Photo: Pavla Kopecna
New York four-piece The Pains of Being Pure At Heart seem to be right on the tip of everyone’s tongue right now, and are seemingly on the verge of making a huge splash in 2009 with the release of their highly anticipated debut album being merely a few weeks away. But once you’ve listened to just one song, you being to realize that they absolutely love the kind of music that they’re creating.
You continue to dig a little deeper and start to discover these clever, almost personal lyrics, and you instantly feel like you have something in stake with this band. Like a secret you want to keep amongst friends, but ultimately knowing that you can’t keep something this good to yourself. You just want the entire world to know how much you love this band, wearing your heart on your sleeve for them.
From the feeble beginnings of playing vocalist/keyboardist Peggy Wang’s birthday party in the spring of 2007, to now releasing their debut on the might Slumberland label, The Pains of Being Pure At Heart’s future seems to be shining brightly. The band was kind of enough to put aside some time to answer some questions, which is a big deal here on TYS since i’ve never particularly warmed up to the idea of ever doing interviews. In fact, this is my first interview ever. How embarrassing! Anywho, a gigantic thank you to Kip, Peggy, Alex, and Kurt for doing this!
MP3: The Pains of Being Pure At Heart :: “Everything With You”
MP3: The Pains of Being Pure At Heart :: “Come Saturday”
MP3: The Pains of Being Pure At Heart :: “This Love Is Fucking Right!
[from The Pains of Being Pure At Heart EP]
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The Pains of Being Pure at Heart — How did the name come about and do you think that people may unfairly judge you guys at first just because of the name?
Kip: The name is taken from an unpublished children’s story written by
a friend of mine. People might assume we’re emotional hardcore or
tweemotional softcore– but the name is very sincere and I feel no
other name would be right for us.
Peggy: People either love it or hate it. It’s funny because the name
is both memorable, and forgettable. Even though it’s awkward, it kind
of fits us to a T. I think at this point we mostly just get referred
to as “The Pains” though, which is nice. I like nicknames.
Alex: People may judge based on the name at first, but it’s so easy to
hear music now, people usually take the next step to realize we don’t
quite sound like Fall Out Boy. I think the name is totally fitting for
us — it’s so biggy and messy and nerdy and proud.
You’ve recently wrapped a tour in the UK, along with a couple of shows with The Wedding Present. What was that experience like? Is there something to learn from being around an experienced band like The Wedding Present?
Kip: The tour with the Weddos was a dream come true and we were so
fortunate to be able to have the experience! What’s remarkable is the
dedication their fans have– their audience has been following the
band for over 20 years and were still 100 percent enthused. It wasn’t
just a “oh, well, i used to like this band a while back” sort of thing
at all. It was something to the effect of, “oh eff yeah, the wedding
present is touring, I own all their records and named my first son
(and daughter) David.”
Peggy: David Gedge is like, legendary cool, and it was thrilling to
get to play on a stage with them. He’s made a career out of making
really good indie pop music. I think we learned a few things, like
how to test feedback in your mic by making funny faces, and
ummm…they have a very organized merch set-up. The Weddos fans were
very receptive and sweet to us, which says a lot. It was a good
pairing, and good vibes all around.
Is there a different level of anticipation or excitement when you’re touring in the UK? Considering its storied history as pretty much the birth place of indiepop and knowing that a lot of your heroes originated from there.
Kip: Well, we’re American and we love the USA a lot– I mean, if we
ever get to play Hoboken, I’m sure we’ll be all, “Whoah, Yo La Tengo
lives here– maybe we’ll see them walking down the street.” There’s so
much rich musical history almost everywhere, from Gothenburg to Athens
to Portland to Olympia.
That being said, going to Glasgow was such an amazing experience–
meeting Stephen Pastel (he has an awesome record shop, not
surprisingly), and knowing its the city of Teenage Fanclub, The
Vaselines, Orange Juice and Belle and Sebastian (to name too few)–
that was absolutely incredible.
And from a pure pop nerd point of view, seeing members of Heavenly,
Talulah Gosh, Black Tambourine, The Flatmates and Rosehips– it was
all so incredibly cool to us.
I’m such a nerd, that I even got Clare from Sarah Records to sign a
note for our drummer, Kurt, who sadly couldn’t come along.
