Jonathan Meiburg, Shearwater

It's a telling indication of the depth of Jonathan Meiburg's experience that if you Google his name and search for images, you'll see a lot of birds.  As any professional writer will tell you, what makes for powerful writing is engagement with the world. Good writers engage with their environment and seek out novel ways to interact with it.  Of course, mere interaction with the environment isn't necessarily an indicator that you'll write well about it; to do so, you have to engage and reflect on that engagement. Ernest Hemingway experienced a couple of wars and lots of bullfighting, but it's how he wrote about those experiences that made him great.

All this is to say that this is why Meiburg, the Shearwater singer and songwriter, writes such quality music.  His experience is vast: he's been to the Falkland Islands, Tierra del Fuego, an Aboriginal settlement in Australia, the Chatham Islands of New Zealand, and Baffin Island in Canada.  His masters degree is in geography, and his thesis (which I am reading now) is entitled The Biogeography of Striated Caracaras (Phalcoboenus australis). Not surprisingly, Meiburg is an avid birder.  As you'll read below, he spends a considerable amount of time not only writing about the natural environment but thinking about his place in it with keen metacognition.

Read my interview with Jonathan Meiburg after the video. A special thanks to Jenn Wasner of Wye Oak, who introduced me to Jonathan and affectiontely told us two "nerds" to go at it.

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Brian Roberts, Ha Ha Tonka

This is not an album review site, since I do that for the Washington Post.  I try to maintain some sense of objectivity when I write these short pieces before my interviews.  But for this, my second interview with Brian Roberts of Ha Ha Tonka, I am suspending that practice to say that Ha Ha Tonka is one of the best bands making music now.  Their new album,Death of a Decade (Bloodshot Records), only futher reinforces my opinion.  It's beautiful, it's soulful, it's energetic.  And the four-part harmonies from these guys from the Ozark mountain region are mesmerizing. Predictably, the reviews for Death of a Decade are overwhelmingly positive.   Their music has been described as indie, roots, alt-country, bluegrass, southern rock, among other label.  It's hard to pin down, but that's probably why they are so good: it's got all those influences.

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Joe Michelini, River City Extension

Joe Michelini of River City Extension isn't the first songwriter to tell me that he uses cooking as part of his songwriting process.  But he might be the first one to tell me that he uses it almost as a source of self-flagellation: when he gets writer's block, he eats and eats. Just gorges himself.  Then, when he feels sufficiently terrible about doing nothing but staying inside and eating all day, he ventures out. And when he does, he sees the world in an entirely new way. Everything looks fresh, like seeing the world for the first time.

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Ryan Sollee, The Builders and the Butchers

The Builders and the Butchers' third full-length LP, Dead Reckoning, contains lots of talk of physical calamities and destruction by wind, water, and fire.  There's not much optimism in Ryan Sollee's storytelling as he explores the darker side of human nature.  He explores these themes while he's fishing around the beautiful city of Portland, where he lives.   The solitary act of fishing begs for solemn contemplation (at least it does for me, since I never catch anything).  Sollee doesn't do any writing here; it's where the well of inspiration fills as he sits quietly.  The writing comes later in a process that he calls "subconscious." It's also worth noting that Sollee used to be a biologist, and the creative process often had its genesis during his many walks in the woods.

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Jenn Wasner, Wye Oak

There's no doubt in my mind that Jenn Wasner of Wye Oak would be lost without her phone. It's the key to her songwriting. That phone is where she documents all her observations for the day.  She's constantly in touch with her surroundings, and all of her lyrical and melodic ideas that come from this connection go into the phone's voice recorder for later, when she actually writes a song.  Wasner says her "switch is on all the time . . . if you're always looking around and noticing your environment, it's a big help."

What impresses me most about Wasner is that she calls herself a writer, period. And she knows that being a writer takes hard work. Like any good writer, she knows that the time spent actually crafting her words is only a small part of the writing process.  Wasner recognizes that writers are always writing, even when they aren't.  That is, her writing process takes place when she's driving, walking, shopping, anything. During this time, she's inventing ideas, trying out lines, just doing everything except putting pen to paper. In fact, she approaching her writing process with this wonderfully simple mantra: "living is work."

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Dave Hause

It's not often that I get to exchange bedtime routines with a songwriter.  But that's what Dave Hause and I did at the end of our interview.  We had been talking for about 50 minutes and established that we had a great deal in common, so it's probably little surprise that it came to this point.  We both read a lot of magazines.  Too many, really, to keep up with.  So they just pile up next to our beds, waiting to be read. The second we finish one, two more arrive.

