Loch Lomond: Interview - A Depth Charge
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Loch Lomond's music is not typical of contemporary music, it's not typical of anything really, it's hardly reference-able - classical musicians, folk melodies, a chamber orchestra backing a singer songwriter... And, importantly, it's not a mess, not at all - the music's coherent and the musicians are strikingly good. Then, once you dare to check the lyrics, comes the devastation - the gorgeous vocal harmonies, tripping melodies and sweeping orchestrations are woven with a text of tears. Not since Kurt Cobain have I heard such wrenching and yet unaffected lyrics: "I had a thought, that I was a vein, running up your leg, infecting your heart". I asked Richie Young where these words came from:
Z: What made you stop using dreams for material?
RY: I had this amazing 'Epic' type dream where everyone in the streets was singing with me and I woke up with the tune still in my head. But because I had to go to study [at 28 then, he's 33 now] I had to wait until I got home to work on it. Then I sat down and realised the tune was Meatloaf's "I would do anything for love"... [grimaces] so I figured it was time to abandon the dream experiment.
Z: Are you comfortable as the front man? How do you feel about performing?
RY: It's like some kind of aesthetic (or authentic) purging - I shut off in an intensity [necessary to communicate the songs], I used to stay zoned out from the beginning to the end of the concert. Now I'm more aware, becoming more comfortable, I try to 'pop out' between songs - I know stage presence is not my strength but I'm slowly getting comfortable with it.
Z: And you're OK with the new publicity shots that present you clearly up front, with the band in background?
RY: I really didn't comprehend what people wanted, the band is egalitarian, I'm not a dictator or control freak but I've learnt that there's a need for presentation, a desire for personalization.
Z: What's behind the name - Loch Lomond, any Scottish connection?
RY: In the original project we were going to be called 'The Mountains' - I was working with Rob Oberdorfer (who I credit with improving my singing, he played back tapes over and over showing me my mistakes) and Rob had bought up old 1" reel-to-reel tapes because of a supply scare. The old tape we used for master had the brand "Loch Lomond" on it and the master became known as Loch Lomond, then at some point I realized it was a better name.
Loch Lomond is a beautiful but somewhat desolate loch in the southern Highlands of Scotland, somewhat fitting the bleak yet beautiful music of the band
Loch Lomond's final performance at the acclaimed Mississippi Studios (before it gets rebuilt) was as powerful as their recordings, bringing several of the audience to occasional tears, sweeping them away with wands of musical majesty, all the while presenting themselves as they are: simply and ordinarily down to earth.
Z: Back to the song-writing, what would you say your songs are about - the personal? Political? Existential?
RY: Probably existential - I don't write love songs and I don't write social/political songs as they date so much. The second release, the EP, came when I was depressed, although I didn't really realise it at the time: My dips went deeper than my peaks rose and I even prepared my life as if there were only 3 months left. I'm normal now, usual ups and downs.
Z: But the words remain bleak. I find some devastating. Without the dream influence, where does the imagery come from? For example "he's sleeping with bark chips on his tongue, and he's dreaming".
RY: I don't know where it comes from, it just does. If I sit and try to write, I can't, then I'm the world's worst...
We're been joined by the delightful Laurel Simmons [piano, celeste + vocals and percussion.], she comments to Ritche: "But you talk that way - in those strange ways - your take on things is different to others - in linguistic detail, like your movie idea.
RY: Oh yeah - 'Swim Kit' - I want to waste all the money I make on making that someday.
Q & Eh?
Q&E: Given free unrestricted travel, where would you go?
RY: Take the whole band to Spain on tour & then across to Mexico.
Q&E: Why Spain?
RY: It's a vision I had, now it's a goal - goal set - not yet done.
Q&E: What do you remember from when you were 8 years old?
L: Losing teeth - it's difficult to remember - oh! we got our dog Winston, a Springer Spaniel; English... he just died.
Q&E: What's your solution to the energy crisis?
L: That's funny [coincidentally] on our last tour it was a big issue, how could we do anything about it?
RY: Look to Brazil: They will be free of external energy needs by 2018, keep it close, sustainable...
Q&E: What about here?
RY: Shut down the military-industrial complex [Eisenhower], then an elected leader would be free to make rational decisions.
When did you last run, and why?
L: (laughs) Across the street today, why - because that car would have hit me.
RY: Five days ago, I needed some exercise, and that pretty girl in the clothing store, I ran because I needed it but also because of her, I wanted to see her and instead of running indirectly I ran straight to her store.
Q&E: What are a few of your favourite things? + Can you make it scan...?
