Interversity: Zelienople

Chicago psyche-folk outfit Zelienople step up to the mic for this week's Interversity. Their fifth-full length album, His/Hers, was recently released on the always interesting Type label and is the prime musical accompaniment for the both unnerving, magnificent and mysterious appearance of the cicadas this spring. Matt and Mike generously share their love of all things odd, instrumental and Neil Young.



Zelienople - "Parts are Lost" - His/Hers (Type 2007)

1. Personally, I find the most intriguing aspect of Zelieonple is the damp, dank recording quality of your music that only further instills the always-teetering balance between dismal and delicate; is this a conscious decision in recording methods to achieve this sound? Or is it more a welcomed byproduct of home recording?

Matt: I don't know. There are similar comments about the production of our records. For the last 3 or 4 releases, we strived to make the songs sound as live as possible, and one way to do that is just to record live with no "close micing". I'm not saying that we're masters of our instruments, but I think that the balance that you mentioned can be attributed to performance and limiting the use of guitar effects. Reverb plays a big role on every album, but that may change on the next release (I stress "may"). People have complained about our (excessive?) use of reverb, so we can never really give it up. I don't trust those people.

2. Throughout His/Hers there always seem to be very intricate folk foundations beneath the usual barrage of noise, psyche and free jazz, which comes completely to the surface on "Parts are Lost"; which do you consider more the starting point for Zelionple, the more folksy sound or the noisier stuff?

Matt: The songs are usually written with the intention that they're going to be "fucked up" at some point. I try to leave a lot of room for changes when I write something. When we all get together to record a song, we spend a lot time revamping, tightening, and loosening the songs. In this sense, I think that this is where the jazz influence becomes more apparent. Anyway, to answer your question, the songs could either start as a conventional song or noise, and end up being the other. I guess that still doesn't answer the question.

3. On that same note, does the marriage of the opposing genres stem from being particularly influenced by artists from those contrasting fields of music?

Matt: Yes. I love Neil Young and Pharaoh Sanders. And Neil Young has such a broad range spanning folk, rock and noise. I have many other, less cool influences that I won't mention.

Mike: I'm sure it does because our influences draw from such a diverse pool. That being said, I really don't think that we're ever conscious of drawing from a particular influence when were coming up with new material. We may start out with a concept but it usually gets so diluted by the time the piece is complete because I think were reacting to each other instead of one grand design.

4. Type Records seems like an excellent home for you guys as far as fitting snuggly into their roster and sharing the aesthetic they appear to be developing; how did that relationship sprout? How would you consider the fit with your prior labels?

Matt: Mike knows more about how we connected with Type. Mike also knows a lot more about labels and their "sound", so after we finish something he always seems to have an appropriate label in mind. He'll then send them a copy of the record, a blank check, and a fruit basket.

Mike: John Twells, head honcho of Type, wrote an adoring review of our last album, Stone Academy, on the Boomkat site, and I thought that he might be interested in hearing our latest endeavor so I sent him His/Hers. He was totally excited about it so he flew out to meet us which really meant drinking for four days, record shopping, eating Chicago junk food, and more drinking. He's totally immersed in music and nuts about discovering new sounds so it's been great to work with him. His label is top-notch and his own project Xela, coincidently what I'm listening to as I type this, is brilliant work too. That Svarte Greinar album is blowing my mind lately too. All of the labels that we've released music on have been great because they were all really enthusiastic about what we've sent them which is really encouraging. I was a fan of all of the other labels prior to us releasing music on them, that's why I sent demos to them. It would be nice to eventually meet some of these people in person some day.

5. I find your album artwork tremendously befitting of the music held within (both gorgeous in their own right); how do you weigh the artwork in context of the entire release? Do you do it/pick it yourself or frequent a particular artist?

Matt: With the exception of His/Hers, we've done all of the artwork ourselves. Mike has a lot of his own photos to choose from, so when we finish something it's likely that there's a photo in the other room that matches the sound.

