Spoon's story is a long one. Austin, Texas native Britt Daniel formed the band with drummer Jim Eno back in 1993, and after a string of small-time releases the band signed to Elektra records in the flush of post-Nirvana, 'alternative' band major label hook ups. Their debut A Series of Sneaks was released in 1998 and sold poorly. They were dropped.

In 2000 then-fledgling indie label Merge Records (run by Mac and Laura from Superchunk) picked them up, and from there the band set about attracting a fanbase drawn to their deconstructed, soul-inspired take on indie-rock. The band became renown for their solid track record, each LP - from Girls Can Tell (2001), Kill the Moonlight (2002) and Gimme Fiction (2005) - drawing critical acclaim and seeing their shows swell in size. In 2007 the band released Ga Ga Ga Ga Ga, an LP that further stretched the bands sonic experimentation, while throwing up the brass-infused minor hit 'The Underdog'. The album debuted in the Billboard top 10.

To this end, the bands new album Transference is something of a shift, though still well within the parameters of the Spoon world. It debuted at Number 4 in the US, cementing the band as one of the biggest and reliable acts going. Ben Gook said in his review, that:

"Daniel, in his way, introduces the messy tangles of punk and post-punk to mannered '60s pop songs. Although both sounds are “classic” now, the best moments in Spoon’s catalogue are those where they are put to work together. The stark and the sinewy, the comforting and the familiar. In this, something new can emerge."

Spoon will be in Australia throughout May to play the Groovin' The Moo festival, as well as a series of their own shows. We spoke to a slightly pensive Britt Daniel about the Australian references in their new press release, the untangling of impressions and recently playing their largest headline show ever.

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How's the press going?

We've been hitting it hard. This is the fourth, but last one.

Sorry if other Australian journalists have asked you this but I've gotta ask two questions. 1: Your Australian booking agent doesn't want you out here more than once an album?

Uh huh. It's true. The last couple of times when we've put out records we've said 'Oh we've had so much fun in Australia, we'd like to come back'. And he would say 'That's not a good idea'. And it's just funny because in every other country that we put out records, they're always begging us to come back, one more time. 'Come one more time, please, because it will really make a big difference'.

Is it because he thinks the shows won't sell?

I hope that's not why, but I guess it's fair to speculate that. I think he's saying that no American bands do well coming over multiple times per album cycle. I think that if we really forced him - I dunno, however we would force him - but basically the feedback we got back was 'No that's not a good idea'. And eventually we just thought that was so funny that we should mention it in our press release.

Especially now that you're a Top 5 artist in the US these days. It's surprising that that feeling doesn't translate across.

Well, yeah. Some human beings like us.

You also said in the press release that you were listening to Eddy Current Suppression Ring. How did you come across them?

A friend of mine in Brooklyn played their record for me. He's a guy that has turned me on to a few things that he 'got' before anyone else did. He's got great taste. He pointed them out to me and I really listened. And I thought 'this has got something'. It wasn't until I got the record and really sat down and listened to it a couple times that I was really blown away.

Did it have any influence on Transference, or where you were at at that point?

Most of Transference was sort've done, or at least written by the time I heard them. Because it was maybe like last Spring or last Summer (US) when I really started getting obsessed with them.

Primary Colours?

Right. I had both of them but Primary Colours was the one that I think I became most obsessed with. And then of course I've gotten the new one. But I got it right before the tour so I haven't had a chance to listen much.

A lot of the press about Transference has been mentioning the effects and the production, and I guess they've talked about it as having a disorientating feel. I've had a bit of a revelation with Transference - it's easily my favourite Spoon record - and maybe that press angle is distracting from the fact that the songs are quite firm and anchored down. Are you feeling that Transference is very different for Spoon?

Well, yeah I think it's different. The production is a lot less 'pro', a lot less 'hi fi'...I think the songs are a bit more abstract. I mean there's nothing like 'Cherry Bomb' or 'The Underdog'. [They're] the songs that had fifteen different sections and chords galore. And a lot of the songs on this record - I mean 'Written in Reverse' only has one chord. So...yeah it does feel different to me.


Spoon - 'Written in Reverse'

It seems to me that it carries a lot more emotional weight.

Yeah I think that that's gonna be true for some people. It really depends on what kind of music fan you are. There's a certain point where - we've made seven records and at a certain point you can't top them. You just have to make different types. So I'm glad that you like it so much, you know what I mean?

Transference has made me listen to all your other records differently. Which I guess - seven records in to a career - it's a good place to be. When you can redefine what it is that you do.

I'm glad you like it because I think that it is less of a populist record. So for you to say it carries more emotional weight, I mean that's what I always wanna do. Present something that makes people feel something, you know?

You're lyrics seem a little more direct on Transference.

