Teammates: Our band is most efficient when we can't feel our hands
|Photo by Rita Skamser-O'Neil|
Before the band's album release at the Nomad, Gimme Noise spoke with the quartet about the secret behind their sound and the difficult times that led up to finalizing their band.
Band Members: Dan Kasper, John Acarregui, Alan Skamser-O'Neil, Brady Mielke
Gimme Noise: Is this a debut album for the band? Some the members of Teammates used to be in the same band prior to this one; how does this music differ from your old band, Human Bear Trap?
Brady Mielke: We are all more competent musicians/producers now than we were in the HBT days. This has led to more competent song writing and the more interesting inclusion of samples and synth loops into the songs.
Alan Skamser-O'Neil: This is the debut. We did one recording session as Human Bear Trap, but basically could not come to terms with the result. Once we lost Adam (former drummer), there was a desire to move out of that zone and into something new. I guess I would be comfortable calling what we did as HBT indie rock, although we were already kind of dancing through multiple genres. Near the end of HBT, we were frequently questioning whether we should stick with a guitar-driven core or push the electronica thing forward. Once we had the chance to reboot, we chose the latter. Also, as Brady says, we are just way better at playing together as a band at this point, which allows us to more successfully incorporate the electronic elements.
John Acarregui: This is my first album with Teammates. I recorded and produced an album with my old band (TIGER VS - Lone Wolf) before this. Both bands are very electronic oriented, but Teammates has a raw rock/guitar element. It made for a different recording and mixing process, really trying to capture some of the live energy; I hope it worked. We're pretty excited for the Art Thief release. We dig the sound; we hope the people do as well.
Gimme Noise: What drew you to this dreamy, electronic feel?
Alan Skamser-O'Neil: It seemed really natural. It had been there since we started in 2010 or whatever year that was, practicing in the dining room of Brady and Dan's house on Como. A lot of my favorite moments from that time involved freaking out on pedals and gear, creating loops and pissing off everyone else in the house late at night with noisy drone shit. But then the next day at practice, we'd pick up our guitars and ignore those pieces for the most part. It was kind of a background thing until we dove full into the loop-based stuff as Teammates.
John Acarregui: When I joined the band, Teammates had already started to incorporate heavy electronic elements -- synths, textures, beats. I know this was partially due to a lack of a consistent drummer. I didn't want to lose the drive of the drum loops and sequenced electronics. I wanted to play drum parts that work with the loops and electronics. This allows Alan and Brady to come up with some wild guitar parts, and to move off the grid a bit, since that constant electronic/rhythmic backbone is there. All of that combined gives us a tight groove and nice drive, while having a great range of textures from dreamy and atmospheric to a loud aggressive walls of noise.
Brady Mielke: I love left-field electronic music and noisy guitar rock in equal amounts, so those two elements kind of bleed into each other in the creation of the songs.
Gimme Noise: You guys didn't have a drummer for a while. What was the difference in playing with loops than from having a live drummer?
John Acarregui: Obviously I wasn't with Teammates during their drummerless phase. I can say when they started showing me the songs, I wanted to work with the loops and electronics, instead of completely redoing all the songs just to fit a new drummer. Changes were eventually made to the material, but what resulted was a pretty cool mix of electronic and rock.
Brady Mielke: There is a strict rigidity to playing along with a drum machine in a live setting. I love the sound and feel of a drum machine, but it just wasn't dynamic enough for the kind of music we were/are trying to make. John adds so much more energy into songs that we are unable to obtain using solely drum loops.
Alan Skamser-O'Neil: The click-track thing: you really can't bend the tempo much, which helped us tighten up our shit quite a bit. I totally agree that we would not be happy having one without the other at this point. The mix of live dynamic drums over rigid electronic beats is a lot of fun, especially with John's ability.
Gimme Noise: In that transition where you trying to find a new drummer, when you were at your most discouraged, what kept you going and creating?
Alan Skamser-O'Neil: For me playing in a band is a basic need emotionally, so the discouragement was really tough. But when playing is a need -- and specifically with this band -- the question of stopping never comes up.
Brady Mielke: I think for me, it was easy to keep going because we are such close friends, have been for a while. So even at its most discouraging moments, when we would get together, it was still just friends meeting up to drink beer and make noise.