With the razor-edged dance EP Jerusalem still burning bright in our brains, Anne premieres the newest rules, and new synth-tough-talk of, “Terms”. The group turned solo vehicle of David Lindell preps the album Pulling Chain for release March 4 from Run For Cover, challenging the etiquette and norms of dance floor discourse for electronic dotted dialogues of a deeper order. These recordings were made during the process of moving and adjusting to the displacement of Lindell's own studio setup, that evoke small town memories and the systems of labor we all do without understanding why we do it all to begin with.
“Terms” is a composition of interest, and offers a balance of atmospheric air spaces and Anne's relentless attack of big synth sequences. And like the first half's rumbling loops and fog machine mists that give way to the dark dancing second half, the love sprung lyrics spell out a verbal tearing of the self's psychological being in two. These expressions evoke a breached agreement with all involved parties, as “Terms” outlines an electronic etched conversation of the ego's inner council expressed in the sinewy and frantic, bi-polar/two-way monologues. Through lyrical lists of demands, needs, regrets, wants, and further complications-the many faces of love are everywhere. Projections of idealist desires, love for the feel of 'being in love,' to expectations unmet, and/or unmatched. And as these connections breakdown, and the results turn out different than what was hoped for; the keyboards gradually switch up to the tune of torn valentines, and the tension of digitally ground teeth.
On the heels of our intense interview from late last year, Anne's David Lindell joined up with us again to discuss the new album Pulling Chain, childhood reflections, philosophical observations and inquiries, and many more observations.
Between recording that killer Jerusalem EP and Pulling Chain, what was different for you and the writing/recording process?
Much of it was written during the process of me moving out of a house I had been in for years and years. I was having to take apart my whole studio situation which had been largely unmoved for the previous five years. This for me caused a lot of issues with the mixing phase of the process as I was not nearly as familiar with the room and was acoustically treating it as I was trying to get the record done on my own self imposed deadline.
From a creative standpoint, It’s hard to say. I really just did it, both the [Jeruslaem] EP and Pulling Chain I was really going forward just trying to seeing what I could make. I had no thought of being an artist that had a rigid idea of what world I was suppose to fit into, because at that time I was just exploring something that was very new to me. It was kind of like when I made music when I was a kid with my friends. We just did what we liked and that was the end of it.
I like the double entendre of Pulling Chain; part of it feels like the joke of pulling someone's chain to the killing joke of pulling chain in a manner of bondage and suffering. Are any of these true in the title's inspiration?
Actually the name is a nod to where I grew up. I was raised in a rather small town that was birthed from the logging industry. Many kids I knew went to work in the mills either after high school or once they dropped out, and the most common job I would hear them speaking about is pulling green chain, which as far as I understand consists of sorting rather large pieces of lumber by hand as they come down a conveyor belt for hours on end. All the kids called it 'pullin’ chain' and they seemed to take pride in it, because it was the work their families had always known. I guess in my mind the title is about labor, of any sort. It’s about the things we all do and we don’t understand why we have to.
With “Terms”, the emotions feel even more complicated…what terms and grounds did this song develop from?
The record, particularly lyrically was written during a time in my life in which all my of thoughts about myself were being challenged. The whole record feels emotionally complicated to me, I guess it is really. As far as “Terms” subject is concerned, a big part of it is me attempting to communicate more openly with myself and to allow parts of me to talk that had not before and to further refine the kind of feelings and language I have used throughout Anne. In the end the song’s about being in love, cause that’s what songs are about.
I feel like “Terms” has even broadened and expanded your electro-synth-&-sex vision for Anne, do you feel that this has happened with your sound?
Yeah, I think this record I am trying to turn up the sex a little, not in a lascivious way. My sexuality is a part of myself I have spent a lot of time just computing on mentally and not feeling. Overall I have a growing interest in approaching things in a sensual manner, music that not only encourages movement but hopefully some thought or feeling.
Do you find winter time to be a creative time for your music?
This winter so far has been the most creative time of my entire life actually, I think in the past I wrote more leading out of summer and into fall. I generally feel happier then, and am more socially active and I think finding happiness is key to good artistic output, it helps erode the defenses of the ego so you can speak to yourself and others more frankly.
What feels changed for you about 2014 versus 2013?
2013 was the beginning of the end of many years of personal confusion. I am in a great creative space right now, I am filling my life with real, like-minded people. I am working harder than I ever have on my music and I love my dog. Everything else comes out in the wash.
Anne's album, Pulling Chain will be available March 4 from Run For Cover Records.
