By Morgan Y. Evans
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Julie Christmas is one of the most evocative performers to come along in many years. As front woman for NY's Made Out of Babies and Battle of Mice, she digs deep and bares the raw nerves of her life in an undeniable way. Made Out Of Babies debut Trophy , featured "Herculoid", perhaps the best LP opener since the Melvins "Skweetis" or "No Eden" by Only Living Witness (and that's saying something!).
Crusher writer Morgan Y. Evans recently talked to her about her forthcoming solo work, both other bands, and Made Out Of Babies recent sophomore record for Neurot with Steve Albini entitled Coward.
MORGAN Y. EVANS: Coward's sound, with Albini, really seems to accent the angularity of the band and also take the bombastic qualities to the next level. Your band's sounds really are so genuinely there tonally, already (including vocally), that Albini's sort of bare bones/warts and all/dry recording approach suits you perfectly. How much icing was added on the cake, I guess, and how much was just chemistry in the studio between the parties.
JULIE CHRISTMAS: For anyone who doesn’t know that much about how albums are made, the producer is like an unseen member of the band. They are as important to the final sound of the album as anyone playing or singing. We went to Albini because he records what's there. There is little or no icing, and Coward sounds similar to what we would sound like in a live show – except some of the songs were written during the five short days we recorded and mixed the album. We’ve practiced a bit since then. I liked working with Albini, he deserves his reputation for mastery. I could geek out about the difference between Pro-Tools and tape for a moment, but I’ll skip it in the interest of keeping the few people who are reading this awake for the rest of the day.
M.Y.E.: Older songs like "Ire Fire" or "Sugar" seem really cathartic. I was reading a Marlon Brando Rolling Stone interview where he said (to paraphrase) that he sort of eventually had to walk through it each time and make the faces, for to leave yourself that vulnerable to the emotion every time not only dulls it but can be potentially hazardous. With music, what's your take on this? And also, if you do have a healthy buffer/balance of being somewhat removed at times, does the emotion of a certain super intense part ever crack that and open things up anyway?
J.C.: I have never even thought of training myself to look like I was performing instead of actually going through it each time. It’s probably a good idea, but I think you cheat the people who are there to see you show something of yourself by going through the motions. For me, the live show is definitely hazardous. and it always feels like the first time. I have had nights where I have trashed my apartment and broken some of my favorite things because I knew I had to get on stage. It isn’t that I don’t appreciate the opportunity to play in front of people; it is the great personal cost of physically getting myself onto the stage. Once I’m there, something else takes over and I can connect to the audience and try to show them feelings and ideas that I am too clumsy to explain in a regular way. We have played with tons of bands, and I’ve never met anyone who has as hard a time with this. I am amazed by all the musicians who look forward to playing, or, rightfully, think it’s a normal thing to play. I always know it is going to be terrible and terrifying and furious and that I will be showing more of myself than I should outside of a mental institution.
M.Y.E.: I am friends with Karyn Crisis, and I know, for example, how when they started they were really conscious to retain artistic integrity despite people not being as used to a female singer in that context. Not to knock the bands that do it so much, (or to sound to doting on your awesomeness), but I can't picture Made Out of Babies ever doing a Hottest Chicks In Metal tour, despite the fact that you are confident and own the stage, your space, beauty, etc. What are your thoughts about that?
J.C.: We don’t worry about artistic integrity too much in terms of how we are viewed by others. We want to be able to do what we want without any interference. Sometimes the choices we move most enthusiastically towards are the least tasteful. But for the record, we will probably never be asked to do such a mainstream underground tour anyway. Just not cool enough, I guess.
M.Y.E.: How did the band end up being featured musically in a Frank Miller 300 documentary? I have a huge Sin City Miho tattoo and when I met Frank at a signing once he told me to make sure I also saved money to take my girlfriend to dinner!?? Man...
J.C.: We were asked to do that. We didn’t have any previous contact with anyone who made the documentary. I have to say, we all jumped at it with our panties down. Frank Miller is a legend. I almost vomited when I heard our songs over the 300 trailer. Amazing.
