Interview: Pierre de Reeder of Rilo Kiley

Photo by Tom Moratto

Yesterday I spoke to Pierre de Reeder, bassist and founding member of Rilo Kiley, about Rkives (released via his record label Little Record Company).

After The Show: So Rkives came out last week — how’s the release going from both a label and band member perspective?

Pierre de Reeder: So far so good…It’s hard to separate those [perspectives] at this moment. It’s exciting that it’s out and people are buying it and liking it – people who have been fans of the band for a long time. There’s an overwhelming amount of good comments which is awesome to see.

I think you’ve set up Little Record Company as an admin label…how does it operate?

I’ve started more of an administration label. It’s more an artist funded label and I deal with everything a label would do otherwise to release stuff – hiring independent press and radio and putting everything through a distributor. This [RKives] is a more traditional release actually as far as handling everything.

I like the prominent bass on “I Remember You.” The songs on Rkives cover years and years. Is there a track you most connect with and one you least connect with?

Our opening track “Let Me Back In” is something that’s been endearing to all of us for a long time and one thing I’m glad we’re finally able to release. The second song “It’ll Get You There” has always been a favorite of mine as well that didn’t get put on any record. I relate least to “Dejalo” but it’s fun.

What’s a typical day for you –is most of your time taken up by running the label?

The label for this release has been one of my full time jobs for sure that’s taken up a lot of time. I also own a recording studio and produce and record a lot of records so that is another very time consuming endeavor. I’m also a family man and I have kids – my priority. My days are very long and packed full of stuff in various directions.

Photo by Steven Dewall

Artists can love the process of creating their work, and then they have to promote it and do Twitter and be a salesman, which is an entirely different skillset than creating the original art. What’s your perspective on that?

Certainly you become a peddler at that point. You’ve got your coat open, watches dangling on each side and you just do your best. There’s people that know a lot more than I on the business side…this release is the most engulfing. But it’s interesting – I can’t say I’m a businessman first – never was, never will be – but I think I fake it pretty good and get everything done. I do get engrossed in trying to be a peddler. I did major in business and marketing in college so I do try to apply that. With my label, I just try and give friends and people I like an outlet to release their music.

You have a recording studio — what qualities make a good sound engineer or producer?

Interesting question – I guess it’s such a subjective thing because there’s the technical side…you need to know what you’re doing from a technical perspective but then there’s the subjective ears and taste. From the producer perspective, it’s completely subjective. What you bring to the table is your experience in music, [they’re] hiring you for your opinion and what you can bring to the music based on your taste.

You and Jason Boesel have both released solo albums and can obviously sing – why did you guys never sing lead vocals on a Rilo Kiley song?

The band is established as Jenny as a singer and Blake as a singer…it’s already plenty of singing cooks in the kitchen. We love the dynamic between them. It’d be too schizophrenic and just not appropriate for that band. We have other musical outlets.

Will you release a follow-up to The Way That It Was?

I think so, yeah. I’m slowly writing new things and then recording them eventually. It’s funny and ironic having a complete, robust studio at your fingerprints and not utilizing it for yourself. That record took me 5 years of thinking about it and recording it to finally release.

At what point in Rilo Kiley did you realize you could support yourself just by playing music – was there a specific turning point or was it more gradual?

It was always a gradual process, at some point yes we were able to be a working class band able to make a living, between sales and touring.

If you could be a musician in any time period in history when would you choose?

Hmm I have thought about this…I guess I relate sort of to the late 60s early 70s era…I could see myself there. I don’t know if I would prefer that to my own period. I kind of like my own period of time.

There’s mystery and conflicting reports about the origin of the name Rilo Kiley – a dream about being chased by a sports almanac, an Australian football player from the 19th century, a character who predicted the date of Jenny Lewis’ death…do you want to clear that up?

I can totally confirm that all of those stories are true.

Thank you Pierre!

Get Rkives

+RiloKiley.com +PierredeReeder.com

“Cold Jordan”

Here’s “Cold Jordan” by Johnathan Rice, Jenny Lewis, Farmer Dave, and The Watson Twins:

Interview with Farmer Dave

I caught up with musician Dave Scher, better known by his nickname Farmer Dave.

