Small Isles Interview: Filmless Music
Photo by Dustin Aksland
BY JORDAN MAINZER
It’s rare that you find a record with a genesis as specific as The Valley, The Mountains, The Sea, the debut album from Small Isles. The new project of guitarist Jim Fairchild (Grandaddy, former Modest Mouse) and songwriter/composer Jacob Snider has its basis in film scoring. The catch? The films don’t exist. The Valley, The Mountains, The Sea is presented as an imaginary score to an imagined sequel to Ang Lee’s 1997 familial drama The Ice Storm, itself based on Rick Moody’s 1994 novel. And the band’s upcoming, unfinished EP, with strings arranged by Snider and recorded by collaborator Sienna Peck, is, according to the band, a distillation of the concept of the band, one that consciously combines film scoring motifs with traditional songwriting. In a way, you could say that Small Isles is music about film scoring as much as scores itself.
Fairchild and Snider hold the belief that film scores should hold their own as a piece of music independent of visuals, and on The Valley, The Mountains, The Sea, they announce themselves convincingly. Opening track “The Concept”--essentially the prototype for the band--combines vaguely harmonic deep bass sounds with pristine, echoing string plucks, and wordless vocals, building up like an Explosions in the Sky tune. Other tracks, too, juxtapose the ambient with recognizable structures. “Fort Wayne” shimmers atop a drum machine, while the vocal samples of “Maybe We Will” cut in and out among the beats and arpeggios. Each track also has a pristine sense of place, as much of the album was written while Fairchild was on tour with Modest Mouse, tracks like “Fort Wayne” and the washy, atonal “Lake Superior” started in those locations.
I spoke with Fairchild (calling from his home in Ojai, California” and Snider (calling from near Philadelphia) last week, a few days prior to the release of the album via AKP Recordings. (The album comes out on vinyl next month). Read our conversation below, edited for length and clarity, about the band’s artistic process, The Ice Storm, adapting the songs live, and what Small Isles has in common with Olivia Rodrigo’s Sour.
Since I Left You: You’ve called this record an imaginary score to an imaginary film. Did you think of the sequencing of the record in a narrative arc?
Jim Fairchild: Kind of, but honestly, there’s a sequence that originally existed, and I don’t remember what it was, and it would have been more aligned with what I pictured from the movie, but it didn’t work as well as a comprehensive piece of music. The last song on here, “The Plot to Take Clover”, that was earlier before. “Life at One”, the first single, really kicked off me and Jacob’s partnership. It was designed that way; it’s not the way the record plays out. I wrote all of the principle themes, the underpinnings of all the compositions, as an imagined score to some sort of a sequel to The Ice Storm. I don’t know exactly how it would play out with Rick Moody. The first one was really successful. I have this idea for a similar type of movie that takes place in contemporary California and all these cues I can use as a mood board. Like, let’s sit down and figure out what this palate is. Let’s write a movie around it. That’s what I was thinking.
SILY: You wrote a lot of this while on tour. Had you conceived of the idea before then and wrote while on tour because of your downtime, or was the downtime the launching point for the idea?
JF: I was totally inspired by the idea. I started some of the themes that popped up, but once the actual Ice Storm Ang Lee idea came to mind, it was really generative. It’s how a lot of this stuff works with me. It kind of floats around for a while, reaching out this way or that. Once the real kernel appears, it’s like, “That’s it!” It all happens pretty quickly. That was definitely the case with this. It was the real fine-tuning that’s the most time consuming. That’s what Jacob and I have experienced. The EP that we’re releasing later this year, basically how it’s worked so far is I send him a sequence of chords and basic rhythm, which happens pretty quickly. Then--and we’ve only done it on Zoom with the new EP, though it was the same with “Life at One”--there was this theme. Jacob came in, we were gonna write some other stuff. He came in with a mic and sang some stacked harmonies. Then it’s carving out all the other elements around that to make it.
