What was the story with All The Hits, your ‘library music’ record?
“Stones Throw has a licensing arm where they get stuff on TV commercials, and they approached me about doing a library record – they have a series – so I just did a ton of one-minute songs, just little ditties (of which I have many, ‘cos a lot of them are album ideas that didn’t turn into anything). It’s funny though, some people thought it was a real album and reviewed it as such, and said, well, there’s no vocals anywhere, and the songs are too short…[laughs] We probably should’ve made the cover art more library music-style…
Are you much of a buyer or a fan of library music?
“For me, Delia [Derbyshire] is the ultimate. I don’t like all [British library music], a lot of it is what I’d call a kind of slow, funky stuff – not really my thing – but the Delia stuff, wow. I came across that pink BBC Radiophonic Workshop record [BBC Radiophonic Music, 1971] in Spokane, Washington, for like five bucks…and I just found out last night that it’s worth some cash [laughs]. Anyway, there’s a track on there called ‘Ziwzih Ziwzih OO-OO-OO’ and it’s like reversed vocals and all [imitates the sound of the record]. That shit is crazy. I really like it.
“I also like the band Broadcast, who have a lot of library kind of sounds. But really, there are so many good library records, especially the more electronic stuff.”
“I want to make good records that a variety of people like, not just me.”
Are you into the Ghost Box label at all?
“Oh yeah, definitely – The Focus Group, Advisory Circle. That’s the kind of stuff I’m into, definitely, that’s my favourite, I’d love to do something with them.”
Who were the prominent American library music guys?
“There weren’t many in America. I don’t know why, I guess we just licensed more songs. Raymond Scott would definitely be the biggest, for sure…Mort Garson you can kind of count as a library musician as he did a lot of commercial work early on. I might just be ignorant, but there the only two that I can really think of. Bruce Haack did a lot of similar stuff, but for children…Then there are a lot of weird Italian and French library guys too…”
Tell us about your relationship with Stones Throw.
“Their base is of course underground rap fans, and that’s how I got into them too, but there’s definitely more of a mix of stuff coming out of them now, more like garage-rock, minimal wave, soul stuff, my record – all kinds of things. And I think that’s really encouraging, the branching out. Peanut Butter Wolf has, in my opinion, the best ear of anyone I know, so he really is mad for continually finding stuff. Even if everybody who turns up to his shows is an backpacking underground hip-hop dude [laughs]!”
“I have a great relationship with the label, I’m so happy to be on there – it’s a bit of a dream.”
How much editorial control does the label have over what makes the final cut of the album?
“Well, I have the freedom to say ‘I want this to be the album’, however, I really like [Peanut Butter] Wolf’s ear – even if I don’t agree with him in the short-term, I know that a lot of the songs that he wants on there and I don’t, I know would end up being people’s favourite songs [laughs]. I like to make quite a bit more than necessary for the record, and to some degree let him choose – I mean, it’s collaborative, we go back and forth, but I really trust his opinion. Sometimes it’s good to have someone other than yourself to pick, because sometimes you get tied to certain songs that may not be the best…and ultimately I want to make good records that a variety of people like, not just me.”
“I’ve been obsessing over mid-late 50s and early 60s stuff, Frankie Avalon, Dion, Roy Orbison, The Ronettes – that vibe. The creepier sound of the 50s. Sweet but creepy.”
You mentioned minimal wave; that’s a sound and aesthetic that fed into Seven Seals, isn’t it?
“Oh definitely. I’ve been liking that stuff for a while. One of the songs uses a sample from – actually, I probably shouldn’t say [laughs]. Oftentimes I get pegged as kind of 80s guy but I really don’t like most 80s music, most of it is too – how should I say – too 80s. I mean I like The Cure but not nearly all of it, I like a couple of Smiths songs but most of it just sounds too…kitschy. Minimal wave stuff, a lot of the songs just sound very unique, kind of dark. I like the ones with bigger bass…Those really early drum machine sounds I love.”
Do you use vintage equipment or do you use newer kit to try and replicate those sounds?
“Both, I mean, I do have a couple of drum machines that would fit that era. Mainly it’s the songwriting that influences me, it has that kind of trance-inducing quality that I look for in all music, you know, just one chord the whole way through…
What are your plans for the rest of 2010?
“Turning in this new record is going to be the main priority, and there’ll probably be a few 45s too. Hopefully the new album will be out late summer. I’m going to do another mix soon, a psych mix, a couple more tours. After the summer I’m probably going to lay low and spend some time with my family, get that record out and coast for the rest of the year.”
Lastly, what are some of your current obsessions?
“Well, I’ve been into curry for quite a while [laughs]…Musically– and this goes hand in hand with the record I’m working on at the moment – I’ve been obsessing over mid-late 50s and early 60s stuff, Frankie Avalon, Dion, Roy Orbison, The Ronettes – that vibe. The creepier sound of the 50s. Sweet but creepy. That mixed with some 80s goth, and I’ve been cleaning up on the Cocteau Twins while I’m here…All that, and then My Bloody Valentine, Sonic Youth, and I’m still buying some minimal wave…Basically goth, industrial, shoegaze and doo wop – that’s my whole orbit at the moment.”
Kiran Sande
stonesthrow.com/jamespants
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