A Conversation with String Machine
Photo credited to David McCandless
Pittsburgh's String Machine have recently been making waves with the release of their second studio effort, Death of the Neon. To find out more about the psych-folk collective, Luke spoke with members David Beck and Ian Compton about the album, the reception they've received, and where the band is headed next.
One of my favorite albums of last year - Death of the Neon - came from Pittsburgh’s String Machine. Some of the most lively and loving people I’ve ever met while doing the damn “DIY circuit” thing, I quickly gravitated towards how professional and well-composed their sound was. String Machine use their Appalachian roots to fully consume the foundations of baroque rock & indie folk. In fact, I find they are one of the most exciting news faces in these genres.
In recent years, it has been super depressing to see the almost classical-tier level of lush instrumentation and arrangements that dictated groups like Broken Social Scene, or artists like Sufjan Stevens, disappear in return for sleepy and underwritten bedroom pop. String Machine is bringing back a pronounced level of musicianship, but with their own twist to make it familiar yet innovative.
But what makes Death of the Neon great? Simply put, it’s how the band elevates simple songwriting with an amazing use of slight instrumentation and sound play. “Engine/It’s Time,” a thoughtful, pain-stricken tune, opens the album with labyrinth-like twists and turns, and immediately sets the tone - dreary yet fluorescent, familiar yet mystical. The incredible vocal chemistry between members, and how they create such mellow melodies, is what’s most tangibly felt on the record. Take “Rattle on the Spoke,” where triplet arpeggios dance around a reverb soaked room as David Beck’s wretched vocals conjures a woozy atmosphere. The title track is also a prime example of this, a psychedelic masterpiece that includes what I will retroactively dub the trumpet line of the decade.
I cannot overstate how this band still innovates within the framework of simplicity. They’ve somehow found a way to make angular grooves tranquil, as on “Mara (The Breeze),” and create an Appalachian Duster song with crisp, jazzy drumming in “No Holiday/Excite Again.” It’s sheer insanity to see this level of songwriting from a band still so heavily rooted in the DIY circuit. Ultimately, it feels as though String Machine have made a record of Pink Floyd caliber ideas and musicianship in 1/10th of the time.
Because this record kicks all of the ass, I decided to reach out to the band for a little Q&A interview. Members David Beck and Ian Compton chatted it up with me, as we discussed recording, touring, and how the reception they’ve received thus far has been an affirmation for the group’s existence.
Photo credited to Emery Meyer
Let’s start off by having you introducing yourselves, you’re a massive crew of yinzers and we don’t want to miss anybody.
David Beck: Hi, I’m David and I play guitar and sing.
Ian Compton: Hi, I’m Ian Compton and I play trumpet and guitar in da machine. I’m also the world's biggest fan of Luke’s old band Squid. Literally the best band ever.
As a fan of your music since your debut Thread of the Youth Fossil, how would you describe your progression from then to now?
David: Well, Threads from the Youth Fossil was honestly a Hail Mary for me personally. It was made at a time where my creative confidence was flimsy. I just started making it, and with the help and enthusiasm of my friends, it came into fruition. That bond between us all was strong - we pick each other up and inspire one another. So for the next album, it was fully collaborative. All of the collaborators that pitched in on Threads were now the band that would follow the motions of a proper full length.
Death on the Neon sounds absolutely beautiful. How was the recording process?
David: The recording process of Death was very interesting. It was almost completely recorded in our bassist Mike’s basement. I’d show up during the day, flesh out the skeletons of the songs. The rest of the band would come after work and we’d add the meat to the skeletons. It was strenuous at times, but we had such a clear vision of what we wanted.
It was bizarre too, because we stopped playing shows and needed an affirmation that what we were doing was any good. I learned then that I don’t think we could make an album any other way. I think it was extremely important to unplug from the distractions of comparison to our peers and make something that was uniquely personal to us.
What proved to be most challenging during recording?
David: The most challenging part was probably how isolated we were. I had to constantly remind myself that the art we make is for us first. It feels risky to follow through with an album that you have no idea whether or not it will translate. I got to a point though, where it really started not to matter whether people liked it or not. ‘Twas our baby.
What proved to be most rewarding?
David: The critical/audience reaction is definitely rewarding. Above all, the most rewarding thing about it is seeing people actually connect to the music, people telling us that the songs actually help them through the low times. Above every critical insight we’ve been blessed with, the most gratifying thing has been a person from Australia telling us “No Holiday” helped them through a super depressive point in their life. That’s the magic of it all.
