“To my surprise, over time music has taken on a renewed and rejuvenated role that I truly had not anticipated,” Laufman explains. “Approaching music with no expectations and as a means of therapeutic practice has warranted a type of personal fulfilment in songwriting that I had previously believed to be lost. It feels as though a fog has lifted and I’m able to speak clearly for the first time in my life.”

Chris Laufman has now returned to music with ‘Bent Like a Spoon’, a single released with Future Gods which delves into difficult territory. A picture of discomfort, of ratcheting pressure and a will to escape to better things. A loss of belief or will so profound it leads to a desire to disengage from wider society. “The track is an acknowledgment of the misanthropy that I’ve felt at times over the last few years,” Laufman says. “I wanted to give a voice to the cynical and destructive cycles of thinking that I can too often revert to.”

I want to crawl away from it all
off of the coast and into the sea
from the ocean floor into the core
to eternity

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“Grow/Decompose… shares [David Foster] Wallace’s metamodern style – a postmodern web of motifs and strange humour countered with a modernist sincerity and genuine sense of hope …if played on repeat Grow / Decompose never ends, a musical ouroboros of well-worn paths that are both doomed and blessed and quite possibly all we have.”

We were lucky enough to get the opportunity to ask John and Eric from the band a few questions.

Jon: Thanks for speaking to us John. How is life in LA this time of year? Why did you decide to move from Chicago? 

Young Jesus: Life in LA is good. It’s certainly a strange place, easy to let it own you in a way, but also a highly motivating and inspiring place. There is a lot going on here that I really was not exposed to in Chicago. Chicago’s a wonderful place for me in many ways, but it became ‘home’ too much. I had an idea of what it was in my mind, so I wasn’t really open to a lot of the interesting things the city had to offer. It became a place where I drank a lot and played a lot of videogames. Both have their merits, but I personally needed to get out. It’s interesting that Home, to me, is a pretty straightforward record– almost journalistic. And I was hazy and drunk through a lot of it. Grow / Decompose is meandering, questioning, more subtle I hope. But I’ve never been more clear-headed. I guess the easier it is to think, the more questions come.

One thing I’ve noticed while reading up on Young Jesus is that no-one seems to agree as to who you sound like. I’ve seen Smashing Pumpkins, The Replacements, Staind, The National etc. etc., while I picked up some strong Hold Steady vibes, both in terms of your writing style and the dark-and-joyful sound. Do your listening habits reflect this wide(ish) range comparisons? Or are journalists and bloggers trying too hard to pin your sound? 

We listen to a lot of different things. From The Hold Steady and Pile to William Basinski and Stars of the Lid. It all plays a part in the thinking of a record. It might not be obvious while listening, but our musical influences affect things beyond melody/rhythm. Little eccentricities come out in strange ways. That’s what makes it interesting hopefully.

As a follow-on to that, how do you feel after releasing a new record to the world? Do you like that reviewers each come to their own conclusions? Or do you feel pretty certain of the narrative you’re trying to conjure? I was kind of guilty of bringing a lot of my own thoughts into my review of the album, and I guess I was conscious that perhaps that isn’t always a good thing for the artist? 

We have a narrative in our heads definitely. But a huge part of the narrative is that there is no absolute correct narrative. We’re glad to see people put their own interpretations on it cause that means they’re interacting with it. They’re having a similar process sorting through the album that we had sorting through life to create the album. I have a huge mental picture of records like Brand New’s Devil and God… or Weezer’s Pinkerton. And it’s probably so different from how they view it! That’s so great. That we ultimately have a point of intersection/relation and have– potentially– come to it from totally different places. Albums (as Roger Ebert said about movies) can be machines that generate empathy.

Grow / Decompose, just like your previous album Home, seems to focus on a defined set of themes and characters in a way that makes it not quite a traditional album but perhaps not quite a concept album. How do you feel about the term ‘concept album’ in relation to your releases? 

I became pretty engrossed in this album over the past year. It took over my life in a lot of ways. I gave myself to this record rather than to people, and at one point couldn’t really see a love that was there for me because I was so absorbed in the story/writing. I loved Neil, Milo, and May. So the concept is a strange reflection of life. Grounded in reality. Without a traditional arc because life doesn’t have that. Some things end, some don’t.

There is a decidedly novelistic feel about your writing. Would you say literature has an influence on your writing style? (If yes) Which authors would you say have had the biggest impact? 