Farmer Dave has done studio and production work, been a touring musician with Jenny Lewis, Interpol, Elvis Costello, Jonathan Rice and Vetiver, and Jenny & Johnny even refer to him in their song “New Yorker Cartoon” as “my best friend Farmer Dave.”

After The Show: What’s one of your favorite lyrics that you’ve ever written? What about a favorite lyric that someone else has written?

Farmer Dave: “And you came on from so far away
Miss Carolina 3AM
I send a bottle with your name
Floating down along the Seine
You burn in me while I’m gone
But the day’s gonna come
I’m gonna be by your side
From the daylight till the dawn
And we could go on”

How do you stay connected to the musicians you’re playing with onstage and not feel isolated when you’re sitting down stationary and everyone else (except the drummer) is standing up and moving around?

I stand up more these days
But sitting doesn’t make a difference
The connection is still there

Do you prefer playing guitar on faster or slower songs? Does tempo deeply influence the way you feel as you play a song?

a variety of tempos is the ideal
I want to experience
All the colors of the tempo rainbow

Your bands Beachwood Sparks and All Night Radio were on Sub Pop. What do you see as the future role of record labels in an age where albums are rarely purchased anymore?

I would like the labels to have more interest in artistic development
Like Motown, Old Hollywood,
or David Geffen’s Asylum label

Nature and California/the ocean seem to be big themes in your music. How do nature and music connect for you?

They are one and the same
I hear the best things in nature and out in the world
For me the human recordings, performances, and compositions we all listen to will always play second fiddle

You played lap steel on one of my favorite albums – Are You Thinking What I’m Thinking by The Like. How did that come about?

My girlfriend at the time managed The Like…I really loved them like family, and am happy to’ve known them and spent time with them…We had the best adventure, me driving them in a van across the country opening for Kings of Leon … it was rad.

Whose idea was it to do the “Ask Farmer Dave” advice column on Jenny Lewis’ website?

Probably J Lew.

Your song “By Your Side” was in the movie Scott Pilgrim Vs. The World nine years after the song was released, and you did the music for a Tokyo Cyder commercial. What’s your view on music licensing? 

Licensing I don’t have much philosophy on.
I love music in movies and have always loved commercial compositions as music just like other kinds.
We have some real classic jingles growing up in the Southland.

I saw you playing a few July 4th’s back at Battery Park. What did you do for July 4th in 2012?

I went up to Pt Dume in Malibu and had a fire with friends. You could see the fireworks for each city all the way along the bay to Palos Verdes.

Thanks Farmer Dave

Satellite Last Night: JJAMZ + Jenny Lewis

Last night was JJAMZ’s last Monday night residency at The Satellite aka Spaceland, and they had some surprise special guests – Taylor from Dawes and Jenny Lewis & Johnathan Rice.

Thankfully someone recorded JJAMZ and Jenny Lewis playing “Silver Lining” by Rilo Kiley!

Exclusive Maria Taylor Interview – 11/17/2011

Last night, Thursday November 17, 2011,  I spoke to Maria Taylor backstage before her headlining show at the Mercury Lounge. Read the interview below to find out about Maria’s tour memories, her favorite lyric that she’s ever written, Shazam-ing songs on TV shows, and beginning to write again for Azure Ray.

After The Show: The last time I saw you perform was May 2009 at the Troubadour with JJAMZ and Whispertown 2000 opening. Do you look back on any tours as particularly memorable?

Maria Taylor: They all are so different because you tour with different people, especially with me – I have a different band usually every time. Tours are all so special and unique because you’re getting to know these people and you get so close to them, and then you also travel with different bands.

There’s always crazy stuff that happens on each tour. I don’t think I have a particular one that stands out or that’s my favorite…Maybe the first time when my brother and sister came on tour. That was one of the first times I went solo, and they came on tour – they were my band. That was to support 11:11 and we opened up for Har Mar Superstar and Ben Lee. That one was pretty memorable because my sister had just turned 18 and graduated from high school, my brother was 21, and I took them on the most debaucherous tour…Oh God, maybe you shouldn’t put that, my mom might read this (laughs). It was so much fun but I had all this guilt, like I’m the older sister…What am I doing? I did a good job of corrupting them (laughs).

I understand that this tour is somewhat different than any others you’ve done – how?

