{"id":674,"date":"2014-07-18T00:00:00","date_gmt":"2014-07-18T00:00:00","guid":{"rendered":"https:\/\/dev.nysmusic.com\/2014\/2014\/07\/18\/interview-justin-rice-opens-up-about-bishop-allens-new-album-lights-out-moving-upstate-and-designating-a-time-frame-to-the-muse\/"},"modified":"2014-07-18T00:00:00","modified_gmt":"2014-07-18T00:00:00","slug":"interview-justin-rice-opens-up-about-bishop-allens-new-album-lights-out-moving-upstate-and-designating-a-time-frame-to-the-muse","status":"publish","type":"post","link":"https:\/\/dev.nysmusic.com\/2014\/2014\/07\/18\/interview-justin-rice-opens-up-about-bishop-allens-new-album-lights-out-moving-upstate-and-designating-a-time-frame-to-the-muse\/","title":{"rendered":"Interview: Justin Rice opens up about Bishop Allen&#8217;s new album &#8216;Lights Out&#8217;"},"content":{"rendered":"<p>The streets you know come to define you, especially if you\u2019re Justin Rice and Christian Rudder, who lived in a house on Bishop Allen Dr. The two met in an English class during their sophomore year at Harvard, and have come a long way from making music in their dorms. In 2008, they were featured in the generational cult\u00a0movie <a href=\"https:\/\/www.youtube.com\/watch?v=EAoK_eNRLpw\">Nick and Norah&#8217;s Infinite Playlist<\/a> which\u00a0amassed them a sizable fan-base, but surprisingly enough, the band went on a hiatus after releasing their third studio album <em>Grrr&#8230;<\/em>, leaving fans to wonder if they&#8217;ll ever hear from them again. Five years later, Bishop Allen is finally back with a new \u201csad party record.&#8221;<\/p>\n<p><img loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-247268 aligncenter\" src=\"https:\/\/dev.nysmusic.com\/wp-content\/uploads\/2018\/01\/10417827_847680141908699_4162251606963353192_n.jpg\" alt=\"justin rice\" width=\"851\" height=\"315\" data-wp-pid=\"247268\" \/>When I spoke with Justin over the phone (after staying up the night before trying to remember the password to my YouTube account so I could take down my graduation montage set to &#8220;<a href=\"https:\/\/www.youtube.com\/watch?v=_LpmrZbTu1o\">Click, Click, Click, Click<\/a>&#8220;), he was humble, honest, and witty. I got the scoop on\u00a0<em>Lights Out<\/em> and moving to Kingston (where &#8220;Start Again&#8221; was shot). We also talked about collecting vinyl and the return of the cassette.<\/p>\n<p><iframe loading=\"lazy\" title=\"Bishop Allen - Start Again (Official Video)\" width=\"500\" height=\"281\" src=\"https:\/\/www.youtube.com\/embed\/T9gwOsBoXDk?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe><\/p>\n<p><b>Gauraa Shekhar: <\/b>You guys have definitely moved around a lot. Starting in Cambridge, where you guys went to college, then <a href=\"https:\/\/nysmusic.com\/site\/category\/regions\/metro-nyc\/brooklyn\">Brooklyn<\/a>, followed by the big move Upstate to Kingston in 2009. Would you say that each city you\u2019ve lived in has influenced your sound?<\/p>\n<p><strong>Justin Rice<\/strong>: In addition to those places, we\u2019ve also lived in Virginia and Austin. In each environment, there were different interactions with people and different ways musicians interacted with each other. In New York City, there were a million bands and it was an environment where everyone was just really competitive. As a band, you\u2019re always trying to figure out how to be as good as you can be in order to stand out from all the other bands around. Whereas in Kingston, it\u2019s a very cooperative environment and it\u2019s easy to collaborate with people. I think those different relationships affect the way that you sound.<\/p>\n<p><b>GS<\/b>: I know in Syracuse, besides the random assortment of touring artists (ranging from EDM to jam bands to Aaron Carter), there\u2019s quite a local scene. What is the music scene like in Kingston?<\/p>\n<p><strong>JR<\/strong>: There\u2019s a place here called <a href=\"http:\/\/bspkingston.com\">BSP<\/a>\u2014I don\u2019t know how long it\u2019s been open\u2014we\u2019ve lived in Kingston for maybe four years now and in the past year and a half to two years it\u2019s grown into a really vibrant hub for local music here. Not only is it great for local bands, but it has also turned into a real stop for a lot of touring bands so there are good shows every night. It just always seems like a community supported space and a very engaged and active group of people show up to a lot of shows. It\u2019s almost like a normal social event as opposed to in the City where there\u2019s so much stuff going on that you\u2019d only go to a show if you were really interested. In Kingston, people are more open and supportive of the space and bands that are playing here.