Matt Sharp is happy enough to share.
The Rentals, a “band” that the ex-Weezer bassist started during his main band’s downtime, was a big experiment in sharing. He co-wrote and recorded songs with friends aplenty, making sure to never hog the spotlight from chums like Petra Haden, Rod Cervera, and Weezer bandmate Patrick Wilson. After their debut album Return of the Rentals spawned a modest hit with “Friends of P.”, Sharp gladly shared the praise with all who were involved. He believed in the cause of his collective enough to turn his back on Weezer to record another Rentals album, Seven More Minutes. The circle of friends went transAtlantic, including members of Lush, Ash, Elastica, and Blur. After that, the Rentals name was put on ice while Sharp contemplated his next musical move.
After a teaser EP from 2007 and an all-instrumental charity release, Matt Sharp has thrust his Rentals project back into high gear with a brand new album named Lost in Alphaville. It’s a dense, potent mix of power pop and psychedelia, a listening experience that colors all the vacant spaces with fuzzy swirls. The great hour of sharing continued as Sharp enthusiastically recalled the album’s long history to PopMatters. These days, a Rentals album features the talents of guitarist/arranger Ryen Slegr of Ozma, drummer Patrick Carney of the Black Keys, violinist Lauren Chipman of the Section Quartet, and vocalists Jess Wolfe and Holly Laessig of Lucius.
But semantically speaking, Matt Sharp doesn’t want to refer to these musicians as Rentals “members.” In fact, that’s how the interview started—I had mistakenly referred to these individuals as “current members” ...
One thing that’s sort of confusing about the Rentals is that it’s certainly not a traditional setup. That’s never been the intent of it. Within the name itself, the idea is that it’s myself and finding different people at different stages of wherever you’re at in life and finding the people you want to work with. And the reason it’s not a solo album is because the people who contribute to the album have quite a bit of input, quite a bit of influence and impact on it. I almost don’t really look at it as a lineup of a band or something like that. I think of this being, the people that contributed to this album, this being our album together. But certainly with [Patrick] Carney being in The Black Keys, [laughs] he’s not going to stop doing that and come out on the road with us and tour, at least for not an extended period of time. Hopefully we’ll figure out how to do some cool performances together, but it will always be a more “special event” than anything and the same goes for pretty much every member of the group and maybe Ryan Slegr] will work with me the most consistently, the guitar player, because we sort of worked on this album from the get-go together.
I worked with everybody individually and in complete isolation, but the first person I worked with on this album was him. We were both in the mid set, I think, of trying to make sure we supported [the album] and give it a chance to be heard and all that kind of stuff. But you have Lauren [Chipman] who plays in The Section Quartet, they work non-stop. They do so many things, you can’t even start to list it because every week they’re doing something with somebody. It’s either something really super interesting and cool or something really super commercial and ridiculous. Lucius is the same. Working with Jess [Wolfe] and Holly [Laessig], they’re just on the ascension of their whole career, I think. I couldn’t be any more stoked for anybody involved on this album than when I was working with them. But they’re in the midst of promoting their album and that record is one of my favorite albums that I’ve heard in quite some time. It’s just a tremendous record. It’s just a very special thing, even taken to another notch and surpassed every time they perform because they just have such an incredible joy when they sing. The best way I can describe them, and this is just talking about Jess and Holly—the rest of the band members are in an incredible place as well.
The best way I can put it is that you can see a three-piece band of any kind of music—rock or jazz or whatever it is—and it can be quite small sounding. It can be cool, you can hear the distinct instrument but it sounds just kind of tiny. And there are other three-piece bands you can see that just because of the way a person approaches their instrument and how it connects together, it just sounds enormous. You watch them in awe and go “Oh my God, I can’t believe this is just a guitar player, bass player and drummer.” Holly and Jess’s voices are like that. When they sing together, it’s really mind-blowing how that sound is coming from just these two people. They just do things the way I love, it really connects with me.
Now, you were talking about doing one-on-one sessions with all these people…
Well, with [Jess and Holly], it’s one-on-two. But oddly enough with them, one-on-two is actually one-on-one because they actually function in a way that I’ve never experienced. They function as one person. They do all of their parts together, they sing the same melody together. And with the microphones just a couple of feet in front of each other facing directly staring at each other, and then they sing the melody. And when they’re happy with the melody, they both almost simultaneously would say “Yes, we’re happy with that. Let’s go to the next part. Let’s double it”. And then they’ll double the melody together so it’s like that quadruple thing. Then they’ll say “Alright, like that, let’s do a harmony on top of it” and they’ll both kind of jump into a harmony together as if they’re one mind. And if they make mistakes, they sort of freakishly make their mistakes together. It was something I was really excited about, just working with people who have a different approach and do things in odd ways. I’m always fascinated by that.
When you are working with everyone, how much of the end do you have in mind?
