I caught up with musician Dave Scher, better known by his nickname Farmer Dave.
Farmer Dave has done studio and production work, been a touring musician with Jenny Lewis, Interpol, Elvis Costello, Johnathan Rice and Vetiver, and Jenny & Johnny even refer to him in their song “New Yorker Cartoon” as “my best friend Farmer Dave.”
After The Show:What’s one of your favorite lyrics that you’ve ever written?
Farmer Dave: “And you came on from so far away
Miss Carolina 3AM
I send a bottle with your name
Floating down along the Seine
You burn in me while I’m gone
But the day’s gonna come
I’m gonna be by your side
From the daylight till the dawn
And we could go on”
How do you stay connected to the musicians you’re playing with onstage and not feel isolated when you’re sitting down stationary and everyone else (except the drummer) is standing up and moving around?
I stand up more these days
But sitting doesn’t make a difference
The connection is still there
Do you prefer playing guitar on faster or slower songs? Does tempo deeply influence the way you feel as you play a song?
a variety of tempos is the ideal
I want to experience
All the colors of the tempo rainbow
Your bands Beachwood Sparks and All Night Radio were on Sub Pop. What do you see as the future role of record labels in an age where albums are rarely purchased anymore?
I would like the labels to have more interest in artistic development
Like Motown, Old Hollywood,
or David Geffen’s Asylum label
Nature and California/the ocean seem to be big themes in your music. How do nature and music connect for you?
They are one and the same
I hear the best things in nature and out in the world
For me the human recordings, performances, and compositions we all listen to will always play second fiddle
You played lap steel on one of my favorite albums – Are You Thinking What I’m Thinking by The Like. How did that come about?
My girlfriend at the time managed The Like…I really loved them like family, and am happy to’ve known them and spent time with them…We had the best adventure, me driving them in a van across the country opening for Kings of Leon … it was rad.
Whose idea was it to do the “Ask Farmer Dave” advice column on Jenny Lewis’ website?
Probably J Lew.
Your song “By Your Side” was in the movie Scott Pilgrim Vs. The World nine years after the song was released, and you did the music for a Tokyo Cyder commercial. What’s your view on music licensing?
Licensing I don’t have much philosophy on.
I love music in movies and have always loved commercial compositions as music just like other kinds.
We have some real classic jingles growing up in the Southland.
I saw you playing a few July 4th’s back at Battery Park. What did you do for July 4th in 2012?
I went up to Pt Dume in Malibu and had a fire with friends. You could see the fireworks for each city all the way along the bay to Palos Verdes.
Yesterday, I spoke to Lauren Larson, the lead singer and guitarist of Ume, about the band’s current tour, having a secret life as a rock guitarist, and Bjork.
After The Show: So I saw you play last week at Webster Hall and I was amazed by how much power you guys created as a 3 person band. How is it touring with The Toadies and Helmet so far?
Lauren Larson/Ume: It’s a lot of fun and a real honor. The Toadies have always been great supporters of Texas bands and more independent bands. We played with them a couple of times and they invited us to do an east coast run, and Helmet picked us for the west coast run. I like that I don’t have to turn down my guitar!
A lot of bands today have limited to no stage-presence, they’re more shoegaze-y. Why do you make theatrics and displays of raw, unbridled energy important to your live show?
I’m pretty shy and reserved every other time, but [onstage] is my one chance to not hold everything back. It’s a different side of myself. Live music, rock and roll…when else can you put your heart completely into something and really let go?
With indie rock, a lot of bands are on stage and look like they don’t want to be there. Ume is the antithesis of that – we want to be there. Whether we’re playing to 5 or 5000 people, we put our heart completely into it. A lot of people tell me they’re inspired by what they see. It’s a lot of fun when for example young girls come up to me and say that I inspired them to do something they’re afraid to do or pick up a guitar.
What are the unique challenges and benefits of being married and having your spouse on tour with you?
Eric [bassist of Ume] and I grew up together through music. He met me when I was playing guitar in my first band at age 15, and we always made music together. I think being in a band with anyone, married or not, requires commitment and communication. The band lives together in a van. Being respectful, giving each other space, and appreciating each other are all important.
