CURRENT FEATURE | Feature Archive ›› Interview with Paul Michel by Alex Maniatis October 17, 2006 www.pmichel.com www.myspace.com/paulmichel Alex Maniatis: What's going on with Paul Michel these days? New record?? New tour?? Paul Michel: Just released a new full-length called Quiet State of Panic that I'm completely thrilled about. It's the first time I was able to do a collaborative effort, and the entire experience was just a step up from what I'd been able to achieve before. There're things like a real drums (crazy!) and cello on there that make the experience that much organic and emotive. Andrew Schneider (from Barbaro) mixed it and it sounds incredible. Mike Ushinski (Barbaro, On Fire) played drums on it, and Dana Feder (Matt Pond PA, On Fire) did the cello and both had standout performances. I've also been on tour to promote the album for the past couple of weeks, and have another 8 to go. It's the longest I've ever been able to get on the road. Had to quit the job, leave the apartment and all that. So far it's been totally worth it, though come back in a couple weeks and see what I say then. Things may have turned around at that point. We've hit a bunch of places that were extremely fun, places that I've always wanted to travel to but never had the chance. Montreal and Toronto especially were outstanding. The kids there were so nice and attentive -- I felt bad swearing in front of them, they were so polite. I'll also be touring a lot in '07 as well, since I'm technically homeless and have nothing better to do. And I mean that in a good way -- there really is nothing better that I could be doing.,,, AM: Recently you were signed to NYC's Stunning Models on Display. How is the experience so far? PM: The experience so far has been great. They're sinking a lot of money into promo (the radio campaign starts in a couple weeks), and got us a booking agent to put us on tour for the rest of our young lives. There's another band on the label called The Receiver that I've been paired with (and are completely awesome) because they're a bass and drums duo, and can back me up on my set (and I reciprocate on guitar for theirs). That's something I couldn't have put together without the label in between. So I couldn't ask for too much more. We're getting distro-ed by Red Eye, so hopefully the album'll be in a bunch of different spots soon, though now it's only at their website and mine, and available at the shows of course. The thing I like most about these guys, though, is the fact that they're a startup -- so I'm getting in on the ground level so to speak. We're all learning how to do this together, and the atmosphere is completely family-oriented. Everyone is super cool. AM: What are you biggest influences in music? What made you want to pick up a guitar? PM: When I was younger it was all classic and prog rock. Stuff like Yes and Rush and King Crimson. Alex Lifeson was definitely the dude that made me pick up the guitar, and Geddy Lee helped me learn how to play bass. Then I grew up a little and got into punk, especially all the west coast stuff like NOFX, Lagwagon, 88-Fingers Louie. Then hardcore (Snapcase, Avail), and then more modern Brit Pop (Travis, Keane, My Bloody Valentine -- are they brit pop?). And I've always been into Indie Rock and singer-songwriters: Sunny Day, Nick Drake, Pete Yorn, Jeff Buckley.... AM: Has Washington, Dc been a supportive musical environment? PM: Washington, DC's a little schizophrenic sometimes. There's a good pop scene that starting up there now that the punk stuff is beginning to wane a little bit. And though musically it's always been a great place for bands, I think now DC's kind of doing a rebirth-sorta thing. Really interesting stuff is starting to come up, stuff like Georgie James and the Hard Tomorrows. It's a unique voice from what DC has pretty much been associated with, and I think it's a good thing. AM: Are you happy as a musician alot of the time, or is it an endless struggle of being broke all the time? PM: I go back and forth. I have good days and bad. I can't complain though. No matter what, this is incredible that I've been given the opportunity to do nothing but music all the time. Its completely helped me grow as a person and as a musician and there's realy nothing I'd rather be doing (and nothing that I can do really, not as well). But there's still a bit of a need for some kind of stability. I'm just always hoping that things will get a little easier, though in my heart I know that things never do. The trick is to take those moments of contentment (of which there are a lot on tour, I gotta say) and