‘New Album’ is where a band or artist answers some questions about their latest release. Up next is Yann Le Dorré (from the band YOLK), who released his debut album ‘The Circus is Closed’ late last year.
When/where was the new album recorded?
The album was recorded in October of last year in my mother’s garage in Atawhai, Nelson. I had a show booked with YOLK at the Tactile Society, a Nelson-based arts community, and towards the end of the trip, I seized the opportunity to record some new material.
Who produced/engineered the album? How did the tracks come together in the studio, or at home?
I recorded and mixed the record myself, as the session was originally intended to be demos. When I decided to record, about 6 out of the 10 tracks were finished, and by sheer force of will, I managed to finish writing the remaining songs on the day of the recording. I was stuck on a few of the tracks, so I set myself a deadline and had no choice but to dig deep and put something to paper. At the time, I wasn’t 100% confident that the words were right, but in hindsight, I believe it’s some of my best writing to date.
How did the songwriting happen? Are there any overall themes within the songs/album?
The album serves as a follow-up to a currently unreleased record titled ‘Take Care of Yourself & Everyone Else’. It initially began as a continuation of the themes featured in the aforementioned record, focusing on finding maturity, acceptance, and comfort in one’s life role, a departure from my usual existential cynicism. The title track reflects the notion of the ‘circus’ of one’s youth concluding, and how reality brings about responsibilities. However, the year took its toll (laughs), and the songs evolved from themes of empowerment to a sort of mourning for the recklessness that once was, and the realization that you can never truly return to that sense of purposeless freedom. The term “chasing the dragon” comes to mind.
Were you going for a different sound/approach on this album?
As mentioned earlier, the songs were initially recorded as demos, and I went through a whole process before determining that they constituted the finished piece. The story goes something like this: I wanted to create a kind of ’70s album of folk ballads inspired by works such as Planet Waves by Bob Dylan, aiming for a live and loose recording with a full band. Songs like ‘Going, Going, Gone’ by Dylan captured my mood at the time, so it seemed like a no-brainer to write some slow songs, put a band together, and reach for the stars. During the summer of 2021/2022, while jamming with friends, I began writing for the album, and we recorded a few songs live to tape with arrangements reminiscent of Crazy Horse.
As time passed, I completed what would become the album and took it to rehearsal with some of the best musicians in Pōneke, preparing for a full-noise studio recording. However, during a trip to see the Kings of Leon, I played the demos at an after-party, complete with bird songs and all. I realized that the message of the songs had a far greater impact when stripped down and performed in their simplest form. Similar to the authenticity found in old country and blues music, there’s a certain truth in the lonely melancholy of space. Considering the album’s themes of loss and mourning, it seemed most appropriate to release it as a completely solo endeavour.
Was there any specific gear you used to capture that?
As I was recording in Nelson, I didn’t have any of my gear with me, so I reached out to my friends who play in O & the Mo, and they kindly lent me a couple of microphones and an interface. Specifically, they lent me a Shure SM7 mic, which I used for vocals. Despite being a relatively inexpensive microphone, I found that its frequency response crystallized my singing, allowing me to express myself with a much broader range than I typically would have achieved using my own gear. Considering that the tracks are almost acapella, I would say that the SM7 played a significant role in shaping the album’s distinctive sound.
Is there a particular single/track that you feel captures the essence of the album?
I believe the closing track ‘Rotstar 101’ is perhaps the ultimate statement for the record. It serves as a ballad for those who died to entertain us. The song’s verses detail past icons and their untimely or unfair demise due to the nature of their work. The question of ‘what we do to make great music’ often floats through my mind, and that track is a literal response. It thematically captures the essence of the record by exploring the themes of failure, loss, and entertainment. I find it challenging to envision a happy outcome for many icons of popular music and perhaps for many musicians on the ground floor too. Creating these bodies of work and constantly being in the spotlight demand a lot of energy and willpower. Everyone is their own worst critic, and the genuine emotions in music often come from its author. While I don’t want to beat a dead horse and draw a direct parallel between hard times and their worth, I do believe you have to consider both sides of the tracks to draw an accurate representation of this world.
Is there a physical copy available? If not which digital platforms is it available on?
There is a very limited number of cassettes available to purchase either through Instagram, Facebook, or Bandcamp. Otherwise, you can stream it from any digital platform. [Spotify, Apple Music].
Are you working on a video/videos for any of the songs? Are you doing any gigs or promotions for its release?
I am working on a video for ‘Rotstar 101,’ which should be available in the new year. For the release of the record, I played a show at 216 Dive Bar on Cuba Street with George Turner and Japes. The evening was intimate and raw. I had projections of home movies on the wall while I played, meant to reflect the lives within the music; however, some people thought it was too distracting (laughs). I guess the person who pleases everyone hasn’t been born yet. In terms of the future, I am considering taking the ‘Circus’ show to the top of the south over the summer, but I am still debating if I want to play that set of songs back to back again because it’s such a heavy mood. Perhaps it’s best left at “if you were there, you were there,” you know? I will, however, be performing over the summer somewhere/everywhere and working towards getting my next album ready.