INTERVIEW: Class Photo
Photo by Jonathan Vivaas
Tommy got to catch up with Patrick Morris — formerly of STRFKR — to chat about his newest effort, Class Photo. Check out the Q&A below and be sure to stream his album Light Years Away now.
By: Tommy Rodriguez
First of all, congrats on the new album release! The whole project sounds great; how does it feel releasing new music on your own terms without any restrictions or other creative influences?
I really appreciate that! It’s been very exciting making an album where the main goal has been making something I’d want to listen to. I am thankful that I can enjoy creative freedom. I am used to working with other people, which has its advantages and disadvantages. One nice thing about doing things on my own is overseeing the process from beginning to end. It’s like working on a painting, where you can have as much control as you want.
Do you get nostalgic for the past? You’ve definitely made your mark on STRFKR and STRENGTH, but have they made their mark on you today?
Both of those bands have made their mark on me, with STRENGTH being without a doubt more of a formative, overall influence. Having written and performed in that band for ten years, I can hardly separate my influences from those of my former bandmates. Having practically grown up together, our tastes are still intertwined. With STRFKR it was a bit different. I came into that band after they had already been working together. One thing I learned from STRFKR was that it’s possible to fuse together the songwriting process with the recording process. It’s something so simple but I learned that if I get a vocal take right the first time, I can make the finished recording around that version; it doesn’t have to just stay a demo.
Moving to Norway from the states has to be an incredibly eye-opening experience; is there anything that you prefer in your new home more than the states?
The first two things that pop into my head are free healthcare and Oslo’s Marka. Not having to worry about healthcare is a huge relief. Oslo’s Marka is the beautiful, enormous forest surrounding Oslo that is just a quick trip on the subway from pretty much any place in the city.
How does the music industry operate in Norway? Is it similar to the US, or different beast altogether?
From my understanding it functions pretty similarly, but it is a lot smaller. For that reason I noticed that while the US has a higher amount of music industry people, it seems easier to make connections in Norway. I am referring to human connections more than business connections, but it probably applies to making business connections as well. I’m grateful to rent a small music space in a communal building specifically catered to musicians and producers.
Listen to Light Years Later here
What’s been your mindset in the past few months with the release of the record? Excited, or nervous?
Mostly excited, but of course a little nervous as well. The band began planning our record release shows many months in advance, and we started working on some ideas for augmenting and improving the live performance. Working out some new arrangements and combing through the technical details is always a little nerve-racking, but when the shows were underway, I think we all felt like it was worth the extra work. The album was finished some time ago, so I wasn’t really nervous about that part. I was mainly excited that the whole thing that I worked so hard on would finally be out.
How has living in Norway affected the creative process for the band? Light Years Later sounds completely different from most indie pop albums today...
Since Light Years Later was recorded almost entirely before I moved, I can’t say that my life in Norway played a significant part in the creative process on that album. I’m certain the impending move to Norway had an effect. I had a deadline, and after that I literally packed everything up and shipped it to Oslo. I expect parts of my creative process to change now that I’m here. One thing I’d like to do is get my bandmates to perform and collaborate on the next record. Henrik Lødøen (drums) and Tage Lægreid Olsen (bass, keys) are very inspiring.
My favorite song on the album has to be “Does the Cap Fit”. There’s actually a lot of songs on the record that focus on small, almost random details and expand on them and love in a very beautiful way. What inspired this type of songwriting?
It’s so great that that’s your favorite song, because honestly it is one of my top three as well. Not many people single that song out and say they love it, but for me it is a stand-out. That song started as a simple loop: three chords, a sparse bass-line and a restrained keyboard hook (which gets introduced in the second verse). I think that for awhile now, I’ve been interested in songs where the same chords are used almost throughout, but the dynamics change and parts are getting added and subtracted. Paul McCartney uses this approach in his solo stuff, which I absolutely love. I hear it in dance music, hip hop, and reggae too. I don’t always work this way, but I am really happy with the way "Does The Cap Fit?" turned out, both in the slow-building of the song and the production.
There are a handful of skits and interludes on Light Years Later, a rarity for indie pop. Just how do these play into the overall story for your record, and how’d you come up with them?
There are, and that is my attempt at not taking myself too seriously. I like a short skit in an album if it ties in with the themes, and I think the automated attendant (Intro/Hold Music) ties in with the feelings and themes of several of the songs. My former bandmates have a new band called Phone Call, so their moniker also probably had an effect on my “telephone themes.” It wasn’t totally premeditated. I like the bookends on the album, because it gives it a feeling of conclusion.
The record itself is diverse as hell; do you go into your sessions seeking a new sound every time, or do the songs naturally come out as unique as they are?
I wanted to be free from the limitations of just working in one genre. At the same time, I did set up some limitations for myself by only using a couple of synths and an archaic sampler. And of course I have my guitar and bass. I think that this led to a lot of similar sounds, but I recognize that the album still takes some pretty unexpected turns in terms of genre. I listen to everything from house music to Gary Numan to grunge to Blood Orange. For this album I wanted to be as playful as I could while still having those limitations I mentioned.
What would be your favorite moment on the record? It could be a lyric, an instrumental part, or even a whole song or part of the recording process.
As I mentioned, "Does The Cap Fit?" is a favorite track. There were a few recording highlights for me. The process of recording LYL took place in my garage in Venice. It was a pretty crappy space, as in it wasn’t at all insulated, and I was always nervous it would get broken into. At the same time, the garage just felt special. It made the recording process interesting for me. I parked my minivan inside of it and used it as a vocal booth. I had to crawl over the roof of the van to get from one side of the garage to the other. The garage also got insanely hot in the summer. But it was a great space to play around in.
Do you plan on taking the album on tour? If so, where's the one place you’d love to play at?
I would like to do some shows around Europe and North America. With the help of my bandmates, the songs sound even better live. I would love to play in Portland, Oregon because that’s my favorite US city and I have friends there. But I would also love to tour Europe. I’m familiar with the touring life, and I know it’s a tough gig but there are really nice times, when you manage to wake up a little early and explore some beautiful place, for example a German town like Münster. Class Photo will play on the west coast of Norway in early 2020, and hopefully more dates will be announced soon.
What would you say old time fans and new listeners could find together on the Light Years Later?
It’s a good feeling to hear from people who’ve been following my music, who connect with the new project. Most often I hear people recognize my guitar style from before. It’s always been influenced by disco and poppy dance music. I also hear people who don’t know me from adam who still think the guitar solos and riffs are the best parts. I was always obsessed with guitars and beats in former bands, so it’s totally understandable.