try to stretch them out for as long as possible, to take note of them when they happen, and try to appreciate it. I'll never again be this young and this naive and this driven and this stupid. It's great. AM: Do ex-girlfriends have to worry about showing up in your songs? PM: Only one has ever showed up. Which is a good thing I think. Most everything else is autobiograhical, but only to a degree. The names and places have been changed to protect the innocent. And of course there's some dramatic license. If my songs completely reflected my life, I think I'd already be dead. Plus the drama of the songs is cathartic. It's therapy to release all those demons on a page rather than keep them locked up in your head. But I try to make the songs more about the experience rather than the particulars like who or when... AM: Are there any places that you particularly like or dislike that you've discovered on tour? PM: There was a great underground loft space in Montreal, where the kids kept feeding us beers and talking and playing guitar until early morning. It was awesome -- completely appealing to the hippie part of me that wants to talk about politics and music and drink espresso and smoke weed. That was probably the most unique so far. But the best part is always the people. It truly restores your faith in humanity. There are so many people willing to put a band up for the night at their apartment, and talk about their music scenes and their own personal dramas, and all of them are such good people with good hearts. It becomes a universal truth that you sometimes can't see when your trapped in your own claustrophobic city, and stuck in your usual routine. AM: How do you feel that the internet has impacted the music industry? Has it changed your approach to making or distributing music? PM: The internet has been both good and bad. CD sales have plummeted, but generally that's been worse for the labels than the bands. Touring bands can still make ends meet for the most part, and merch at shows has always been a feasible alternative to the CD itself. It's also leveled the playing field. There are a lot more indie labels out there, putting out a lot of great sounding records (also made possible by better technology and better home studios, something that I've definitely taken advantage of). Of course, there's a lot more crap too, as anyone who has a myspace account can attest to. Its a lot harder to wean through everything to find something that you like, and it's a lot harder for anybody to care about music or the effort that goes into it since it's perpetually foisted upon us by every sort of medium that we encounter. So good and bad, though I'd like to think more good (at least I hope). AM: Name 5 records you think that are amazing right now. PM: These are not all going to be that new, cuz it takes me forever to pick up new music: 1. Muse 'Absolution' 2. Thom Yorke 'The Eraser' 3. Pedro The Lion 'Control' 4. Barbaro 'Nolte' 5. Biffy Clyro 'Infinity Land'. I also kind of like that new Beck album, though I think 'Sea Change' was by far his best work. I also like anything that Nigel Godrich produces. That dude makes anybody sound incredible. And he's younger than I am, I think. Which is just insane. Pure genius. AM: Do you have any advice for young players who want to be successful? PM: Redefine successful. Base any decisions on the assumption that you will never make any money doing this. That you will probably go into horrendous debt, girlfriends will dump you, and you'll constantly second-guess yourself and all the decisions you will ever make. Still think you can make a definition of successful with all that included? Then you can do music. And then you'll be doing it for all the right reasons.		REVIEWS Antony & The Johnsons I am a Bird Now Wow. I had no idea what to expect from this record. Especially as I unwrapped it from the shrink wrap and looked at the inside of the packing. I expected Boy George incarnate, but instead what blessed my ears was a beautiful, moody and piano driven album of unbelievable gorgeousness. While this may be a different record for Secretly Canadian to release, it is right up there in beauty and elegance, just like of all of their releases, Antony's voice touches your soul in a playful and emotive way. Maybe not not for everyone, but definitely worth a listen to see if it's for you. Crooked Fingers Dignity and Shame Well, this record couldn't have suprised me more. Josh Dopamine mentioned in a car ride that this was one of his new favorite records. Mind you, he likes nothing new except for death metal and grindcore, so I thought