Toronto’s Casper Skulls are currently wrapping up with touring their first full length album Mercy Works, released on Buzz Records November 3rd. The band is one of the newest editions to the label’s boundary-pushing roster, and their latest effort follows the dense and complex lo-fi sound played through early 90’s tape decks. Mercy Works is an ambitious attempt to explore the unknown, examine self-growth, religion, grief, and real lived experiences, and was co-produced/engineered by Josh Korody (Fucked Up, Dilly Dally). The post-punk, garage, and art-rock influences are sprinkled throughout, as the album bleeds with thick guitar riffs and intricate instrumental arrangements.
We sat down with singer and guitarist Neil Bednis before their show this Friday to discuss the band’s sound, their new album, best sounding venues and touring as a couple. Check out the interview below.
Interview with Neil Bednis
In just a couple of years as a band you have already garnered comparisons to some of my all-time favourite bands such as Television and Pavement. How did that feel after only a 7-inch and an EP? And do these comparisons come into play when you are writing new music, such as your latest release Mercy Works?
NB: It’s flattering that people would associate our music with those bands. We were really influenced by that kind of music growing up and those bands are part of the reason we wanted to start playing music in the first place. Obviously with our early releases our influences are on our sleeves but I think that was necessary for us to discover our own sound. I think Mercy Works still has elements of those early sounds but we definitely moved into a more melodic direction. “You Can Call Me Allocator” was the first song written for the record and it set the tone of the writing of the record. I think that song in particular is a perfect example of what we are as a band. The verses are talky and the chorus is more melodic and lush. On the record I think we explore the extremes of both those sounds.
Speaking of Mercy Works, how was it to work with Josh Korody and Alex Newport, who have worked on releases by Fucked Up, Dilly Dally, At The Drive-In, Death Cab For Cutie, just to name a few?
NB: We had previously worked with Josh on our Lips and Skull EP, so we already felt comfortable recording with him. After seeing our live show, Josh thought it’d be best to do a lot of the record live off the floor which had never done previously. I think recording that way created a really positive start to the record. We wanted to explore a couple different musical ideas on the record (i.e. strings, acoustic guitars, 12-string, baritone) and Josh kind of let us take the reigns on that stuff. It’s always a really fun time whenever we get to see Josh and I’m really glad he was part of the record.
We heard of Alex from his work he did on the first Weaves record and the Pissed Jeans stuff. Ian from Buzz Records had Alex’s information from working with him on the Weaves record and he was able to put us in touch. Alex lives in Los Angeles so we had to make most of the mixing notes over e-mail but we really love what Alex did to the songs.
Your sound seems like it would lend itself great both in a small club and in the big acoustics of a church. What are some of the favourite venues you have ever played and explored in live?
NB: Just off the top of my head, Lee’s Palace and the Garrison in Toronto are two of my favorite sounding venues. The vibe is always really nice at those venues and I haven’t really played a show where we’ve have had any trouble getting the sound we want. The Townehouse in Sudbury has a lot of sentimental value to us. Mel and I discovered a lot of great music going to shows there and we played our first show ever at the Townehouse as well. I also really enjoy playing this place in Washington D.C. called Comet Ping Pong. Our friend Lisa does a lot of the booking there and she creates a really homey vibe to the shows she puts on. It has more of a DIY vibe to it and you can eat pizza and play ping pong as well as watch awesome music!
For those who have never seen you play, what should they expect live compared to the recording on the album?
NB: I think the live show brings a more lively energy to the songs. I don’t mean to say the record isn’t lively but I think the show has a rawness to it that is different from the record. For songs like “Chicane, OH” and “You Can Call Me Allocator,” we’ll play the songs a little faster just to give the songs a bit more of a bounce. We tried to make the record have more lush moments with the strings and acoustic guitars which aren’t present in the live performance. Overall, I think if you like the record you’ll like the live show.
How has touring the new album been going so far?
NB: The tour has been going well! We’re happy to be playing these songs for people and seeing how they translate live. We’re really excited for the few dates we have with Land of Talk. They’re one of our favorite bands and we’ve been obsessed with their new record. We’ve been playing these songs in small clubs and have been kind of tailoring our set lists toward that. For these shows we’re hoping to play some of the more slow burners off the record that’ll translate better in bigger halls.
I have always been curious what it would be like being in a band as a couple?
NB: It’s really nice not to have to leave each other when we tour. I think sometimes we struggle separating band stuff from our personal lives. For example sometimes at dinner we just end up talking about band stuff so we need to check ourselves every now and then and just talk about other things that have nothing to do with music. Most importantly, we need to be a couple first and band mates second. It’s a really special thing to get to make art and share failures and successes with someone you’re with.