Pitchfork

Photo by Roberta Ridolfi

All but homeless after a year on the road virtually without pause, CSS co-songwriter, multi-instrumentalist, and producer Adriano Cintra sought refuge in a familiar place: the records of his youth. For Cintra, that meant classic platters from alt-rock icons like Dinosaur Jr. and Sebadoh. As CSS frontwoman Lovefoxxx tells it, the time Cintra put in revisiting his old friends Lou and J. informed a good deal of the sound of CSS' forthcoming sophomore set, Donkey.

The disc-- due July 21 in the UK on Warner and July 22 in the U.S. from Sub Pop-- largely strips away the bouncy new wave-and-electro-tinged production of its predecessor in favor of a more conventional, rawer rock sound, with nods to the mid-90s alt-rock boom and the band's own frenetic live sets. We spoke with Lovefoxxx about the dirt behind Donkey, the recent departure of bassist Ira Trevisan, and just how hard it is to improve on the Breeders' "Cannonball".

Pitchfork: You've been so busy over the last few years with tour after tour, it's amazing you found the time for an album.

Lovefoxxx: Yeah! The thing with these songs is that I wrote some lyrics and Adriano wrote some lyrics and there were songs we wrote together. Adriano's definitely a workaholic. It was quite stressful for us, the last year or so, and the way that he deals with stress is being artistic, being at work. So that's why we didn't have to stop for long; he was working the whole time. At the end of last year, beginning of this year, we stopped to finish the thing. But mainly he did the heavy work during the time we were touring.  

Pitchfork: So you're writing and maybe doing some pre-recording on the tour bus?

L: Yeah, it was all on the bus and in hotels. And even some vocals we recorded on the bus.

Pitchfork: How was it working under those conditions?  It must be very different from the way the first album came together, when you had more time to put it together, under different circumstances.

L: I actually think it was quite the same. We pre-produced Donkey, because the first album, we did everything [when we could find the time]. I would go every day after work to record a vocal or two, and that was it.  But [Donkey] was different, because on this one we had a very nice studio-- the same place where we mixed the first album-- and we had it for the whole month or more. At least for me, it was way more comfortable to do the vocals with proper headphones. On the first album, I had to do one ear with a finger! [laughs]
Pitchfork: Did you set out with any kind of goal in mind while making this record?

L: We never work with concepts beforehand. We always do the things, and then we look at them and rethink some things. The thing with Donkey is that we just knew we wanted to make it sound how it sounds. When we did the first one, we had no idea what it sounded like, because we didn't play too much. And then to play the songs on the first record, we had to rehearse and make different arrangements for everything because there were so many layers that we couldn't do live. And this kept on changing through the months of touring. When we first toured, we had a backing track, like cool stuff, and then two months later, we had a backing track with less layers. And then two months later I was playing all the keyboards and we had just some noises. But now we don't. It was like a pirated DJ thing. We were always so upset when the CD started jumping! Now we have it. So with Donkey, we did it in a way that it was the same way that we would play live.

Pitchfork: You've played these songs live, right? How has the crowd reaction been?

L: We played some. We were quite crazy, because when we started touring again at the beginning of May, we were playing so many new songs. And then we were like, "Oh shit, we've got to go slower with this; they don't know those songs!" But the answer was good. Not as good as the songs that are the favorites, but it was all right. I didn't pay too much attention because I was very excited to play them. I mean, of course I payed attention-- it was good. But I can't wait for the record to come out, because I can't wait to see people's reactions.  

Pitchfork: There's definitely fewer electro elements on the record, and much more of a straightahead guitar rock sound. I guess you sort of explained this, but was cutting some of that out mainly so that the songs would sound about the same onstage and on the record?

L: The thing is that I think even the old songs, when we play them live now, they sound closer to Donkey than the first album. And that's just a result of the way we played them. You know, I know we didn't play too many times in America, but if there's someone who followed us through the shows, I think this record makes a lot of sense. Because even with the [cover of L7's "Pretend We're Dead", a CSS live staple], that was something new to our set, it was more to the rock fashion. And it's just good to make something you can play live the same way.  Sometimes I get quite a bit weird when I think of how the first record sounded as to how we played live, because it's so different. Sometimes it can be frustrating for people, when they come to the show and it sounds nothing like the recording.  