A lot of bands today are making the bulk of their income via licensing. What’s your view on licensing – is it a goal for your band?
Right now it’s hard being in a touring band. No industry is dishing out money like before. We would never write music with [merely] the intent of getting it licensed, but we have had a couple songs in TV shows that paid well…As long as it’s not a company that I have an ethical problem with. We don’t mind having our music shared that way.
You recently got record deals for the Europe and Taiwan markets. How do you navigate the business side of music?
It’s all pretty new to us. I came from a very DIY punk scene where kids were putting shows together in community spaces. The business side was far from my mind when I’m making music, but I’ve really learned a lot. Don’t always sign the first thing that comes your way, have confidence in your band, and keep freedom. Europe — We’ll be making our first trip over there for the Rock En Seine Festival [in Paris 8/25].
How did you initially balance working towards a Ph.D in philosophy and being in a band, and what made you decide to focus on music?
I’ve always had a duel personality – an academic nerdy side and my secret life as a rock guitarist. Most people wouldn’t expect it. For a while I always thought I could do both. I never wanted to categorize my life as either academic or musician. When I went to grad school I realized my heart wasn’t in the cerebral, and my passion was music – I could express my voice through music. I moved back to Austin, and I’m glad I decided to pursue music full time.
And last question, if you could have any band cover one of your songs, which band and what song of yours would you choose?
That’s interesting. Someone like Bjork to do a really interesting take on one of our songs…Bjork singing “Captive.” She could deconstruct it and her voice would soar.
Thanks Lauren. For tour dates and more info, check out Umemusic.com.
Headquartered in Kuwait, Loft 965 is the #1 music blog in the Middle East.
I asked Nasser AlQatami, the founder of the site, about blogging, the relationship between music and fashion, and the perception of pop music in the Arab world.
After The Show: Loft 965 covers a wide range of artists, from Madonna to Vanessa Carlton to Karin Park. How do you choose which artists and songs to feature, given that there’s so much music out there?
Nasser AlQatami/Loft 965: I basically started the blog partially because I was frustrated with the state of pop music – a genre often unappreciated but it is somewhat the glue of our global commonplace. There are many artists that never chart but produce some great pop tunes and then there are the known artists who keep on doing what they are great at through the ups and downs of their careers, both of which need support. I had always loved music in many forms and thought it would be a fun idea to put all this research time I spend online on music to good use. The blog is the result and it took off quite nicely.
Congratulations on being chosen as a Middle East ambassador for Puma. How did that come about? What do you think about the intersection between fashion and music [I like that you’re not afraid to comment on fashion, like Madonna’s “ugly gloves”]?
Isn’t it great? My best friend recommended my blogs, PUMA’s representatives looked at it and they liked what they saw. They wanted people in the region who were doing something different. I guess I fit that category. I try to drop a snide comment here and there about artists who have let fame get to them. Sometimes I rile up the fan base of a certain artist to see the kind of reaction I get. Madonna’s fans are up there with the rest of them, but not as bad as Britney Spears’ and Beyonce’s. I love all the artists but I will be the first to say if something I think falls in the “not ok” category.
Yes, of course fashion and music are inseparable. Although I predominantly cover music on the blog and my interest in the fashion world has waned as of late, the visual is a very important aspect when it comes to pop music, in fact it’s only second to the music, just ask the Gaga.
How did you decide to start the website in 2008? What does the name mean, and what factors have made it so successful and widely-read?
I have always used the world wide web as a portal and before this one I did use sites like LiveJournal and others when blogging was in its infancy (it was called a weblog). When I did my Master’s I didn’t have time, but I promised myself that when the time comes I would launch a blog for public consumption. The thought kept rummaging through my head and then when I had to do it, I basically knew exactly what I wanted.
There are many factors that made it visited by the thousands on a daily basis. First, you have to like what you do. Having passion about the subject is what draws people in, if you feel an obligation to post about something then it is probably not the thing for you. You have to keep it short, visually succinct and updated. The rule of thumb when it comes to writing is to address the blog reader as if you are having a chat with them when a certain song comes up. Nobody wants to spend their night reading an essay. They want the punchline with a pretty picture.