it would be good based on Crooked Fingers prior efforts. However I was mistaken, this record is not good, it is fucking amazing. All the sass and indie singer/songwriter you might want, with a rock sensibility that most of the aforementioned never seem to grasp. This may be due to his days spent in Archers of Loaf. Regardless, the duets on this gem are simply mindblowing in their beauty. Might be our favorite record here collectively for the year. The Cure Reissues Well, to be a biased reviewer, The Cure is one of my favorite bands ever. These reissues are a perfect example of why. Not to mention the Join The Dots b-sides boxset that came prior, but The Cure has assembled these reissues with a 2nd disc that captures rarities and live performances from the period of each album. The live material is a bit raw yet they capture the band in the era. The albums themselves are remastered and sound better than ever. So, you see, this is less of a review, but more of a plug to tell you to go buy some records that are mindblowing. I can't wait for the next batch with Head On The Door and Disintegration. Isis Panopticon (Ipecac) Many will tell you this is the best Isis record yet. And to be honest they are right. They have broken every mold that Isis kept true to. Aaron Turner belts out some melodicism on this effort. The drum sounds and guitar sounds are finally where they need to be. Overall this is the best sounding Isis record I have heard yet. The melody that this band has developed through the heaviness is what is truly awe inspiring. They seem to have choruses now, which is unlinke many doomy/sludgy bands. The songs are as memorable as any new Cave In record. Although this record blows away any record they've done yet on paper, this reviewer's favorite is still Oceanic. But Panopticon is a very goddamn close second. Damien Jurado On My Way To Absence Damien Jurado is prolific, and I am a fan wholeheartedly. This record only furthers it. Wonderfully sad songs mixed in with some odd sort of sense of optimism resound here. I really hoped he could out do the sentiment i feel for the last record but doesn't grab me that way. It doesn't mean it is bad, but perhaps it was the time in my life when Where Shall You Take Me appeared. Those songs rip through my heart like nothing else. This record is just probably not there yet for me. I really will always hope Damien slays me with his words and songs like he does. Magnolia Electric Company What Comes After The Blues Well, Mr. Molina has delivered his newest batch of ultra depressing alt-country songs. And though the live versions of these on Trials & Errors might be better to my ears in energy, this record is truly great. I think he has done me wrong from Songs:Ohia to Pyramid Electric Company. I want more. I want to feel it in my soul, and what is better to have from a musical experience. Mogwai Government Issues Mogwai might be one of my favorite bands. You might know that based on The Burning Paris and On Fire, however they are just simply unreal. This record might seem like you don't need to own it because you have all the songs already, but I beg to differ. Mogwai has always reinvented their songs in a live setting and these recordings are no different. Some are more lo-fi than others and I will admit, but overall it is a new and wonderful take on songs that you know you already love. Denali The Instinct This new record by Denali creeps into your pores. The debut album sort of flew by me, nothing wrong with it, but nothing stood out to amaze me. On The Instinct, Maura Davis and co. have created soemthing special. Choruses abound and intricate guitar work go right along side her gorgeous voice. This record is stunning and wonderfully more revealing on each listen. If you pick this record up, it will be wel worth your money and time. They even got to open for the Deftones........ (nds) Bardo Pond On The Ellipse (ATP) Bardo Pond has blown me away since I was lucky enough to share the same bill as them at the Magnet Magazine 5-year anniversary party in Philadelphia. Their sound sometimes reminds me of a hippie shoegazer fixated on classic rock. Their last few releases on Matador proved ambient and strange enough to keep me intrigued, even if they are somewhat hard to retain mentally. On The Ellipse moves it all further. The sounds are huge and the songs feel like movements and take on life much more reminscent of Mogwai or Godspeed You Black Emperor! than any of their previous efforts. The melodies of guitar, bass, vocals and flute are fluid and lavish. The heaviness makes you almost feel at times you're