You say you haven't heard of The Faint? Heretic! Trust us, you will. The Omaha-based band, part of the Saddle Creek crew, made a respectable splash in 1999 with Blank-Wave Arcade. Alternately nodding to and completely re-engineering the urgent analog sounds of keyboard-friendly new wave bands, Blank-Wave sex-obsessed anthems proved that punk rock could find a happy home on the dance floor.
With The Faint poised to issue their latest opus, Danse Macabre, later this year, we figured it was time we had a word with them -- so we sent John Wolfe to get the 411 from Faint frontman Todd Baechle. Their conversation went a little like this...
· · · · · · ·
Splendid: Why don't we start by you telling me about your original motivation for starting the Faint?
Todd Baechle: Well, the three of us had known each
other for quite a while -- skateboarding -- and I got out of
it because of injuries. We ended up starting a
band. We toured with it around 1993-1994 and just took
it from there. We weren't really setting out to
accomplish anything -- just to have some fun. Of course
we were called Norman Bailer then, and not the Faint.
Splendid: Were you big Norman Mailer fans?
Todd Baechle: No, not really. A friend of ours used it
in reference to a trick. When someone would bail out
we'd say "Normal Bailer". Back then, though, we weren't
really that serious about it -- I mean, we weren't even
planning on playing out.
Splendid: Wasn't Conor Oberst from Bright
Eyes in the band for a while?
Todd Baechle: Yeah, when we first started playing
shows he was in the band. He sort of quit and then we
wouldn't let him back in. He's always been a good
songwriter, but it just wasn't a good fit. He was real
sloppy and he would scream all the time when we would
be sitting down and trying to play mellow music. But
he's one of our best friends of all time; he's always
Splendid: What are all of your individual backgrounds
Todd Baechle: Well I went to college for music and
art. Most of the other guys went to school for art.
Splendid: Do you think your background in music
really displays itself in the Faint?
Todd Baechle: I think being technically proficient is
something we're new at; I don't think our last record
represents any kind of proficiency or having a true
handle on the electronics or anything like that. But I
think on our new record, you'll see more of that come into
AUDIO: Worked Up So Sexual
Splendid: What makes your songs better than other bands' songs?
Todd Baechle: I attribute any songwriting type of
success to our local music scene -- the Omaha scene and --
the Saddle Creek approach to song writing. It has been
a big influence to us. Like we talked about before,
Conor was in the band and he gave us some direction
and there were a lot of other bands -- Mousetrap, and a
band called Slow Down Virginia who eventually became
Cursive. They were all really key factors in our
evolution as a band.
Splendid: You mentioned the Saddle Creek approach to songwriting.
How'd the Saddle Creek label get started?
Todd Baechle: Basically it started out as Conor's brother's label, called Lumberjack. He
put out a couple of tapes and eventually everyone
wanted to put out the Slow Down Virginia record and we
all just pooled money together and that's how it
began. Since then it's been a voting system, and there
are a couple of people who work on the label full time now
that it has kind some relative success.
Splendid: Would you consider offers from outside
Todd Baechle: We've had people from larger indie
labels talk to us, but we're not really interested in
it. I mean, it would just have to be a completely
unfair deal to them. We've done all the hard work to
make our own label and now that it's becoming
known -- mostly from Bright Eyes, but also from the help
of a lot of people -- it just seems stupid to quit now.
Unless something goes wrong with the label or the
bands quit, I think we are going to stick with it.
Splendid: Tell me about your songwriting process.
Todd Baechle: We don't work on ideas for too long
unless there's a song in them; we aren't really a jam
type crew. I'll come up with the melody and lyrics, or often I'll just come up with a bunch of parts
that go together, and we'll all arrange them into some
type of song. It usually takes a long time to get
Splendid: Do you end up with a lot of songs you don't
Todd Baechle: No, never. We throw out a lot of
songs -- we'll say "This isn't as good as our other best
songs," so we'll just drop it.
Splendid: How did the recording of the new album, Danse Macabre, go?
Were you trying to achieve anything different than you did with Blank-Wave Arcade?
Todd Baechle: Well, first I should say that with
Blank-Wave Arcade, that album was supposed to sound
like a really good basement recording. Usually when
you record keyboards you record them directly into the
board, but we played them through amps and room-miked
them to obtain that sort of feel. But this time we are
purposely not doing that, and we're trying to give it
more of a club feel. Several of the songs are dance
club oriented. We tried to concentrate on a good mix
and better sounding keyboards and synths. On the
whole, it's dancier and definitely a darker album.
Splendid: Did you want to make more use of the
electronics on the new record?
Todd Baechle: Well, now that we're getting a little
better handle on making our own synthesizer sounds,
it's nice to be able to have them sound just like we
want them to. In that sense, we want them to sound
clean -- not sterile. But I think the live cymbal and live
bass keep it from being just a techno record.
There may be more different drum sounds, too; our drummer
plays a half-electronic and half-acoustic set. We also
had a live cello and some other acoustic
instruments on top of the electronics, because we're
trying to be more than "just" an electronic group.
AUDIO: Cars Pass in Cold Blood
Splendid: Does the absence of guitars
reflect a view that guitars are in some way outdated
and completely irrelevant to contemporary music?
