Photo by Danielle DeFoe.
If you’ve been to Baby’s All Right upwards of five times in the last year, chances are you’ve seen (or heard) Daisy Glaze. The band is the new musical project of Louis Epstein (HITS) and Alix Brown (Roya, Angry Angles etc).
As two artists with a knack for cohesive imagery, and an understanding of big picture aesthetics, Daisy Glaze is not amateur hour at the Comedy Club. Today we’re psyched to be premiering Daisy Glaze’s first ever single “Ray of Light.” The track is beautiful and full, opting for seismic sounds over today’s norm of minimal twang. Brown and Epstein’s vocals intermixing on and off to unite in the chorus, listen to the track, read our interview with them, and catch the band at this week’s Cult Citizen.
You and Alix have both been involved in music for a while, how did this project come together?
We tried something like this when we met awhile back but the songs weren’t quite there. When we started working together again, about a year and a half ago, the songs seem to click faster and easier. Especially after we wrote “Ray Of Light.”
Talk to me about “Ray of Light,” why this track as the first Daisy Glaze release?
Well, this was the first song we wrote that we liked, and we kinda of orbited around it when writing and deciding on the rest of the songs. So it feels like a good introduction.
The idea of a male-female duo feels very retro—Nancy & Lee, Serge & Jane, Serge & Brigitte Bardot etc. Did you find inspiration in a particular duo or just in the general nostalgia?
Sure we found inspiration from iconic duos but a lot of the sonic inspiration came from soundtrack legends like John Barry, Jack Nitzche and Ennio Morricone. We would send each other different songs, videos, film and art from many different eras, which informed the writing as well.
The recording process is often described as being somewhat hellish but Portugal with Sonic Boom sounds kind of amazing. How was the experience?
It was intense and yes amazing. If we had asked Sonic to record us here, our city life would have naturally gotten in the way. When you cant escape, it simplifies and intensifies, thats a good thing for making a album. Plus hanging with Sonic was a trip. He was like an encyclopedia of music, and when we were done recording we would go to his house, hang with him and his amazing wife, drink Pernod, and wormhole through obscure music.
Both aesthetically and sonically, Daisy Glaze seems to be set somewhere in the late 60’s/70’s. Have you both always had a sort of reverence or fondness for the era, was it more of a conscious decision OR do you think you may have subconsciously retreated into the comfort of nostalgia given the current state of world affairs?
It might sonically feel that way to some people but there was no retreat from the world. This was not a “let’s hide and pretend it’s the summer of love” album. The current atmosphere we live in, as we all know, is heavy, intense and in too many ways fucked up. We did not make an overtly political record, but it is definitely reflective of the turmoil we see in our culture and around the world.
For those who haven’t seen (or heard!) DG before how would you describe your sound?
After our first few shows people kept saying the same thing “You guys sound like a Quentin Tarantino soundtrack.”
What’s the most insufferable song you’ve heard in the last few months? Is there a particular sound or noise that grates on your nerves?
Isnt it better to block out all the crap you accidentally hear? Keeps you sane and and liking music!
Are there any newish/contemporary bands you think are exciting?
Espanto, Moon Duo, The Limiñanas, La Femme, The Lemon Twigs, Tall Juan.
Do you think authenticity is a requirement for “good” art?
Well it was definitely important to us. That’s one of many reasons we were excited to work with Sonic. And also why the writing to finished product took as long as it did.