Pitchfork: I know I'm not the first person to have noticed the mid-90s alternative rock vibe coming off of this record. It's especially evident in the first few songs that people heard, like "Rat Is Dead (Rage)". The guitars are very high in the mix, and the hooks sort of have that same kind of bombast. And then you went and covered a total classic of that era, the Breeders' "Cannonball". Was touching on that something you all had in mind when you were recording this one?

L: Adriano wrote the songs, so I'm just going to say what he said. Though it makes sense, and I saw him going through this. You know, he was fucked last year-- you know, homeless.  Because I lived with my boyfriend [Simon Taylor of Klaxons], but everyone else didn't have a place. They were just living out of a suitcase. And Adriano, he started listening to the things he used to when he was a teenager, Dinosaur Jr., and Sebadoh, and those bands, those alternative bands from the 90s in America. It was to have some comfort, to bring him home and keep him sane.

Pitchfork: Were you guys all on board with that?

L: Of course, yeah. Though, of course, the songs changed when everybody started playing them.

Pitchfork: What made you decide to do the "Cannonball" cover?

L: When Adriano started playing the bass [after bassist Ira Trevsan left the band], he was like, "which is my favorite bass sound?"  He bought the same thing that Kim Deal has. The active [pickup]. What's the name of that one? Music Man?

Pitchfork: Oh, man, I dunno. I think so.

L: He bought the same thing, and then he was like, "let me see if it's the same sound!" And then we just started playing! The covers we've done so far are very different from the original tracks, but this one we're just playing in rehearsal.  I think it's kind of hard to sing "Cannonball" in a different way, because the song is a big part of our lives. That record, Last Splash, we've loved for such a long time, and it was just natural to do it the same way, exact replica. Like a covers band from a restaurant.

Pitchfork: [laughs] Yeah, it's a very reverent cover.

L: Yeah, when we were recording the vocals, we were like, "let's do something different," but it was impossible.  

Pitchfork: I can see that. This kind of music, the mid-90s alternative stuff, are you personally a fan of it?

L: Yeah!  My parents are great, but unfortunately, they were never crazy about music. So I just started listening seriously when I moved to Sao Paulo when I was 16. I used to live with five girls that I never saw before, and one of the girls was a DJ. Her DJ name was "Lou Riot", because she just DJd riot grrl bands. And I really started liking Luscious Jackson and Sleater-Kinney. Those were the first bands I liked. I started researching more, and I found the Breeders and Liz Phair and Veruca Salt and all those girl bands.  

Pitchfork: Is there something about that era of music that you're drawn to, or that you know Adriano is drawn to?

L: I think Adriano is drawn to it because that was what was happening when he was, I dunno, 18. And it was something that he always loved. But it's not just him. All the girls, we really like Pixies and Sonic Youth.  Everybody has different music tastes, but we all really share this same taste.

Pitchfork: There's certainly fewer references to pop culture than the last time out. Was there any reasons for that?

L: No. We all knew that this kind of question would come up, and I think this kind of question would come up even if we wrote about a celebrity like Lindsey Lohan and Samantha Ronson [laughs]. We never wanted to be a thematic band, and so we're free to talk about whatever we want. If you want to someday become a serious band or go back to being a silly band, we can do that because we don't have themes. And it would be quite stupid, too, to become a TV sketch. Like, "here's a sketch about dirty words, and a sketch about celebrities." But we still love this kind of thing. It just didn't make any sense to talk about those themes again, because we didn't want to.

Pitchfork: Having a good time is once again central to the lyrics, maybe even moreso. For example, there's a song called "Jäger Yoga". I would love to hear the story behind that one.

