MOKB Interviews : The Rosebuds

[image title=”rosebuds” size=”full” id=”19927″ align=”center” linkto=”full” ]

When Kelly Crisp sings, “I wanna feel something way out here. I need something to happen now, even if it fucks me up… Come visit me way out here. I need you to see me, even if it makes it worse,” it might just make you shiver — you know that feeling. We all do — agonizing over lost love, knowing a phone call might be a quick fix for what seems like a chronic condition.

The track, Come Visit Me, is one of the more wrenching cuts from The Rosebuds’ latest record Loud Planes Fly Low, and it’s among good company — the album was written and recorded following the break-up of Crisp and co-Rosebud Ivan Howard. At times, it seems almost invasive to hear these 10 tracks, all wounded, haunting and redemptive guitar pop. But out of heartbreak comes hope — and Crisp is the first to say it. Before Loud Planes Fly Low drops on Merge on June 7, Crisp told MOKB about how the album brought her back to earth.

The band’s been releasing albums for almost a decade. What’s your feeling going into the release of Loud Planes Fly Low?

I cannot tell you how happy I am — it has been a transformational experience for both of us personally. It was a healing experience. I feel so proud of us for doing it. We’ve been in this band for so long, but I feel like this is our first record. We’re a new band from doing this. We haven’t had a record do that yet.

MOKB: What’s your favorite song on the record?

Kelly Crisp: My favorite song is A Story, this really long, weird jam. There’s this crazy drum solo in the middle of that song, and it feels like it’s going to fall apart. But it falls back into place at this moment when it’s built so much tension, so when it finally happens, you’re thinking ‘I was so worried!’ There’s this amazing release, and you feel like everything’s going to be OK. That moment is my favorite on the record.

MOKB: There’s a very somber, plaintive, but beautiful vibe to the album. How much does that vibe reflect how you were feeling while making it?

KC: It’s a one to one correlation —100 percent. I don’t want to say ‘scary,’ but it feels good to be this honest with yourself. It is a scary thing to think how other people will listen to this, how they’ll understand what we’re doing. We didn’t think about that — we just tried to focus on being honest. The way the songs came together between us, we were just communicating so well. It’s like two people in a foreign country speaking different languages, then they find out they have one language in common.

The vibe of the record is the honest truth about what was happening between us every step of the way. Every moment of this record is meaningful in some very real way. There were times when everyone who was in the room would just stop and look down and let tears out, then continue. It’s like encountering a wild animal sometimes, when you see someone being so honest. To figure out how to put that into music felt so incredible.

MOKB: I know that your marriage with Ivan ended before the creation of Loud Planes Fly Low. Was there ever the sense that the band would disappear?

KC: No. We knew after the last record that our marriage was going to end. Everything was transforming — we as people were different. But there was never a question. It’s like saying to a couple breaking up, ‘Do you not want your kids anymore?’

MOKB: What kind of timeline were you dealing with  — did you dive right back into the Rosebuds?

KC: We really didn’t formalize a schedule. It wasn’t time to make a record, then one day, it was. But we were afraid to say these really honest things to each other. It doesn’t come naturally to start telling really intimate and big ideas to each other — you have to fight your way into. It caused us a lot of trouble. When we started the record, we weren’t there. The songs weren’t doing what we wanted, they didn’t sound right. And once we started communicating directly with just guitars and voice, there was this feeling that we won.

Then it was very natural. We never had a timeline about how to record this. We ran over a few deadlines as well — we’d look at each other and think ‘We don’t care about a deadline or a release date.’ We didn’t have a record yet.

MOKB: Were there any lyrics that Ivan brought to the band that really caught you off guard?

KC: There’s an interesting thing that happens in writing a lyric for the other person to sing. I wrote this one lyric; then when he strummed the guitar and I heard him sing it, though I’d written it, it became authentic. I needed to hear him say it. It’s funny to write together, especially something this emotionally charged – [the lyrics] could’ve been rejected. He could’ve said, ‘I don’t feel that way.’ But instead, it was a cleansing experience. We wanted to, and had to, express what we needed to say.

MOKB: With the release of the album, I’m sure you know that people are going ask about the story behind this record, and what happened with you and Ivan. Frankly, are you dreading the press cycle?

KC: I was in the beginning, but the first interviewer who called said ‘I want you to know this record really hit me deep inside, and I found myself crying for my own situation. I really was affected by it.’ That’s the weirdest and best way to start an interview. But just like today, you called and said it was beautiful; that makes me feel like ‘OK, I can tell you.’

MOKB: Is there anything else you want people to know about the album?

KC: We threw everything we had into this record that needed to be there, and not a single thing more. We knew when it was finished, and we knew when it was too much. There was a time when I felt really uncomfortable in my own skin and self-conscious – you go through this weird period of transition where you’ve lost a relationship. But when we realized how to communicate in this record, it solved everything.

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