INTERVIEW: ZAZA

As you can probably glean from a previous post, I've been enjoying Zaza's EP Cameo immensely since downloading it. This love has only stretched further since interviewing the Brooklyn-based band recently.

The best word I can think of to describe Zaza's sound is ethereal - and by that I don't mean it's in anyway flimsy or lacking in depth. Cameo is a collection of four beautifully written and recorded tracks. Layered, transient and esoteric at once, Zaza create music that both challenges and entices the listener.

Every element on Cameo seems to have been thoughtfully considered - from vocals and lyrics, melodies and song structures, to the EP's recording techniques. As I've learnt from talking to the band, it's a consideration they also dedicate to their live performances.

The band are still young, having played only six shows so far, but their sound is far from naive. Zaza are definitely a band I'll be keeping my eye on, and are a pretty compelling reason why I'd love to be in New York right now.

We recently spoke to members Danny and Jenny about the EP, New York and the future of Zaza.




Can you tell us about the EP, 'Cameo' - how and when it was recorded, any major influences on it's sound or production, and if there are any recurring or connecting themes throughout the EP?

Danny: We recorded most of the basic tracks ourselves at our home studio, then travelled down to Philadelphia to finish and mix the songs with Ryan Carlson van Kriedt, who has done some great recordings with Asteroid 4, Sunsplit (both of which he plays in) and Sweet Jane. Ryan and his wife take in and raise kittens, the entire session we were being crawled on by small animals. We tend to work in the manner of recording as much as possible on a track, layers and layers of ideas, and then stripping it down in mixing. I'm devoted to the production of Alan Moulder (My Bloody Valentine, Blonde Redhead), Flood (Smashing Pumpkins) Brian Eno, Martin Hannet (Joy Division) and Konrad Plank (Can, Neu!, Kraftwerk) - the way that all of them create and mould textures and sonics rather then dividing everything into parts.

Jenny: Cameo is about silhouettes and outlines. It's about the other language of intimacy. Our partnership is equal parts silent understandings and yelling yourself hoarse.

You released the EP as a free download on your website. What were the reasons behind this? What kind of response have you gotten as a result? Do you think it has enabled you to reach a wider audience?

Danny: I think letting one's music be as accessible as possible is important for a young band. At the moment there is no publicity push behind us, no broadcast that the EP exists other then through word of mouth. The response that we've received from people sharing our music is worth much more then a $10 iTunes royalty check.

Jenny: The industry feels like post depression era. One must keep our eyes to the horizon and hands deep in pockets. However, commodities are commodities.

What sounds, bands and musicians have influenced ZAZA?

Danny: We both will always love the Beatles.

Jenny: The experimentation of St. Peppers, as unapologetically ordinary as it sounds. I can remember the first time I heard My Bloody Valentine and how it fucked my guts up sonically. I was confused. That turns me on. New York history and archetecture influence us. The Russian Ballet. The haunting half steps of Badalementi. The run on sentences of EE Cummings. Scandanavians-ie Sareena Maneesh (thank heavens for that Elvish Prince) also, the Raveonettes- all their vintage beauty inspire us to turn it up and tune it down. The operatic range of Roy Orbison. The back pocket flowers and back handed comments of Oscar Wilde (also this wardrobe!).

Can you describe ZAZA's live experience? Do you play many shows and are they mainly in NYC or are you travelling more around the States?

Danny: At the moment our live set is 30 minutes of constant sound, no breaks - we build loops on stage and these then become textures within each song and transition through the set. Sound on sound - taking the lead from one part, reversing it and half speeding it for the bass or melody of the next song. Our drummer Kurt is an amazing musician - propelled by the backbeat of the drum machine, he plays counter rhythms and emphasis with a stand up floor tom and snare. We've played 6 shows so far, in New York and LA. Touring outside and inside the US is certainly in our telescope.

Jenny: Our intention is to transport the viewer for one half hour. Loops, visual accompaniment, angelic lighting - we work with a great artist Lauren Sieden. She is the silent member.

What music are you currently enjoying and is there anyone you can think of we should have our ears pricked up for?

Danny: The music scene inside of Brooklyn is great to be a part of, so many bands doing original things. Our close friends The Pains of Being Pure at Heart and The Depreciation Guild are both great, very different from us but all from the same family. I really look forward to the upcoming releases from The Raveonettes, Autolux and The Morning After Girls. Darker My Love from LA are probably the most underrated band in the country. There is a band from the Philippines who we traded EP's with (through the post), Moscow Olympics, who are amazing. The Meanest Boys, who will change your life.

Jenny: My Best Fiend are an amazing band from Brooklyn. They are also easy on the eyes. Deadly combination. Entrance and Darker My Love are working it out in Los Angeles.

Are there plans for an LP in the near future or other releases?

Danny: We are always writing, recording and planning. There are currently some exciting possibilities bubbling - at the moment we can only keep our fingers crossed and heads straight. I would love to see "Cameo" released on vinyl, something physical to hold.

Jenny: Strategic like chess.....

What kind of scene does NYC have for shoegaze/psychedelic/indie bands? Has it been easy to find an audience?

Danny: New York is amazing in its creative variety. I don't see a lot of defiantly "shoegaze" or "psychedelic" bands here, but those influences definitely run deep. There are some great clubs that you can walk into any day of the week and hear something interesting - Cakeshop in the Lower East Side, Glasslands and Death by Audio in Williamsburg.

Jenny: I firmly believe New York gives you whatever you want. It's a city built on promise and refraction.

What is on the horizon for ZAZA?

Danny: Better and bigger.