<\/p>\n<p><b>GS:<\/b> Eight years ago, Bishop Allen recorded and released an EP every month for a year. You did the same thing with <em><a href=\"http:\/\/www.thelastnames.com\">The Last Names<\/a><\/em>\u2014where you and your wife Darbie released one cover a week for a year. Would you say designating yourself a time frame is more effective when it comes to the creative process rather than sitting around waiting for a muse?<\/p>\n<p><strong>JR<\/strong>: Yes. For me, having a structure and a set of goals is definitely an effective way to write and record songs. When moments of inspiration come to you, you have to make sure to grab a bunch of them. You have to grab on to a song idea, a lyric idea, a melodic idea and somehow make a record of it whenever the \u201cmuse\u201d speaks to you, but to actually take some sort of fleeting inspiration and turn into a finished product is a matter of sitting down with whatever thought you had and seeing it through. A good way is to sit down every day and work with the material that you have and grow it into a finished product. It\u2019s nice because when you\u2019re working on a daily basis, you&#8217;re basically taking the whole giant process of creating a record and turning it into a series of tiny, tiny decisions \u2014 it\u2019s a lot easier to deal with than giant overall decisions.<\/p>\n<p><b>GS: <\/b>Were you working on Bishop Allen material simultaneously along with the Last Names and other projects?<\/p>\n<p><strong>JR<\/strong>: No, not really, which is part of why it took so long to put out this record. For me, it\u2019s really hard to do two things at once. So it\u2019s always like\u2014focus on one thing and put it down, then focus on the next thing, then put it down.<\/p>\n<p><b>GS:<\/b> Rumor has it that Bishop Allen finished recording <em>Lights Out<\/em> last December. What led you guys to wait almost a year before releasing it?<\/p>\n<p><strong>JR<\/strong>: We finished <i>recording <\/i>it last September, and we finished mixing it around January and then we turned it into the label and they chose this release date for us. They have to schedule our release date\u2014they have a lot of other releases that they\u2019re dealing with and they don\u2019t want to put them all out on once\u2014there\u2019s almost like a queue that you wait until it\u2019s your turn. They already had releases scheduled all the way up until\u00a0August basically on the day that we turned the record in.<\/p>\n<p><b>GS: <\/b>You guys originally started out without a label and\/or publicist. What made you change your mind about the DIY aesthetic?<\/p>\n<p><strong>JR<\/strong>: I feel like we still do a lot ourselves\u2014we\u2019re very engaged in every single part of the process\u2014from recording the music, mixing the music, releasing the music, making videos, all of the stuff\u2014we\u2019re still very hands on. That said, when we first started out, we didn\u2019t have a choice. It\u2019s not like you wake up one day and start a band and automatically get all of the support that you want\u2014you have to earn it\u2014go and tour and make people want to work with you. We worked on our own for so long that we found a way of doing it that we were really happy with\u2014we weren\u2019t actively seeking labels, but at some point in the middle of the EP project in 2006 that you mentioned, people started coming to us. We\u2019d meet with most of them and we could tell that the relationship wouldn\u2019t be perfect, and since we\u2019re happy doing it on our own, we were planning to stay that way. Eventually the label that we did sign with, Dead Oceans, approached us, and the impression they made was different from any other label made\u2014they were very forthright, very clear, had a good vision, and seemed to proceed from a simple common sense point of view, so it seemed like they would be good people to work with specifically. The reason why we signed with them was because they seem to be doing things right. Dead Oceans is a part of the whole group of labels\u2014Dead Oceans, Secretly Canadian, and Jag Jaguwar\u2014they\u2019re doing great\u2014they\u2019re putting out great records and getting them out in a way that artists couldn\u2019t do themselves. Finding a good relationship and knowing that the people you\u2019re working with can help you exceed beyond what you\u2019re doing on your own.