coming soon (Aug 29) to a record shop near you

The Grates – Lies Are Much More Fun (mp3)

ryan: You come across as a band whose members all have an influence on the sound. Can you describe your songwriting process?
alana: We’re all in charge of our own parts – Melody, Music and Drums split. We work together on arrangements, and are pretty democratic. Besides, trying to explain parts for an instrument you can’t play can be pretty frustrating! Songs build in all different ways, it depends on the situation, but it’s always the most rewarding part of being in the band.

ryan: I’ve heard that Patience has bruised herself with a tambourine and I witnessed a minor drumming injury in New York. John, have you ever “rocked too hard” and had the scar to prove it?
john: Well last night I had a couple of drinks and tried to help pack up by taking the tinsel off the back wall of the stage. I jumped from a speaker to a ladder and the ladder collapsed and I cut my leg up and have a massive bruise on my arm. That’s not really an injury from rocking out, it’s from helping out in a rock like situation. Next time I just won’t help.

ryan: Onto the new album… Gravity Won’t Get You High was recorded in Chicago with Brian Deck, whose credits include Our Endless Numbered Days by Iron and Wine and one of my favorite albums, The Moon and Antarctica by Modest Mouse. How did you meet Brian and why did you decide to record so far from home?
alana: Working with Brian was Meant To Be. Stars collided when we saw him in New York, and of all the producers we met, he was the most interested in pushing the characters of the songs and encouraged us to experiment with the amazing old gear strewn around the studio. We had been admirers of his work for years, with albums like Ugly Cassanova’s ‘Sharpen Your Teeth’ demonstrating his skill at building lush, textured layers of singularly raw sounds.

ryan: I’ve read that Brian is a hands-on producer who loves to contribute his ideas to the process of creating an album. To what extent did he help shape the sound on Gravity?
alana: He neither limited nor pushed our direction, but was able to guide us through any idea we had about building the songs – which until that stage were primarily still just guitar and drums at the core. He helped us properly define the ‘mood’ of the song, and work from there to add layers; for example we were originally uncomfortable with ‘Slide’, an older song that could appear kinda ’slimy’. He taught us to embrace it’s ’slimy latin feel’, breaking out the percussion box and grabbing a couple of pairs of marimba sticks. We have some great video footage of Brian stomping around in army boots to build up ‘Sukkafish’. Basically, if we could imagine it, he helped us see it through.

The Grates – Sukkafish (mp3)

ryan: You recently added a keyboard player to your live show. Was this a direct result of the expanded sound of the new album or is this larger band something you’ve always wanted to experiment with?
alana: Well, we’re never going to really break the Rule Of Three – we remain in a creative and business sense the same; but after we finished the album we realised that the live show would benefit from some of the changes we introduced in the studio. At this point we have a guy with us who plays keyboards for about 5 of the songs – we think it’s working for us at this point, and will take things as they come from here. Besides, he’s got really great hair.

ryan: I keep reading about how Triple J helped to generate excitement for your singles, but most of us silly Americans (myself included) have little to no idea what Triple J is. I do know that it is an alternative radio station that is broadcast across Australia and funded by the government. Can you describe the station and its influence and explain what the “Hottest 100” is?
alana: Well, Triple J is the only alternative nationally-broadcasted station in Australia. They’re government-funded, which makes them really independent-minded and they do amazing things to cultivate and promote Australian music. They play a lot of local and unsigned stuff as well. When we first started as a band, we made some really crappy quality 2-mic demos in John’s Dad’s shed and sent them in. Within a couple of days they’d called us back and Trampoline was being broadcast in high rotation! We thank them for so many of the good things that came to us from there.
The Hottest 100 is voted on every year through the net and via mobile – people send in their top song of the year, and the highest 100 are played back-to-back on Australia Day each year!

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Thanks to The Grates for taking the time out of their busy touring schedule to answer my questions. Skatterbrain also interviewed John Paterson and Music Snobbery Chris recently interviewed Patience Hodgson. Look for The Grates to return to the US this fall.