Hause's songwriting process and reading material reflect his high level of engagement with his environment. And this level of engagement makes for one thing: Hause is a smart and introspective man.  He doesn't just give me answers, he tells me why he does what he does.  And he's able to do this because he's constantly thinking about his place in the world.  He reads Rolling Stone for the political articles and GQ for the non-fiction.  He's constantly picking up auditory and visual cues for song ideas, and he has an endless supply of notebooks and Blackberry files to show for it.

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Pete Yorn

It's not that often that a songwriter says that majoring in the humanities was the perfect preparation for being a singer/songwriter.  But that's what happened for Pete Yorn.  He was a speech communications major at Syracuse University  (it's now called "communication and rhetorical studies" there).  He had planned on going to law school and figured that a major emphasizing public speaking was good preparation.  Yorn was "petrified" of getting in front of a group, so the major helped him work through that fear and become comfortable with public performances. 

Yorn's college experience honed his songwriting skills in another way.  If you've ever spent any time near Syracuse, one image comes to mind: snow.  The area is closing in on 200 inches of snow this winter. I spent four years living in the Syracuse area. The cold and snowy winters there are soul-crushing.  But ask Yorn about his time as an undergrad at SU, and he'll tell you that if it weren't for all that snow, he might never have become a songwriter.  What others might see as limiting--the fact that you can't really go outside--Yorn saw as the perfect opportunity to stay inside and do some writing.  "I credit those winters," he says, "as a catalyst to my songwriting."

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Andy McCluskey, Orchestral Manoeuvres in the Dark (OMD)

It's a tribute to Orchestral Manoeuvres in the Dark that the sound they helped create, the shimmering synth pop that was so innovative when the band started three decades ago, is now de rigueur in music. OMD is out with a new album called History of Modern; it's their first in fourteen years and their first in over twenty with the 1980s "If You Leave" lineup.  It comes at an appropriate time, given the popularity of synth pop and the band's influence on groups like The xx and LCD Soundsytem. And the public has responded: OMD were conservative when booking venues on this tour, but now they are having to book second shows in some cities and move shows to bigger venues in others.

When it came to making History of Modern, Andy McCluskey, the band's singer and co-songwriter with Paul Humphreys, told me, "We analyzed our history and realized that we had created our own musical voice with the first four albums, and we wanted to go back to expressing ourselves in the language we invented ourselves.   We had to strike that balance between something that was OMD but also not some nostalgia trip."

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Bill Janovitz, Buffalo Tom

It's not too often that I get to trade lines of T.S. Eliot's "The Love Song of J. Alfred Prufrock" with anyone.  So when I had the chance to do that with Bill Janovitz of Buffalo Tom, I jumped, even though the lines we traded spoke of depressing topics like unrequited love and growing old.  Such is the mind of Janovitz, though, an introspective guy whose thoughtful lyrics demand as much attention as the music. Again, not surprising considering Janovitz references Goethe's novel The Sorrows of Young Werther in conversation.

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Chris Difford, Squeeze

When Chris Difford of Squeeze sits down to write a song, there's actually two Chris Diffords in the room: the one at the desk penning the lyrics, and the one on the couch in the corner telling the one at the desk how he feels.  It's those feelings that form the basis for Difford's songs; for him, the songwriting process is "cathartic. . .like keeping a diary."

There's not much I can say in this introduction about the songwriting duo of Difford and Glenn Tilbrook that hasn't been said somewhere else.  For over 35 years, they've adhered to the same routine: Difford writes the lyrics and Tilbrook writes the music.  The result has been some of the most well-crafted and memorable pop songs: "Tempted," "Cool for Cats," "Black Coffee in Bed," "Pulling Mussels from a Shell," "Is That Love," "Hourglass,". . . the list goes on.  They are certainly one of the most legendary (and I will also say strongest) songwriting duos in rock history. If you know music, there is no need for me to extol their excellence.  But if you need proof, there's this: Difford wrote the lyrics to "Tempted" in about two and a half minutes in the back of a cab.  And that first draft was the only draft: he didn't change a word from what he wrote in that back seat.

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Nicole Atkins

After high school, Nicole Atkins moved to North Carolina to study illustration in college.  This means, of course, that she has the mind not just of a songwriter but of a visual artist. This puts her at an advantage when it comes to songwriting.  As she explained to me, her creative process is a visual one.  For instance, she sees songs in colors: there's a lot of green songs on her new release Mondo Amore. And when she's in the middle of writing a song, she visualizes its landscape.  Actually, she doesn't just visualize it: she inhabits it, from gauging the temperature to feeling the ground. As you'll read in this interview, Atkins discussion of songwriting is at times interchangeable with her discussion of visual art.

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Ben Ottewell, Gomez

Ben Ottewell, vocalist and guitarist for Gomez, released his solo album Shapes and Shadows this month. It obviously offered Ottewell much more freedom in his creative process: as you'll read, everything went "a lot faster" since the buck stopped with him.  Read my interview with Ottewell about his songwriting process after the video.

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