Shattered & heavily-treated guitars pound into focus by a primal assault of beats and shifted tempos. A vocal delivery, honest to its bloody, shredded
core, forces the attention of listeners. Not a moment of pause prevails; an improvised journey from one song structure to the next weaves incessantly throughout the live performance.
These are just some of the elements that comprise the Brooklyn-based experimental duo CINEMA CINEMA.
After wrapping up a tour of 140+ shows behind their 2009 debut full length, “EXILE BABY”, the pair, cousins Ev Gold and Paul Claro, headed to Inner Ear Studios in Arlington, VA, to record their new album. The results of their studio sessions yielded a double record’s worth of material. “Shoot the Freak” is an initial peek into the expansion of the band’s sound–integrating exploratory moments culled from their sprawling live show, with a newfound focus regarding both song structure & melodious intent. Seasoning their sound with bright flourishes of volume and fury, the band succeeds in creating work so novel, it defies genre-identification.
We took the time to ask the now touring duo a few questions. Here’s what they had to say!
What is the strangest thing a fan has done for you?
“Moments after we finished our set at Paperhaus last summer in Washington, D.C. – on tour with Greg Ginn (SST Records/Black Flag) – while still dripping sweat and just starting to break down our gear, we were rewarded with a delightfully dressed and handsomely served fresh mango sorbet. It was without a doubt the most original post-gig congratulatory instrument that we ever have encountered.”
What is the funniest moment you have had as a band so far?
“When touring as hard as we do, often times you can slip into a delirious state of exhaustion, almost mania. These times generally yield hilarity that is beyond the normal realms of the imagination. Slogans are created, jingle’s are crafted out of melodies from mainstream/top 40 songs you loathe. Accents are adopted. We generally speak to each other with anEnglish lilt a’la Spinal Tap after a few hours out on the road. To nameone moment is really hard. Maybe one time in Northampton, MA in 2009 – at the end of the night the bouncer let us crash in his attic. When we finally got there, Paul (my cousin & drummer in CC) plops down into the couch, exhausted – the same spot he is about to sleep in – and literally years worth of soot and ash (and probably asbestos) rise up around him from the cushions – like it was a movie set and some sort of special effects where triggered. We were basically spending the night in a total disaster crawl space, but on the road you take what you can get and with the way that tour had been going until that point, we considered that night a win.”
Do you have any pre-show rituals?
“Nothing specifically odd or interesting. I prefer to warm up my fingers/hands by running through chromatic scale type exercises on my guitar before we go on. For some reason though I have noticed that I usually have to take one last pee EVERY time I finally get all my gear plugged in and ready. I mean, I have done a lot of gigs – I don’t think it’s nerves… it’s just, my bowels prefer evacuation pre-catharsis.”
If you could describe your music in one word, what would it be?
How do you connect with a crowd?
“We allow the music to run us through its course with such ragged abandon in the live setting that we have to achieve a real sense of intimacy in the interplay between the two of us, to really do it right. With all the improv and experimentation included in our sets – we get to a naked place at certain points and allow the crowd to view the animals in their natural habitat. Thus connecting in a more primal way then just the simple song/dance/applause routine of most bands & their live show. We start at the first note of the first song and we do not stop until the last note of the set, a journey from front to back is what we bring the crowd on.. if they choose to take the ride, then we connect in a very deep way.”
How did you come up with your band name?
“It’s taken from a scene in a French film from 1993 called Man Bites Dog.”
What is the best way to write music?
“Unencumbered by the trappings of thought. Open and free and allowing yourself to be the channel with which the music chooses to pass. Not by trying, but more by getting out of the way enough to allow it to flow from a natural place…and following that flow.”
Make sure you check out Cinema Cinema playing THIS Saturday, March 30th at The Black Cat in D.C.!