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Neko Case

By Alex Teitz

FEMMUSIC: Can you describe your songwriting technique?

NC: It's pretty all over the map really. Sometimes there's words first and sometimes I come up with it playing the guitar and sometimes I write the whole thing in my head and then try to figure it out on the guitar.

FEMMUSIC: What was the biggest challenge making Blacklisted?

NC: The biggest challenge? (long pause) I think being patient to hear the finished product. Things take a long time to do.

FEMMUSIC: How long were you in the studio?

NC: Well I was in for about three weeks in December, and about three weeks in March, and then of course there's mastering which took a while and we've been working on the artwork for a long time and that's not even quite done yet. It's almost done. My schedule's so busy it's hard for me to coordinate with people so we have to do a little bit here and there.

FEMMUSIC: What were your goals going into this album versus Furnace Room?

NC: I think I wanted to make something that was more of one song flowing into another, one bigger idea than a bunch of songs that were each their own idea. You know what I mean? Each song has it's own idea on the record but I think they're more related now.

FEMMUSIC: I also noticed on this album that you worked with Craig Schumacher for the first time?

NC: Yep. Actually I recorded with him before it's just something that hasn't come out yet 'cause we haven't finished it. This was actually my second time working with Craig Schumacher. He's delightful.

FEMMUSIC: What is the other project?

NC: It's a recording with Calexico and Giant Sand and a few other people that we haven't finished yet. We'll finish it. All three bands tour considerably.
It was kind of one of things where we went into the studio, we were working on it, and we got kind of excited about it. We ended up with way more stuff than we'd have and we wanted to finish it all because it was really fun. I don't know… It's good that it's still looming 'cause it gives me an excuse to go out with them. I'll be looking forward to that.

FEMMUSIC: What was the best experience making Blacklisted?

NC: I think probably the time spent putting down the tracks in Tucson because I got to play a lot of instruments which is something I've never done on my own records before. It was really, really fun.
And the Wavelab atmosphere is pretty laid back and pretty inspiring and, you know, Craig's always really got great ideas. And he's really patient if you want to try something stupid. But he's good. He'll tell you if it sucks or it doesn't.

FEMMUSIC: As a woman in the music industry, have you been discriminated against?

NC: Hmm. (long pause) Since I handle most of what I do myself, no. I don't think so. I think all musicians at my level are probably discriminated against be they man or woman. You know. The independent labels as far being played on the radio. Not that that keeps me up at night or anything.
I've had my moments where an occasional soundman will look at me like I'm a fuckin' idiot when I tell him that there's something wrong with my microphone. They do the same thing to some of the guys in my band. I think some people just don't want to do their jobs. (laughing) But I'm not saying that about all soundmen. I've had some super, super, great sound engineers too who are great to work with.

FEMMUSIC: What one thing would you change about the music industry?

NC: I'd like it to be so that there's room for everybody because there is room for everybody. I'd like it to go back to where there's some kind of artist development in the majors I guess. And then, maybe, there'd be a lot more good music in the mainstream but that's not saying that there isn't room for people like Britney Spears because there's a lot of teenage girls out there that like Britney Spears. Good for Britney. Saying she's wrong is what's wrong with the industry it's a lot of statisticians and label people who are the problem, you know?

FEMMUSIC: What advice would you give to an artist just starting out?

NC: Everything to say in this kind of situation sounds kind of cliché but I don't know. It doesn't matter…basically you're focus can't be that you want to be famous or that you want to make a bunch of money. You have to figure which way the music makes you the happiest and then you go from there and it's more likely that that will take you to some kind of success than anything else. Gearing yourself to be famous is a pretty bad idea. It works for some people but such a small percentage. They just look so huge that it seems pretty attainable but really it isn't.
But you know there's a HUGE gray area in the world of music where people can exist, and live and not have to compromise themselves at all which can bring you great joy. It makes it that people can pay ten bucks to come see you rather than sixty-five bucks to come see you so you're kind of doing your fans a favor I suppose too.

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