BOP a second time at the launch of a book I wrote, which was, perversely, about the 2015 Rugby World Cup). I thought I would look at our shared history, through the prism of those three TPF Slow Boat instores, as we anticipate their seventh album, titled, appropriately enough, Friend Ship, and seek the band’s response…

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Instore 1: “Horsepower”

Instore 3 : “Fandango”

After the release of their debut album, on the nascent Capital Recordings label, it was determined that the Phoenix Foundation would play instore. The earlier China Cove EP had shown promise, but was still, for me, the work of a band in thrall to Pavement and The Pixies (a coincidence that their name falls, alphabetically, between these two acts? I think not) Sam had given me a burned CD (remember those?) of the unfinished album, which included the as-yet-unreleased ‘reggae track’, ‘Rotten Town’ - I actually heard it again a little while ago, and it wasn’t as bad as I remembered.

For the third TPF Slow Boat instore, it came right on the

(2003)

(2013)

eve of them departing for the UK tour their 5th album, Fandango - like, maybe it was actually the night before they left? I recall being very focussed on erecting a stage made out of wooden pallets that I had liberated from Cuba Fruit (RIP) across the road. I had gathered up what seemed like an unnecessarily large number of palettes, and commenced building the stage out from the back of the store.

As more and more gear came into the store - more guitars, more keyboards, more percussion-y things - I realised the palettes I had amassed were barely going to be big enough to accommodate Conrad’s gargantuan, Starship Enterprise-sized pedal board. It was distressing. I do remember the instore itself, the well-drilled band firing on all cylinders, and new songs like ‘Black Mould’ and ‘Thames Soup’ being particularly affecting.

From memory, TPF may have been the second band to play instore (after the Brunettes, who then featured a young Lawrence Arabia, and Pluto/ Tami Neilson bassist Mike Hall).

They were pared down to a five-piece at this point, guitarist/ instrumentalist Conrad Wedde having departed for Dunedin shortly after the album’s release, and my other abiding memory is of having to get twenty or so people to lift the CD racks back to accommodate them. They were an appealing rag-tag combination of influences, with Wilco and Blur possibly jostling for prime position. Even then, they were obviously pretty bloody good, loose but groovy young men in love with music and its potential.

Sam - We were such a different band by this point, ten years on from that first instore. I imagine slightly more annoying to deal with, so much gear, more professional, more demanding! I’m surprised we didn’t do an instore for Buffalo, Slow Boat financed the first vinyl run of that album, which was the first thing we ever had on vinyl and now that’s such a huge part of every release. Slow Boat really got the ball rolling for us in vinyl land. I remember for the Fandango instore Suzy, the wife of the original Slow Boat owner Dennis O’Brien (who is stepping back and passing the shop on to Jeremy and Steve) made the most delicious snacks for the band. Going off on a big tour after a show at Slow Boat was nourishing for the soul. Our history is so intertwined with theirs, I can’t really imagine TPF without Slow Boat.

Sam - I remember this instore coming at a time when the local audience started taking us seriously. I think a big part of that was probably Slow Boat spreading the word. They were already very influential on my music taste. In my teens there were many decent record stores in Wellington, but Slow Boat was the one with vibe. Eventually all the other shops closed down but through the darkest years of music sales Slow Boat stayed true to their purpose and somehow thrived. Back in the early 2000s Slow Boat was also where you’d meet other bands.

Instore 2 : “Merry Kriskmass” (2009)

‘In my teens there were many decent record stores in Wellington, but Slow Boat was the one with vibe’

The second TPF instore was in late 2009 for the festivethemed 6 track EP (almost more of a mini-album?) Merry Kriskmass. One of the more underrated releases in their catalogue, I remember this instore being a bit of a rush, held on a Friday evening, and being attended by Luke’s boys, Moses and Nico - possibly the first time they had seen their Dad play a gig?

Sam - Merry Kriskmass, no one bought that! It came out of the same sessions as Buffalo but didn’t quite have the same appeal it seems. I think by this stage we were feeling very comfy at ‘The Boat’ and having kids there and whatnot made it feel like we were playing on our home ground. Also by this point I think our sound had evolved in so many ways, probably because of records purchased here, like Aphrodite’s Child 666 or the Goblin horror film soundtrack Tenebre.

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Shop Profile.