Other factors include the fact that I have artist loyalty. I don’t stop posting on an artist should they falter or take a turn in their career (unless they show a bigoted side to themselves). Also, its important to attach a face to the blog. It’s not a text book and people want to know who does it, more about their lives and why they do it. I think I have captured those dynamics on the blog.
The name is simple. I came up with the idea of a place, like a hangout, and I usually hangout at a loft during the weekends. I didn’t want to overburden the reader with music keywords. Also, my other passion is travel (which is why my other blog is titled Flight965.com). So, I decided to take my country’s telephone code and attach it to Loft. It gives it a regional feel with no pretense.
Have you faced any criticism for posting your content given that you’re based in Kuwait? Is there a backlash against American dance-pop or is there a desire to access that material, especially among young readers of Loft 965?
To tell you the truth, I have faced many forms of criticism. The whole array of possible criticisms have come my way throughout the 3 and half years of operation. It’s important to say that the backlash is from all over the world. But, because I have a journalism background, both in academia and previous professions, I know that feedback means that people are reading. I get a good balance of good and bad. Many accusations come my way but you have to learn to ignore them. Oh, and the IP Address registration is coming in handy.
What do you envision for the future of Loft 965? What about the role of music blogs in general?
It’s going places, but I always hope for more. I see its potential and I keep working on the material and the site. Many people think blogging is easy, but it definitely is not. In fact maintaining a blog is a full time job. So, imagine working full-time and then running two blogs. If the right circumstances should arise and I have time, I would like to take it to another level. You’ll have to keep clicking to see what that is.
When it comes to blogs in general, I think they are the future of journalism. Much to many people’s dismay, print journalism will most probably disappear into electronic form. People will start reading and trusting the opinions of bloggers and online journalists who have a history of credibility in their work. A degree won’t matter anymore, what matters is what you have to say, how many people enjoy it and what they do with it.
Today I spoke with Alex Kandel, the lead singer of Sleeper Agent.
The band is in Boulder, Colorado on a tour with fun. sandwiched between a tour with Ben Kweller.
After The Show: I saw you open for Ben Kweller in New York at Irving Plaza two weeks ago. Any particularly memorable shows so far on this tour?
Alex Kandel: Well, playing at Irving Plaza was amazing. A few shows stand out…St. Louis (last week) stands out because I cracked my head open on Tony’s guitar. That’s still healing…a battle wound of touring.
Ouch. So Jay Joyce produced your album. Do you like recording in a studio or playing live better?
AK: They’re both totally different worlds. I feel like a toally different person in each scenario, but I get a little homesick for the studio because we don’t get to be there as often as playing live shows every night.
When you arrange your songs, how do you figure out which parts you or Tony sing? Do you guys try different arrangements?
AK: It comes naturally. We have a general idea of how we want to trade off. It’s from the gut and based on instinct. A sign that a song is overthought is that something doesn’t click…it doesn’t have that feeling like this is the song. We have demos like that where it could be a good song but it’s not…so sometimes we take parts of demos and piece them together.
When we wrote “Get Burned,” it ended up happening in pretty much one take, in terms of song structure. Of course we messed with it a bit vocally later.
Funnily, your album has been described as “a rollicking set of barnstormers.” I think there’s a perception that young bands with energetic music have songs that are just fun, simple and straightforward.
But, your songs are more than that – they have interesting lyrical references and wordplay – like “Pavlov’s pup” in “Get It Daddy” and “Freudian slips” in “That’s My Baby.” How aware of that dichotomy are you as a band, and how aware do you think audiences are of it?
We’re very aware of that. Tony’s/our motto is “Brevity is the soul of wit, so don’t waste my time.” We’re trying to write short pop songs, but we try to be interesting. We don’t want to write another clichéd pop song. We like old school melodies like those of The Ronettes.
A lot of our fans recognize that in our lyrics, and they like us because of that.
You made a T-shirt about getting a song on a car commercial, and now “Not Never” has been on the Nike video series. What TV shows would you want to license Sleeper Agent songs to?
