Fabulous Disaster No. 3, an Interview!

11 Jun

fabdVolvos, Insanity, and Crushes: Fabulous Disaster

Interview by David Ensminger, originally printed in Left of the Dial.

I read an interview article in Amp magazine in which Mike from Fat Wreck Chords interviewed you and in his intro he said the dyke punk movement of the mid-1990s reminded him of the original wave of punk rock, with its element of danger and subversion, and I know you toured Japan with the Dickies, so do you identify with that aspect of the music more so than relate to other bands on Fat Wreck Chords?

Sally: I think a lot of bands on Fat are influenced by the older stuff too. A lot of people I know.

Lynda: But we definitely stick out more than the others. We don’t sound like a Fat Wreck band. They kind of have their own certain style and sound that I think we’re really different from. The first record was recorded by Brian Green, who does a lot of the Fat Wreck Chords bands, but our new record was produced by Alex Newport, and we wanted to try and get a more different sound. We recorded on two-inch tape analog, and we just wanted a more fatter, live sound.

You’ve mentioned that not only were you pleased with just the sound of the new record, but also the structure of the songs.

Lynda: Yes.

What happened during the few years between the releases that led to the progression, just the touring and playing?

Lynda: (laughs) Well, yeah!

Sally: Plus, on Put Out or Get Out, a lot of those songs were on our first record, called Pretty Colors. They were remakes of old, old songs when we first got together.

So it was rehashed material, not a leap forward?

Sally: Yeah. It was stuff that we wrote a long time ago that we just changed, re-produced, or whatever, so with this new record we did a lot more collaborating.

Why did you take a step back and go with the two-inch tape, because the other record had been done mostly on computer. How did you know that was the direction to take to get that fuller sound? It’s a lot harder to work with.

Lynda: Well, yeah it is. It is a piece of work really. You don’t have the luxury of, especially singers, of like singing a line, if you don’t get the right pitch, then they can change it. You had to take a couple takes vocally and musically to get it right, and he would pick the three best takes of what we did and work from that. It was hard work, but we’re really happy with the outcome, and that’s what we wanted to go for, something more thick, more real sounding.

Lynda, you’ve said that “we’ve mostly had to deal with sexist promoters and booking agents and we overcame it by not backing down and by doing what we want basically.” How different has it been for this band compared to your others, say Inside Out?

Lynda: It’s a bit easier with Fabulous Disaster because we’re a little older and we know what we want, you know. When I was a kid with Inside Out, we had no clue. We were totally on our own, no direction, no nothing, and we got screwed over a lot. Um, with this band, we have a great label that is backing us, we’ve worked with really good bookers, and we kind of know more of what to expect and we are more seasoned pros, like touring wise, so that helps. But if you are young and in a new band, it’s really hard, because people do take advantage of you.

To read the full article, please visit Left of the Dial here.


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