I work in a bookstore and am reading more than I’m listening to music probably. Literature has had a major influence. The five main books are Hilda Hilst’s The Obscene Madam D, Clarice Lispector’s Near to the Wild Heart, Mircea Cartrescu’s Blinding, Wise Blood by Flannery O’Connor, and Suicide by Edouard Leve. And Muriel Spark. So six. These books very literally changed my life this past year. Oh and Jesse Jacobs By This Shall You Know Him.

Lispector/Cartrescu/Hilst showed me that it was okay (and beautiful) to think in absurd, non-normative logics. That you could create your own, and these logics are capable of carrying emotional/sentimental weight.

Reading Leve felt like breaking the law. It’s a work he turned in to his publisher and soon after killed himself. In fact, I could read it and feel safer. I do think it is a dangerous book, not for everyone, but for me it was a powerful life-affirming read. Almost named the record Les Atomes which is a band mentioned in one of Leve’s books (either Suicide or Autoportrait, I forget).

O’Connor and Spark deal with religion (specifically Christianity) in a rare way. They are ultimately believers, but are not afraid of examining the grotesque byproducts of belief. It’s easy to write off organized religion, maybe a bit harder then to look at it very honestly and specifically and turn the lens onto yourself as well. I’m an atheist, but some of my favorite thinkers (Spark, O’Connor, Jeff Mangum) are oddly Christian. Who knows what that means. Time to become a priest.

With its stories of addiction and general sadness shot through with a sense of hope, I compared Grow / Decompose to David Foster Wallace’s Infinite Jest. Where do you stand on the whole irony vs. sincerity debate? Do you subscribe to the New Sincerity movement, or do you feel cynicism and darkness have role to play in the best, most enlightening/comforting art?   

I think you can confront darkness with sincerity and that the best stuff acknowledges the light that is in the dark and vice versa. We’re on board and interested with what New Sincerity could be about, and if people want to group us in with that, that’s okay. But we can also be sarcastic and ironic. So watch out.

You guys run the label Hellhole Supermarket that is putting out Grow / Decompose and take care of all of your own press and management. Is this sort of control important to you? I mean, I know there are some great labels out there, and some PR companies who make the effort to connect as human beings, but I can’t tell you how nice it is to get personal emails from acts about their new music. Does this increased involvement lead to a more rewarding process overall? Or is it an annoyance that gets in the way of music (or watching TV or whatever)?

I always tell Harrison, “if this label gets in the way of BBT (Big Bang Theory) one more time I’m gonna lose my smoothie.” I love those bang boys.

Finally, could you name 4-5 artists you are currently enjoying? They can be old or new, hidden gems or radio darlings, whatever you find yourself returning to at the moment.

Fragile Gang‘s For Esme, Pope, Mitski, Princess Reason, Earl Sweatshirt (‘solace’ is connecting a lot today).

Read our review of Grow / Decompose and then buy the album from Bandcamp or Hellhole Supermarket.

The post Interview: Young Jesus appeared first on Various Small Flames.

We’ve tried to include new stuff but there are a few favourites thrown in. If any song has appeared on one of our mixes before, apologies but it probably just fitted in nicely to our idea of chronology. Hopefully it’s sunny with you this weekend to enjoy this.

Part I // Day – Tracklisting:-

1. Time To Run – Lord Huron
2. Who Knew – You Won’t
3. Murderous Joy – Carter Tanton
4. My Nature – Kissed Her Little Sister
5. Blood Brother – The Daredevil Christopher Wright
6. Messing Up My Mind – Fletcher C. Johnson
7. Summer Lawns – The Child Actors
8. Midnight Psalms (Alright!) – LANTERNS.
9. Football Hero – Bonjour
10. Oregon – Junk Culture
11. Conor, Oh Burst? – Playlounge
12. Heatstroke – Brick + Mortar
13. SOLO (‘4’ CLAIRE) – Wise Blood
14. This Summer – Superchunk
15. Electric Fever – Free Energy
16. About To Walk – Throw Me The Statue
17. All Of Me – Tanlines
18. Kiola Beach – HOT SPA
19. Whale Song – Lemolo
20. Summer Music – Advance Base
21. Mane – Conveyor
22. Certain Songs – The Hold Steady
23. Nothing To Say – Paul Baribeau
24. Late July – Shakey Graves
25. Bones -The Act Of Estimating As Worthless

Summer Mix – Day from Wake The Deaf on 8tracks Radio.

Enjoy the mix and if you like what you hear, be sure to head over to the artist’s website to buy some music, a t-shirt or two and maybe some gig tickets. It’s the right thing to do!

The post WTD’s Summer Mix: Part I – Day appeared first on Various Small Flames.