Silver Rocket

New Dog: There’s that unmatched feeling of hearing a song take shape...

Aran 29. 8. 2016

Anar Badalov aka New Dog je zodpovědnej za dvě desky, který za poslední roky řadím ve svým soukromým žebříčku úplně nejvýš: "Classic Ballroom Dances" (2015) a letošní "Teeth Marks". Myslím, že Anar je nejlíp ukrytej génius na světě a jsem přesvědčenej, že hudba, kterou dělá, je naprosto výjimečná. New Dog bude v září na turné s LP "Teeth Marks", který vyšlo na Lokal Rekorc díky VÁM. A protože si s Anarem pravidelně posíláme linky na zajímavý věci, tenhle rozhovor vzniknul naprosto přirozeně.

You returned to playing solo after touring with a drummer in the summer of 2015. Was it planned? Or did something happen?

I’ve always wanted to perform solo but until recently didn’t have the courage to do it. It was fun having Justin with me on drums (and on the drives), but logistically it’s easier and cheaper to plan a solo tour. Although a lot of the material I’m working on now has a much bigger sound—bass, ebow, piano, guitar, vocals, heavier drums—so if I ever want to play it live I’ll need a band. My wife suggested that you and me and a bunch of friends in CZ put together a set next year and take it on the road.
The pace that you write the new songs at amazes me. Where does this drive come from? It seems to me there is some sort of urgency involved…
On my part it feels like there’s a sense of urgency too. There’s that unmatched feeling of hearing a song take shape, and I guess I’m addicted to that, and I can’t go very long without it. It’s my version of therapy and a huge part of my identity, so it gives me purpose when I write. I still don’t know how much of that identity is wrapped up in the release process too— putting my ideas out there and finding a small audience—because I admit I get something out of that too.  But it’s not like I sit down with a million ideas; I’m usually completely lost at the beginning but so excited at the prospect of what might come out. 
Can you tell us more about how it was to work with Kill Rock Stars on the „Classic Ballroom Dances“ LP?
It was exciting at the beginning to know that a label like KRS believed in me. They are accessible, down-to-earth people. The process itself was very similar to working with you and Lokal Rekorc. But early on I was reminded of a feeling I had a decade ago when my first band signed with Suicide Squeeze; there was this thought that what I was doing might reach a larger audience because of who they are. So I guess my expectations were high, and I was a little disappointed when the record didn’t get any attention. But it did motivate me quite a bit to keep doing what I’m doing anyway; just having the support of a few people whose opinions you trust can go a long way. (Your encouragement, by the way, was a driving force for collecting the songs on Teeth Marks and coming back to tour in Europe.) Anyway, KRS want the best for all of their artists and are just trying to navigate the changing music “industry,” if you can even call it that anymore. They’re a really honest and unpretentious group of people, and I’m super proud to have the association for Classic Ballroom Dances.
I like how we share links to interesting music / videos / interviews etc. with each other. I discovered some very interesting art because of this and I thank you for it. Is there anything new you would like to share with us? A book, music, whatever...
I’ve discovered some great stuff through you too. It’s funny that it takes someone 3,500 miles away sending me a link to introduce me to an artist based here in the states. Anyway, recently I’ve been sharing Etgar Keret’s short story collections with everyone I meet—particularly the collection “Suddenly, a Knock at the Door.” I know I’ve already sent you a copy. His very short absurd stories turn the world on its head and make you think differently about familiar, everyday experiences. As for new music, I haven’t been totally floored by anything recently. Except maybe Eric Bachmann’s new record (link HERE). Some albums I’m most excited to listen to in the car on this upcoming tour include Steve Gunn’s Eyes on the Line, Ed Askew’s For the World, Fear of Men’s Fall Forever, Gordon Downie’s Coke Machine Glow, Mary Lattimore’s At the Dam, and Peter Broderick’s Partners. Oh, and if I can recommend one song, Ed Askew’s “Blue Eyed Baby”:
What do you remember from your last trip to the Czech Republic and what are you most looking forward to?
It’s impossible to choose just one thing! Between MisMas, the Silver Rocket Soulkostel, the gokarts at Papirna, the fight that nearly broke out in Koprivnice, hangin with (and seeing!) the great Leto; seeing you in your element on stage in Prague; the kindness and generosity of Vlastik and Pavlina; the clean, cold beer, the rolling hills. I could go on and on. I’m excited that my wife Anna will be joining me for the first 3 shows (Pilsen, Prague, Pisek), so she can meet you and some of the other kind people that organize the shows. I’m looking forward to driving alone for a bunch of days and to seeing some familiar faces. 
What about your boxing? Are you still sparring? Are you getting better at it?
Eh, my elbow still has a minor break in it, so I need surgery if I want to take it to the next level. It takes a lot of time, and I’ve almost given up on it. I still hit the heavybag regularly and stay in shape, but haven’t sparred in probably 6 months. Maybe when this trip is over I’ll be re-inspired and willing to get the surgery. But fighting has been the last thing on my mind these days. 

New Dog v Česku:

Sep 9 – Plzeň w/Aran Epochal
Sep 10 – Písek, Festival Cool v plotě
Sep 11 – Praha w/Aran Epochal
Sep 16 – Náchod w/Aran Epochal
Sep 19 – Brno w/Cars & Trains
Sep 20 – Prostějov w/Leto
Sep 21 – Ústí nad Labem