Post by Zapp Brannigan on Feb 6, 2011 21:58:14 GMT -5
www.lifessweetbreath.com/interviews/5-paul-cary-interview.html
Here we talk to Paul Cary about how his debut solo album, Ghost Of A Man, came together, along with what prompted his move from Cedar Rapids, Iowa to Chicago. Cary was once the front man for the garage rock outfit The Horrors, and delivers reflective, yet raucus tunes on Ghost of A Man.
Life’s Sweet Breath: You've been laying low for quite a few years; how does it feel to have new material circulating again?
Paul Cary: It feels good. There was a pretty long break between the Horrors’ and this album. It took a while to adjust to Chicago, settle in, and find the right people to be playing with.
LSB: How have you evolved, as a person and in your music, since the days of The Horrors?
PC : I guess I’m more calm now; more comfortable in my own shoes. The songs on Ghost of a Man were written in my late 20's/early 30's. The songs on the first Horror’s album were written when I was 17/18 years old.
LSB: From what I know, Johnathan Crawford played a large part in the album, how did you two get together?
PC: I was playing a solo set at a festival on a farm in Missouri in the summer of ‘06 . About halfway through my set, John jumped up on stage and started playing drums and I thought, “All right, cool.” We've been playing together ever since.
LSB: How much time did you spend at Clown Town working on the album?
PC: Half of the album was recorded at Phantom Manor by Mike Lust here in Chicago in 2007. The Curse of China Bull , Iryna, On the Rise, and Green Monster were recorded at Clown Town by John in 2008. One song here, one song there, all-in-all probably 3 to 4 days total. Bad People was recorded on a laptop at John's old rehearsal space in 2006. The album was ready to go in ‘09 but there were some problems with a label before Stankhouse and I agreed to split the release in 2010.
LSB: Do your lyrics affect the instrumental writing process or is it the other way around?
PC: I have lyrics and riffs in my head. I take them to practice and we play around until we find what fits the best. I might have to tweak the notes once in a while but the lyrics do not change. They are what they are. Originally, the lyrics to Bad People were sung over the riff to China Bull.
LSB: Does the lyrical content on the album reflect situational aspects of your personal life?
PC: Yes, I guess it does, but they are situations spanning different periods of time. For example, something that happened four years ago might have a song written about it two years later then it gets recorded a year after that and then a year after that it is released, and so on. I can remember someone asking me about the song Green Monster, and they were looking at me like, “Oh my god, are you okay?”
LSB: In life, do you rely more on the logical or the emotional?
PC: Logical.
LSB: In "Iryna" when you talk about jumping in the fire-- do you think second chances are a big part of life? What happens if the skin never grows back?
PC: It’s not so much about second chances, more about realizing who you are; trying to be something you are not is exhausting.
LSB: "If it stings and it burns, that's when you know it's real." That's really the voice of truth on the album, isn't it?
PC: With the exception of In the Rise and Bad People, completely.
LSB: How do you feel people perceive you as a musician? How do you want to be perceived?
PC: “Wow, a simpleton.” I guess that's fine.
LSB: Ghost of a Man is made available through Stankhouse Records on vinyl or via an online download from Chicago-based Candy Dinner. How did you approach the method of release? How do you see these two forms of release relating to music lovers of today? Also, what role do you see vinyl playing in the future of music releases?
PC: We wanted to get the record out fast and figured giving it away online would be better than trying to pedal a bunch of CDs that no one wants anyway. As for the vinyl, I think that market will always be there, regardless if someone already has an album digitally.
LSB: Can you describe the differences between the music scenes in Cedar Rapids and Chicago? How have they affected and influenced your music?
PC: In Iowa (Cedar Rapids/ Iowa City), if there is a good show in town, it is usually a big deal, everyone comes out. As far as scenes go, I don’t know if there has ever been an Iowa music scene. The shows I used to go to or play were usually a pretty strange brew. Singer/songwriter, garage rock band, metal band- would be a normal bill back in the day, but we all got along and we would always have a good time. This would be a rarity in Chicago, and there is so much going on sometimes it's hard to keep track.
LSB: How important is it to you for a city to have a thriving music scene?
PC: Not very.
LSB: And finally, what are your plans for the future?
PC: We have a Daytotter session coming out shortly, South by Southwest in March, and then we start recording our new album in the summer with our new member, Adam Penly on farfisa.