M.Y.E.: What’s up with Battle of Mice, for the future? Also, sure you've been asked this, but what differs in your headspace when writing for different projects? I mean, for your solo stuff, is it more saved ahead of time for personal reasons and/or how much is written after hearing music ahead of time versus words you already had that you really wanted to expel?
J.C.: There is an upcoming Battle of Mice split with Jesu coming out in a few months on Robotic Empire, so Battle of Mice are still working. Everything I do is pretty spontaneous. I don’t work on things for months, writing and re-writing. Once the music for a new track is done, I tend to listen to it about fifty times in a row and let ideas develop naturally. My own solo music is an effort to honor and remember songs that I’ve always loved, and to try to contribute my own ideas in some way. I know people will probably hate the record when it comes out, but I wanted to make music that shows that the strongest feelings don’t always come from screaming, but from being quiet and honest.
M.Y.E.: You seem really confident with your melodic/eerie/and heavier voices. How did you end up sitting comfortably within all these aspects of yourself? Is it simply being resigned that you are yourself and have to let it be what it really is or more a self discovery over time/progression of ability growth? (Hope that makes sense, had a few martinis for lunch)
J.C.: I love martinis for lunch. I have to be comfortable with eerie and strong-voices because it’s how I express myself best.
M.Y.E.: Dillinger Escape Plan has a new record that's a bit rawer again. You folks in Made Out Of Babies (or M.O.O.B.!) are holding your end down experimentally, and there seems to be a thriving crop of talent right under the radar like Apes, Casket Architects, Agalloch (and that’s just ones I'm aware of. Sure you know dozens). People seem to declare the death of real music all the time or the sickness of the industry but it seems some people are shedding blood for it more than ever? What do you think about that?
J.C.: People have been saying originality is dead forever about art, music, film, literature and a million other things. It’s irrelevant. Musicians make music they make, for their own reasons. There’s still originality and there is still true talent.
M.Y.E.: Is it fun to sing "I see blood around his snout?" Regardless of the seriousness of "Sleep and Dream”, isn't it fun to talk/sing about dogs and say words like snout? Well, hopefully the dog is ok in the end.
J.C.: Thanks for bringing it up and ruining my chances to say snout on anything I’m working on right now – which was my plan, because singing the word snout is awesome.
M.Y.E.: Can I just be selfish a minute and say “wow” at the power of Morris Day, as only a day after I had "Jungle Love" on my MySpace I got comments from a gaggle of people, including you! We have Morris Day to thank for this interview! But seriously, I don't think it is just 80's timing. How do some people just get so bad ass? What is your opinion on bad-assedness?
J.C.: I don’t really have an opinion. I just recognize it when I see it. Just like every other worshipper of bad-assedness. Morris Day is definitely it. And Tony Jai, the guy from Ong-Bak Thai Warrior.
M.Y.E.: How did you get involved working with John Lammachia from Candiria/ Spylacopa on your solo stuff (among others)? For years I have found him to be one of the most down to earth and super talented dudes in the scene as well as humble about his own talent. Can't wait to hear more!
J.C.: I am so excited to be working with John. He is someone who I plan to work with 'till the end of time. We were standing next to each other backstage at an Isis show and we started talking. We’re both from Brooklyn and have the same sense of humor and a lot in common. He’d heard the Battle of Mice album and asked me to work on some tracks for his project Spylacopa. I was also really interested to work with the other people in the band like Jeff from Isis, and especially to work with a great male vocalist like Greg from Dillinger Escape Plan. The band will release an EP in early 2008.
M.Y.E.: In the long run, what would you hope Made Out Of Babies legacy will be? Also, what would you make out of babies, ideally, if given free creative license and no liability? Maybe a nice flan or pudding would be suitable?
J.C.: I don’t want any of us to have a legacy. I plan to burn in a house fire accidentally caused by my vain attempts to dry my wet laundry on the stove and be forgotten forever.