Some of this record can hurt -- those austere piano tones falling like thick velvet curtains upon a rain-speckled window sill; the fuzzy, fibrous burn of the vocals na-na-na-ing about advancing only to be misplaced, sung in the tone and vibe of what truly feels like the omniscient, penetrating inner voice of us all. Far from a heartbreak record, Jason Quever's latest release as Papercuts, You Can Have What You Want, is an album that looks away from the presented frame and tries to find another view. It escapes to dream realms of whirling casio tones, shunting organ furls, soft brushing drums and bedroom guitar plucks, with vocals both soothing and haunting, presenting “non-ordinary circumstances” and slightly-ostentatious-yet-not-far-fetched dystopic scenarios. Quever's world is not unlike a dream and not unlike the inspiring/melancholic-comforting/discomforting onset of an indifferent, slightly chilled, foggy morning in his nearby dwelling of San Francisco.
Quever discussed with Tiny Mix Tapes the importance, or simple comfort of, both home and friends as potential inspiration. He's done his fair share of collaborating with other similarly situated space-folk artists, some of whom, Skygreen Leopards among them, sharing the slight preoccupation with, if not specifically non-secular sanctity, perhaps religious enchantment of these earthbound humans. Call it what you will, but “dreamy” is an adjective sitting just fine with Quever -- this music's meant to facilitate boundless escape mixed with potentially disquieting epiphany.
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I've read, throughout the haphazard channels of the internet, influences ranging from Can to Zombies to Django to Twilight Zone. What are some (true or various other) influences and can you expound upon why/how they move/inspire you?
I don't know how you can quantify your influences, or separate them from the things that you just like to listen to. I like Django records and I put that on my influences the day I decided to put some up. I can't say it's an influence now but in the past with the more acoustic stuff maybe... If people perceive what I'm doing as a mix between artist A and artist B with a little bit of artist C, then it's not succeeding in what it was meant to do, because hopefully it will be a little more indefinable. When I think of things that inspire me, it's just people that really sell you on what they are doing, that they believe in it and it's coming out totally naturally and not too self conscious. So when people ask me about influences, I think of so many things that I really believe in what they are doing, from Blind Joe Taggart to My Bloody Valentine to Twilight Zone to Lykke Li or something, they just appear sincere and exciting to me. Maybe I don't sound like any of that though.
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"I like the idea of peeling back some of the layers now that I did a pretty washed out thing."
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You seem to be part of an industrious web of artists (Vetiver, Skygreen Leopards, Lazarus), as well as being connected geographically to the West Coast... what is it that you provide each other, creatively or otherwise, in these collaborations and what is it that inspires you most, or that you enjoy most, about the West Coast?
I run a recording studio out of my house, so for me, I've recorded most of the bands I'm associated with who've lived out here, or played in their bands at times. I just like being around creative people, and it's fun to be around nice people who are inspired a lot of the time and writing new songs; that's kind of a contagious enthusiasm. I believe any aesthetic similarity is subliminal and under the surface... As far as the West Coast, it's just a good place to live if you can get affordable rent. It's never freezing or hot in San Francisco, and it's on the coast... The bay area has a ton of good music and things to do... Just feels like home I guess.
What was the recording process like for You Can have What You Want and what distinguished it from past recordings in approach, experience or writing?
I recorded (You Can Have What You Want) in my home studio like before. The things that were somewhat different were things like: I recorded faster than before (two months tracking and mastered), I got Alex Scally (of Beach House) to come out and help with some arrangements, (I'd never really had anyone here for very long helping the recording), and I had a drummer for most the recordings... And I made 4-track demos of everything first, which in the end saved me time because I knew what songs were working so I didn't waste energy recording songs in the studio that I was going to throw away. I also didn't obsess quite as much over the takes. It's a little looser maybe...
Has your songwriting changed, from your own perspective, since the early 00s?... Where did What You Want's themes come from and what songs stand out to you, in feeling or theme?
I think I'm more focused now on trying to deliver a defined world for each record. I guess those songs you mention do stand out as examples of me trying to deliver a particular vision of non-ordinary circumstances; I suppose I used to do the opposite. Maybe that's one thing that defines this record for me, not sure if I'll continue that or go back to writing about mundane, personal stuff, which I used to do.
What draws you to the organ, its sound... and what about that strict-analog sound pleases you the most?
I guess I like the layered wall that chords on an organ can create, so little rhythms and melodies can peak through once in a while, but hopefully it helps suck you in if you are patient. As for the analog thing, I'm definitely not a purist, there's Casio and other modern things on the record. I just have analog recording equipment and know how to use it The next record will be at least mixed if not recorded with someone else, and I don't care if they want to use a computer or whatever as long as its sounds good. For me, personally, I think analog stuff seems to *more often* (not always) have a more pleasing, softer high end and more depth – but, I'm generalizing.
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"If people perceive what I'm doing as a mix between artist A and artist B with a little bit of artist C, then it's not succeeding in what it was meant to do, because hopefully it will be a little more indefinable."
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What inspired the name of the album (and the eponymous song) as well as a song like “A Peculiar Hallelujah”?
I think of the album title as something you might hear in a really dark psychotherapy session. “A Peculiar Hallelujah” is sort of a sad story about people committing suicide in space, thinking that they've found god and singing hallelujah.
Again, going back to those preposterous internet write-ups and what-have-yous, your music is perceived often as a preservation of “classical pop,”... or dreamy-hazy-chilly pop (atmospheric)... are these flavors that register for you and end up driving your writing and exciting your tastes at all, and why? Or are some of these readings full of shit?
Well I can't say who exactly is full of shit but I am certainly not driven to preserve anything! I would like to push my own abilities as far as I can, I suppose that reading is a reflection of my own limitations. I don't mind the term dreamy though, I like idea of music that might transport you from daily life a little.
What are you looking forward to? What are you working on next?
I'm just back to writing, trying to push myself as far as I know how. I like the idea of peeling back some of the layers now that I did a pretty washed out thing. But we'll see, those things don't always go like you plan... thanks for asking!