Luke: To me Slow Boat represents everything that is great about independent record store culture. A place where heavily opinionated nerds can freely argue deep nerd opinions with the heavily opinionated staff, in a safe and welcoming environment.

Yet behind all the sardonic quips about The Smiths being the only band you need to listen to and the shaking of the head at indulgent ten minute guitar solos there lies a deep love of and appreciation for music and it’s history. A record store like Slow Boat is where you go when you want to be reminded that music actually IS important. I couldn’t actually tell you what my earliest recollection of it is, as it feels like it has just been a massive part of my life for ever. I thoroughly agree with Sam that I couldn’t imagine what the band would be like without our relationship with this Wellington icon.

Sam: I hope we can play an instore for Friend Ship. Bring the ship to the boat, I mean they are our friends, obviously. I guess in 2020 we don’t quite know where we can and can’t go, but we’ll survive, Slow Boat will survive and we’ll keep hanging out chatting about records for another 20 years I’m sure.

Slow Boat Records

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Interview.

Whitney

Hot on the heels of their sophomore album, Forever Turned Around, Whitney treated us all to Candid – a covers record that puts their spin on songs from artists such as The Roches, Kelela, and Labi Siffre. We caught up with members Julien Elrich and Max Kakacek about choosing the cuts for Candid, record stores, and their love of album artwork and packaging.

Words: Nick Calvino Photography: Colin Matsui

Deluxe: So, you had recorded this album before the pandemic kicked off?

we just felt like we wanted to challenge ourselves, because we had already worked them out live. The selection process was pretty random – that wasn’t really calculated.

We’d just kind of show up to the studio and we would spend the first hour just figuring out which song to do that day and then hashing it out.

Max Kakacek: Yeah, in February. We pretty much finished recording then.

D: And was a dedicated covers record always something that was on your mind?

Having seen the band live over a number of years, I’ve lost count of how many covers I’ve seen you do.

D: Do you feel like you tap into something different as a group playing covers? When trying to do justice to someone else’s song rather than doing justice to your own work?

Julien Elrich: Yeah, it was just something that was always in the back of our minds. The timing just worked out really well because we had a month-long winter tour bookended by dead time where we didn’t really have anything to do. And then it turned out that the timing was kind of incredible with the entire world, or the music industry, being shut down. We’re happy to have it recorded with the whole band and everything.

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D: What was the selection process like for these songs? I imagine these aren’t the only covers you might have had at the ready.

MK: Yeah. I mean, honestly, the major process difference with Candid, like Julian was saying, we’d pick a song in the morning, learn it throughout the day, and then by the end of that day we’d pretty much have a finished recording. The band had been touring together for the better part of the last six months before recording, so it was less focusing on this moment and letting people kind of play as they saw fit until we found the right take.

JE: Most of the songs that we were doing live we, for some reason, didn’t really feel like we could do them justice on record. Or maybe

JE: To add to that, as far as opening it up to the whole live touring band, I do think that being able to pick our favourite songs…I feel

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Whitney

Interview. like with the songs that we write, we are a little more protective over how everything is played. It felt good to “let the band be the band” when it came to all of these songs.

would with everything going on.

D: Do you have any thoughts on ways that people could be supporting them beyond reaching out and making the occasional mail order?

Whitney

D: Is there anything on the album in particular – I’m sure there’s a number of things that you’re proud of – either in your own respective performances or in the performances of others that stands out to you as you listened back that you were surprised or pleased to see come out of the sessions?

JE: Yeah, I dunno. I mean…writing your senator [laughs]. Just making sure that the government is fucking bailing out this industry. You know…vinyl is making this resurgence, but this industry is so fragile. I don’t want to sound too dark [laughs]. Look, our history with records, just as consumers… we’re nerds [laughs].

JE: Yeah. I mean, I’m really proud of ‘Hammond Son’ and just the way everyone gelled together on that song. It probably sounds ridiculous – sort of patting ourselves on the back – because the foundational track is this kind of long, trotting thing. I do feel like there’s a ton of nuance in everyone’s playing. There’s the big horn moment that Will [Miller] went crazy on. There are moments in that song that make you feel a certain type of way that I don’t know if we’ve hit on our original records.

MK: The record shop I always went to in Chicago was across the street from Old Town School of Folk Music called Laurie’s Planet of Sound. I used to be in there all of time because I was living in that neighbourhood.

It’s been months and months since I’ve even been in a record store.

