* (The Beat Kitchen, Chicago. A sticky Saturday, cold beers drafted to fight for neutral body temperature sit on the counter and are occasionally curled with the urgency of government work. A sloppy saucy cheeseburger appears with lid flipped before JEREMY BLACK, Apollo Sunshine drummer and summertime beard wearer. On the horizon, Renaissance man JESSE GALLAGHER pours himself out of the picture and into the questions of a curious lady. Guitar tenderizer SAM COHEN, head half hidden beneath a rind of ringlets, stakes his claim to a stool sheathed with the hide of the very beast with which MR. BLACK is preparing to fortify body and mind. Without plans to, MR. COHEN and THE STRANGER (who would never disclose that, in the platinum backwater of Katonah, he manned the baritone sax while MR. BLACK steered the high school jazz band from the drum kit) clear their schedules and become absorbed like cholesterol in the application of a condiment rainbow to the altar of meat and the tracings of MR. BLACK’s blade until THE STRANGER delivers an invitation to conversation applicable to both the growing yellow-orange paste and recent rumors of an instrumental Apollo Sunshine album being recorded, on-again, off-again, in the ensemble’s Leverett, Massachusetts farmhouse and making its way down the ol’ rusty yet disarmingly lubricious pipeline.)
THE STRANGER
I wouldn’t want to think you’re mixing it up just to mix it up—
MR. COHEN
No, we mix it up to inspire ourselves and ideas just come. We’re not the kind of band that’s so involved in the machine of the music industry where there’s anyone telling us, “It’s time to make a record…” or what we should do with our record. We make a record, and then we play, and when we have an idea of what we want to do next, we do it, so it’s entirely what we feel like doing. We’ve talked all along about recording an instrumental album at some point. Also, we have an engineer friend of ours who lives out in western Mass, where we’re living. We’re in our last few months out there now, so we’re like, “This would actually be really good this summer; he’s got that tape machine, the board, we’ve got the house, it would be perfect timing to do the thing, so…”
THE STRANGER
So you’ve just been following an idea—
MR. BLACK
And not even knowing what the idea meant, being like, “Ok, yeah, we’re gonna record a breaks record and that sounds cool, but what exactly are we gonna do? I don’t know.” And then we just kinda went in there. We have maybe like twelve or thirteen tracks, but who knows if maybe four of them will end up on the record, or just pieces of them. We’re just going to keep recording nonstop until the end of the summer and take all the shit we have and try to put it together into something that’s cohesive. It’s totally open.
(THE U.S. OPEN files a trademark infringement lawsuit against APOLLO SUNSHINE.)
THE U.S. OPEN
As a—
(MR. BLACK bats away the fraternity with a French fry.)
THE STRANGER
You’re not reaching for something, but just seeing what happens.
MR. COHEN
Some of the stuff, we lay down a bunch of tracks on it, and it starts to go somewhere, or have something, and it’s, “You know what, now I’m hearing vocal ideas, so save this one for the next record, this will be a song. And then this other one, scratch that, and then let’s get back to that one.” So you really have no idea what’s going to happen, and then the tape starts rolling…
(THE TAPE starts rolling from atop the Jungfrau.)
THE STRANGER
How closely related are recording and playing live?
MR. COHEN
They’re getting further and further apart. Nothing we’re recording right now we could do live. It’s involved. I’ll be playing pedal steel and guitar, and Jesse will be playing bass and keyboards, and we’re sort of building it up from really sparse ideas that are coming together. So that’s the kind of thing where you can build an amazing piece of music, and then with three people, you can’t play it.
THE STRANGER
You might be doing two different things, but it sounds like the approach is the same. You have some bands that go out and make a disc, and then just try to play it again when they’re live.
MR. COHEN
Yeah, I don’t even remember what our album sounds like anymore. So yeah, even though they’re two completely different processes, I guess the underlying theme is that we’re shooting for some spontaneity and trying to surprise ourselves in everything we do. So when we go live, we just rock as hard as we can, and in the studio, just get as creative as we can.
(The trio rocks into a recently vacated booth, citing the “Move your meat, lose your seat” statute.)
MR. BLACK
Our last album was definitely more of a live thing. A lot of that record was done live, in the studio, even vocals and shit. There were overdubs on a couple songs, but for the most part, a lot of it was captured live.
THE STRANGER
So that’s also the answer to how you keep your show fresh. Do you have a set list tonight?
MR. COHEN
Probably not tonight, I’m not even expecting anyone to come. If they do show up, I’ll run somewhere and scribble out a set list.
