Interview with Colin Johnson of Vampire Hands
[photo by Adam Bubolz via MySpace]
Vampire Hands are no strangers to most Twin Cities’ independent music lovers. The band enjoys a strong fan-base, the support of independent media and fellow musicians alike, and considering the more refined direction taken on the band’s new album Hannah in the Mansion, it would seem as if 2009 would be the year in which Vampire Hands finally ascends above the underground. However, for all their triumphs, the band isn’t without their own set of tribulations. Such is life. Prior to the band’s upcoming August 14th release show for Hannah in the Mansion, Culture Bully’s Ryan Buege was able to connect with percussionist Colin Johnson to learn more about the inspirations behind the new album and the challenges that await these friends as they claim their rightful place among the local rock elite.
Ryan Buege: Hello Colin. How are you? What have have the members of Vampire Hands occupied yourselves with during the summer of 2009?
Colin Johnson: The summer has pretty much just blown right by. A lot of it has been spent decompressing after tour and working on new “material.” Chris B. and Alex try to spend as much time as possible at the many beautiful beaches around town; Chris R. and I have dedicated unknown hours to studying the finer nuances of early Van Morrison. We’re definitely entering our pale-curmudgeon-hanging-out-under-an-umbrella-at-the-lake phase.
RB: The Turf Club show on August 14th doubles as the release party for your new album Hannah in the Mansion. Can you describe the process of writing and recording for this new release?
CJ: Most of the songs were written in separate camps and were more fully formed structurally when brought to the band than on previous records. Little things would change here and there once we all started playing them together, but we never really rehearsed anything too much, just trying to keep it as fresh as possible. We did a lot of it in a one night session with a few cases of beer and a brief sabbatical for a last call shot. “Funny Stories” is largely benefited by that little foray. It was the first album we’ve done where we were all in the same room, no headphones, no walls, no glass. Even if the writing was a little more insular, the playing feels way more like buddies to us, which stands in nice contrast to a lot of the lyrical themes.
RB: Never having talked to you guys personally, I’m interested where your artistic influences come from lyrically and musically. How was the mood on this album different from your last recording sessions?
CJ: Our biggest influences have always been people who were just themselves and unconcerned with other people’s perceptions. It’s not really limited to genres or concepts as much as it is loner vibes really appealing to us. As far as the music goes, I think we really started to reconnect with how perfectly simple rock and roll can be and how much a song can say without any bells or whistles to distract you from that core. It’s this strange and perfect vehicle for expressing something intangible. We’re an island, house, mansion, whatever. “Cherry Red,” was like invaded, overwhelmed, and this one is more like soft middle fingers.
RB: Vampire Hands is known for your sonically diverse approach to rock ‘n’ roll. What were the most obscure instruments you used on Hannah in the Mansion?
CJ: I played melodica on, “Invisible Stairs,” but other than that everything was a basic rock band set up. We did experiment with drums and vocal sounds a bit, but the basic idea was just to capture us in the room as purely as we could afford.
RB: What’s the story behind the artwork for the new album?
CJ: It’s all handmade, lots of collages and sloppy text. We all have atrocious handwriting.
[four of 300 unique, handmade covers for Hannah in the Mansion]
RB: In this modern day, how will the album be pressed, distributed and such? How involved are you guys in this side of things or do you leave it up to the label and management and just focus on the music?
CJ: It’s 300 vinyl copies and it’s being distributed by Secretly Canadian. We aren’t involved which is perfect, as we seem to only hinder things most of the time.
RB: The Twin Cities are home to many diverse artists that have voiced their enjoyment for what you do. Can we hope for any homegrown collaborations or split releases in the future?
CJ: We’ve been talking about doing a split LP with Daughters of the Sun for over a year now. Basically, it would be two songs with all eight of us playing and the rest would be songs by four new “sub-bands” where it’s one of us paired with one of them making a little one off tune. Unfortunately, we can’t time it quite right because we’re both so busy working on our own shit.
RB: The release show on the 14th is a bittersweet one considering that although there is a new album, it will be the last show before you depart for the west and leave the rest of the band in Minneapolis. What are everyone’s general feelings about the departure?
CJ: Change and new challenges are exciting. Our biggest fear is stagnating, feeling too comfortable or like something is just good enough. With me leaving, it’s just a new way of the band working. We’re still going to make stuff together it’s just going to be different.
RB: As a result of a strict up-bringing, I’m a big fan of goal-setting. As a group, what are your goals for the album, the shows after it, and the future of the band?
CJ: The goal for the album has already been set because it was just to get it made. The only bars we’ve ever formally set was to make something exciting to us. We want the shows to be good and the future to be real. This is, surprisingly, a lot more motivating than I make it sound.
Vampire Hands “Statuette” [MP3]
Vampire Hands “Opium Typhoon” [MP3]
Very cool interview. I was disapointed when I heard Colin was taking off, but I still see very good things happening in the near future for the band.
Through you championing details. It helped me in my mission