These are unconventional compositions. They’re meant to accompany visual ideas. With that in mind, cues and scoring music doesn’t always work in recorded music, traditionally speaking. There’s all these lengths, sometimes time signatures shift, a melody might exist in an unconventional way to fit what’s happening visually. I really wanted to embrace that. With “Life at One”, Jacob did all this stuff, and there’s this really interesting sound I don’t know how to describe. He asked, “What are those over there?” [My partner Natasha Wheat] had made these ceramic bells for me, and that’s the most fun part about working with Jacob. A lot of the people who are trained as Jacob is--and I say this with great admiration for his abilities--are stuck in certain modalities. This is a perfect example. He looked at the bells and said, “Let’s do that.” He grabbed a drumstick and played the edge of these bells and processed them. That was a big feature in the composition of “Life at One”. This all happens very thematically and reflexively, but to then carve it up and get it to have purpose, meaning, ebb, and flow and make it work visually--that’s where the dirty shit happens. [laughs] I also look forward to when Jacob and I can be in person more. We’ve made a lot happen over the past 7 months, but it’s hard when you’re not in the same room. Plus, I’d like to show off. If he’s sitting right next to me, play some fast guitar...[laughs]
SILY: The title of the record refers to various aspects of topography, and there are song titles that refer to specific places, like “Fort Wayne” and “Lake Superior”. Do these aspects exist within the narrative of the film?
JF: “Lake Superior” and “Fort Wayne” were just started in those places, literally. I picture the Ang Lee movie--the new Ang Lee movie that is inevitably gonna take form because he’s gonna hear me and Jacob’s music and think, “You’re right, we gotta do this,”--in this zone a little bit east of Berkeley. It’s the West Coast equivalent of the Connecticut zone where The Ice Storm exists. It’s this affluent, green place. But the reason I chose to keep the others as titles is like, Fort Wayne, that’s pretty grand and has Batman implications. And Lake Superior, what a fucking great name for a lake, you know? I like the power of those, and if I were sitting down and writing a movie, those titles could be at least generative of a conversation.
SILY: What about the other song titles? What inspired them?
JF: “The Concept” is literally the concept for our band. The concept has expanded since then, but out of the ordinary--no sounds are out of the ordinary in modern production--but in the film scoring landscape, out of the ordinary, ambient, or textural sounds. But then big, beautiful melodies. Jacob’s voice. All that stuff. Synthesizing our two strengths. Jacob’s also a songwriter and makes amazing songs, but my background’s in bands, and so I treat our relationship as if it’s a band. Taking our two strengths. Jacob’s more conventionally trained, schooled, and knowledgeable than I am. He has a richer depth of knowledge in theory and orchestration. I can arrange that way, but he knows what’s going on. Mine is more reflexive--I don’t want to say auto-didactic because that’s kind of an arrogant term--but learning through mistakes. I think Jacob’s made fewer mistakes than I have.
SILY: What were all the instruments used on the record?
JF: There’s a lot of found stuff. 12-string guitar. I was writing it using this Rosewood Fender Stratocaster that Fender made for me. The 12-string is prominent on “Life At One”. There’s a piano Jacob played. There’s a lot of me coming up with drum beats. A lot of the initial stuff was in the box. I’d roll in my portable studio backstage, I’d have a guitar, Universal Audio space, whatever drums and synths I had.
SILY: What is your background in film scoring?
JF: I don’t have a specific background. From a very early age, I’ve been into film scores. I’d buy them starting when I was 15 or 16. CDs. Pretty obvious releases, but things like Danny Elfman’s Batman score, The Good, The Bad and The Ugly. Sort of getting into Jerry Goldsmith. Elfman, Morricone. I like some of the Bernard Hermann stuff. I started studying it from the way I study everything: figuring out chord sequences, the way the melodies work, to the degree I was able. In the early 2010s, I was making a lot of music that was getting licensed for TV. Once Modest Mouse really started touring [2015 album] Strangers to Ourselves, I let a lot of those pursuits wither a little bit. But I’d always longed for a collaboration. A lot of that stuff was done in a solitary way, so I felt very fortunate when Jacob and I met. He was into that idiom but has a range of skills I don’t have. We also really work well together. All the reflexive stuff that happens, the melodies, it’s easy for us to go back and forth and see what we’re into and where to keep going. Neither of us get upset when the other person isn’t feeling whatever the direction is.