THE STRANGER
Do you have any pre-show rituals; you all huddle up, say some magic words…
(Traffic jam of silence)
If they’re secret, you can say they’re secret.
MR. COHEN
Yeah, they’re secret. They’re secret to us as well.
THE STRANGER
Was there an extensive hazing ritual you had to go through to become members of the band?
MR. COHEN
No, everyone was in there from the beginning, so—
THE STRANGER
So if you were to bring on someone else, would you haze them terribly?
MR. COHEN
Well, really the only position that’s available right now is for castrato, so that would be the hazing in itself. But then I’d feel obligated to keep him around, you know?
(He scrambles to the nearest laptop and puts out an All Points Bulletin for castrato candidates. His email box maxes out, rolls over and croaks under the pressure of millions of photos of questionable legality.)
Maybe we’ll just outsource the castratos.
THE STRANGER
(swerving) Is place a big part of your music? Because you have Katonah, and it’s very kind of, I don’t want to say eclectic, kind of surreal, like the town of Katonah—
(HARVEY K. ARAMOR strides out of the Murder Mart, crosses the sidewalk, tosses a copy of Barron’s on the passenger seat of his Ferrari F430, gets in, raises his cup of coffee to sip and learns MANNY failed to properly attach the lid as the hot brown cascades into his khaki crotch.)
MR. BLACK
Eclectic is fine.
THE STRANGER
And where’d you record Apollo Sunshine, was that in Boston?
(THE STRANGER receives forty lashes for improper research.)
MR. COHEN
We recorded that at a couple different studios, actually, we started it at a place in New Jersey, no, actually, we first started it in Boston, and the session tapes got all fucked up.
(THE TICKER flickers to life.)
THE TICKER
That Story Also Available on the Internet (SAI) ^2.32 (and on and on and on)
MR. COHEN
And then we had to start over in New Jersey, and then we finished at the producer’s studio, in Philadelphia. We were just rocking out.
THE STRANGER
Rocking all over the globe.
MR. COHEN
Yeah. That was one where the songs were written and we knew how to play ’em, so it didn’t really matter where we were.
MR. BLACK
The basic track for Ghost was recorded at our place in Leverett.
MR. COHEN
That’s true, that one we did in the attic.
(Four hundred bent spoons rain down on the table. A nude woman materializes from beneath a napkin, which wraps around her as an apron, into which she scoops the spoons and disappears in a cloud of yellow smoke.)
THE STRANGER
So we’re talking about rocking. What does it mean “to rock”?
MR. BLACK
It’s a feeling more than anything, I think.
MR. COHEN
Yeah, to just go for it in a real way. Lately we’ve been seeing some bands that are, like, recreating this “Rock Thing.” I don’t really think that’s rocking. If someone rocked it identically like that before you, then what, who do you rock? It’s an energy thing, an output of caring, but also caring about what you’re doing.
THE STRANGER
You went to Berklee. Did the school give you that perspective, “It’s just gotta be real,” or was it mostly technical?
MR. COHEN
(laughs at the expense of his alma mater) No, they don’t teach you how to rock. Me and Jeremy majored in recording, and sort of missed a lot of classes playing shows, and got some free studio time out of it, but…
MR. BLACK
Berklee definitely is all about technique.
THE SOLICITOR GENERAL
Would Mr. John Scofield please present his views before the court?
(Four funk-seeking horses gallop off toward the sources of the winds to bring him back, drawing and quartering GEORGE W. BUSH’S TEDDY BEAR in the process.)
GEORGE W. BUSH’S TEDDY BEAR
I’m not much of a bear anymore, really much closer to a Glowworm.
MR. COHEN
But anything that is inspiring, or inspired, comes from within yourself.
THE STRANGER
Do you have influences outside of music where you get artistic inspiration from?
MR. COHEN
I get it from athletes sometimes, baseball players that I like—
ENRICO PALAZZO
Foul!
TUG SCROTER
Duck!
(A HARDBALL bounces off the seatback and into MR. COHEN’s pint glass, whereupon it is immediately seized by a SIX YEAR-OLD HAND and elevated to the status of founding member of a collection destined to grow for 72 years.)
HARDBALL
Scooped up I am
By the hand of a man
In the making.
SIX YEAR-OLD HAND
Shut up, you.
MR. COHEN
What else? Sometimes if you see some amazing footage of a politician saying something, like footage of John Kerry when he was just out of the Army, back in the 60’s.
MR. BLACK
I read this book last year that I was really inspired by called The Power of Now and that whole concept is basically how I feel, just being the best musician I can be. Playing live, it’s all about being in that moment, and being present, that’s the ultimate goal. But I get the closest to my present self when I’m playing music, so that’s why it’s really sacred to me that I play.