I’m pregnant! I feel finally not sick (I was throwing up)…It did feel different. It was pretty hard, and in retrospect I probably should have waited to tour until I was after the first trimester just because I had it so hard, but now it’s great and playing sober is something I’ve never done before. I think I sing better and my voice is getting stronger. Everything’s just way more clear – I remember the whole night (laughs). It’s okay – I feel like I’ve conquered a lot of fears by going out and talking to people without having anything to drink because I’m a nervous person and usually I have a glass of wine before I even walk out my door (laughs).

I don’t remember lyrics as well because when you’re pregnant you’re very forgetful – I didn’t know this. So I forget lyrics this time around.

Your songs have been placed in TV shows – “Time Lapse Lifeline” was on Bones, and several were on Grey’s Anatomy. How do you view licensing music and how important is it in terms of exposure and income?

As far as income, it’s the only way that I make any money at this point. I usually lose money on tour and people don’t buy records anymore, so my last two records I haven’t recouped and I haven’t made a dime. So licensing is pretty much my only source of income.

As far as exposure, it’s so great for that too. With me personally, I’ll be watching a show and Shazam songs all the time, and then I buy them, so I think it’s an excellent way to expose yourself to a wide range of people.

Have you seen a measurable jump in downloads the next day after a TV show with your song airs?

Definitely after Grey’s because people almost watch that show to look for music. You get paid a lot less if they announce the song at the end [shows on the CW], but it’s still good.

There was a rumor that you, Orenda Fink, Jenny Lewis, and Morgan Nagler were considering starting a band. Was that idea ever on the table?

Yeah, we did! We formed a band and we had a couple of practices, and they were awesome. And then we all just got busy doing our other projects, and then Orenda and I moved out of LA, so I don’t know if it will ever come to life. But it was really fun for those two practices that we were a band.

Why did you decide to cap your new album Overlook at 9 tracks? Were you concerned that people might think you were rushing to put the album out or that it was too short?

It just felt complete to me. I felt like it was the most cohesive record I’ve ever put out. The whole plan for this record was to write it in a certain amount of time, and that was to see if it would be more cohesive. Because lots of times I’ll start a song and just because I’m lazy I don’t finish it, only because a movie comes on I want to see, you know? So I sat in one place for a long period of time and it just felt complete.

And I also think that people are doing less and less songs because people don’t buy records anyway, so you might as well…Why put your heart and soul into 15 songs? People don’t buy records anymore – you get one or two songs. I think it’s just changing –  I think EPs are going to be what people will start putting out, and it’s all about to change so I’m just experimenting with where I want to go in the future.

Every aspect is more cohesive – thematically, sonically, production – in my humble opinion [laughs]. Usually I use two different producers, sometimes three on records. I’ve always recorded in at least three different studios; I’ve always recorded in two or three different times (like months, even). The goal [with Overlook] was record it at one place; I’m going to produce the whole thing; I’m going to write it all in this one room.

Have you always removed the bottom E string on your guitars? Why do you do that?

For the past 10 years I have, both for recording and playing live. I don’t like high-pitched noises, and it always used to bother me…On my amp I would turn the treble all the way down. And then one day the E string popped off in the middle of a show, and so I finished playing without it, and I liked it so much better without that last “ding” – I hated that last “ding.”

Do you have a favorite lyric of yours that you’ve ever written?

Hmm…I always like, in “Birmingham 1982,” where I say “When love was just laughing with a friend” and “When love wasn’t hurting anyone.” Those are the ones that when I sing that still – and I’ve sung that song for 8 years – it still kind of makes me teary (laughs) – I really feel it. It still hits me…I feel like my best lyrics are the ones that really pull at the heartstrings, even if they may be the most direct and simple.

Is there a song on Overlook that best exemplifies that direct and simple approach?

I think “Along for the Ride” is the best lyrically…maybe also “Like It Does.” I think those are the best ones.

When you’re writing a song, how do you determine if it will be an Azure Ray song or a Maria Taylor song?

We just always will know what we’re writing for. Like, I was writing for my record then, and right now I’m starting to write for Azure Ray, so I have that in mind. It’s not like the song dictates – it’s my mindset going into it that dictates it.