But something kind of bizarre about vinyl and this project is that we actually haven’t heard it on vinyl yet. Because the label sent the test pressing to our next-door neighbour and we had no idea. Maybe they typed in the address wrong to our house. And then our neighbours sent it back to the post office and it got lost. And we had to approve the test pressing without hearing it or having any way of getting it back. That pressing is floating around somewhere.

D: When I saw that on the track listing, it wasn’t that I had any doubts, but I don’t think I had ever heard a cover of that song before.

I think you guys did it justice – even getting anything close to Robert Fripp’s sound on that was really cool to hear.

JE: The original recording of that song is like… so fucking extreme. All the harmonies and… we had to make some…I don’t even know if “compromises” is the right word. There was no way we were going to beat them in that recording. Ever.

JE: Maybe someone can sell it on Discogs or something if they want [laughs]. They have our permission.

D: I wonder how much “the unplayed test pressing that the band hadn’t even gotten to touch” would get on Discogs.

MK: A kind of fun part of that was that all of us are really familiar with that song. I think all of us, as a band, knew that we weren’t going to try to do like…All of the vocal harmonies when we tracked it ourselves. So, I think when we were playing it as a band some of those nuances are, in the back of our heads, subconsciously playing some of those harmonies with a guitar or a piano to make up for that space. Which was, I think, intentional in each of our parts. Something that just sort of happened when we started playing together.

Unless that would be some kind of fantastic gimmick in a release cycle.

JE: Yeah [laughs].

D: Do you remember the first records you ever bought?

MK: On vinyl, specifically?

D: No, it could be any format.

MK: I think for my first official gift of music from my family, the one kind of funnier one was The Wedding Singer soundtrack.

D: Could you go into your history’s with record stores on a fan/appreciator level?

What personal experiences with shops come to mind?

D: Nice [laughs].

MK: I was…eleven or something. It was all of these 80s hits. And the second one was The Clash singles. I was a big fan of The Clash in the 6th and 7th grades, so my mom grabbed me that.

JE: We’re in Portland [Oregon] right now, so I guess mentioning Mississippi Records would be apt. I just really hope that record stores aren’t getting completely destroyed right now. Which, it seems, logical that they

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D: The Wedding Singer soundtrack has some decent stuff on it, all things considered. You

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could do worse than to have The Smiths and The Police.

MK: Yeah. And also, some weird Adam Sandler song that he sings in that movie.

One’s about killing himself because his girlfriend broke up with him. It’s pretty… debilitating [laughs].

D: Do you recall any dedicated efforts to start buying vinyl at any point?

MK: I’m trying to remember when I got my first turntable. It was probably around that time. Then later on in high school, in the first band I was really in, we were pretty obsessed with the Chicago punk scene. Like HoZac Records. We would just buy every 7-inch they put out. I don’t think they were doing LPs for a while. The first Smith Westerns record is one of their first LPs.

D: Do you remember the first time you ever saw one of your records in a shop?

JE: I don’t really know. I mean…early Smith Westerns stuff, probably would have been around Reckless Records and stuff.

MK: Growing up with Tower Records existing…being such a thing when I was a kid, even though I didn’t go there if I was buying a CD or something. When we played Japan a couple of years ago, one of the last Tower Records, if not the last Tower Records, is in Tokyo. And they had a whole CD/ record installation for Whitney which I never thought would happen. Going to one of the final Tower Records and there’s this kind of corner sectioned off with just Whitney stuff was pretty exciting and bizarre.

D: Did they have cardboard cut-outs and all that jazz?

MK: Not of us, but of the album cover.

JE: The roses. Also, every time we go to Rough Trade East in London. I remember that Whitney went there, and I’m sure Smith Westerns had done it, too. The first time we did that for Light Upon the Lake and played the in-store, that was really crazy. Because they were promoting it so hard and I think the record had been doing really well. It just felt a real, tangible thing versus being on a year-end list for a blog. Which, if you think about the current state of the world, nothing is really tangible [laughs].

JE: It’s like Christmas.

MK: Yeah. I even remember when the first Smith Westerns stuff was coming out, even the singles from high school, just being shocked that music I made – I think I was using the worst recording software on the crappiest computer –was going to be on a vinyl record. I don’t think that joy ever really goes away.

