Brody Dalle

Brody Dalle

Sep 08/2014
INTERVIEW Felix Fung PHOTOGRAPHY Chapman Baehler WORDS Amy Dillon

It has been five long years since we’ve heard from Brody Dalle. In 2000 she crashed onto the scene fronting Aussie punk band The Distillers. A brief go-around with her second band, Spinerette, followed in the late 2000’s and that’s the last we heard. Until now.

In April of this year she broke the silence with her first solo album, Diploid Love.

G—What did you take from punk?

BD—The energy and intensity. It’s dirty, loud and it doesn’t give a fuck. There’s just something about it that got me from the start.

G—I think the “just don’t give a fuck” is what comes across most. As a woman in punk you almost have to give a little less of a fuck because you’re kind of marginalized and seen as something to look at rather than someone who contributes.

BD—Yeah, or you’re not given a chance. But honestly, I have not felt that way for so long. In the early days we’d get up and play, but I’d get off on people giving me that kind of look. It would fuel the fire. These days I don’t really experience that too much.

G—With you branching out solo on your own, do you find that people want to keep you in a place that’s convenient for them stylistically?

BD—Yeah, I think people get attached to a time period in their lives. It may be ten years later, but when they listen to me or see me they want to hear what got them through the hard times.

G—I can see how people who were into the Distillers or Spinnerette have maybe gone through similar things you have.

BD—Totally.

G—From what I’m hearing on Diploid Love, it sounds like you didn’t try to bring something back but allowed yourself to grow.

BD—I don’t think about what other people want. I just write songs and they turn out how they turn out. When you’re in the studio, you go down very many different avenues until you come to the right place. I just write songs and they become what they become.

G—You can hear that, especially on your first single on the album.

BD—“Meet the Foetus”?

G—Yeah. You’re just being yourself, with no outside influence. It didn’t chase after a particular sound. It felt fearless, which is a lot more interesting to me as a listener.

BD—It’s so fun.

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G—I read one comment in an interview that said the influence of your husband (Josh Homme) could be heard in your record. But I didn’t hear that in your music.

BD—I’m not influenced by my husband. I’ve also heard that I sound like Trent Reznor or Garbage.

G—Guilty by association.

BD—It’s just stupid, lazy journalism. I could say that maybe the first Distillers’ record was influenced. I got sick of being compared all the time, so I started to forge my own way.

G—The path of every musician.

The new record feels punk. Saying, “Fuck what’s going on around me, I’m doing this for myself.” I’ve always seen you as kind of on the outside.

BD—Yeah, I’ve always felt that way.

G—Like Siouxsie and the Banshees. Siouxsie started off pretty much on the top of the scene. But when that scene dies, the real artist emerges.

BD—I love her. I had dinner with her once. It was the coolest dinner I ever had. She was just a ball of fire and also so sweet. I opened for her in Orange County, and she was so loving with me. I was about 20.

G—That’s amazing meeting her at 20.

BD—My daughter (who’s eight) just got into Siouxsie and the Banshees.

G—That’s awesome. I think punk rockers make the best parents. How do you feel about being a punk rock parent? I’m sorry to keep bringing up punk.

BD—No, I love punk. I would agree with that, but I don’t want to generalize. Most punk rockers I know have a pretty outward view of the world. A different perspective on life. There’s a lot of acceptance. That said, I’m sure there’s some punk rock parents out there who are shitty.

G—Let’s talk about your video with the baby. You stumble into the room with a child. The baby hops on a fucking dragon and flies around Japan…

BD—Well, the baby goes to a conference where he chooses all the foetuses being born in the future. He shows the babies of the future what the current state of the world is. Then they have a conference to figure out what they could do to make it better.

G—So the baby becomes the hero, and at the end you and Shirley are set free. You guys freak out, jumping around and singing.

BD—They’re not connected.

G—They’re not connected?

BD—No, that was a live-action thing. It was just tacked on the end because I couldn’t honestly afford another minute of animation.

G—So there it is, it comes down to money. Well, those are all the questions I had. Good luck on the rest of your tour.

BD—Thanks.

What do you get when you combine the start of a worldwide tour and the release of a highly-anticipated album on the same day? Ask Lord Huron’s founder and frontman, Ben Schneider, and he’ll say a pretty damn exciting journey ahead. The band’s third album, Vide Noir, released April 20, is already receiving accolades for its raw, lyrical storytelling from songs like “Wait by the River” and “When the Night is Over”. To engage fans at a deeper level, the band plans on creating immersive experiences that elevate the album’s narratives. Lord Huron’s tour includes a stop at Toronto’s Sony Centre on July 25, and at Osheaga in Montreal on August 4. Schneider spoke to us about his love of storytelling, Raymond Chandler influences, and what it was like working with Flaming Lips’ producer David Fridmann. G—You grew up in Michigan. Is that where your interest in music began? BS—There was always music on at our house, and I remember imagining the people the songs were about. The storytelling of songs is what’s always captured me most. As time went on, I was able to convince my parents to let me play bass in the orchestra, which led to me

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