My favorite show is Shameless. It’s amazing. Even on the road when I don’t have access to Showtime, I figure out a way to watch it. So, I’d want Shameless.
If you could have any band cover one of your songs, which band and what song of yours would you choose?
I want Girls to cover our song “Force a Smile.” I think that would be really cool. And I cover Girls’ songs so it would be a fair trade.
Will Sleeper Agent celebrate the 1-year anniversary of Celebrasion’s release later in the summer?
Maybe. We’re still focused on touring. We’ll hopefully be overseas by then, but I’m sure we’ll find some way to celebrate.
Is the rest of the band thinking about getting more active with Tony’s songwriting?
We’re all involved in the first record. We collaborated on parts of “All Wave and No Goodbye,” and I wrote some of “That’s My Baby.” Because we’ll have a lot more time to flush out the second record, there’ll be more writing from everyone, and we all still constantly write on our own. We’re always sharing songs and ideas, even if it’s Tony who puts a lot of it together.
When we wrote the first record, we were living in the same house. When Tony writes a finished song and presents it to us, it ends up totally different than how it started. Example: Early acoustic demos of “Be My Monster” sound totally different. Justin speeds everything up, and adds the crashing drums. It’s not Sleeper Agent without Justin.
Last night, I spoke to Maria Taylor backstage before her headlining show at Mercury Lounge. We discussed Maria’s tour memories, the favorite lyric that she’s ever written, and beginning to write again for Azure Ray.
After The Show: The last time I saw you perform was May 2009 at the Troubadour with JJAMZ and Whispertown 2000 opening. Do you look back on any tours as particularly memorable?
Maria Taylor: They all are so different because you tour with different people, especially with me – I have a different band usually every time. Tours are all so special and unique because you’re getting to know these people and you get so close to them, and then you also travel with different bands.
There’s always crazy stuff that happens on each tour. I don’t think I have a particular one that stands out or that’s my favorite…Maybe the first time when my brother and sister came on tour. That was one of the first times I went solo, and they came on tour – they were my band. That was to support 11:11 and we opened up for Har Mar Superstar and Ben Lee. That one was pretty memorable because my sister had just turned 18 and graduated from high school, my brother was 21, and I took them on the most debaucherous tour…Oh God, maybe you shouldn’t put that, my mom might read this (laughs). It was so much fun but I had all this guilt, like I’m the older sister…What am I doing? I did a good job of corrupting them (laughs).
I understand that this tour is somewhat different than any others you’ve done – how?
I’m pregnant! I feel finally not sick (I was throwing up)…It did feel different. It was pretty hard, and in retrospect I probably should have waited to tour until I was after the first trimester just because I had it so hard, but now it’s great and playing sober is something I’ve never done before. I think I sing better and my voice is getting stronger. Everything’s just way more clear – I remember the whole night (laughs). It’s okay – I feel like I’ve conquered a lot of fears by going out and talking to people without having anything to drink because I’m a nervous person and usually I have a glass of wine before I even walk out my door (laughs).
I don’t remember lyrics as well because when you’re pregnant you’re very forgetful – I didn’t know this. So I forget lyrics this time around.
Your songs have been placed in TV shows – “Time Lapse Lifeline” was on Bones, and several were on Grey’s Anatomy. How do you view licensing music and how important is it in terms of exposure and income?
As far as income, it’s the only way that I make any money at this point. I usually lose money on tour and people don’t buy records anymore, so my last two records I haven’t recouped and I haven’t made a dime. So licensing is pretty much my only source of income.
As far as exposure, it’s so great for that too. With me personally, I’ll be watching a show and Shazam songs all the time, and then I buy them, so I think it’s an excellent way to expose yourself to a wide range of people.
Have you seen a measurable jump in downloads the next day after a TV show with your song airs?
Definitely after Grey’s because people almost watch that show to look for music. You get paid a lot less if they announce the song at the end [shows on the CW], but it’s still good.
There was a rumor that you, Orenda Fink, Jenny Lewis, and Morgan Nagler were considering starting a band. Was that idea ever on the table?
Yeah, we did! We formed a band and we had a couple of practices, and they were awesome. And then we all just got busy doing our other projects, and then Orenda and I moved out of LA, so I don’t know if it will ever come to life. But it was really fun for those two practices that we were a band.
