TLOBF Interview // Retribution Gospel Choir

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Alan Sparhawk’s lengthy and prolific musical career has been one of continual sound and style development, gradually turning even the traditionally hushed sounds of Low into a more clamorous version of itself. With his new three-piece, Retribution Gospel Choir, Sparhawk has turned the volume up to 10 while losing none of the moody melodies and expressiveness of his earlier work. RGC have just finished up a wide ranging tour of Europe, and we were lucky enough to be able to ask Alan a few questions about how Low fans are reacting to his louder sound, how hailing from Duluth affects his songwriting, and what he thinks of the music industry after all these years.

Retribution Gospel Choir has really coalesced well on the new record. What has been the most important thing in unifying the three of you and your sound so that you’re identified now as a proper band and not just one of your side projects?
Mostly it’s just time spent – we played alot of shows and worked on the songs live before we went it. we push ourselves with each show to play better and find new ground. i guess most bands do that, but it’s the only way to grow.

What has caused this steady increase in volume for you as your career has progressed? Do you find that some of your lyrics work better when integrated with the high volume arrangements, while other lyrics work best with Low’s more hushed foundation?
The lyrics don’t really dictate the volume or density. My playing usually has more to do with the people i’m playing with.

I saw the recent RGC show at the Triple Rock in Minneapolis (it was a fantastic show, by the way) and was really impressed with the tight, no frills nature of your performance. Not a lot of banter between songs, no instrument changes, just one song right into the next-so much so, you didn’t even really have time to catch your breath after an epic ‘Poor Man’s Daughter.’ How does that performance style add to the intensity of the live translation of your music?
I like to keep it simple – it makes for more honestly, flexability, and spontaneity. I”ve always loved and respected the physical experience of performing. it seems more obvious with retribution, but I can’t help it. I can’t imagine playing this kind of music without it being completely exhausting.

How has hailing from Duluth affected your songwriting over the years? The change of seasons certainly has a big effect on the moods of everyone here in the Twin Cities-does that transformation have any affect on the music you make, where there are ‘winter songs’ vs. ‘summer songs’?
For sure the long cold season indoors has bearing, but then I think the underdog factor is also a big part of the artistic attitude in Duluth (or any other smaller town that’s sort of isolated.) Also, I think the lake is a strange factor – it disappears on the horizon, but it also freezes.

Is it easy for you to decide when you are writing a song which band would be best suited to record the material, or do you enjoy thinking about how RGC can rework a Low song (like ‘Breaker’ for example) or potentially vice versa?
Both. Some songs are obvious, and some could go anywhere.

RGC have a large European tour that you are about to embark on. How has the RGC sound been translating with audiences that might only be aware of your work with Low? And how does touring with Steve and Eric differ from touring with Mimi at your side?
Low fans are used to surprises and seemingly contrary concepts, so I don’t think we’re breaking anyone’s heart. I imagine it’s strange to see me sweating so much, but it’s good music, so it flies. Touring with dudes is different – I’ve been in the same room with Mim for the last 25 years, so some of it is new to me, but it’s not as crass as you may think.

You really exert a lot of energy while performing the RGC material – does that physical exertion add to the potency and spirit of the music for you, or does that style of music demand that out of you as a performer? To quote your song, you are indeed ‘Workin Hard’ up there.
Like I said earlier, you can’t play that or any music without it taking your whole body and soul. Low is physically exhausting in it’s own way, but with Retribution it can be life-threatening.

There are a lot of divergent musical styles on 2, almost as if the listener is changing stations on the radio as you go from one song to the next. Was that an intentional objective on your behalf, to explore these diverse styles and sounds on the record? And is there a genre of music you’ve yet to try that you’ve considered experimenting with?
It wasn’t intentional. I know there are a few mellower sounding moments, some pop songs, and some longer performances, but it mostly came out of just working the songs, no agenda. We wanted to establish the range of what we can do live, then go out and prove it.

The process of recording, releasing and distributing music has changed drastically while you’ve been making music, to both good and bad effect. What has gotten easier for you about making and releasing albums as your experience level has grown. And what facets of the music industry continue to frustrate you?
I’m a little more confident on stage, but pretty much everything is the same – songwriting is humiliating, making records is confusing, and the industry is a joke.