Autogramm | Interview | “The main idea is fun”
Autogramm, the dynamic synth-pop trio from Seattle, Chicago, and Vancouver, has recently dropped their latest single, ‘Diana,’ through Sweden’s Beluga Records.
The single accompanies the band’s latest tour across Europe, where their high-energy performances and infectious melodies have been packing venues from London to Berlin. Drawing influences from the ’80s new wave scene, Autogramm’s sound is a vibrant mix of catchy synths and edgy guitars, reminiscent of early Depeche Mode and Human League. With their recent album, ‘Music That Humans Can Play,’ recorded during a sweltering Vancouver summer, fans can enjoy a fresh collection of tracks that perfectly blend nostalgic vibes with modern rock.
“The main idea is fun”
You have a brand new album out. How long did you work on it? Tell us what’s the main idea behind ‘Music That Humans Can Play’?
Lars Von Seattle: It was recorded over a few weeks during a heatwave. The main idea is fun.
The Silo: About a year, if you count the arrangement process via email, recording together for a few weeks, and then further remote recording and mixing.
Would you love to share some further words about the recording and producing process?
Lars Von Seattle: I’ll defer to our studio savant.
The Silo: Before we got to the studio, we sent demos back and forth, each opening up our songs to everyone’s ideas. No song went untouched! Then we recorded at Rain City in Vancouver, with Joshua Wells and Mariessa McLeod engineering. Josh then took it back to his studio, The Mango Pit, in Chicago, dressing it up with a bunch of sparkles and frilly tones before committing to the mix!
Do you feel that the pandemic or other events influenced your songs?
Lars Von Seattle: The pandemic and other events influenced our songs… and everything else.
C.C. Voltage: Having a baby girl right during the writing and recording process had an influence on me. I wrote ‘Hey Allie’ for her, and I think my sleep deprivation may have contributed to my being able to pull harmony parts out of nowhere.
Would you love to provide insight into the album’s tracks?
The Silo: ‘Dive Right In’ is about not overthinking what you’re doing, and just doing it. Pretty much my philosophy with music: unlearn it all!
C.C. Voltage: ‘Yesterday’ was slapped together from several song ideas of mine, which may make it sound disjointed, or cool, depending on how you perceive it. ‘Downtown’ was written by myself and Rich Jones (Black Halos/Michael Monroe) back in 2004. It was part of a bunch of demos that would eventually become the band The Loyalties in London, England.
I would love it if you could draw some parallels to your previous two albums, ‘No Rules’ and your debut album, ‘What R U Waiting 4?’
C.C. Voltage: All three albums are about good times and vacations, although the newest album probably has the most serious lyrical content.
“The burgeoning local punk scene inspired me as a youth”
Would you like to share about your upbringing? Where did you all grow up? Tell us about daily life back in your teenage years.
Lars Von Seattle: I grew up in Seattle, which was a fairly sleepy and bohemian (affordable) city then. The burgeoning local punk scene inspired me as a youth.
C.C. Voltage: I grew up in a suburb of Vancouver called Abbotsford. I grew up in a Mennonite family listening to George Jones and Freddie Fender. As a teenager, I discovered skateboarding and punk rock, and that has influenced my life to this day. I still identify with these subcultures, even if I’m not as involved or as rebellious!
Was there a certain scene you were part of, maybe you had some favorite hangout places? Did you attend a lot of gigs back then?
Lars Von Seattle: There was a very vibrant all-ages music scene in Seattle then, even though it was pretty much illegal. Lots of shows at community centers, theaters, and house parties.
C.C. Voltage: I was part of the all-ages music scene around Vancouver and played a lot of shows as a kid. I met Jiffy because his band would travel through Abbotsford on their way to Vancouver. Many of my connections to music and musicians were formed in those days. There were always great all-ages shows at The New York Theatre (DRI being my first), and multiple other all-ages venues. There was a huge scene of young people doing it themselves.
If we would step into your teenage room, what kind of records, fanzines, posters, etc., would we find there?
Lars Von Seattle: Generation X, New York Dolls, Ramones, Buzzcocks, all the usual old punk junk.
C.C. Voltage: Posters of skateboarders and punk bands on all the walls. My favorite was a signed picture of Mark Gonzales and an SNFU poster. I played the hell out of Nomeansno, Sex Pistols, and The Subhumans (Vancouver) in my room.
Can you elaborate on the formation of the Autogramm?
C.C. Voltage: The idea was born in Berlin, where Jiffy bought a 20/20 album, and we loved what we heard. I was living there and had met with The Silo a couple of times as well. When I moved back to Vancouver, we started this band because we had so many connections to Berlin that we decided on using a German word for the name.
Are any of you involved in any other bands, or do you have any active side projects going on at this point?
C.C. Voltage: I keep the fire burning with The Spitfires; we do the odd reunion show. I miss my buds in Dysnea Boys in Berlin more than anything. I do the odd C.C. Voltage recording as well.
Let’s end this interview with some of your favorite albums. Have you found something new lately that you would like to recommend to our readers?
Lars Von Seattle: Golden Earrings’ ‘On the Double.’ Great proto power-pop glam from Holland and one of the few excellent double albums!
C.C. Voltage: I think my favorite band at the moment is Jordan Jones. Both of his albums blow my mind. I also like a lot of the bands I’ve worked with as a PR company: Wine Lips, Les Lullies, Vanity Mirror, etc.
Thank you. The last word is yours.
Lars Von Seattle: Thank you!
C.C. Voltage: Stay between the ditches, and don’t do anything I wouldn’t do.
Klemen Breznikar
Headline photo: Tyler McLeod
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