<\/p>\n<p><b>GS: <\/b>Is there any other band on the label you can say you\u2019re particularly a fan of?<\/p>\n<p><strong>JR<\/strong>: The last record that just came out on Dead Oceans\u2014it just came out last Tuesday\u2014Strand of Oaks\u2014that record is amazing!<\/p>\n<p><b>GS: <\/b>Would you say the recording process is more laid back in Kingston than it is in Brooklyn?<\/p>\n<p><strong>JR<\/strong>: A lot of times, we\u2019re just tinkering in the recording studio and whether that studio is in Kingston or in Brooklyn, it doesn\u2019t really matter because it\u2019s not like we\u2019re booking studio time and hearing the pressure of a ticking clock. That being said, life up here in general is a little easier, so it does spill over into the recording process. For instance, when we\u2019re in the middle of recording, and trying a bunch of stuff on computers, preamps and microphones, the process is kind of the same in both places. But when we take a break from that process here in Kingston, we stroll outside and we\u2019re in the woods, and it\u2019s more peaceful and much more relaxed.<\/p>\n<p><b>GS: <\/b>As former math majors, do you guys have a tendency to look at your music from a very technical standpoint\u2014like focusing on cadences and all?<\/p>\n<p><strong>JR<\/strong>: Well, I was not the math major\u2014Chris Rudder was; To me, though, there is a lot of mathematics in music\u2014and a lot of songs on this record, for instance, have a lot of synthesizers on them\u2014and synthesizers are all based on frequency modulations and sound wave forms. There\u2019s a physics to taking two oscillating sine waves and running them through the parameters to make a sound wave that has the shape that you want. Definitely in learning how to use those synthesizers, there was an understanding of the physics of the sound\u2014that\u2019s very helpful in terms of being able to craft the actual sound.<\/p>\n<p><b>GS:<\/b> Lights Out has a very cool packaging\u2014it\u2019s a thoughtful collectible without being overpriced and gimmicky. The deluxe bundle pack comes with the CD, a white vinyl and a glow in the dark custom print poster (which definitely highlights the theme)\u2014all under $23. What made you choose this layout rather than, say, pressing the album on vinyl mixed with blood and tying it together with custom art prints, like a lot of artists are doing these days?<\/p>\n<p><strong>JR<\/strong>: I feel like at this point there are a lot more people who are interested in vinyl as an artifact\u2014as something that you can collect, and I think that the urge to collect is a little more pragmatic than it used to be\u2014the idea of making something that\u2019s really expensive appeals to a very, very small segment of people who can afford the luxury of buying it\u2014it\u2019s an approach that I understand. But we wanted to make a collectible item that\u2019s really just accessible to everyone\u2014that feels special and limited but what makes it limited is not necessarily the price point\u2014it\u2019s an easy collectible that you can reach and doesn\u2019t feel insane. Part of that is, I think, that we want to make cool things that you can enjoy\u2014like a cool poster on your wall? Great. But I just don\u2019t feel precious about it\u2014it\u2019s not something that should be put in a museum.<\/p>\n<p><b>GS:<\/b> I know you\u2019re vinyl collector yourself. What are a few of your most prized records?<br \/>\n<b><\/b><\/p>\n<p><strong>JR<\/strong>: I would say, \u201cWanna Buy A Bridge?\u201d which is a compilation of early Rough Trade singles. \u201cNo New York\u201d, which I have on vinyl, which is the Brian Eno produced compilation of early no wave dance in New York. A lot of the records I have, I listen to them, love them, but I don\u2019t set aside the most expensive, rarest records. I love Astrud Gilberto, but there are not that many records that she put out, but those are like the records I listen to all the time; or like every Bob Dylan record, but I don\u2019t necessarily own the most premium, first edition unless I accidentally stumble on them. I collect records to listen to more than anything else. That said, those two records that I mentioned initially are pretty hard to find. They\u2019re really, really good.