TRENTALANGE
Interview
by
Steve Brydges
Her fall tour will be a benefit for the Seattle-based Powerful Voices, an organization that aids adolescent women. Go to www.powerfulvoices.org for more information.
Why "Trentalange" instead
of "Barbara Trentalange," or even "Barbara
(or Barbarella) and the Trentalanges"? If you ever start a '50s band, you
have to use Barbarella and the Trentalanges. Sounds classic. And maybe like a
bit of a copyright infringement.
I suffered over naming my project. I can't imagine the pressure of naming another human being. I had a hard time naming my pets because of the permanence.
I had every intention of having a project name, something that describes the sound, but I never came up with anything that I wouldn't hate a month later. When I was in the studio recording Photo Album..., Martin Feveyear (who co-produced the record) suggested that I just go by my last name. So due to a lack of better ideas, I decided to follow his suggestion.
Do you mind the Portishead comparisons? Where do you think your music departs from theirs?
I don't mind Portishead comparisons at all. I don't think the comparison is frequent enough for me to feel insecure about people thinking I am trying to emulate their sound. I think what they have written is quite brilliant and unique and Beth Gibbon's vocals are so fragile and beautiful. I am flattered that listeners would think of them while listening to my music. One thing that I find very interesting as a female musician, is that I get compared to just about every other female musician out there. I have been compared to everyone from Joni Mitchell to Bjork. I don't think you can get any different than the two.
Does it bother you that you are only compared to other female musicians? To what male-fronted bands do you think you could be compared?
I have been compared to male artists or groups as well like Nick Drake, Peter Gabriel, Radiohead, Massive Attack, to name a few. So I am not only compared to other female artists, though when I am, I think that it is an obvious comparison due to the nature of a female voice.
The only time I get frustrated by being compared to another female musician is when that is the only thing that we have in common, our femininity. In these instances, I don't think the listener is really listening, they are just trying put a label on what I am doing and the first label they draw is "female."
I think there are so many wonderful female artists out there, most of the time I am completely flattered by comparisons.
You are about to embark upon your second US tour this year, and each time it will have been as a duo and with a different drummer. In the duo setting, do you notice much of a difference between drummers? What stands out to you and what, besides someone who can keep steady time, do you want from them?
There is a huge difference in the way my music is presented with different drummers. In the past I have played with heavy hitting rock drummers, which added great energy to the live show but lacked the finesse on the slower moodier songs.
This tour I will be traveling with Faith Stankevich, who is an amazing talent with a background in Jazz and hip-hop. Her style translates beautifully with my songs. We are both really excited about how the project has evolved and taking it on the road.
As a duo, there is nowhere to hide. During the performance we sit side-by-side, so the spotlight will be on both of us equally. I have looked for strong players that are comfortable not being hidden behind a drum kit at the back of the stage. I also think that personality and chemistry are equally important to the playing. We will be crammed in a van together for a month, so being that close to someone else, I want the tour to be a really fun experience for both of us.
What brought about you doing a benefit for Powerful Voices? In short, what is Powerful Voices? What are you doing to benefit them?
As an artist, I often feel that the process of putting my work out there and waiting for a response is narcissistic. My work seems so ego gratifying that I don't feel comfortable talking about how I am trying to further myself in my creative pursuits. It is much easier for me to sell a cause, not to mention that it feels really good to be a part of something bigger and for the greater good.
I feel that I am able to use my creativity to raise money and awareness and maybe even a little inspiration for a cause that I believe in. I have a friend who worked for a Seattle non-profit organization, Powerful voices, and I immediately felt a connection to what they were doing. In short, they support at-risk teenage girls, by providing programs and mentorship to get them on a healthier track.
I am collaborating with 12 fine artists across the country, who each have interpreted one of my songs visually. I have videotaped each of the paintings, which will be projected behind us during the live performance. At the end of the tour, all of the paintings will be auctioned off and half of the proceeds will go to Powerful Voices. I am really excited about it. All of the contributing artists have come up with amazing pieces. I am proud to have their artwork behind me as we perform.
With this being a solo project, as compared to Spyglass, your previous band, what precautions do you take to prevent monotony among the songs? What filters do you have in place in terms of a recording engineer, friends, etc., that will give you honest criticism?
All I can do is hope that my songs don't get monotonous. I still feel that I have a lot to say and express through music, so I am not too worried about it yet. I have very schizophrenic taste in music, so I draw influence from so many different styles.
I feel like most of my writing process is editing. I am constantly cutting songs and ideas that are half-baked. I cut a number of songs from my record because the styles were so different and I needed a little more unity overall with the sound. When I am finally ready to share my music, I have a network of friends and musical colleagues whose opinions I hold in high regard, though I am never sure how honest a friend's comments are. It is a big thing to ask someone to be critical of your work that you are so immersed in. Artistic expression is a deeply personal thing tied up in a lot of emotional attachment. I wouldn't blame someone from holding back their true opinions. I take it all in but give most weight to how I feel about the work. If I am lukewarm on something, it won't make the cut.
