CAVE: SPACE, OF COURSE, IS TIMELESS
luke mcgarry
It’s nice, easy, and recommended for all folks to zone out with Cave’s 30-minute jams. If only the band’s MySpace page background could follow them around, spiraling neon colors out of sounds and frequencies, and so could we engage the ideal psychedelic lifestyle, in which a blink of an eye might transport us to an outer-space beach blanket with Sun Ra. This interview by Daiana Feuer.
You move furniture for a living?
Cooper Crain (guitar): Everyone in the band does, actually. It’s us and the band Mahjongg. We’re all originally from Missouri and have moved up here at different times. There’s a company that our friend owns. It’s not really ‘real’ but it is real. We own some box trucks and move all throughout the year. It’s called Starving Artists, and there’s a bunch of people in bands. And there’s some people who make visual art and some who write. It just makes it so everybody can leave and do what they want to do but always have a job.
You don’t necessarily think of musicians as handy movers.
Oh no—it’s great because it makes it easy to move amps or anything since for your job you move a bunch of people’s apartments and stuff up stairs all the time.
Do you ever compete to lift things?
Well, there’s certain people who are taller and their arms are longer so they’re able to carry box springs. And every now and then a move is made by somebody who figures out how to get a certain type of couch through a certain doorway. It’s a lot of fun. You work with friends and it pays cash at the end of every job so it’s nice work.
What’s the most current thing in Cave land?
We recorded a bunch of songs last winter and made a record and a single out of it and that’s coming out on May 26 called
Psychic Psummer on Important Records. That’s the newest thing. But a 7-inch of ours just came out in England. This new record is the ‘new band.’
How is that reflected musically?
Big, big deal! Before it was just kind of a thing where certain people were involved and every show there would be various amounts of people. It would go from four to ten people in the band at one show. That was in Missouri and they were kind of freeform jams for the most part. Then me and a few other guys kept doing it on our own and moved to Chicago. Some people have left but for the last year there’s been an actual band. Only me and Rex who plays drums are the ones who have been in it the whole time. But this live band that’s on the album—we’ve been doing it for a year and it’s totally a great change. Before only a handful of people would be overdubbing or doing it live. And then editing jams and now it’s advanced a lot more. There’s Adam playing electric organ, I play guitar and keys, Dan on bass, Rotten Milk plays the mono synthesizer and sings and Rex on drums. It’s a five-piece now.
Are you playing full songs at shows now or just jamming?
The album that’s coming out—half of it is songs we actually worked out and half of it is jams we recorded or edited that we kind of learned in order to play live from the recording. Now all the songs that have been recorded—as far as the structure goes, we do a lot of editing in the studio but a lot of new stuff is actually just start and then end. That’s the vibe of how everything starts.
Do you have communication tricks when you play?
A few of us have been playing together in various things for a long time. All of us live for the most part near each other if not in the same household, and we work together then play together. I feel like over the last year being around eah other makes it easier. Since it’s a band now, it’s advanced the sound. It’s tighter and things can happen smoother. As far as location for when things happen—not always but every now and then, there’s a nod or two. It goes half and half.
What’s the longest continuous session you’ve played together?
The very first thing we ever did, we hooked up a tape machine and threw out a bunch of mics and that was like a 36-minute song. That’s probably the longest. Maybe we’ve played literally longer back in the basement in Missouri. Our goal was to try and not go over a half hour for a continuous jam, but it may have slipped here and there. That’s more than a side of a record. That’s why we’re releasing a single with the record. There’s one song that is actually three and a half minutes, and it was kind of written as a song rather than a jam. And we were like, ‘Wow, that’s our first actual song. There’s a lead vocal part on it! We should make it an album single—like an old 45.’ That just shocked us all. But that’s the direction it’s more going into. We’re starting to get into songs, while still maintaning the spirit of the old songs. We’re evolving, as always. It kind of started as a part someone had and we worked it out and we felt it shouldn’t go too long, not that it lacked interest, but it sounded like a song—short and sweet.
What’s the greatest guitar riff you’ve ever heard?
Aerosmith, ‘Sweet Emotion.’ I don’t think I’ll ever get tired of that one.
If you could time travel to spend an afternoon at the beach with three historical figures, who would you choose? What moment in time would you like to visit them in?
It’d be cool to go back a little further when things weren’t kept so close-eyed. Mid-1900s. And hang out with some Ethiopian dudes. Maybe Terry Riley or jazz dudes? We’ve all been really into the Doors lately, but not so teenage-girl way—not so Jim Morrison, so I don’t think I would want to hang out with him on the beach. Perhaps one wild card, one TBA. No, wait, actually—though I don’t think I will ever be in this situation, I think if I could have a telephone booth like in
Bill & Ted, I want to hang out with Terry Riley, David Tortuga and Sun Ra. Location: a beach in the outer-space zone. Maybe we’ll depart from the mid-1900s. But space, of course, is timeless.
http://larecord.com/interviews/2009/...ss/#more-31056