Our world still holds plenty of mysteries. There are intricacies, complexities and connections, we can hardly fathom, all around us. Some people tap into the beyond, into the mystery of sound and vibration. One of those is Dylan Carson, a modern day musical shaman and explorer, who by that time had just released ‘Full Upon Her Burning Lips’ with his band Earth.
On this album, he is exploring a more feminine spirit, a sensuality that is almost transcendental. Carson has his roots in the grunge scene, has gone through the darkness of addiction, lost his good friend to suicide (yes, Kurt Cobain) and somehow has emerged as an icon in a musical style that is entirely his own.
Carlson is often called the father of drone metal. Not a moniker he would pick, but one he gratefully accepts. Currently, as we talk over Skype with a bunch of disruptions on the line as friends try to reach him, he is staying in Los Angeles. For the film soundtrack he is making, but also because he will be moving there in December. It’s a lot more sunny in L.A. he concurs: “It’s way warmer up here, nicer weather for sure!”, he chuckles.
We talk about the new album, Full Upon Her Burning Lips, which recently came out. But also about his solo record Conquistador, on which he collaborated with Emma Ruth Rundle. And Bagpipes.
Never Mind The Hype let me interview Dylan for last years’ Le Guess Who? festival, a fest I’ve never visited. I was happy to do so anyway.
Good vibrations and universal harmonies
What do you think about the Le Guess Who? Festival yourself?
“It’s one of my favorite festivals. I’m not crazy about festivals, but this one always has an interesting program and many people are there that I’d love to meet. Not that I get to usually, but last time I was there I saw jazz icon Pharaoh Sanders perform. That is really cool!”
How does Earth fit within the confines of a festival like Le Guess Who? And how did you end up playing there this year?
“Well, The Bug is one of the curators and we did an album together, so I think that’s how it went. But why we fit in is that even though people love boxing us into genres or microgenres, Earth has always tried to do something new, always pushed itself into new directions. That fits within the confines of this festival very well. As a musician, I don’t feel confined to microgenres. I make music, as best as I can, but I can’t affect the way people deal with that. But we play all sorts of festivals, because we are not limited to just heavy music. We’ve done Hellfest, Primavera, but also Le Guess Who? and Levitation festival. That’s a big range. Big Ears in Knoxville is another one of my favorites by the way. We’re not stuck in a corner, we can go many different ways with Earth.”
Is that what gives you more freedom in starting up collaborations?
“Definitely. I’ve done a lot of those and I’m always open for new opportunities. It’s all about being open to possibilities and look for that ‘common ground’. If that’s not there, it won’t work. Our collab with Kevin ‘The Bug’ Martin is a good example. Even though he grew up hating guitars, we have a lot of similarities in our taste for music and love for dub. Even though we come from opposite worlds, there was enough of a match to do something very cool. So kudos to Kevin for having the guts to do this.”
Do you ever worry if such a collaboration will work out?
“If it doesn’t work out, you just won’t release it. No one will have to suffer through it. I’ve had those in the past, where it just didn’t work out. But now, I think I’ve done this long enough to know early on if something will work or not, if the audience would like it or not. I believe in ‘happy accidents’, just letting things happen. If it’s a lot of work and effort, the magic just isn’t there.”
For your solo album ‘Conquistador’ you worked with Emma Ruth Rundle. How did that happen?
“She’s just fucking amazing. I seriously can’t praise her enough, both as musician and as a human being. I’m so happy to see all the recognition she is getting, because she deserves every bit of it. She is one of the few people I always love seeing perform. She is signed to the same label as us, Sargent House, though I met her earlier when we did a show with Marriages and Deafheaven in LA. I borrowed her amp and we’ve sorta become friends since. When I was working on ‘Conquistador’, our schedules matched and we met in the studio of Kurt Ballou to work on some music. So that’s what happened.”
How was it for you to create a solo record, instead of an Earth record?
“With Earth there are always multiple people involved, which makes the process more complex. Solo I simply have more freedom and a white canvas, possibilities for collaborations, but it also feels more free for me. Though Earth is not a formula, you always look for progress and continuity. Not that there’s a set course, but we don’t want to repeat ourselves while there may be directions I’d like to play with a bit more. The theme of an imaginary western you could here on ‘Hex, Or Printing in the Infernal Method’, so that was a done deal for Earth. ‘Conquistador’ allowed me to further explore that theme.”
“But what was also an influence, is that we had just left Southern Lord. I knew that finding a new label was going to take time and we had just toured intensively for our previous album Primitive & Deadly. There was need for a break, and I had all this music I wanted to work on. So I took the progressions I had and made my own songs with those. So it was a time of finding our bearings and experimenting.”
If I understand you correctly here, Earth is kind of your highway and solo work enables you to take all those interesting byways and explore, is that correct?
“That’s basically it. Earth is the main focus of my career, but there’s so much else I want to do. This enables me to do that and it helps my creative process. Making music is one of the few things in my life I haven’t had problems with. It helps me find the right flow, also in other aspects of my life. I feel very fortunate to be able to work on music all the time and I don’t want to waste any of that time. The fact that I once just… disappeared for 5 years, showed up again and was embraced, is something I’m very grateful for.”
But that’s also your own doing. You get called the father of drone for a reason.
“Well yes, that. The fact that people respect what I did so much and validate it, that’s an incredible honor. That’s what motivates me to try hard and keep innovating, not rest on my laurels. I could have made Earth 2 25 times, but that’s not how I want to be remembered.”
