Die R'n'B & Soul-Hoffnung aus L.A. - Vintage Trouble Interview + Livefotos

Unsere griechische Redakteurin Ioanna hat die Jungs der Soul-Hype-Band "Vintage Trouble" aus L.A. am 03.12.2011 im Lido getroffen, ihnen die Geheimnisse ihres Erfolgs herausgelockt und weiß nun, was Soul und Death Metal gemein haben.

Who are you and how did you start making music?

Ty Taylor: My name is Ty Taylor, I’m the lead singer for Vintage Trouble. I started with music singing in church when I was 5 years old and I fell in love with Rock ’n’ Roll and soul once I really started writing in college.

Nalle Colt: I’m Nalle Colt and I’m the guitar player, I started playing music when I was about 11 years old. I heard Beatles on a record and I fell in love with rock’n’roll music

Rick Barrio Dill: My name is Rick Barrio Dill and I’m the bass player in Vintage Trouble, I similarly to Nalle started playing music at a really early age and basically I recognized right away, it was doing something to me that nothing else, was doing. It was just emotionally affecting me in a way that nothing else I was doing and playing as a kid affects me. So what just happens to you… you almost feel that in some ways you don’t have a choice.

Richard Danielson: Hi, I’m Richard Danielson. I play drums with Vintage Trouble. I started banging on pots and pans when I was a very young kid, on carburetor boxes and the back sit of the car driving my sister crazy. I had a passion for music for as long as I can remember. I couldn’t really afford drums until I was at my teens, so I got a little bit of late start. But certainly not my listening years. I was passionate about music since I can actually recall and I’ve been crazy about it ever since.

You mentioned already some of your preferations in music, how does this influence you now, how do you take it into your music? Because there is a discussion going on about Vintage Trouble having this sort of match point in them.

Nalle: We play music from our heart and not make it so complicated. Maybe just play: And there is something when you play and you get so hard for some reason. We just make it simple. Play it and we try making it simple. We’ve always been in love with early music from late fifties and early sixties. Something in that simplicity is very beautiful.

So you all love this time for its simplicity?

Ty: We love that time. Because it was a time in the world in general where a lot of changes happened and there where less defined lines. And that’s what we love about the early Rhythm and Blues and we like to say Rhythm and Blues rather than R’n’B, because nowadays people consider R’n’B to be something else. But yeah it’s so infectious because you feel something that you hadn’t felt in your body before. A lot of the things that we do as far as we … by the people that we are inspired by, isn’t so much melodies or their music or the trumpets because music is a feeling for us and we like to create things the way music makes us feel. The way the music we heard fired us to make music. So we love Ike and Tina Turner, we love Rolling Stones, Led Zeppelin, Little Richard, Chuck Berry, mainly because of the way they make us feel and the way it makes your body vibrate. This is what we are trying to accomplish. It‘s a feeling more than anything technically.

We heard this special "live feeling” on your records – do you try to keep it as live as possible in your studio sessions?

All: This is our goal.

Richard: We are definitely a live band. For us the songs, if they are truly going to be alive and organic, they are growing in sort of changing every night. It’s gonna be a little different, it’s gonna be interpretation based on when we play it, where we play it, who‘s in the room, and so it should be a little different every time. One of the things that we are proud of ourselves of is that it is happening at recordings. Just like taking a snapshot of the day, but catch us later: our hair might be long, we might wear different clothes but the recordings, obviously, you’re gonna want to make something that leaves a mark on its own as well.

Nalle: So we like to record live in the studio, the most parts are live as we pass the cam. I think the people unconsciously can feel that - you know -, even if you’re not an average music listener, you can tune in, in that vein sort of a live situation, and you might feel in a certain way, and you may not know what kind of feeling it is you’re having… you can’t define it. I think this comes from live music and that’s why people respond so well to live music.

You played in the States a lot, now you’re set in the UK, how do you deal with different audiences?

Nalle: We actually haven’t played that much in the States like everybody thinks, we only been together for almost a little less than 2 years, and we only played pretty much in Los Angeles, where we come from in California. We couldn’t really afford to travel when we started the band so we just stayed in town and residence. In some places, where we were playing 5 times a week and getting great crowds in L.A. But after that when we came to the UK and we spent about 8 months of this year over at the UK. We pretty much tore the country about 5 times around and it’s been amazing and now we’re getting to Europe…

Ty: The difference though, that we have definitely noticed is that in the States people because they feel that they own you and because we started in L.A., is kind of a very familiar… it’s like they  moved the way we know that the people move. We came to England, thinking that the people were going to be more conservative but they were less conservative than we thought. They were looking for a reason to be wild. So it’s nice to see the unleashing of that happening. And we have so many trim videos that we‘ve seen of concerts of old soul bands coming to Europe, and seen this unleashing happening, it’s great to see it happen with us. And the last night, although it was our first headline show in Germany, the difference it was that the people were dancing like they were at a dance club rather than being at a dance concert. I don’t know if that’s because the people in Germany or the venue they put us in. At last night we played at a soul venue. It was great. People came to dance and not to rock out. It was thrilling. We make music so that people can dance. We were in an odd configuration and some were new to us but still we want to go further because we saw the people dancing and dancing and dancing.

How do you appeal to "difficult" or special audiences – mods for instance?

Richard: Our audience is very diverse… sometimes we have 3 generations; we have a grandma, a mum and a daughter all at the same time. I think something about Rhythm and Blues and Soul is that you can be a Speed Metal fan, or you can be a Jazz fan or Classical fan but there is something about this genre of music that you’re not gonna be able to walk away and say too much about it… As far as hitting it, so you’re gonna be fine with it… It’s pretty… it’s not such specific that the mass can’t enjoy it. We’re really finding that everywhere you go, we find acceptance because we play a music that everyone can find something about that, they like. That‘s probably because most modern music stems from pretty close to the time of the roots of the music, we’re playing, so our music is stemming from this time.

Rick: We’re lucky enough to play together... To Richard’s point, if you’re into Hip Hop or into Country or Speed Metal, some when we perform probably identify with a thread that we are going to throw in there at some point. It’s a 2 hours show, so give it a shot.

Nalle: I think too, we’ve been so fortunate and it’s been amazing that this different crowds have actually liked it and Heavy Metal guys to Soul guys, and you know, we are just trying to play music and trying to do it with as much energy as you can do for a night, sometimes it comes out a little crazy, but you know, I think people appreciate that we are trying to give everything we have, we love that what we do, it’s the best job.

What about the "protest rally"?

Ty: Second time this comes up in a day! When we were recording, after the Bomb Shelter Sessions we went on to record a second string of songs that we had written and while we were there, we were watching the documentary from the late 1960’s and it was about how music inspired, well they were questioning whether the music inspired the liberation movement or vice versa. And so there were so many spirituals happening at the time and people were coming together they would hold hands right over left, they would sing "We Shall Overcome” and sit out in front of political buildings, government buildings, not let people come through and would sing songs. And we thought how cool it would be to spirituals not only be sung in churches today, so a microphone was up, I started singing, filtering in… All of sudden we has this palm… and not only that, people in the studio visiting, started singing along as well, and it became the "World’s Gonna Have To Take A Turn Around”. And the more we use this song, we’re letting the people know, that we are in charge to make it to a better place. We like it if we’ve done something to help this movement to turn the world from an angry place to a place with more peace and more love. Sometimes if you preach to someone, they don’t get it, but through a song all of sudden they get the message, without knowing that they were moving for it, for understanding the message.

Es folgen Liveeindrücke - ganz vintage mit einer analogen Kamera geschossen, entwickelt und eingescannt. Endgeil.


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