- Laura Hill, December 16, 2010
Here we talk to Paul Cary about how his debut solo album, Ghost Of A Man, came together, along with what prompted his move from Cedar Rapids, Iowa to Chicago. Cary was once the front man for the garage rock outfit The Horrors, and delivers reflective, yet raucus tunes on Ghost of A Man.
Life’s Sweet Breath: You've been laying low for quite a few years; how does it feel to have new material circulating again?
Paul Cary: It feels good. There was a pretty long break between the Horrors’ and this album. It took a while to adjust to Chicago, settle in, and find the right people to be playing with.
LSB: How have you evolved, as a person and in your music, since the days of The Horrors?
PC : I guess I’m more calm now; more comfortable in my own shoes. The songs on Ghost of a Man were written in my late 20's/early 30's. The songs on the first Horror’s album were written when I was 17/18 years old.
LSB: From what I know, Johnathan Crawford played a large part in the album, how did you two get together?
PC: I was playing a solo set at a festival on a farm in Missouri in the summer of ‘06 . About halfway through my set, John jumped up on stage and started playing drums and I thought, “All right, cool.” We've been playing together ever since.
LSB: How much time did you spend at Clown Town working on the album?
PC: Half of the album was recorded at Phantom Manor by Mike Lust here in Chicago in 2007. The Curse of China Bull , Iryna, On the Rise, and Green Monster were recorded at Clown Town by John in 2008. One song here, one song there, all-in-all probably 3 to 4 days total. Bad People was recorded on a laptop at John's old rehearsal space in 2006. The album was ready to go in ‘09 but there were some problems with a label before Stankhouse and I agreed to split the release in 2010.
LSB: Do your lyrics affect the instrumental writing process or is it the other way around?
PC: I have lyrics and riffs in my head. I take them to practice and we play around until we find what fits the best. I might have to tweak the notes once in a while but the lyrics do not change. They are what they are. Originally, the lyrics to Bad People were sung over the riff to China Bull.
LSB: Does the lyrical content on the album reflect situational aspects of your personal life?
PC: Yes, I guess it does, but they are situations spanning different periods of time. For example, something that happened four years ago might have a song written about it two years later then it gets recorded a year after that and then a year after that it is released, and so on. I can remember someone asking me about the song Green Monster, and they were looking at me like, “Oh my god, are you okay?”
LSB: In life, do you rely more on the logical or the emotional?
PC: Logical.
LSB: In "Iryna" when you talk about jumping in the fire-- do you think second chances are a big part of life? What happens if the skin never grows back?
PC: It’s not so much about second chances, more about realizing who you are; trying to be something you are not is exhausting.
LSB: "If it stings and it burns, that's when you know it's real." That's really the voice of truth on the album, isn't it?
PC: With the exception of In the Rise and Bad People, completely.
LSB: How do you feel people perceive you as a musician? How do you want to be perceived?
PC: “Wow, a simpleton.” I guess that's fine.
LSB: Ghost of a Man is made available through Stankhouse Records on vinyl or via an online download from Chicago-based Candy Dinner. How did you approach the method of release? How do you see these two forms of release relating to music lovers of today? Also, what role do you see vinyl playing in the future of music releases?
PC: We wanted to get the record out fast and figured giving it away online would be better than trying to pedal a bunch of CDs that no one wants anyway. As for the vinyl, I think that market will always be there, regardless if someone already has an album digitally.
LSB: Can you describe the differences between the music scenes in Cedar Rapids and Chicago? How have they affected and influenced your music?
PC: In Iowa (Cedar Rapids/ Iowa City), if there is a good show in town, it is usually a big deal, everyone comes out. As far as scenes go, I don’t know if there has ever been an Iowa music scene. The shows I used to go to or play were usually a pretty strange brew. Singer/songwriter, garage rock band, metal band- would be a normal bill back in the day, but we all got along and we would always have a good time. This would be a rarity in Chicago, and there is so much going on sometimes it's hard to keep track.
LSB: How important is it to you for a city to have a thriving music scene?
PC: Not very.
LSB: And finally, what are your plans for the future?
PC: We have a Daytotter session coming out shortly, South by Southwest in March, and then we start recording our new album in the summer with our new member, Adam Penly on farfisa.
- Laura Hill, December 16, 2010