When American Music Club resurfaced a few years back, it seemed too good to be true. On first blush, in fact, it was. I caught the band in Chicago when it first reformed, and it was a ragged affair at best. Then came Love Songs for Patriots, a stirring return to form that showed the group could stand toe-to-toe with its peers -- and its back catalog -- without fear.

A move from San Francisco to Los Angeles last year led to another chance in the band, as bassist Danny Pearson and drummer Tim Mooney opted to stay in the Bay area. They were replaced by bassist Sean Hoffman and drummer Steve Didelot. Oddly, adding young'uns to the mix actually seemed to mellow the overall sound, as the resulting AMC longplayer, The Golden Age, is a return of sorts to the more delicate sound the band explored on its third and fourth albums, California and United Kingdom.

It's a gorgeous record that finds Mark Eitzel singing as bittersweetly as ever, though he has reined in the overt political vitriol that seemed to fuel much of Love Songs. With that dialing down lyrically came a tamping down musically. Vudi's guitar trills and swirls where on Love Songs it slashed and sliced. There is still plenty of edge here -- this is still a collection of Eitzel songs, after all -- but it sneaks up on you, the proverbial spoonful of sugar helping it go down.

After a decade away during which Eitzel took a meandering tour of a solo career that found him exploring electronica, dour, stripped down mope-folk and lush pop, American Music Club is back, and stronger for his dalliances. Eitzel took time to answer a few questions about AMC's resurrection, his solo career and the band's new members.

In the mean time, you can download the band's great 1991 LP Everclear here, and the new tracks "All My Love" and "All the Lost Souls Welcome You to San Francisco" as well.

TIRBD: Lyrically, the album seems more personal than political, looking in rather than out, for the most part. Is that accurate, and if so, was that a conscious decision, or just the way the songs evolved?

ME: This is true – my anger at U.S. politics is best left to midnight rants in bars.
It is just the way the songs evolved, actually. I mean, we all know that the future of this country is shit – so I wrote these songs with that perspective and understanding – even if I'm wrong – I think it’s the right way to address these times...

The album also is much quieter than Love Songs for Patriots, hearkening back to California or United Kingdom.

That was intentional – to write and record simple songs that are easy to play and sing.

Are there parallels to that time in the way the band and its music feel these days?

It’s just that I don't want to be hit over the head with anyone’s trip – that’s all – and I don’t want to hit anyone over the head with my trip. I sound like a hippy.

Is the more mellow feel attributable to anything specific in your songwriting or Vudi's playing?

Not really. These songs don’t feel that mellow to me actually – and that’s not how we play 'em live.

You have new players on board for this one. How did that affect the sound of the album?

They are great tasteful musicians who can play anything, and remember what they play – and they play very simply. There is a lot less talk about what to play.

Did you approach the writing for this album (and for LSFP) differently than you have your solo material? Does knowing who will play on a recording affect your songwriting process?

Yeah, these guys – and especially Vudi – are great filters for the music. I play them a song and it doesn't wither on the vine. It makes me write the songs better. The songwriting process though has nothing to do with anyone but myself; I am not bright enough to consider all the parameters of who would play what when I write...

For an interview around the time of The Ugly American, you told me you had no reservations about messing with your old songs because fans expect it. "I've messed with them so much already. When I listen to music, I like it when they do things differently. I'm not a precious person about my own work." Is that still true?

Yeah, but I was talking about using arrangements that are different from the record – a lot of people get put off by this – but sometimes you gotta do it to keep them feeling fresh.

Should it be a surprise, then, that this album sounds so very much of a piece with AMC's back catalog?

No, because it was recorded like the old records – we rehearsed the material and then recorded what we rehearsed... and believe it or not, but I like those old records and have many of the same ideas I had then about arranging music.

Save for the Candy Ass disc, you seem to have curtailed your official solo output since AMC reformed. Do you see yourself needing that outlet now that AMC is a functioning band again?

Well, all the songs I write are solo until AMC records them – I have been working on a musical in London called “Marine Parade” and that has taken a surprising amount of time in the last two years...

With that in mind, would the songs on LSFP or TGA be appreciably different if you had recorded them for a solo record rather than with the band for an AMC disc, and if so, how?

I think that the songs on LSFP would have been a LOT different – but TGA was kind of the record I wanted to make.

Can AMC absorb some of the interests you indulged on your solo albums, like electronica?

No. AMC is a guitar band and I don’t think any of the other players has any interest in doing anything else...

Has AMC made its quintessential disc yet, and if so, which is it?

I have no idea!

Labels: Monday Interview, music