We’ve been well. We’re on the west coast now to play some gigs around San Diego. So we’re all staying in a big rented house in Ocean Beach—good times!
Can you talk to us more about your latest single “Postcard To Celeste”?
That song was influenced by the style and sounds of 1960s French pop, which I can’t get enough of. The lyrics are written from the perspective of a painter on a weeks-long bender, blissed out in a seaside village, writing a postcard to his lover.
Did any event in particular inspire you to write this song?
I think the idea of going into a state of pure abandon has always had an appeal—even if it’s just a “spree”, as they used to say in the south.
Any plans to release a video for the single?
Yes, I am looking for a skilled watercolor painter to do a real time depiction of the song’s setting and main character, with various scenes getting transformed and washed out as the song changes . . . telling a story visually but without permanence. I have several artist friends in mind for this concept.
The single comes off your new album Out of Range – what’s the story behind the title?
I realized all the songs had a shared theme of detachment or alienation—two states that seem unavoidable in these increasingly surreal times. But these conditions are not always negative in that they also come with the possibility of liberation–by being relieved of certain illusions.
How was the recording and writing process?
Every session was a sonic adventure. We had some idea of where we wanted the songs to go, but were open to something popping out (a sound, a new lyric, a happy accident, etc.) that could change the course of the project in an unexpected way. Las Ramblas and Granada in particular felt experimental in this way, even though Granada is an almost “standard” or traditional type song.
How did the all gear you used to record this record get to influence the music on this album?
We worked hard to get the right tones and put them in the right places, which then led to a less is more approach production-wise. We used mostly analog gear from the 60’s and 70’s, sticking to a limited palette of sounds so that the record felt cohesive.
What role does New Orleans play in your music?
It’s a classic, broken, ridiculously fun place to live, and it’s not that hard to get by with a high standard of living in terms of what really matters. Also, free time isn’t as expensive as it is in other cultural centers, like NYC for example, so it’s probably easier to indulge in creative pursuits here than elsewhere—and the laisse faire attitude toward life is nice.
What else is happening next in The Electric Arch’s world?
The official release for Out of Range is on October 25, so we’re playing a release show at Gasa Gasa in New Orleans with Julie Odell and Natural Light All Stars—should be a blast! So far the singles we’ve released have been played on KCRW in Los Angeles and radio stations in the UK and New Zealand. At the end of this month we’re going to send the record to hundreds of radio stations, so hopefully the songs will continue to get airplay, and of course, they’ll be streaming everywhere. I’m eager to start recording a bunch of other songs I’ve made demos for, and in the meantime we’ll be playing more shows and refining our sound.