ALARM intercepts transmissions from Hum singer Matt Talbott and bassist Jeff Dimpsey before these impending shows, the first of which is tonight at Chicago’s Double Door.
On 12/31/00, dropped-D alt-rockers Hum played their final show in Chicago, appearing with the Flaming Lips at the Metro. Now, eight years to the date, the group reconvenes in the Windy City for a double dose of reunion performances.
ALARM intercepts transmissions from Hum singer Matt Talbott and bassist Jeff Dimpsey before these impending shows, the first of which is tonight at Chicago’s Double Door.
The Champaign-Urbana, IL quartet, known widely for its 1995 hit, “Stars,” wrote what local illustrator and Dianogah bassist Jay Ryan called “enormous songs about astronauts, whales, and girls.”
It released four accessible yet feedback-and-metal-suffused records from 1991-1998. Its major label debut, You’d Prefer An Astronaut, the one with “Stars” on it, sold over 250,000 copies in a few months.
Hum’s last Chicago show was at the Metro on New Year’s Eve in 2000. Since officially disbanding, the group has played a spate of shows, mostly in Champaign, but its members’ busy professional and family lives — as well as their separate musical projects (Centaur, Gazelle) — have made a Chicago return impossible.
This year they’ve decided to make it work. For a band with such intense, intricately arranged songs, its members are surprisingly casual about all things Hum. “It’s not personally important for me [to play again with Hum],” says singer Matt Talbott. “It just sounded like fun.”
We caught up with Talbott and bassist Jeff Dimpsey over the course of two weeks in early December.
Matt, how easy or difficult has it been to access the feelings behind the Hum lyrics you wrote so many years ago?
Talbott: I think one of the most difficult aspects of doing a show like this is rediscovering meaning in songs you wrote a long time ago, when you were perhaps a slightly different person.
The audience can’t have a legitimate emotional experience if you’re not having one, you know? Otherwise you might as well be putting your energy into a Foghat tribute band working the county fair circuit. Which, now that I think about it, actually sounds kinda cool. Maybe that’s a bad example.
I’ve found it easier than I expected to access the original intent of my lyrics, and, in some cases, I find the same lyrics articulating new ideas, offering new interpretations of experiences I’ve had in the many interim years since I wrote them.
It’s probably only possible because most of my stuff walks that fine line between impressionism and pure mountain gibberish.
How did Chicago’s music scene influence Hum while you were writing records?
Dimpsey: I don’t think that the Chicago scene influenced us, though who knows — all experiences are folded back into oneself. We played a lot of shows in Chicago, and with bands from Chicago, and Electra 2000 was recorded at Idful Studios. But if there was a musical scene from a larger town that we felt a kinship with, it was probably the scene in Kansas City at that time.
What about Kansas City did you connect with?
Talbott: There are more dirt bags out there. It’s an evil place. We just seemed to fit in better and were always made to feel very welcome.
Ian Mackaye recently said that music shouldn’t be your job. You should get a job and then make music because you need to. What’s your reaction to Ian’s comment?
Dimpsey: I suspect that this is a common thought, that there’s a purity to creating art, and that any sort of compensation involved, especially the monetary kind, somehow must taint the output for the worse. I’m not sure that I agree.
I’m glad that many musicians can and have concentrated on their musical output fully without the distraction of a non-musical job. Artists such as Pink Floyd, Miles Davis, Brian Eno, Willie Nelson and many, many more. I assume that these artists make music because they need to. I think that the world would be a much less rich place if artists like these were trying to write and record on evenings and weekends.
Continue reading Jarrett Dapier’s interview with Hum.
RCA did not offer much support for Downward Is Heavenward (Hum’s followup to …Astronaut and final release). Did you question jumping to a major label?
Dimpsey: No, we never, ever questioned that. It was really good for us to be on a major label. We probably wouldn’t have put out as many albums as we did if we hadn’t been on a major.
Talbott: Getting on RCA made it financially viable for us to keep writing and touring, and I don’t think that any of the indies that I was fond of at the time — Touch and Go, Sub Pop — would have ever touched us with a 10-foot you-know-what.
Dimpsey: I don’t blame anything on RCA; most of it was on us. We were probably a more difficult band than we needed to be back then. I really loved Downward is Heavenward, but RCA didn’t hear a big single. They let us make the album we wanted, and I think that we put out a really quality album that stands up over time, but labels need to hear a hit.
How were you “a more difficult band than you needed to be”?
Dimpsey: When we recorded the video for “Stars,” MTV came back and said that they’d put us in the “Buzz Bin” if we had some bigger-name director shoot it, and we told them, “No, we’ve got our artistic integrity.” Then RCA told us that if we cut “Why I’d Like Your Hair Long” by 45 seconds, they would make it the second single, but we told them, “No, we’re not cutting it.”
We thought that we were in a battle with them protecting our art. I’m of the mind now that as long as I can create the music I want to create, then I don’t really care about how it’s marketed afterward.
We got our way all the time. (laughs) Maybe that’s why people still like our music.
How would you describe Hum’s status right now?
Dimpsey: I’m shocked. Weirdly enough, we feel more respected than ever. We weren’t really that much of a respected band when we were in action — 75% of our reviews were negative, and we were charged with being a “Smashing Pumpkins wannabe” — but it seems like over time, and through word of mouth, people are sitting down to really listen to us. It’s cool.
I think a lot of it has to do with Matt’s lyrics. They’re timeless and they speak to a lot of things without being direct. People can associate memories and experiences with the picture he’s painted in the lyrics; they stick with people for a long time.
Can we expect any new Hum material in the future?
Talbott: Expect the unexpected. But probably not. But you never know. But I doubt it.
This week, scientists reported that there is a “supermassive” black hole at the center of the Milky Way. Does that freak you out?
Talbott: No. Celine Dion in a three-way with Oprah Winfrey and Don King — that might freak me out. But no, I’m at peace with what you’ve described here.
Hum plays two sold-out shows at the Double Door on 12/31/08 and 01/01/09. The Life and Times and Dianogah open.
– Jarrett Dapier