Joe DeAndrea
02/23/09, 06:29 PM
Obviously a lot has changed in the past 8 months or so with PlayRadioPlay!. How does it feel not being tied to a major label, or any label for that matter?
Well, it's scary and great at the same time. On one hand, I'm able to release music whenever I want. I don't have a corporation breathing down my neck telling me I can't play a new song in a YouTube video. I don't have anyone telling me that one of my songs will only be a "hit" if we double the last chorus, haha. At the same time, as damaging as my time with Island Records might have been, there were things they did for me that I couldn't do for myself. However, I have a very capable management company that I plan on utilizing to the full extent for my next release, and I think that will do more good than Island Records did.
Are you disappointed that Texas never had the chance it deserved? Were you ever thinking that you could reach a Fall Out Boy type fanbase?
Of course I'm disappointed. When you work on something for that long, and put so much emotion and time into it, it's tragic to see it never get a chance at life. Texas was dead in the water before it was even released. How big could it have gotten? I don't know. I'm not going to sit here and say that Texas should have gone platinum. To be honest, I would much rather my new material be the work I'm known for. I'm looking toward the future, and I feel like I'm going to be releasing much more attention-worthy music in the upcoming years. Texas, as big of a project as it was, was sort of a stepping stone for me. Yes, it was an expensive-ass stepping stone, but a stepping stone nonetheless. It took me from a kid with a laptop and some shitty autotune (The Frequency EP), to a young adult that was learning the ropes of production and meaningful songwriting (Texas), to, hopefully now, an adult that has a very clear idea of what he wants to do as an artist.
It's too easy for me to look back on my old material and talk about how much I hate it and how eager I am to move on. While I still feel like that, I wouldn't change a thing in my past. The Frequency EP and Texas were the sound of me growing up. I'm sure there will be people that are disappointed with the direction I'm going to take, since it's different, but I can't even express how excited I am to release and play the new material. If I'm not excited about what I'm doing, then it's a waste of time for everyone, I think. I've always made a point to create something honest, and that's what I plan on continuing to do.
Do you ever see yourself going to a label again?
Probably not in the same way I did with Island. I don't see that benefiting my career. If I sign with a label in the future, it will be a much different type of deal. I don't know what it would look like, I'm just not sure. I have meetings coming up in the very near future to discuss this subject, so it's hard for me to say right now.
What happened to the EP's that you mentioned in your blog last summer that you would release later that year? Will those songs be making it onto your album?
The Organic/Synthetic EP was the tentative title for a batch of demos I recorded after Texas. I decided at the end of last year that I would rather release a new full length album this year than release an EP, which would have pushed back the release of a full length for a long time. I made that decision because I have so many songs that I want people to hear, and a 6 song EP wouldn't have been enough. This new album will have at least 12 full songs, hopefully more, and a batch of segues. The way I did segues/transitions on Texas was sort of half-assed since the label didn't really give me time to do it the way I wanted. This new album will be exactly the way I want it. I'm being patient with it and trying not to rush it, and it looks like it's paying off.
It's funny, because after Joe Wohlmuth, the engineer I'm working with, went back to California after we recorded for 5 weeks, I started recording new songs instead of finishing the ones that he and I hadn't quite nailed down. I have way, way too many songs for this new record. I've joked about doing a double disc, but that's not entirely impossible. Maybe two separate albums. Maybe an album and an EP. Maybe an album and a follow up album shortly after. I don't know. I'm sure my manager is going to hate the fact that I even brought the idea up, haha, but we'll see.
How far along into the new album are you and when do you think it will be released?
Hmm.. I would say that 75% of the songs are about 90% done, and the other 25% of the songs are between 25% and 75% done. Does that make sense? Numbers always make more sense to me, but maybe that confuses other people. The problem right now is that I'm writing new songs every day and I have to decide when I'm going to cut myself off. A song that I demoed out over the last 2 days called "Sombrero Negro" is one of the coolest I've ever written, I think. It's so hard to make the decision to stop writing when I'm so happy with the newest stream of songs.
I don't know when it will be released. Spring or Summer, probably. First we have to figure out how it will be released.