The Grates – 19-20-20 (mp3)

ryan: You just played the last show of a very short North American tour. Do you have plans to return to this side of the globe anytime soon? Perhaps we’ll see you at the CMJ festival in New York again this fall?
alana: For real! We’ll definitely be back before the end of the year, probably around the release time of ‘Gravity Won’t Get You High’ in late August. We had an amazing time at CMJ last year – so many good bands, and more accessible than SXSW. I went to an after-party with Youth Group, and at 4am, as the Cribs were setting up, the place got evacuated due to an “attempted shooting”. We had to leave for the airport at 7am that morning, though, so I guess I can’t complain.

ryan: At Mercury Lounge in New York you were joined on stage by a hundred of your closest inflatable friends. Who came up with the idea to rent a helium tank and blow up “The Grates” custom printed balloons before each show?
alana: For our last Australian tour, in May/June, we wanted to play with the idea of transforming venues, and having a stage show that wasn’t just elaborate lighting. We put together our ‘party in a box’ – a big, clear plastic crate filled with 1200 fairy lights, 8ft silver foil screens, silver drum-riser frills and bright balloons. It took us hours to set up each night! We want to take it even further next time. If I had a dollar for every balloon I’ve inflated and strung…!

ryan: There are some great drawings on your album covers and on your website. Is the artwork created by members of the band?
alana: Thank-you! Yeah, we do all the artwork ourselves; John is the photoshop master (us girls stare over his shoulder), but we all draw pictures and collect random object and photos to scan. We’re so fastidious, probably drive everyone else insane, but it’s just as important to us as the music. Almost all of the designs are done on the road – books balanced on laps, and the same old clunky scanner dragged between hotel rooms; it can be tedious and time-consuming but it’s well worth it and part of who we are as a band.

ryan: I first saw you play with The Go! Team last fall. Since then you’ve also opened for We Are Scientists and The Zutons and currently the Arctic Monkeys. Which Australian bands would you would like to bring on tour and introduce to the world when you’re headlining?
alana: That’s a hard one! We just toured with another new Brisbane band called I Heart Hiroshima, who were firey & awesome, and great company. We’ve been on the road so long it’s easy to lose touch with what’s happening back home! It’s great that so many Aussie bands are touring widely overseas at the moment, though; bands like Wolfmother (who seem follow us everywhere!), Youth Group, Cut Copy and The Panda Band. It’s the best when you cross paths with them in random American cities and swap stories.

ryan: The Grates played a couple of shows with Sleater-Kinney as well. Patience, your energetic vocals and stage presence remind me of Carrie Brownstein at times. Did Sleater-Kinney have an influence on your band? And are you sad that they are about to play their final shows?
patience: Yeah, it is suckful but they’re so accomplished that it’s OK, everything’s got to end some day! They have left a legacy and that’s the best an artist can hope for. You can be rich, famous and forgotten but what they have done – the sterotypes they have broken and the music they have made will continue on. When I lived in Endinburgh and England for a year I listened to ‘One Beat’ almost every day. It’s a kick arse album! That’s when I first got into them. I don’t know how much of that has translated over into what we do. I don’t know how much of anything has translated into what we do. I feel we get told who we’re influenced by rather than asked sometimes. I feel we’re separated from the sound of most modern music. I don’t feel like we’re separated from the people making the music though. We can talk to other people in bands and then be surprised at how similar they think to us. That doesn’t mean our music sounds the same, just that we have the same ideas or impressions. Carrie’s vocals are incredible (her range alone is impressive) and her presence is rock solid and sincere so I take that as an awesome complement! Thank you!

The Grates – Inside Outside (live at Mercury Lounge).mp3

ryan: Alana’s drumming and haircut sometimes remind me of Janet Weiss. I guess that means John would have to play the part of Corin Tucker. This isn’t really leading to a question… Ok, John, would you be comfortable playing guitar in a blond (or whatever color it is now) wig? Or would you rather grow your hair out and throw some peroxide in it?
john: Maybe I could play in a blonde wig for just one song or something. Growing my hair out and dying it seems like too much effort. And too big of a commitment.

ryan: Alana, I love watching you play drums, especially because I’m constantly amazed that you can reach your crash cymbal. Why do you keep it so far away from you?
alana: Ahh. I’m pretty much self-taught, so have some (apparently) terrible habits that get pointed out to me on occasion by Real Drummers! Oh well, it works for me at this point – one day I guess I’m gonna have to strip back and get taught some Proper Skillz. But for now, in this position I *do* get to flex more and show off my ripped guns!

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In the interest of not writing one huge post, you can look forward to the rest of the interview Friday, or whenever I can connect to the internet again. We saw Michael Showalter and Eugene Mirman in San Francisco tonight. You could tell that they’re getting ready for their Pitchfork performance. I’m not sure if everyone understood the Smurfisyahu joke. Also referenced: Bonnie Prince Billy, Sufjan Stevens, Cat Power, Wolf Parade and Creed.