THE COSMOS
Om.
THE STRANGER
You see it in your live performance, and I think it comes through in your lyrics, too. Today Is The Day, for example. Are you conscious of that at all or is that just how it happens?
MR. BLACK
Jesse is really into that type of thing, he reads a lot of philosophy and stuff. I guess Sam does too, but I don’t write lyrics as much. I’ll write lines here and there, but that’s definitely something in our band that we’re all kinda into.
THE STRANGER
Do you think that’s part of your appeal? Do you even care about that?
MR. BLACK
Yeah, I think people can latch onto it a little bit, maybe. It reaches them. A lot of our songs are just about life, and living, and emotions, and things that people can understand.
(In his library, THE CREATOR, attempting to crack The New York Times' Sunday crossword puzzle, overhears MR. BLACK and nods, revealing an orbit-wide book, Earth Art: Life, Living, Emotions and Things That People Can Understand.)
MR. COHEN
Playing music positively inspires your life, the way you live, and then it comes back to the music.
THE STRANGER
When you were starting, saying, “I’m going to devote my life to playing music,” was there any sort of a struggle, any “How am I going to make it happen?”
MR. COHEN
I was twelve years old when I decided that. I was so idealistic then that it stayed attached to the whole concept of doing it. I’d been playing in bars for almost a decade when I hit my twenties, so by the time I was actually done with college and out on my own, it was sort of embedded that there must be a way. So you find it and figure it out.
MR. BLACK
I guess it’s lucky, but we got signed right when we graduated. So Berklee was, more than anything, a place for us to develop ourselves as a band. Because once we were out of there, even though we weren’t getting paid a lot of money, we were put into a position where we could actually put out a record and go on tour right away, which is what we wanted to do.
THE STRANGER
What’s the one thing that’s brought you this far?
MR. COHEN
Perseverance, I guess. It’s what we want to do, so you put up with everything that comes with it, because it’s what you want to do more than any other thing.
(An IMP FROM BENEATH THE TABLE presents a briefcaseful of gumballs, the Swedish royal family’s female contingent, triple chocolate liquor ice cream, man Fridays, limos with Jacuzzis in the back, hot Italian sausage, bazookas, the Brazilian women’s volleyball team, the MC Hammer lifestyle with solvency, diamond-encrusted headboard mirrors, lifetime supplies of you-name-it, Get Out of Jail Free cards and Reebok Pumps, any and all in exchange for the cancellation of the night’s show, and is roundly rejected.)
MR. BLACK
We’ve got plenty of friends who are working jobs, broke all the time, but they’re surviving. They’re making a living, and we’re in the same position but we get to make music for our living. We don’t have to be working some job.
(THE ADMINISTRATIVE ASSISTANT catches his tie in a crosscut shredder, is pulled in and reduced to a crude approximation of bruschetta.)
MR. COHEN
And there are times where it’s hard to deal with each other, with people who work for us or who we work for, or whoever, but we’d have that problem in any job.
THE GRIM REAPER
(squirming) Ooh, ooh, ask my question! Ask my question!
THE STRANGER
Do you believe in reincarnation?
MR. BLACK
I don’t know. Not so much of a believer in that.
MR. COHEN
I’ve never experienced death, or that I know of, so I can’t really say. I don’t know if I believe in reincarnation. I believe in a continuum that we’re all part of, maybe less each being comes and goes separately. It all flows together, that makes more sense to me. Everything is continued, but more like a river that is all of us, than, “I’m going to come back as future Joan of Arc,” or some shit like that. It’s hard for me to think that someone else from the past was also me, that concept doesn’t make sense to me.
THE STRANGER
Or anything was, like a bug outside.
MR. COHEN
Yeah, but the human stream is just like blood flowing in the veins of the universe.
THE STRANGER
From a purely symbolic perspective, what were you in your past life?
MR. COHEN
A duck.
MR. BLACK
Uh….A blade of grass.
THE STRANGER
(obligated) Just blowing in the wind.
MR. BLACK
Yup.
MARC SOMMERS
I’m sorry, that’s incorrect! Sam, you were a blunt object, and Jeremy, you were Rasputin.
(MR. BLACK and MR. COHEN get slimed.)
THE STRANGER
What advice would you give to anybody trying to make anything?
MR. COHEN
Find a way to limit your access to the work, set a time limit on how long you’re gonna do it. Cause the longer you work on it, the more you start to question the sound, and the more things happen to you psychologically that make you not hear the sound maybe the way it actually is. Our second album we did, recorded and mixed in three weeks because we wanted to avoid that as much as possible. Or, if you’re down with that, if you want to get all fuckin’ Brian Wilson Smile, like freak out on some shit, give yourself plenty of time—you will go crazy.
