Donner Party - Almost - Sleater-Kinney - Sleater Kinney - Rock's free-spirited power couple

Almost arrive late and out of breath at the Covo. With her characteristic energy, Janet Weiss promptly climbs up onto the amps and drums, rummaging frantically through the merchandise boxes, busy and unstoppable. Meanwhile Sam Coomes goes up and down the stairs swaying with his load, still yet in perpetual motion. We meet this couple, with the ethology of lions, a few hours later than planned, but we don't mind. It's a ridiculous amount of time anyway compared to a life devoted to music, to a passion that, after all this time, still sees them trudging to out-of-the-way places with their instruments on their backs, under the gaze of old men at the bar and kids chasing each other around a park.

I read somewhere that you're coming back to Italy twelve years after your last date. I checked, and it was actually 1998, in Milan…

Sam: That could be true. [Janet laughs, ed.]

Janet: We came back, but not together.

Do you know what day it is today [it was the day of the Champions League final, ed.]? Football's Super Bowl…

[An amused chorus of "Noo!", ed.]

J: I knew it was going to be a bad day to come!

So, our first question is about your new record. “American Gong” shows great chemistry within the band, and it sounds both direct and elaborate at the same time. However, four years have passed since “When The Going Gets Dark”: what happened in between? How was the album written?

S: Well, a lot of things happened over these four years. We changed labels and made some other changes: for instance, Joanna joined us during this time. We were busy even when we weren't focused on making the record, with all these changes going on, so… It took a while.

J: We played with another band, put out another record… That takes time, a good year. The more records you make, the longer the gap between them usually gets, as time goes by. It's not like when you're young and have a kind of “stockpile” of songs…

What was it like working with people like Dave Fridmann, Steve Fisk and Tucker Martine?

J: Hmm, it was easier with some than with others… By now we're able to personally choose who works on the record. You know, making an album is a challenge, in a lot of ways. I think the recording was pretty spontaneous, in a way, but then the mixing was more… It was harder to get where we wanted, we just stuck with it. We definitely had a clear idea of how we wanted it to sound…

Along with this shift in sound, we also noticed a change in perspective in your lyrics, which have always been marked by a certain irony, bitter and sharp. Maybe that side of things has been slightly toned down: it seems to have been replaced by a general disillusionment (or “repulsion,” to quote you), in parallel with a more direct, rock-oriented sound. Would you agree? What influenced this shift in perspective?

S: I think you might be right. I'm not sure what's changed: people change, they go through life. Especially when you're a musician. We've made so many records, and since there was a gap between the previous one and this one, we took some time to think about what we're doing and question certain things. I'm not saying we've changed completely, just a few small changes. Me, personally? I don't know, maybe I'm getting a bit older, I'm not such a “crybaby” anymore, I don't dwell on that old refrain anymore: “Poor me! I don't belong in this world!”. There's a place for that kind of feeling, and everyone experiences it, but… Yeah, I can't keep going on with that stuff.

Is there a recurring theme holding together the songs on “American Gong”? What does the title refer to?

S: “No more empire”.

Is that both the theme and the meaning of the title?

S: I wouldn't say there's a constant theme, lyrically. The theme is…um…rock'n'roll.

Speaking of “no more empire,” I'd like to quote you: “Il giornale dice: Supportiamo il presidente/ La guerra al terrore/ Via con le bombe/ Quanto costa la vita?/ E quanto costano le guerre?/ Non saprei dire”, from “Hot Shit”. Has anything changed now? “American Gong” sounds more optimistic, in a way, whether because of your personal circumstances, or because you sense a real change on the political level?

S: Well, there's still a war going on. People still dying. They're still sending drones into Central Asia to kill people, so I honestly can't say there's been any substantial change. But actually, while we were working on the record, it did seem like something might change… It didn't turn out the way we thought it would…

On that record, with songs like “White Devil's Dream,” for instance, you put yourselves out there in the most explicit way, politically speaking. Did that cause you any trouble, with your audience or with the press?

S: No, I don't think we have such a big audience that we'd run into that kind of problem.

Have you received criticism for your undiplomatic views?

S: It's possible, but we stopped paying attention to criticism a long time ago because it's pretty unproductive. So I honestly don't know if we've gotten any.

As for your songwriting style, you've always used fantastical settings (vampires, ghosts, goblins…), along with a rich bestiary, to express contemporary anxieties. In our view, this is a real "added value" to your music. What can you tell us about that?

