TLOBF Interview // Woodpigeon

Few bands can claim to have become as much of a TLOBF institution as Woodpigeon have. One of our Canadian favourites, this Calgary, Alberta band have released three full-length albums in the UK since 2008, each of them being received with deserved admiration both in Europe and North America. The band’s latest effort is Die Stadt Muzikanten, the challenging and emotive indie-folk opus released earlier this year by End of the Road records. TLOBF were lucky enough to be able to ask some probing questions of Mark Hamilton, Woodpigeon’s frontman, primary vocalist and songwriter. Here follow his responses, touching on subjects like lyrical concerns, new musical directions, and the new album’s charming cover art.

Hi Mark, thanks for agreeing to answer some questions. How are you today?
I’ve just come back from a week-long documentary shoot in the Waterton Forest. This will be the second night I’ve slept at my own house in eight weeks — so I’m feeling a combination of exhaustion and relief over being home!

Now that it has been released, how do you feel about Die Stadt Muzikanten in retrospect?
It’s the album that I wanted to make, so I feel happy that it’s out there in the world. I’m not typically someone who spends a lot of time thinking about the things that are already done, so most of my thoughts are really tied up in the record I want to make next …

How did the songs come together, in writing terms?
A lot of it happened in a concentrated burst while working in Berlin for a company job I hated. I suppose I was caught up in the idea of life before the notion of a career in advertising was so prevalent, and being in Germany I automatically thought about my background.

Is it fair to say that it’s a more personal album, from your perspective, than Songbook or Treasury Library Canada were?
I don’t think those albums were any less personal than this one, actually. The main difference for me is that on this record, here and there, I’m singing for the first time as a different character than strictly myself. Songbook and Treasury are records strictly told from my point of view, down to the fine point of even using my friend’s names in some of the songs. This time around I was a little looser with narration coming strictly via my voice. (However, the next record is returning to the viewpoint of the first two records …)

How often do you find it emotionally challenging to write your lyrics?
I’m a believer in the idea that if you’re writing a sad song and your lyrics aren’t emotionally challenging to write, that you’re not doing your job as a songwriter correctly. And at the same time, if you’re writing a happy song and your lyrics aren’t making you feel joyful, you’re probably doing something wrong there too.

In what ways was Woodpigeon’s recording process different for this particular album?
With the first record, I had no idea how to make an album, so we always had about 10 players around the studio just waiting to play. This time around, it was much more a solitary exercise. I think the other Calgary Woodpigeon players were in the studio for a couple of days each, whereas I spent about 4 months working on this thing just about every day with the producer. It was a lot more isolated, but a really inspiring way to work not having folks to depend on for everything — I managed to play a lot more of this record than I have on any other.

I found this album a little slower to unfold than the previous records. Was there an effort to lend the songs that little extra depth and texture?
The way I see it is if you’re making a tribute record to the lives of your forebears, it makes sense that it takes its time. If we can’t create something that’s a little over an hour in length to document lives that were 80 years long, then I think we’re selling their lives a little short. I did want to let the songs kind of find their way instead of being so tight with them as well.

Obviously your vocal style is not the loudest around, but on “The Street Noise Gives You Away” you almost get drowned out. Was that a deliberate effect?
Absolutely. I wanted the instruments and my voice on this album to speak as they actually do. There’s very few voices in the world that would be heard above the cacophony of that song in a realistic setting, so it makes sense to me that on the album we would also play it out that way. I don’t like those records where things are un-natural. Playing that song live in a room with 8 people is dang loud too!

Do you have a favourite song on the album, perhaps a track you feel came out most successfully?
I’ve always been very happy with ‘The Pesky Druthers’. Recording that with a choir of our friends was an amazing experience.

How did the wonderful Die Stadt Muzikanten cover come about?
Jeff Kulak is a wonderful friend, and put up with me sending him hundreds of images of old European customs and costumes. We spent quite a lot of time exchanging ideas, and then he sent me what he came up with and it exceeded my expectations. (You should see the artwork he’s done for our next release too…)

I’ve recently seen the your solo performance of Woodpigeon songs which Baeble Music released as a video session. Is it difficult to play the songs in that way, or is it just taking them back to their origins, how they were written?
I love playing the songs that way. In fact, it’s my favourite way to play them. If a song has wings played alone on a guitar, then I know it’s a good one worth keeping.

Something else I’ve seen recently is a Woodpigeon performance on breakfast television… does participating in something like that make you feel that the band has come a long way?
Getting up at 5:00 AM to play on local television at 6:30 AM mostly just makes me feel tired, but I’m very happy to play anywhere that asks me to.

What would you say is your proudest moment with the band?
Previously an answer like “playing End of the Road’s Mainstage for the first time” or “headlining the Union Chapel” would come to mind when asked this question, but I realize now my proudest moments with Woodpigeon have always just been those moments where I know I’ve written a good song because other artists I truly respect have given me props for them. Those are the best moments.

What do you have planned for the near future, musically and personally?
I’m most excited to clean my house, at the moment. And there’s a new record to make. I’ve just finished my film studies degree and have to pick up the actual piece of paper having missed the ceremony last week. Otherwise, I’d like a rest. A nice, long, proper rest (with a late, late lie in at the end of it).

Do you have an ultimate ambition for Woodpigeon?
These songs are taking me around parts of the world. My ultimate ambition for Woodpigeon is to see the rest of it.