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Laika Interviewed Laika is a bi-product of analogue and sample-enthusiasm, coupled with the enchanting, breathy vocalizations of singer Margaret Fiedler. Sounds of the Satellites, the band’s latest release of boundary-pushing musings and hypnotic appeal, is a seeming extension of 1994’s Silver Apples of the Moon, drawing on a similar formula of krautrock, techno, avant-jazz and dub influences. Nevertheless, Fiedler and her musical partner, guitarist and producer Guy Fixsen (The Breeders, My Bloody Valentine, Moonshake) assert that this time around, Laika is keeping things simple. “I think the new record is more focused and, in a way, more inviting,” said Fixsen, “I think it works better.” Silver Apples of the Moon was pretty crazy, with lots of layers to it, and – to some people – too many ideas. And, sometimes to us, too many ideas,” Fixsen said. “I still like it, but I think the new record is probably a bit more focused and, in a way, more inviting. You can listen to it and not think too hard about it and enjoy the general sound of it.” Sounds of the Satellites marks a timely appeal to fans new and old alike, with its concurrent mastery of electronic bass energy, complex rhythms and guitar-driven rock. The concept behind the album title – true to Laika and its cast of space cadets – comes from a record called Voices of the Satellites, which was made by an amateur radio enthusiast from the ‘50s, and includes recorded transmissions from Sputnik I and Sputnik II. Obscure notions of contact and free spirit manage to come across the sultry, yet static, version of pop featured in Laika’s music. “We’ve
always been trying to do some sort of pop music combined with kind of
weird ideas,” Fiedler said. “We
use both analogue equipment and computers, half and half,” Fiedler
said. Fixsen added: “We’re very much into the way that a lot
of old stuff sounds, but we like the flexibility of new stuff, and just
the kind of possibilities to edit stuff and not having to commit to a
certain sound just because of the gear you're using.” “You can edit with this stuff very easily,” Fixsen said. “The Mini-Moog’s quite an important thing, as well as Margaret’s guitar – which is a good 10 years older than she is. It’s a great sound, and a lot of things do mature.” “We’re quite antsy about the whole digital sound thing that came along in the ‘80s, and I don’t think we’re exactly alone in that. Clean and clear doesn’t always get you a good-sounding record.” As more mainstream acts like Meat Beat Manifesto and Tricky are beginning to incorporate more electronic samples and dub into their live acts, Laika has managed to stay one step ahead of the game since its 1993 inception. Laika’s live act is uncharacteristically guitar-driven and stripped of the innumerable layers poured into their recording. Nevertheless, the band maintains its independent sensibility. “[Our live music] doesn’t sound radically different,” Fixen said. It’s mostly just that we’re limited because there are only five people to play, and I guess that just means that it gets focused. Margaret plays a lot more guitar live than on the record, and it kind of works out because it’s more of a physical instrument and works well in front of the audience. It probably comes out sounding more passion-heavy.” Fixsen and Fiedler share a penchant for dub production and basslines, expressing equal enthusiasm for progenitors like Lee “Scratch” Perry as post-punk groups which dabbled in reggae and dub, including The Slits, Gang of Four and Public Image. “We’re
also very much influenced by some of the more original stuff as well,
like Can, or Miles Davis in his early ‘70s phase,” Fixsen
said. I guess Captain Beefheart was another influence, probably mostly
lyrically.” “I think we don’t really like things that we’ve heard before. We don’t really want to be original just for originality’s sake, but there’s got to be an element of newness and excitement to have this momentum to keep working on stuff,” Fiedler said. It’s kind of weird, because I think it is strange when people are kind of obscure about it and think ‘I only make music for myself, and I don’t really care if anyone else likes it” “Music, on a very basic level, is a form of communication, and we make our music to reach out to people to some extent. I think we’ve attempted to make a more accessible record this time, but knowing that we have a lot of good ideas put into it as well.” |