Lee Smythe Interview
Q: Can you talk a little bit about your musical history
A: So, starting out, I did mostly post-punk stuff. I couldn’t stomach the classic rock and R&B I was raised on, so I looked for anything that was different and new to me. I played bass and then drums, some guitar, always in a supporting role, which was my thing then. I liked being in the background, and I liked watching how other people did things. I learned a lot of tricks, and I also saw what worked or what didn’t. I moved around L.A. and had tons of small projects; folk/acoustic, indie, bluegrass, heavier stuff and doing a mix of shows, recording and writing, but I ended up needing to have more control over what I was doing so I decided to front my own group. Really, I think I’ve always wanted to do the type of music I do now. I just had to see and do everything else first to be sure.
Q: You mention that your album Of Dreams feels like it was made to be a soundtrack to a depressing Wes Anderson short film. I love his movies. Can you go more into what that means?
A: I love his stuff too! Well, as the album was taking shape, we were noticing a lot of themes and visuals that we attributed to being influenced by his films. For me, I think it’s that the characters in the album have either this deep sadness or a more twee comedy to them. Along with the sort of baroque pop vibe and candid approach to things like love and family, I think it’s the unashamed realness I enjoy in his films that might be sneaking into the writing. We all see songs being played out in a movie when we listen to them, right? For me it’s the detailed settings, interesting color palettes and the exaggerated character’s stories I see in my songs that give me a Wes feel. A huge tragedy or a huge joke, but a tender realness.
Q: What are are some of the themes in Of Dreams?
A: Well, running down the list, it is on the sad side. Drug use, heartbreak, overdose, death, bad relationships, loneliness and suicide. The sad kids need some songs too though. You can be sad and still need music. But, there’s some fun stuff in there too, just like in life. It’s the balance of comedy and tragedy that I like. Sometimes I think I’m doing Tin Pan Alley, maybe I was just born too late.
Q: There is a lot of going on within the songs. Can you talk about the creative process and how you approach a song with so many parts?
A: I work everything out once we get into the studio. The songs will already be songs by the time we go in, but I really love being in the studio and just seeing what we can come up with. I’m an intense multitasker, and I go a hundred miles an hour, so that’s where the volume of movement probably comes from. I’ll do multiple mandolin tracks, kazoo or odd backups that don’t even get used. We throw away a lot more than we keep, but there’s always that one melody or instrument that fits perfectly and makes it worthwhile.
Q: What was your time like in the studio?
A: New Monkey Studio is just such an ideal environment. It was a very relaxed atmosphere with a real Neil Young feel. It’s very authentic. It was a great time, I think we did the album in almost two weeks. I remember that I was always there earlier than anyone else for some reason. I didn’t like leaving for lunch or taking breaks. I loved the huge assortment of groovy combo amps, and the decor reminded me of growing up in Agua Dulce. Like I said, I absolutely love running around the studio. I’m picking through the endless drawers of pedals, writing something on the upright, then we’re dragging the couch into the main room to record on, then mixing the accordion, etc… it’s all I ever want to do.
Q: What else should we know about your music and future?
A: Well, some people think it’s funny for a multi-instrumentalist, but I’ve always done everything by ear, and I know almost nothing about music theory. I love it and I think it’s my ignorance that helps me to listen and feel things. I can instantly see through people and songs because I don’t have preconceptions. I’m the dumb kid who’s not afraid to yell out that the emperor isn’t wearing any clothes. Songwriting isn’t rocket science, and music can be almost spiritual if you let it. As far as the future goes, I have a new set of about 12 tunes partly recorded, and another dozen or so I’m playing with. I’d like to be doing at least an album a year for as long as I can play, and hopefully getting into more soundtracking. The new band here in Boston is great. I’ll release something in spring maybe, then get out to support it.check out the full critique