Also in this edition Jenny Lewis
Sacha Talens: Album name change and other amazing stuff from this Canadian tetris punk rocker
Aside from posting pics via instagram, cooking and doing production work for the new album(to be released next year), Sacha Talens loves a good chat. He hangs out with Sphere Music to answer some questions in relation to the album’s change of name (initially called ZAZAZA) and other things.
Why the change in the album title?
It’s funny you ask that. People ask me that relatively often lately on twitter and whatnot, so a couple days ago I decided to write a blog explaining why the title change and all, but the whole thing became pompous and TMI kind of thing, because the final title is like this private joke about Toronto, so it’s kind of tedious to explain those jokes because they’ll never mean the same to other people. So I’ll give a simplified answer. I initially wanted to call the record “Zazaza”, because it was a title that suited well the music. I guess because it’s unlikely, gimmicky, and oddly memorable. I have no idea why I came up with that. It’s kind of similar to Seth Macfarlane’s explanation of why Stewie in Family Guy has a rugby ball shaped head. He said that he had the voice in his head, and he organically felt that that voice just had a rugby ball shaped feeling. So, “Zazaza”.
But then I started mixing, and spending HOURS listening to my voice alone, through huge speakers, so I started noticing the lyrics. It’s odd, but when you live with songs for a long period of time, I guess there’s this “old married couple” effect that takes place, and you just don’t pay that much attention to the content (not as much). When I started mixing (with my producer Phil) songs just had vague labels, in my mind. Balcony Girl was “a cappella, opener, need re-record track 4” and so on. So then I started paying more attention.
“Zazaza” was the title of the music, “The Bathurst Moment” is the title of the songs. (Bathurst is a somewhat sketchy, very long street in Toronto)
So January 14 2013 is really the official date for the album release. But do you think this might change anytime?
Ok so this is much more simple than the title change. I was with Rudolph, who is my Go To person in BMG, so I was explaining the whole concept of the record to him, showing my artwork ideas, you know, like when you show your homework to a teacher. And he thought January 14th was a better date than October 15th, because we could do more things prior to release, promo wise, etc.. So, yeah, BMG decided that. Which I think is smart. Initially I just wanted to release whatever then just tour, but they like the album and are motivated, so there’s more we’re gonna be able to do, especially with that additional 2 months.
How’s the production going?
Well I mentioned Phil earlier right? He’s been my production partner for years now and he’s like Winston Wolf in Pulp Fiction. He can solve any problem. But he’s also such a sound freak. So, basically, he provided the possibility to polish some of these songs a little, because obviously I recorded in my basement, so some tracks were completely gnarly. He single handedly and with absolutely NO budget figured out ways to re-track some drums, percussion, guitars, vocals… I mean, he really saved the thing. The problem is that he’s such a perfectionist that he considered that some tracks needed even MORE production, so him and Miki Lapie (the guy who plays drums on Fish Tank Blues and most of the instruments on Peaches d’Azote) are replacing my drum and guitar tracks in a bigger studio right now. It should take another 2 weeks to get a final master.
Any interesting musical experience recently?
Well, I had one interesting musical experience that doesn’t involve music. I was in the studio a couple weeks ago, and I met Renaud Letang, Feist’s producer, who was mixing a Lianne Le Havas track. It was surreal. The guy who produced all those records, was there, drinking coke with me and telling me stories about how they recorded this and that. I won’t disclose the conversation, but the guy is so normal, and so are all the guys working in that studio. I truly respect good producers (maybe more than good musicians) because they are 80% of the intellectual engine of any music. Sometimes, when you perceive “talent” in a song, chances are that’s all thanks to a guy who loves fucking around with knobs and buttons.
Other than that, strictly musically, I can give you a little list of stuff I have liked lately, it’s always nice to end with that, right? Here you go:
Bad As Me by TOM WAITS
An Awesome Wave by ALT-J
Reunion Tour by THE WEAKERTHANS
High Flying Birds by NOEL GHALLAGER
Young Machettes by THE BLOOD BROTHERS
David Comes to life by FUCKED UP
Piano Solo II by GONZALES
Hundred Thousand Pieces by KRIEF
Absolute Dissent by KILLING JOKE
Mahler’s “Cursed” 10th symphony, the one conducted by Bernstein with the Vienna Philarmonic
and this one may surprise… but bare with me, it’s a great record:
Time Waits For No Slave by NAPALM DEATH.
All rights reserved to BMG / Albeancia Publishing.
Produced by Sacha Talens & Philippe Avril.
Arranged By Michael Lapie.
Featured in the album “The Bathurst Moment”, released on January 14th 2013.
Night, you try to make me go color-blind and Night, you’d love to see my dark side, my shadow.
Night, you took my love away and Night, you made a country for albinos and shadows.
Night, you’re pretty girl to see, Night
But your coat is made of dead skin from my mother
Night, you’re a panther in the room, Night,
and you hunt me me under the moon, like a mother.
Day or night invite me out in my body and throughout
I can’t stand anatomy
Night, can you embody my depraved anatomy?
I am eager to eat crow
Life’s half hunt, half comedy.
You can skin me later, though
Night, you have a thing for me and Night, it seems we share the same tuxedo,
as friends do.
Night, the street is calm and shy
Tonight no one will hear us cry in hiccups like friends do.
Night, don’t be fooled by my tone
we share the exact same amount of toxicity
Night, never mind how clear I am,
I’ve had my share of very highly toxic ladies
Day or night invite me out in my body and throughout
I can’t stand anatomy
Night, can you embody a day’s anatomy
back in halcyon days of spree?
Life has bad anatomy and you skin me in its lobby
Even lust has lost faith in me
And there’s no relief in all the pieces of my love
Lady, lady, oh,
Let’s light up the powder keg
Kill the birds with chicken eggs
talking blue verbs to the sky, oh
Night, Can you embody all the antelopes of life,
walking through the busy rye?
Since all bodies make you laugh
you surely made me shoddy
Lost and found anatomy
Dark and round anatomy
I can’t bear anatomy
low low low low
All the crap anatomies
Given to all human beings.
The spirit wanes, the form appears, oh
low low low low low
Jenny Lewis who?
I was chatting to this guy named Daniel a lot via irc. The reason we clicked was because of Peter Chains. I sent him the link to Carrion Crows and he really love it. So that’s how we became friends. He also let me hear some of his demo stuff and they are really awesome. I understand his admiration to Peter’s work. These two men have something in common: amazing musicianship and vocals. In one of our conversations, he mentioned something about the music of Jenny Lewis. Jenny who? I love all types of music but I can still be an ignorant fool. This woman has an amazing voice and great songwriting skills. I am glad I got to hear her!
Official Music video for ‘Black Sand’ by Jenny Lewis
Directed/Photographed by Justin Mitchell
See more at http://www.justinmitchell.com