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semantikon
interview:
The Staggering Statistics
2.3.06
Semantikon: At this point, we find Staggering Statistics
ready to release a full length album worth of material on Shake-It Records,
and, an EP on Rhode Island label 75orLess records. What does 2006 look
like for Staggering Statistics in, and, outside the studio? Another full
length release? Touring? Etc..
John
Curley: We’re working on a new batch of songs
that we’ll be recording in Detroit (on Super Bowl Weekend)
with our old friend, Chris Kolaty. He used to live in Cincinnati
and moved up to Detroit to open a studio. Chris also recorded
our first, self-titled EP. So, hopefully, 2006 will see another
Staggering Statistics LP and some more touring.
Semantikon: What
might a visitor to the studio, your night
stand, see that you’ve been reading
lately? Each of you coming from bands
noted for both their songwriting and
musical performances, what can you share
about where you draw inspiration for
your music from literature/ cinema/visual
art/other music? How do those influences
come together as you rehearse, write
songs together?
John: I listen to my
i-pod while falling asleep, so you’d
find a pair of headphones on my night
stand. I have a modest collection of
books at the studio: covering subjects
like music, graphic design, history,
physics and maps. I like reading non-fiction
which doesn’t really inspire me
musically. I find my best musical inspiration
by not looking for it. Once I start thinking
about it, it changes to an analytical
process instead of a subconscious one.
Semantikon: On
your myspace profile your answer to influences “…Too broad
to list. Listen to the songs and you tell us...” What is your experience
with the genre thumping that goes on in music industry? Certainly, lyric
poets have been lifting off their predecessors for 500 years in English
Canon, when a fan approaches, and says you remind me of “Sonic
Youth” or the marketing/journalistic community gets together and
says something like “The Who”, what’s your experience
on how being related to other works can get mixed up with what is actually
going on in the songs you write, the music you make?
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Joe: You
know we had this song we were playing for a while that really
did sound like the Who (you know, long sustaining guitar chords,
big drum fills, Austin wearing a jump suit). I think someone
pointed it out, and it was just like, "who fucking cares." I
love "The Who." As far as "genre thumping" goes,
I realize that the interviewer wants their audience to "get
it " before the article has ended. And since most bands
that are on major labels are constantly being put through the
company's marketing machine, it's easy to say that one band
sounds like the next, because they do. Kind of like how ballistics
can tell which bullets came from which gun. One time we did
this interview and they asked: "if you could describe
your sound in five words, what would they be"? John replied: "I'm
not going to answer that. Describe yourself in five words.
Hopefully it takes more than that". I don't think we sound
(consistently) like anyone. That's a good thing.
John: I
don’t really care what bands we’re compared to.
Sometimes someone will compare you to something you like,
sometimes not. People hear all kinds of things when they
listen to a song and people need common points of reference
when describing a band. Some of our influences are more obvious
than others. Before Sam joined the band, the bass was more
out front, especially live. That’s probably where the
Who comparison comes from. I like the Who, anyway. Obviously,
all bands borrow from others and there’s nothing new
under the sun. That’s why lyrics are so important for
me. Lyrics are one place where you really can create something
original.
Semantikon: In
separate bands, and in Staggering Statistics, you’ve
enjoyed no small amount of attention (John-with Afghan Whigs)
(recent addition Sam in Throneberry and Culture Queer) (Austin
Brown---well known songwriter) with Staggering Statistics
garnering a 2005 New Artist of at Cincinnati Entertainment
Awards. You’ve accomplished this with limited touring,
(though, with when you do, you do with such fail safe indie-acts
like the Violent Femmes). What has been your experience about
how a band like Staggering Statistics can essentially live
in the studio, compared to a majority of bands that usually
follow the “record-tour-record” route until some
critical mass, or at least, some midlist fan favorite status?
Joe: Well, we are all busy with other
things. John has two kids, Sam has a kid, Austin and I
are in school (the band thing doesn't pay well), and, we're
old. And wise enough to know that touring the states in
a shitty van, showing up in New Jersey and playing to no
one, (that really happened) staying in shitty hotel rooms,
and having no money, is what you do when you're in your
twenty’s, and have nothing to lose. I would much
rather write songs, record, and drive down the street to
play a show. Those are the best parts.
John: Our
touring has been pretty limited due to other commitments
(school, work, kids). I met The Violent Femmes when I was
in The Whigs and stayed in touch w/ Brian off and on over
the years. They’re good people who help out their friends.
Rick McCollum’s new band, Moonmaan, has done a few
shows with the Femmes, too. In a way, our experience with
Staggering Statistics is opposite most bands who find it
easier and cheaper to play live than to record. I have Ultrasuede
(Studios) and everybody in the band has a home studio, too,
so recording is easy. Part of the idea when we formed the
band was to keep it to a one or two night-a-week commitment.