How long were you a part of Crooked Fingers? How did you meet Eric Bachmann?
I supported Eric as a touring artist for his Dignity and Shame release. Lara Meyerratken, who sings on the record, was touring with Ben Lee at the time. Eric needed someone to step in and play her parts. I was lucky enough to fill the slot and tour with him off and on for a year.
I met Eric through Dov Friedman, who played drums for him on a number of Crooked Fingers releases. I had toured with Dov in the Spyglass days. He played drums on my record as well. I was thrilled that he recommended me to Eric. Touring with him and the other hired musicians was an amazing experience for me.
What's your favorite food to eat on the road?
Mexican food. I could eat Mexican food every meal of the day, every day of the year and not get tired of it.
What do you eat most often on tour?
Eating on tour is probably the most challenging thing for me. I am a vegetarian and have food allergies, so finding edible food is challenging, especially in beef country. I travel with a cooler in the van that is full of stuff I can eat. I eat a lot of peanut butter on rice cakes and Lara Bars. I love Lara Bars. When desperate I eat Taco Bell food. I eat a lot of Taco Bell.
Touring can be pretty arduous. What keeps you motivated, especially when things look dire?
If things ever look dire, I will probably just stop doing it. Life is too short to be doing something that you don't love. I happen to love touring and playing music. I try to get something out of every moment. Usually there is something good that comes out of even the most difficult situation. Touring can definitely be challenging at times, but I think that the rewards far outweigh anything bad. It helps to tour with someone that you are compatible with.
You're a graphic designer? What's more soul-sucking: Driving eleven hours to play a crappy show or working on a boring design project that you underbid and is taking way longer than you anticipated?
Corporate graphic design is soul-lifeforce-sucking limbo for me. I really don't like it. I started out as a graphic designer because I thought it would be great to be a professional visual artist. It turns out to be artwork by committee, which is probably the most frustrating thing for someone who is trying to express creatively. Corporate graphic design ends up being project after project of compromises. Music and painting are my creative outlets. I'll take the crappy shows over sitting in a cubicle being told to "making something look pretty" any day!
What sort of pets do you have? Do you call home from the road to speak to them through the phone?
I have two dogs. I don't call them on the phone. I do have photos of them on my phone though and may look at them when I am on the road.
What would be the perfect pet to take on tour?
I think it'd be something strong enough that you could strap your equipment to it for load-in/load-out purposes, yet compact enough to take up only part of a backseat.
That's a good question. I always thought it would be great to tour with my dogs. It is a nice diversion. I stop myself from the daydream though because I think they would be miserable cooped up in a car all day and then being subject to loud music at night.
Does that mean that touring isn't fit for a dog?
I was thinking “baby elephant” or “mule” but dogs would be cool, too.
I suffered over naming my project. I can't imagine the pressure of naming another human being. I had a hard time naming my pets because of the permanence.
I had every intention of having a project name, something that describes the sound, but I never came up with anything that I wouldn't hate a month later. When I was in the studio recording Photo Album..., Martin Feveyear (who co-produced the record) suggested that I just go by my last name. So due to a lack of better ideas, I decided to follow his suggestion.
Do you mind the Portishead comparisons? Where do you think your music departs from theirs?
I don't mind Portishead comparisons at all. I don't think the comparison is frequent enough for me to feel insecure about people thinking I am trying to emulate their sound. I think what they have written is quite brilliant and unique and Beth Gibbon's vocals are so fragile and beautiful. I am flattered that listeners would think of them while listening to my music. One thing that I find very interesting as a female musician, is that I get compared to just about every other female musician out there. I have been compared to everyone from Joni Mitchell to Bjork. I don't think you can get any different than the two.
Does it bother you that you are only compared to other female musicians? To what male-fronted bands do you think you could be compared?
I have been compared to male artists or groups as well like Nick Drake, Peter Gabriel, Radiohead, Massive Attack, to name a few. So I am not only compared to other female artists, though when I am, I think that it is an obvious comparison due to the nature of a female voice.
The only time I get frustrated by being compared to another female musician is when that is the only thing that we have in common, our femininity. In these instances, I don't think the listener is really listening, they are just trying put a label on what I am doing and the first label they draw is "female."
I think there are so many wonderful female artists out there, most of the time I am completely flattered by comparisons.
You are about to embark upon your second US tour this year, and each time it will have been as a duo and with a different drummer. In the duo setting, do you notice much of a difference between drummers? What stands out to you and what, besides someone who can keep steady time, do you want from them?
There is a huge difference in the way my music is presented with different drummers. In the past I have played with heavy hitting rock drummers, which added great energy to the live show but lacked the finesse on the slower moodier songs.
This tour I will be traveling with Faith Stankevich, who is an amazing talent with a background in Jazz and hip-hop. Her style translates beautifully with my songs. We are both really excited about how the project has evolved and taking it on the road.
