#wtbu

Though Duchovny is well-known for his acting in the television shows The X-Files, Californication and more, he began to write his own songs a few years ago and then became serious about putting out an album around 2014.  With all music written by himself, he worked with producer Colin Lee and president of Boston label ThinkSay Records Brad Davidson to create the album.  The singer/songwriter is joined by Berklee College of Music alumnus of the band Weather as his backing band for the album and all performances.  Together, they create an alternative rock sound.  In previous interviews, Duchovny has cited influences on his music such as Leonard Cohen, R.E.M. and Wilco, and it clearly comes across in his music.  His songs are masterfully crafted, with lyrics that showcase Duchovny’s penchant for writing, as they sound like they could be pieces of poetry.

Performance-wise, the group put on a great show that was fun and energizing.  Backing band member Pat McCusker (guitarist), opened for Duchovny with some of his own material and invited some of the other band members (including producer Colin Lee) out on stage at times to perform with him.  He warmed up the crowd with both his acoustic and electric guitar on songs, which were enriched by his impressive vocal chops.  His own material was well done and had a unique sound to it. At one point he jokingly made the comment that all his songs were “soft and sad.”  Accompanied by his guitar, he finished with a song that he harmonized on with other band members, adding for a final first glimpse into their impressive talent.

After a break between sets, the lights lowered and the crowd became energized with the promise of more music.  Over the loudspeakers, the iconic guitar opening to David Bowie’s classic hit “Rebel Rebel” blazed out, pumping up the crowd even more as the band came back on stage to their respective spots, followed by the man of the night, David Duchovny.  Of course the crowd was going crazy at this point, as many fans of all of Duchovny’s work were in attendance.

But the crowd was not the only energized entity in the theater—Duchovny and his band were also electrified.  They performed their songs with a zeal and playfulness, showcasing the songs off of Hell or Highwater, such as “3000,” “Positively Madison Avenue” and “Let it Rain.”   They also played some new songs from the upcoming album.  Between numbers, Duchovny would talk and interact with the crowd, sometimes giving a little anecdote about his songs, which he did for one of the aforementioned new songs off his upcoming album.  It’s based off of the singer’s visit to the famous church in Paris, Sacré-Coeur and how he learned that there are always people there praying for others all around the world, even those that they do not know.  Other stories included similar touching qualities and funny moments too, such as the singer saying that, because he was in Boston, he should be pronouncing his song “Stars” as ‘Stahs.’  He also included a few covers in his set, such as Lou Reed’s “Sweet Jane” and The Band’s “The Weight.”

While the music was all good, what really made the night was how interactive the performers were with the audience and how much energy they brought.  As previously mentioned, Duchovny interacted through anecdotal storytelling or joking with the audience, but he also really went for it.  At one point he got off the stage and came into the crowd, dancing with audience members and running through the aisles high-fiving people.  He also danced on stage, truly getting into it along with everyone else.  Everyone was having a good time, but the verve David Duchovny and his band brought to their performance made everyone have a great time.  

At the end, they came out to do a few songs as an encore, and for the very last one, Duchovny leaned into the mic and said, “You know where my heart is at.” Then he and his band members pulled out of their pockets their own individual pussy hats and put them on for the finale, which was a cover of the classic Sly and the Family Stone song “Thank You (Falettinme Be Mice Elf Agin).”  At this point, everyone was singing and dancing along.  Truly, how could you not?  They put on a fantastic show, and the closing was a great way to end the night.  Hopefully, David Duchovny will be back again soon.

Since the release of their first few singles in 2011, the quartet has been compared to bands like The Zombies and The Animals. They achieve this retro sound while still infusing contemporary aspects to create music that makes a listener long for the ‘60’s and a California beach.

The band is comprised of Miles Michaud on vocals and guitar, Matthew Correia on drums, Pedrum Siadatian as lead guitar, and Spencer Dunham on bass, with all members taking turns with vocals and backup vocals.

Three out of the four members met working at Amoeba Records in Los Angeles, California. They went from coworkers, to friends, to bandmates playing backyard shows at friends’ houses. Now the band is releasing and touring their third album, Calico Review.

In this album, the songwriting duties were equally distributed amongst the bandmates. This cooperation and unison clearly shows in their live performance; all members took turns singing lead on certain songs.

Opening for them was The Babe Rainbow from Byron Bay, Australia. The psychedelic retro band got the crowd moving. Their whimsical and lively energy seemed reminiscent of early Rolling Stones. Like the headliners, The Babe Rainbow has a ‘60’s revival sound.