Todd Baechle: Well, the synthesizer does have a lot
more possibility, but the reason we got out of guitars
was that the way we played them, we felt our style was
too "indie-rock" and too dated. Both our guitarists
were influenced by Sonic Youth and Archers of
Loaf -- just a kind of off-kilter quirkiness. We wanted to get away from that. We ended up
getting away from that in between the albums. We do
have a full-time guitar player now, but he doesn't play
in that style -- he is from a death-metal band called
Lead. They were the premier death-metal band in Omaha,
but they broke up and he ended up with us.
Splendid: Did he play on Danse Macabre?
Todd Baechle: Yes, he did.
Splendid: So are you doing anything different with
the guitar work for the new record?
Todd Baechle: Well, they're just kind of mixed in.
Every now and then there's a heavy metal solo or a
fantasy metal solo, but it's mainly synthesizers.
Splendid: Now let's talk about the relation between the
studio process and re-creating the songs live. When you're recording,
do you worry about creating songs that you won't be
able to reproduce live?
Todd Baechle: Right now we have one song we can't play
live, but we haven't really tried to turn it into a
live song yet. Basically what we do is write all the
songs and not worry about whether we can play
them live or not. After we record them, we sit down and
try to come up with a live set from that, and if things
aren't sounding quite right, we can add backing tracks
to the sequence. Our drummer listens to a click
track to make sure the lights go off just right.
Splendid: Many of the lyrics on Blank-Wave
Arcade created a dialogue on sex. Was that an intentional underlying theme?
Todd Baechle: We originally were going to do an EP
with all the songs having sex in the title and dealing
with different aspects of sex. They're not really
"Hey, let's get some"-type songs. I usually write
social observation songs. I try to figure out my
opinion of a certain things, and sex is sort of hard to
figure out. It's not dealt with as much as love. I
think the reason we chose sex was because we were
trying to get away from an "indie" sound, where the
lyrics aren't really important and you're just saying
words. We wanted more character to it.
Splendid: Is it important for the lyrics
to be politically pro-active?
Todd Baechle: Yes, I think it's nice. When lyrics say
nothing I lose respect for the songwriter to some
degree. It doesn't have to be much at all, as long as
it means something to somebody. Even if it's just one
basic idea they are exploring, great. Even if it's a
story. But yeah, I do care about that.
Splendid: Does Danse Macabre have any particular themes?
Todd Baechle: Well it has several themes, but I think
I want to see which ones people pick up on. They're
not as blatant as sex -- it would be heavy-handed to do
something like that again. Yet, definitely the songs
have some thematic elements running through them.
Splendid: You talked about the new songs being
darker. Do you feel the feel the need to be consciously
dark or morose to differentiate yourselves from other
Todd Baechle: Not really, not to distance ourselves
now. I don't feel particularly akin to any groups that
we play with. We definitely like lots of groups, but I
don't think there's anyone so much like us that we
would need to move away from them. The only thing we've ever tried to move away from would be things we
have already done.
AUDIO: Victim Convenience
Splendid: Any chance of Danse Macabre having an
accompanying remix album?
Todd Baechle: I don't know yet, but I hope so. It's a
matter of getting the separated tracks. It's a hassle,
but I really liked the experience of reworking the
Splendid: It seems like the underground press has portrayed the Faint in much the same
light as the Locust or the San Diego scene. How much
emphasis do you consciously place on your image?
Todd Baechle: Well, we are familiar with those bands, so
we must have something in common with them, but
nothing as far as image. We do have a 12" coming out
on GSL with some of the songs we didn't use on our new
record and some of the older remixes we haven't
used. It will probably be a limited vinyl release.
Splendid: Your website and artwork seem to share concepts and themes. What's
behind the artwork, and how does it relate to your
perspectives on the band and life in general?
Todd Baechle: Well, the website is sort of a tricky one
right now. We had an offer from someone to do the
website. We saw what he had done and it seemed like
it fit with our ideas and the person pretty much
designed it all -- which is strange for us, because there
is no way we would let anyone do all the art for a
release. I guess we all think we are artists so we
just argue and argue to come up with what we think is
right for the album art. It's fresh in my mind because
we just finished piecing the artwork together for the
new album and it was a real chore -- it took us months
and months to agree. We want it to reflect the
attitude of the music and our artistic styles. We want
it to be immediately like, "Hey, this is different."
We want it to stand out and stand on its own.
Splendid: I know a lot of the early '80s new wave
bands added a futuristic slant to their design. Have you considered that approach?
Todd Baechle: Well, first of all I should say we are
pretty much opposed to retro in general. None of us
likes any of those decades or tries to emulate their style, but being the age that we are, I feel that the '80s were more important to us than the other decades because we
weren't old enough to appreciate them. The '80s were
interested in modernism and forward thinking like
"What can we do with all these synthesizers that we
just acquired?" Then the '90s sort of reacted against
it -- back to dirty rock n' roll. I feel the '90s were a
lost decade, and I think that now we can continue on to
the future and try to find new styles by mixing.
Splendid: Do you see electronic music taking over in
the next ten years?
Todd Baechle: Yeah, I think that's definitely clear at
this point. Even Top 40 wouldn't sound like it does
now without electronics.
· · · · · · ·
· · · · · · ·
John Wolfe is a former roadie for Depeche Mode.
[ graphics credits :: header/pulls - george zahora | photos - various :: credits graphics ]