D: I imagine people are getting wellacquainted with their favourite records right now. Yours amongst them, too. Are there any albums that you’ve found yourself listening to a lot lately?

JE: Well, we were just talking about this.

Not a very original take, but I’ve kind of gotten back into The Beach Boys after not really listening to them for almost the entire lifespan of Whitney.

We’ve been writing a lot, and we tend to ignore music while we’re focused on our stuff. Some new releases, actually. The new Taylor Swift record is pretty amazing.

Whitney

I guess punk record collecting in late high school was a thing. Used to be on Terminable Boredom and all those weird forums just talking about punk 7-inches by local labels.

So that’s when I guess I started buying more records made by acquaintances and friends than from “proper” record labels.

MK: I do think, for me personally, more so than seeing the record or something you made at a record store, the excitement comes from…I remember when we were first shipped the first Whitney record. We got our first pass of pressings in the sleeve with all of the artwork and the vinyl coloured and all that stuff. It still feels…like when you’re first making music when you’re younger, and you’re into records thinking “I can’t wait until my music’s on a record.” When you actually get to open the record, and look at the vinyl and artwork inlaid and everything, there’s this sense of childish joy that I get.

MK: [Bandmates] Malcolm [Brown] and Charles [Glanders] DJ a lot. So, they would spend a lot of time on Discogs every day.

And spending what I imagine would be a lot of money on Discogs every day, as well [laughs]. The last thing I bought that I was very excited about was…well, there’s this kind-of project out of Chicago from the early-2000s called Express Rising that’s just all instrumental sample stuff. I think they only printed around 1500 records and was able to find one of the original first pressings of one of the albums from that period. So that’s one I’ve been into off-and-on.

D: Do you find any reference points in other album artwork? The roses on Light Upon the Lake took on a life of their own for a bit, for example. It seems like you put a lot of thought and care into how your records are presented beyond it sound.

JE: Yeah. With the rose, I feel like we got lucky. It was one of those times where it just

27.

DELUXE 20.

Whitney

Interview. became this symbol that came back into fashion. Which we really have any solid…it’s not like we came up with that shit.

But I feel like the visual and rollout and just our band…it’s something that we’re constantly working at. Not always great at… but we want to put more emphasis on that moving forward.

D: Do you think the way people are consuming things - i.e., not on physical formats - changes how artwork is absorbed?

That is becomes more disposable?

JE: That’s a good question. There is definitely a lot of bland album artwork out there. But I’m sure that’s always been the case. What do you think?

MK: I think that might go back to when we were talking about crate digging. In like, forty years down the road…there will be those records that have a little bit higher value when people are digging through to find again, you know what I mean?

JE: Are you saying that 80s music is coming back? [laughs] MK: I feel like every two years.

JE: The 80s is such a controversial period.

D: Certain artwork might just have a more timeless quality to it, and not just be of a specific time. Fashionable but not classic, I suppose.?

MK: It’s tough, because I do think there is some value…and we’ve talked about it before…I feel like the first two [Whitney] records, because it was our original music, we were very much a part of the artwork process. And with Candid, we have an artist friend that we showed the music to and asked what the art should be like. And they sent us that. We didn’t immediately give as much direction, so the Candid art has some strength in an artist’s interpretation of what they were hearing – as someone who’s not so close to the record itself. And they can hear it from that perspective. I think there is some value in that. I think we really enjoyed that process – working with them.

JE: I think there’s a ton of value in that.

Moving forward, I think we’re more interested in fully working with the art directors and stuff. I feel like in the past, we really took that

D: That relationship style - a consultation or collaboration. Is that something you think art inherently benefits from? Whether it’s design or the production itself. Having a different set of ears or eyes on the project might lead to something better?

Both: Absolutely.

MK: I think that’s a challenge of going into the record making process. Being close to a certain group of songs that you worked on. On a really personal level. And being open to a change or adjustment from an outside producer or mixer who might think something’s a good idea. To be open to suggestions and not close them off right away and say “Well, I thought that’s how the songs should be and this is how it is.”

I think that collaboration is super necessary.

In the past, we took a lot of it on ourselves.

And now collaborating more feels like we’re reaching a better place with it.

D: Any recommendations for the readers?

Besides Candid.

JE: They don’t have to listen to our stuff [laughs]. Maybe if you hear a song that you like off of our new record, just seek out the original version and buy that record, too.