J: [laughs, ed.] I like that, "added value."

S: Yeah, I like it too… Well, it's perfect, actually. For me, the core of the music is a rock'n'roll band, it's us playing together. Up to a point, it almost doesn't matter what the songs are about, in that sense. If you just love rock'n'roll, love that feeling, people can basically sing about anything. So all the lyrics that come "on top" of that are an "added value"; if you like them, if you get something out of them, then that's extra added value. If the lyrics are mediocre, then you don't have all that added value. So you try to put together some good words for whoever's interested. But what engages me most as a musician is playing, both in the physical sense of performing and in creating the sound, as a band.

As for your main traits, one of the keys to Almost's sound has always been your rocksichord. With Joanna's bass and the guitars, you've somewhat redefined your sound. Is this the outfit you'll be wearing going forward, or will you go back to more "classic" instruments for the band?

S: I think we're doing well on this path, for now. We'll see what happens. But it's something that usually happens naturally. As soon as we start working on something new, we'll figure out what to do.

Is there a special ingredient in Almost that you've never found in any other band? You've had a lot of collaborations…

S: Janet Weiss.

J: Actually, it's the people who make the difference. Sam's songs don't sound like anyone else's. Joanna and I play in another band, with another songwriter [Stephen Malkmus, ed.], and it's not the same at all. It's quite different. You draw on different parts of yourself, and Sam demands certain things of me that I've never found demanded in other bands. And there are still things to explore in each other, after all these years.

A bit of interaction: could you tell us the best quality of each of your bandmates?

J: [laughs, ed.] Too many to choose from!

S: I think the most obvious one is… You know, we're not a heavy-metal band, or hardcore, we seem pretty "well-mannered," but we're solid, a solid band. We've been through everything, even in recent days…

J: I'm trying to answer the question, you're trying to dodge it!

S. I really appreciate that! I think it's something that's allowed us to survive as a band all these years… Mental toughness.

J: I think one really important quality, especially being in a band, is that we're all completely honest and reliable. One hundred percent reliable. When you're out there, on the road, in places you've never been, things get tough, you can lose your bearings and get pissed off, and if you're not with people you trust… I feel like they look out for me. That's crucial, it makes everything more fun.

Another interactive question: if you had to describe Almost in three songs, which would you choose?

J: You should answer this one [pointing at Joanna, ed.].

Joanna: That's tough.

J: It really is. Off the top of your head!

Joanna: I'd say: maybe “The Rhino”… “Clouds”… And… Oooooh, what would the third one be? I'd say “Bye Bye Blackbird”.

J: Good one, that's exactly what I would have picked.

Do you want to give your own picks too?

J: No, I agree, those are good.

S: Yeah, let's leave it at that.

J: Because you could throw in “Laissez Le Bon Temps Rouler”, but “Clouds” definitely covers that ground.

My impression is that the flag of American alternative rock, of the American independent tradition, is being carried by older musicians, like yourselves, Ted Leo, Robert Pollard, Stephen Malkmus… On that note, what do you think of the new bands and so on?

J: I think the most shocking realization is that punk rock is gone. You don't see it dominating the new generations the way it used to. Young people seem a lot happier now, less rebellious.

Joanna: They've got these little gadgets… [gestures with an imaginary electronic gizmo, ed.]

J: It's a way of avoiding confrontation, of repressing anger. Our generation was pissed off, angry, we made a good deal of noise... Now people seem more content.

So you think it's all just appearance?

J: Oh no, I think they're actually happier [laughs, ed.]. I think the internet's mostly to blame, people are content just being part of something, whatever happens to come their way. Things don't need to be as interactive as they used to be. It's getting harder and harder to really get your hands into something.

Joanna: People get distracted easily, or redirected onto some new point of attraction.

J: The element of surprise, in being part of a band, has practically disappeared. You'll watch them on YouTube, you know the setlist before they even get to town. That makes it hard to engage people, they think: "Mmm yeah, I've already seen that."

Speaking of new bands, could you name an artist who's particularly impressed you in recent years?

J: Mmm, Joanna Newsom impresses me. [bursts out laughing, ed.]

You're joking, right?

J: No, seriously. Sticking to "being impressed", as a musician... But there are bands we love, I for one love Sic Alps...

So there's no one you'd leave your legacy to...

[General laughter, ed.]

J: I don't think we have this great legacy.

