|rainy day fever dream
Colter McCorkindale - September 23, 2008
Everyone needs some time alone to lie on the floor and stare
at the ceiling, or turn out the lights and listen to the sounds of the city
outside their window. It’s an unconventional form of musical meditation
and medication and we recommend using Tin Veil as your auditory wallpaper. They
traffic in the perfect flavors of spooky, reverb-drenched, droning guitars,
and plaintive, heavily echoed vocals for your listening pleasure on those days
when you want to live in your own private cocoon (or if you want your significant
other to join you for a little conjugal sequestering, Tin Veil works well for
that, too). Their sexy, structure-less tunes are all about using texture to
sustain a mood, and their consistency makes for long-term listening without
skipping tracks. So next time a rainy day comes along and you don’t feel
like dealing with this fcking city, stay indoors, put on some Tin Veil and drop
out. It’ll do you good.
Given the textural nature of your songs, how much planning goes into
them? How much is improvisation in the moment?
On this record much planning has gone into the building and
the layering of our sound. It took us about a year to write and work out live
with another six months to record. We are really into the intros and texture
of our songs and pay much attention to tracing all sounds back to the original
source, the instrument and voice. We do keep things interesting and improvise
around a chord progression, tuning or timing when creating the intros. We like
to get a strong vibe and wall of sound going between each track. Depending on
the night and the venue and how we feel at the moment they can vary in range,
in length and degree of texture. This is not to say we are a jam band but we
tend to keep things interesting by playing variations of our tracks when the
spirit moves us.
Instrumentally, do you get a lot of your inspiration
from machinery or other unconventional sources?
Yes definitely. We get plenty of inspiration from machinery
especially delay in the terms of pedals and existential samples. Caroline sings
through a Boss RV-3 guitar pedal, and Craig plays both guitar and bass using
several pedals including two RV-3’s. Jay creates live samples from vocals
and instruments using an X/Y axis effect controller manipulating the music and
sound by giving our intros and songs depth and space. We place much emphasis
on knowing our gear and pedals that we use inside and out. It is a staple of
our sound philosophy.
What’s your compositional process?
Initially this record started off entirely with a conceptual story, we set out
to make an audio novel with a beginning middle and end. All the basic song structure
and lyrics started off with an acoustic guitar or lyrical idea around the coffee
table. With this they go to the studio and basically get electrified along with
live sampling. There is a use of heavy delay on most tracks that create timing
in the songs without a drum track. Actually there are no drums on the record
at all. We place a lot of emphasis into creating intros where we can jam and
regurgitate basic structures of songs and get our vibe going before transitioning
from one song to the next. We like our live and recorded sound to be seamless,
and during our live show only basically only pause our sound to breathe, to
take a drink, or to address the audience and venue. We record and listen to
everything it is how we know where we are going and where we want our sound
to be as a composition.
Do you consider your tunes meditative and/or therapeutic in nature?
We like to consider them both meditative and therapeutic not
only for us but our audience. It is therapeutic to make music in general while
getting emotions and ideas off our chest and exorcising those emotions through
the mantra of our sound. Our tracks oscillate and are quite long, most songs
and intros pass the 5 minute mark and do have a meditative stance in terms of
delay, timing and vibe. The last track on our album, “The Rabbit,”
passed the 15 minute mark. Our music can accompany a road trip, a long day or
even a plane ride, but by all means if you start seeing things pull over.
"We get plenty of inspiration from machinery especially delay in the terms of pedals and existential samples."
""Hand in the Dark""
listen to "
What it is: Unstructured drones, textures, and layers of echoed vocals and effects. For those who like: Velvet Underground, Elysian Fields, Edgar Allan Poe Relevant.