Hi, is this Matt?
Yes, it is.
Hi, this is Asal. How are you?
Good, how are you doing?
I’m very good, thank you. So let's start from the beginning: Hey Marseilles got together in 2006 while you were a student at the University of Washington. And you guys started out with small jam sessions and playing music in the park. Did you expect to make a career out of playing music or did it just happen organically for you?
Um, it kind of happened organically. Um the three of us who started--it was really kind of our first band of any significance. So it’s taken a bit of time--it took us two years before we even released our first record. So that whole process was stretched out in part because we were learning how to do it while we were doing it. So it was pretty organic, absolutely. A lot of bands come into this business with particular set goals in mind, and they try to hit those things. We kind of didn’t have that plan. We just liked making music, enjoyed it, and just kept making more and more music and playing more and more shows and only probably within the last year did we figure out that we’d like to and we’d be able to make it more of a career with more defined goals.
Yeah, that’s awesome. So it wasn’t planned to have 7 members or have all those different instruments involved?
No, not really. It was initially just Nick and I--Nick’s our guitar player; we met in college and slowly started working on songs that we both had good ideas for. He knew Philip, who was his roommate, our keyboardist. Philip knew Sam and Jacob could play strings. We had a large appetite for wanting a lot of different layers in the songs we were writing, and so we just kept adding people. Patrick, the trumpet player, came on about a year after we started writing music. And then we figured that we probably couldn’t fit anybody else.
[laughs] Yeah. So when you’re writing music, how do you harmonize all the different instruments? Is that something that’s planned or is it collaborative? Or do you just do that yourself?
It’s a pretty collective effort. That’s probably what we spend most of our time on together, is making sure that all of the instrumental parts are very intentional and that they sound cool. Usually we’ll just start with a framework of a song that may or may not even have a vocal melody. But we’ll spend a lot of time just working with each other’s preferences toward how this cello part is going to fit in here and what dynamic it raises, toward what does the electric guitar sound like? So, we’re pretty, we’re pretty… we spend a lot of energy on the arrangement, for sure.
Mmhmm.
More so than other bands, I’d say.
Yeah, that’s really cool. And I think you can actually tell because it has a very, like--I don’t want to say mariachi… [laughs] but it’s very, very instrumental. Very nostalgic at certain times, very happy-go-lucky at other times. It’s definitely a cool arrangement.
Thank you!
Moving on to lyrics, I read somewhere that you studied poetry in college, right?
I did, yeah. I was an English Lit major for a while with a focus on contemporary poetry. Yeah.
Cool! How does that influence your songwriting process?
Well lyrics are usually like the last thing that goes into a song for us and how we write songs. For me, its really about feeling—when writing lyrics it’s really about feeling how the music arrangements, the dynamics, of what we’ve laid down instrumentally, how that speaks to a certain feeling or evokes a particular emotion. And really just writing lyrics to that. In terms of my experiences with contemporary poetry and how that translates to the lyrics, I think, uh, having studied a lot of post-modern poetry in particular probably means my lyrics are more obtuse than most pop songs. Um, but I don’t mind that.
No, I think it’s a good thing.
It allows people to kind of fill in their own understanding of how a particular set of lyrics speak to them. So that’s a very post-modern ideal. The author’s not relevant, really, and it's more about the lyrics and the words speaking for themselves as that relates to each individual.
Do you have any specific influences or specific poets?
Um, not really. [laughs] It’s been a while since I’ve opened up a book of poetry. Who is the… My senior thesis was on Louise Gluck. She’s a contemporary, she’s still alive. So that was perhaps the one name that I could reference having delved into a lot of her work. Um, I remember some others that I can’t really—I’ve got a shelf of books of contemporary poets who used traditional poetic form. Um, and a lot of those books were an influence. But obviously not influential enough that I care to remember who they are.
[laughs] I also feel like a lot of your lyrics demonstrate kind of a longing to be somewhere else. Or, at least an appreciation for travel and worldliness, like your album title, To Travel and Trunks. Can you talk about that a little bit?
Yeah. I think that definitely speaks to where we were at when we were writing that record, which is about 3 years ago or so. It really was just—especially as we were experimenting with different instrumentals and different instrumental traditions. As I said before, trying to write lyrics that it a particular feeling that the music is evoking, is really how I approach song. So probably the one that’s most about travel and experiences in particular places are the ones that sound like they come from somewhere else. But we’re a group of just seven white guys from mostly rural western Washington. Some of us have done some travelling but some of us—it's just projection for how it might be like to experience the sound and turn that into our own sense of American suburban experience.
Yeah.
Now I sound like a douche just talking. [both laugh]
Not at all, not at all! Anyway… [laughs] So you mentioned that that’s where you guys were three years ago. So does that mean that your newer album is going to be different?
Yeah, I hope so. I hope people perceive it differently. Just in terms of—I think we matured a lot as musicians and in terms of nuance. Our arrangements are a lot stronger. And just in terms of the maturity level and the way the lyrics turned out, a lot of the songs are more about a sense of place and a sense of community where you’re at as opposed to trying to find it in other places.