The band came out to perform a diverse set list comprised of many tracks off the new album along with hits from their prior albums. Lead singer Michaud sleepily and charmingly sang out the tunes and would take short breaks to sip tea from his mug while the others would sip from their Coronas.

The classic ‘60’s rock sound of the Allah-Las drew in a diverse crowd Saturday night. The sold out crowd was a mix of college students, 30 year olds, and older adults all ready to be transported by the Allah-Las’ sound.

The stage presence of the band was subtly captivating and humble. No wild presence on stage, just a group of people playing honest music. The rowdy crowd appreciated it shouting “I love you” every chance they could.

Many tracks from their self-titled album were interwoven into the set and generated a lot of commotion from the crowd. The laidback tunes “Don’t You Forget It” and “501-415” had the crowd swaying around. The crowd also sang along in unison to “Could be You,” the single off the new record. Michaud was clearly thrilled with the popularity and thanked the crowd for their support.  

The band filled their set list with a couple of instrumental songs like “Ferus Gallery” that got the crowd just as energetic. With the laid-back rhythmic percussion of Correia and screeching guitar solos of Siadatian, it was difficult for the crowd to be still.

Towards the end, the band had an epic and dramatic build up to one of their most famous songs, “Tell Me What’s on Your Mind.” The band was almost teasing the audience with the beginning interlude. Allah-Las shifted the melody ever so slightly so the audience could not yet sing along, but still know what was coming.

The Allah-Las ended their set with an encore where they played an extended version of “Catamaran,” the first track off their debut album. At this point, the crowd was at their peak, jumping across the room and belting the scratchy tunes.

The nostalgia of their music resonates not only with the audience, but with the members of the Allah-Las themselves. Their presence on stage mimics their laid-back sound, but it is clear they are passionate and committed to the music they make.  

Emily Pintor: So let’s start with the basics; how did the Allah-Las come together? I know that three of you guys worked at Amoeba, but did you purposely put the band together or did you all just start jamming one day?

Miles Michaud: Yeah, we just started to hang out and jam together. Like a few weeks after we started, some of our friends asked us to play their Halloween party in their backyard, and we were happy to accept the offer. We didn’t really have any songs; we just kind of improvised, but we put together some stuff and it sounded cool so that gave us the motivation to keep going. We played whatever we could.

EP: When you guys first started playing together did everyone seem to be on the same page? Was there a cohesive sound?

MM: I actually think that’s why the Allah-Las started. We all had similar taste in music and when we got together to play, it just kind of came out. It was something we were all happy with.

EP: From what I’ve seen and read you guys all seem to have very informative depths of musical knowledge. You all are so insightful, which is awesome, but do you ever think that hinders your musical process? Maybe makes you too aware of what you’re doing like, “Oh that riff sounds like that band” etc.

MM: I think it actually helps us externally. We just have a higher standard of what we want to create.  It’s sort of become prerogative to meet our standards, and people seem to appreciate it.

EP: Congratulations on releasing your third album. Did you guys go about recording this one differently or was it just about the same as the first two?

MM: Well, song structure was a little different. We had released two albums and been on the road for some time, so this time everyone was writing a lot more stuff and would individually bring it here to the studio and then kind of piece it all together.  From there, we would all work on it together, so actually the same process in the recording studio, but more ideas that came individually.

EP: Writing and producing the record and then touring the record are both integral parts of a successful band; which do you enjoy more? Or are they both just as satisfying in different ways?

MM: Well I think there’s moments in the studio when you get really frustrated, and also moments on tour when you get really burned out, but there’s great things about those, too.  But I think the best feeling for me is listening to the final product after months and months of working on it—being able to hear it and play it knowing that it’s done. When you think about it, that’s the most rewarding thing I think.

EP: When you all go in to make a new record, what outlook do you take on it? Do you try to evolve the sound you already have or experiment with something new?

MM: A bit of both. We always try to incorporate some things that will create a new sound. It’s actually what we’re working on right now; we’re at the studio right now working on something new.  So right now I’m taking a little break sitting outside.

EP: That’s awesome; you guys clearly keep busy. I read recently that you were a college radio show host for some time. WTBU has many radio DJ’s, myself included, so I’m just wondering what you got out of your experience?

MM: Well it was tough, because I started from 2 a.m. to 6 a.m., so that was a little rough, but I eventually got moved from 9 a.m. to noon. But I think what was cool about it was getting feedback from people who would listen and were really stoked about the music we were playing. It kind of opened up that idea that there were people out there other than my friends that were interested in this music I really liked. I guess that kind of translated into the band as well when we started. Now we all do a podcast and just take turns rotating what we’re going to play.

EP:  In terms of the music, LA seems to be a great influence on the album. Your music videos are set there, and some lyrics pertain to specific places there, but I was just wondering what else was an influence on the album?

