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.
Ben Lee’s new album Deeper Into Dream doesn’t come out until October 11th, but until then you can read an interview I did with him about memorable tours, favorite lyrics, song inspirations, and dreams.
After The Show: The first time I saw you in concert was Fall 2003 when you toured with Phantom Planet. Do you have a favorite tour (or favorite band with whom you toured) that you remember fondly?
Ben Lee: I remember that tour fondly as I was newly single, and it was very easy to meet girls at a Phantom Planet show! But really there have been so many great tours. The Bens’ tour of Australia was amazing.
Thematically and sonically, how does your song “Sleepwalking” from Breathing Tornados compare to your new album Deeper Into Dream?
Well, I produced the new album myself at home. Breathing Tornados was produced by Ed Buller, so the sonic palette differs a lot, both intentionally and by circumstance. It’s interesting you made a connection thematically though – I guess the dream world has been a big interest of mine for longer than I realized. I always had this strange aspiration of living life more from a mythological dream-like perspective rather than a rational one.
There’s a rumor that you were once a member of a band called Gerling. True/False?
I subbed in when their guitar player left briefly in the 90s. I was so used to being a frontman that I even did the talking between songs – it’s so embarrassing now to remember that! It’s an honour to have shared a stage even briefly (and arrogantly) with Crossy and the Presser.
What was your inspiration for “Pop Queen” and “Away with the Pixies”? Did you write those songs about the same girl?
Not so much. More just an indie rock ideal. I was 15. Girls were the only thing I was thinking about.
Now that you have a family, are you more reluctant to go on tour? Has your view of touring changed?
It’s definitely hard to justify touring for just promotional reasons anymore. I have to make money now! That’s definitely changed…I still love playing, though. My attitude is to look at each opportunity as it comes up and see if it makes sense for me and the family.
Care to shed some light on “Stumbling Block” from Grandpaw Would? Particularly what you were thinking with the line “Locker room dialogue boils the fat”?
Hmm. Not sure I can remember exactly. I think it had something to do with Silverchair and their song “Tomorrow.” And yes obviously about bullies and the teen macho thing that goes on.
What’s one of your favorite lyrics that you’ve ever written? What about a lyric that someone else has written?
“Please, taste the sea you sail, baby I believe, there’s no way you can fail” – No Right Angles. It sings nicely, and it’s always a message that I need to hear.
By someone else – So many. How about “You’re either busy being born or busy dying” by Dylan.
I’m Having Fun Now by Jenny and Johnny doesn’t come out until August 31st, but you can listen to the entire album as many times as you want here.
If you’ve already heard “Scissor Runner,” “Switchblade,” and “Big Wave,” be sure to listen to “My Pet Snakes,” “Just Like Zeus,” “New Yorker Cartoon,” and “Committed.”
Also, head over to Spin here to watch an interview with Jenny and Johnny at their house!
After The Show is thrilled to present our first exclusive interview…with Rooney frontman Robert Schwartzman.
After The Show: What’s your favorite lyric from the new album Eureka?
Robert Schwartzman: “It’s the same old story, the same old movie, but when you’re with me it’s a masterpiece.” It’s from the song Only Friend.
How did the band choose “I Don’t Wanna Lose You” as the first song to share with the world?
It was the first song we recorded for the album and it’s the one we tried with a few different producers. It has our sound and has something new…represents the album in a good way.
What is the hardest part about transitioning from a 5 piece to a 4 piece band?
Well, we tried the 4 piece setup for a few rehearsals, but it didn’t feel right. I like playing guitar in Rooney and it’s been my thing for the last 8 years in the band. We have a bass player with us…names Brandon Quinn…awesome guy and terrific musician. It’s great to have a new energy in the mix.
Matt [Rooney’s former bassist] called Eureka the “best record we ever made” in his farewell note. Assuming you agree, what makes Eureka even better than your previous albums?
It has the strongest songs and it sounds the best. It’s a good representation of who we are and what we’re made of. The playing is really good from everyone and it just feels the closest to home. We made it on our own, produced and engineered, which wasn’t the easiest thing for us, so it feels like a big accomplishment.
How have the songwriting duties been shared among the band on previous albums, and how were they shared while writing Eureka?
I’ve written everything for the band so far. Eureka has two songs that I didn’t write…Into The Blue, by Louie Stephens and The Hunch by Ned Brower and Taylor Locke. We started Rooney with my songs and it’s just been our thing…shaped our sound. The other guys are working more on writing and wanting to contribute, so this was their first chance to put music on a Rooney album.
What is your song “Suckceed” about?
It’s about some of the characters at our old label. Some of the things I witnessed or felt while working with them. How people pass the blame and how people do whatever it takes to make it…keep your job.
What do you see as the role of collaboration in Rooney’s future? What about collaborating with other artists (Ben Lee, Jonas Brothers) in your own SoloBob music?
I like collaborating and I’m loving the more and more I do it. Perhaps there will be some other artists featured on Solobob. As long as it makes sense for the music.
+Rooney’s new album Eureka comes out June 8, 2010. For tour dates, click here.
At a live concert, stage banter is an important element of the show. Likewise, band interviews should not be boring/dull.
Here are three funny band interviews from YouTube:
1. Uh Huh Her
This is a snippet from an interview from 2008. The interviewer asked the question “Do you have any vices?”
2. Eisley
3. The Like
This is the funniest interview of the three: It’s from 2006. Simon Amstell hosts this British fake/joke radio show, and Z doesn’t seem to be in on the joke.
Update: This video is gone from the internet forever 🙁