That’s really cool.
Hopefully that comes across, yeah.
Yeah, I got the chance to listen to some of them, and I can definitely see that the instrumentals are sort of the same in the new ones. But the lyrics seem definitely more mature.
Well cool! I’m glad that you could listen. How many songs did they send you?
They sent "Elegy" and... wait, I can look it up right now. "Café Lights."
Okay, cool. Yeah, that one’s got a lot of instrumental stuff going on. Cool, well, not many people outside of our small circle have heard that so I appreciate your feedback. That makes me feel good. [laughs] It’s in the writing process. We get very caught up in just trying to make certain things come across. But it’s super important to hear how the typical listener or fan appreciates it, if they even do. So the fact that you have no association with any of us and you’re coming into these newer songs, your thoughts kind of … we appreciate your feedback.
I read that you recorded a lot of the songs in natural settings. Right? Including a tunnel in Golden Garden State Park and church sanctuaries.
Yeah, part of that—as musicians and as recording engineers, we’ve had a lot of interest in doing, recording songs and recording our record on our own. And we’ve got obviously a lot of acoustic instruments, so just really trying to tap into the natural beauty, essentially, of our instruments, whether that be cello or vocals, and trying to capture that in a naturally acoustic space. So it really speaks to what music sounds like without much effects is something we were aiming for, something genuine and just natural.
So most of it's because of acoustics and not really because it's aesthetically pleasing?
Yeah, ideally we would be picking spaces that sounded nice. So we didn’t record in the middle of a field. Like, we found church spaces. I think you mentioned the park tunnel--and a post office and a warehouse in downtown Seattle that we utilize.
Did you say a post office or did I just hear incorrectly?
I don’t know if it made it on the record but we did do some recording, yeah. Just a post office.
So I also wanted to know—how was performing at NPR’s Tiny Desk Concert?
Oh, that was awesome. I am a giant NPR fan. You know the All Things Considered folks? Stephen Thompson, Robin Hilton? Well, Bob Boilen and Stephen Thompson were there, so I hung out with Stephen Thompson for a little bit and he also loaded our van and he was like the nicest guy ever. And we chatted about some of our favorite personalities. But they were super down to earth and super cool, and it was one thing on my list of to-dos that I was super happy to accomplish in my musical career. It was great.
Bucket list. Out of curiosity, who are your favorite NPR personalities?
I am big into politics. I’m kind of a political egghead, so the It’s All Politics podcast is something that they put on. Um, and I’m trying to remember the—Ron Elving and—I had the same problem with All Songs Considered. I was like, “Oh, Ron Elving and… some other guy who’s hilarious.” And I listen to that every weekend, and the All Songs Considered folks also. But I couldn’t tell them that to their face because I’d seem like a superfan. But I know the whole—if there were baseball cards for NPR personalities I’d have all of them. I’m a big All Things Considered guy, super into Morning Edition, Planet Money—"Planet Money" is one of our songs! It’s on one of their podcasts, so that was an honor too. So Ron Elving and what’s the other guy’s name? Ron Elving and…?
I wish I knew. I’m not really into the politics of NPR.
[laughs] Yeah, well give it a listen. It’s like an entertaining chat. Or listen to Car Talk. Go listen to Car Talk. But I don’t even—I don’t even have a car. And now I'm just listening to myself talk.
So how big do you see your band getting? And do you ever see yourself touring in Los Angeles?
Oh yeah, for sure. We played Los Angeles last summer. Uh, I think with this next record—so actually we’re releasing the 7-inch, which has "Elegy" and "Café Lights" on it, in November. And we’re going to the East Coast and doing about a week’s worth of tours there and we’re going down the coast—well, we’re going to San Francisco in November. But when we release the full length in February we’re going to do a national tour and see how that goes. In terms of how big, I think if we were able to make this our job and everything that that entails, e.g. being able to tour and do that, then that would be big enough for us. So we haven’t figured out yet how big that would necessarily be at this point. But I think for us it’s less about accolades and more about just trying to be able to play music and travel and support the records we put out.
So this isn’t your only job right now?
No, I’m currently on a lunch break! I am working at Seattle University. So I work in the administration
How do you juggle those two jobs?
It requires a lot of ambition and organization and effort and a lot of support from both my bandmates and my employer. But most of us actually have—Jacob, our violist, is a banker and Nick works as a server. And a couple of the guys do it full time. But our drummer and our cellist are recording engineers so they recorded our record but they also help other bands out and they record music full time. We want to release the record early 2012 in either February or March and then we’re going to focus solely on Hey Marseilles. So we’ll see how that goes and if it fizzles out then you may never see another record from us again, but if it works really well, and that’s what we’re going for, then we’ll definitely keep at it.
If our conversation has sufficiently piqued your interest, check out Hey Marseilles and their music on the band's
MySpace.
EDITOR'S NOTE: Once again we are welcoming a brand-new contributor to Good Prattle. Say hello to Amielle Christopherson, everybody, who's got a couple of posts lined up on TIFF. Have at it, Amielle!