Mike: Thanks. We've done all of the covers ourselves using my photographs, with the exception of His/Hers and Ink . Our music is very visual and so it's pretty easy for me to add images that seem to be the visual equivalent of the music. The photography on the His/Hers cover is by one of my favorite photographer's and friend, James Luckett (www.consumptive.org) and Ink was designed by Connie Toebe, another great artist and friend of ours (www.connietoebe.com).

Audiversinquiry (10 questions we ask everyone)

1. What did you specifically remember listening to as a child that triggered a notable response?

*Matt: I like that question. Tangerine Dream and John Carpenter's soundtracks really sparked my interest. Those were the first times that I heard something and it made me think of something other than music or sound. I also remember The Beatles' Magical Mystery Tour as being pretty captivating. It's a shame. I don't think that I can recapture that feeling. I overdosed on the Beatles a while back. My mom and one of my uncles exposed me to a lot of cool stuff. My uncle took me to my first concert, which was King Crimson. By that time they were in the "Discipline" and "Beat" period. That probably lead me to Steve Reich later on.

Mike: I grew up in a family with two older brothers and two older sisters in Indiana so needless to say, 70's rock was always being played in the house. A few of the bands that really made an impression on me from this era of pop music were Led Zeppelin, Fleetwood Mac, Peter Gabriel and Pink Floyd. But it wasn't until I started buying my own records in the 80's, wearing funny clothes and cutting my hair in that asymmetrical way that I was really seeking out new sounds that strayed from what my siblings were into like DePeche Mode, The Cure, New Order, Joy Division, Cocteau Twins, Bauhaus, Love & Rockets, Jesus & Mary Chain, Sonic Youth...pretty much anything dark, gloomy and creepy (at least to my new wave teen ears).

2. Let's say you are heading across town this moment and will have time to listen to one complete album during the trip, what would you listen to?

Matt: Well by default, it would be the new Odawas record because that's what's been in my car cd player for the past week. I don't think that I'm ready to take it out yet.

Mike: That Basic Channel cd compilation of 12" singles always sounds great while driving through the city at night.

3. Are there any other media that you draw inspiration from? Books, authors, painters, actors, movies, celebrities, etc?

Matt: It's going to sound like bullshit, but I've been reading Alan Dershowitz's "American On Trial" for a while now. I just keep reading it over and over. In a strange way, it's reassuring to see that many of our attitudes and ideas haven't changed much since the creation of our government. And since a lot of what I write about is poverty, crime and what society would regard as deviant, I get plenty of ideas from this book. My favorite author would have to be Kurt Vonnegut. I don't think that I have a favorite celebrity, but if I could meet one person... maybe Benjamin Franklin? I've tried to think of a reason to not think that Johnny Depp is great, but I'd have to say that he's my current favorite. I like Chagall (anything he did in blue is good). I'm always ready to watch any of Romero's "living dead" films. I love Jim Jarmusch's "Dead Man" (surprise, surprise). I also have a 1 year old girl, and I know that she's influenced me. I've been trying not to let the obvious themes of that creep into my lyrics for fear of schmaltziness.

Mike: Sure, there are lot's of things that compel me to investigate further into and it's always changing. You caught me on a high-brow cultural kick so at the moment I'm really into German Conceptual Photography from the 60's and 70's like The Becher's, Sigmar Polke, Anselm Kiefer. In my DVD at the moment is Andrey Tarkovsky's "Solaris", which is simply stunning. I often return to T.S. Elliot's, "The Love Song of J. Alfred Prufrock" for the way he's able to translate the visual to the written form so eloquently. Film Noir has always been an influence on me and Matt has really got me into American Horror Films. Aside from these mediums, nature is always fascinating me as is traveling.

4. Where do you go to discover new music and sounds?

Matt: I go to American Science Surplus here in Chicago. For the last few years, I've been really getting into building instruments, and they often have a few items that will give me ideas. I go to Mike for new music, or rather, he gives it to me. I've become lazy about buying music, and I spend all of my money on gear.

