She Was Coloured In
It’s been worth the wait.
Three years after their excellent debut She Was Coloured In in 2010, Solar Bears are about to release a career-defining album, Supermigration.
Solar Bears is the band name for talented duo John Kowalski and Rian Trench, who have spent the past 18-months at studios in Wicklow, Ireland, working on Supermigration. It’s a long way from their debut recording in a bedroom in Dublin.
The difference is not just in the recording but in the quality and diversity of tracks. The interest in Science-Fiction is still apparent, but rather than the outward urge of space travel, Supermigration is more concerned with inner space and hints at dark, personal narratives that are often analogous with the genre.
I contacted John and Rian with some questions about the new album, Supermigration, and they started-off by explaining the influences on their recording:
John: We were listening to a lot of Eno and forgotten soundtracks which we had discovered on vinyl. Sampling these led to unusual routes for some of the finished songs on the record. It is largely dependent on what happens during a day session or a night session. The seasons played a part also. Often cases it can be something as simple as a string sound.
Rian: Its never a conscious effort to work in a set style, so in a lot of ways, the direction is determined by whatever riff, bassline, drum pattern, texture we start out with. New things definitely filtered through this time. We’d often have Al Green on in the kitchen in between sessions. We researched a lot of recording techniques. Steely Dan records were a constant reference.
Dangerous Minds: What was it like to spend so long in the studio and what was a typical recording day like?
John: It was really positive for me. One thing that did affect the recordings was getting our hands on new gear like a Korg MS-10 which a friend lent us. There were no typical days as I came down to the studio with either an idea intact or nothing at all. Rian had ideas dating back years so we concentrated on them for some of the tracks on the album.
Rian: Typically we’d bring something to the table, and just approach it in our different ways. Usually took a day to write the song, and then several days of tweaking. It was a great experience to be able to think about the tracks for long periods out of the studio. Writing time was interspersed between touring in Europe, so we had the advantage of talking about song structures and sounds etc while away.
Dangerous MInds: What is the back story with the title, Supermigration?
Rian: We were initially considering it as a track title, but then realized it kind of summed up the experiences and process surrounding the record. Its marries the journey the album takes itself. We always want to go somewhere we haven’t been before.
There is a pattern we discovered after the writing process that hadn’t been considered. We tried to vary the style and execution as much as possible, and then try to shape a very abstract narrative gluing it all together. If the composition is ready in our minds, it should allow you to invent your own story.
’Cosmic Runner’—Solar Bears, from ‘Supermigration’
John: It is far more about inner space than anything external. The name itself was the only thing that made sense with the collection of songs we created together. We traveled a lot during the making of the record, seeing all that foreign scenery fed into the expansive sound of the LP somehow. My main ambition is to become more skilled as a music maker.
Looking back on the song titles there emerged a kind of science fiction psychedelic short story, starting with “Stasis” and ending with “Rainbow Collision”. We feel very unproven, that’s why we continue to work as hard as possible. Taking any of this for granted would be incredibly foolish. The label believed in us again and we love to work with all of them. Their advice and experience is invaluable to our group.
DM: What are the film references to Supermigration? And would you like to write a film score?
John: The White Ribbon, La Jetee, Gandahar and The Fountain. There is a little known Buddhist fable from Korea called Spring, Summer, Autumn, Winter and Spring that has a unique soundtrack. It contains acoustics and electronics and has a very glacial sound to it. That would be one that I would like to re-score.
Rian: One of the things we want to do next is write a film score. We would love to work closely with a director on their project, try to elevate the images. Sometimes we feel that we are already scoring when writing together.
Previously on Dangerous Minds
More from Solar Bears, plus a film on the making of ‘Supermigration’, after the jump…