GOO // WINTER IS OVER
Your music is so languid and of a certain “vibe”. The fact that’s very downtempo kind of forces the listener to really immerse themselves in the record. Does the environment around you affect how you weave everything together?
Oh yes. I grew up playing open mics in bars around NH and then later at college house venues, so singing behind the beat is probably something that I just started doing subconsciously to be heard. In those loud hectic spaces, it’s a way to make people listen more closely. I also love lyrics and find that slower, spacier arrangements leave a lot of room for delivering the words.
There’s a few Greek mythology references within ‘Return to the Garden’ is that something that’s influenced the ethos of the record?
I guess mythological or religious language is a useful tool in songwriting because a single word or name carries so much meaning. Probably something I got into after listening to a bit too much Leonard Cohen. I also do like music with magical or surreal elements in general, so weaving the mythology in was partly a way to cultivate that sort of air.
You worked at experimental musical venue Roulette digitizing old concert recordings and used a lot of experimental instruments and textures on the record itself - how did these experiences widen your perspective on making music?
My apprenticeship at Roulette introduced me not only to lots of new music but also to a whole philosophy of creating art that really prioritizes freedom. Our stuff isn’t all that experimental compared to what goes down at Roulette but being in that sort of environment made me want to follow the weirder ideas I had. I also got really into Os Mutantes around when we were making the record, and their first album inspired me to go for a sort of freewheeling more-is-more approach as well. I think it’s always worth it to try to pursue the exciting or strange ideas you might have. Even if it doesn’t totally pan out, at least it’ll be interesting.
The title “Return to the Garden” feels like a commentary on embracing the weirdness of both our surroundings and overarching existence. Combined with the psychedelic influences sonically it feels like a gateway to a form of escapism - was that your intention behind it?
I like that interpretation! If I had to boil it down, the album is about hope/hopelessness; stepping into a new era and trying to work out if there’s any cause for optimism. So it is escapism in the “on to the next adventure come what may” sort of sense. Ultimately there is no “Return to the Garden” but maybe the unknown is an even better source of hope??? Or something like that haha.
GOO
MIX
What’s your experience been being a New York band whose developed a presence gigging across Brooklyn & the city? Do you view New York as being a key touchstone for Goo? Do you have hope for future of the local scene here?
It’s been fun! Playing music and making new friends is simply a grand ol time, which is why we were gigging so much pre-pandemic. I love that I can (sans lockdowns at least) go to a show any night of the week, be it to see a friend or a band I’ve been obsessed with since I was a teenager. I think the local scene we frequent could benefit in general from making space for stuff that goes beyond what we have seen/heard before. That entails not only including more experimental stuff but making a more consistent effort to center and uplift artists of color, as well as people who aren’t cis men. I’m also always intrigued by bills that mix genres in an unexpected way and would be interested in more of that going forward.
Tell us more about the recording process/inspiration behind this new track!
Ok well one of the previous questions touched on escapism and that is the whole vibe for this song. I wrote it in February 2021 (aka deep lockdown in NYC) and it is pure fantasy. The song is a letter to a friend in which I propose quitting our jobs, taking up smoking, and fleeing the city by sailing the Atlantic ocean at dawn.
This was our first time working with Julian Fader at Honey Jar and we had such a great time. After laying down the core band live (plus a bass substitution by John Miller) we just spent the day adding different layers: cello (thanks to Sean Brennan), string machine, fuzz guitar, etc. We tried to use some restraint with the arrangement so it builds a lot while still feeling sort of laid back and surreal the whole time. It was a great chance to experiment with a slightly different sound that we can carry forward into the next album.
Any under the radar musical peers we need to know?
Not that under the radar but some local favorites would be Cut Outs, Dig Nitty, Ok Cowgirl, and youbet.
What’s special about the mix you’ve made?
Oh this mix is wild. It’s exactly what I would play as a late night radio DJ if I was pretty confident nobody was listening. I completely disregarded genre and just put some songs I’m loving together in a way that somehow made sense in my brain.
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