Going down the rabbit hole…whether it’s crate digging or our generation going down the YouTube rabbit hole...hopefully we’re sending people through that process of discovery. Without live shows, that’s maybe one of the only rushes you can get.

Discovering something new.

Whitney

D: I don’t know. I think you dig hard enough; you’ll still find artwork and music that is good. Stuff you might not have heard about that you just weren’t aware of. Although it’s hard to deny stretches of time, like in the 80s, where album artwork was just batshit insane [laughs].

burden on our shoulders and that’s crazy [laughs].

RECORD SHOP MENTIONS: www.lauriesplanetofsound.com www.hozacrecords.com www.reckless.co.uk www.towerrecords.com www.roughtrade.com

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Interview.

Sir Bill of Callahan

Photography: Hanly Banks Callahan

DELUXE 20.

Bill Callahan

Over the last twenty five years, Bill Callahan has doubtless been one of the most constantly played artists on our stereo. We were delighted to catch a few moments to talk about his most played pile and where he bought them.

Deluxe: It was fun to see that you had joined Twitter.

Have you been pleasantly surprised about Twitter?

BC: I was haunted by this John Lee Hooker track I heard on the radio at age twelve. The first record I bought was by him, a double album. I was sure it must have the song on it. It didn’t. The song might have been a version of ‘When My First Wife Left Me’ but I’m not completely sure of that. None of the versions I’ve heard have been that magical version.

Bill Callahan: You have to do a lot of editing. Seeing other people scroll scroll scroll makes me crazy. just edit the voices to what you want to read.

D: Have you enjoyed being directly in touch with people via the site?

D: Do you recall what early record shopping experiences felt like?

BC: It doesn’t really feel like being directly in touch with people, exactly. Feels like i’m opening a porthole in a ship, yelling something out to whoever happens to be within earshot and then closing the porthole.

BC: Record stores always felt like beehives. You walk in and everyone’s kinda doing their own thing - searching the stacks or working the register. No one looks up to acknowledge you because they’ve got music on their mind. So it was a good place to go without having to interact with people, exactly, but to be doing something communal. When you took your purchases to the register that was always sort of like St.Peter at the gates of heaven, seeing what the cashier would remark about your selections.

D: We’re talking about shops and I wanted to ask you a little about in-store performances. There is an especially good ‘Rococo Zephyr’ performance at Used Kids Records - Columbus, Ohio - circa 2009 that is often online. Do you have any fond memories as a performer?

BC: I love in-store performances. They can be a little difficult to pull off on a show day because I like to only do one show per day. My solution to that was to do record store tours Where I only played record stores. That was fucking fun. You show up at five, do a two minute sound check then go for a stroll. Come back at 6 and play a set.

Then go have dinner, maybe with some people you meet at the show. In-stores are a lot more efficient than club shows where you have hours and hours to kill between load in and showtime.

D: We quite often find (at my shop) that people are drawn in by sleeve artwork. How big a part of the creative process is the artwork for you?

BC: The cover is very important to me. For Gold Record, I came up with the concept and asked Dan (Osborn, at Drag City) to source it and put it together. The cover must relate to the music fully. I love the multi-media aspect of making a record - another thing that is largely lost with streaming.

D: As a performer who would always draw a sizable audience - in the normal world this is - does something intimate like a small shop full of people offer an exciting opportunity?

D: Is album artwork something that resonates as part of the broader ‘release’ with you? The Paul Ryan sleeves feel pretty iconic, are they still images that bring you joy?

BC: It’s definitely more of a one on one feeling. Record stores are like churches for music heads. So it can be nice to gather there in praise.

BC: Those are special to me. Good paintings (and any visual art) are meant to be looked at for hours and hours, years and years. Putting it on a record sleeve is a good way to ensure that happens — instead of putting the painting in an “art jail” (museum). I’ve got the apocalypse

D: Going right back, what was your first record shopping experience? Do you recall where and when and what you purchased?

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DELUXE 20.

Interview.

I thought colored vinyl was cool when I was 10. I was over it by 11.

BC: John Coltrane’s Crescent, Asnaketch by Asnaketch Worku, Glen Campbell/Jimmy Webb Reunion are some records that I put on the turntable and leave them on for weeks of dedicated play.

painting hanging in my house. Paul gave it to me in Australia the day before we were flying home. It wasn’t in any kind of protective wrapping or anything. I made Matt Kinsey carry it on the plane because he’s good at taking care of things. He wraps his guitar pedals up in washcloths every night after the show.