I don't know. Are they? (laughs). They're certainly sort've, emotionally charged. Or emotionally curious. I mean, it means something to me, but a lot of times...you know it means something to me and I don't expect it to mean the same thing to any other person in the world, you know? The same way that when I listen to a Prince record. How it affects me is not gonna be the same experience as what Prince thinks. It's just two totally different experiences writing and listening.

Do you intentionally try and disguise it? What you're on about?

No I don't want to disguise it. But I do feel like - at least I when I'm listening to music or watching movies or whatever - I don't want it to be spelled out for me. I wanna be able to figure out a little bit about it myself. I want there to be some possibility around the corner. That's the part that helps you become involved with the art. It helps the listener become involved.

I kind've enjoy the feeling that a lot of your lyrics act as deflections to what you're actually talking about.

(Laughs). Yeah.

For example in 'Out Go The Lights', the lyric about a character "standing there in my black wig" could be read as silly way of saying you loved someone. That they've changed in front of your eyes. I like how you can talk in smoke and mirrors but it still has that emotional weight.

Right. Yeah well, it's those sort've little impressionistic little moments in your mind that seem to carry the most emotional resonance. Like this sort've memory, of this picture, of someone standing there. In your black wig. (Laughs). I dunno, that can mean more to me than saying very flatly 'I love you'.

My favourite two songs are that and the last track 'Nobody Gets Me But You'.


Spoon - 'Nobody Gets Me But You' live in studio

Well 'Nobody Gets Me But You', when I listen to it it feels pretty dark and intense. I guess what I think that song is about, is that situation you can find yourself in where one person matters to you more than anyone else in the world. But they've moved past it. And there's this sort've desperate flailing attempt to convince them otherwise. Hopefully you haven't had to go through that many times, but I think everybody probably has once or twice.

There's still something liberating in accepting that.

Yeah, for sure. And 'Out Go The Lights', I dunno. I think you know what it's about (laughs). But that one, I remember when we first finished the demo - and that's one of the one's that we did not use the demo version, we re-recorded it - but when I finished the first demo I sent it out to a couple of people thinking 'this is like, the sound of someone's heart breaking'. And I wanted them to get that too. But...they didn't seem to get it. But we changed the the song since then too.

Spoon records always have a lot of production quirks and studio effects. Do you worry that those details will sabotage the live versions?

Well, yeah we don't try and play the songs verbatim. Sometimes those little details seem like they need to be represented in the live version and so we'll do 'em. But more often than not, it's just sort've playing the song the way you can live. I mean do you think they distract from the recorded version?

No. I've only seen you a couple of times. But I guess it's those production moments - whether it's vocals being cut off or long delays etc - they become such a strong part of the feeling of the song. That to play it dry live, it would almost convey something else.

We've got a sound guy who's really good at bringing those long delays out. Just in the top pockets. [Laughs].

You just played Radio City Music Hall (in NYC) to 6000 people.

It was kind've a surprise you know, it was momentus. There was definitely a lot of tension built up before that moment, and people recognised it was a big thing. As soon as it was done everybody felt like celebrating.

This ties into the previous question, but how do you reach the back seats in a place like that?

I dunno. Y'know, you've gotta have good songs. And hopefully - I'm not very good at creating physical drama on stage. And in that case you've just gotta hope that good songs carry it.

I just got done with the Merge book Our Noise and in your section in that you talk about doing the long slog in the early years. Returning to places after touring and there being actually less people there. How have you felt that change?

Going from 10 people 6000 people...yeah it's been a gradual progression. I mean starting out in 2001 with putting out Girls Can Tell, it was the first time that things started to feel like they were working. And then gradually crowds got bigger and bigger. There never was really a moment where like, 6 months ago we were playing small places and now we're playing huge places. We never had that kind've momentum or build, and I think we're better for it. We appreciated all the steps along the way.

It seems like the industry these days wont allow for that kind've growth.

Or you get it and you can't sustain it. There are bands that are - you know internet bands that come out of nowhere and are sensations - and there's a lot of pressure on at that point, y'know? And some of them can hack it and some of them can't.

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SPOON - AUSTRALIAN DATES - APRIL/MAY 2010

Apr 30 - Billboard, Melbourne VIC
May 1 - Groovin the Moo, Bendigo, VIC
May 2 - Groovin the Moo,  Townsville, QLD
May 5 - The HiFi, Brisbane QLD
May 6 - The Cooly Hotel, Coolangatta QLD
May 7 - The Forum, Sydney NSW
May 8 - Groovin the Moo, Maitland, NSW
May 9 - Groovin the Moo, Canberra, ACT
May 13 - Fowlers, Adelaide SA
May 14 - The Astor, Perth
May 15 - Groovin the Moo, Bunbury, WA

myspace.com/spoon