By Lauren Wise
By New Times
By Amanda Savage
By Jason P. Woodbury
By Troy Farah
By New Times
By Derek Askey
The Discovery of a World . . . backs up Schneider's claim . . . sort of. The album straddles the present, with a foot in both the past and the future. Like the band's previous efforts -- including 1995's debut Fun Trick Noisemaker and last year's mini-album Her Wallpaper Reverie -- the disc wouldn't be out of place if it was in the racks three decades ago. But unlike those other albums, The Discovery of a World . . . would be right at home three decades from now as well. It's timeless, dated only by the copyright information stamped on the back cover. Tone Soul Evolution and Her Wallpaper Reverie, especially, were like Easter-egg hunts, hidden surprises everywhere; not so much for the melodies or riffs, but for the sounds, the recording techniques and guitar tones lifted directly from the Apples' predecessors. Each disc came off, in a way, like a sampler of Lenny Kaye's Nuggets garage-pop compilation, or maybe the time-lapse version of a day spent listening to an oldies radio station.
Schneider's fascination with recording started when he was growing up in tiny Ruston, Louisiana, when he and his friends had to record their own songs to get the kind of music they wanted to hear. Spurred on by what little good music they heard working as teenage disc jockeys at Louisiana Tech University's student-run station, they formed bands together and also recorded separately, trading tapes back and forth, trying to outdo one another. Among those friends were Will Cullen Hart, Bill Doss and Jeff Mangum, who, along with Schneider, now form the backbone of the Elephant 6 collective, a group of like-minded musicians dedicated in equal parts to upholding classic songwriting traditions and decimating them. The Elephant 6 bands have a knack for writing hooks that stick in your head like a .22-caliber slug and -- thanks partly to Schneider's skill behind the boards -- a talent for nearly obscuring them with (literal) bells and whistles.
Schneider, besides engineering every Apples album, records most of the Elephant 6 groups as well, including Olivia Tremor Control (featuring Hart and Doss), Neutral Milk Hotel (spearheaded by Mangum), Denver's the Minders, San Francisco's Beulah and a handful of other bands that fly the Elephant 6 flag. For Schneider, it's a way to help out his friends and himself. Armed with a new (well, new to him) 16-track recorder, the experience he's gained in the last few years taping other bands has helped him get the sound he wanted for The Discovery of a World Inside the Moone.
"I guess that was the main thing we were trying to do," Schneider says, referring to the disc's fuller sound. "There's fewer instruments, actually, on most of the record, but I tried to make the sounds carry a lot farther, so you hear a lot more going on. We really wanted to make this record different. We wanted it to not be '60s, and not be lo-fi, and not be . . . I just wanted it to be good. I've recorded and mixed a lot more bands in the last few years, and I think that's really helped my engineering skills a lot, and my producing skills, and stuff like that. So I do feel a lot more confident and competent in that way. But I'm still working on it. I've got a long way to go.
"I think the spirit of Elephant 6 is that of enthusiasm and experimentation," he says. "There's a general feeling of everybody wanting to do something different, everybody wanting to make different sounds and to put different sounds in the form of a pop song. I think everyone's very concerned with writing good songs, but not just have a song be a song. I think the combination would be experimentation and a classic pop song. Like the Music Tapes would be almost all experimentation and a little pop song, and with the Minders it's almost all pop song and a little experimentation. But still, I think the feeling of trying to get a certain sound and a certain spirit out there is a very genuine thing."
Schneider thinks everyone is still catching up to the Elephant 6 collective, just now coming around to the group's particular way of doing things. He thinks those critics still have a long way to go toward understanding his mission, though, because the Apples and the other bands are too often viewed as grave robbers, stealing from the past to create their own future. As Schneider says, nothing could be further from the truth. As much as he loves the Beatles and the Beach Boys, he knows that his band isn't either one, and he doesn't want them to be. In fact, in some ways, he thinks they're better. As bold of a statement as that is, he might be right. At least in some ways.
"It's just that, you know, the Beatles didn't engineer any of their own records," Schneider says. "They didn't figure out how to get a drum sound. They didn't sit there listening to other records and go, 'God, this is our drum sound.' Recording at home, it's a whole different world, I think, from being a studio band with managers and accountants and fucking promoters and publishing people, like most of the '60s bands were like. As far as that goes, it kind of pisses me off, just because I feel like what's going on -- not just with our group of friends, but also in general in the rock 'n' roll underground -- is that there's a lot more experimentation. And in a way, I think that makes it even more personal, if you're more personally in control of getting the sounds. You like the way a certain record sounds, and this is the best you can do to make it sound like that. I don't think there's anything wrong with that."