| |
Features - Interview
 Crippled Black Phoenix At the forefront of inventive rock Interview by Sean Butze | May 18th, 2007
Imagine, if you will, a band that defies any practical categorization—a band that, while boasting a completely unique sound, also seems to encapsulate and blur the lines between many styles and artistic visions of both their own time and others. If you can grasp such an idea, you might be close to what Crippled Black Phoenix is all about. Beginning as an experimental solo project by Electric Wizard drummer Justin Greaves in 2004, the band has evolved over time into an eight-piece group of talented and respected contemporary musicians, including members of Mogwai, Pantheist, and 3D House of Beef. The most intriguing aspect of the band’s identity is their skillful combinations of modern rock and Victorian-era instruments, which make for a sound that is both mysteriously antique and surprisingly refreshing. In 2006, they recorded their first album, A Love of Shared Disasters, which was released in April of 2007. Consisting of twelve tracks and spanning the many sounds of alternative, experimental, progressive and post rock, the impressive debut is described by the band as “a collection of self-penned, end-time ballads…a dark hybrid that is the culmination of all the members’ eclectic influences.” After touring Europe in support of their first album, members Justin Greaves and Joe Volk took a moment to share with us their thoughts and feelings about the musical phenomenon that is Crippled Black Phoenix.
SF: Crippled Black Phoenix has a remarkably original, multi-faceted sound. How did you first develop the concepts and ideas that make up the band’s unique persona?
Justin Greaves (Guitar, drums, saw, keyboard): It has been a very organic process right from the start, really. I never imagined this thing growing into what it is now. I did have some ideas of what I’d like to do musically, but because the songs came first and they were written without much intention, they are the result of what I had in my head at that time. I didn't have a plan, all it involved was a need to get something off my chest, and that makes me think that I followed a path that was already mapped out somewhere in my psyche. But as the band has grown and developed, I have given things a lot more thought, like sketching out a painting: at first the ideas get drawn in pencil and then worked back into with the details, adding the layers of colour. The original bunch of demos were recorded by myself in my house on a mini-disc walkman and one mic. I first played the drums with the tune in my head then played that through the speakers while recording the guitar or keyboard over the top, adding layers. Then as Dominic, Joe and Kostas came on board, it helped shape the way the songs sound now, adding new depth and giving it life with words. Doing it this way allowed the songs to develop more by just playing them over and over and without having it all written down or having some kind of grand plan. That is why the songs turned out the way they have and it's a refreshing way of writing, starting something without wanting to sound like anything specific, just playing and seeing what comes out. Sometimes it works, sometimes it doesn't, but the journey is more interesting.
SF: After you came up with the initial plans for the band and joined up with Mogwai bassist Dominic Aitchison, how did you go about molding CBP into an ensemble of eight-plus musicians? Were there any challenges in coordinating the songwriting or recording processes, given the large number of contributors?
Justin: Well, again, there were no plans. Dominic and myself had talked about doing some music together for some years and when we eventually got the time to start something, we still were not thinking too far ahead. We had a bunch of songs that were rough demos and the more we listened to them, the more imaginary instrumentation came to mind, but we still didn't act on it. The involvement of everyone else was very much by chance. I met Andy, and it turned out that he had a vocal style that really suited the more slow, quiet songs and sang the lyrics in Finnish. Then he introduced me to Kostas who plays keyboards in a couple of bands with him, they came over to my place and started adding small parts to the ideas already recorded. I think that's where the whole thing started taking form, but when I got the chance to go into the studio and make an album, I knew that the music needed something else—I didn't see any point in restricting anything or keeping it within certain guidelines. I was then given Joe's solo album and knew he would be able to add the perfect vocal to some of the other, newer songs, also adding actual words. That's the way it happened...if there was an instrument or sounds we thought we needed, we would find a way or someone to make it happen. The songwriting hasn't changed at all. I had something I wanted to do, and it's by amazing luck that everyone understood what was needed. I’m not a natural leader by any means, and I found myself going against my instinct, but I was determined to see the songs take life the way I had them in my head. Now I find that CBP has grown into more of a “band,” and although I still write by myself mostly, we have songs now that were the result of jamming while rehearsing for gigs. Everyone's involvement has helped shape the sound and it's always evolving, I don't have many rules. I’m constantly surprised and happy that this formula seems to work for us.
