Hailing from New Jersey, USA, Steel Train were one of the key bands from the Drive Thru era. They have managed to carve out their own very unique sound and with albums such as Twilight Tales from the Praries of the Sun, Trampoline and most recently their self titled offering, they are definitely one to watch out for. Claire managed to catch up with, vocalist and guitarist Jack Antonoff for a chat about how things have been going…
Hey Jack, thanks very much for talking to Lights Go Out. How are things at the moment?
Nice at the moment. I’m writing you from the House of Blues in Orlando, FL. That’s only interesting because it’s in the middle of Disney World. So…
You released Steel Train earlier this year. What was the reaction like?
It’s all been so exciting this far in. Once again, it’s a new sound for us. So upon release we were consumed with excitement and fear. I think we like that, you know, putting ourselves in situations that induce great fear. Challenges, that is. I believe in our fan base enough that we can release new and interesting material. But either way it’s intense. So yeah, the answer to your question is the reaction has not only been great, but more importantly it’s been wildly supportive.
Why did you decide to release a separate version of Steel Train with various female artists covering the songs? (I think that’s a great idea by the way!)
Thanks! It’s an idea that I’ve had for years now. I wanted to do it on our last record, but we were on a label back then, and those kind of ideas are not exactly label friendly. Once we decided to put this record out independently, it was a no brainer to resurrect the idea. Truthfully, I mostly listen to female artists, so the real point of the project was for our fans (and us) to hear our record remade by the very artists who inspired us to create it in the first place. Pretty wild concept if you think about it. Honestly, it’s an artistic dream come true. It’s our spin on the boring “remix record” thing. Haha.
Which covers were your favourites?
That’s like “Sophie’s Choice” for me. Dark. Wow.
Do you think your sound has changed a lot since Trampoline?
I do. Trampoline was the record that we completely changed our sound on. It was a total 180. Steel Train is more of a subtle change in obvious ways, but in more intense and deeper ways I hear it as a 180 in its own right. Trampoline was a bit of a “hey, look at us, we’re doing something totally different from our last record” kind of moment. When making this new record, the freedom of not having to go nuts with change in a way inspired greater change.
I’ve noticed a couple of videos of you performing with other artists on YouTube, is this something you enjoy doing?
I love it. My whole career I’ve felt like I’ve been existing on the outside. I love community, but I’m often too shy to create it. New music matters. Old music is cool, but I believe it’s vital for every generation to have a sound and a voice. I want to be a part of that. I don’t want to dig up some sound and do it half as good as it was in the 70s. To me, creating a new and modern sound is best done with new and modern artists at your side. When I perform or collaborate with other artists, it has a way of opening doors in your mind, seeing different ways of writing and playing. It pushes you forward. All of the years that I didn’t do this was because I was insecure and afraid. I’m trying to move past that.
Who are your main musical influences?
Tom Waits, Tegan and Sara, Kid Dynamite, The Beatles, Air, etc… SPOON!
How does the songwriting process work for you? Do you all sit down together and write?
I like to be in a cave which for me is the “once dining room, now studio,” which is in the house I grew up in in north New Jersey. I like to get the idea out, record it, and then send it to all the guys and hear it through their fresh ears.
Where does your lyrical inspiration come from?
My life experience. However boring, wonderful or horrific my life has been, it’s still mine. It’s the only thing that is mine, and it’s the only story I have to tell the honest and important. Anything else coming from me would be a waste. I’m inspired by other people’s life stories. What they’ve been through and how they’ve moved on. It’s really all I have to offer.
You’re from New Jersey, where lots of cool artists come from. Do you think it’s a good place for live music?
The best. I’m so thankful to have grown up in NJ in the late 90s/ early 2000s. It’s at the core of who I am and what the band is today. Like Legion Hall punk shows meets Bruce Springsteen meets Lifetime meets that feeling of being so close to the greatest city in the world but still not being in it. Kind of like eternal outcasts left to make our own music and fun in NJ while we watch NYC from a distance. It’s inspiring.
You were signed to Drive Thru for a number of years. Was this a good experience for you?
It was an experience. Like anything, I’m grateful for the opportunity and how everything has ended up.
What’s it like having your own label?
Like getting out of jail I’d imagine. Artistically. Haha
Steel Train has played with some amazing bands over the years, who have been your favourites and why?
Tegan and Sara. Rarely do you get to play 40 shows in a row with a band that truly inspires you. Both their music and them as people. A real honor.
Would you like to recommend any bands or artists to our readers?
The Mountain Goats
What makes a great live show for you?
When the crowd is working as hard as we are. You know, like we are crawling on top of each other to try and reach this unattainable level of energy and passion.
How do the UK audiences differ to US ones?
A bit more excited that you’ve shown up. Like you get points just for booking the tour. It’s nice, very gracious.
Do you enjoy going on tour?
Yes. It’s my life. I’d be lost without a tour in my future. I’d jump off something tall.
Where would you really like to play?
The Wayne Fire House in Wayne, NJ. Again.
Are you planning to come to the UK any time soon?
I sure hope. Been lots of talk. I’d expect us there sometime in the next 5 months.
Interview by Claire. September 2010
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