It’s different with each set of people. I can’t say that it’s exactly the same with each one of the main contributors of the album. I have different relationships with each of them and they’re all working on the album in different stages of it. There were different scenarios, we did things in a kind of strange order, I guess. At least it was for me. We took quite a backwards approach to the production and I started working with Ryan with how we wanted to start thinking about guitars, what we wanted to do with guitars on this album before there were drums or keyboards. Everything was just scaffolding and outlines at that point and we sort of searched around. I had to put him through the experience of trying to imagine what the drums might be like. I would have to paint a picture for him of what I’m thinking and then he would just go “I have no idea what you’re saying!” [laughs]
So we had an experience together that was much more trials and tribulations kind of stuff, trying this approach, trying that approach, doing things in a weird way. You know, putting one amplifier upside down on the other side of the room and another one in the bathroom! And the difference between that and working with Jess and Holly, they were the very last thing, the most recent contribution to the record. My main feeling about this album, I wanted to make sure that every person that was going to contribute to the album really brought a very unique sense of themselves and have a significant impact where they carry some gravitas into the recordings.
When it came time to figure out the female vocals, who they were going to be and what kinds of voices and tones—when you start thinking about it, it’s not even just the sounds of their voices. You want to care about these people and like them as people. It gets a little hippie-dippy this way, but I’m not just using people for what they’re able to do on their instrument. For me it’s also about just liking them. That certainly went for them and Pat. Both Pat and Jess and Holly I had never worked with before. I forgot what the question was. [laughs]
That’s okay, don’t worry about it. According to your press release, some parts of Alphaville had built up to 200 separate tracks. You must not have had an exact idea at the very beginning of each song. It seems that you allow a lot of room for variables along the way.
It’s just a combination of things. With each person there’s definitely some sense of, at times, having a real idea of what you’re looking for. Especially with how we worked with Jess and Holly, everything had to be very organized because their record was coming out literally the week of or the week after when we were doing the recordings. Their time was incredibly limited and precious and I took that very, very seriously for them. I made sure that by far I was the most prepared for them, and that’s not saying I told them exactly what to do at every turn. I felt like, if I’m going to try to work with them, I don’t take that time with them at all for granted. I have such a crazy admiration for them and I only learned about them just days before we started working together.
When I first heard them I had been on a search for the right voices for this album for a very long time. And the moment I heard them I was convinced, at least sonically and by the tones that they have, the clouds parted, the opera singers were cued and I was like “Finally, these are the singers!” So I was really caught up in [the feeling] when you find a new group or singer, of finding somebody you really connect with. I’m just talking about as a listener, as a fan. And that moment is so exciting, where you say “Where have you been? Who are you?” I know this is going to sound dramatic, but you can’t believe your life existed without that sound being your thing. I can be very patient and overturn every stone. But once I know, once I’m there, I can be very direct and forward. Now I just had to meet them to see if we get along and see if they have any interest in working with me.
When I met them, what was cool is we started working the day after I met them. And I just at that initial moment—the thing I just described to you—where there’s no other music in the world. When you think “This is all I want to hear!” That was so amazing because we were in the studio working together in the midst of that feeling. And I never had that before. I respect the other people I’ve worked with and we’ve had great relationships and admiration, but this is first when I’m in my own kind of fan boy place with them. And what’s cool about that for me, and I’ve been thinking about this recently, I’ve become more [of the mindset] that if I can’t do it the way I want to do it now, then I’m just not going to do it. If I would have finished this album, had come all the way to the end and not found the singers that I felt that way about, I don’t think we would have released the album. I think I would have just said “Whatever, I’ll keep searching” or “It’s not going to happen.”
I felt that way about working with Carney, I definitely felt that way about working with D. Sardy, who mixed the album. I didn’t want this album to be mixed by just anybody, I’d like for it to be in the hands of somebody I have a crazy admiration for. I definitely have that for all the players on the album and certainly I have that with Sardy as well. I had that certain sense of certain about him, I wanted him to be at the helm of the last stage of the album.
One thing about working that way, working with somebody whom you have that feeling about not taking any of those moments for granted, it fuels everything you do past that point because you just do not want to let them down. I was terrified of the thought that if I didn’t handle the rest of the album past the point of working with them, if I didn’t handle it right, I was terrified of embarrassing them. That they were going to say “oh yeah, we played on that [Rentals] record but, uh ...” [laughs]. It was very important to me when they gave their time, their creativity, their energy, their intelligence, their beauty and they’re giving you this moment.
And when it’s put out there in the world, they can say “Hell yes, I’m on that record. I’m proud of that record.” I felt like that for all of the people that worked on this album. I particularly felt that way with [Jess and Holly] because they were the last major contributors to the album. And I remember thinking when I first sent them the final, final, final version of the album—and I had sent it to Carney and I had sent it to Lauren Chipman, I sent it to Sardy and I sent it to the label—for whatever reason, I think they were on the road touring, or they were doing something. Whatever it was, they were busy and they ended up not being able to hear or download the record for days afterwards. And those days were nerve-racking. “Oh, fuck! They’re not thrilled.”
// Sound Affects
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