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Interview  (Paris)  février 2006

Calla from NYC.

Young people playing strong intelligent music. It’s not often. In the Café Charbon, just before the Paris gig, they are talking about Calla’s music and life. In front of me Aurello, long black hair, piercing eyes, is looking around and Wayne seems to be tired, the nose in his coffee. Pete, short haircut, is beside me, smiling.

How can you describe your new record "Collisions" ?

Pete : It’s definitly a more rock record.

Wayne : More aggresive.

Aurello : Very guitar based. We wanted to make a very guitar based energy record, very aggressive in Calla terms. People think it’s pretty mellow but in our world it’s pretty heavy.

You have worked with the famous producer Victor Van Vugt. How did you meet him ?

Aurello : We had a lot of mutual friends for years but we never actually met him. I met him throught an ex-girlfriend of mine. I didn’t realize who he was. We sat down, talked about music and I thought that it could work. I asked him and he said : "Sure!".

There was a lot of changes for Calla since the previous record "Televise". How these events influenced your work ?

Pete : The aggression of the album can reflect this period of time, very uncertain times, lots of things wrong coming together.

Aurello : We’ve lost our label, our manager. We didn’t have any money for recording the album.

Pete : Since we’ve recorded the new album, things are going better.

Aurello : We basically recorded the new lp as a three piece. So we decide to continue, touring, supporting, everything, for this record as a three piece. As Pete said, I think the record speaks for itself as we were going during that times.

Why Sean left the band ?

Wayne : It’s probably several reasons. But there was a time, there was conflicts. I think it’s the big reason.

Aurello : It was a really frustrating time for all of us but for him, it was not working anymore. For him, it was not enjoying anymore. He felt : "We’re going anywhere!". There was also creative differences.

How do you write your songs? Calla music is very complex. How are you processing ?

Aurello : All of us are working individually. We did it in the same way when Sean was in the band. We record beats and samples and I write a song. We’re coming with stripped versions and we start collaborating, cuting and pasting, puting things together and decide where the song could go. With "Collisions" we wanted much live feel. We worked in the same way as we did. Wayne came with song ideas, Pete contributing. When we get together, we start on the the computer cuting and pasting everything, programming, decide the way and play the song to know the energy of this song live.

Wayne : We have to really mix bases for the guitars. We worked in this way every sequences of this album, even the samples. It’s a different approach, something we never did before. Another goal was to create songs with a lot facts, making every part of the song louder.

Aurello : We want to focus on the fondations of the song. It’s much expensible. If we had three songs unfinished, we cut them and put them together to create one song. We still did that but less of it.

Wayne : This record was influenced by how we play live. There is a progression, with backwards textures. Calla experiments and we are more and more a live band. We have the oportunity to tour intensively.

The three of us were playing in previous bands so we play together easily.

Aurello : And write together easily.

Pete : For lots of bands, the fourth album comes as a live album and it’s more sophisticated. So we worked this way, in the studio.

Are you hard working your lyrics ?

Aurello : Oh yes ! All the time, every day. Always sticking about it, even more when I’m working on a record. Constantly. When I’m walking down the streets in NYC, anyway, constantly thinking about it. Certain situations, things I heard or personal experiences I’m going through. It’s a pretty long process. Lot of times, I have two or three versions of a song before I start cuting it down to put it on a record. It depends of the song.

When I’m writing, I use a stripped version of the song or get the main line together. When I have the vocals melody, I start to put it into my head immediatly and base everything on this line. So you figure out what I want to say but words are just coming out. Sometime you’re aware for your sayings, thinking about very specific things, personal experiences, but it just comes down for results sometimes.

Living in NYC is very important for your art ?

Aurello : I think so personaly.

Pete : Yes.

What is the influence of NYC on Calla ?

Pete : NYC is like any other city in the USA It’s a world city town, not national. It’s amazing to see all ehese people concentrating in a so small area. In contradiction, it’s very difficult to survive : it’s very expensive. You have to keep on your toes. But I think it’s a sense of pride to be a musician in this town. I love this city.

Aurello : You are exposed to a large audience. Writers, painters, photographers. Anything is exposed in art, everything is interesting. As Pete said, there are a lot of people successful and lots are not. They keep on their toes. Wayne is from Texas, you wanna ask to him that question ! (laughs)

Wayne : I mean it’s compact. Your relationships... Lots of times I’ve been frustrated.

Aurello : It’s a love / hate relationships. But that keeps you very emotional, very...

Wayne : Angry !

Aurello : Yeah, angry, in every sense of the word. You’re struggling and that makes you work hard. If I live in Texas again or anywhere else, I will live in a different style.

Wayne : Everywhere you live in the world will affect what you do artisticaly.

Aurello : It’s cause’n’effects.

Wayne : I moved to NYC. It opened my eyes to things I’ve never interesting before. Moving in NYC made us play in a different way.

What remains from your work with Michael Gira ?

Aurello : We still talk together, by email or chat.

Pete : We worked with different producers, they all have their vision of things about singing and guitars.

Aurello : We learned a lot from Michael. We worked without any experience recording in a studio, we were doing everything on a 4-track and on a computer. In the studio, we were definitely intimidated. When we went, with Michael there, he changed the way we looked that things, how we approach everything. We learned a lot from him. We continue talking and listening his stuff.

Tonight, what will be your setlist ? Your new lp is very different from the others.

Pete : We will play songs from "Televise" but concentrating on "Collisions".

Aurello : It was a hard thing to work. We tried to pull up songs from every record but sometimes when we do something from the first a lot of times it doesn’t quite fit into the set. So we tried to bound to songs from "Televise". As Pete said we’re supporting this record, so there is a lot of songs from "Collisions".

