Four Volts Set the Record Straight

Four Volts

Don't believe everything you've heard about local band Four Volts. Although their name has been floating around the indie music scene for a few years now and dramatically increased when former Blur member Graham Coxon took interest. But, now, after things have wound down, Brian Rayman of Four Volts just wants to set the record straight.

Sellout: About a year ago, you were a real "buzz band". It seems like things have quieted down for you a bit since then. Do you feel like the lull is permanent, or are you still on track to become the next big thing out of New York?

Four Volts: There was a buzz around us? I didn't know that. And we're not on track to become the next "big thing", anyway. To kill an old cliche, we really like making the music we make--and that's that.

S: Do you miss the name Bunsen Honeydew? How did you choose Four Volts as an alternate name?

FV: Yeah. Bunsen Honeydew was great, but it was also a different line-up and a different sound. We chose Four Volts on a whim. We had to think of something at the last minute, and "The Strokes" was already taken.

S: What was it like as an unsigned indie band, to attract the attention of Graham Coxon? Had you been a fan of his? What led him to discover your music?

FV: Yeah. We like Blur. A special person who came to one of our shows really liked what she saw and so passed a demo along to her "friend", Graham Coxon.

S: Do you feel that you've garnered a lot more attention in the UK? If so, to what do you attribute the difference between UK and US press interest? Is it due to popular taste or just who you know and who you don't?

FV: Well, I don't think it's who you "don't know". We can definitely scratch that one off the list. That's a really good question, though. I've never been asked "have you made it this far because of who you don't know?" I have to say, though, it's both who you know and what you do and neither the UK or press - and they seem to prefer us. As they've always treated us like we're "important" to music as a form, especially the US press.

S: If you were in the position to help make your favorite unsigned bands become internationally popular, like Graham Coxon and Beck were for you, who would you choose?

FV: I really don't know. Maybe the Nymphets? I would love, though, a world in which the artwork of Andrew Smash, the artist who designed the FOUR VOLTS CD cover, was in every gallery/art space in New York.

S: What are some of your favorite bands that you've played shows with? (ones that you've really been longtime fans of)?

FV: Sportique and the Bartlebees are by far my favorites.

S: Are there some bands who you enjoy the records of but who you wouldn't enjoy hearing/seeing play live (and vice versa)?

FV: Low are great on record and not enjoyable live. Don't know about vice versa.

S: What are the major differences between your own live performances and your records?

FV: We definitely concentrate on bringing forth the energy of the songs in a live atmosphere - and don't concentrate on recreating every arrangement/melody. We sweat live...well...we sweat when you put our CD on, too.

S: What was your favorite thing about being in the studio that you can't do live?

FV: Working with Martin Bisi. He's worked with so many bands we really like, from the Boredoms to Sonic Youth. He's super professional and has a great ear, great gear and doesn't know how to use ProTools.

S: How difficult was the recording process for you? Were there any major bumps along the way?

FV: Yes! Martin's studio was built on a mosquito breeding ground! Very annoying, but you have to suffer for your art, you know?

S: With your most recent album, Triple Your Work Force, what particular sound were you trying to achieve?

FV: We wanted something raw, energetic, bombastic and melodic.

S: What has Kanine Records been able to do for you that doing it yourself, you couldn't?

FV: They give us some cash that we wouldn't otherwise have. Also, the CD is being re-released on vinyl and CD in Europe by Little Teddy Records in the fall. I don't know if that would have happened if Kanine didn't release it first.

S: What is your view of the indie music scene right now, and is it plausible that DIY bands can break it big without the help of a label and/or management team?

FV: If someone wants to "blow up" on the music scene with gorilla tactics, they better be the next "big thing". The music scene is such that major corporations corner not just the moneymakers you see on MTV, but the indie scene as well. Corporations own all the "sell-outs" and the artists people buy because they won't buy the "sell-outs".