Chicago indie-pop collective Scotland Yard Gospel Choir doesn't sound a lick like its name.
They aren't Scottish. They aren't even a choir. They are, however, one of Chicago's biggest recent breakout bands.
Scotland Yard Gospel Choir's self-titled sophomore album ( Bloodshot ) is a who's who of the Chicago underground. The album, which features over 50 different artists, is catchy, unique and intense, touching on heavy issues like mental illness, drug abuse and sexual identity while maintaining its pop sensibility.
Windy City Times spoke to the band's ringleader and songwriter, Elia Einhorn, about their upcoming Market Days performance and more.
Windy City Times: You guys formed back in 2001. How did it happen? What was the idea behind it, and what did you first sound like back then?
Elia Einhorn: Back then, we were a folk duo. A friend of mine from another band, Matt Kerstein, and I, who had just disbanded from my first band, decided to play folk music influenced by the Aerosmith anthology. It took about two months before we could put my old band on top of our folk duo, so then we got a drummer, violin, a female singer, cello and bass. Then we were a real band and it kind of went from there. We've been around for a little while, but it's funny—the momentum didn't really get started until about 2004. Maybe late 2003, which was when we put out our first record. Then we toured a bunch. We played with the Arcade Fire and some bigger bands like that. Then it took us about four years to put out another record. During which time, we signed onto Bloodshot, which was awesome. Then we got another album out. When we got that out, that's kind of when the band really grew together, I think.
WCT: When did you sign to Bloodshot?
EE: 2007. We have been working on a record of our own. We had gone through some changes in the band—some personnel changes. We went through the record and threw out half of the record on two different occasions because we didn't think it was up to snuff and where we wanted to go. Then we signed with Bloodshot in 2007 and delivered them a finished record. We put it out and his the road. We played six weeks through the U.S. We played with Tommy Ramone ( The Ramones ) , we came out with Harvey Pekar—the American Splendor writer. We played with some of the guys from the Lemonheads. It was fun. It was a real American indie rock experience—hanging out with these characters around the country.
WCT: How do you think the band has grown since you first formed?
EE: I think back then we were just happy to play music that sounded like other people. I think we were kind of paying homage to our influences. But now, I think that there's been such a mixture of things I listen to that you can't discern it into music any more. I finally wrote the songs that I've always wanted to write.
WCT: What do you think helped you do that?
EE: I think it was time to be honest. I think it was time to try different song styles and approaches.
WCT: Speaking of influences, your music touches on many different issues. And some of these are kind of dark, but I wouldn't necessary call your music dark.
EE: Yeah, there's that dichotomy there.
WCT: One of the issues that is touched on is sexual identity [ the song 'I Never Thought I Could Feel This Way For a Boy,' which is really important to our readers. I was kind of wondering whose influence that was from the band?
EE: Oh yeah, that's mine. All the songs on the record I wrote, and they are all exactly about my life or the lives of the people around me. That one was just written about me and having for a guy that I felt that I wasn't supposed to have, and I didn't feel comfortable telling my friends about. Thankfully, I got to a point where I felt comfortable.
I've had that feeling of being the perpetual outsider, on and off, my whole life. I think that really contributed to it.
WCT: That's definitely a theme that our readers can relate to.
EE: It's one of the saddest things in the world, and the faster people can get over it, the better. It's not easy.
WCT: What are some other aspects of your life that you think have really influenced your music?
EE: I think one of the biggest things is I was born in Wales, and was partially raised there. Half of my family lives there; they are still over there. Listening to the Manchester bands really influenced my songwriting. Bands from the Manchester scene like the Happy Mondays, and more than that, bands like the Stone Roses and The Smiths. Those are the bands I grew up listening to. Mary, from our band, pointed out recently that I read almost exclusively American authors and listen almost exclusively to British songwriters and bands. I had never noticed it.
WCT: Did you end up going to Wales an awful lot when you were growing up?
EE: I spent about four months a year there growing up, and I still go every year. I was last over there in December and January. After we got out the Bloodshot self-titled debut, I took a little break and went over there for a few weeks to see my family and friends. It was wonderful.
WCT: Are there many differences between the music scenes there and here, especially when it comes to the indie scene?