S: Yeah, we don't have a legacy to leave...

J: We're still alive!

S: We got to see some really good bands on this European tour, Sic Alps for instance. And the Cribs, who we saw in Amsterdam right at the start of the tour, which happened with perfect timing. It was inspiring, you know, all that mess...

J: You know, they're actually one of those younger bands that still "carry the flag": imperfection, emotion... You're really putting on a show, it really feels like it could be their last one. I truly related to that, it left an impression on me... Because a lot of people under thirty are mostly concerned with looking good on stage, without a drop of sweat. That seems a bit silly to me: you should be doing it for real, it should be your passion...

Do you follow the Portland scene?

J: More or less. There are a ton of bands.

Joanna: Explode Into Colors are good.

J: Yeah, pretty impressive. Three girls, a drummer, a percussionist and a guitarist, very inventive.

A question for Janet: we have to go back to "The Sword Of God" to find a song sung entirely by you. Is it because you don't feel comfortable in that role, or is there some reason tied to the band's internal balance?

J: Well, I don't like what I write. I love singing, I'm just very self-critical about my own songs, to the point that I don't want to play them, it makes my stomach churn. Which doesn't mean it won't happen again. Of course, I like Sam's songs a lot more... Honestly, why bother with my own songs when Sam's are better?

We've seen you play with the Jicks, Bright Eyes, and now with Almost. Will we ever be lucky enough to see Sleater-Kinney again?

J: We came to Italy and played outdoors. I think it was in a park [laughs, ed.]. Nobody came to see us, but there were people in the park [general laughter, ed.]. I even sang a couple of Sleater-Kinney songs myself, it was fun... I don't remember where it was, maybe Milan... [it was actually Latina, as we learn from Carrie Brownstein's interesting account of that tour, ed.] Maybe someday, I couldn't say when.

Speaking of the Jicks, what happens now, after the reunion of Pavement?

J: Um, we took some time off, we're still working on a new record, for next year. About half of it is basically done.

Back to Sam: regarding the Blues Goblins project, was it just a kind of homage to the golden age of blues, or an outlet from everything else? Will there ever be a follow-up?

S: Oh, there could be. I really enjoyed making that record, but when I started playing it live, all on my own, I didn't have as much fun. So the project kind of lost momentum... But it could survive as a studio project, whenever I have some free time... Thanks for the question.

What can you tell us about Pink Mountain and Crock instead?

S: Wow. You're digging pretty deep. Pink Mountain might come to Italy.

Joanna: We've toured with an Italian band…

S: Oh yes, with Zu… Fantastic band. I think we'll do something in the near future, maybe even in Italy. As for Crock… I don't know. You guys really get into the specifics there… There are rumors. I'm hearing whispers…

What do you make of this big world tour you've embarked on, after all these years? What new feelings, or inspiration, are you drawing from it as a trio?

J: Well, some of the challenges are always the same. The world hasn't changed much since 1998, at least as far as rock venues go. It's pretty similar. Personally, I appreciate good shows a lot more now. Like, last night was so much fun, with people applauding… You can't take it for granted that anyone will show up to see you, knowing who we are in the music world; so when people do show up, it's really rewarding. It's always been that way, but even more so now.

Are you still convinced that "Rock'n Roll Can Never Die"?

S: Oh yes. I'll be the spokesperson for those words.

Last question. I read somewhere that, among the positive aspects of Almost, you pointed to the fact that there's never really been a "direction" as such. So is it too hard to ask how you picture the band in five, ten years?

S: Yeah, that's pretty hard.

J: The band?

S: Yes.

J: I don't know, I can picture us ending up in some bar, playing covers on a Thursday night [general laughter, ed.]. Just for fun… And it could actually happen!

S: We're still having fun.

No joke was ever less fitting than the one attempted at the start of this interview. Whether or not the Champions League final has anything to do with it, about thirty people will show up at the Covo. Even so, it's striking to see Janet get up from her spot to publicly, and sternly, scold a Joanna Bolme who isn't exactly at her most focused – arriving on stage late along with a glass of beer, though, all things considered, hardly a novice. So that's what Sam Coomes meant by "Janet Weiss."

(25/05/2010)

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This article is an English translation of the original Italian text by Stefano Ferreri, published on OndaRock.it. It was translated with the help of artificial intelligence, under the editorial responsibility of OndaRock's editor-in-chief, Claudio Fabretti.

Read the original in Italian · About the English edition