Melodic, lofi, indie-pop is usually what I say to sum things up. If David Gilmore, Paul Simon, Brian Wilson, Andy Partridge, Elliot Smith, Robert Pollard and Andrew Lloyd Weber all got together and formed a band it could be Work of Saws, maybe...they'd have to buy a four-track of course, or use Robert's.
What inspires a Work of Saws song?
All kinds of things. I'm always looking at everything and observing as much as possible. Iıll take polaroids, write, draw and memorize signs and phrases that look cool or sound interesting. I like to listen to people talk and hear how they construct words. People say really strange things all the time. A lot of times this develops into song titles, which I then try and decipher into lyrics. Sometimes the lyrics seem odd, stream-of-conscious type, but to me they make complete sense and tell a story. You could say itıs subliminal writing. Sometimes the lyrics are more obviously structured in a story or a specific thought. It depends on whatıs inspiring me. Of course, I'll also write based on the established mood and tonality of the melody. I'd say melody is command-central for a WOS song. Sometimes theyıre good, sometimes they aren't. I always want them to be original, constantly reinventing themselves. I may think up a good tune, but then it starts to
sound like a melody I've already thought of - so I'll axe it. Many bands will develop very formulaic structures for melody and simply repeat. For example, Joe Jackson's "Stepping Out" and "Breaking Us Into" have two points at the end of the verses where the melodies parody themselves. You can mix
and match the lyrics for each song and they still follow the melody. That's a trap I'm always hoping to avoid, but it's tough.
What piece of musical equipment would you be most reluctant to part with and why?
This sounds weird - but probably my voice, just because it's always the first thing I use when a melody or a song idea strikes me. Simply humming the song is great for showing how strong or interesting the melody is (or isn't) as well as showing how the song can survive in a minimal form. You can always fill out a song with other instruments, voices and effects, but it's always cool if it can live independently.
Describe your recording set-up.
Right now I just have a cheap Tascam Porta 2 four-track, which I love. It's extremely portable and easy to use. I can have a song written and recorded in about an hour right in my apartment. No doubt, professional sound engineers would cringe. I also use a Shure 58 microphone for vocals and instruments. My microcassette recorder is nice too, for those times when a song just needs to be trashed a little. The microcassette recorder is particularly helpful for jotting down and cataloging melody ideas I may have. I never know when a melody will hit, so itıs handy to have the m.c.r. with me at all times. For other recording methods, I'll go over to Dave's apartment (bass/piano player) and record on his snazzy Roland Digital 16 track. He has a fancy mike too. The digital can really crank out some great
recordings which is good for variety as far as Work of Saws tunes go. I'm personally more comfortable with the cheap home setup I have, but I dig the digital too.
What are some of your favorite books? Authors?
Conrad Hilton - Founder of Hilton Hotels - wrote his autobiography in 1957. It's called, "Be My Guest" and it's located in every Hilton hotel room. It's definitely one of the funniest books I've ever read. Mainly because it isn't meant to be funny at all. The man lived and died never really understanding his humor. I also quite enjoyed The Sugarcreek Gang books as a young lad. A series of "Hardy Boys" type books written in the 1940's by a fairly unknown author, Paul Hutchens. I honestly haven't read too much in later years, I like reading the New Yorker and the Onion. I like watching bus commuters read John Grisham books.
Name some albums that had a great impact upon you in the past.
It's pretty much impossible to answer this question, but Iıll try anyway... The Beach Boys "Pet Sounds", "Smiley Smile" and other late 60's, early 70's recordings by them, inspired me from a melodic and arrangement standpoint. Earlier Pink Floyd releases "A Saucerful of Secrets" and "Meddle" in particular, were impactful with their somber, melancholic tones and unconventional approach. Lyrically I've always like Frank Black's "Teenager of the Year" and Robert Pollard's "Waved Out" and "Not in My Airforce" and more recently Modest Mouse's "The Moon and Antarctica." Other notable albums and artists would be XTC's "Skylarking" and "Nonesuch", Richard Davies "There's Never Been a Crowd Like This", The Moles "Instinct", Supergrass "In it for the Money" and "Supergrass", Guided by Voices "Alien Lanes" and "Vampire on Titus", Robert Pollard's "Not in My Airforce", Sebadoh's "Harmacy", Rush's "Signals", (I know, I know, but I like it) The Beatles "Revolver" and "White Album", Simon and Garfunkel, The Zombies, Wire, U2's "Boy" and "War", REM's "Murmur" and "Reckoning", Pink Floyd's "The Wall", David Bowie's "Hunky Dory, The Soft Boys "Underwater Moonlight" (before it became popular again), The Pixies "Bossanova" and "Doolittle", World Party "Private Revolution", Kenny Rogers, Crowded House' "Woodface", Split Enz, Buck Owens...I could go on for a while so I better stop.
Are there any bands or artists currently creating work that you feel deserve greater attention?
I used to feel that about Robert Pollard, Tobin Sprout, and Guided by Voices, but now they seem to be getting plenty of attention. I've always felt Richard Davies was underappreciated. He fronted New Zealand psych-band "The Moles" which I thought were very groundbreaking. Especially their album "Instinct". Richard Davies' debut solo album "There's Never Been a Crowd Like This" is unbelievable. Full of great melodies, sad and small and wonderful arrangements, yet the music isn't overly complicated. It's sparse
and somewhat minimal. I didn't like his most recent album as much but nevertheless, he should have more websites devoted to him.
What is the most interesting thing you recently
a) HEARD
b) SAW
c) ATE
Brock Davis: selected discography
Work of Saws
How do you describe the sound of Work of Saws to those who haven't heard it?
A few months ago when I was walking on Nicollet Mall, I heard a guy on a cell phone say: "It's supposed to be a cartoon castle!" in a frustrated tone.
I was on the bus one evening, going home after work. There was only one other man on the bus, because it was around 9 o' clock. He was sitting up a few seats in the middle row. He was holding a long, white cane in the seat with him, upright by his chest. He was blind. At the next stop, this tired-looking businessman got on the bus, paid his fare and began walking down the aisle to find a seat. As he moved down the walkway he monotonously grabbed each aluminum safety-pole structured along every few seats. (like many people do) Suddenly, he reached out and subconsciously grabbed the blind man's cane, thinking it was just another hand rail. When the man felt the cane "give", he jolted to life, realizing his error. "I'm sorry!" he blurted out in shock.
I instantly began laughing, I couldn't help it, it was funny - but even more so, it was surreal. I wondered for a moment if I was in an episode of Monty Python. The blind man just sat there and didn't say a word or react in any way.
A couple of weeks ago I was at this advertising party held at a post-production facility called Hi-Wire. For decoration purposes, they had these glass bowls filled with ice with a pink flower on top. I ate one of those flowers to see what it would taste like. The flower was mostly tasteless, but the ice kept the pedals firm and easy to chew. I liked that texture.
2000-2001 - several unreleased songs at mp3.com/workofsaws
2001 - motivation and watertown grammar - Thick Furniture