As I get older, I realize the value of stimulating multiple senses. I look forward to Jacob and I doing more of this stuff in collaboration with people. The Riley Thompson video for “Life At One” was him responding to a finished track, but in an ideal world, filmmakers would come to us and, in the way Trent Reznor and Atticus Ross work with David Fincher, where he says, “This is the concept for the new film,” and Jacob and I come back and say, “This is the sonic and melodic landscape we’re thinking of, and here are some character cues. Let’s take it from there.” I love being in conversation with people collaboratively and am attracted to the idea of it across media.
SILY: Do you think the idea that the music might not be responding to a finished film would make the score stand on its own more as a piece of music?
JF: The scores that I like totally stand on their own as music. When Morricone passed away, I read that John Zorn had a quote when they were hanging out in the late 80′s or early 90′s, Zorn said, “Don’t do it unless you’re thinking about what the soundtrack record is gonna be like.” The music needs to be cool enough to just be music.
SILY: Tell me about the album art.
JF: Natasha and I sold our place in Los Angeles last year and moved to Ojai. We thought it was a temporary transition, and now it’s somewhat permanent, because we bought a place here. We’ve been in this guesthouse next door since November. I like taking pictures at night with whatever ambient light [there is], so I took that picture from our place. I wanted there to be contrast with this technicolor paint and silver border on the upper and lower parts of the image. Homes are very interesting to me, and there’s a lot of that in The Ice Storm. There’s that shelf people look at from the outside and think, “It could be dilapidated, it could be beautiful.” People think of it as a thing. But there’s this whole other world that only exists inside of there. It’s always fascinating to me when walking by the place. Stories in the shell. I like the idea of a structure having implications. I don’t have an agenda for what those implications might be, but I like the idea that there could be implications there.
SILY: Jacob, when Jim came to you with this idea, how aware were you of The Ice Storm?
Jacob Snider: I had seen it. I don’t know if in our first meeting, it came up that specifically and clearly that this is where the music was going. In fact, it started more as a casual meeting of creative types. When I came over to Jim’s studio, he just showed me the latest thing he was working on without any huge idea behind it expressed to me in that moment. Jim might have been thinking it in that moment, but that day was more, “Alright, I’m working on something, what do you hear and is there something you think you could contribute to it?” It was really organic. Like Jim mentioned before, the best thing you can do when making something is show it to somebody else, because they’re gonna hear it in a different way or they might suggest something if you’re open to it. People can make amazing solitary music, but it will always be just their thing. You bring in someone else, there’s a different energy, a different perspective.
As it stands, I do love that film. It’s really haunting. Jim and I talked before that it’s not a movie you can watch every week. It’s heavy, and the themes are deep: family, loss, grief, betrayal. It’s a great one. I think it’s a movie that’s cinematic but also has a lot of depth. I think that’s what we’re going for with Small Isles. It has shades of film music but also shades of rock and roll and romantic string writing from the orchestral traditions. I think we’re trying to combine a few things at once, and we’re really curious how it starts to strike people and how some filmmakers respond to it.
SILY: Are you both generally Ang Lee fans?
JF: I haven’t devoured all of his work. There’s plenty I like. But I’m so in love with [The Ice Storm]. I was in love with the book before the movie came out. He treated it so beautifully. As high in the sky as it is for two nascent film composers to say, “I want to work with Ang Lee,” it’s very important to know where you want to go. It may take a long time to get there, but [it’s important] to have a place where you’re headed. That was definitely the case in the early Grandaddy days, and having watched [Modest Mouse lead singer] Isaac [Brock] for as long as I did, I think it was the case there, too. It may not be as specific knowing that I’m traveling in this direction, but that direction can totally change. There can be diversions that knock you off your course positively or negatively, but thinking about how beautifully he treated that material, that’s where I want to go.
SILY: How are you adapting Small Isles to a live performance?
