Six Dumb Questions with Traveling Circle

Posted in Six Dumb Questions on February 14th, 2013 by JJ Koczan

Proffering rich, organic tonality with an unpostured flair for the soulful and classically rocking, Brooklyn’s Traveling Circle made enough of an initial impression to be picked up by Germany’s Nasoni Records for the release of their first album. That’s high praise for psychedelia — especially American psychedelia — and the record, 2010’s Handmade House (review here) left little to question of the three-piece’s having earned it, a patient but still motion-minded flow playing out over the course of tight grooves and well-placed flourishes of synth. The follow-up, Escape from Black Cloud (review here), was also issued on LP by Nasoni late last year.

Its pulse is no harder to read in terms of overall accessibility, but Escape from Black Cloud is nonetheless a more developed full-length, two-sided all the way in its blend of classic psych and modern tonality, a steady beat throbbing under unrepentantly shoegazing opener “Higher,” while the high-pitched vocals space out above the sway. Elsewhere, as on side B’s shuffling “Fountain of Time,” they touch the ground, but there’s little interest presented in remaining there, as the sleepy “Newborn Shadow” demonstrates and the more playful “Rock this Feeling” confirms. At rest or in motion, Traveling Circle draw forth an engaging atmosphere akin to but not necessarily biting off anyone else’s work in psych or space rock. The more you let yourself be carried off by Escape from Black Cloud, the more satisfaction the album is like to provide.

Traveling Circle is comprised of guitarist/vocalist Dylan Maiden, bassist/backing vocalist/electric pianist Charlie Freeman and drummer Josh Schultz. All three were kind enough to participate in the following Six Dumb Questions. Please enjoy:

1. Escape from Black Cloud seems to have a more laid back feel than Handmade House in general. Were there things you knew you wanted to do differently coming off of the last record, or is that just how the songs came out of the jams?

Josh: I do think our attitude was a little different for the new record. We kept in a more sort of spacey pulse area for this album. For me, I really tried to keep the drums more pulsing. I tried to be creative in the approach but also keep it simple. I saw a documentary on Krautrock a while ago and Jaki Liebezeit describes a spaced-out audience member approaching him to suggest he should “play more monotonous.” I definitely tried to “play more monotonous.”

Charlie: Simplicity was the general approach all around. I tried not to overthink things but we had a certain sound in mind.

Dylan: Yeah, the goal was to compose a more linear structure throughout and fill it with melodic accents that give you the feeling of moving up and down.

2. How does the Traveling Circle writing process usually work? Am I way off in hearing a soul/funk influence? If I’m not, where does it come from?

Dylan: There may be some influence from those territories. But, to be honest, I draw inspiration in my writing from just about every place conceivable. The subliminal and subconscious are important drivers behind our writing process. There are many elements at work. We usually enter the practice studio and start arranging these elements into the sonic positions we feel are most appropriate for each song’s narrative.

Charlie: I can see what you mean with the soul/funk influence. “Rock this Feeling” has that vibe running throughout. In general, Dylan has a very soulful vocal delivery and Josh and I have an intertwined approach to drums and bass. This album definitely has more groove injected in it.

Josh: Over the two albums we have used a number of different methods in terms of writing. I think this record has some really great songs that Dylan brought in more or less done from a guitar/vocals perspective. Higher is a good example of this, the way I remember it. Some songs started as jams. “Closer” was sort of an unwritten jam at first. We first played that song as a jam at a bar in Brooklyn called Legend and just improvised it. The room was empty at the beginning of the song and began to fill up by the end. It looked like a good idea to polish it up after that. People seemed to relate to it. “Candle Light Sways” was an odd one in that I worked out the entire drum part at home and then brought it in to see if Charlie and Dylan would be up for making something out of it. The structure changed a bit with the group though. Maybe this is too mechanical an answer…

3. Tell me about writing and recording “Newborn Shadow.”

Dylan: This is one of my favorite songs on the album. I wanted to create a nostalgic atmosphere with the guitar sound, which involved very simple strums. Serendipitously, the guitar ended up sounding like a harp. Then I overlaid vocals that sound like they’re coming from a gothic cathedral. I really love Charlie’s bass on this track. It holds everything together and makes me feel like I’m on a teetering boat with a lantern in my hand, trying to make my way through the darkness ahead.

