Translation Loss has just released your second full-length,
The Ties That Blind. In contrast to your first record, “Time And Withering,” what has changed about the sound of Mouth Of The Architect?
A lot, really. “time and withering” was recorded and mixed in two days about two months after we started writing songs together. Not only was it our first offering, but it was literally the first attempt at what we were trying to accomplish musically. On the other hand, “the ties that blind” had a lot more time to develop. The whole album was written about a year or so before we recorded it, but due to some internal problems, we had to sit on the material for over a year. Unfortunate as that was, it gave us a chance to reexamine the material and the sound. We were all real happy with the way our first record came out, but we all feel that “the ties that blind” is a lot more representative of what we are all about.
What factors inspired you in the creation of this record? Did you make a conscious attempt to expand the scope of the band’s sound?
Absolutely. We all pretty much inspire each other to create music we all want to listen to as well as play. Our goal from the beginning was to do something different from what everyone else was doing. Our first record fetched a lot of comparisons to bands like neurosis, isis, cult of luna, etc., so I think our goal with this record was to explore some new territory and sort of carve out our own little place to exist.
The songs which grace the new effort are quite long; obviously you’re seeking to expand your creativity beyond stereotypical borders. How do you decide when a song is “complete?”
Well, we stop writing when we feel like the song feels about right. But in a lot of ways, our songs are never really done. Until they are recorded, our songs go through a lot of revision. Sometimes a transition just doesn’t feel right after playing it a bunch, or a part goes on for too long, or whatever the case may be, but we tweak with them until we are satisfied with the end product.
You have expressed a love for progressive music. Do you feel that you are charged with carrying the torch for modern-day experimental sounds?
We all love bands that think outside of the box a little. The whole progressive movement in the 70’s produced a wealth of amazing music- bands like yes, king crimson, mahavishnu orchestra- all those bands were challenging convention, and making damned good music too. It seems like nowadays everything that’s coming out is so forced and produced. Not many people are just jamming anymore. I think every band should be charged with the desire to push the envelope a little. It’s a lifestyle, we chose it, and we’re supposed to love it, right?
How has the addition of your new bassist Zack strengthened the group? Which particular traits does he bring to the sound of Mouth Of The Architect that were not there previously?
Zack is no longer with the group. Apparently life on the road isn’t his cup of tea.
TAAS bassist Brian Cook performed the bass that fans will hear on the new record. How did you become involved with Cook in recording this new album and why was he the right man for the job?
Our long time engineer, chris common, is the drummer for TAAS and when brian caught wind that we were reconding there and didn’t have a bassist lined up he offered his services. We already knew he was the right man for the job from his past work, so the decision was pretty easy.
The band is set to embark on tour in support of the new record. Will the focus of this tour be on the new material, or do you intend to include tracks from
Time And Withering and the band’s recent split with Kenoma into the set?
I believe most of the material we will play is from “the ties that blind”. We’ve done three tours this summer, and have had three different bass players, so basically we will play whatever we have time to teach our newest fill-in.
You have enlisted a touring guitarist for this jaunt. Who will be performing with the band? How important is a second guitarist to the overall sound of the band in a live situation?
A second guitarist is essential to our sound, because most of the time the guitars are doing completely separate things. Dan, the guitarist you mentioned, is now a permanent member of the band. He proved to us very quickly that he was the man for the job.
Brent Hinds of Mastodon appears on the album’s final track, “At Arms Length.” Why did you ask Brent to work with MOTA on this particular song?
That song in particular is the shortest and has a little less linear song composition. We felt it was a good song to have guest vocals on.
Do you feel that the band’s live set can be easily digested by those who have not had the opportunity to hear the band’s music previously?
I hope so. Music like that doesn’t appeal to everyone, but its pretty digestible. There’s not a lot of herky-jerky changes. We’ve been pretty consistently surprised about some of the people that our music does appeal to, so it’s pretty much hit or miss across the board.
The kid standing in the back of the room with his arms crossed loves every new emo band that hits the scene. How do you win him over?
Well, we don’t really try to win over anyone. We do what we do, and if like it, good. if you don’t, we’re still going to do it.
Is it mere coincidence that a band called Mouth Of The Architect is traveling around performing in Masonic Lodges?
Funny. Yeah, I guess we did play a handful of Masonic lodges this summer. Pretty amusing though, none of them had any stonework in them. They were all shitty cinderblock square buildings.
What’s your main motivation as an artist? What do you ultimately wish to achieve with your music?
Our aim is simply to keep making good music- or rather music that we think is good.