Does the solo work make you hungry for more?
“Definitely. I’m currently working on the soundtrack for the film From A Son and I hope this will be released as a solo album too.”
You’ve often said you’d like to make soundtracks and this is your second, right? How did this happen?
“I’ve made a soundtrack for a German film, called Gold. This is the second. The director of From A Son is Gilbert Trejo, son of Danny Trejo, who plays in the movie. His production manager Kyle pitched my music and Gilbert liked it. He tried what it would be like by using some Earth songs and music from Conquistador as place holders and it was a fit. Kyle happened to know my manager Cathy and contacted her. Long story short, I got to make a soundtrack.”
“The process itself has been pretty intuitive. I watched the movie, which gave me some ideas. We then played the movie and I basically jammed to it. Then it’s a whole process of cutting, pasting, filling, adding… Until you have it. Austin from Starcrawler added percussion to the recordings. All in all, this was a very straightforward process. Similar to Gold actually, though there they were shooting while I was composing, so I would get bits of the film sent my way. That was interesting.”
I’ve actually seen you play another soundtrack. In Ghent you did a live soundtrack for the 70’s psychedelic movie Belladonna of Sadness.
“Ah, but that was a different process. They actually expected us to play an Earth set, but instead we composed a whole soundtrack. We watched the movie a number of times, chose a number of themes and worked with that. That developed into what we played live that night and which has shaped part of the new album, like the song Descending Bella.
We actually should talk about your new album, but first, you did sign with Sargent House. What made you join their roster?
“Cathy Pellow was already our manager and that’s why my solo record is out on Sargent House. Going there with Earth was a natural choice. Cathy is fantastic, really good with artists, supportive and I like her way of doing business. We just click and Sargent House is a great label, with camaraderie between artists I haven’t experienced before.”
Full Upon Her Burning Lips is the first record you’ve done with Adrienne Davis as a duo. Why did you choose for that and how did it work out?
“I felt that on previous records, we had to give way to a lot of other instruments. That’s not a complaint, I worked with great people and I’m happy with those records. But I wanted to see if I could give more room for the essence. The drums also could do with more space I felt. By making this record with the two of us, we get to show what Earth sounds like at its core. And I got to play bass, which I like, so that is cool.”
“The process was very smooth. Most of the material was composed a month before we went into the studio, and there everything just got together naturally. It’s again a very intuitive process, where most of the overdubs, solo’s, and bass lines are improvised in the studio. The basis for the song was just there to complete.”
Did you have a clear concept for this record, like you did for previous ones?
“That’s actually one thing that was very different on this album. I had various ideas, but not one big concept. My wife, Polly, she’s a dancer and I thought a lot about music and dance, which are so separate in today’s world. I also read a lot of books from Tanith Lee, which have many sensual themes. I wanted to create a record that was more feminine, more sensual, as opposed to the hypermasculinity of heavy music, but also play with dance. Dance is not just for EBM, it’s a form of getting together, interacting physically, of ritual. It’s a communal thing that I find very important.”
I noticed that this whole record refers to that essence. Just the design of the cover, with its 70’s hardrock reference and the picture of you two, it really points to your roots.
“That picture was not intended for the cover, but when I saw it, I knew it was just right. It’s the band itself, and this design makes me think of classic albums like the debut by The Stooges. It was just right.”
Could you tell me what, in your view, is that core or essence of Earth. That which makes the band unique? Is that drone?
“I see drone as more of a technique. In music theory, it’s called an oblique motion and that can be found in numerous types of music. From Indian meditation, classical music, blues to even Scottish bagpipes. What attracts me to that sound is the open string you work with or against. I think that’s what I’ve always done in my music. Many people think of massive amps and volume when they hear drone, but there are drones in a hurdy gurdy or acoustic music. That’s what I love anyways. Tempo has always been less interesting to me so we’re sort of countering that, which was particularly interesting when we started out in a time when each band wanted to be the fastest in the world. Within those factors there are many directions to explore and as long as this is all in there, it’s Earth I think. Currently I’m using a lot of chromatic movements, which is something new in my music. But that’s still an oblique motion.”
All these examples you mention, like a hurdy gurdy and bagpipes, those create a sound that I think resonates with people. Isn’t that part of the charm?
“It might be my Scottish heritage, which makes me cursed with liking bagpipes. But did you know the bagpipe was really used everywhere until the accordion became available? I read somewhere the king of Hungary even burned all bagpipes then and forced people to buy accordions. Maybe that’s where bagpipes got their bad name, but it’s definitely a global instrument.”
“But I feel, making music, that I’m just a conduit for music that’s already there. Like a pipe, the way I’m shaped affects the final form. That vibration though, it’s already there, the universe is all about vibrations. Solid matter are standing waves and I like the idea of a sustained note, that is fed and keeps resounding, which touches us. It’s a shared, universal resonance. Music and dance are the original technologies for ecstasy and transcendence. When I play a really good show, I never remember it afterwards, I disappear into it. When I think too much, when it’s a lot of work, then I remember it. It’s still a good show, people enjoy it, but it’s where I don’t lose myself in that vibration of the music.”
Is that how you experience collaborations? Is there that shared resonance that you look for?
“I think so, but it’s also a form of synergy. The sum needs to be larger than the parts, if that’s all good, it’s going to work out.”