D: Off topic a little, but I really liked your cover of Lee Clayton’s ‘If You Could Touch Her at All.’ Did you ever see the artwork for the Waylon & Willie LP where they cover it? Boy, it’s quite the piece!

D: There is a lovely photo on the back of the sleeve (of Gold Record) shot by Hanly... it suddenly struck me, SURELY you should have pressed this one on (laughing) GOLD COLOUR VINYL!! If Drag City came to you and said that people were desperate for colour wax, would you relent?

BC: Yeah, where are the people that can draw like that these days?

D: Coming back to more recent times, how about a memorable experience of seeing you work (under your own name or as Smog) in a record shop, how did that feel?

BC: I thought about it, but colored vinyl can be a bit of a burden. It’s too much, just put it out on black vinyl and be done with it. I thought colored vinyl was cool when I was 10. I was over it by 11.

BC: If i’m at a record store i’m usually fixated on looking for whatever i’m looking for and I don’t even think to look at my own section— that would break the spell.

D: How about the Callahan home, are you much of a collector of physical music? Do you lean towards certain formats?

D: What do you look for in a shopping experience and do you still find record shops a place of discovery or do you find alternate routes to discover music?

BC: I buy records and CD’s. I try to only buy things i’m going to listen to 1000 times. I also recycle my records a LOT, if it’s not getting played then I trade it in or give it away.

BC: Flipping thru records seems to be the best way — then the sleeve art and whatever you can gather from band name/song titles becomes mystical - Like, am I feeling drawn to this via visual or semiotic ways?

D: Do you have any releases that have been constant competitions over the years?

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Bill Callahan

RECORD SHOP MENTIONS: www.usedkidsrecords.com

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Orlando Weeks Although Orlando Weeks will be a voice known to you as part of The Maccabees, his debut solo album - A Quickening – is very much a solo piece. Musing on fatherhood and its profound changes, we spoke about all sorts of formative early experiences.

Photography: Kate Friend Illustration: Orlando Weeks

Interview.

Deluxe: Your album - A Quickening - is centred around your own journey of entering into fatherhood. Were you at all anxious about sharing that deeply personal experience?

OW: The time it took to make the record took about the same time it took for the pregnancy, it’s about the right time because it gives everyone enough time to get their heads around the enormity of what’s going on. (laughing) I’m not comparing making the artwork for the record to pregnancy but what I mean is that, sometimes that gestation period usually ends up being about the right amount of time. The artwork started really early on and feeling the development of it was a big part of the process.

Orlando Weeks: There is something reassuring, especially just before the baby arrived, of being in the company of people like midwives. How incredibly competent they are, so calm too. Somebody told me yesterday that there are currently over half a million pregnant women right now in the UK. It makes you realise that your experience is just a drop in the ocean.

At the time, it feels like you must be at the very centre of the world, but of course, you aren’t. There are many centres of many worlds.

D: I was really impressed by the scale.

OW: Yes, well. I work with quite small stamps, and by then blowing them up - changing their scale - they look more impressive and take on a more ‘sculptural’ look, which I really like.

D: Across the album I found it hard to get a gage of the time of day, it feels like the songs are recorded during a strange sort of ‘Never-hours’. It’s quite ambient in that way, does it feel like a specific time to you?

D: I found there to be something quite spiritual about the shapes.

OW: I wanted to find something that could exist in multiples, as soon as I found that by having a limited number of those shapes, limited configurations, they still felt connected to one another. Almost in conversation. They feel to me like amulets, or drawings or examples of ancient Greek house gods. But also like stone age sculptures or cave artwork, they look also like Kinder-eggs toys. There is something dinky and familiar, but as soon as you change their scale and put them visually in conversation with each other they become almost hieroglyphic.

OW: I like ‘Never-hours’. A lot of the record was written before becoming a parent. All of the finishing, taking the ideas and expanding them and getting them into the finished state, all happened in those ‘Never-hours’.

It doesn’t really matter, your time is not your own and any time that you do have is just borrowed in waiting, so you’re not functioning on the same schedule as the rest of the world. It’s fascinating how that changes the creative process, just fitting moments in. You’re at the mercy of a different master.

D: (laughing) “the employer”

D: Could you tell when you got to the point where you ‘had the cover’?