Charlie: This one came together pretty quickly right before we went into the studio. Dylan had a very clear idea of the overall sound he was going for. It has a really nice build to it. It’s a very haunting song.

Josh: The drums were more involved on that song at one point and it was worse for it! In trying out ideas we got around to the current treatment, which is much stronger for the simple drums.

4. The album sounds so natural. How much of Escape from Black Cloud was recorded live? What was your time in the studio like? Has there been any consideration to bringing in a synth player as a full-time member of the band?

Dylan: We’ve been praised for our live performances. Many people have said they prefer hearing us live to our albums. The aim of Escape from Black Cloud was to capture the energy and emotion of our live performance and bring it to the forefront. We brought in friends to help with arrangements such as synthesizer and Theremin, but this by no means compromised the integrity of our sound. Having our brethren by our side helped accentuate the most important bits and crystallize the vision. Nostalgia and dustiness aside, considering how many tracks we recorded live, Escape from Black Cloud came out sounding quite polished as a studio piece, both in its execution and production.

Josh: We did the bass, drums and guitar tracks all at once in a live fashion and then went from there. We recorded at Seaside Lounge with Mitch Rackin. Mitch is the best! His record with Heavy Hands is great. I listen to it pretty regularly. The album is called Smoke Signals. Seaside is a great place to record. They record to tape and have a lot of sweet vintage gear and are great guys! I wish I was at Seaside Lounge right now! As for the mixing, Dylan was in contact with Gordon Raphael and we decided to approach him about trying out some mixes, we really liked what he came up with and so we asked him to mix the album. He was working between Berlin and Texas so we handled the mixes through the mail. It was an unusual way to work for us but I like what we ended up with.

We have talked at times about adding a member but haven’t really done much about it. Charlie handles the keys on “Willow Tree Fair.” He comes up with great parts. Other additional parts include Theremin played by Matt Dallow and some studio magic from Gordon.

Charlie: We keep some pretty odd rehearsal times too. A lot of people don’t want to get up that early on a Sunday morning.

5. Can you give some insight into Erin Klauk’s work on the cover art? Was there some discussion of direction beforehand? How did you wind up working together in the first place?

Josh: Erin has done a lot of posters for us over the years and also the cover to the last LP. She did the posters for Brooklyn Psych Fest as well. I don’t recall much direction. I guess she just riffed on the title. Pretty far-out stuff, right? Alexandra Zorbas-Maiden took the sweet photos, including one on the back and another on the poster insert.

Charlie: Erin had some couch pillows made with the cover art and gave them to us as gifts. That was the first time I saw the art and I was blown away. We’re really lucky to have people as talented as Erin and Alex working with us.

Dylan: I was at an art opening in Chelsea that featured some really cool Himalayan artwork. They were dark depictions of mountains and clouds. Very simple line drawings that almost resembled wood engravings. I was very inspired and thought the tone somehow related to the songs we selected for our second album. Knowing Erin was going to illustrate the cover,
I texted her pictures from this Himalayan artist as inspiration for what would later become Escape from Black Cloud.

The photo on the back cover of Escape from Black Cloud was taken in Greenpoint, Brooklyn, by my wife Alex. The poster insert photo was also taken by her in the Muir Woods.

6. Will there be a CD release? Any shows, plans or other closing words you want to mention?

Josh: Currently there are no plans for a CD but we have been receiving requests. The best way to pick up Escape from Black Cloud is on vinyl at They also have both an LP and CD of our first album, Handmade House. If you don’t listen to records, Escape from Black Cloud is on iTunes and Spotify. We are currently planning to hold record listenings in three cities as well, New York, San Francisco, and Sydney. If anyone is interested, keep an eye on our Facebook page, for more details.

