Calla Interview
CallaAug 05, 2007
The EARL
Atlanta, GA
Find Tickets!
http://www.callamusic.com/
When we called Calla front man Aurelio Valle, he was driving over to the label to pick up merchandise for the band’s upcoming tour. They better stock up, as they will be on the road for the next four weeks. The first dates on this tour Calla will be opening for fellow New Yorkers Interpol; followed by a headlining jaunt down the East coast. If you aren’t familiar with Calla, think dark, whispered melodies and, um, “greasy” guitars. If we have to name drop, I’d say Calla combines the lush soundcapes of My Bloody Valentine with the seductive melancholy of Echo and the Bunnymen in a modern framework. In other words: a whole lot of awesome.
TALive: How did you get set up with Interpol? Are they friends of yours from New York or was it set up through the label?
Aurelio Valle: We’ve known those guys for a really long time. We were getting started around the same time they were. We’ve just always been supportive of each other’s bands like most bands…The Walkmen, The Yeah Yeah Yeahs. We all just kind of know each other, so that support is always there.
TALive: Well sound-wise that seems like a good fit: you and Interpol.
AV: We’ve definitely done tours with them before and it definitely works.
TALive: Do you prepare differently for a supporting slot than when you headline? For example, do you consider what Interpol fans might respond to best or do you still present yourselves in the same way?
AV:I think for the most part we try to present ourselves in the same way, but because our time is more limited than headlining our show, we do anywhere from 35 to 40 minute sets. So, we have to choose from five records what songs are going to represent us the best. A lot of times we have fans that prefer that we play our earlier stuff, but we always lean toward playing stuff off of "Televise," "Scavengers," "Collisions," and "Strength in Numbers."
TALive: I've read about your interest and experience scoring films, and your music certainly lends itself to that. I thought it was interesting that Carlos D from Interpol had also announced his interest in scoring films. Have you heard anything about that?
AV:I know Jen Lancer from Beggars Banquet was representing him doing that for a while. Yeah, we were aware of that. It’s cool…I think a lot of times it’s the obvious step for certain musicians to go that route. If it’s something they’re interested that is, a lot of people do it… I mean, look at Danny Elfman. Although he broke up Oingo Boingo to do, it’s not unusual at all.
For us, when we did our first record, the intention was to sound cinematic. Our influences were coming from David Lynch, bands like Goblin…just a lot of people doing music that would lend itself to film. We immediately started getting a lot of requests to contribute music to films, and we’ve done it individually and collectively as Calla.
TALive: What kind of films can we hear Calla’s music in?
AV: We scored an indie film called “Satellite.” That was around the time we were doing the record “Collisions.” Let’s see, there’s a German film called “Ego Shooter” that I scored some music for and Calla contributed some music to. “Cinderdrift” is another idie film we did some musicfor…. there’s some music in the "Manchurian Candidate"...
TALive: You've been pretty busy then!
AV: Oh yeah…It’s always just these random indie films that always approach us about using our music. And a lot of time they use three or four songs. There was an Israeli director who used a lot of songs off "Scavengers" ‘cause he said that that record influenced his film. So, it’s interesting to have that come into play. When a director says you inspired his film that’s a huge compliment and very exciting.
TALive: Wow, and that seems different that how it usually happen. Usually when you are asked to score something you watch the film first and then write music inspired by the film.
AV: Every director has a different approach for sure. The stuff that is scored for “Ego Shooter” the director didn't send me the original film footage; he sent me footage from other films that inspired the making of his film.
TALive: Speaking of where inspiration comes from…I know "Collisions" was a reference to the relationships and conflicts you faced during the making of that record. Where did your inspiration come for the latest album, "Strength in Numbers?”
AV: Well, with this one there weren’t as many conflicts going on so we were able to concentrate more on what we actually wanted the record to sound like. Every record for us has been a progression and with this record we wanted to combine everything we’ve ever done. With every record we would make, we had fans saying it was too much of a departure or they were missing some of the more ambient stuff that we used to do. It was one of those things when we are like, 'well let’s just sum everything up.' In the end, the interesting result was that a lot of reviews were describing the record as so. So, we definitely felt very accomplished.
TALive: So they were able to distinguish sounds from all of your records.
AV: Yeah they could hear elements from all of our records there, which was really our goal.
Read the rest of our interview with Calla here!
TALive: Was "Collisions" the first opportunity you had to tour Europe?
AV: No, we had been out there before. We first started touring Europe on our first record, actually. We were on Sub Rosa and the record wasn’t released here so they basically brought us over to Europe first.
TAlive: Oh right, because it was a European label?
AV: Yeah, out of Belgium. So we went over there and basically played France and Italy. For "Scavengers" we kept touring Europe. We definitely concentrated on Europe a lot more. We didn’t really start touring the US until “Televise” which is our third record.