Ian: I don’t know what could be more rewarding than us all beating on our chests barking like dogs for the end of “Eight Legged Dog.”
How would you define the central themes, if any, of Death of the Neon?
David: The central theme is stress and excitement eroding at your core and leaving you deflated and unenthused. How to bounce back from that. How to dig yourself out after plummeting into the mud from a high spot.
The official music video of "Eight Legged Dog," from Death of the Neon
You’ve received some very respectable coverage, from having the album premiere on The Alternative to having Ian Cohen review the album for Pitchfork. How have you felt towards the reception the record has received?
David: It’s pretty incredible. I’m not kidding, Nic [Temple] and I used to read Ian Cohen reviews of Manchester Orchestra back in 2012 and we’d just be pissed that they got a negative review from him. We’d rattle his name around as almost an inside joke because he also gave MGMT’s self-titled a pretty okay score when we thought Manchester and MGMT were both amazing.
It’s just so surreal and ironic that several years later, Ian Cohen is super supportive of us and gave us a cry-worthy review on Pitchfork. We’re super blessed to have our music reach those ears, super blessed to have his support. I’ve been checking Pitchfork on a daily basis since I was 14, it’s fucking wild to see something you made in a basement be on the homepage.
Ian: It feels really nice getting recognition from the sites I read when I was growing up. We all work so hard to make this band and our other projects work while keeping our day jobs and personal relationships intact. So to hear good things about our art is super nice for the soul.
Pittsburgh is the best city ever, I yearn everyday to get an ice cold Yuengling at Howler’s. From Don Caballero to Code Orange to Mac Miller, the city’s birthed some cutting edge artists, and is home to legendary venues like Mr. Roboto. What do you all love about the Pittsburgh music scene?
David: Last year, I had a vision, a shift of perception about Pittsburgh. I stopped thinking about it as a dead end and started thinking about it as a frontier of opportunity. Since then, it’s kind of wild seeing and experiencing the solidarity and community that is absolutely thriving here. It’s a beautiful thing.
Ian: Pittsburgh is the best and thank you for acknowledging it! I love Pittsburgh because after I moved back home from NYC I felt welcomed and a part of the scene from the get go. We have a thriving house show/DIY scene, a bunch of nice venues ranging from DIY all ages spots to bars - Glitterbox Theater, Spirit, Mr. Smalls, Thunderbird, Roxian, the Smiling Moose, the list goes on and on. There can be over saturation, but there’s also a lot of places to start your artistic path or just have a nice night with a couple good stories.
What do you dislike, or wish was better, about your scene?
Ian: I think the scene could be more organized with maybe more crossover events, but like I get it, who has the time and money. Hey Peduto, write me a check, I got ideas!
Who are some current acts in the scene you recommend us to check out?
David: Merce Lemon, Vireo, Drauve, Rave Ami, Slugsss, the list goes forever.
Ian: Oh my the scene is popping, but for real look out for: Vireo, Slugss, Baseball Dad, Short Fictions, Shin Guard, Silver Car Crash, Rave Ami, The Zells, Brightside, the Childlike Empress, Anton Ego, Weird Paul, and so many more, it’s just early and I need coffee.
Photo credited to Dylan Rosgone
What’s next for String Machine? Any planned touring?
David: So this spring we’re actually gonna harness the spirits we’re feeling and start getting back to the drawing board to write some new music. I personally just can’t resist it. I feel this eagerness in my teeth on a daily basis to start digging into my own brain and capture what is in there screaming like a cat in a cage. In late spring, we have a few weekends in NYC & NJ. In the summer, we’re doing the ManDancing/String Machine Part 2 tour in New England. That’ll be announced soon.
Ian: We are playing a bunch around PGH in Feb and the spring. Other than that I think we’re trying to tour with our friends in Mandancing.
Ultimately, what message do you wish to give others with your music, and how does it reflect who you are?
David: I just think of the feelings of spiritual liberation I get when I hear “Like A Rolling Stone” and if I can evoke that out of anyone else, I will have accomplished everything I’ve ever wanted. I also believe my own personal agenda is to defeat the hierarchy of performer and audience.
Ian: Here’s a message - life’s hard, try to have fun and surround yourself with people who help you and that you wanna help. We’re a collective and that might look crazy. Like how can all those people fit on a stage and tour together. Well that’s it folks, we do it together. AJJ has a lyric on the new album that’s something like “I’m gonna talk to someone I don’t know today” and that’s what I’m trying to get at. Stay weird and know that we’re all right there with you. Life can really stink, but not when you're making music and certainly not when you’re dancing.