<\/p>\n<p><b>GS: <\/b>A lot of the newer indie bands are now coming out with eight-track cassettes\u2014what are your thoughts on that? Do you think cassettes are going to make a comeback too and hit\u2014dare I say\u2014the shelves of all the Urban Outfitter\/Hot Topic stores?<\/p>\n<p><strong>JR<\/strong>: (Laughs) I doubt it. The thing about it is that an eight-track player is a hard thing to find. I think before they actually make a comeback, there has to be someone who decides to manufacture eight-track players. But it\u2019s kind of the chicken-and-egg thing\u2014I think that there are definitely downsides to the eight-track format that prevent it from lasting\u2014I think it\u2019s an outdated technology. Any tape format wears out faster than vinyl\u2014you listen to it too many times and you\u2019re degrading it till it eventually stretches out and it won\u2019t last generations. Secondly, with an eight-track, there is a problem when it plays\u2014you can\u2019t fast forward. So if you have your favorite song on an eight-track on one side and you want to listen to it, you have to flip the tape and listen to the other side an equal amount so it rewinds the tape back, and then you can hear your favorite song again. It\u2019s practically because you can\u2019t choose your entry point\u2014you\u2019re forced to listen to it from A to B without having much control over basically where you drop the needle or where you skip to track-wise. It\u2019s a really difficult format to actually listen to.<\/p>\n<p><b>GS: <\/b>Hey, as long as it looks good on your shelf, right?<\/p>\n<p><strong>JR<\/strong>: (Laughs) Hey, definitely, it\u2019s cool. I\u2019m not opposed to eight-tracks, I just don\u2019t really see them coming back.<\/p>\n<p><b>GS:<\/b> A lot of the indie bands today have signed hefty sync deals with publishing companies. Would you guys consider trusting a company to place your songs in other media?<\/p>\n<p><strong>JR<\/strong>: I doubt it. I guess it would depend on the company and what offer it was, but it would really depend on the company as it\u2019s hard to imagine giving away the rights of something that you create. It\u2019s hard for me to picture that as a good idea. Historically, it\u2019s been a bad idea for a lot of people. In the music industry, a lot of corporates took advantage of artists who didn\u2019t understand that they were signing away their rights to songs and they turned those into giant mega corporations and left the actual creator. I mean, I obviously wouldn\u2019t sign a deal like that but that is sort of the idea\u2014you\u2019re taking something that you\u2019re creating and selling it to someone without ever knowing what the value of it might end up being. On an economic level, it might make more sense, but on a spiritual level, it doesn\u2019t feel great to know that you no longer are in possession of the actual publishing of this thing you wrote and someone who doesn\u2019t even write music is.<\/p>\n<p><b>GS: <\/b>\u201cClick, Click, Click, Click\u201d has been featured in a lot of movies. Did you have a say in all of that?<\/p>\n<p><strong>JR<\/strong>: Yeah! There is a company that handles licensing for us\u2014Bank Robber Music\u2014they handle licensing for thirty labels\u2014hundreds and hundreds of bands. They try to pitch songs for placement in movies where they think they\u2019ll be appropriate, but they\u2019re always working with the artist they\u2019re representing so they\u2019ll check in and say, \u201chey, this TV show is interested in licensing your song\u2014would you want to do it?\u201d. It\u2019s always done very knowingly with both sides being very, very clear about what it is that is going on.<\/p>\n<p><b>GS:<\/b> You\u2019ve actually licensed that song for <a href=\"https:\/\/www.youtube.com\/watch?v=5iovO2ADgnk\">a Sony ad<\/a> before. If you could pick an ad to have your new songs featured in, what would it be for?<\/p>\n<p><strong>JR<\/strong>: I feel like a lot of the times when you\u2019re licensing your song for a commercial, it does lessen the value of your song. You usually do it out of necessity\u2014it\u2019s more about the money than the exposure. It\u2019s a way to keep making what you make\u2014also, most of the songs that I write, for instance, I don\u2019t think they need to be protected\u2014they\u2019re not some sort of treasure that you hoard or put a moat around to make sure that you never diminish their value by licensing them to some corporation. But at the same time, I don\u2019t know that there\u2019s an ideal ad. There are terrible ads and then there are ads that are okay. The two places that I\u2019ve seen have a cooler take on music and use it in ways that seem interesting and seem to actually appeal to me for instance are Volkswagen ads and Apple ads. They seem pretty smart about what they use and how they use it\u2014but even then, it\u2019s not that different.