L: MY guitar, my photos, my sewing machine, my Grandmother's ring.
RY: I only own two things - my guitar, my clothes. Oh and the paint-by-numbers pony which Pia & I fought over at a garage sale - it's in storage.
Q&E:How many swans do you recommend, per bathtub?
L: Just One
R: Just One also
Q&E: Why one?
L: More can get messy
Q&E: You have experience with this?
L: Yes, well not... it was a chicken... (laughs and declines to say more)
Q&E: What do you always forget to take on tour?
L: Enough money, I don't worry about forgetting things, I get by with whatever I have.
R: ... I know - phone chargers!
L: Yes!
R: It seems like all our tools are on cell phones.
Q&E: Anticipation or Surprise?
R: Anticipation - oh man, I like it, it's the best part, even if whatever it is doesn't turn out to be good.
L: I was going to say surprise, because it's easier to deal with but after hearing that...
R: Like waiting to kiss someone... or to jump out of a plane
Z: How do the songs evolve?
RY: Once I have a lyric and a basic tune, I usually work with Amanda [A. Lawrence: viola, vocals] I play her melodies or hum them, and she develops them adding more ideas, as do the rest of the group.
Z: They show great restraint within the songs, no egos demanding solo spots. On the song Carl Sagan for instance, it's typically simple to begin with, then instruments fill in more and more in layered textures - it reminded me of a rain that started off spotting, stirred up, then rose to storm.
LS: All of us agree that it's about building the song, not rocking out. It's become easy now; the interactions - this approach seems so much more powerful.
Z: And not only instrumentally, there are lovely harmonies, choral progressions, even rounds...
LS: Yes, everybody can sing well and it sounds beautiful whether we're rising to multi-part harmonies or in unison. It's a wall of sound.
RY: We do love to do that, but try to vary the music... though nothing punches through as much as a wall of vocals.
Above photos by the 'magnificient' Alicia Rose
Z: Laurel, what does the band think of all these dark lyrics Richie writes?
LS: It's only through interviews like this that I learn what's behind the songs. There have only been a few times I've known exactly.
RY: It's more important that people interpret the lyrics for themselves, finding their own meanings. Songs can be ruined by finding out...
Z: Maybe, but I still want to ask you about another song on your new album - A Field Report, on it you sing "A field report to you oh my god", this is America so I need to ask, is that "Oh my God!" the expression or is it directed to an actual God?
RY: It's directed to a God idea, I'm somewhat agnostic.
Z: And you sing phrases like "sounds of children laughing make my eyes bleed" & "teeter-toters and daughters are things I'll never have in my back yard"
RY: Well, I was struck by this Mother as I was rummaging in some charity bins - her child was screaming, squirming, she was exhausted, but somehow it seemed to be what she wanted. I found a toy trumpet, a dirty diaper and a $5 note (which paid for the trumpet). And a few of the band intend to have children, but not me. Although I sort of know what it's like, because when I was growing up my Father was always working and my Mother was very depressed, staying in bed. I'm the oldest of four sons and with my next brother we sort of raised the others. [Note - I also asked brother Dillan, (the three younger brothers form the band 'Brothers Young') about his oldest brother's lyrics. He said yes, he could understand where they came from].
LS: Well this [Loch Lomond], is our baby.
RY: Yes, but I'm kind of sad. Maybe I do have it in me: Once I nearly drowned, & as I was taken out to sea I bargained that if only I survived I would go back, get a girlfriend, get married, have a family. As the current turned and I got swept back to land I gradually unwound the bargains... OK I'll get married, but no family - then it became, I'll have a relationship, but no marriage... by the time I was ashore, everything was as it was.
The other thing Young's brother Dillan told me was that it's trendy to be dark and bleak, but most of that was phony but his brother was real. I agree, Richie Young is the genuine article, and the exceptional talent behind him are the perfect foil. I found 16 year olds that latch onto it because of what it says, and 70 year olds who love the beauty of the music. Loch Lomond really is a deep, isolated but ultimately unforgettable and serene place, and so is the loch that shares the name.
Loch Lomond are: RITCHIE YOUNG: vocals, guitar, percussion; SCOTT MAGEE: bass clarinet, drums, vocals; LAUREL SIMMONS: piano, celeste, vocals; HEATHER BRODERICK: cello, piano, celeste, vocals; JADE ECKLER: vocals; AMANDA LAWRENCE: viola, vocals; DAVE DEPPER: bass, vocals; PIA DA SILVA: vocals
With much assisitance from: NICK JAINA: accordian, trumpet, vocals; DOUG JENKINS: inspiration, cello. Their recordings are highly recommended.
