An expanded lineup finds Pink Skull founding members Julian Grefe and Justin Geller evolving from East Coast staples to the house band for much of undiscovered space. Following the release of 2009’s Endless Bummer comes a new album to be released September 27th. A synthy broth featuring well-crafted and dependable beats, interspersed with irreverent lyrical appraisals recall the unpredictable appeal of Hot Chip and the best of classic Ratatat. The release of Psychic Welfare appears to have it on very good authority that Pink Skull is a (moon) unit continuing to refine and perfect a soundtrack to life’s trivialities while challenging us to make galactic dance parties a reality. Upon the strength of tracks such as the head-nodding and poignant “Hot Bubblegum” and the ultimate bare-chested ninja showdown between you and the leader of a rival clan that “Bee Nose” readily evokes, is built a solid album. It well delineates the progression of not only the band, but also their essential contribution to the genre. Read on for an interview with Pink Skull.
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Pink Skull by Jody Rogac
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Serial Optimist: How would you describe the difference in direction with the sound and tone of Psychic Welfare opposed to Endless Bummer? Was it a contributive effort by the group?
Pink Skull: With Endless Bummer, we were kind of feeling out the process of recording as an entire group, tracking basics simultaneously in the same room with little or no separation and right to tape. Which was a complete departure from previous Pink Skull undertakings, but more in line with the way we all had recorded with groups in the past. The songs we had recorded for that record, we had rehearsed and played live for quite some time before recording. With the new record, the songs were all in their embryonic stages when we went in to track- versions by Robin, Adam, JG and myself were all provided to the guys a few weeks before the recording started and we would track each instrument individually. From that group of stems we culled the best parts and cut and pasted together the tracks as they are now. Once the roughs were situated, we went in and did the vox. For mixing, Endless Bummer was done in the box on my pro tools set up at my house. Jeff Zeigler and I went to Strangeweather in Brooklyn and mixed Psychic Welfare down on their API console. I think the result was that the whole mix of Psychic Welfare, overall, is a bit more visceral and a little less lithe sounding.
SO: As the band continues to expand, how difficult was the selection process as you began to consider new talent?
PS: We really wanted some of our dearest and most trusted friends to collaborate with us on this and we got them to commit. The selection wasn’t really hard at all- in our minds; these guys were the only choices, really. We wanted to invigorate ourselves a bit, y’know? And Rob and Adam felt like guys who necessarily wouldn’t make the exact same choices as Justin or I but could bring things to the songs that made sense to us but weren’t the things that we naturally gravitate towards. I really think that the fact that they wouldn’t hesitate to tell me something wasn’t working, or was too obvious was key. They both can be real dicks and I appreciate that.
SO: How did you decide which tracks needed vocals to tell the story, and which stood on their own?
PS: The vocal tracks seemed to just pick themselves to be honest- I’m not a particularly chatty person, and have refrained from lyricism for most of my time making music. Singers are usually the least interesting part of a band for me. So, when Matt asked us to set out to record some more vocal songs it was a bit of a challenge. I’m still a tad gun shy in the studio. So, for the vocal tracks I started off with a melody (or what passes for one) and then slowly filled in the lyrics- and then built the song around them. Maybe a little backwards. As time went on and I got more comfortable with them, I’d fine-tune them.
SO: From who and where do you draw inspiration?
PS: I used to listen to A LOT of music. Totally rabid about it. I still collect records and DJ but, as time goes on, I find myself listening to far less music and listening to, well, nothing really. Just kind of what skitters around me wherever I’m at. It seems that if I do sit down and listen at great lengths to some tunes, it’s either the classics for me like the Bowie Eno years, Pink Floyd, Miles’ early fusion stuff, Neil Young, The Velvets or just really minimal stuff. Minimal psych, ambient, or 20th century serious stuff. I tend to listen to that Bar-Kays song “Holy Ghost” on a daily basis. Films too: Silent Running. El Topo. The Shining. Any sort of nature documentaries. I do find that drugs to be quite inspirational.
Pink Skull – Bee Nose
[soundcloud]http://soundcloud.com/igetrvng/sets/pink-skull-bee-nose-put-yr-face-on/[/soundcloud]
SO: Since Electronic/Synth-based music is consistently gaining a wider fan base, what facet is it you feel separates you from others in your genre?
PS: I think some of it is that we can and do actually PLAY our instruments and do so with some level of competency. The other, which I like to think is a positive thing, but in many cases is a handicap is that the repertoire and style can vary so drastically from piece to piece that it alienates listeners to some degree. A lot of people like a much smaller scope.
SO: With the ethereal sound especially present on this new album, who is the audience you hope to attract?
PS: Ether users.
SO: What has been the most rewarding venue on tour for you? Are you most well received on the East Coast?
PS: We haven’t really toured that much. We do play shows all the time-most of them are pretty close to the East Coast. So, yes, we are received best on the East Coast. And our worst shows have also been on the East Coast. I think the shittiest one was actually two blocks from my house. The best ones have been in New York.
Pink Skull – Psychic Welfare (Album Teaser)
SO: What goes on behind the scenes when you’re on the road with the band? Would you say you gel as well off-stage as you do on?
PS: What goes on on the road? Hrmmmmm. Generally a fair amount of reading, vetoing Mike’s choice of The Monochrome Set as driving music on a regular basis. God they suck. Talking about circuit paths and that kind of boring shit. Drinking too much. Getting high. Puking on things (sorry to everyone who owns something I’ve puked on). The usual. We have all lived together, or worked together, or continue to do so as well as play in the band, so yeah, I’d say we get along well outside of playing. There’s always arguments and shit, but that’s life.
SO: When I listened to “Hot Bubblegum”, I had this vision of a slice of life where nothing, no matter how seemingly unimportant, was ignored. Would you say this interpretation is accurate? Is any facet of life something to be ignored?
PS: The devils in the details, right? I can agree with that statement. I wanted to take a short song and explain a pretty in depth character study which unfolded real time as the song progressed, and said a lot in a few words, allowing other people to fill in the blanks. Little flashes. Bubbles of memories. Growing up, I really loved the lyricism of both Shane MacGowan and Lou Reed. I could never come close to touching that, but I think it made its way in there a little, clumsily. And… no, I don’t think any facet of life is to be ignored.
SO: Going forward, what is Pink Skull’s ultimate goal as you continue to produce new work? What is the most important aspect of being artists in your field?
PS: Tough one. I have no idea. Seriously. I want to think less and make more music. Get real primal. Making art is the most important aspect of being an artist?
SO: Truth.
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SO Note: Check out Pink Skull at pinkskull.com, follow them on Twitter @pinkskulldoods, and check them out on Facebook here.