Joe Volk (Vocals, acoustic guitar): Personally, songwriting with CBP has been very different from the way I have worked with any other band. I typically either do the whole thing myself, as on my solo work, or I am there as the music is being created when I jam with Gonga. With CBP it was great, as I would get given songs that are pretty much completed, and then I would just write the lyrics and any harmony/vocal melody. It was pure fun. The songs were always so good...it was really rewarding work for me and very easy for me to come up with loads of ideas, which is always a good sign.
SF: CBP’s most unique feature is undoubtedly the inclusion of old-fashioned Victorian instruments. What has it been like to work with such exotic instruments and combine them with more contemporary sounds? Did you intend to take that kind of approach from the beginning?
Justin: I think the music just lends itself to experimentation to an extent, and that's what we did right from start. While recording the basic tracks, I kept hearing new phantom melodies that were influenced purely by the song itself. It was great to be able to take an idea and try to turn it into something solid, like when we found the Harmonium...it seemed to be a perfect instrument to create the atmosphere that was needed—it sets the listener off into a more interesting and uncertain journey. Just the sound of old style instruments like the cello or trumpet alongside modern guitars and drums is something I like very much, so I guess some if it just came down to personal preference. When I hear an old piano backed up by a drum kit, it makes sense. The piano is a very expressive instrument and can install certain emotions into the song. That's the only reason we use any of the instruments, to make the song work. If the song doesn't need it, we don't use it. It's pretty simple, really. I think of the layers as each one being a simple melody that interlocks, then I think of the sounds, the way different instruments can compliment each other. There's one part on the album that we used bells, that was because the guitar notes played on the original demo version sounded like a bell chiming. It just fit right into that song, so we used it.
Joe: For me, “Long Cold Summer” is the perfect example of exoctic instrumentation combined with more “modern” sounds. The saw is one of the instruments used on the album that really stands out for me, even though it is only used once, at the start of this track. It creates one of the most original and unique organic sounds of any instrument today, sounding probably most similar to it's electronic cousin, the Theremin. As the track develops, electronics effects and samples are used, added and layered, courtesy of Mark Orphidian, until there is a swirling wind of electronic noise bubbling beneath the surface of the track when it reaches its end.
SF: As far as performing live, how have things gone with CBP? Do you still manage to use all of your many instruments on stage, or do you have to dub some of the sounds in electronically?
Justin: It's been going very well. Better than I imagined, actually. Though I was uncertain in the beginning, I didn't know if the rough organic sounds would be able to be amplified. I also didn't have any experience with such a big number of players. I decided to give it a try, and I think it's testimony of just how amazing the other guys are. Everyone was thrown in at the deep end, but straight away my concerns were put to rest and the more we play, the more everyone has found their own space. We use most of the instruments that were used on the album on stage, though we don't use the harmonium for practical reasons. I’d love to include it in the future, when we have more physical room to do it. We don't use any samples live. Although there are electronic sounds, they're done on the spot. The way I see it though is that playing live and making a recording are two different disciplines. We work to our strengths, in the studio it allows us to use strange and interesting ways of creating the atmosphere, but live we realize in that environment it doesn't come across in the same way, so we concentrate on making a sound that can captivate the audience however that may be.
Joe: Since recording the album, Matt Williams (AKA Team Brick), has joined as a full time member of the band. His addition has meant that many of the tracks sound much better, much fuller live, and much closer to the original recorded versions. He has a great talent at making noise from electronics, and also seems to be able to play every instrument under the sun which is always a bonus.
SF: It’s somewhat surprising to see that you and several other band members all come from backgrounds in extreme styles of music. What has it been like, transitioning from one of the heaviest doom metal bands ever to a more modest and intellectual role in music? Do you think that your past with Electric Wizard has any influence on the music you make in CBP?