How does it differ from Texas as far as musicanship goes?
First of all, I'm using a much different batch of instruments and sounds than I have in the past. Almost every track has a Mellotron. A lot of the drums are sort of simpler, yet more complicated at the same time. A lot of it is Lo Fi. I've sort of developed a sound that I call "The Dying Drum Machine" where I make a beat sound like it was sampled from a crappy, broken drum machine, thrown to tape a shit load of times, pressed onto vinyl, and then abused until it sounds like the little guy is just dying and struggling to keep time. Nothing is as clean or shiny as my older stuff. It's more raw, but in a calculated way. We're running a lot of stuff through my Echoplex EP-1 tube tape echo that hasn't been maintenanced or cleaned ever. So it just sounds dirty and old. We're re-amping a lot of drum beats through some of my many fuzz pedals, and then through a Sherman Filterbank, which is an amazing filter tool that's used by people like Trent Reznor and Johnny Greenwood.
There's a lot more guitar, and it's much different than any of the riffs on my older stuff. I've gotten much better at guitar over the last few years. There's actually some Smashing Pumpkin-esque guitar solos on a few songs.
We're going to mix a lot of the record on tape. Oh, and Joe and I are mixing it ourselves. After being in the room for the mixing of most of Texas, I decided I wanted to mix the next record. It'll be fun.
Also, I've been listening to much different music. The Flaming Lips, The Rolling Stones, Plants and Animals, Grandaddy, Arcade Fire, Beck, Pavement, Neutral Milk Hotel. Mark Pirro (Polyphonic Spree) told me that one of my songs reminded him of "a more playful Secret Machines". That about made my day/week/year/life.
Overall, the album is very diverse. Each song is very different. You'll probably think some songs are played by different bands. Some people would say that means the album lacks focus, but that's the type of thing that keeps me interested. I get bored with every song having the same 4 instruments. Some of the songs and lyrics are more aggressive.
You said a while ago that you planned on making a full version of the song "Texas." Is that still going to happen?
Actually, I'm doing a revisited version of Texas on this new album. I don't want to spoil the surprise yet, but it's going to be really cool. Kind of a "camp fire" type vibe with a whole cast of guest vocalists.
Speaking of "Texas," it included guest vocals from singer Ingrid Michaelson. Will the new album include any guests?
Yep. Travis Bryant (Terminal, Alive in Wild Paint) and Luis Dubuc (The Secret Handshake) are both definitely singing, and there are going to be others that I don't want to announce yet.
Are there going to be any segues that Texas had?
There won't be any of the same segues, but there will definitely be segues. I'm going to make them much more elaborately intertwined than they were on Texas. Also, pretty much every one will have vocals of some sort. I realize people don't want to sit through long instrumentals.
Are any of the demos you recently posted on myspace ("Newcomer," "Selfish Introvert") going to make the album?
Maybe. That's not like a "wink-wink-nudge-nudge" kind of answer, either. I legitimately don't know. I would like for most of the new album to be stuff people have never heard.
You're always very vocal on certain issues that you talk about in your blogs. Have you ever thought of doing a podcast or something of the sort?
I write my opinion because I enjoy writing. Venting on things keeps me sane. Over the last 6 months or so, I've realized that a lot of fans have really started to appreciate my writing. They want to hear what I have to say because they like the way it makes them think, or they like to know how I feel about certain issues. That was never my intention. I just wanted to talk about issues that I felt strongly about. It has the potential to be divisive, but most people realize a person's opinion is just that. I still have a fan base that is largely Christian, I think. That hasn't changed.
I don't know about a podcast. I've never gotten into podcasts, really, so I can't see myself starting one.
One thing I have done, though, is start getting on Stickam (www.stickam.com/PlayRadioPlay). It's pretty fun. I normally get on for about an hour. People ask random questions, I show them how to make a mean cup of Chai Tea, and I play a few acoustic songs every once in a while. I plan on doing some "real" shows on Stickam, also. I'll set up some proper mics, and use programming and electric guitar, instead of just acoustic.
Before you were signed, you used to send off CDs to fans for free. Do you think you'll ever do something similiar like that? Maybe go for oneof those "pay what you want" type deals?