TALive: That’s pretty remarkable for an American band to go abroad first and come back three albums later.
AV: You know, a lot of it had to do with our label and the music we were playing. We had promoters and people a lot more interested in what we were doing over there. We do well in major cities in the US, but when we go to Europe it’s strange because we’re definitely embraced in a much broader sense. You can show up in small towns in Italy and you’re playing packed houses.
TALive: And of course the last two records were out on Beggars Banquet. What changes have you felt working with a larger label? Do you feel like you have more opportunities now or do you feel like you have less freedom because the label has more control?
AV: You know, I think all those things factor in regardless of what label you’re on. If you’re on an indie label you’re still dealing with people you’re still dealing with the industry. For Beggars I would imagine it’s probably a lot easier than being on a major label. I mean, we wouldn’t know that, but honestly if we were on a major we’d have other people dealing with the label instead of dealing with them directly, which is what we would prefer [dealing with them directly, that is].
TALive: I was reading review of the last record to gauge reactions, and one phrase that kept popping up was describing your guitar work as "greasy" or "oily." I have never heard that before! Do you have sense of what that could be a reference too?
AV:(laughing) I'm thinking about it. Greasy and oily? Really, wow. You know, I really don’t know. My inspiration comes from very twangy and ambient atmospheric guitarists. If oily and greasy fit into any of those elements then it makes sense. If you can find a description for Duane Eddy, Bo Diddly, Johnny Marr, and Jimmy Page... I guess if you had describe those guys you could say "greasy and oily. "
TALive: Well, now that we’ve touch on who’s influenced you I have to ask the standard "what are you listening to now? " question.
AV: As far as new stuff, I was recently turned on to Bat For Lashes and I really dig what she’s doing. It really reminds me of like Cat Power meets old school Portisehead. That is right up our alley. I like The Knife. I dig what they are doing, also. I like Justice, the new Boggs record, and I’ve been listening to Interpol’s new record.
TALive: Have you seen any bands that have followed you, Or seen any bands that have cited Calla as an influence?
AV: You know that’s interesting. Whenever we go to Europe there’s always kids emailing us and sending us messages saying we’re a huge influence on them. And we see them and it’s funny to see they definitely have elements of Calla in there. I don’t know. We never intended anything like that. It’s not like it’s going to be some movement or anything at all. It’s interesting to see these kids that dig your music. And whenever there’s a band that says “oh we wrote a slow song the other day and it totally sounds like calla.” Well, basically if you write slow depressing music and you know who we are you are probably going to say we’re an influence.
When we called Calla front man Aurelio Valle, he was driving over to the label to pick up merchandise for the band’s upcoming tour. They better stock up, as they will be on the road for the next four weeks. The first dates on this tour Calla will be opening for fellow New Yorkers Interpol; followed by a headlining jaunt down the East coast. If you aren’t familiar with Calla, think dark, whispered melodies and, um, “greasy” guitars. If we have to name drop, I’d say Calla combines the lush soundcapes of My Bloody Valentine with the seductive melancholy of Echo and the Bunnymen in a modern framework. In other words: a whole lot of awesome.
TALive: How did you get set up with Interpol? Are they friends of yours from New York or was it set up through the label?
Aurelio Valle: We’ve known those guys for a really long time. We were getting started around the same time they were. We’ve just always been supportive of each other’s bands like most bands…The Walkmen, The Yeah Yeah Yeahs. We all just kind of know each other, so that support is always there.
TALive: Well sound-wise that seems like a good fit: you and Interpol.
AV: We’ve definitely done tours with them before and it definitely works.
TALive: Do you prepare differently for a supporting slot than when you headline? For example, do you consider what Interpol fans might respond to best or do you still present yourselves in the same way?
AV:I think for the most part we try to present ourselves in the same way, but because our time is more limited than headlining our show, we do anywhere from 35 to 40 minute sets. So, we have to choose from five records what songs are going to represent us the best. A lot of times we have fans that prefer that we play our earlier stuff, but we always lean toward playing stuff off of "Televise," "Scavengers," "Collisions," and "Strength in Numbers."
TALive: I've read about your interest and experience scoring films, and your music certainly lends itself to that. I thought it was interesting that Carlos D from Interpol had also announced his interest in scoring films. Have you heard anything about that?
AV:I know Jen Lancer from Beggars Banquet was representing him doing that for a while. Yeah, we were aware of that. It’s cool…I think a lot of times it’s the obvious step for certain musicians to go that route. If it’s something they’re interested that is, a lot of people do it… I mean, look at Danny Elfman. Although he broke up Oingo Boingo to do, it’s not unusual at all.
For us, when we did our first record, the intention was to sound cinematic. Our influences were coming from David Lynch, bands like Goblin…just a lot of people doing music that would lend itself to film. We immediately started getting a lot of requests to contribute music to films, and we’ve done it individually and collectively as Calla.