L: It was the first song we did on this record. We did it a long time ago, in April last year. This is the song everybody wrote. In this song, we talk about John Waters, because we like him. We talk about pop stuff, like Patsy and Edina, you know, the English sitcom Ab Fab [Absolutely Fabulous]. Because the song had different lyrics before, and then we worked together in the studio and we started talking silly things to finish the song.

The title came before the song, because [guitarist Luiza Sá's sister], she's a yoga coach, and once she was at a show in San Diego, or L.A. and she was very drunk. She was like, "Hey, look, girls! You wanna learn some yoga?" And it was very funny; it was about the time we thought Jägermeister was the best thing ever. We were just drinking lots of Jäger bombs and doing yoga, and we thought it was so funny.

Pitchfork: That is funny. Speaking of which, I understand the name of the album has something to do with your old manager? And it's not such a nice thing?

L: Yeah, first of all, we wanted to have a one word name for the album, because it was such a mess-- Cansei de Ser Sexy-- we wanted to keep it simple. And then a friend of ours called, she used to sell merch for us, and she's just very funny. She's Brazilian, but she speaks English with this crazy accent, and she'd just say like, [affects silly accent] "Listen! Listen! You're a donkey! You don't know your t-shirt size? Bye! You're a donkey!" [laughs] She would just call everything "donkey." Like, "Oh, this water bottle is very donkey." We thought it was very funny.

And then it was just another relation to our past year, that this guy who used to take care of our business was the worst person ever to take care of it. He mismanaged us completely, left us in a mess. We were just working like donkeys carrying bags of sand and not getting anything back. It makes sense.

Pitchfork: Is there any reflection of that on the record?

L: I think it has to do with a phase, and everything that we've been through regarding this guy was very stressful. I think that's reflected in the lyrics on the album, because we still talk about it today, and it won't leave us so fast.  So it is on the record.

Pitchfork: Your bassist Ira Trevisan recently left the group, and you're now operating as a five piece. How has that transition been?

L: It was a very good thing, because even when we finished the first album, I remember she came to work and she said, "hey, I don't know if I'll be able to play with you all for the second one." I was very turned off because we were all so excited, and she was, like, throwing a bucket of cold water. But you know, she wasn't into... she didn't want to be in a band anymore. And that was obviously holding us back. That's why we also never made new material earlier, because she just didn't want to.

Now it's very good, because everybody is on the same page, and I really think we sound better because we didn't play very well [as a larger band]. And Adriano is a great drummer as well, so it's just very good.

Pitchfork: I notice she's not credited in the liner notes. She doesn't play on Donkey at all?

L: No, not at all. She didn't play; she didn't write anything ever.  

Pitchfork: Are you all living in the same place now, or are you sort of spread out when you're not touring and doing all this stuff?

L: We all live in London, except miss Luiza, she lives in New York. Which I think is quite hard for her, because most of the time we're in Europe. She just went to New York to spend two days, and then coming back... it must be very bad.

Pitchfork: Do you get to see a lot of each other when you're not touring and recording?

L: Not yet, just because I still feel a bit tired from all the touring last year. Or from something [laughs]. So I really like staying at the house or riding my bike. And we don't live that close, not in the same area. But I talk to them every day. They're like, the only friends I have besides my boyfriend. [laughs] It's true! It's good that we get along so well-- we have to spend time together, so it's better that we have a good relationship.

Pitchfork: Are you looking forward to getting out on the road again? You're doing some shows over here with the Go! Team, which seems like a really good fit.

L: Oh yeah. We tour a lot in Europe, so it'll be good to go back to America on tour. It's so different, and so good, because it's like a refresh. I'm very excited because we're going to have [Kansas City electro-disco act] SSION supporting. That was something we made a huge thing for, because we were watching the videos on YouTube and enjoying it so much.

Pitchfork: Yeah, they're great. A sight to behold.

L: I never saw them live. But they're from Kansas City, where Peggy Noland, the girl who does my outfits, is from. They know each other and are friends, which I though was a great connection. We're excited to tour with them, we really like them.

Pitchfork: Another good fit. So I understand CSS remixed the new Bloc Party single, "Mercury"?

L: Yeah.