<\/p>\n<p><b>GS: <\/b>Yeah, the other day I just saw Elliott Smith being used in a diaper commercial and I was cringing as I was watching it.<\/p>\n<p><strong>JR<\/strong>: Anytime I feel like, \u201cI can\u2019t believe they\u2019re using Elliott Smith to market diapers\u201d, it\u2019s also like, I\u2019m the person in front of this TV being marketed to by this diaper commercial. It feels bad, but that\u2019s part of the point, I guess.<\/p>\n<p><b>GS:<\/b> The release party for the new album will be held at Brooklyn venue Glasslands on August 21st. Any specific reason you guys chose to kick off with a 21+ show?<\/p>\n<p><strong>JR<\/strong>: No, we just wanted a venue we were happy with in New York City and I feel like 21+ in New York City is a different animal than 21+ in a lot of places because, honestly, if you want to get into the show, you can get in no matter what the age is.<\/p>\n<p><b>GS: <\/b>Actually, Glasslands happens to be one of the strictest venues in Brooklyn where age policy is concerned. They&#8217;ve been hosting a lot more 18+ shows this year, though.<\/p>\n<p><strong>JR<\/strong>: I wasn\u2019t aware of that! Definitely, I\u2019d like for all of our shows to not be 21+, and whenever possible, we try to make that happen but sometimes by mistake, or because of the lack of suitable options, we have to go with a 21+ show. I didn\u2019t realize that 18+ shows were an option. Maybe I can look into it and see if we can get that changed. Thanks for letting me know!<\/p>\n<p><b>GS: <\/b>What can we tell our readers to look forward to in the upcoming album?<\/p>\n<p><strong>JR<\/strong>: I think the new record is kind of a little different from anything we\u2019ve done before. This record was done altogether at once, so I think it\u2019s rather coherent. Mood-wise, I think there\u2019s a certain sadness to a lot of it, but it\u2019s sort of a party record\u2014it\u2019s a sad party record.<\/p>\n<p><b>GS: <\/b>A sad party record?<\/p>\n<p><strong>JR<\/strong>: Yeah, in a good way. That sounds weird, but what I mean is that a lot of it is pretty upbeat and dance-y and it\u2019s fun, but it acknowledges a certain sadness at its core. It\u2019s a melancholic dace record I guess. Definitely, there are some different sounds\u2014some synths that we had never explored before and I think that it\u2019s kind of hard for me to pinpoint.<\/p>\n<p><i>Lights Out<\/i> will be out August 19th on Dead Oceans. Pre-order it <a href=\"http:\/\/www.scdistribution.com\/bishopallen\/\"><i>here<\/i>.<\/a><\/p>\n","protected":false},"excerpt":{"rendered":"<p>The streets you know come to define you, especially if you\u2019re Justin Rice and Christian Rudder, who lived in a house on Bishop Allen Dr. The two met in an English class during their sophomore year at Harvard, and have come a long way from making music in their dorms. In 2008, they were featured [&hellip;]<\/p>\n","protected":false},"author":8,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"_breakdance_hide_in_design_set":false,"_breakdance_tags":"","footnotes":""},"categories":[6,70,9,10],"tags":[1311,1312,1313],"class_list":["post-674","post","type-post","status-publish","format-standard","hentry","category-features","category-interviews","category-special","category-upstatelive-archives","tag-bishop-allen","tag-justin-rice","tag-lights-out"],"acf":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v27.9 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>Interview: Justin Rice opens up about Bishop Allen&#039;s new album &#039;Lights Out&#039; - NYS Music 20\u200b14<\/title>\n<meta name=\"description\" content=\"In a interview with Justin Rice we get the scoop on Lights Out, his move to Kingston, Bishop Allen is finally back with a new \u201csad party record.&quot;\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/dev.nysmusic.com\/2014\/2014\/07\/18\/interview-justin-rice-opens-up-about-bishop-allens-new-album-lights-out-moving-upstate-and-designating-a-time-frame-to-the-muse\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Interview: Justin Rice opens up about Bishop Allen&#039;s new album &#039;Lights Out&#039; - 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