I've thought about it. We'll see.
Do you and Luis from The Secret Handshake still want to beat each other up?
It's weird, because Luis and I met in this shady alley with the intention of beating the shit out of each other, and we ended up deciding to collaborate on a song, instead. Lee Duck was responsible for this. I think we're also going to start going to Magic tournaments together, dressed as wizards.
Are you producing your own material now? How does it feel to do things the way you used to although you have your own studio now?
Yes, I am. I don't think I was ready to produce my own material back when I was making Texas. Watching producers like Garret Lee, Lester Mendez, and Doctor Luke helped me grow a lot as a producer. I've always had a very clear vision for each song. That's just the way I am. I start to make production decisions early on in the writing process. Doctor Luke always made fun of me for that. He would say "If you want to worry about what mics and compressors you're using, you should just be an engineer instead." I disagree with that, since the type of producers I respect most are calling shots on little things, too.
These days, I feel fully equipped to make ideas happen exactly how I imagine them, whereas a few years ago, I had a hard time executing those ideas. It also helps that I have a much more extensive knowledge of gear and techniques now. When I was 17, I didn't know what an 1176 was. These days, a short 2 years later, I can give you a basic outline of the differences between different versions of 1176s, their history, their predecessors, etc. The thing I love about producing is that it's always a learning process. I love to learn, and I'm excited to continue growing as a producer.
How long did the studio take to make? Why did you decide to do it?
It's been a gradual build. I moved into my own place about a year ago, since then, I've gone from having a computer and a few mics, to having a great sounding room and collection of gear that can put together a really solid album. It's an investment for me. I want to be completely self sufficient when making records. I want to be able to record a high quality album start to finish without having to spend a penny.
You recently produced And Then There Were None's new album, right? Do you like producing other artists? Do you have any set plans to produce anything else?
Actually, that whole experience ended up not working out. ATTWN wanted to make a Trance record, I wanted them to make an electronic rock record, sort of along the lines of Innerpartysystem. Not only do I really dislike Trance and Techno, I just don't know a single thing about the technical side of that music. Things sort of came to a halt when both parties (Joe Wohlmuth was engineering and co-producing) figured out that the other was on a different wave link. They seemed to be coming into the process with a very set-in-stone idea of what they wanted to do, while Joe and I had a certain goal of how to take their sound and improve it. I could go on forever about this, but the fact is: they decided they could fulfill their own vision better than Joe and I could. So they decided to record the album themselves.
It was definitely a learning experience, haha. I guess it helped me understand how producers probably felt when they worked with me. I guess the communication before the process began is where we went wrong. I still think those dudes have a lot of potential, and I hope their album does well. It's definitely a completely different territory for Tooth & Nail. Another thing, that whole debacle ended up marking the beginning of my new album. Once those dudes left, Joe and I looked at each other and knew what we wanted to do. We immediately started recording my new record.
I definitely want to work with other artists. I'm much more equipped to do so now than I was last summer when the ATTWN thing happened. I've actually been talking to Jesse from The AB Theory about working on his new record. Hopefully, that will work out. He and I have had some amazing talks about where he wants to take his sound, and it's made me believe that I would be perfect for the project.
What is your opinion on all of the Brokencyde-type bands that have been emerging lately?
I just don't understand. I listened to some shitty music growing up, a lot of people did/do, but Brokencyde is so much shittier than anything I've ever heard in my life. It's depressing. Talking about it gives me a headache.
You mention that PlayRadioPlay is going to be going through changes. What kind of changes?
Oh Joooooe, you know I can't talk about that, yet!
Are there plans to tour anytime soon?
No. I won't tour until the new album is perfected and ready to release. This is the type of thing that makes me so glad to not be signed. A record label would be working me to the bone right now, not allowing me to just chill the fuck out and make some art. I'm currently taking it kind of slow, being patient, trying to make everything as good as it can be. I feel completely sane and fulfilled right now. I haven't felt like that in a long time. Touring for years straight does something to you. This break is giving me the opportunity to reevaluate everything and make sure I don't get burnt out.
Any final words?