Jaime Street: Are you at the beginning of your tour?

Simrit: No, we start our tour on the 15th of March in Miami, so it’s happening soon!

JS: Have you toured before?

S: Yes, I love it. I always feel a touch nervous [before performing]. It’s always amazing, but it’s the pre-tour butterflies. It’s a really powerful thing when we tour and play music together.

JS: How did you get started with music?

S: I’ve been playing music my whole life. I’ve studied classical piano and a variety of forms of vocals, and I still take classes in different vocal traditions. It’s not all the time, but when I’m home or in New York, I want to stay on top of things. I started studying Byzantine music when I was like three, really little, in the Greek Church. I was singing and studying that, and I did piano, and vocals, and dance, and African drum from a young age, but throughout my life I thought I was originally going to be a doctor, a naturopath. I had gotten all my prerequisite classes for another school after six years of college, but right before I went to school, I went to northern California. I was playing music and singing, and it was then when I decided I was going to do music. I had a change of course; I got pregnant, and with my husband, we had a change of life. After I got pregnant, I played out a lot. Six years ago, I released an album and didn’t market it or my second album, and just people that knew me were listening. I didn’t think it was going to work, and I was just going to be a mom. Four years ago, I decided I really want to do [music] because I love it, and after that I realized I had the drive to do it and no one was going to pick my career up and drive it for me. Once I realized I had the energy, my career really took up steam, and now my band and my music are known around the world. For me, music started organically, but it was four years ago when it really started to move.

JS: Where do you get your inspiration for Songs of Resilience?

S: I’ve been through a lot of challenges, and in my life, I’ve noticed a lot of resilience—resilience is where you go through something and bounce back stronger—just in my life. I’ve experienced my own life and my own strength, and I’ve experienced how I get really strong afterwards. It’s like a bacteria when you feed them antibiotics and they get stronger and stronger; humans are like that, and life has the potential to be like that. I’ve felt it in myself and seen it in other people and other cultures, like the Civil Rights movement. The underdog has always been inspiring to me; I get really excited when I experience the underdog win and come out stronger. I’ve seen a lot of people go through stuff and come out stronger because of it. My parents are a huge inspiration to me; they adopted my brother and me. We were orphans in Greece, and they were so loving and really gave us a chance to live our life, and they really raised us with elegance and so much love. My brother also has special needs and [my parents] didn’t know that before they adopted him, and just to see that even in their seventies, they are still energetic and taking care of him. They’ve been through a lot with my brother and with life in general. I’ve seen people in that same situation, and they don’t see life like my parents do. Even in history, you see resilience in cultures and people time and time again. Even in Greece, there is a lot of resiliency when you think about what they’ve gone through. Even in the present, we need resilience. Music made with intention, made with love, has an amazing power that we all can use as human beings. It’s great for people to realize that we’re all connected and not that different. Everyone in the world—most people—are very kind. Basically, most people want to be loved and want to share love and be united. It’s like that around the world. Songs of Resilience is a way that we can be together as a family in the world, in the United States, in other countries, and we can get past anything, and we can do it together. Creation, bacteria, whatever, we’ve been on this planet for a long time, and we will get through it, but we have to come together. That’s what Songs of Resilience is; the power we have in resilience together.

JS: What was the most challenging aspect of making Songs of Resilience?

S: Coming up with a name. It’s always the most challenging part of an album for me, and I bet a lot of other artists can say the same thing. The most challenging part of any album is that if you’re really doing it from the depths of your being, then you’re baring your soul. You feel very vulnerable and unsure if you’re doing the right thing. You’re unsure if people want what you’re putting out.

JS: Do you want your listeners to know anything before or while they listen to your music?

S: Just enjoy it. There’s a lot of bass and some good drums, a strong groove. Enjoy the groove, and let the music do its work on you.

JS: Where do you see your music going in the future?

The music has legs of its own. It’s taken us all around the world, and it’s continuing to take us into new areas of the world that we haven’t explored. It’s hard for me to predict the direction of the music. If I try to guide the music, then I’m putting it in a box. What I can tell you is that the same band on Songs of Resilience is the same that will go in the future. It’s hard to say, but I can say that in the fall of 2017, we’ll be releasing a live album. The [studio] albums are really beautiful and amazing, but live it’s a whole different thing and people are like, “Whoa, this is like a Pink Floyd concert!” It’s so engaging and people are dancing because the groove is so insatiable, or you’re at the edge of your seat because it’s so intense. You’re not dancing, but you are fully engaged. Live is like our music, but in a different context. The music will do its own thing, but I see this music spreading far and wide even more so than it’s doing now. It keeps growing every year and it’s making leaps and bounds, and we keep getting invited to more and more countries. It’s great.

