Readers of the last issue will recall my pleasant surprise at the unexpected thrills of the first Tinsel ep, I WISH THE TALKIES NEVER WOULD HAVE COME AROUND. Turns out that Michael Sell, the man behind the magic curtain, is also the fly guy behind the label Keyhole Records as well. Now, just in time for the release of a new compilation on Keyhole (see the review section for the full story), Sell agreed to chat about the band, the label, and other jolly stuff. Read on:
DA: A brief history o' Tinsel, if you please, just to bring everyone up to speed....
MS: Well, Tinsel is basically myself, along with whomever I have helping out with various parts. I've been shedding some skin for awhile to get to the point of being able to offer an output. Tinsel is that output. The continuing goal is to marry the acoustic guitar based singer/songwriter with sounds, some background and some foreground, that are as evocative as the lyrics. The first cd, I WISH THE TALKIES NEVER WOULD'VE COME AROUND was released last fall.
DA: Between the lyrics and overall sound i sense a strong Leonard Cohen influence... but juxtaposing that with noise elements is a fairly radical idea. How did that come about?
MS: The Cohen mention is obviously a great compliment. Lyrically, I'm attempting to be so bold as to reach into the folds of poetry and my voice tone is not that of cherubim, so perhaps that's where the common ground rests. Adding the noise was a fairly natural step because I wanted to, in theory, combine parts of my record collection and have the best of both worlds. Picture Mark Eitzel singing over Harry Partch's sounds, Dylan backed by Village of Savoonga, and an Eno/Nick Drake hybrid. Doesn't that just seem like magic?
DA: How does the songwriting/recording process come about?
MS: I'm conscious of "using" something, whether experience, book, wandering, etc. for the purpose of lyrics, so there's continual scribbling in a notebook. Then, at a point, whether there's a guitar backing or not, I take those shards of words and try to form something relatively cohesive. Elaborating on reality and such. Simultaneously, I collect and try out different noise- makers and sounds, so they'll be ready and at hand when needed to paint the core of the songs. All hail bricolage! My recording area, dubbed Golden Tower, is full of marionettes, collages, old pictures, and other things to provide atmosphere. I like to have a semblance of structure about the whole process, while leaving open some space for chance and on-the-spot inspiration.
DA: The lyrics are often sardonic, most Cohenesque... i'm curious about your worldview and how it applies to the lyrics.
MS: My worldview is a hodge-podge of ideas, probably best framed by existentialism and surrealism. To explain a bit, lyrically I take the point of view partly of the "small man in a large uncaring world" and partly of the dream-like, absurd, and child-like. Perhaps some non-music related preferences might offer better understanding. Kundera, Cornell, Magritte, Kafka, Brothers Quay, and Dostoevsky would be a few of my worldview influences.
DA: Since Tinsel is essentially a one-man operation, how do you approach performing live?
MS: At this point it hasn't been approached, but avoided. I really would like to work up something to do live. The difficult question is whether that should consist of just myself or a small cast of characters. Obviously, Tinsel is pretty much just me because I'm near the bottom of the hierarchy of social animals, but I also happen to live in an area barren of like-minded people. The live performance situation will probably be resolved this year, so look out for the barnstormers.
DA: You also run Keyhole Records, which just released a new compilation - fill me in on the lurid details....
MS: This compilation is the culmination of much back-room activity, filled with cigar smoke, mustaches, and alliteration. Actually, it's much simpler than that. I thought it would be a shame for Migala and Greg Weeks not to have their music heard. Plus, Keyhole is a fledgling label and this release should make people sit up and take notice. While getting all the details ironed out, everything seemed to lead toward "3's", so Songs From An Attic features 3 acts each performing 3 songs. Tinsel is also on there. I'm quite pleased with how everything turned out. Dame Darcy's cover drawing is quite charming. The fellow holding the puppets has such a placid look, while the female puppet gives a flirty glance at the nervous male puppet. It makes me smile every time I look at it.
DA: How did you even find out about Migala (who's from Spain)? His three songs are brilliant.
MS: Migala is the only "band" on the comp. A Migala fan, who liked the Tinsel cd, sent some of their songs and I was really impressed. I contacted their label in Madrid, Acuarela, and it was as simple as that. "A Fistful" is the perfect lead-off song, isn't it. Migala is so tasteful as far as how they piece the elements of their music together. They should definitely be spoken of on the same level as Tindersticks, The Bad Seeds, and Dirty Three. Acuarela has released two of their cd's in Spain.
DA: Of course, Greg Weeks is no slouch either. What's the story on him?
MS: Greg's one of those musicians that deserves the word "artist". His involvement in the comp is similar to Migala's in that we traded cd's and worked out a deal. His sound is timeless. It's as simple as that. I know it seems like I'm gushing, but Greg is that good. I picture him right in the midst of acoustic guitar wielding singers from the late '60's/early '70's. Tim Buckley, Nick Drake, Joni Mitchell, and the like. Greg lives in New York City and Ba Da Bing is releasing his full length cd.
DA: I notice that Tinsel's sound has changed a bit on the compilation tracks -- is that a deliberate move or just natural progression?
MS: It must be natural because I don't notice the change. I'm curious, though, since you're familiar with the first cd, what direction or progression you hear? Maybe more percussive devices? I think you'll find that, when you hear the next Tinsel cd, you'll notice a difference. The child-like sense will still be there, but with the music hopefully more meticulously crafted. I'm making a conscious effort to tame my impatience with the recording process. That cd will not be out anytime soon.
DA: How do you manage to juggle a band and label at the same time? It must have its difficult moments....
MS: It is frustrating at times. For example, I may have a song that I really want to work on, but instead it's necessary to spend that time getting an ad situation resolved. Ultimately, though, it's quite a nice way to satisy both my creative and entrepreneurial urges.
DA: What do you think of the "lo-fi" movement that's been gaining ground in the past couple of years?
MS: If, by "lo-fi", you mean the numerous 4-trackers out there, then the crucial phrase is "please edit". I don't want to hear every song Lou Barlow's ever written. The negative is the marketplace being flooded with music that shouldn't have left the bedroom. But, you also have the benefit of the "4 track mindset" being accepted. I really like the Neutral Milk Hotel cd's. Jeff Mangum and company are taking that "4 track mindset" of an individual's vision without the gloss and putting it on a larger scale.
DA: What do you make of the current changes taking place in the music biz (MP3, downloading music from the net, panic on the part of major labels, one-hit wonder syndrome in mainstream music, explosion of self-released indie artists, etc.)? Any predictions?
MS: The pc isn't going away, so any company who doesn't utilize it is foolish. At the same time, the physical aspect of browsing in an excellent record store can't be underestimated. A little panic should be expected by any label, major or otherwise, that doesn't understand how to use to their advantage the world-wide micro-marketing that the internet allows. I don't have any predictions.
DA: Any final words on where Tinsel and Keyhole Records are headed?
MS: Well, I want Songs From An Attic to be heard, first off. I can't think that anyone with good taste would not enjoy the music. There will most likely be a Tinsel song on a compilation that Ba Da Bing is releasing this year. Beyond that, expect a Tinsel full-length release in early 2000. There are no scheduled Keyhole release plans prior to that. [Note: In a followup email, Michael noted that he would be happy to hear demo submissions; you can send them to Keyhole Records at the address listed in the EPHEMERA section.]