NXNE 2011 Preview: Josh Reichmann
Josh Reichmann brings his new solo project and LP After Live to NXNE. The ex-Tangiers guitarist/vocalist and current member of electro-rock duo Bad Tits (with Sebastien Grainger) engineers bass-heavy tracks, combined with shoreline rhythms, producing songs that shine in daylight and glow in dance caves at night.
In our interview, Reichmann talks about his new solo work and his new vision.
What is the biggest difference between this project and the work you've done in the past with Tangiers, and what you're making now with Sebastien Grainger?
This new record is my real voice - it's the art but it's also a mystery, it's chasing the horizon or ahead of the curve in my own world, that is vision and trying to dictate the conversation - invent genre and fuck with history. It's personal but as always there's some kind of vortex. Tangiers was a platform to write proper pop and be the dream-fun punk cultural reference stuff; a rock band for kids who rule the world type thing. You know - "we are the best/life is tragic shit." Kids stuff. With Sebastien and my band, which is changing its name from "Bad Tits" (because it encountered confusion/celebration and disgust) to "Hot Yogurt", we are going wherever we want. Because we can. It's a project to allow calcified energies to de-thaw. It's all trust and not much fear. It's faith and fuck it. It's currently a place for us to make dance music.
And how has your song-writing and playing evolved from these experiences?
I can write pop- and respect song- from there I'm into invention in music. It's risky business. When most people do this they sound crazy or cloying. I am channelling some shit. It's from other planes. I feel like a conduit and all that. It's humbling. So sometimes, I don't really know what will happen, but the math and the shape takes form despite me. And other times, I have a fresh idea that is in colour form like synaesthesia, I try to be light, let go and make it fun and energized with honesty mystery and play.
Two of my favourite songs on the LP - "People Fade Away" and "Wildly Waiting" - hypnotizes with dynamic shifts and layered instrumental flourishes. How do these songs translate live? And does anyone else play with you on the stage?
Andrew Wilson who also plays guitar in Little Girls plays with me now. It's a heavy but minimal live thing.
One of the real strengths of After Live is its cohesiveness, despite the diversity of songs you explore. What was your vision with this LP?
I always write like it's the end of the world, like this is my last word. So I hope that comes through on every song in every moment.
Are you feeling any pressure or anxiety about your NXNE show? Or is this something you're used to now?
I feel no pressure externally around shows or in making art. Sorry if this frustrates anyone, but I make art. I'm in my thirties. I'm not playing around. A bad review/confused people/poor sales or a fucked up show or tour are just different reflections like an amazing reception, and everyone digging it and going crazy and crying and barfing with joy. These don't really affect the whole vision. It's not about nervous people pleasing. It's about contributing something of value. I'm thankful to be able to play for people. It's super fun and energizing and healing. And I hope it gives to others. Thank you all!
Why should people be excited about Josh Reichmann?
People should seek vulnerable power and solid souls and truth pellets of gold and self worth in life. Music and entertainment should be no different. I hope I can offer righteous proof of an afterlife, and open up the doors to reality with people. For party and health reality is the first priority. It's music for reality-one which is on its way/already here. That's the intention. Sex/party/spirit/summoning/death/story/dance. Thank you so much.
Catch Josh Reichmann's NXNE show at The Garrison (1197 Dundas St W.) on Saturday, June 18th. For more info on purchasing Josh Reichmann's music (including his LP After Live), visit the Hand Drawn Dracula store.
Photo of Josh Reichmann by Ming Wu
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