listening to Swans or Neurosis, but take the influences back to 1975. Seeing Bardo live is much more of an experience, but this record is worth every red cent. Plus, Isobel Sollenberger might just be the hottest thing in rock music now. (nds) The Elected Me First (Sub Pop) So, I picked this record up on a whim after hearing a song on the Insound radio. Now, having no clue that this was the other half of Rilo Kiley, I thought wow, home run Sub Pop for finding this obscure band to release. (-100 scene points for me). The first noticable thing is the startling vocal similarity to Elliott Smith (RIP). However, upon further listens, the country twang of Saddle Creek artists emerges, and the record takes on more of Bright Eyes feel. Some might find that a bad thing. However, being the sucker I am for pedal steel and the production of Mike Mogis (Gloria Record, Bright Eyes, Cursive), this record just beams with colors and sounds and truly heartfelt emotion. Quirky in the instrumentation, sentimental in the craftmanship. Perfect for late night conversations or reflections. (nds) Cat Power You Are Free (Matador) The first full length of all original material from Ms. Chan Marshall in almost four years. And from being a fan of her previous work, I am fairly certain she can do no wrong. You Are Free enlists the help of Dave Grohl on every drum track and even a few guest vocals from Mr. Pearl Jam. I wouldn't ordinarily find the latter to be a positive, however here the performances are completely understated and complimentary. The songs on this record go back and forth between soft and lulling ballads and a tad more upbeat rocking numbers. This could be a negative to some album purveyors, but Cat Power delivers one of the most honest and beautiful records this set of ears has heard in a great while. (nds) Damien Jurado Where Shall You Take Me? (Secretly Canadian) Can Damien Jurado make a bad record? With the exception of his odd Letters & Audio Postcards CD, I would venture to say that he has not made a bad one. Last year's more "rock" release I Break Chairs only furthered Jurado's brand of simple but cathartic songwriting. Where Shall You Take Me? brings Jurado back to his more alt-country roots that we saw on Rehearsals For Departure and Ghost of David. Jurado's Will Oldham-esque expressive country ballads are enough to bring most to tears, and guest vocals by longtime collaborator Rosie Thomas weave together brilliantly with Damien's dense southern Springsteen's Nebraska-era drawl. This record will consume you. (nds) Panthers Let's Get Serious (Dim Mak) No matter where you look in this band there seems to some modern punk rock players. hehe Justin Chearno played in Turing Machine, Jayson Green, Geoff Garlock, and Jeff Salene are all ex-members of Orchid and Kip Uhlhorn was a member of The Red Scare. Together they take their influences and by all means do not let their past dictate who they are, they let it be a part of what's to come. 2002's release Are You Down? on Troubleman brought a tense angry side of the Panthers out for introduction, Let's Get Serious brings the quirky/sassy side of a great rock record out ...with a new introduction of a great/solid rock band. The lyrics have a political solitude but refrain from being overbearing like most of todays hardcore/post hardcore bands. This record has elements of The Stooges, The Jesus Lizard and can throw a party like MC5. So Cliche to say, I know... But I have heard this record and you have not. So buy it. (alex) Idlewild The Remote Part (Capitol) Following up their 2001 release 100 Broken Windows, Idlewild are back at it again. The album has been available in England on Parlophone U.K since last summer, but yet Americans like me and some other Dopamine counterparts have shed out the geek bucks for the import. Worth it? every penny. On The Remote Part, Idlewild's sound is more mature than their earlier stuff on Hope is Important and yes... even taking 100 Broken Windows a step further. The hooks are there and after a few listens I have already included some of these tracks for the next mixtape/emo bro-down. hahaha. That is why I love Idlewild, a simple band that does simple perfectly. Roddy Woomble's lyrics are becoming more interesting and the songs have more depth. Overall critics have nitpicked this album from lack of "catchiness" but upon an honest listen The Remote Part is a deeper piece of work with a first impression that may be too delicate for most die-hard Idlewild fans. Sit back and relax, listen to this album, then play air guitar. Steps in that order. Don't f this up. (alex) Richard Buckner