Christina Carpio: When did you know that you wanted to pursue a career in music?

Kevin Garrett: Well I’d always been around music. I started music when I was very young—4 years old or so—and I started writing songs when I was 11 or 12.

CC: Songs about what? What does an 11 or 12-year-old know?

KG: Nothing. I didn’t have anything to write about, so none of those songs really ever saw the light of day. I went through high school, did the talent show and all that stuff. It was always kind of just a hobby. I was recording myself at that point, and like looping, and doing all these cool things with my guitars and stuff; that’s when I started writing. Once I got to New York for school, as soon as I got there, I just started playing, and my first show was at 3 p.m. for two off-duty police officers on a Sunday. Then the venue asked me back, and the next time I went back, it was opening for Norah Jones, so it was pretty cool. Once I played a few of those shows at that venue, I kind of realized that I could hang with this circle, and then I just started hustling. New York, and Boston too, could do this because they obviously have a very vibrant music scene, sort of the bigger metropolitan cities—something about a place. Like when I moved to Brooklyn, that atmosphere makes you run so much harder. So I write everything at home in Pittsburgh, where I’m from. The phrase I like to use is “I work in Pittsburgh, and I run in Brooklyn.” I’ve obviously written elsewhere, since I’m not home enough, but the hustle is in Brooklyn.

CC: Who are some of your inspirations or idols?

KG: I was raised on classical music because of the violin, and then if it wasn’t that, it was classic rock, like Zeppelin, and Pink Floyd—pretty much every band except The Beatles, oddly enough, just kind of what my dad was into. Then once I was old enough to buy my own CDs, I got a Ray Charles disc, then found Sam Cooke. Sam Cooke—he’s obviously not been with us for a while, but he still is the person that everybody leans on for vocal inspiration. If you listen to enough Sam Cooke songs, they all start to sound the same. But he was the first person to do those set of runs, those set of melismas, those set of nuances in his singing, and it just took soul music and gospel music to a whole new level. [Also], Otis Redding, then really old country like Hank Williams, Willy Nelson before he had the ponytails, and Porter Wagoner. I like a lot of old stuff. I think idols—we all have the same idols: Beyoncé, Beyoncé, and Beyoncé. Sam Cooke would be really cool to meet, if I could figure out how to meet him and go back in time.

CC: How would you describe your music?

KG: When I first put out Coloring, it started as a joke, because it was a reference to my favorite MUTEMATH song, “Odd Soul.” I called my music “odd soul,” because it was supposed to reference the different palette of influences I was taking in around this sort of soul-centered pop sensibility, and I’ve always been attached to that type of phrase, “odd soul,” being my music. I talk to people about it, and I’m very lucky for them to say they can’t really put a finger on it. I’m kind of somewhere in between all the Franks and the Sams and the Jameses, and that’s pretty cool because in the same way the Franks and the Sams and the Jameses are between each other, I think I’ve worked really hard to sort of carve out this sort of niche for myself, and it all started with kind of a fake tag, but now it’s very real to me.

CC: You worked with Beyoncé on Lemonade, can you tell me more about that?

KG: Yes, I was very lucky to contribute to Lemonade. It was what I will continue to only refer to as a “right place, right time” sort of thing. It was very much an honor to be a part of that album, I would say more than any of her other albums, because it was just so impactful. There were two very strong messages she was giving for women and for equality. And you know, it’s a shitty thing for me to say that I’m lucky to be a straight white male. It feels stupid saying that, but like that’s the reality of the situation, and I think we need artists like Beyoncé to make albums like Lemonade to remind people that everybody should feel lucky to just be a human, because we’re all humans. I think she did a really good job of opening up on this album, and conveying a side of her that we never see, and I’m just happy to help set the tone right at the top of the record. It was really cool to be a part of that song, and I saw her perform it at the VMAs, the only time she’s ever performed it, and it was phenomenal. I remember when I first heard it, heard her record it, I was wondering how she would sing it. What it was going to be like? But she really stuck to the vision. I think we were tapping into similar headspaces, because she wanted to sort or channel that sort of vulnerability. You see in the movie, she’s in a bathtub beside herself. It made it very real. Long story short, [I’m] very honored to be a part of that album, and congrats to her on her Grammys.

CC: So you’ve been on a lot of tours with a lot of different artist; has that taught you anything? Have you learned anything as an artist from touring with other people?