So you’ve lived in Birmingham, Athens, Omaha, and LA. Do you mentally differentiate your songs based on geography? Do certain songs evoke memories tied to a specific place?

Yeah, absolutely. 11:11 was very, very trenched in Omaha. I can tell I was cold – it was in the winter when I wrote it. It’s just drenched in memories from there. Ladyluck was so LA. This one [Overlook] to me sounds so Alabama. I feel like I can hear it sonically as well because I know where I was at with the subject matter. Lynn Teeter Flower…I think I was in my own world in that one (laughs). I was in la la land.

You collaborated with R.E.M.’s Michael Stipe on the song “Cartoons and Forever Plans.” How did you come up with the phrase “cartoons and forever plans” and what does it mean?

He wrote all the lyrics to that, and that line stood out, so Andy [LeMaster] and I named the song that.

I think the phrase only occurs once in the song…

Right. Usually with titles it will just be a no-brainer. One line or one word from a song will obviously stand out. I think it kind of sums the song all up.

(Here’s a video clip of “Cartoons and Forever Plans” that I took from the show):

Do you have any interest in producing or writing songs for other artists in the future?

Definitely producing  – I really want to produce other artists, absolutely. Writing for other artists, I don’t think so. If I write a good song, I don’t want to give it away (laughs). I don’t write enough of them to give them away – if it’s good, I’ve got to keep that baby.

What about interest in doing session or studio work drumming or singing on other people’s albums?

I used to do that more. I pretty much now really only like to sing or play on people’s stuff where I like it. I don’t think I’d want to do that for money; I’d feel like a whore (laughs)…I feel like I’d just really want to love it. I’d sell some jeans on ebay if I needed money instead of singing backup on a song I don’t really like.

Thank you for speaking with me, Maria.

Interview conducted and edited for clarity by Suzanne Raga for After The Show.

Copyright 2011. All rights reserved. For permissions, contact AfterTheShowWebsite@gmail.com

***Catch Maria Taylor on the rest of her tour for new album Overlook:

11.18 Fri	Fairfield, CT – StageOne
11.19 Sat	Philadelphia, PA – Kung Fu Knecktie
11.20 Sun	Washington, DC – Rock N Roll Hotel
11.22 Tue	Chapel Hill, NC – Local 506
11.23 Wed	Athens, GA – Caledonia Lounge
11.24 Thu	Birmingham, AL – Bottletree

Jenny and Johnny: Cameo on Gossip Girl

Jenny and Johnny made a cameo (see below) on the season 5 premiere of Gossip Girl, playing themselves.

The band’s song “My Pet Snakes” was also featured in the episode.

“Met Him On A Sunday”

Song of the day is a cover of The Shirelles’ “Met Him On A Sunday” by Jenny Lewis with The Watson Twins (back in 2006).

Using Music to Learn Vocabulary: Part 2

“Using Music to Learn Vocabulary” (read part 1 here) is back with a second installment.

1. Jackalope: “We’re All Stuck Out In the Desert” by Johnathan Rice

A jackalope is a mythical animal of North American folklore described as a jackrabbit with antelope horns or deer antlers and sometimes a pheasant’s tail (and often hind legs).

2. Polystyrene: “Something Borrowed, Something Blue” by Ben Lee

Polystyrene is a rigid clear thermoplastic polymer that can be molded into objects or made into a foam that is used to insulate refrigerators.

3. Carpetbagger: “Carpetbaggers” by Jenny Lewis

A carpetbagger refers to a northerner who went to the South after the Civil War to profit from the Reconstruction & refers to a political candidate who seeks election in an area where they have no local connections.

4. Aztlán: ”New Yorker Cartoon” by Jenny and Johnny

Aztlán refers to the mythical ancestral home of the Nahuas, one of the main populations in Mesoamerica.

5. Tucker Telephone: “I Don’t Mind” by Phantom Planet

Tucker Telephone refers to a torture device used at Arkansas’ Tucker State Prison Farm in the 1960s. The device, designed using parts from an old-fashioned crank telephone and batteries, administered electric shocks.

Video of the Day: “Silver Lining”

Video of the Day is a solo, acoustic version of Rilo Kiley’s “Silver Lining” by Jenny Lewis at Coachella:

Song of the Day: “85″

Song of the day is “85,” a very early, rare song by Rilo Kiley.