(BRIAN WILSON freaks out on some shit.)
BRIAN WILSON
Do I dare to eat a peach!!!
MR. BLACK
I would say limitations are a key to making good art. Limit yourself, limit your palette.
(THE LIMERICK raises a glass, where COGNAC sits on its ass.)
THE LIMERICK
Jeremy plays drums in the band,
Post-show he bolts for the van.
The ring on his finger
Says, “Black doesn’t linger
To satisfy market demand.”
(THE COGNAC heads south.)
MR. COHEN
For most musicians, this isn’t a problem. The budget takes care of it. We have no problem limiting our palette because we only have our gear, and it’s half broken. Our engineer is the same way. He’s at the same level as us, as artists, his gear is finicky, but then everything’s cool, it’s raw and dirty and you don’t get this vibe that Sting walked out and we walked in and laid down some bullshit.
(STING presses a red button on his desk and leans into a gray metal grille.)
STING
(face matching the button) Find out who’s been laying down bullshit on my equipment!
(The office door swings open and STING is presented with THE HEAD OF BRIAN WILSON.)
THE HEAD OF BRIAN WILSON
Perfect.
THE STRANGER
That’s true, too, you get the truth across by using what you have.
MR. COHEN
Even a very produced record can be a piece of documentation on where you are, as long as it’s honest. This record we’re making is sort of produced, but it has a really gritty edge, because we’re making it in our upstairs.
MR. BLACK
Right next to where we sleep.
MR. COHEN
It’s a document of the album that we make when we have a tape machine in our upstairs, and lots of time, but not limitless gear, and lots of interruptions and gigs. It always will be true if you just stay into what you’re doing and just do it, and don’t get too many people to help you.
(MR. COHEN disappears to parts unknown. BRYAN SCARY and his brother MIKEY take seats at the table. BRYAN SCARY’S HAIR jigs. BRYAN SCARY, visiting home from Brooklyn, spins a slim case with a silver disc over the Formica with a jackpot grin.)
THE STRANGER
What’s this?
MR. BLACK
This is Bryan Scary, The Shredding Tears.
BRYAN SCARY
Just mastered. It’s going to come out in September on Jeremy’s label that he has with David Greene, Black and Greene. It’s a concept album, sort of symphonic pop music, lots of different styles and I played all the instruments in my bedroom, then gave it to Jeremy and David. They got copies of that version and sort of revamped it, gave it a little more of a Hi-Fi sheen, and Jeremy played all the drums on it.
MR. BLACK
We got the guy who produced our last record to mix it.
BRYAN SCARY
Brian McTear. Sounds pretty awesome.
THE STRANGER
So we’re looking for that this fall. Well, Mr. Scary, you’re just in time for the final question. What is the role of absurdity in society?
MR. BLACK
That sounds like a Bryan Scary question.
BRYAN SCARY
It’s more like, what’s the role of society in absurdity? You have to think about it like that.
THE STRANGER
And Jeremy—most absurd episode of the past 24 hours?
MR. BLACK
Meeting Bruce Springsteen.
BRYAN SCARY
(eyes fall on table) You met Bruce Springsteen?
MR. BLACK
I met Bruce Springsteen last night.
THE STRANGER
Did he have a strong handshake or a weak handshake?
MR. BLACK
He didn’t shake my hand. I was like, “Hey man, that was a really awesome show.” He was like, “Thanks a lot.” I also got to meet LaBamba and Pender from the Max Weinberg 7. They were a sick horn section, they were amazing. That was absurd. And the buffet they served was absurd.
THE STRANGER
Everyone’s a fan of the absurd buffet.
MR. BLACK
It was the green room, and there was a line of sick video games that you didn’t have to pay for, like Buck Hunter and all the good shit. I don’t know if it was a Springsteen thing or if it was the venue.
THE STRANGER
Springsteen travels with a trailer full of video games…
MR. BLACK
Yeah, maybe. Arcade games and pinball. There were like ten different kinds of cake you could eat. I don’t know why cake, usually there’s one or two cakes, and there were pies, a lot of cakes, I had two different pieces of cake, a lot of cookies, it was awesome. Absurd.
(MR. BLACK gets slapped in the face with THE FEDERAL BUDGET and plummets to Earth, just in time for the show.)
THE FEDERAL BUDGET
Eat me.
(THE TAPE crashes into the village of Lauterbrunnen, flattening cottages into crepes.)