JF: We’re gonna play at least some of this, maybe all of this live. I’m really looking forward to it. Jacob’s only on half this record, and the 5-song EP we’re releasing later this year, he’s on all of. That’s a straight-up 50/50 collaboration. I’m looking forward to the stuff Jacob didn’t contribute to on the record, hearing what he does with strings. We’re still figuring out how we’re gonna approach it. Jacob will be on keys and vocals, and I might sing a little bit. I’ll be on guitar. Our friend Sienna who Jacob went to school with, who’s doing the strings, we’re talking about having her lead a double string quartet. I would like to have a drummer doing some electronic drums and maybe a kit as well. I definitely don’t imagine we’ll totally nail it on night 1. There’s a lot of stuff we have to work out. There aren’t many antecedents in this zone, but something like Explosions in the Sky mixed with Johann Johannsson. I saw [the latter] in 2010 in San Francisco; there was a little bit of strings, various electronics, and he was on piano. That was a very striking performance. So the explosiveness of a big arena rock show with lots of subtleties and nuance that can come from strings and orchestral.
SILY: What else is next for Small Isles?
JF: We wanna finish this EP. I also really love the way a lot of rap and hip-hop people have gotten it right over the years. Using current listening habits and technology to get out as much music as possible. I definitely have the seeds for at least another EP behind this. Once we get this EP done--there’s just a little bit of tinkering to be done over the next month before going into the mixing stage--I want to make as much music as possible and release it. With the spirits of the world willing, I want to get off the ground live and collaborate with filmmakers, dancers, artists, people in the visual medium. I just love making music with Jacob and this type of music. I’d like to have a few releases a year. EP length [or] album length. I have a number of concepts written down. The seeds that Jacob and I have been playing with to make the EP. I was thinking about The Last Black Man in San Francisco when making this EP, and I’d love to collaborate with those filmmakers. Even just being in person, to tell Jacob, “What do you think of this sequence?” and have him respond without dealing with latency issues and dodgy DSL.
SILY: Anything you’ve been listening to, watching, or reading lately that’s caught your attention?
Jacob Snider: I’ve been listening to a lot of pop. I’ve been listening to the Olivia Rodrigo record [Sour]. I think there’s great writing on there, great production. Watching, I’ll just piggyback on The Last Black Man in San Francisco. It took me a while to finally see it, but I had a filmmaker friend tell me I had to, and I loved it. Also the other film Emile Mosseri did the score for, Kajillionaire, the Miranda July film. Reading-wise, I’m about to jump back into Louise Erdrich’s The Round House.
JF: I’ve been digging the Olivia record, too.
JS: There’s some cool strings on there too from the guy who does a lot of the strings for Portugal. The Man, [Paul Cartwright]. They created a string orchestra sound with just one guy layering violin and viola, which is really cool, and that’s what we’re doing with our collaborator Sienna Peck. There’s totally room for that now, the way the world has been so remote. We can’t put 16 players in a room right now due to public health restrictions, so let’s get one person. It’s really hard to do--you can be a great violinist and not be able to layer yourself in a way that makes it sound like a string orchestra. You have to change your position in the room, the way you’re playing slightly, pretend to be three different people sharing a stand. That’s what you’ll hear on the next record.
JF: I just got into How to Change Your Mind, the Michael Pollan book about psychedelics, which I really loved. I just started a book called The Magic Years, which is about child development. I have a three-and-a-half-year-old son, and I’m very fascinated by what’s going on in his brain and what makes him make the decisions he makes. Just how to be a better dad. I am always a religious reader of The New Yorker, every week it comes out. Natasha and I watched The Kids, a documentary [about the making of Larry Clark’s Kids]. When that movie came out, Grandaddy were skateboarders, so it was important to us. But even as a young kid, I felt that it was really exploitative, and the documentary verifies it. It’s heartbreaking. Larry Clark is a really derelict dude. Truly lecherous. But [The Kids] is a beautiful movie. We’ve been watching Los Espookys. I’m really excited about Vince Staples’ upcoming record. My friend Nik Freitas put out a new song. My musical diet’s gotten really regressive in a way because my son is very into the Super Furry Animals record Radiator. It’s all he wants to listen to in the car.