Peggy: I kind of felt like all my dreams were coming true. I mean, I
definitely romanticize England and the bands that came out there in
the 80s. There was a feeling of being in Manchester and thinking
about seeing movies like Control and 24 Hour Party People, and
thinking, omg I’m in that same place! I’m in the home of the
manchester beat! Ahhh! So then when it’s like, your heroes actually
show up at your shows, it’s definitely very surreal. Listening to that
music, I never thought I’d actually get to hang out with any of those
people! The ex-Rosehips guys are the sweetest, and they are really
one of my favorite c-86 bands. Also, having Phil Wilson (from the
June Brides) come up to me at a show and be so gracious…that was so
cool. I feel really gushy about it all, although I don’t want to bore
my friends with indiepop references that they might not care about.
Alex: I think it was just exciting to be somewhere where there is a
precedent for kind of scrappy/lo-fi/indiepop bands to succeed and be
taken seriously. It wasn’t uncommon to hear Belle & Sebastian on at a
club night next to Arcade Fire (or Madonna!). It was pretty thrilling.
Photo: Annie Powers
As of late, it seems that indiepop, C86, twee, etc. is in the midst of
a huge revival as many bands (including your own) continue to open people’s eyes to its history. Does that scare you at all, or add some sense of responsibility on your part when the band seems to be at the forefront of this kind of discussion?
Kip: Not scary, just awesome that people care about rediscovering
those great bands that we obviously love. Though no band likes being
labeled any kind of “revival” (and i think “twee” is second on that
list of ways to watch pop bands squirm), i do think it’s cool that
people are genuinely into our music– we’re grateful people care 100%.
I would say we’re really into playing loud and are into more of the
noisier side of things– like Teenage Fanclub, Sonic Youth, The
Pastels, Nirvana, etc. I guess it’s hard to explain, but people always
seem surprised by our “loudness” when we play live.
Kurt: I like twee music. We’re not a twee band.
Peggy: Indiepop definitely had its place in my life. I don’t think
I’ve necessarily moved on, but I’m excited to hear bands do something
new, take pop and melody to a new level. I don’t feel like I’ve ever
liked “cool” music. It was always frustrating to find people to go to
shows with, or people to trade mixtapes with. As much as you can say
that it feels special to like something no one else likes (and believe
me, I definitely revel in that), it can be pathetic to go to a show
and see 3 kids standing around in cardigans scared to talk to one
another. If anything comes out of this recent attention, I hope it’s
that more people go to the shows and dance and move around! I’ve
definitely seen more of this at our shows, and our friends’ shows, so
yeah…that’s the best part about it.
But yeah, I don’t think any of us are scared of being at the forefront
of the discussion. I think anyone can tell from hearing us or knowing
us personally that we’re not like twee posers or anything. Oh, and
Alex and Kip watch football together on Sundays, but not because they
were jocks in high school or anything!
Kip: Yeah, but it’s cool in the UK ‘cuz even the indie people will
watch “football” (soccer). I mean, our label guy, Sean, spent most of
our shows at a bar around the corner watching football on TV. W
Alex: Yeah I don’t think we think about the “forefront”-ness or
history of it at all too much — it’s just very exciting and
gratifying that people are listening to and writing about and caring
about or music in the first place. There are so many great bands in
New York, making EVERY type of music, the idea of a scene or something
is less of a sticking point for the people here actually doing it…
it’s just about making music you like and being excited and inspired
by the people around you.
With the release date of the band’s debut album quickly approaching, how does it feel to finally have this record come out (on Slumberland, no less) after releasing a number of 7″ singles and EPs?
Peggy: It’s kind of nuts. It’s so cool to be on Slumberland, a label
that really meant something to me in high school and college. The
cool thing about it is that Mike puts out lots of different bands, but
the same aesthetic runs through it all, and he’s been doing this for
so long. If you understood/liked the aesthetic, you could pick a band
off his roster purely because you love the name or the artwork, and
you probably wouldn’t be disappointed. I really hope the attention
that the newer Slumberland bands are getting will help people discover
the older catalog. I’ve been happy to see Black Tambourine’s name
around again, and you’re really missing out if you’ve never heard
Rocketship or Henry’s Dress or Aislers Set. The nature of indie labels
has changed so much, it’s really nice to see a label retain the
original spirit of it all.