Some weeks, it’s been more than that, but overall we’ve
done a good job not letting the band consume our lives, which
is harder than it may seem. We could manage a little more
touring if we had an agent that could get us better shows
out of town. We’re past the point where we want to
drive 500 miles to play for 3 people. 5 people, maybe…
Semantikon: Cincinnati
independent radio station, 97X-WOXY, was extremely important
airwave radio station during the rise of independent music
publishing in the 80’s-90’s, a home to music
which may have not been heard otherwise. Now, many radio
stations are available online. In December 2004, you had
the opportunity to play live on the new all internet based
WOXY, can you describe that experience compared with hearing
your songs on the radio in the 80-90’s. Does independent
radio mean the same online as independent radio on the air
meant then? What affect do you see the shift to internet
radio having future wise?
John: I
hope I never get tired of hearing my band on the radio airwaves,
even if the radio is a computer and the airwaves are network
cables. Playing on WOXY/97X was a great experience for us
and led to the Rhode Island-based label 75orLess putting
out our EP. WOXY has always supported local, DIY and indie
bands, not only more than other stations in town but more
than stations of their caliber in other cities.
Semantikon: Your
full length album, “All of this and more…” comes
out on Shake-It records later this spring. Having each
navigated the big music business at different stages of
your music and songwriting careers, what’s the difference
for you to work with a label that is homegrown, compared
to what you’ve seen in another time, taking other
paths to reach your audience?
John: I
think the biggest difference for us will be the fact that
Shake-It will promote the record and get it reviewed. It’s
a chance to raise the profile of the band beyond what we
can do ourselves. Like I said, earlier, we all have busy
lives and while we love playing music and recording, etc.,
there are only so many hours in a day. Doing mailings, promotion,
follow-up, etc. would take up a lot of those hours so those
are things that we can’t really do.
Semantikon:
You released your first EP, The Staggering Statistics, on
iTunes and made the full length EP available on online music
distributor, CDBaby. Where have you seen more sales? In a
choice between the two, would you rather enjoy the advantage
to meet with your audience one song at a time where they may
miss larger themes, or the see they have the whole album which
many argue, will be overpriced for the songs someone is likely
to enjoy? How do you see this is changing the music publishing
industry now and future wise?
John: Personally,
I like albums. That’s what I grew up on and I think
it’s becoming a lost art form. That said, if someone
wants to buy one or two songs, great. If they want the whole
LP, even better. If they want bonus tracks and DVD content,
we should have that available, too. Part of the reason record
companies are losing so much to illegal copying is their
arrogant attitude that someone who buys a CD for the single
wants to pay almost $20 for the other 11 shitty songs. Hell,
even the single’s gonna be played out in 3 weeks! Bands
need to create content for all levels of consumers from $0.99
ownloads to $40 DVDs. Over the long term (another thing labels
gnore), it’s likely that a fan who bought a $0.99 will
come back and buy the CD or DVD. Initially, we sold more
hard CD’s via CD Baby because it takes time to get
the music out to all the digital download sites. Now it’s
about 50/50.
Semantikon: Staggering
Statistics is a band born in the first true era of internet
music publishing. With your combined experience, you’ve
have gone from the days of flyers, ‘zines, mix tapes
and coat tail tours with rising acts---to the internet, what
has been your experience launching the band in this time compared
to what it was before? What have you enjoyed and what would
you like to see fully realized with the freedom this medium
may afford new music acts?
John: I
consider myself extremly lucky to have “come up” in
the days of flyers and ‘zines and to have that perspective,
today. I don’t think The Staggering Statistics could
have accomplished as much as we have with our limited resources
without an internet. It also makes me very appreciative of
all we accomplished in The Afghan Whigs without any of that
stuff. It’s fantastic that bands can record and promote
themselves so easily. Technology like MySpace, MP3’s
and Apple’s Garage Band Band have leveled the field.
You still have dig through a lot of coal to find a diamond.
The rights-management and copyright issues still need to
be worked out. That’s the main hurdle, right now.
Semantikon: Recent
years have seen an increasing number of musicians release
singles, entire albums online for their audiences to download,
listen to, share. (Wilco, Prince, REM, Death in Vegas) What
are the advantages and drawbacks Staggering Statistics would
face doing the same?
John: I
see only one possible drawback: The more records you can
sell to begin with, the less money you’ll make by giving
away music. That’s a pretty short-sighted point of
view. If you’re one of the other 99.9% of artists out
there, you have nothing to lose. You’ll raise awareness
of your band, create new fans and probably wind up selling
more records. Not only that, those new fans will come see
your concerts, buy your merchandise and tell their friends
how great you are. BTW, ticket sales and t-shirt income goes
to the band. Most bands on labels will never see any money
from record sales.
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