The Disappearing Act Gains Visibility
The Disappearing Act

Remember the '80s? Andrew Sicco, the man behind the beautifully twisted Disappearing Act (TDA) project definitely does. But only the good part of the '80s - The Echo and The Bunnymen/Nick Cave part. He remembers the music that gave birth to what would become "alternative music" and uses the best parts to create a very modern, if depressed, musical landscape.

Sellout: Do you consider Disappearing Act a solo act?

Andrew: Right now, I like to think of it as kind of an organic platform where occasionally other musician friends come and perform with me, whether they are bringing to the mix another guitar or an accordion or simply vocal harmonies; but essentially I'm the main guy.

S: Is songwriting an easy process for you?

A: It depends. Sometimes songs come out very easily, words and music and all…like a desire to scream…like out of some hidden place inside; often, those are the best songs. Other times it takes up to two or three years or more...almost like they have been incubating for a long period, like being pregnant but not knowing if it's going to be a boy or a girl or anything.

The song "Floating", for example, started as a song of goodbye, the character leaving some place and not knowing if they're ever coming back. I didn't quite know what to make of it for a long time. Then it just hit me, and the feeling I wanted to express took me somewhere else. It turned out to be a final goodbye, a confession of suicide - but that's very in-between the lines. I liked the drama and surreal sense of relief that it suggests. I have no method for writing, really, but I always end up with tons of sticky notes and random pieces of paper with half lines or entire verses, stuff I write anywhere, anytime. Sometimes I don't write at all for a while, but sort of register mentally the experience and well…life. It all comes back eventually.

S: Do you ever play shows on your own?

A: I'm currently performing solo, mostly acoustic. Sometimes I bring an electric guitar with me. And then there's my muse...it's a (ahem) mannequin of a bald woman, a torso, precisely. It serves as an inspiration and stage decoration. Some people might find it creepy; I think she's beautiful.

S: How does Disappearing Act differ from your previous band, Oscura?

A: Well, Oscura was kind of like what some would call a Britpop band. Just because other British acts of that era served as an inspiration. But I think we were a little ahead of our time, mostly because our music was a strange hybrid of glam, New York punk rock, and gloom and doom a la Interpol (they just had better connections in the industry, I guess). Oscura went through some lineup changes towards the end, then torn apart from the inside by battling egos, various misunderstandings, and ultimately major label companies that, although interested, wanted to manipulate a little too much. Things got out of control. We played one last glorious show, then bang! It was over. But that's how rock 'n' roll is supposed to be, right?

Being the major songwriter in that band, I carried on with a few other projects then decided to "do my thing". Strip the music down and keep it simple. I wanted to concentrate on the singing, with a very simple backdrop, mostly acoustic. I believe in the power of a good song with good melodies and interesting parts; the execution and instrumentation is not always my main concern. I love rough recordings. When the sound is not too polished and a little "homemade", it brings out the essence of the performance. That's pretty much how TDA was born - the name came to me when I wanted to walk away from it all, from the bands' rat race. It sounded like a cool way to say, "I'm going to do this for a little more then just silently disappear and move on." But making music is so addictive, I'm afraid I will stick around for a while…

S: If you could play with any band from any time, who would it be and why?

A: There are a few bands I would've liked to be part of and others I'd be glad to just share the stage with, I guess. Although, honestly, I'm still perfecting my craft as a guitarist for Rockethouse (formerly Aerial Love Feed, Oscura contemporaries), which is a great band to look out for. I'm basically doing double duty between TDA and Rockethouse. It's a little like living double lives. TDA…it's my baby.

As far as other bands I would've liked to play with…hmm…tough question. Maybe to be a third guitarist in Television (or simply, the singer)...maybe be in Pulp...or a Spider From Mars...a Bad Seed. Or Jesus and Mary Chain, The [New York] Dolls, Sonic Youth. There are others I can't think of right now, but all very inspirational and exciting acts. Oh, and now...maybe Franz Ferdinand! I think they're great, and I wouldn't mind sharing a little bit of their glory).

S: Would you ever sign to a major label?

A: Only if they make me a good offer and support the music. I don't mind the idea of signing for a smaller label, where there's less mediation between artists and "label people". As long as I can make some money with it too.

S: The band reminds me of 80's "classic" alternative bands like Echo And The Bunnymen, Nick Cave, etc. Do you listen to music from that period a lot?

A: I grew up listening to a lot of music, even obscure bands. Strange garage bands from the 60's, American and European ones. I love mid-'60s psych-garage rock, but also I'm a big fan of some post-punk bands like the Bunnymen, The Cramps, and Johnny Cash (why, isn't he post punk?). And…who's Nick Cave? [laughs]

S: How does the band fit in with the Lower East Side hipsters?

A: I've been around hipsters most of my life, though I consider myself kind of a bohemian in a way. The term "hipster" these days sounds more like an insult doesn't it? I like to think that TDA's music transcends all definitions and be able to reach beyond genres, genders and of course time. Right now, I'm a man with a guitar and a few pictures to paint. Anyone with a passion for music should give TDA a listen.

S: How do you feel about the New York music scene right now?

A: When I first moved to New York, there was a tight cool gritty east village rock 'n' roll scene that gradually seemed to disappear. The general attention then shifted to bands that were reflecting what was going on in England, then the whole New York thing started again and things flourished from there with bands like The Strokes and so on. I used to hang out and meet all these new guys and girls everywhere. It was a lot of fun, and all of us related on some level, but it all got tired eventually.

I feel that there's not much of a scene anymore…probably a transitional period, some scattered familiar faces, but with no direction home. Clubs are closing…everything turning into a SoHo boutique or something corporate. It's kind of a let down. Times, historically, are too, though, and it feels like there is less interest or hype around new musical talents. Maybe it's all in the new folkie scene. Going back to basics... Don't get me wrong, I think there are still some valid artists somewhere out there, but it looks like things are going around in circles, and very few stuck out for originality. Nonetheless, the new generations will still have a lot of good stuff from the past to discover and reinterpret, and sometimes that's all you need.

S: What's next for the band?

A: Write more songs, play a few more solo acoustic shows and maybe find a stable lineup. Anyone interested?

B. Filicky