Why did you decide to cap your new album Overlook at 9 tracks? Were you concerned that people might think you were rushing to put the album out or that it was too short?
It just felt complete to me. I felt like it was the most cohesive record I’ve ever put out. The whole plan for this record was to write it in a certain amount of time, and that was to see if it would be more cohesive. Because lots of times I’ll start a song and just because I’m lazy I don’t finish it, only because a movie comes on I want to see, you know? So I sat in one place for a long period of time and it just felt complete.
And I also think that people are doing less and less songs because people don’t buy records anyway, so you might as well…Why put your heart and soul into 15 songs? People don’t buy records anymore – you get one or two songs. I think it’s just changing – I think EPs are going to be what people will start putting out, and it’s all about to change so I’m just experimenting with where I want to go in the future.
Every aspect is more cohesive – thematically, sonically, production – in my humble opinion [laughs]. Usually I use two different producers, sometimes three on records. I’ve always recorded in at least three different studios; I’ve always recorded in two or three different times (like months, even). The goal [with Overlook] was record it at one place; I’m going to produce the whole thing; I’m going to write it all in this one room.
Have you always removed the bottom E string on your guitars? Why do you do that?
For the past 10 years I have, both for recording and playing live. I don’t like high-pitched noises, and it always used to bother me…On my amp I would turn the treble all the way down. And then one day the E string popped off in the middle of a show, and so I finished playing without it, and I liked it so much better without that last “ding” – I hated that last “ding.”
Do you have a favorite lyric of yours that you’ve ever written?
Hmm…I always like, in “Birmingham 1982,” where I say “When love was just laughing with a friend” and “When love wasn’t hurting anyone.” Those are the ones that when I sing that still – and I’ve sung that song for 8 years – it still kind of makes me teary (laughs) – I really feel it. It still hits me…I feel like my best lyrics are the ones that really pull at the heartstrings, even if they may be the most direct and simple.
Is there a song on Overlook that best exemplifies that direct and simple approach?
I think “Along for the Ride” is the best lyrically…maybe also “Like It Does.” I think those are the best ones.
When you’re writing a song, how do you determine if it will be an Azure Ray song or a Maria Taylor song?
We just always will know what we’re writing for. Like, I was writing for my record then, and right now I’m starting to write for Azure Ray, so I have that in mind. It’s not like the song dictates – it’s my mindset going into it that dictates it.
So you’ve lived in Birmingham, Athens, Omaha, and LA. Do you mentally differentiate your songs based on geography? Do certain songs evoke memories tied to a specific place?
Yeah, absolutely. 11:11 was very, very trenched in Omaha. I can tell I was cold – it was in the winter when I wrote it. It’s just drenched in memories from there. Ladyluck was so LA. This one [Overlook] to me sounds so Alabama. I feel like I can hear it sonically as well because I know where I was at with the subject matter. Lynn Teeter Flower…I think I was in my own world in that one (laughs). I was in la la land.
You collaborated with R.E.M.’s Michael Stipe on the song “Cartoons and Forever Plans.” How did you come up with the phrase “cartoons and forever plans” and what does it mean?
He wrote all the lyrics to that, and that line stood out, so Andy [LeMaster] and I named the song that.
I think the phrase only occurs once in the song…
Right. Usually with titles it will just be a no-brainer. One line or one word from a song will obviously stand out. I think it kind of sums the song all up.
Do you have any interest in producing or writing songs for other artists in the future?
Definitely producing – I really want to produce other artists, absolutely. Writing for other artists, I don’t think so. If I write a good song, I don’t want to give it away (laughs). I don’t write enough of them to give them away – if it’s good, I’ve got to keep that baby.
What about interest in doing session or studio work drumming or singing on other people’s albums?
I used to do that more. I pretty much now really only like to sing or play on people’s stuff where I like it. I don’t think I’d want to do that for money; I’d feel like a whore (laughs)…I feel like I’d just really want to love it. I’d sell some jeans on ebay if I needed money instead of singing backup on a song I don’t really like.
