By Jim Schutze
By Rachel Watts
By Lauren Drewes Daniels
By Anna Merlan
By Lee Escobedo
By Alice Laussade
By Scott Reitz
Put a Nick Drake record on the turntable and poke a hole in one of your speakers. Grab a bottle of red wine and a pair of scissors. Forget who's asking or answering, or even what they're talking about, and just read. Start in the middle and end at the beginning. Cut the questions apart and splice them into the answers, slice words in half and make new ones--substitute your own, if you want. Cross out anything you don't like with a Sharpie and drip Liquid Paper over the rest. This is not a sacred text, not even a transcript of a musician talking to a journalist--or is that the other way around? It's a conversation, with eavesdropping allowed and participation encouraged.
"Um...are you taping?" Tim Kinsellas is on the phone in his Chicago apartment.
"Yeah," and I'm at my cluttered desk in Dallas.
"Is this going to be run as, like, a straight dialogue, or are you going to write about the record and just want some quotes or something...?"
"Kind of half and half."
[Joan of Arc's singer-guitarist-etc. Tim Kinsellas (known until recently as Tim Kinsella--singular, not plural) decided before the release of The Gap, his band's fourth and latest album, that he would interview the interviewers instead of the other way around. It wasn't a prank; instead, it was a way for him to move from Q&A to YOU&I--expand the interviews rather than eliminate them. They would be conversations rather than a series of well-rehearsed sound bites. Today happens to be the last day of Kinsellas' interviews, which is, in fact, one day longer than he'd anticipated. It's only a one-day difference, sure, but it's a crucial discrepancy: He's heading out on tour tomorrow, and today was supposed to be set aside for taking care of all the last-minute details, such as ensuring the van is ready for the road and things of that nature. Like any other interviewer, Kinsellas is running into deadline pressure. And so...]
"Well, what do you wanna talk about?"
"I don't know--what do you wanna talk about?"
"Geez, I don't know. I'm really freaking out today. I don't know. I mean, I've been doing most of the question-asking. But...uh...in a way...it hasn't just been me asking the questions. It's been, like, more reciprocal, you know, because of that. People ask a lot of the same questions, and I just hear myself say the same answers through all the interviews. So I've just been kinda doing it like this. I haven't thought about these two today; Jessica just told me, like, an hour ago. I don't really have any questions. Is there anything you want to know?"
"I guess everything I would ask is something you've heard yourself give the same answer to."
"Well, pick one and we can go from there."
"OK...um...I hear that you guys have been rehearsing a lot, or at least, a lot more than you're used to."
"Yeah, it's been, like, nonstop. Well, this one was done completely, and the last one was done mostly, on ProTools. Do you know what that is?"
[Yes, it's a computer editing system, used to turn dozens of tracks into one big heap of song, piling sound upon sound upon sound. It's a blender and a glue gun, ripping the melody apart and sticking it back together. It's safe to say that The Gap wouldn't exist without ProTools, at least, not in this form. It's the future backtracking into the past, flickering like a transmission from another galaxy.]
"So the whole songs were put together and arranged, and by the time this whole song is done, it's never been played live once by us. Like, we don't even know how to play it even. When it's done, we sort of have to learn to play our own songs. With this record, there's been a lot of sort of translating of, like, well, we aren't going to have a couple of women on tour with us doing backing vocals, and, you know, a small string section. So, we've had to do a lot of translating of instruments."
"Does that mean the songs are a lot different than they are on the record?"
"They're definitely all recognizable as the same songs, just different takes on the same thing, you know. And all of the older songs we're playing, except for some pretty small details, are all pretty straight. Anyone who knows the records would know the songs, be recognizable. What do you think of that? Does that bum you out? Would you be let down to go see a band...I have no idea if people will be like, 'That's lame. It doesn't sound like the record.'"
"If I wanted to hear the album version, I'd probably stay home and listen to the album."
"Yeah, that's how I think too. I think it makes it a lot more interesting than just like, 'Wow, it's just like listening to the record, except there they are."
[The they in this case is Kinsellas; his brother, the still-singular Mike Kinsella (drums, bass, acoustic guitar); Jeremy Boyle (computer); Matt Clark (bass, electric guitar, piano); and Todd Mattei (electric guitar). (Mattei has since left the band.) But when you're talking about Joan of Arc, the they could be shortened to the he; The Gap like the three previous Joan of Arc albums is the brainchild of Kinsellas. And like the three previous Joan of Arc albums, it's art rock without the rock, both joke and punch line, and sometimes, the straight man too. (How else to describe a disc with a song titled "John Cassavetes, Assata Shakur, and Guy Debord Walk Into a Bar..."?) Kinsellas is one of the few musicians who approaches music as he would art in any other medium, starting with his idea of what something should be rather than trying to make someone else's idea into his own. Many others claim to do the same, or you suppose they do, but only Kinsellas actually does it that way. And it's not as pretentious as it sounds. But it also is.]