If you only pick up one record this year, get Jason Lytle's solo album that comes out in May. If you get two records this year, get Jason Lytle's solo album and get mine.
Well, it's scary and great at the same time. On one hand, I'm able to release music whenever I want. I don't have a corporation breathing down my neck telling me I can't play a new song in a YouTube video. I don't have anyone telling me that one of my songs will only be a "hit" if we double the last chorus, haha. At the same time, as damaging as my time with Island Records might have been, there were things they did for me that I couldn't do for myself. However, I have a very capable management company that I plan on utilizing to the full extent for my next release, and I think that will do more good than Island Records did.
Are you disappointed that Texas never had the chance it deserved? Were you ever thinking that you could reach a Fall Out Boy type fanbase?
Of course I'm disappointed. When you work on something for that long, and put so much emotion and time into it, it's tragic to see it never get a chance at life. Texas was dead in the water before it was even released. How big could it have gotten? I don't know. I'm not going to sit here and say that Texas should have gone platinum. To be honest, I would much rather my new material be the work I'm known for. I'm looking toward the future, and I feel like I'm going to be releasing much more attention-worthy music in the upcoming years. Texas, as big of a project as it was, was sort of a stepping stone for me. Yes, it was an expensive-ass stepping stone, but a stepping stone nonetheless. It took me from a kid with a laptop and some shitty autotune (The Frequency EP), to a young adult that was learning the ropes of production and meaningful songwriting (Texas), to, hopefully now, an adult that has a very clear idea of what he wants to do as an artist.
It's too easy for me to look back on my old material and talk about how much I hate it and how eager I am to move on. While I still feel like that, I wouldn't change a thing in my past. The Frequency EP and Texas were the sound of me growing up. I'm sure there will be people that are disappointed with the direction I'm going to take, since it's different, but I can't even express how excited I am to release and play the new material. If I'm not excited about what I'm doing, then it's a waste of time for everyone, I think. I've always made a point to create something honest, and that's what I plan on continuing to do.
Do you ever see yourself going to a label again?
Probably not in the same way I did with Island. I don't see that benefiting my career. If I sign with a label in the future, it will be a much different type of deal. I don't know what it would look like, I'm just not sure. I have meetings coming up in the very near future to discuss this subject, so it's hard for me to say right now.
What happened to the EP's that you mentioned in your blog last summer that you would release later that year? Will those songs be making it onto your album?
The Organic/Synthetic EP was the tentative title for a batch of demos I recorded after Texas. I decided at the end of last year that I would rather release a new full length album this year than release an EP, which would have pushed back the release of a full length for a long time. I made that decision because I have so many songs that I want people to hear, and a 6 song EP wouldn't have been enough. This new album will have at least 12 full songs, hopefully more, and a batch of segues. The way I did segues/transitions on Texas was sort of half-assed since the label didn't really give me time to do it the way I wanted. This new album will be exactly the way I want it. I'm being patient with it and trying not to rush it, and it looks like it's paying off.
It's funny, because after Joe Wohlmuth, the engineer I'm working with, went back to California after we recorded for 5 weeks, I started recording new songs instead of finishing the ones that he and I hadn't quite nailed down. I have way, way too many songs for this new record. I've joked about doing a double disc, but that's not entirely impossible. Maybe two separate albums. Maybe an album and an EP. Maybe an album and a follow up album shortly after. I don't know. I'm sure my manager is going to hate the fact that I even brought the idea up, haha, but we'll see.
How far along into the new album are you and when do you think it will be released?
Hmm.. I would say that 75% of the songs are about 90% done, and the other 25% of the songs are between 25% and 75% done. Does that make sense? Numbers always make more sense to me, but maybe that confuses other people. The problem right now is that I'm writing new songs every day and I have to decide when I'm going to cut myself off. A song that I demoed out over the last 2 days called "Sombrero Negro" is one of the coolest I've ever written, I think. It's so hard to make the decision to stop writing when I'm so happy with the newest stream of songs.
I don't know when it will be released. Spring or Summer, probably. First we have to figure out how it will be released.
How does it differ from Texas as far as musicanship goes?