What are your plans for the next months ?

Aurello : We were in Europe for a month and we go down for a Texas festival. After that it’s an open air. We want to start recording the next record yet. Because it was to long to make "Collisions" after "Televise". Because we did not have a label, it takes three years for this stuff to come out. We want to record the next pretty quickly.

Pete : We will back for festivals in august.

Last question : can you sum up Calla in three words ?

Aurello : Wayne, Aurello and Pete ! No... The word’s coming to my head first because of reviews I read is “prouding”.

Wayne : "Confused". In the positive sense. Like the Velvet Underground with the different styles in it. Yes, "confused" in the best possible way.

Pete : "Hopeful". (general laughs)

Thanks, guys, for your time and your great show in Paris.

 

A lire aussi sur Froggy's Delight :

La chronique de l'album Collisions de Calla
La chronique de l'album Strength In Numbers de Calla
Calla en concert au Nouveau Casino (15 février 2006)
Calla en concert au Festival International de Benicassim 2006 (samedi)
Une 2ème interview de Calla (février 2006)

En savoir plus :

Le site officiel de Calla


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# 29 mars 2020 : On continue à s'égayer le cerveau

On attaque la troisième semaine de confinement. On ne va pas baisser les bras, et nous vous proposons encore un joli contenu histoire de s'oxygéner le cerveau comme on peut. C'est parti.

Du côté de la musique :
"44" de François Puyalto
"Yene mircha" de Hailu Mergia
"Le silence et l'eau" de Jean-Baptiste Soulard
"Gigaton" de Pearl Jam
"Metal band" de Bernard Minet
"Connection loss" de Caesaria
"The black days session #1" de Daniel Roméo
"Sixième sens" de Faut Qu'ça Guinche
Péroké, Coco Bans, Al Qasar, quelques clips pour lutter contre l'ennui du confinement
"Alterations" de Robin McKelle
"Love of life" de Vincent Courtois, Robin Fincker et Daniel Erdmann
"No return" de We are Birds
et toujours :
"La course" de Bon Voyage Organisation
"Où ça en est ?" de Ceylon
"Blossom" de Coralie Royer
"Brothers of string" de Duplessy & the Violins of the World
"Atomised single" de Gogo penguin
"Onkalo" de Julie Campiche Quartet
"Single carry me home" de Kokoroko
"The pain, the blood and the sword" de Lion's Law
"Five for five" de Michael Fine
"Mon étrangère" de Valentin Vander

Au théâtre dans un fauteuil de salon avec :

en diffusion sur le net :
une comédie contemporaine avec la captation de la création originelle de "Art"
du boulevard avec :
le streaming de "Fleur de cactus"
le streaming de "Jo"
un classique revisité avec
la captation
de "Peer Gynt"
une évocation de l'univers de Lewis Caroll avec la captation de "Lewis versus Alice"
dans la rubrique "Au Théâtre ce soir" :
"Peau de vache"
avec Sophie Desmarets
et "La Puce à l'oreille" avec Louis de Funès
une gourmandise pour fan addict avec Fabrice Luchini en vidéo dans "Le point sur Robert"
et des spectales à voir ou a revoir en DVD :
"Le Paradoxe amoureux"
"Dieu habite Dusseldorf"
"ABC D'airs"

Expositions :

en toute tranquilité mais musicales avec sur le Musée de la Sacem :
"L'Opérette" de son Age d'or à la Belle Epoque au regain d'engouement avec sa réactivation par des compagnies contemporaines tels "Azor" et "La Grande duchesse de Gerolstein"
et celle dédiée à son roi "Jacques Offenbach"
au Musée de la Monnaie de Paris :
la visite virtuelle des collections permanentes et la visite de sa dernière exposition en date "Kiki Smith"
et passer les frontières avec la visite virtuelle des collections du Musée Guggenheim de New York

Cinéma :

Ciné-Club at home avec :
"Blue Velvet" de David Lynch
"Casanova" de Federico Fellini
"Les 39 marches" d'Alfred Hitchock
le téléfilm "Paris Best" de Philippe Lioret
et des films récents sortis en DVD :
"Les Eblouis" de Sarah Suco
"Alice et le maire" de Nicolas Pariser
"Noura" de Hinde Boujemaa

Lecture avec :

"Banditi" de Antoine Albertini
"Champ de tir" de Linwood Barclay
"Chasseurs et collectionneurs" de Matt Suddain
"Les cents derniers jours d'Hitler" de Jean Lopez
"Les plumes du pouvoir" de Michaël Moreau
"Nefertari dream" de Xavier-Marie Bonnot
et toujours :
"Confession téméraire" de Anita Pittoni
"L'âne mort" de Chawki Amari
"L'archipel des larmes" de Camilla Grebe
"Riposte" de David Albertyn
"Temps noirs" de Thomas Mullen
"Toute la violence des hommes" de Paul Colize
"Une île sur la Volga" de Iwan Lépingle

Froggeek's Delight :

"Shadow, le cloud computing", retour d'expérience de l'utisation d'un PC dans les nuages
Une sélection de jeux pour moins vous ennuyer pendant le confinement et plus tard
"Call of Cthulhu" sur Switch, PS4, Xbox One et PC
"Call of Duty Modern warfare" sur PS4, XboxOne, PC

Bonne lecture, bonne culture, et à la semaine prochaine.

           
www.myspace.com/froggydelight | www.tasteofindie.com   bleu rouge vert métal
 
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