Saturday, November 26, 2011
Wednesday, November 23, 2011
Sunday, November 20, 2011
Saturday, November 19, 2011
Wednesday, November 2, 2011
Right before the Battles’s show at Boston’s Royale, I got together with guitarist Dave Konopka to talk about their new album Gloss Drop, music influences, and Battles’s new era post Tyondai Braxton.
What was your earliest musical experience?
My fist show ever was Neil Diamond, when was 5 years old. My parents used to listen to them and I thought it was pretty cool. When I matured a little bit, I remember my first proper show was Fugazi and Shudder to Think. It was really awkward because when Shutter to Think played, Wedren was so flamboyant. It was in a hockey rink and there were all these kids and everyone was like “this sucks!” and I was thinking, “I actually like this, this is almost better than Fugazi”. I didn’t start playing until I went to Mass Art. My roommate played guitar but he was a lefty, so I learned to play with a left-handed guitar. He taught me how to play and we stared a band together called Lynx.
How did you like the Boston scene when you lived here and played with Lynx?
There was a lot of stuff going on, there was an interesting community, but my friends and me were kind of wise asses. When we started playing we were doing math rock; we liked Don Caballero and Helmet. Were we super psyched that we were this weird band coming out of nowhere. It was awesome while it lasted. Unfortunately, then we moved to Chicago to try to get signed. I think we reached the level where we needed to leave Boston to get signed. Back then it was a different story, getting signed was the thing. You would give people your cassettes. Now [with the internet] everything is almost out of control.
How is the writing process for Battles? How has it changed from Mirrored to Gloss Drop?
We’ve kind of switched the process. When we started we used to write everything on piece of paper. We would jam, but it’d be more of a planned synch. The whole band would sit and stare at this paper and see the whole parts. We did this for Mirrored but when we started Gloss Drop it didn’t’ work. Between Gloss Drop and Mirrored we were doing this waiting period when the forth guy [Tyondai Braxton] was recording his solo album. I was writing things at home and Ian was doing the same thing. Then we would try out different things, like change the key to match up our parts. But we really went into the studio unprepared. We started recording our own stuff in separate rooms and then we would exchange parts. If we tried to jam it’d become chaos.