First of all, I'm using a much different batch of instruments and sounds than I have in the past. Almost every track has a Mellotron. A lot of the drums are sort of simpler, yet more complicated at the same time. A lot of it is Lo Fi. I've sort of developed a sound that I call "The Dying Drum Machine" where I make a beat sound like it was sampled from a crappy, broken drum machine, thrown to tape a shit load of times, pressed onto vinyl, and then abused until it sounds like the little guy is just dying and struggling to keep time. Nothing is as clean or shiny as my older stuff. It's more raw, but in a calculated way. We're running a lot of stuff through my Echoplex EP-1 tube tape echo that hasn't been maintenanced or cleaned ever. So it just sounds dirty and old. We're re-amping a lot of drum beats through some of my many fuzz pedals, and then through a Sherman Filterbank, which is an amazing filter tool that's used by people like Trent Reznor and Johnny Greenwood.
There's a lot more guitar, and it's much different than any of the riffs on my older stuff. I've gotten much better at guitar over the last few years. There's actually some Smashing Pumpkin-esque guitar solos on a few songs.
We're going to mix a lot of the record on tape. Oh, and Joe and I are mixing it ourselves. After being in the room for the mixing of most of Texas, I decided I wanted to mix the next record. It'll be fun.
Also, I've been listening to much different music. The Flaming Lips, The Rolling Stones, Plants and Animals, Grandaddy, Arcade Fire, Beck, Pavement, Neutral Milk Hotel. Mark Pirro (Polyphonic Spree) told me that one of my songs reminded him of "a more playful Secret Machines". That about made my day/week/year/life.
Overall, the album is very diverse. Each song is very different. You'll probably think some songs are played by different bands. Some people would say that means the album lacks focus, but that's the type of thing that keeps me interested. I get bored with every song having the same 4 instruments. Some of the songs and lyrics are more aggressive.
You said a while ago that you planned on making a full version of the song "Texas." Is that still going to happen?
Actually, I'm doing a revisited version of Texas on this new album. I don't want to spoil the surprise yet, but it's going to be really cool. Kind of a "camp fire" type vibe with a whole cast of guest vocalists.
Speaking of "Texas," it included guest vocals from singer Ingrid Michaelson. Will the new album include any guests?
Yep. Travis Bryant (Terminal, Alive in Wild Paint) and Luis Dubuc (The Secret Handshake) are both definitely singing, and there are going to be others that I don't want to announce yet.
Are there going to be any segues that Texas had?
There won't be any of the same segues, but there will definitely be segues. I'm going to make them much more elaborately intertwined than they were on Texas. Also, pretty much every one will have vocals of some sort. I realize people don't want to sit through long instrumentals.
Are any of the demos you recently posted on myspace ("Newcomer," "Selfish Introvert") going to make the album?
Maybe. That's not like a "wink-wink-nudge-nudge" kind of answer, either. I legitimately don't know. I would like for most of the new album to be stuff people have never heard.
You're always very vocal on certain issues that you talk about in your blogs. Have you ever thought of doing a podcast or something of the sort?
I write my opinion because I enjoy writing. Venting on things keeps me sane. Over the last 6 months or so, I've realized that a lot of fans have really started to appreciate my writing. They want to hear what I have to say because they like the way it makes them think, or they like to know how I feel about certain issues. That was never my intention. I just wanted to talk about issues that I felt strongly about. It has the potential to be divisive, but most people realize a person's opinion is just that. I still have a fan base that is largely Christian, I think. That hasn't changed.
I don't know about a podcast. I've never gotten into podcasts, really, so I can't see myself starting one.
One thing I have done, though, is start getting on Stickam (www.stickam.com/PlayRadioPlay). It's pretty fun. I normally get on for about an hour. People ask random questions, I show them how to make a mean cup of Chai Tea, and I play a few acoustic songs every once in a while. I plan on doing some "real" shows on Stickam, also. I'll set up some proper mics, and use programming and electric guitar, instead of just acoustic.
Before you were signed, you used to send off CDs to fans for free. Do you think you'll ever do something similiar like that? Maybe go for oneof those "pay what you want" type deals?
I've thought about it. We'll see.
Do you and Luis from The Secret Handshake still want to beat each other up?
