Elevation’s Nathan Smith: Dreams, new heights and Strangelove

If the single Razoreyes  happens to be the introduction one has to  Elevation, then we would only hope that you’re not afraid of heights, because you are probably going to get some here, along with attitude, great production and think our loud volume levels.  The band has just released their debut album Strangelove and, to be sure, it’s got some seriously infectious stuff jumping out of it.

Elevation is five guys.  Nathan Smith, the singer/frontman, Andrew Averso at lead guitar, Stephen Bailey on drums and Luke Kickock guitar with Matt Perez on bass. What’s particularly interesting about Strangelove is that it is a collaboratively written album from five people, a sort of art crafted by committee, if you will.

The band recorded Strangelove in Atlanta during the winter of 2007/2008. It’s released on 50 Records.  The work features some very illustrious players, indeed.  It was produced by Dan Hannon (Manchester Orchestra, King Konga, Aaron Shust) and subsequently mastered by Grammy Award winner Adam Ayan  (Nirvana, The Rolling Stones, Foo Fighters, Incubus). Radio Singles for the album are mixed by Mark Endert  (Maroon 5, The Fray, Madonna) including Razoreyes.  Commercial accessibility is not left up for grabs.

We asked the band’s singer, Nathan Smith, to talk with us about his group and Strangelove.  The interview is a revealing look into an emrging band’s first breath of life, that mercenary moment of infinite possibility.  But first we invite you to listen to and view the single Razoreyes.  Heads up as Kimberly Stewart does an effective star turn in it and actually brings  some chops that show her rising above the cliche video babe gig.

Strangelove is the bands debut. Razoreyes is your first single and the accompanying video is actually quite good. Who shot it and how did you pull Kimberly Stewart into the project?

What I like most about the Razoreyes video is that the band came up with the vision and executed the video almost entirely on our own. We got a chance to collaborate with a very talented director Chuck Moore from Atlanta. We all put a lot of sweat into project and I really dig the finished video.

A number of months back, while we were trying to cast Kim’s part, we heard that she might be interested in the project. I had a chance to talk with her on the phone and it seemed like a good fit and she agreed to do it. We all felt like the film’s dark aesthetic lent itself well to Kim’s involvement. So, she flew into Atlanta and we spent a night shooting with her at a condo over on the east side of the city. She’s an amazing and beautiful person… and she’s wonderfully talented. The video ended up turning out exactly as we wanted it to.

You’ve described Elevation as a “Pop/Rock Band”. Is your description there an effort to consciously steer away from and avoid the ‘indie band” label?

No. The “indie” label is as dead in 2009 as the “Alternative” label had become in 1999. I’m not steering away from anything… we are a rock-n-roll pop band.

Further, the premise of the question indicates that there would be something negative to steer away from. I don’t look at it that way. The Beatles, Stones, The Who… all pop/rock bands. We make music that moves us as a group. Either you like our music or you don’t. I hope you do, but if you don’t you can describe it as whatever you want.

You have said that you want Elevation to be the next great American band. I love the statement purely for its audacity, the seeming recklessness and flat out romanticism of it. It’s a great deal to want to take on. Why do you say this?

Because that’s what I want. I want Elevation to be the next great American rock band. I wouldn’t say it if I didn’t think it was possible. Don’t get me wrong: I’m not saying we’re there yet, but what’s the harm in believing and dreaming in something. I think its only possible to achieve what you first believe could happen.

We’re all reckless romantics, probably sometimes to our detriment, at least to mine. But I think we write music that appeals to people on a number of levels…. not the least of which is the spiritual. Rock is about life-style, fashion, attitude, politics and spirituality. I hope we can continue to write music that works on each of those levels.

Beyond “Strangelove” we’re going to continue to grow as a band and put out records. My hope is that more and more people hear what I hear.

Elevation writes collectively quite often but there are times when you will bring in a full song and show it to the band. That’s an interesting thing given that you have said in the past that the democratic process there lead bands to settle for the lowest common denominator. How do you find the balance or is still down to checks and balances?

