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Interview: Silver Jews (Pt. 2)
Interview: Silver Jews (Pt. 2)
- Genre : More Music
- Type: News
- Author : Super Admin
- Date : Wed, 06 Aug 2008
What's the history behind the stationary collection that bears the album's lyrics and chords?
I knew I was going to write the lyrics out on a sheet of paper but I wanted other elements to change from page to page besides the written content. Last time I did the same thing with the songs on top of different colors. It's just a parallel narrative of which you know nothing besides the fact that there is movement happening on a third level between the writer and the song.
We did an interview three years ago and you were talking about your aversion to touring, explaining that you didn't like the "acting" element of live shows. You've obviously made some peace with touring—was that out of necessity, or was there some sort of breakthrough that helped you enjoy performing more than you expected?
The part of my method that has most changed is that I force myself to survive, by setting appointments for myself, ones I have to meet. I don't know if I will ever be able to ask to play a show, but I've found that I can just say the word "yes" instead of "no" when I'm asked.
For the older songs that you recently revisited for these rounds of touring, do you find that most of them are making "as is" transitions to the stage, or have you done some heavy reworkings?
There's not a lot of reworking. I like things to sound close to the records. It is a different philosophy than the one people are used to advocating in the rock world. In a sense I only want there to be one version of the songs, like it was in my pre-live days.
I think Cassie has really emerged as a vital vocal foil. Are you surprised by the role she's grown into within the band, or was there always a plan to phase her in and expand her role?
I think you are correct. I am happy to bring her in because it widens my surface area. It's not done too much nowadays, so I like it. I like to incorporate isolated things that other people find "corny". This is from that tendency. It's also an easy way to solve typical songwriting problems.
Who would you count among the best contemporary lyricists?
If I still hung around record stores I'd probably have a better idea. Or maybe if I had an iPod or had downloaded a couple songs in my life. I can tell you that Daryll Worley is the all-time worst based on one song—"Have You Forgotten?" It is/was the evil twin of the Alan Jackson song "Where Were You (When The World Stopped Turning)” from the same time, which is very well-written.
Songs like "Strange Victory, Strange Defeat" and "Candy Jail" suggest a sort of wayward shift for society. Do you think it's a downward trajectory or a temporary lull? Do you think the fat ones, bald and the goateed make a comeback, or has their ship sailed?
It seems too much is beyond our control at this point. We are just along for the ride. There is no resistance. Dissidence has been drained. We are going where the computers and the money are taking us. And frankly, the lack of commentary in the public places, as we go along, is sort of amazing.
—Adam McKibbin
08.13.08
1
I knew I was going to write the lyrics out on a sheet of paper but I wanted other elements to change from page to page besides the written content. Last time I did the same thing with the songs on top of different colors. It's just a parallel narrative of which you know nothing besides the fact that there is movement happening on a third level between the writer and the song.
We did an interview three years ago and you were talking about your aversion to touring, explaining that you didn't like the "acting" element of live shows. You've obviously made some peace with touring—was that out of necessity, or was there some sort of breakthrough that helped you enjoy performing more than you expected?
The part of my method that has most changed is that I force myself to survive, by setting appointments for myself, ones I have to meet. I don't know if I will ever be able to ask to play a show, but I've found that I can just say the word "yes" instead of "no" when I'm asked.
For the older songs that you recently revisited for these rounds of touring, do you find that most of them are making "as is" transitions to the stage, or have you done some heavy reworkings?
There's not a lot of reworking. I like things to sound close to the records. It is a different philosophy than the one people are used to advocating in the rock world. In a sense I only want there to be one version of the songs, like it was in my pre-live days.
I think Cassie has really emerged as a vital vocal foil. Are you surprised by the role she's grown into within the band, or was there always a plan to phase her in and expand her role?
I think you are correct. I am happy to bring her in because it widens my surface area. It's not done too much nowadays, so I like it. I like to incorporate isolated things that other people find "corny". This is from that tendency. It's also an easy way to solve typical songwriting problems.
Who would you count among the best contemporary lyricists?
If I still hung around record stores I'd probably have a better idea. Or maybe if I had an iPod or had downloaded a couple songs in my life. I can tell you that Daryll Worley is the all-time worst based on one song—"Have You Forgotten?" It is/was the evil twin of the Alan Jackson song "Where Were You (When The World Stopped Turning)” from the same time, which is very well-written.
Songs like "Strange Victory, Strange Defeat" and "Candy Jail" suggest a sort of wayward shift for society. Do you think it's a downward trajectory or a temporary lull? Do you think the fat ones, bald and the goateed make a comeback, or has their ship sailed?
It seems too much is beyond our control at this point. We are just along for the ride. There is no resistance. Dissidence has been drained. We are going where the computers and the money are taking us. And frankly, the lack of commentary in the public places, as we go along, is sort of amazing.
—Adam McKibbin
08.13.08
1
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