Features Mild High Club follows the steps of American music on “Skiptracing” by Phillip Mlynar · September 6, 2016
Mild high club. Photo by Isaac Sterling
“I took Cues from Miles Davis and Stely Dan and tried to surround me with people. After the time axis of the past year, who was infected last year, skiptracing is based on the idea of a private detective who is on the mission to track the” steps of sound and spirit of American music “.
Under Brettin's management, this fictional journey takes place via a seamless 11-song soundtrack, which is based on airy, relaxed, relaxed synthesizer lines, mixture of percussion patterns and airy vocals that offer clues to move the story. By asking a team of musical allies who were able to help with technical aspects – such as the persecution and mix of the album – Brettin was able to focus on playing around with various instruments without “sitting on a computer and tormenting too much things about clicking.” The result is a Sumptuou, S, Late Summer listen.
We talked to Brettin about digging deeply into the overarching concept of the album, and tried to meet Steely Dans' level of production, and the fateful day when he said goodbye to his demo band on Stones -Leader Peanut Butter Wolf.
What was the first song you recorded for the album?
The first song we wanted to record was actually “skip tracing”. Essentially we recorded the album chronologically. We had made a version that was a kind of test run that we wanted to work in the studio, and after that we just decided to do it.
What does the word “skiptracing” actually mean?
Well, there is a formal definition that is the task of finding a refugee that has skipped the deposit. But for me it was a bit like an allusion to this XTC concept -Sklarkarking, which means “fucking”. For me, Skiptracing is my own little la fantasy with a Detective from La-Wie A story of the type Philip Marlowe that I reflect my existence up here and learn everything that came in front of me to try to get a grip or inspiration. I think it is basically just a kind of box of boxes without actually buying the documents – I have the internet and I have this massive world that Los Angeles can fall back on. I thought I would write about it.
You mentioned XTCS Skylarkking. Was there other albums when writing skiptracing?
Quite everything from Steely Dan's discography, Supertramps Breakfast in America, and I think various other little psycho-nuggets. These were things that made me try this cohesion. I thought they were pretty phenomenal plates, and I hoped that it would be better than the first plate if I could reach this level – even if it came close.
Mild high club. Photo by Jamie Wdziekonski
What is it with Steely Dans Sound that influences it so much?
Just everything from the joke of poetry to the complexity of harmony. It is able to present this ultra-optimized and complex music and then make a joke about it. A few people may go over their heads, but it is somehow ironic – not in a super negative way, but in a very subliminal way. I like it about it. Like Supertramp: Instead of tongue cheeks, it can open something that is not too easy, that is layered, but still crystal clear, and you can hear all instruments.
Is what you relate to the song “Hommage” in which you sing with singing, “someone has already written this song and I was able to tell you where it comes from …”
Basically, it is the protagonist of the song that realizes that with all these combinations of chords and the like there is a specific progress in music theory that is shown in this poetry: progress is called a circle progress because it goes back to itself, and for some reason it is really to be heard. It is in a few songs. You will hear it in Charlie Parker and Salsa music – it is one of the most common progress. So it is a postmodern reflection that we are here in the next century and what remains? How can I expand that? Or can I even? It is this kind of question.
Do you think that many listeners record such texts?
I don't know. I would hope that some people will accept them. I have spoken enough about the fact that there is a picture of it when they look and are curious. Hopefully people will take over the exaggeration and there are some songs that may research a little more to get what they are about. But it doesn't matter to me that it is also open to interpretation.
Mild high club. Photo by Emily Quirk
You spoke about the attempt to take ski -off chronologically. Did it work out? Or did you have to move songs for the final sequencing?
No, it mainly happened. I think the first side of the record was the first session and I had written and adapted it chronologically, so that the next part of the next song would somehow link and make sense. Much of it had to do with harmonious sequences and to keep a steady beat or something with the mix. I had examined it a bit on the first album, but this time I wanted to create a long movement that is just a key.
The closing song “Skiptracing (REPRISE)” ends with one, which sounds like a sample of a train or any form of transportation.
I just wanted to get the city's noise after the examination, just somehow from the cave, which is like in the recording phase. For me, my investigative office is like a recording and writing location. I enjoy this imagination to have the feeling of learning more and more and romanticizing it as La Noir -without the bad things.
So if skiptracing was transformed into a film, who would you like to play your character?
Ha! Damned. I wonder … someone cool! Stephen Colbert or Bill Murray. It doesn't have to be younger, just someone with charisma.
Mild high club. Photo by Sam Shea
The album artwork also really seems to fit into the mood of the music, especially in the color scheme.
A friend of mine named Zack Goulet, an artist based in Chicago, did that.
Did you give him a brief overview of what you wanted from the album cover?
I gave him what the story was and mentioned certain elements in the songs that should appear on the album cover. But it was a rough idea like a matter of investigation, and it came back. It was the first thing he was doing and I couldn't believe it. He doesn't show much to his art, but I hope someone has and goes and finds his things because he is a hidden jewel.
Skiptracing from Stones Throw was released like Timeline. How did you get the label?
I worked on a plate and basically only went into the peanut butter office with a demo one in the morning, and that was it. I returned to Chicago, returned to my job in a deli and held on the timeline for a year. All the time, peanut butter called me from time to time and reminded me that he wanted to lay out the plate. Finally I came to LA and the rest is history!
What was on the demo you gave the peanut butter?
Almost almost everything from the timeline. There were only a few songs that I hadn't finished yet, but definitely the first single. Not much changed from the demo; It was a home admission and I didn't want to try to recode and remove it from his essence.
If you could work with someone else on the label, who would be?
Probably Mndsgn. This is my friend, and we are in the same headspace when it comes to decrypting and understanding the codes of jazz harbonies and understanding how they really drive a composition, but from a very educated point. We are able to take turns and curves without being blind.
– Phillip Mlynar
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