Interview: The Antlers' Peter Silberman on Their Strikingly
Haunting Debut Hospice and Those Nagging Arcade Fire Comparisons
By Michael D. Ayers Fri., Aug. 21 2009 at 12:30 PM Write
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The Antlers: (center) Peter Silberman
When Brooklyn's the Antlers self-released their 10-song
debut album Hospice this past spring, quick accolades from NPR and the usual
Internet suspects prompted Frenchkiss to grab hold of it and give it a proper
release this past Tuesday. And it's easy to see why: Hospice is a sprawling mix
of brooding guitars and dense atmospheres, delicately narrated by Silberman's
whispering falsetto. The back story to Hospice is just as compelling: Silberman
spent a year-and-half in a kind of self-imposed isolation, processing the
deeply personal, emotionally wrought events that inspired this record.
And
although the 23-year-old tends to avoid revealing too many specifics, "for
the sake of everyone involved," Silberman does explain that Hospice
"tells the story of a psychologically abusive relationship, some of which
took place in a children's cancer ward. The record sort of drifts in and out of
the hospital, which is true of the relationship itself. To an extent it's
autobiographical, but I guess the best way to say it is that there's a few ways
to lose someone. It's not always through death, even if it resembles
death." All together, Hospice is a cathartic, therapeutic, mesmerizing
piece of work that makes for a strikingly haunting debut.
There's this context to Hospice that people are really
gravitating towards. How important do you think that context is to get the
record?
I don't know. I think it could definitely get exhausting and
pigeonhole it a bit--especially the whole isolation thing. It's kind of tricky,
I think before we self-released it, we realized that it does need a bit of
context before you listen to it. I think it can stand on its own, but it does
need a little bit of introduction.
Some pop records you can get very easily without knowing too
much. But with something like this, I think it helps.
Certain albums need their back story--but it's also tricky,
because I think some of the back story is in the record. I try not to spell it
out too much; it's all there, but maybe takes a little bit to dig in.
When you were writing this, had the events already taking
place or had you been removed a bit, time-wise?
The events on this album pretty much had drawn to a close; I
started writing the record right as they had drawn to a close.
So there wasn't much time at all.
Now it's been awhile; that was sort of a long time ago, the
spring of 2007 it all came to a close. The next year and a half, I spent
processing what had happened beforehand and turning it into this album. Now,
we're a few years after the fact and it's very strange the album is just now
coming out.
When you were writing the music, were you looking to evoke
certain feelings through the sound?
I think we wanted sounds to emphasize certain aspects of the
lyrics. But it's really the story; in the same way that a film has different
ways of bringing out elements of the plot, it's the same way in music. They
don't have to be separate and there are a couple ways you can go about that.
You can make an album where the vocals are meant to be another instrument, like
on Loveless. It's so much, where the vocals are alongside the guitars and drums
and aren't really meant to be understood. But if you're making something where
the lyrics are important, you can just have the lyric and an acoustic guitar
right behind it, so you really draw attention to the lyric. But I think what we
really wanted to do with this is both. Have the music as the soundtrack to the
lyrics. Bringing out different elements of the subject matter, setting a mood
for what is going on.
It's definitely one of those things where I'm not going to
listen to one track; I'm going to put this in when I can listen to the whole
thing.
Those are definitely my favorite types of albums. Those are
the ones that stay with me the longest in my life--the ones I can't even listen
to out of order. There've been moments where people have put things on that is
out of order or missing tracks and I've said "I don't even want to listen
to it!" I think there is merit to singles and individual songs, but when
you have an album that its own world, it's something special. I don't know to
what extent we achieved that, but I those are my favorite kind of albums, when
you get a feeling of in that world. It's sort of self contained and transports
you somewhere.
Did you start this alone?
You don't hear about many records being made that way.
A few items compare you to the Arcade Fire. But for me, the song structures and arrangements are radically different. Would you agree?
Maybe a bit more winding throughout. Maybe that's due to the atmospheres you were talking about.
Are you working on new stuff too?
Seems like you took your time with Hospice. Sometimes people feel pressure to put out there next thing real quick.
[This interview was originally published in The Village Voice, by an author who is not me. I own no rights to photos used.]
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