Drummer, chef, and Roots rocker Ahmir “Questlove” Thompson has announced a new drum kit, produced in partnership with Ludwig, called Breakbeats. The kit is easily broken down and moved, designed for the drummer who might not have a lot of space to practice or perform.
“Sakura (We Must Love)”[audio:http://alarm-magazine.com/wp-content/uploads/2012/04/Loop_243_Sakura_We_Must_Love.mp3|titles=Loop 2.4.3: “Sakura (We Must Love)”]
The “singularity” is the predicted moment in the future when technological intelligence surpasses that of humans and renders all previous knowledge null and void. It’s an oft-discussed sci-fi notion, but not your typical album opener. But Loop 2.4.3 is not, let us state for the record, a typical band. Instead, it’s a “percussion duo” that uses a lot more than percussion: piano, strings, and electronics, as well as voices that are all soulful, raw, and classically trained.
Phantogram: “Don’t Move”[audio:http://alarm-magazine.com/wp-content/uploads/2011/11/02-Dont-Move.mp3|titles=Phantogram: “Don’t Move”]
A few years ago, Josh Carter and Sarah Barthel took to recording their own music in a barn in upstate New York. Though it was never intended for the masses, the music made an auspicious debut via the 2010 album Eyelid Movies on Barsuk, and a loyal Phantogram following materialized — and continues to grow ever larger. In addition to praise from unexpected sources (Questlove, Big Boi, Fitz and the Tantrums, Kings of Leon), the duo’s popularity has risen from a years-long tour stint, loaded with sold-out shows, international bookings, and major festival appearances.
And in the midst of the tour hustle and bustle, Phantogram has managed to pull off yet another standout release in the form of Nightlife. Carter’s minimalist guitar lines, hip-hop beats, and assorted loops and samples weave the perfect melodic backing for Barthel’s breathy singing and, at times, his own reverb-laden vocals. The synths and drum-machine beats draw similarities to Eyelid Movies, but the new record holds its own as a mini-LP — and also holds fans over until the next full-length release.
Here, ALARM speaks with Carter about performing live, his collaboration with Barthel, and Nightlife.
What do you like about recording in a barn versus a recording studio?
It was circumstantial, really. We lived up in the country in upstate New York, and it’s what we had. My parents had a barn on their property, and I had been collecting a lot of recording equipment and learning how to record myself. Instead of having to pay a lot of money to go into a studio, we just did our first album ourselves, and the new record as well.
You have a long, diverse list of musical influences. What non-musical influences impact your songwriting?
Dreams definitely impact my lyric writing and our songwriting. Often when Sarah and I get together to work on music, we kind of come up with imaginary plots that would be in a movie. We think very visually when we’re writing.
What are your roles in songwriting?
I write the lyrics. I make the beats and I write most of the music, but often Sarah and I get together and write. Sometimes she’ll come up with something on the piano or guitar and bring it to the table, or I’ll make a beat or write something on guitar or piano, and we’ll bring it together.
Sometimes we just jam over a basic drum-machine rhythm and vamp for a few hours and write that way. Often when I write lyrics too, I’ll bounce them off Sarah and see what she thinks of it; so, sometimes even though she isn’t writing the lyrics, she’s connected to them anyway because she’s there while I’m writing them.