Mike: I try to take advantage of living in Chicago because where I grew up there wasn't things like Free Jazz shows happening every night of the week (there probably has never been one such event that ever occurred in St. John, Indiana). I don't make it out to many rock shows these days but I do get out to see jazz and experimental music a few times a month. I saw William Parker Trio a few days ago and this week I'm planning on seeing Fred Anderson / Hamid Drake duo at The Velvet Lounge.

5. What question do you get most often that you hate answering?

Matt: If someone hasn't heard us, "so, what kind of music do you guys play?". There's no way to answer that without sounding like a pretentious asshole. If someone has heard us live, "why do you change your set every time?" Unless it's with a fan, I try to avoid discussing our music.

Mike: "Zelien-what?" I mean shit, isn't it a household name yet?

6. Favorite instruments or specific sounds?

Matt: I'm always surprised at what an electric guitar can produce. I also love white noise and bells.

Mike: This list could probably go on and on because I'm pretty obsessed with sounds, but a few of my favorites are echoes, all kinds of bells, an orchestra tuning up, the caw of a crow, the wind rustling the tall grasses in a prairie, the 17 year Cicadas that are currently out in my part of the world, the blood curdling mating call of the Red Fox that I hear in my backyard sometimes, the rhythm of a freight train in the distance, creaking of doors and floors, the Mourning Dove's somber song, footsteps in a large and empty cathedral, chants, a drunk tumbling down a staircase, raindrops on a metal roof, etc. etc. As for my favorite instruments, the jazz drum set, bass clarinet, frame drum (the oldest instrument in the world), various organs, stand-up bass, tamboura.

7. The record store is closing in ten minutes and you are hell-bent on buying something before they close, what section do you head immediately towards?

Matt: Used vinyl. I'm a hipster, and that's what we do.

Mike: Used jazz LP bin or the Neil Young section.

8. What is the last notable daydream you had and where did it take place?

Matt: Our power went out in our neighborhood the other night. I sat on the back porch listening to the sounds of people talking and the wind in the tress. I'm convinced that darkness makes it easier to hear, or maybe sound travels better at night when the humidity is lower. Whatever, it was easy to hear things without the noise pollution of air conditioners, TVs and radios. I thought about how nice it would be to have that silence to myself all of the time. Of course this is entirely selfish, because filling that silence would be the first thing that I would do, and I'd have a harder time doing it without electricity. I also realized that I would want my baby, wife and friends there too, and that these people all make noise. This led me to thinking about how man is destined for disappointment and contradiction in almost everything he attempts. I smoked a joint, read some Kafka, and played "Us & Them" on my acoustic guitar.

Mike: Um, you don't wanna know...probably something sexual or perverse while driving through the city.

9. What is the perfect album to you? Are there any? Is it possible?

Matt: Sure. There's a few that I would regard as perfect. Talk Talk's Laughing Stock, My Blood Valentine's Loveless comes very close, a few of Neil Young's do as well. Steve Reich's Music For 18 Musicians might as well be perfect. There's plenty.

Mike: A few that come to mind... John Coltrane's A Love Supreme, Eno's On Land and Another Green World, Marvin Gaye's What's Going On, Sun Ra's Magic City, Bachir Attar - The Next Dream, Joy Division's Unknown Pleasures, Javanese Court Gamelan, AMM - Newfoundland, the first three Velvet Underground albums, Gnawa Musicians of Morocco - Night Music, and The Beatles - Magical Mystery Tour (with the exception of Paul's songs). O.k, one from my high school years that still blows me away...Sonic Youth, Sister. I can go on and on but I decided to narrow it down to the pioneers.

10. Do you keep up with blogs? Which do you read if so?

Matt: No blogs, but I check Craigslist under musical instruments everyday.

Mike: Not really, though I guess you can consider Salon.com's War Room by Tim Grieve a Blog. Also, I subscribe to a slew of the e-mail updates from the environmental magazine Grist.org.