Interviews
Interview with Todd Baechle from THE FAINT
Soundmag: It's been a while hat I heard bout you. Last time visiting Berlin for you was the show at Kesselhaus with Radio 4 and Simian.
Todd: Yeah, Wthat¹s when I had Glühwein.
Soundmag: We almost missed your show, cause we didnt expect that you would play first.
Todd: Yes, we swapped back and forth on the tour.
Soundmag: I also saw once in London at the NME show with Britsh Sea Power, Clinic And you'll know us by the trail of dead.
Todd: Oh, no. That was our worst show ever. It was the show we ever played out of the country and the power supplies had gotten wrong, one of the keyboards broke and so if one breaks, they are all connected. We had terrible sound problems. Completely embarassing.
Soundmag: That's why you have more guitars on "Wet on Birth" ?
Todd: Our guitar player Dapose was only there for the last little bit of finishing the record. I don¹t know. It might just be less keyboards. It seem sless of both. We wanted it to sound more human. There¹s still danceabe beats we had accoustic drums this time. We thought we doen all the keyboard thing. And we are ready to do something else.
Soundmag: You worked with Mike Mogis again. What did he add to the sound ?
Todd: On a lot of the songs, we recorded all the music, then we would give him a day of thinking about whatelse he would want to do, before he started mixing the song. And then we come together to talk about how we want the song to be and a lot of times it¹s very different, soemtimes he made nice improvements. He actually wrote a couple o fthings, too.
Soundmag: Did you want to work with him again ?
Todd: We could have choosen anybody we can afford. But he was our first choice.
Soundmag: Was it his idea to have strings on the album ?
Todd: We planned on using those instruments when we finished the song. We would say we don’t want it to be guitar or keyboard based. We looked at strings as the alternative. Something that sounded natural and you can imagine it in your head while hearing it, not like a keyboard. Imaginary sound. We had the opportunity to work with Nate Walcott who does a lot of that kind of stuff for other bands on Saddle Creek. He¹s an excellent composer. We would basicially tell him what we wanted and he would write our arrangements.
Soundmag: Is it life recorded with the band ?
Todd: No. I don't even know these people. They were hired.
Soundmag: Will you cut out the strings when you're on tour ?
Todd: We might use it as samples. Maybe we also replace parts of it by keyboards.
Soundmag: Could be cool to go on tour with an entire string orchestra.
Todd: We can't afford to have 20 people extra on tour. On some songs, it¹s a pretty large group playing. And these people don't want to ride around in an van and sleep on couches. We borrough them from the symphony. They don't even want a copy of it. You get an idea of what we are talking about.
Soundmag: This space you rented for practice, the Orifice, was sort of an office for you, where you went during the day.
Todd: It was kind of a fun office.
Soundmag: I remember the video clip of Agenda Suicide, which had a critical view on the stolid 9 to 5 work life. How did you experience it ?
Todd: The main difference is we love what we do. The Agenda Suicide clip is more about doing a job that you don't like. But we din't get up that early and the other bands in town were impressed about our consistent practicing.
Soundmag: It made me think what the future of making music will be like. Musicians get an office space in the record company department, where they write songs that are approved or disapproved by several managers.
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