Photo by: nysun.com
The Clarion recently sat down with Alex Maas, the lead singer for The Black Angels.
They will be beginning their tour at the Fox Theater in Boulder on May 5.
How would you describe your writing process?
“We like to try a whole bunch of different things, and we try to do what’s best for the song, not what’s best for some guitar solo or something, you know? I think a lot of people in bands try to put in this crazy drum solo in there, and it’s unnecessary for the song. It’s not about the individuals, it’s about what we can do together as a band.”
Would you say that lyrics are written collectively, or is that more your job?
“I write the majority of them, but I will always like to bring the lyrics to the rest of the band. I don’t think I’m the best writer, lyrically, or anything – I’m best at thinking of melodies, of hearing melodies.”
Was making Phosphene Dream an enjoyable experience for you?
“It was definitely enjoyable. My favorite thing to do is to be in the studio making music.”
How was this experience different?
“We had a producer for the first time – we worked with Dave Sardy. We wanted to have a modern-day George Martin type individual help us paint the musical landscape. We had a sixth member helping us along with these songs. He’s so dynamic, and such a smart guy, with such a vast knowledge of culture and music. He can dive into any kind of situation. He dove into the psychedelic realm for Phosphene Dream, and we spoke the same language.”
The album definitely feels noticeably brighter and tighter than your previous work – would you say you feel Phosphene Dream is your most accessible record to date?
“I would say the songs are more dynamic – we were trying to evolve a bit as a band. In the 50s and 60s, you’d have a two-and-a-half minute pop song; The Beatles were writing songs that were two-and-a-half minutes long, and The Byrds would be writing songs that were super short. We definitely wanted to reach more people on this record and knew that people weren’t ready for, like, an eighteen or twenty-minute song, which we had on our first two records.”
In an interview with a blog called Bunyip Voodoo last September, you were asked about the concept of death, and you said: “Death is always behind you, and it’s intriguing to us that you’re always being chased by that. It’s not morbid – it’s what makes life a beautiful thing.” Would you say that this dichotomy between life and death has always been something you’ve tried to express with your music?
“Yeah, it’s an interesting dichotomy to have a dark song with maybe a positive idea behind it, or vice versa: a really light sounding song with really dark, evil lyrics. There’s a lot of bands that do that really well. I think Belle & Sebastian are a good example of a band who can do that, as are Velvet Underground.”
You mention The Velvet Underground, who are obviously a key influence for you – your name comes from their song “The Black Angel’s Death Song”. What are some other classic bands you’ve always been influenced by?
“I’ve always been really influenced by The Beatles, but that’s kind of everybody’s answer. And actually, a lot of bands didn’t get a fair shake because of The Beatles, because the whole world was focused on the British sound.”
And what about contemporary artists?
“My sister turned me onto this band called Clinic my very first year of college. She read an interview with Thom Yorke, and they asked him what he was listening to, and he said he was listening to Clinic. Those guys [Clinic] are, I think, leading the pack and pushing the boundaries of psychedelic surf music. They’re so innovative and so awesome – I think they’re probably one of my favorite bands.”
As you develop your sound in The Black Angels do you find yourself giving some more credence to some other old bands who were previously overshadowed?
“For sure – we’re always trying to discover new music and new influences. We’re always trying to have more input, whether that’s a poem, or a book, or a good conversation. It’s definitely true that musical influences come from all over the place. Maybe it’s food, maybe it’s something else. It’s about identifying those things that make you creative or make you feel creative, or those moments that feel good to you, and being able to hold on to them.”
How has being based in Austin, which many people describe as “The Live Music Capital of the World,” affected your development as a band?
“There’s a lot of people that are into music in Austin – there’s a lot of people that go and see music. At the same time, everyone’s in a band, so there’s this level of competition. So, for us, it was about doing things as hard as we could. The music industry was going at a hundred miles an hour, so we needed to go at least a thousand.”
What’s your favorite venue to play at?
“I don’t really know. Maybe my living room.”
Is there anywhere you’d like to play?
“I always thought it’d be fun to play at Red Rocks – I’ve been to a few shows there, and there was always something magical happening there. I think it’d be cool to play over at the Big Day Out Festival in New Zealand, and it’d be fun to play in Japan.”
What kind of experience do you try to give your fans during your shows?
“If someone could be spiritually moved by the music, that would be the highest kind of goal. If they could feel what we’re feeling, and be moved by the music in some way, whether it’s physically, emotionally, or spiritually. I always say we’re in the music therapy business, not the music business.”