Traveling Circle on Thee Facebooks

Nasoni Records

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Traveling Circle, Escape from Black Cloud: Bouncing from Time

Posted in Reviews on January 3rd, 2013 by JJ Koczan

Brooklynite trio Traveling Circle made their debut on Nasoni Records with Handmade House in 2010. It was a fascinating listen (review here) for a number of reasons, chiefly its buzzsaw fuzz, falsetto vocals and displayed affection for late ‘60s psych-pop. On their follow-up, Escape from Black Cloud, the space-minded unit of guitarist/vocalist Dylan Maiden, bassist/backing vocalist/electric pianist Charlie Freeman and drummer Josh Schultz expand the formula a bit, keeping the soulful elements in play while drawing back the tonal bite of the first album and exploring a more shoegazing feel. The 10-track/34-minute vinyl-only outing earns a return endorsement from Nasoni, and the LP package includes a separate lyric sheet fitting the aesthetic of the striking Erin Klauk artwork. As with last time around, there’s something playful about Escape from Black Cloud – even the title sounds like a children’s story, and Traveling Circle keep a sense of wonder in the material, songs like the grooving side two highlight “Rock this Feeling” – is that a Prince influence? – and the earlier analog trippery of “The Candlelight Sways” smoothing out much of what the first album presented without sacrificing the refreshing originality Handmade House presented. They are almost universally farther back in the mix. All three of them. From the Freeman-begun opening of leadoff cut “Higher,” everything is full-reverb, and that follows through to Maiden’s guitar and vocals as well, while Schultz’s drums seem to come in bursts of cymbal wash while otherwise sticking to a vinyl-compressed thump that hints at that moment right before rhythm sections in power trios threw the “heavy” switch and Cream gave way to Blue Cheer. A sense of weirdness prevails, and Traveling Circle seem to delight in it, adding theremin first to “The Candlelight Sways” and later to “Rock this Feeling” and “Conduit is Closing” on side two. All three are standouts on Escape from Black Cloud, and the theremin, played by Matt Dallow, is no less drenched in echo than the rest of the instruments, the vibe staying consistent across the release and never relenting from an effective balance of subtly presented structural traditionalism coated in some kind of hallucinogenic moss.

Slow, ethereal and righteously psychedelic, “Newborn Shadow” is perhaps some of the most affecting material on the album, making latter day Dead Meadow sound like thrash in comparison to its ambient hypnosis. Past the opening duo, which weren’t exactly lacking resonance on their own, Traveling Circle spend the rest of side one in a flowing slow-motion freakout, Maiden cooing over light-touch rhythmic minimalism on “Newborn Shadow” before the instrumental build of “Green Spider” takes hold, melding surf rock guitar à la Yawning Man with prominent fuzz offset by Freeman’s counteracting fills and a more-forward-in-the-mix snare march from Schultz. A linear progression is at work, but Traveling Circle are patient with it, letting the song come to its own peak before shifting to the more space-rocking launch of “Closer,” which sets its musical crux around variations of the repeated lines “Closer today/So far away/Closer.” If it seems barebones, it is, but the actual sound of the track is much fuller, Maiden injecting wah swirl for a tiger-growl at the halfway point before cycling once more through the verse. Freeman and Schultz pick up the already insistent pace for a build that Maiden soon joins and the whole song comes to a head on a drumroll and set of crashes, ending side one with as much energy as Escape from Black Cloud has yet shown. Side two begins with “The Willow Tree Fair” – the longest track on the record at a sprawling 4:53 – the central chorus of which seems to be nodding at early British psych rock lyrically, while the music is undeniably more modern, hitting its apex late in a similar spirit to “Closer” but having an even more languid vibe for the extra time it takes. Subtlety is a big part of what makes Escape from Black Cloud work, here a look at different psychedelic themes lyrically, there an ambient nod to experimental post-rock indie. It makes for an intriguing aesthetic, and with a firmer grip on his falsetto, even the “oohs” and “aahs” of “Rock this Feeling” come across more convincingly than they might have last time out, the fuzzed-out funk groove underscored by echoing slide-whistle theremin sounds, woven in for engaging texture amid Freeman’s excellent bass work.

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