Themes of a Recurring Musical Event
by Andrew Glassett [andrew@slugmag.com]
Issue 237 / September 2008 More from this Issue
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It makes sense that the members of Pattern Is Movement areobsessed with burritos. There are several different elements that go intomaking a burrito special, but a good tortilla is top priority. A traditionalburrito contains rice, beans and some kind of meat. What happenswhen other cultural influences are added? Is it still a burrito? Burritosare also the food of choice for many chronic culture seekers. All ofthese things might be related to the sound of the band, but drummerChris Ward doesn't seem too concerned about the implications ofquantities or cultural line crossing. For a group of Christian-raised, hiphopinspired book nerds, Pattern Is Movement's sound is somewhatinexplicable. Their influences range from mid-western religiousmysticism to complex and prolific classical music to barbershopquartets in a sea of gypsies. Their music is masterfully arranged andperformed-and in the exact quantities necessary for a deliciousauditory experience.
SLUG: What is the significance of the name Pattern Is Movement?Also, what moves you?
CW: We lifted the name from a T.S. Elliot poem. Everyone in theband liked it and thought it helped describe what we going after at thetime (this would be 2002).
I would agree that it related to our math-like tendencies when wehad three guitarists, but we left some of those math-like tendenciesbehind and when employed, we try to disguise them. Maybe weshould be called Pattern was Movement?
What moves me is any song by Otis Redding. My question is,why aren't there more bands listening to him as their number oneinfluence? He is a genius.
SLUG: Your previous album was recorded at John Vanderslice'sTiny Telephone studio in San Francisco. What was that like?
CW: We recorded Stowaway in 2005 at Tiny Telephone. It was sucha great experience for the whole band. I t was the first time we hadever recorded in a professional studio and it really taught us somuch in such a short amount of time. We also loved recording arecord in San Francisco. The weather was amazing as well as theburritos.
SLUG: How did the recording process differ on your newest albumAll Together?
CW: We used the same engineer from Stowaway, but we did it athis studio in Monroe, NC. That was a much different experiencethan Stowawaybecause we were out in the woods and we lackedthe accoutrement that San Francisco afforded, namely, burritos.We also recorded onto the same medium, analog tape, and wethink the results were stellar. Our engineer, Scott [Solter], isamazing with tape and he makes you feel like you're using pro-toolswith his ease of skill with editing tape and such.
SLUG: How does your hip-hop background influence your music?
CW: Both Andrew [Thiboldeaux, vocals and keys] and I becamefriends at the tender age of around 13 and 14. We both were raisedin very religious households (see: Jesus Camp) and we would goon religious retreats. On this one retreat, we both got talking andreleased we loved Dr. Dre's The Chronic. We discussed it a bit anddecided to form a hip-hop group. Our goal was to create a Christianhip-hop record that would be inspired by The Chronic without thechronic. We have since moved on from Christ inspired records, butwe still love hip-hop.
SLUG: How has the band's dynamic changed since losing one ofyour members? What changes have you had to make to perform live?CW: It was tough when our guitarist, Corey Duncan, left the band.We were not sure how to approach Pattern is Movement as a twopiece.However, when Andrew came to me with new tunes (sansguitar arrangement), I was very motivated by them and he made itvery apparent that a two-piece could work. At first, it was a bit shakylive, but just a couple of shows in, friends were telling us that it was thebest version they had seen. We feel like the dynamic of two peopleis easily translated to a crowd and furthermore, our long history asfriends and musicians really comes out when it's just the two of us.
SLUG: Describe some your non-musical influences. Why is rhythm soappealing to you?
CW: I have never answered the question with this answer, but here itgoes: I really enjoy comedy. From early on, my dad impressed uponme that comedy was king. I listened to comedy albums while I went tosleep. My favorites were Flip Wilson and Bill Cosby. I also watcheda lot of SNL as well anything Mel Brooks was associated with. WhileI was making Christian hip-hop, we as a family, would watch theSimpsons and In Living Color with one caveat: when the fly girls cameon to dance thechannel had to be changed.
Prepare to be moved on Sept. 24 when Chris and Andrew bring theirversion of cerebral and spiritual indie rock to Kilby Court. A burrito stopon the way will only heighten your experience.
SLUG: What is the significance of the name Pattern Is Movement?Also, what moves you?
CW: We lifted the name from a T.S. Elliot poem. Everyone in theband liked it and thought it helped describe what we going after at thetime (this would be 2002).
I would agree that it related to our math-like tendencies when wehad three guitarists, but we left some of those math-like tendenciesbehind and when employed, we try to disguise them. Maybe weshould be called Pattern was Movement?
What moves me is any song by Otis Redding. My question is,why aren't there more bands listening to him as their number oneinfluence? He is a genius.
SLUG: Your previous album was recorded at John Vanderslice'sTiny Telephone studio in San Francisco. What was that like?
CW: We recorded Stowaway in 2005 at Tiny Telephone. It was sucha great experience for the whole band. I t was the first time we hadever recorded in a professional studio and it really taught us somuch in such a short amount of time. We also loved recording arecord in San Francisco. The weather was amazing as well as theburritos.
SLUG: How did the recording process differ on your newest albumAll Together?
CW: We used the same engineer from Stowaway, but we did it athis studio in Monroe, NC. That was a much different experiencethan Stowawaybecause we were out in the woods and we lackedthe accoutrement that San Francisco afforded, namely, burritos.We also recorded onto the same medium, analog tape, and wethink the results were stellar. Our engineer, Scott [Solter], isamazing with tape and he makes you feel like you're using pro-toolswith his ease of skill with editing tape and such.
SLUG: How does your hip-hop background influence your music?
CW: Both Andrew [Thiboldeaux, vocals and keys] and I becamefriends at the tender age of around 13 and 14. We both were raisedin very religious households (see: Jesus Camp) and we would goon religious retreats. On this one retreat, we both got talking andreleased we loved Dr. Dre's The Chronic. We discussed it a bit anddecided to form a hip-hop group. Our goal was to create a Christianhip-hop record that would be inspired by The Chronic without thechronic. We have since moved on from Christ inspired records, butwe still love hip-hop.
SLUG: How has the band's dynamic changed since losing one ofyour members? What changes have you had to make to perform live?CW: It was tough when our guitarist, Corey Duncan, left the band.We were not sure how to approach Pattern is Movement as a twopiece.However, when Andrew came to me with new tunes (sansguitar arrangement), I was very motivated by them and he made itvery apparent that a two-piece could work. At first, it was a bit shakylive, but just a couple of shows in, friends were telling us that it was thebest version they had seen. We feel like the dynamic of two peopleis easily translated to a crowd and furthermore, our long history asfriends and musicians really comes out when it's just the two of us.
SLUG: Describe some your non-musical influences. Why is rhythm soappealing to you?
CW: I have never answered the question with this answer, but here itgoes: I really enjoy comedy. From early on, my dad impressed uponme that comedy was king. I listened to comedy albums while I went tosleep. My favorites were Flip Wilson and Bill Cosby. I also watcheda lot of SNL as well anything Mel Brooks was associated with. WhileI was making Christian hip-hop, we as a family, would watch theSimpsons and In Living Color with one caveat: when the fly girls cameon to dance thechannel had to be changed.
Prepare to be moved on Sept. 24 when Chris and Andrew bring theirversion of cerebral and spiritual indie rock to Kilby Court. A burrito stopon the way will only heighten your experience.
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