KG: When I first started touring it was James Vincent McMorrow in late 2014—a short run across the southern states, and I didn’t know what I was doing. I’d gone on tour with my old band a couple of times, but it was all very much the type of shows where the venue might not have even known we were there. There was no advance; there was no anything, so it was the type of thing where, “Oh this is a legit tour, let’s do this.” And every time I open for someone—continually, because I’m going to open for Mumford and Sons pretty soon—I learn something from everybody, and every time I’m on stage with my band, I learn something from them every night. All three of them are in their own way influential to me, because we play the same songs every night for a month, and Sean, my drummer, he’s been playing the Mellow Drama songs for two and a half years. It’s not very common, I don’t think, for an artist to tour an EP for two and a half years. We did “Pushing Away” tonight and it felt like we were playing it for the first time. I think what’s important on tour is to think ahead, know until the last show, there is always another show. And if you’re opening, it’s kind of important to put yourself in the headliner’s shoes. Now that I’ve been a headliner one time through, I kind of sometimes just want to go right back to being an opener.

CC: How different was it doing your own tour this time?

Obviously the shows are very fulfilling, because they’re sold out and people are coming to see you. Some opening looks, people came to see me. Like on Alessia [Cara’s] tour, there were people who seemed to know who I was by then, and same with Oh Wonder. But when you are headlining, especially since we are doing some smaller rooms in certain cities, it’s the type of thing where I can take my ear[piece] out, or I can just listen to the crowd sing the lyrics to my songs louder than I even know them. All this is to say, touring is exhausting; I would not recommend anyone to do it, but at the same time, the only way I would pursue a career in music, is to stay on the road. It’s pretty old school to do it that way.

CC: As an up-and-coming artist, who are some other artists you think people should be on the lookout for?

KG: His album just dropped yesterday, Khalid. Homeboy is 19. He’s from El Paso. I was texting him the other day, because I think I said something about him in an interview when I was at the L.A. show, and he tweeted me. He was like “Oh my god, thanks man!” And I was like, “You don’t listen to me, you don’t know who I am,” and then he DMed me and he was like “No, no, I didn’t think you listened to me.” With artists like that, you’re always kind of wary, because there’s hype and then there’s talent. With Khalid, he’s got both, and it’s incredible. The same way when I first discovered Alessia, just as “Here” was going viral, before I went on tour with her, Alessia Cara was just kind of down-to-earth, surprised that things were happening, and she still is. Khalid, he’s on a rocket ship. It’s crazy, and he definitely doesn’t know it yet but, congratulations on the new album, if you’re listening. Also, Nick Hakim, he came to Berklee I think. He’s putting out new music. He’s signed to ATO, and I’ve been a fan of his forever. Brilliant, brilliant, young man, who just knows how to write a song better than you. No matter how you look at it, any song. You give him a song he’s already done [and he’ll say], “Oh I’ll do it better man.” And he’s not boastful about it—he’s just so smart with his decisions and anything that he puts out, even the songs he probably doesn’t like. I’m like “Come on, this is just not even fair.” There’s a British guy who I love, he’s a dear friend of mine, and he’s slowly sort of building a catalogue, re-releasing some songs and releasing new songs in this sort of Oh Wonder-esque, every month sort of thing. His name is Bruno Major. He has some pretty cool songwriting connects; he’s worked with some really awesome people, and I’ve been lucky to work with him a little bit, but I really want to work with him some more. He just put out a song called “Just The Same” and it’ll hit you where you need to be hit at any given moment.

CC: Lastly, what’s next for you? Is there an album coming soon?

KG: I’ve had the concept for my album for a really long time. I’ve never really given it up to anyone. I’ve told a few people what I know it’s called. The title has recently taken on a deeper meaning, which I’m really excited about, because I think I’ve also kind of found some design pieces within it that I’m really amped on. I’m a very visual, sort of tactile learner, like creator I guess. I see things when I hear things and smell things when I hear things, some kind of weird synesthesia thing. I don’t really know. I never really think about it, but like enough people say they have synesthesia, that I think, “Wait a second, I better look into this, because you’re saying things that I do.” Maybe I have synesthesia, and that’d be pretty cool. But anyway, the album hopefully comes out sooner than later. The same thing about touring an EP for two and a half years—I’ve been touring for a very long time, so I’m trying to take my off time to sort of buckle down. Obviously not being signed, not having a label and a marketing strategy, or really any sort of PR help, has been trying to say the least, but at the same time I relish being independent. I think it’s rare these days. Something that I’ve definitely noticed is that I’ve grown in the past two years, kind of more than I ever thought I would off of two EPs, so I feel really good about where I’m at. I’m not in any rush to put the album out, but at the same time, I know we’re all waiting for it, and I’m just as anxious as everyone else is, so sooner than later is probably the answer for that.