Impasse (Overcoat) Mr. Buckner is quite the enigma. His twanged out records have always been an inspiration to this reviewer. He had some dumb luck making country records for MCA records. Although they were genius records, they weren't exactly the Nashville idea of what was a hit. And while personally, I think this is a good thing -- anyone who has John McEntire (Tortoise, Sea and Cake) play drums on their record isn't gonna score points in the heartland. Impasse is Buckner's first proper release for indie Overcoat Recordings (with the companian e.p. Impasette also available). The record brings together everything I have been a fan about in Richard's music. Lo-fi, interesting sounding records, brilliant songwriting and a passion behind the music that most artists can only wish they had. I couldn't recommend a particular place to start with Buckner's music, I would just say buy everything you can. (nds) The Kills Black Rooster (Dim Mak) Some might argue that the entire male/female/guitar/drums/duo thing is a bit overplayed. While this is definitely true, The Kills are not guilty of anything other than creating a balls-out bluesy rock and roll e.p. At first listen, I would contend this is perfect Friday night 'drinking Budweiser from cans' music. However the damned thing just is not long enough. Perhaps their forthcoming full-length on Domino will provide more longevity for said evening. Nonetheless, The Kills deliver a great dirty lo-fi rock e.p. that is definitely worth the cash. (nds) The Postal Service Give Up (Sub Pop) This record is pure pop bliss. Unlike Ben Gibbard's work in Death Cab For Cutie, there are no attempts (however shamefully) to make this a rock record. Sugar-coated pop sensibility is abound here, and oddly enough it actually stuns me with it's sweeping melodies and small references to electro-pop. Overall, I stand by the claim that this is one genius pop movement. Fans of Death Cab will definitely eat this one up. (nds) Aerogramme Sleep and Release (Matador) Aereogramme follows up what was one of the most wonderful debut albums I have heard ever, with a very confident second release. The duality of this band to both be able to scream and to deliver the most depressing melodies is quite a paradigm. However, they do it flawlessly. This record was obviously recorded in a much more careful way, paying much more tribute to layers and sounds -- however I am hard pressed to say this is better than its predecessor. After many, many listens, I fond it to be just as strong as the Aerogramme debut, but have also decided that this one didn't hit me in as emotional a period. That said, this record is worth it. And anyone remotely curious about this band should purchase either record and go home happy to own it. (nds) Arab Strap Monday At The Hug And Pint (Matador) OK. Another Glasgow band. Yet I have been a fan of Arab Strap since I first heard their Matador debut. Although a stretch to cmpare them to such other Glasgow luminaries as Mogwai and Aereogramme, it is not totally off base. Arab Strap records sound sinister and a bit creepy to most ears, including my own. However, there is always a sense of beauty intertwined in with this. This new record (their 4th for Matador), further tantilizes their ability to bring simple song structures, melancholy melodies, and creepy yet soothing vocals to the table. This record might be their strongest yet. And whoever gets to see them open for Bright Eyes this spring is quite the lucky soul. Though I'd imagine their cover of You Shook Me All Night Long with a violin will piss quite a few off. But that is something Arab Strap does well. Pissing people off with beauty never sounded so good. (nds) Joan of Arc So Much Staying Alive And Lovelessness (Jade Tree) So, maybe some were skeptical of a "new" Joan Of Arc record after Owls and their last (I admit "bizarre" e.p.), but Mr. Kinsella has made one hell of a comeback record. On So Much.., Kinsella enlists the help of lots of Chicago rock folk, while still staying true to the nature of Joan Of Arc has always been like. Upon hearing this record more and more, I have realized the similarities to the older Joan material, yet a push to also try something a bit different. There are more references to Will Oldham's Palace and to lo-fi country rock, while still maintaining the art rock beauty of Joan Of Arc's earlier recordings. And of course his lyrics move me in the oddest way they always have. My message to Tim (as if he were to ever see this) would be -- "keep making Joan Of Arc records man, they always inrtigue me and inspire me. Thanks for another gem." (nds)