Justin: I’ve always played in quite extreme-sounding bands, yes, but I have always listened and been influenced by other forms of music, so it didn't seem like a transition, really. I love playing heavy, but I always have needed to try different things. I used to play in a band with my dad, playing Jethro Tull, and I also played with a couple of guys doing blues and country...the genres may be very different, but the effect of playing good music is always a positive one. I grew up in an environment where I heard all kinds of music, my dad had a record shop and also plays guitar, so even though I probably didn't appreciate it at the time, I got influenced by a lot of different sounds. Maybe that's why I’ve never been satisfied by playing just one style of music. I also think that we shouldn't restrict ourselves in what we do by trends or whatever, so being of that mind allows you to try new things. That's something I couldn't get along with during my time with EW, the fact that everything we did was somehow controlled by either the need to be the heaviest band out there or what the fans wanted. I can't live within those kinds of rules, so the only way EW has influenced what I’m doing now is by making me realize how stupid things can be and how productive I now want to be. However, having said that, I think my time with all of my old bands has shaped the way I see things now. Along with the bad times there were some amazing times too, but as a whole just the experiences along the way are what influence me.
SF: As diverse as your debut album, A Love of Shared Disasters is, it definitely seems like there’s some kind of story being told through both the music and the lyrics. Did you intentionally incorporate a major theme or themes into this album? Would you consider it to be a “concept” album by any means?
Justin: It's nice for you to say that because there is a reason for everything on the album, a reason the songs sound that way, and a reason they're in that order. The artwork also portrays the sentiments behind the music, but I have never made a point of spelling it out. I don't hide it, but it's very personal and that's why it's subliminal. I am not interested in making my feelings blatantly obvious. I know why it is the way it is, and I’m happy knowing that not many people will notice it or even understand it, but when someone does hit upon some of the feelings buried in there, I find that amazing. I wouldn't go as far as calling it a concept album, but there are concepts behind it. It's all up to the listener to connect or to just hear it simply as a piece of music. The one thing I hope comes across is that it's honest. I’m not trying to be mysterious in any way, if I have something to say then I’ll say it, but when you start singing or make a statement within the music it can get very contrived sounding, so I just don't make it obvious. The songs were written at a time when I did not want to be involved with anything. I had lost a couple of very close friends and nearly saw my own demise a couple of times. That sort of thing can effect people in different ways, but it made me less tolerant of certain aspect of life and it puts things into perspective. So the theme of the album may sound a bit sad or depressing, but actually it is more about finding hope and the positive things from awful circumstances. Also, the album is the first part of a trilogy, partly because we had too many songs for one album and partly because we find our feelings change, and that's another thing that is portrayed by what we do with the music. I would say there's a theme running throughout everything I write and what the band does and we haven't finished with it yet. It's something that within the band too, there are people who have a connection when it comes to the reasons why we 're doing this, it's why the album is titled “A Love of Shared Disasters.” Joe and I were talking about all the personal things we've gone through and how it was influencing us, someone said that there's “a lot of shared disasters” but it came out as “love of...” As we laughed about it, we realized that it pretty much summed up how we feel sometimes, like we've had so much bad luck that anyone on the outside would ironically think we love it...we don't.
SF: You’ve mentioned that the band will begin recording new material again this month. What kinds of ideas are you and others bringing to the table this time around? Do you think the band will take any new directions, or will you stay the course of your previous work?
Justin: Yes, we are going to record again and that's good because it's been almost a year since I put together the songs for “a love of...” and we recorded it last summer. There are a lot of new songs, some of which we've been playing at the shows, and we want to get them down on tape. The direction is pretty much the same but this time we're being a little more straight to the point. There are more of the same kind of slow, soundscape style songs, but there's a bit more rock in there too. I think we just want to play without being controlled by musical boundaries, if we like something then we play it. Obviously it will sound like CBP because it's us doing it, but we're putting more into what we do now. Whereas the first lot of songs were done by myself then worked on with the others, this time we have a head start, the songs are a lot more thought through before they're recorded. But anyway, who knows how it will turn out. I know what I’m thinking and all I’m doing is trying not to mess it up. 
Listen to Crippled Black Phoenix @ MySpace
Buy A Love of Shared Disasters from Invada Records
Read SF's Album Review of A Love of Shared Disasters
|
|
|
