Q and A: Darren Robinson Talks Phantom Planet and Twin Terrors
Itâs pretty uncommon to listen to an album thatâs more than five years old and be listening to something other than a memory. Not many bands can make that claim, but Phantom Planetâs body of work stands the test of time. Between 1998 and 2008, the group managed to write and record four solid albums despite constant touring. Phantom Planet Is Missing, The Guest, Phantom Planet and Raise The Dead all showcase a variety of styles that surprised and pleased longtime fans. They went on hiatus in 2008, although earlier this year they played several reunion shows in their native California. Earlier this week, guitarist Darren Robinson talked about his years with the group and his most recent project, Twin Terrors.
When did you first start playing the guitar and what made you start?
I was first influenced by a friend in fifth grade when he brought a walkman to school and was listening to âParadise Cityâ by Guns âN Roses, which he had concealed within his hoodie. He put the headphones over my ears and I was completely blown away by what I heard. Iâll never forget that.
I first started actually playing guitar when I was eleven years old. I had some neighborhood friends who told me they were starting a band and needed a guitarist. I told my folks and by the next day I had a guitar lesson set up with a local teacher.
My neighbors never ended up starting that band.
You seem to exclusively use Gibson guitars, no matter what style of music your playing. Whatâs made you stick with them?
I actually started out on Fender guitars. I still love them. But eventually I moved over to a Gibson Les Paul. Gibson guitars are extremely reliable, sound great and are really fun to play. And, depending on the model, they look great aesthetically speaking. In 2007 or 2008 I moved from a Les Paul to an ES-335, and havenât looked back since. Awesome guitars.
Phantom Planet formed when you were about fifteen. Do you think the bandâs willingness to experiment with different styles owes itself as much to keeping it interesting for yourselves as much as it does keeping it interesting for the public?
We never understood the point of making the same record twice. Our influences were pretty expansive, so we wanted to explore different musical avenues. We never changed our sounds to keep it interesting for the public - if anything we wondered if our fans might be upset with us for the changes.
The Guest is a beautiful record, but more gentle than the bandâs next offering, Phantom Planet. What sparked those changes and was the band apprehensive about changing the formula?
The changes from record to record were a way for us to challenge ourselves and grow as a band and as individual musicians. We did what we felt was right for us at the time.
Most performers describe touring as a very insulated experience, complaining of not so much seeing the world as much as you see hotel room after hotel room. What has been your experience with it and has it changed throughout the years?
Iâve toured with three bands in my career - Phantom Planet, Miniature Tigers and The Californian. With all these tours, the experiences were generally the same. It does feel insulated, no doubt. Lots of waiting around for soundchecks, actual show times, sitting in vans while traveling countless hours to different destinations and wondering when weâll be able to take the next shower or eat real food. It was not often weâd have time to explore the cities we toured in. There were times where Iâd step outside of our van and walk around, only to realize after a few hours that I had absolutely no clue what town we were in. Whoops.
Phantom Planet has toured with everyone from Elvis Costello and Sting to Guns Nâ Roses and Maroon 5. Why do you think Phantom Planet has managed to fit alongside so many different performers? Has any audience been tough to win over?
My guess here is that because of our differing sounds from album to album, we were a tough band to pigeonhole into any one particular genre. We mostly won over audiences though when we played live. I remember when we opened for Guns âN Roses in Las Vegas (the only show we ever played with them), we actually had the crowd cheering loudly. We thought for sure weâd be booed off stage because we were mostly unheard of, especially to fans of GNR.
Since forming, Phantom Planet has been associated with Geffen, Interscope, MCA, Epic and Fueled By Ramen. What are the benefits and drawbacks to working with a smaller or larger label? Do you think it has any effects on the creative process?
When on a label, whether major or indie, rather than writing music openly, you have the pressure of writing a âhit singleâ and appeasing the higher ups who want to profit from your work. It feels unnatural. In that respect I think it has negative effects on bands.
Benefits are⌠I guess the power labels can have. The money they can use to back your music. But that feels antiquated to me at this point. Bands have tons of social media now to go the grassroots route and earn credibility by being truly great.
How did Twin Terrors come about?
Twin Terrors came about after I kept hearing this drumbeat in my head and tapping it out for months. Up until this time I never really wrote or produced music on my own. So eventually I started to lay the beat down in a recording program on my computer, and it began to take shape. I put lyrics to a melody I came up with (with the help of a very dear friend, Golie Zarabi, who sings on the track as well.) We called the track âEpiphony.â Alex (lead singer of Phantom Planet) eventually added some vocal parts and added some other bits and we soon had a complete song. I decided to keep writing and producing music after this, which has been both challenging and rewarding.
In keeping with the spirit of the song, John Lennon wanted âInstant Karma!â to be recorded, mixed, mastered and released in the same day. Forty-four years ago, this was nearly impossible. But now with home studios and the Internet, itâs much more attainable. Is that part of the appeal of the Twin Terrors project?
I suppose it is part of the appeal of Twin Terrors. The idea of releasing raw music (complete with a few mistakes, etc.) to listeners. Maybe not so much on doing it in one day though. I usually need some time to feel good about a song.
The Twin Terrors tracks are sonically interesting without sacrificing melody. How hard is it to strike that balance?
I slowly plug away until Iâm confident and excited with what Iâm hearing. Itâs a major process of trial and error.
Listening to the new tracks, they feel limitless in where they might go. Whatâs the atmosphere like in the studio?
All the Twin Terrors tracks I release are done right in my apartment, using Logic. So the atmosphere isnât really anything special. Itâs actually quite amusing trying to get vocal takes during the times when itâs not quiet outside. The street I live on has lots of loudly barking dogs, cars, motorcycles, helicopters and weirdos yelling - thankfully not all the time - but often enough. All this stuff can and does get picked up by my microphone because I have absolutely no soundproofing here. Maybe that adds somehow to the limitless vibe?
Or it could be all the reverb I use.
Youâve worked with and toured alongside some of the most talented people in the industry. Who do you hope to collaborate with next?
In regards to the Twin Terrors project, I am happy to collaborate with anyone who can sing better than I can. (Not hard to do!) My goals with this project are not to tour or form a live band. Itâs mostly just an outlet for me to express myself that I am openly sharing. I wouldnât be opposed to commercial licensing or something along those lines though.
In regards to Phantom Planet collaborations, I think the sky is the limit. Since weâve been on hiatus for awhile (aside from two sold out Troubadour shows we did in 2012), Iâm not sure what the future will be like for us. I do know we will be reuniting at some point though. I look forward to that.
What can you tell me about the new song?
Itâs called âIt Wasnât Meant to Be.â It has to do with relationships / dating and the passing of time / getting older. It reminds me a bit of a cross between a song that would have been on the âDriveâ soundtrack and Beach House. Itâs electronic mostly, with some live guitar and bass thrown in. A bit experimental for me - but I guess they all are.
CLICK ON THE LINK BELOW TO HEAR NEW MUSIC FROM TWIN TERRORS, AND CHECK BACK SOON FOR THE PREMIER OF THEIR NEW SONG, âIT WASNâT MEANT TO BE.â
http://soundcloud.com/twinterrors
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