Parts & Labor [rank: 1218] based on users subscribed
"Parts & Labor is an American experimental rock/noise rock band. The group was formed in 2002 by B.J. Warshaw and Dan Friel in Brooklyn, NY and has since toured with other bands such as Battles, TV on the Radio, Deerhoof, Voltage, Breaker! Breaker!, Tyondai Braxton, Coachwhips, Japanther, Pterodactyl, and Matt & Kim."
Bandega Interview with BJ Warshaw of Parts & Labor (October 2008)Listen to yourself on Parts & Labor's new album.
Q: How have your shows changed over the years? Has your perspective on performing live changed?
A: We've recently been performing on some larger stages. It's always tough to balance out the desire to play to as many people as possible with the desire to sound good and give an intimate experience to the audience. I'm still most comfortable playing in a small/medium venue, say 200 capacity. I don't think my perspective has changed much over the past few years...except maybe drinking less alcohol before I play.
Q: Describe the most memorable live show you've played.
A: Maybe playing the Siren Festival this past summer. Biggest crowd I've ever performed in front of.
Q: What venue do you consider to be your "home", where you feel most comfortable, with the crowd and the place itself?
A: North Six (RIP) and/or Tonic (RIP).
Q: Describe the most enjoyable show you've ever experienced as a fan.
A: Boredoms performing a "secret show" (read: under promoted and under attended) at CBGBs, they played most of Super Ae and some of Vision Creation New Sun before it had been released, and there were maybe 20 people, and I was dizzy with bliss.
Q: What was the inspiration for your unusual online request for audio sample submissions to be used in your new album, Receivers?
A: Originally we were just going to ask our friends to send us some sounds. It was a last minute decision, on our way to Milwaukee to start recording, that we decided to open up the call to the world. Loosely I was inspired by Roger Waters, who interviewed random people around Abbey Road while Pink Floyd recorded "Dark Side Of The Moon", and used the recordings as source material on said album.
Q: What was your reaction to the response and how did you go about mixing them into the album?
A: Reaction was pretty positive. Though we got less people responding than I'd hoped, everyone sent in multiple samples. One contributor alone, Claire Lin, sent us several hundred samples collected during her art project, www.re-collection.org. So we had plenty of material to work with. To add the samples, we set up a pseudo-mastering session in Pro Tools and imported the rough mixes. We'd pretty much decided the track order and where we wanted to use the samples as transitional material before we were done recording. So we'd simply listen to the sounds and find good homes for them, sneaking them in during quieter moments or rhythmic breaks, or layering multiple samples together collage-style -- whatever sounded rad. We had several tracks in Pro Tools set up, so there was a visual element at play; we were able to see where and how dense the use of samples was throughout the entire record at once. There were definitely some sounds early on that informed some of our mixing decisions. And I'm proud at how integrated the samples are in the final product.