OW: The tyrant.

D: The artwork feels like such a massive part of the record.

OW: I am on optimist in that I like that panning for gold moment where you see it, ‘that’s the fucking nugget’ or ‘that’s the cover’. I wanted to show progression.

OW: All the way through making the record, one of the things that I was really looking forward to, that I felt that would be quite a treat to do, was making the artwork. When I was in the Maccabees, I worked with Matt de Jong - ‘Go De Jong’ - on all the visuals, but I stopped making my own work and we started using other peoples work. It was a brilliant experience working with interesting people like the brilliant fine artist, Boo Ritson and Andy Goldsworthy did one of the covers for us. It was a fun and inspiring approach but it had meant that I had maybe, lost my nerve a bit with my own visual work? I was so sure that if I was going to make this album and it was going to have my name on it, I wanted to put my work front and centre on it.

D: How does it feel seeing your artwork in the racks of a record shop?

OW: There was a time where I’d go to Resident (in Brighton), and seeing that release of yours in the shop – especially as I knew the shop so well and have done for so long - it really clarifies the whole experience of physically releasing music.

D: They’re not too bad those guys.

OW: They’re amazing, and they have introduced me to so much stuff. They really are.

D: I saw that you drew some icons of shops that you really like the other day. You included Resident, but it was really interesting to me that you also had Sister Ray and Sound of Echo. They’re all very different

D: Did either the music or the artwork sound or look like you had imagined?

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Orlando Weeks

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DELUXE 20.

Interview.

‘It is nice to go and feel out of place but welcome. That’s quite a hard balance to strike.’

shops. What have been formative experiences for you that make all types of shops different so special?

can’t begin to explain. I love music, but the way that they do and the joy they get from sharing it is pure curation. I love that it’s un-pushy and every time you go in there you just want to know what it is on the stereo. I’m not even anywhere near left-field enough for that shop, I’m quite quickly out of my depth, but it is nice to go and feel out of place but welcome. That’s quite a hard balance to strike.

OW: Rounder and Resident in Brighton were really formative experiences. I bought a couple of Pixies records as soon as I arrived at the University in Brighton and they feel very locked to that time. I also bought a copy of Five Leaves Left really early on and had that in my room on display. It was a badge of honour.

D: I totally agree.

D: It’s a real gateway record

OW: I think that’s the line, out of place but welcome.

There is another great shop that’s on the main drag just by Norwich Arts Centre. I played a bunch of times at the venue and I remember going in and speaking to the guy there about what I had been listening to. We were chatting for quite a while, he thought and said “maybe you’d like some gospel music?” I was amazed, I’d never even thought about playing gospel music.

Sure?! You can’t beat that sort of interaction.

OW: Oh god, yeah totally. It was quite erratic early purchasing but all of them are special. I remember buying Brewing Up with Billy Bragg and playing that a lot. I loved really getting into his first few albums and reading his book The Progressive Patriot, I was really quite intrigued by him. I got up at some early hour to go and watch him opening one of the stages at Bestival and also taking along my copy of The Progressive Patriot in a plastic bag to be signed.

D: I think that’ll be Soundclash Records

D: (laughing) fair, you don’t want all of the corners of the book getting all ‘tenty’

OW: He dug me out some super old Mississippi Records compilations, really early recordings of deep southern American choral recordings. “Oh graveyard, you can not keep me always”.

OW: (laughing) I’m pretty sure they did get quite tenty.

D: On your travels which record shops have stuck in the mind?

D: A great title. Great experience.

OW: It stays with you.

OW: There is an amazing shop - that is essentially a whisky bar - right in the centre of Shibuya (Tokyo) called Music Bar 45

RECORD SHOP MENTIONS:

D: (laughing) Whisky aside, what makes for a great record shop for you?

www.resident-music.com www.sisterray.co.uk www.worldofechomusic.com www.sites.google.com/site/s0undcl45h/soundclash-records www.facebook.com/musicbar45

OW: I think why I love the World of Echo shop – aside from thinking that those guys are such sweethearts – is that they absolutely love it, in a way that I absolutely

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B R E AC H

Fenne Lily “A major talent in the making”  Mojo THE NEW ALBUM ON CD / FLAME ORANGE VINYL

S U N D OW N E R

Kevin Morby THE NEW ALBUM ON CD/CLEAR PINK VINYL