TALive: What kind of films can we hear Calla’s music in?
AV: We scored an indie film called “Satellite.” That was around the time we were doing the record “Collisions.” Let’s see, there’s a German film called “Ego Shooter” that I scored some music for and Calla contributed some music to. “Cinderdrift” is another idie film we did some musicfor…. there’s some music in the "Manchurian Candidate"...
TALive: You've been pretty busy then!
AV: Oh yeah…It’s always just these random indie films that always approach us about using our music. And a lot of time they use three or four songs. There was an Israeli director who used a lot of songs off "Scavengers" ‘cause he said that that record influenced his film. So, it’s interesting to have that come into play. When a director says you inspired his film that’s a huge compliment and very exciting.
TALive: Wow, and that seems different that how it usually happen. Usually when you are asked to score something you watch the film first and then write music inspired by the film.
AV: Every director has a different approach for sure. The stuff that is scored for “Ego Shooter” the director didn't send me the original film footage; he sent me footage from other films that inspired the making of his film.
TALive: Speaking of where inspiration comes from…I know "Collisions" was a reference to the relationships and conflicts you faced during the making of that record. Where did your inspiration come for the latest album, "Strength in Numbers?”
AV: Well, with this one there weren’t as many conflicts going on so we were able to concentrate more on what we actually wanted the record to sound like. Every record for us has been a progression and with this record we wanted to combine everything we’ve ever done. With every record we would make, we had fans saying it was too much of a departure or they were missing some of the more ambient stuff that we used to do. It was one of those things when we are like, 'well let’s just sum everything up.' In the end, the interesting result was that a lot of reviews were describing the record as so. So, we definitely felt very accomplished.
TALive: So they were able to distinguish sounds from all of your records.
AV: Yeah they could hear elements from all of our records there, which was really our goal.
Read the rest of our interview with Calla here!
TALive: Was "Collisions" the first opportunity you had to tour Europe?
AV: No, we had been out there before. We first started touring Europe on our first record, actually. We were on Sub Rosa and the record wasn’t released here so they basically brought us over to Europe first.
TAlive: Oh right, because it was a European label?
AV: Yeah, out of Belgium. So we went over there and basically played France and Italy. For "Scavengers" we kept touring Europe. We definitely concentrated on Europe a lot more. We didn’t really start touring the US until “Televise” which is our third record.
TALive: That’s pretty remarkable for an American band to go abroad first and come back three albums later.
AV: You know, a lot of it had to do with our label and the music we were playing. We had promoters and people a lot more interested in what we were doing over there. We do well in major cities in the US, but when we go to Europe it’s strange because we’re definitely embraced in a much broader sense. You can show up in small towns in Italy and you’re playing packed houses.
TALive: And of course the last two records were out on Beggars Banquet. What changes have you felt working with a larger label? Do you feel like you have more opportunities now or do you feel like you have less freedom because the label has more control?
AV: You know, I think all those things factor in regardless of what label you’re on. If you’re on an indie label you’re still dealing with people you’re still dealing with the industry. For Beggars I would imagine it’s probably a lot easier than being on a major label. I mean, we wouldn’t know that, but honestly if we were on a major we’d have other people dealing with the label instead of dealing with them directly, which is what we would prefer [dealing with them directly, that is].
TALive: I was reading review of the last record to gauge reactions, and one phrase that kept popping up was describing your guitar work as "greasy" or "oily." I have never heard that before! Do you have sense of what that could be a reference too?
AV:(laughing) I'm thinking about it. Greasy and oily? Really, wow. You know, I really don’t know. My inspiration comes from very twangy and ambient atmospheric guitarists. If oily and greasy fit into any of those elements then it makes sense. If you can find a description for Duane Eddy, Bo Diddly, Johnny Marr, and Jimmy Page... I guess if you had describe those guys you could say "greasy and oily. "
TALive: Well, now that we’ve touch on who’s influenced you I have to ask the standard "what are you listening to now? " question.
AV: As far as new stuff, I was recently turned on to Bat For Lashes and I really dig what she’s doing. It really reminds me of like Cat Power meets old school Portisehead. That is right up our alley. I like The Knife. I dig what they are doing, also. I like Justice, the new Boggs record, and I’ve been listening to Interpol’s new record.
TALive: Have you seen any bands that have followed you, Or seen any bands that have cited Calla as an influence?
AV: You know that’s interesting. Whenever we go to Europe there’s always kids emailing us and sending us messages saying we’re a huge influence on them. And we see them and it’s funny to see they definitely have elements of Calla in there. I don’t know. We never intended anything like that. It’s not like it’s going to be some movement or anything at all. It’s interesting to see these kids that dig your music. And whenever there’s a band that says “oh we wrote a slow song the other day and it totally sounds like calla.” Well, basically if you write slow depressing music and you know who we are you are probably going to say we’re an influence.
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