It's weird, because Luis and I met in this shady alley with the intention of beating the shit out of each other, and we ended up deciding to collaborate on a song, instead. Lee Duck was responsible for this. I think we're also going to start going to Magic tournaments together, dressed as wizards.
Are you producing your own material now? How does it feel to do things the way you used to although you have your own studio now?
Yes, I am. I don't think I was ready to produce my own material back when I was making Texas. Watching producers like Garret Lee, Lester Mendez, and Doctor Luke helped me grow a lot as a producer. I've always had a very clear vision for each song. That's just the way I am. I start to make production decisions early on in the writing process. Doctor Luke always made fun of me for that. He would say "If you want to worry about what mics and compressors you're using, you should just be an engineer instead." I disagree with that, since the type of producers I respect most are calling shots on little things, too.
These days, I feel fully equipped to make ideas happen exactly how I imagine them, whereas a few years ago, I had a hard time executing those ideas. It also helps that I have a much more extensive knowledge of gear and techniques now. When I was 17, I didn't know what an 1176 was. These days, a short 2 years later, I can give you a basic outline of the differences between different versions of 1176s, their history, their predecessors, etc. The thing I love about producing is that it's always a learning process. I love to learn, and I'm excited to continue growing as a producer.
How long did the studio take to make? Why did you decide to do it?
It's been a gradual build. I moved into my own place about a year ago, since then, I've gone from having a computer and a few mics, to having a great sounding room and collection of gear that can put together a really solid album. It's an investment for me. I want to be completely self sufficient when making records. I want to be able to record a high quality album start to finish without having to spend a penny.
You recently produced And Then There Were None's new album, right? Do you like producing other artists? Do you have any set plans to produce anything else?
Actually, that whole experience ended up not working out. ATTWN wanted to make a Trance record, I wanted them to make an electronic rock record, sort of along the lines of Innerpartysystem. Not only do I really dislike Trance and Techno, I just don't know a single thing about the technical side of that music. Things sort of came to a halt when both parties (Joe Wohlmuth was engineering and co-producing) figured out that the other was on a different wave link. They seemed to be coming into the process with a very set-in-stone idea of what they wanted to do, while Joe and I had a certain goal of how to take their sound and improve it. I could go on forever about this, but the fact is: they decided they could fulfill their own vision better than Joe and I could. So they decided to record the album themselves.
It was definitely a learning experience, haha. I guess it helped me understand how producers probably felt when they worked with me. I guess the communication before the process began is where we went wrong. I still think those dudes have a lot of potential, and I hope their album does well. It's definitely a completely different territory for Tooth & Nail. Another thing, that whole debacle ended up marking the beginning of my new album. Once those dudes left, Joe and I looked at each other and knew what we wanted to do. We immediately started recording my new record.
I definitely want to work with other artists. I'm much more equipped to do so now than I was last summer when the ATTWN thing happened. I've actually been talking to Jesse from The AB Theory about working on his new record. Hopefully, that will work out. He and I have had some amazing talks about where he wants to take his sound, and it's made me believe that I would be perfect for the project.
What is your opinion on all of the Brokencyde-type bands that have been emerging lately?
I just don't understand. I listened to some shitty music growing up, a lot of people did/do, but Brokencyde is so much shittier than anything I've ever heard in my life. It's depressing. Talking about it gives me a headache.
You mention that PlayRadioPlay is going to be going through changes. What kind of changes?
Oh Joooooe, you know I can't talk about that, yet!
Are there plans to tour anytime soon?
No. I won't tour until the new album is perfected and ready to release. This is the type of thing that makes me so glad to not be signed. A record label would be working me to the bone right now, not allowing me to just chill the fuck out and make some art. I'm currently taking it kind of slow, being patient, trying to make everything as good as it can be. I feel completely sane and fulfilled right now. I haven't felt like that in a long time. Touring for years straight does something to you. This break is giving me the opportunity to reevaluate everything and make sure I don't get burnt out.
Any final words?
If you only pick up one record this year, get Jason Lytle's solo album that comes out in May. If you get two records this year, get Jason Lytle's solo album and get mine.