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Interview with The Antlers
Interviewed By: Leo Deresa
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Peter Silberman of The Antlers on the distillation of the band, his love of touring, and the making of Hospice, their critically acclaimed release which will be included in many album of the year lists. |
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The Antlers MySpace page states that the album Hospice was “the result of Manhattan isolation and Brooklyn reemergence over the course of nearly two years in an apartment,” and you’ve also discussed the creative process and talked about how collaboration on the material you’d been writing began about three quarters of the way through. Could you take us through that reemergence and the evolution of the band?
I think “isolation” might not be the best way to think of it, at least when I look back on it. That period of my life was the result of a situation I didn't know how to deal with. I was really young and had just moved to New York and moved under bad circumstances that were easier to deal with when everyone was shut out. It was a mistake, and the making of Hospice was an attempt at making reparations with myself and others. A few years ago, I went in the opposite direction from wanting to be by myself, so as the band formed, it felt like the best direction for whatever "The Antlers" was at the time. Like all bands, it took us a little while to figure out how we wanted to sound.
How did you transition into a space of collaboration from isolation?
The really collaborative things happened once we started working on the live version of the record. That's when it became the most mutually creative.
What was it like inviting musicians to collaborate on such seemingly personal and emotionally charged subject matter?
I guess I was a little hesitant to show these ideas and lyrics to anyone at all. But people were really supportive of where this skeleton of a record was going, and that made the collaboration easy.
Had you been working with Michael Lerner and Darby Cicci previously?
We'd been playing together but not for very long, even by the time the record was finished. It was finished over a year ago. In the past year, I think the three of us have become a completely different band.
Were there challenges to reestablishing relationships and friendships after so long a period of isolation?
Some people were more willing to forgive me than others. Some were more hesitant.
You’ve mentioned in previous interviews that the narrative of the album’s songs could be seen as an analogy between the experiences in Hospice and the traumas of an abusive relationship, and you’ve stated that the album evolved as you worked through a succession of difficult times in your life. Two songs mention Sylvia, and there is a wonderful altered portrait of Sylvia Plath on the Antlers Web site. Can you elaborate on the allusions to Sylvia Plath in relation to these themes?
Sylvia Plath is strange. I'm not sure how I feel about her. I think she's worshipped by a lot of girls who find that darkness in her life and writing comforting, and I spend a lot of time trying to decide if that's a good thing or not. I've definitely had that relationship with other creative figures whose work revolves around indulging in sadness and darkness, and sometimes it feels really unhealthy. But then again, I think someone like Elliott Smith brings happiness to people through his relatability and honesty, so who knows? That being said, Hospice is and isn't about Sylvia Plath. She's sort of a jumping-off point for the real character.
What other literary and musical works inspired you during the nearly two-year-long process of writing the material?
Books: Leonard Michaels’s Sylvia, Raymond Carver’s Where I'm Calling From, a lot of things I can't remember anymore. Musically, it was a lot of post-rock and ambient drone things. On the post-rock side, it was stuff like Godspeed, Dirty Three, and Talk Talk. On the ambient side . . . probably Eluvium, Belong, Labradford, Stars of the Lid.
What songs or albums are you gravitating to or listening to at this point?
Lately I've been mostly listening to electronic music and old soul music. But it's transitioning from summer to fall here now, so there's a few albums I find myself returning to, Boxer by The National and A Ghost Is Born by Wilco.
Success and critical acclaim seem to have happened rather quickly since the album’s self-release and subsequent re-release by Frenchkiss Records. The Antlers have been named on NPR’s All Music Considered as one of the best albums of 2009, and you’ve received favorable press from Pitchfork, NY Press, Time Out New York, and many others. What’s your reaction to the reception for Hospice?
I have no idea how to react to it. It's really, really exciting, really encouraging, but very unexpected and surreal. It's weird to see yourself in a daily newspaper you read regularly, for example.
Does the critical acclaim and attention put the two years spent writing and the experiences that went into the album’s material in a different perspective now?
Sometimes it feels as though it validates the mistakes of the past. That certainly wasn't the reason to make this record, but now, as a result of sort of fucking up my life for a while and then turning it into a project, having it well received, and then having it become a full-time thing that has brought me the best days of my life, it's hard to avoid connecting the dots. I'm just really thankful this didn't fall flat on its face. I love playing music, so I'm glad this record has made that possible.
You’ve toured with your music starting with small, more localized mini-tours in 2006. This last year, you’ve toured more extensively with Frightened Rabbit and Au Revoir Simone. What’s been your experience with touring after so much privacy and isolation?
I love touring. I think I'm a different person than I used to be, and I actually love talking to strangers, so tour is really perfect for that. I think we've also found that touring with other bands makes touring so much better if you all get along / love each other. We've been lucky to have already had the chance to tour with bands we've come to adore as people.
How do the songs differ instrumentally from the recorded album to the live shows?
Looser, more dynamic, maybe more “widescreen.” That make sense?
Yes. I caught your show at Mercury Lounge in NYC and the songs seemed to have expanded maybe were able to breathe a little more and there were definitely dynamics to the songs that were heightened in the live playing and collaboration, from an audience perspective.
Have you toured with your bandmates prior to this album?
We didn't begin to tour until after Hospice was finished. Now we're addicted to it.
You had your sold-out record release show at Mercury Lounge on August 21st. Describe the post-show emotions/thoughts.
We were in total shock. We were also covered in sweat and couldn't really breathe or stand up afterwards. It was extraordinarily hot in there.
You’ll be playing some overseas dates in London, Brighton, and other cities in England. What are your expectations going into this string of shows?
Actually, we just got back from there, and it was amazing. I think it's safe to say we had one of the best weeks of our lives. People were really enthusiastic over there, and very sweet as people. We love the UK.
The album is so personal in subject matter. How has it been bringing these songs to live audiences?
Surprisingly fun. I don't feel like I'm reliving the record when we play. I just feel like I care about it and put my energy and concentration into it, and we, as a whole, put our energy into listening closely to one another.
What have you enjoyed most so far about touring?
The way time stretches. You go on a two-week tour, and it feels like you've been gone two months. You leave for a month, and you feel as though you've been gone a year.
You mentioned that the album was really actualized in your home recording studio, meaning, you used your computer’s programs to record the album initially. Have you been able to make any improvements to the home studio since signing with Frenchkiss?
Hospice was recorded in my old apartment with very, very little equipment. We've been working on a new studio in Darby's apartment (where we practice), which will be much better, though still our own operation.
What are you concentrating on in these busy days of tours and release parties?
Trying to occasionally get some sleep. It's not working.
What’s next?
We just flew in from our UK trip this evening. Tomorrow morning we're driving straight to Colorado. We're going to tour, and then we're going to tour, and then we're going to tour. |
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