As a duo, there is nowhere to hide. During the performance we sit side-by-side, so the spotlight will be on both of us equally. I have looked for strong players that are comfortable not being hidden behind a drum kit at the back of the stage. I also think that personality and chemistry are equally important to the playing. We will be crammed in a van together for a month, so being that close to someone else, I want the tour to be a really fun experience for both of us.
What brought about you doing a benefit for Powerful Voices? In short, what is Powerful Voices? What are you doing to benefit them?
As an artist, I often feel that the process of putting my work out there and waiting for a response is narcissistic. My work seems so ego gratifying that I don't feel comfortable talking about how I am trying to further myself in my creative pursuits. It is much easier for me to sell a cause, not to mention that it feels really good to be a part of something bigger and for the greater good.
I feel that I am able to use my creativity to raise money and awareness and maybe even a little inspiration for a cause that I believe in. I have a friend who worked for a Seattle non-profit organization, Powerful voices, and I immediately felt a connection to what they were doing. In short, they support at-risk teenage girls, by providing programs and mentorship to get them on a healthier track.
I am collaborating with 12 fine artists across the country, who each have interpreted one of my songs visually. I have videotaped each of the paintings, which will be projected behind us during the live performance. At the end of the tour, all of the paintings will be auctioned off and half of the proceeds will go to Powerful Voices. I am really excited about it. All of the contributing artists have come up with amazing pieces. I am proud to have their artwork behind me as we perform.
With this being a solo project, as compared to Spyglass, your previous band, what precautions do you take to prevent monotony among the songs? What filters do you have in place in terms of a recording engineer, friends, etc., that will give you honest criticism?
All I can do is hope that my songs don't get monotonous. I still feel that I have a lot to say and express through music, so I am not too worried about it yet. I have very schizophrenic taste in music, so I draw influence from so many different styles.
I feel like most of my writing process is editing. I am constantly cutting songs and ideas that are half-baked. I cut a number of songs from my record because the styles were so different and I needed a little more unity overall with the sound. When I am finally ready to share my music, I have a network of friends and musical colleagues whose opinions I hold in high regard, though I am never sure how honest a friend's comments are. It is a big thing to ask someone to be critical of your work that you are so immersed in. Artistic expression is a deeply personal thing tied up in a lot of emotional attachment. I wouldn't blame someone from holding back their true opinions. I take it all in but give most weight to how I feel about the work. If I am lukewarm on something, it won't make the cut.
How long were you a part of Crooked Fingers? How did you meet Eric Bachmann?
I supported Eric as a touring artist for his Dignity and Shame release. Lara Meyerratken, who sings on the record, was touring with Ben Lee at the time. Eric needed someone to step in and play her parts. I was lucky enough to fill the slot and tour with him off and on for a year.
I met Eric through Dov Friedman, who played drums for him on a number of Crooked Fingers releases. I had toured with Dov in the Spyglass days. He played drums on my record as well. I was thrilled that he recommended me to Eric. Touring with him and the other hired musicians was an amazing experience for me.
What's your favorite food to eat on the road?
Mexican food. I could eat Mexican food every meal of the day, every day of the year and not get tired of it.
What do you eat most often on tour?
Eating on tour is probably the most challenging thing for me. I am a vegetarian and have food allergies, so finding edible food is challenging, especially in beef country. I travel with a cooler in the van that is full of stuff I can eat. I eat a lot of peanut butter on rice cakes and Lara Bars. I love Lara Bars. When desperate I eat Taco Bell food. I eat a lot of Taco Bell.
Touring can be pretty arduous. What keeps you motivated, especially when things look dire?
If things ever look dire, I will probably just stop doing it. Life is too short to be doing something that you don't love. I happen to love touring and playing music. I try to get something out of every moment. Usually there is something good that comes out of even the most difficult situation. Touring can definitely be challenging at times, but I think that the rewards far outweigh anything bad. It helps to tour with someone that you are compatible with.
You're a graphic designer? What's more soul-sucking: Driving eleven hours to play a crappy show or working on a boring design project that you underbid and is taking way longer than you anticipated?
Corporate graphic design is soul-lifeforce-sucking limbo for me. I really don't like it. I started out as a graphic designer because I thought it would be great to be a professional visual artist. It turns out to be artwork by committee, which is probably the most frustrating thing for someone who is trying to express creatively. Corporate graphic design ends up being project after project of compromises. Music and painting are my creative outlets. I'll take the crappy shows over sitting in a cubicle being told to "making something look pretty" any day!
What sort of pets do you have? Do you call home from the road to speak to them through the phone?
I have two dogs. I don't call them on the phone. I do have photos of them on my phone though and may look at them when I am on the road.
What would be the perfect pet to take on tour?
I think it'd be something strong enough that you could strap your equipment to it for load-in/load-out purposes, yet compact enough to take up only part of a backseat.
That's a good question. I always thought it would be great to tour with my dogs. It is a nice diversion. I stop myself from the daydream though because I think they would be miserable cooped up in a car all day and then being subject to loud music at night.
Does that mean that touring isn't fit for a dog?
I was thinking “baby elephant” or “mule” but dogs would be cool, too.
For more on what is up with Trentalange go to: