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sinceileftyoublog · 2 years ago

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Kyle Hamlett Duo Interview: Into the Grey

BY JORDAN MAINZER

Sometimes, all it takes is a few instruments, an old house, and two free days to make magic. Such was the case for Tape Diamonds (Arrowhawk), the new album from singer-songwriter Kyle Hamlett and pedal steel extraordinaire Luke Schneider.

Hamlett and Schneider played together for a long time in Lylas, a psychedelic band centered around Hamlett’s compositions that saw a rotating cast of members and last released an album in 2017. Since then, Hamlett started to release finger-picked folk songs under his own name, including his debut solo LP Nowhere Far. Schneider, meanwhile, started to make his name as a session player for the likes of Margo Price, Orville Peck, and Lilly Hiatt, all while becoming a key player in a burgeoning Nashville scene of ambient Americana and receiving loads of critical praise for his 2020 new age pedal steel album Altar of Harmony, released via Third Man Records. Over the winter, Hamlett took advantage of fortunate timing and brought a batch of songs, guitars, harmonica, melodica, percussion instruments, and a Tascam 388 tape recorder to a heat-less house off of Music Row, inviting Schneider to lay his woozy pedal steel and dobro over some compositions that followed the Nowhere Far writing sessions. The result was Tape Diamonds, an appropriately named record that finds breadth in the smallest of moments.

The songs on Tape Diamonds contain roughly the same ingredients: Hamlett’s acoustic guitar, self-described “impressionistic” lyrics, and laid-back, gentle singing, and Schneider’s glistening pedal steel. Yet, each of them give off distinct vibes. Opener “Expected Of” is quietly jubilant, with its jaunty picking and buzzing harmonica. “South”, on the contrary, dabbles in melancholy and nostalgia, similar to the type of Americana that Schneider practices on his solo records and with Nashville Ambient Ensemble. Engineer Jake Davis captures eons of emotion with simple effects, like the trailing echo on Hamlett’s voice on “ZZZ”, fleeting like a ghost of someone’s past. Some of the very song titles reflect the push-pull of Hamlett and Schneider’s paradoxically simultaneous qualities; “Almost Motion” and “Fast As Vaseline” could be tags on Bandcamp attached to Tape Diamonds. Best, the two players revisited existing tunes with the same plaintive, yet adventurous spirit with which they approached Hamlett’s new songs, adapting Lylas’ “Years & Years” and The Smiths’ “Death of a Disco Dancer” to contemporary ears.

Last month, I spoke with Hamlett over the phone from his house in Nashville about Tape Diamonds, working with Schneider again, winter, and his current relationship with The Smiths. Read our conversation below, edited for length and clarity.

Since I Left You: What made now the right time to finally sit down with Luke and record Tape Diamonds?

Kyle Hamlett: It was a timing thing. Lylas for a long time had been a rotating cast but had settled into a pretty steady lineup around the mid Aughts. A couple of those guys got really busy with other projects, and we couldn’t work on as much Lylas stuff. I didn’t want to call anything I was doing that didn’t involve them “Lylas,” so I gave myself permission to do stuff under my own name, which I had been resisting for a long time, for whatever reason. In doing so, I got back in touch with Luke, who was having a pause in his busy schedule. We just dove in. I wrote those songs right after I had written some other songs that would end up being my first “solo album,” so it was this burst of writing that felt like a bit of liberation and [a realization that,] “I can do this by myself, or I can do this with Luke, and it will be just a two-piece.” [I] was reigning it in, a bit less structured.

SILY: How would you compare working with Luke in a full band versus working with him in just a duo?

KH: That’s a great question. In a larger band, there’s less sonic space to ask for. He does such beautiful, textural things so well, he stretches out more and leans into that. He’s a very sensitive listener, and no matter the setting, doesn’t put anything in that doesn’t need to be there. He’s not a guy that plays just to play. That sensibility remained. But by nature of the sparsity of the duo thing, he had more room to put his psychedelic textures in the forefront.

SILY: Yours and his guitar playing, by virtue of both your playing style and the quality of the instruments themselves, are distinct. The songs that start with you versus the songs that start with him end up with different feelings. How did you decide who would come in first on each song?

KH: Certain songs felt a bit more open. Most of them originated from songs I had written on the guitar and showed to him, so if there was one with a busier finger-picking pattern, it made more sense for me to start it or for us to start together. But if it was a slower, more spacious one, with a deliberate or dragging tempo, it was nice to have a bit of a color there [for Luke to provide] a sonic bed for things to sit in. The tempo and feel of the songs suggested that to us.

SILY: Was there something in general that inspired the lyrics?

KH: It depends on the song. A couple were definitely inspired by specific instances and experiences I’ve had. They’re all kind of impressionistic. I like dream-like lyrics and lyrics that leave room for the listener’s imagination. I don’t want to dictate too much what you’re supposed to be experiencing. A lot of them were born from what the music seemed to suggest. Even the ones based on some real-life experience tend to be abstracted.

SILY: Did the time of year you recorded Tape Diamonds have an effect on the final product? Do you find it a particularly wintry or pastoral record?

KH: I tend to shift. One winter, I’ll want rock and roll, and another winter, I’ll want something soft and acoustic. But we principally recorded it on a very cold day in this old house on Music Row, and Luke literally had a blanket on his pedal steel to keep it in tune. Everything was slipping and weird, and the [heat] was out. That’s definitely infused in my memory. [Tape Diamonds] doesn’t feel inseparable from that to me. I feel like I wrote some of the songs in a summer/fall kind of state. But it definitely works for winter and colder weather.

SILY: The great irony of Chicago winters is that even when it’s bitingly cold, it’s so blindingly sunny. I feel like the shimmery nature of the music will be a good soundtrack to a Chicago winter.

KH: “Shimmery” is a perfect word for Luke’s textures. Chicago winters: I’ve only been there a couple times, and they feel pretty brutal. I’m super impressed whenever I meet somebody who has lived there for a long time. It’s pretty hard not to be beaten down by the consistent cold.

SILY: There’s no such thing as bad weather--just bad coats!

KH: I like that.

SILY: Did you have a general approach to the sequencing of the record, or at least to groups of a couple tracks that sounded good back-to-back?

KH: We were thinking of the flow of everything, sonically more so than thematically or lyrically or with any kind of arc. It was just about what seemed like a good start, what seemed like a good way to follow that up, and what the next song needed. It was intuitive. I remember sending it to Luke, and he had one or two suggestions, but it was something we both agreed on pretty quickly. We can sometimes have very different opinions and know what we like or don’t like. I was surprised we agreed so quickly.

SILY: I really like “ZZZ”, which is a very fleeting song, even in terms of the trailing on your voice. To follow it with something as expansive as “Night Nurse” was very effective.

KH: Thanks. Some of them are a little more expansive and long, and we didn’t want too many of them in a row, or some of the shorter ones [in a row, for that matter.]

SILY: What’s your and Luke’s relationship with The Smiths, in the past and now, and how did you approach the cover?

KH: We both have historically liked The Smiths quite a bit. I remember in one of our first conversations, I was very much responding to Morrissey’s lyrics and poetry and vocal approach, and Luke was very into Johnny Marr’s radical and unconventional guitar arrangements and structures. We were geeking out. We bonded over them for a long time. A friend’s wife told me years ago she thought Lylas should cover “Death of a Disco Dancer”, and it never happened. For some reason, I thought it would be fun to do that now since we were playing together again--Luke was playing pretty regularly with Lylas at that point. It was fun to cover the Lylas song “Years & Years”, too. That was one of the first songs Luke played pedal steel on, so it was fun to have a reunion on that one. But back to The Smiths: I can’t fully speak for Luke with where he’s at with them now. Morrissey is obviously a problematic, opinionated, toxic guy in some ways. But the poetry and music in that song in particular still speak to a higher truth for me most of the time.

I heard somebody in an interview refer to Woody Allen as “the late Woody Allen.” I thought, “Are we going to have to start referring to Morrissey that way, too?”

SILY: Why did you release “Expected Of” as the first single?

KH: That was one of the last ones I wrote. I wrote that one and “New Orbit” after the initial reacquaintance of myself and Luke. I wrote it in a burst of inspiration by how easy and fun it was to play with Luke. Because it was the newer of them, it was more exciting to me than some of the songs I was thinking about for a while. There’s also an immediacy to it, which I like. It doesn’t have pedal steel, so in a way it’s a little unrepresentative of what you get from the rest of [Tape Diamonds], but I like that. It sets you up to be surprised. It’s not an encapsulation of everything. It [also] sounded great to me. [Engineer] Jake Davis got great guitar, voice, dobro, and percussion sounds.

SILY: “New Orbit” is one of a few song titles on here that get at the vibe of the record, the contradictory nature of the record being both expansive and immediate. The other are “Almost Motion” and “Fast as Vaseline”. They’re paradoxical and appropriate.

KH: I like paradoxes in words and phrases and sounds. It’s nice to think about the context of just the sound. We’re shooting for something a little more extensive and mysterious. One of my favorite things is to have a lyric almost immediately contradict itself. I’m thinking of The Beatles’ “Revolution”, when John Lennon sings, “You can count me out--in.” It goes along with especially what he’s saying, such a bold anthemic statement immediately undercut in a way that somehow gives it more gravity to me. That’s something I’ve always responded to. I very rarely trust absolutes. The grey areas are always more interesting. Contradictions are more thought-provoking to me.

SILY: What’s the inspiration behind the album title?

KH: Funny story. We recorded [Tape Diamonds] on Tascam 388. I actually had a little reel of tape I took to the first session, [thinking to myself,] “This album’s gonna live on a little piece of tape.” If we botched the take, we would record over that take. A couple times, if we did the song a little faster, when we got to the end, there would be a little residual bit from the previous take. Are you familiar with the musical term “diamonds,” where it’s just a big open hit, like, “Dunnnnnn”? [Because] there are a couple songs that end and then end again. The one that made it onto the record is “Rocky 13″. You hear it end and then a little flash from the previous take. We kind of just coined those “Tape Diamonds,” and I liked the phrasing of it. It’s also a contradiction, if you think of tape being very analog, sticky, visceral, and tactile, and diamonds being a more glamorous, regal, hard thing. It’s a neat, evocative phrase to me. It’s funny it was an in-joke that started during the sessions.

SILY: What’s the story behind the cover art?

KH: That’s from a photo my wife took. She’s a visual artist, and when I have a project nearing completion, I start talking to her about it. She’s usually very familiar with the material and where it’s headed. I don’t think I had any ideas, really. She had taken the photograph and asked what I thought about it. I showed Luke, and he and I had talked about it a bit. He liked a lot of private press new age LPs and wanted a sensibility that felt a bit like that, so he thought this was perfect. Another thing we could have not landed on so easily, but something about that photo hit the right nerve for all of us.

SILY: What else is next for you?

KH: There’s nothing left over from this session, as far as I recall, but I’d love to do more with Luke. We haven’t begun that process yet, but I have a couple songs I’d like to do with him. I’d also like to open it up to more 50/50 collaboration if that’s cool with him. If he’s making his own ambient pedal steel music at the time, he might not have energy for it. But if he’s in the zone, it might be cool for us to build up the soundscapes together and have it less of me coming in with my song and adding his beautiful textures to it. It would be fun to have it happen a little more in the moment, in the room. We’ll see what actually shakes out.

SILY: Anything you’ve been listening to, watching, or reading lately you’ve enjoyed?

KH: I’ve been catching up on Stranger Things. I’m a Kate Bush fan and am thrilled [“Running Up That Hill”] is in most peoples’ ears right now. Hopefully, that will make the human race more positive and understanding people, having that little bit of cosmic heaven in their ear. But I haven’t reached that season yet; I’m at the end of season 3. I’m reading Carl Jung’s autobiography right now, Memories, Dreams, Reflections, which is incredibly fascinating. I’m listening to a lot of Bryan Ferry, Roxy Music, Robyn Hitchcock, and The Cleaners From Venus. Midnight Cleaners has been on heavy rotation; “Only a Shadow” is a timeless piece of music.

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