It’s often true. Democracy can be destructive for a band cause there’s always one person who doesn’t like something at that particular moment. If you always move on when an idea doesn’t seem to be working for everyone you run the risk of losing a great song because the ideas are still evolving. We try to stick by a rule that we always finish songs and then sit on it and see if the magic is still there later. And quite often the person that had an issue with one of the parts ends up coming around.

Most of the time the band writes as a collective. This is one of the aspects I enjoyed most about Elevation. Some of the greatest times in my career have been in writing sessions. We usually get together for full weekend of writing in the studio. The collaboration fuels all of us. When we play the songs live we all feel it cause we’ve all gotten out hands dirty in it. We’ve all got to play these songs for the rest of our career and it’s important that we can all stand behind them fully.

There are occasions when I bring a completed song to the band and the band forms their parts around the words and melody. In those cases I always try to stay away from preconceived notions about what the drums, bass or guitars should be doing cause the other guys are way better at that than I am. Each on of us has such a wide diversity of influences and I like seeing how their influences change the tune.

The dynamics between you and Andrew Averso on stage are exciting to watch. It’s kind of like a throw back to some of Jagger and Richards moments. Showmanship isn’t the biggest part of most of today’s bands. It’s as though charisma is intentionally suppressed with a fear that the music will somehow suffer if it becomes to prominent.

Andrew and I have always looked up to the great dueling rock personalities: Jagger and Richards, Townshend and Daltrey, Bono and The Edge. I like the competition. I think being on stage and competing for the eyes of the crowd takes our show to a different level. I don’t self-describe us a something great, but there’s not enough bands out there doing that. I remember when I was younger watching films of those groups and thinking I want to be a part of a duo like that. I was lucky to find a guy who liked that too. We’re still learning each other, but I like where it’s headed. Candidly, Andrew and I battle each constantly: in terms of vision and spotlight, but it pushes each one of us to be better.

As far as the second part of the question, I think I disagree with the premise slightly. I still think there are a number of amazing bands with spotless showmanship. It’s just that “styles of show” fluctuate just as much as styles of music so it can be hard to pinpoint a particular movement.

You took time in your tour to play for the troops in the Middle East this summer. Talk to us about that and the overall struggle to break a band in 2009.

Armed Forces Entertainment approached us in early 2009 with the opportunity to go overseas to play for the troops in the Middle East. We never balked at the idea of doing it, even for a second. For us it was honor to even be considered. I think the trip had a tremendous impact on all of us in the band… I’m sure the troops impressed us way more than we impressed them. Outside of politics, most people can’t fully grasp that each soldier is just a normal person who has transplanted their lives for months (sometimes years) to the middle of a combat zone until you witness it for yourself. We tend to think about war in terms of numbers, rather than in terms of the individual. And we forget the existential realities of being so far from home with limited connection with family and all the things we take for granted. It was amazing to meet thousands of soldiers, chat and play some Bruce Springsteen in places most people will never get a chance to visit. I hope we brought them a little something from home; they definitely gave us something to bring back home with us.

The overseas tour was an interesting break from touring in the U.S. in 09. For one, it’s made playing air conditioned venues seem a little easier. Before and after we left we’ve been touring as much as possible in the U.S and 2009’s been a good year for us. I hope it continues. Most of the time, touring is the only way to break a band and it can sometimes be a grind, but I’ve always said one of the most destructive drugs for a band is the desire for a 401K. It’s not easy but the love the fans give back is quite rewarding. Thanks to those who keep coming back time after time.

 What’s next? Road work, road work and more road work?

Absolutely. We’ll be on the road the remainder of 2009 and in to 2010.

We’ve also got a number of things in the works with Strangelove, but I leave you with something to look forward to including unreleased b-sides from Strangelove and more. I’m looking forward to the next phase of this record, which is still in the works. We’re all looking forward to what’s next.

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