Kip: It’s a huge amazing incredible and wholly wonderful honor to see
the LP with the Slumberland logo on it. So many of the bands we loved
growing up like Rocketship, The Aislers Set, Velocity Girl, Henry’s
Dress, etc. were on the label. It’s just like, “wow.”
Plus, the new crop of bands Slumberland is putting out like caUSE
co-MOTION!, Crystal Stilts, Sexy Kids, and singles from A Sunny Day in
Glasgow + Pants Yell! is totally exciting. It’s not like a “retro”
label at all, but as authentic a place for fresh new pop.
But i do want to give a shout out to Fortuna Pop in the UK and Lost
and Lonesome in Australia, who will also be releasing our record in
Feb in their respective seafaring nations. The fact we were able to
come to England at all to tour was 100% because of Fortuna Pop
believing in our music (and maybe not so much in economics) and making
it possible. Plus, they put out Comet Gain, who is absolutely one of
the most underrated bands around.
Alex: It’s a total thrill. To echo Kip’s point, too, it’s amazing to
be part of Slumberland NOW, as Mike is so dedicated to new music (and
mainly just GOOD music) that it makes it all feel that much more like
a big family vibe. Also, yes, Fortuna Pop has been above and beyond
amazing — Sean (from Fortuna Pop) has singlehandedly made it
infinitely more possible to do things we’d only dreamed about. It’s
very satisfying to be working with great, genuine people.
What was the recording process like? Was there anything you wanted to do differently with this record compared to everything we’ve heard in the past?
Kip: We just wanted it to sound like us– to sound natural. Our first
EP was recorded with a drum machine, so having live drumming on the
record really changed the sound dramatically– it made it feel more
exciting and energetic. But it’s also our first record– and we wanted
to capture that moment, that freshness and enthusiasm we have for
making music.
Kurt: I wore headphones that i had to tie onto my head with a guitar
strap. that’s the only thing i remember. also, one of our songs got
deleted from the computer once by weed-related black magic.
Peggy: I love recording. I don’t know, I don’t get bored at all! I
love the process of hearing everything played back and trying to get
something to sound the way you hear it in your head. But we’re not
perfectionists, and our songs are pretty simple. I think that’s gives
the album a sort of effortless feel.
Alex: I think having Archie Moore mix it was a big part of making it
sound more like we wanted it to sound, too. He was amazing — full of
ideas, receptive, technically awesome. So shout out to Archie, haha.
Kip: Yeah, agreed. Recording is really fun, but probably the record
wouldn’t have sounded half as good if Archie Moore hadn’t been
involved in the mixing. I can’t thank him enough, so Archie if you’re
reading this “Thank You” and a big hello to baby Belinda from all the
pains!
Photo: Annie Powers
Are there any songs off the album that you’re particularly proud of?
Peggy: I like “Everything with You” a lot, and I’m happy with the way
the video came out. I’ll look back on it in 20 years and probably cry
my eyes out.
Alex: I think “Young Adult Friction” is really catchy and fun and
subtly silly. It’s very “us” without necessarily being our normal
fuzzy sound.
With the success of 2008 behind you, what is your outlook on 2009? Would anything change if all of you suddenly became huge pop stars?
Kip: Yes, lots would change. We’d get to do more extensive touring,
and i’d get some new sweaters. Also, my mom would have an easier time
explaining to my grandparents exactly what it is we do.
But at the same time, we’re just really happy with things now– like,
it would be really sad to see 83 comments on this blog post that were
some combination of, “HYPE SUCK HATE FAIL DIE.”
Kurt: 2009 would be cool if broke even at some point, but i’m not
going to hold my breath.
Peggy: I think I would consider getting a personal trainer.
Alex: I’m hoping to make 2009 the year of all fun all the time. Kind
of lofty, we’ll see.
My last question, what is your favorite dirty joke? You must have one…
Kip: My grandparents have recently discovered googling our band name, so…
Kurt: I don’t have grandparents and i also don’t know any good dirty
jokes but allow me to define what “docking” is…
Alex: Just check the Urban Dictionary definition of “Eiffel Tower” and
you’ll see the kind of inside jokes we have on tour. Not suitable for
public consumption, haha.
Tags:
indiepop,
interview,
Slumberland Records,
The Pains of Being Pure at Heart
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