EE: It's so small; the bands get bigger a lot quicker, I think, than American, where it's so massive. You can tour the country for three months and still not hit some of the major markets. Over there you can spend a month and that's' it—you get them all. Also, we don't have a paper like the NME [ U.K.-based New Musical Express ] here, which I think, on the one hand, is a good thing. I think the repetitiveness in which they put bands up and tear them down is a serious problem for real artists. On the other hand, we don't have that kind of almost blind bolstering of groups here. We've got Pitchfork, but Pitchfork takes a much more cynical approach. They do great work. I check Pitchfork every day. That's where the news of most of the bands I listen to. I think we have a more independent culture in general. Having said that, America, in the last five years or so, has really embraced an indie culture. Just the way they are marketing like green businesses now. You can see that Juno topped the charts, and I know a lot of the bands that were on that soundtrack. It suddenly adds 100,000 records to names that wouldn't have gotten that before. That's really cool to see. As long as the mainstream doesn't dampen their music.
WCT: I was just going to ask that.
EE: I think it does. I won't name names, but I think there are a lot of bands that make it big on indie labels, then go on to majors and push out records and then they break up. It's weird to see that. All in all, I think this mainstream acceptance of indie bands and culture—it was bound to be co-opted eventually, but at least now, hopefully, some of these bands can make a living. As long as these bands stay true to their art, I think that's absolutely wonderful. We're an example of that. We never wrote a song that we thought would get us anything. Having said that, I've had songs on the 'O.C.' and 'What About Brian?' on ABC. Those aren't shows I watch. I've seen one episode of each—the one we were on. But it was great. That paid my rent for three months, regardless!
WCT: It's got to be hard being a smaller indie band. A lot of people have full-time jobs, too.
EE: We all do.
WCT: That's got to be tiring after a while.
EE: It gets pretty difficult, but for me, that's what I want to do.
WCT: One of the things I noticed that sets your band apart is that you play with tons of other musicians. Why is it? Does it keep things fresh and interesting? Does it sometimes get difficult to work with so many different people all the time?
EE: No, it doesn't because—and I don't want this to sound egotistical, but it's just the truth—I'm right at the middle of it. If they are there, that's because I want them there. And if we stop using them, it's either because they weren't working out or they have other things in their life they need to focus on. We've had a lot of musicians leave for school of geographic moves. The reason why I bring in so many extra people, and frequently what I do is bring them on as an infrequent guest appearance, is because there is so much talent in Chicago. If you use that talent appropriately, it can really enhance your group. The way I look at it is I hear the whole arrangement in my head before we go in and record it. Sometimes I write with these people in mind who I've never even worked with, but I know their work from other records. I'm a voracious music listener. For example, Sally Timms [ of The Mekons ] —I knew all of her records before I brought her in the studio. I brought her in and said, 'Can you sing in the style of this song from your solo record?' Or, 'Can you sing in the style of this song from the Mekons' records?' So, it's really cool.
For this new record, I don't want to name any names, but we are bringing in some special guests that I'm really excited about.
WCT: Are you currently recording it?
EE: We are in the studio doing demos right now. After we are done with this interview, I'm shooting over to the studio again. We are about 80 percent done with the demos, so we're hoping to get in next month and start recording for a February release on Bloodshot.
Exciting things are happening. We've been asked to come to Europe when the new record comes out, and that's a thrill. It's really neat stuff.
WCT: At Market Days, will we be able to hear any of these new songs yet?
EE: Oh. yeah. We'll be playing a bunch of new songs.
WCT: What do you like to do after you play a show?
EE: A lot of people like to party and get drunk and high. Half of our band are teetotaller vegetarians, so we like to just go and hang out at our favorite all-night café in town and just relax and unwind. When we are out on the road, we get invited to go our more, like go out dancing, hang out at clubs. We'll play college and kids will have us come hang out in their dorm rooms, and that's a lot of fun. Here in town, I just like to relax.
WCT: What's your favorite local record shop?
EE: Reckless Records—there's no doubt about it. I've spent a lot of money there. I was just there yesterday. I live in Lincoln Square, so I also spend a lot of time at Laurie's Planet of Sound.
Catch indie rock band Scotland Yard Gospel Choir at Market Days on Sun., Aug. 10. Visit www.myspace.com/scotlandyardgospelchoir for more about the band.