Pitchfork: You all have so many remixes to your credit, but they're always billed to just CSS rather than individual members. Since there are so many band members, I'm wondering: when you guys do a remix, who does what?

L: Adriano does them.

Pitchfork: Gotcha.

L: I thought it was a very different song [for Bloc Party]; I was surprised. I saw the video yesterday, too, with those apes.

Pitchfork: Yeah, they're not like they used to be, that's for sure. Have you heard the remix?

L: Yes, it's done. But the thing is that Adriano is making one, and then he says that he takes too long, and then he thinks it's shit. And then he makes another one in 20 minutes and he loves it. So I don't think I heard the final one. It's good! It's dance-y!

Pitchfork: The original song is kind of jarring. Danceable would kind of help, I'd think.

L: Yeah, I thought it was very weird! I think they're really changing their ways. They started as an indie rock band, and now they're... something else.

Pitchfork: That's definitely true. So what's next for CSS? Are you looking beyond the release and the tour at all? Or is it way too early to say?

L: Yeah, I think it's too early. I'm excited about doing videos for this. We're going to do one very soon for "Move". I'm very excited about it. This time, we have very good management behind us, and I just feel that everything we're going to do is coming back to us. It's not just something we're throwing out on the wind, and god knows what will happen. You put so much energy into it, and then when you play the shows, if it was a good show it'll come back to you. But apart from that, if you have bad management, you're just fucked up. I'm just happy to be in good hands. I'm very excited about Japan. But we're always excited for Japan, and this time, we'll have time to shop!

Pitchfork: [laughs] Are you doing a proper tour there?

L: Yeah, we have actually planned that for later in the year.

Pitchfork: Do you expect to be on the road for the rest of 2008?

L: Yeah, we have the whole year scheduled until the end. It's not as much as last year... but it's just as much. [laughs]

Pitchfork: I'm amazed; you mentioned before that you were sort of tired from touring even from last year, and now we're talking about going out and doing it all again.

L: It's just because the record didn't come out yet. You know, for us it did, because we finished it a long time ago, but for nobody else. I just can't wait for this record to come out.

CSS:

07-16 London, England - Koko (iTunes Live Festival)
07-18 Madrid, Spain - Summercase Festival
07-19 Barcelona, Spain - Summercase Festival
07-27 Niigata, Japan - Fuji Rock Festival
07-30 Minneapolis, MN - First Avenue *^
07-31 Milwaukee, WI - Turner Hall *^
08-01 Chicago, IL - Grant Park (Lollapalooza)
08-02 Chicago, IL - House of Blues &
08-04 Montreal, Quebec - Osheaga Festival
08-05 Toronto, Ontario - Phoenix Theatre *^
08-07 Philadelphia, PA - Trocadero *^
08-08 Jersey City, NJ - All Points West Festival *
08-09 Worcester, MA - The Palladium *^
08-10 Atlantic City, NJ - House of Blues ^!
08-16 Helsinki, Finland - Flow Festival
08-22 Leeds, England - Leeds Festival
08-24 Reading, England - Reading Festival
08-31 Dublin, Ireland - Electric Picnic
09-05 Isle of Wight, England - Bestival
09-11 Monterrey, Mexico - Uma Bar
09-12 Mexico City, Mexico - Vive Cuervo Salon
09-14 Morrison, CO - Monolith Festival
09-15 Salt Lake City, UT - In the Venue #
09-17 Vancouver, British Columbia - Commodore Ballroom #
09-18 Seattle, WA - Showbox #
09-19 Portland, OR - Roseland Theater #
09-20 San Francisco, CA - Treasure Island Music Festival
09-22 Los Angeles, CA - Mayan Theatre #
09-23 Los Angeles, CA - Mayan Theatre #
09-24 Pomona, CA - Glass House #
09-25 Tucson, AZ - Rialto Theater #
09-27 Austin, TX - Austin City Limits Festival

* with the Go! Team
^ with Matt and Kim
& with Bloc Party
! with Natalie Portman's Shaved Head
# with SSION, Tilly and the Wall