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Buke and Gase sounds like it might be another randomly decided label for a Brooklyn indie rock group seeking to break through the thin layer of DIY musicians dusting the borough, but like the band it describes, the phrase is far from arbitrary. Arone Dyer and Aron Sanchez (yes, they share a name separated by merely one letter—it doesn't seem to bother them) began making music together after a spell as part of the noise group Hominid, pairing off to make their own music when the post-punk project split. Their extraordinary sound is partially due to the unique instruments the two use—Aron has been an instrument maker for years, opting for a guitar-bass combination in the "gass" instead of relegating himself to only one and Arone's baritone ukulele combination styled as a "buke" was designed to help her bypass carpal tunnel. Regardless, their unique take on instrumentation is only one facet to the band's eclectic, impenetrable sound.
Their second full-length album General Dome came out early in 2013, sweeping up new fans from every corner of the music world, and reassuring old ones that this group would only continue to expand their already-vivid sonic palette. Their discovery of sorts by Aaron & Bryce Dessner, the brothers behind The National, led to several releases through the Dessner brothers' label Brassland, and a level of recognition that they unequivocally deserve. Seriously, when was the last time you heard about a band with brand new instruments in it? It's a breath of fresh air to hear brand new sounds in the over-saturated cell of indie rock. Dyer's piercing, angelic vocal line drives energy through the tracks that are punctuated by equally homemade percussive instruments played by both members. The two are on tour in Australia but took some time to answer questions for P&P readers about their strange instruments, influences and feelings about Brooklyn.
When did it occur to you to take up these unique instruments? What first drove you to it?
Aron - I’ve been an instrument maker for many years so I brought that skill to the project when we started, and the Gase was an instrument I had already developing in a previous band. Messing with new or modified instruments just seems like a good way to come up with unique music, and for us it’s solving the problem of being a two person band by enabling us to play instruments with a wider sonic palette.
Was it always the plan to center the band name around the instruments? Were there other names/ideas in the running before you settled on this?
Aron - No, we were trying to avoid having a band name altogether because we didn’t like the naming process and were unhappy with how contrived a band name can be. It got to the point we needed something so we settled on what was at the time working titles for the instruments. We liked how the name put focus on the process of the band while still being an abstraction. Since then the name has become a bit of a distraction, but we like how it leads people into the workings of the band. The spelling change was obviously for pronunciation and has not been a problem.
We were trying to avoid having a band name altogether because we didn’t like the naming process and were unhappy with how contrived a band name can be. It got to the point we needed something so we settled on what was at the time working titles for the instruments.
Can you talk a little bit about the recording process for this album? Is there anything you'd change about the finished record if you could or do you feel pretty solid about it?
Aron - We were able to rent a nice big room with wooden floors and brick walls for several months and just moved all our equipment and toys in there to write and record with. The process was similar to how we’ve been working from the beginning which is recording improvisations and collaging parts together until we have a piece of music that makes sense, we learn how to play it and then record a performance of it. Towards the end of the General Dome recording session we began trying other writing techniques that made their way onto the Function Falls EP, using the computer as a writing tool. We feel pretty good about the record, but records are never finished, you have to let them go at a certain point. Of course there are many things I would change about it, but that’s what compels us to make another one.
You had at least two tour dates with Deerhoof… were you familiar/did you listen to their music before touring with them? Was there something you learned by being on the road/performing with such a veteran band, even if it was a brief stint?
Aron - Actually we’ve done a few tours with Deerhoof, so we’ve played with them many times, they’re good buddies, and also the best band in every possible way. They are peerless as far as I’m concerned. Amazing musicianship, attitude and presence, we’ve learned so much from them. I first saw them in 2001 and was immediately a huge fan, so it’s been a real honor for us to tour and play with them the past couple years.
If someone is only going to listen to one song off your record, which one do you wish it would be?
Arone - Houdini Crush. It’s a good introduction I think.
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What would you name as some of your musical influences and inspirations? Maybe from genres or backgrounds that people wouldn't expect as much from listening to the record.
Arone - Taking a shower is inspiring. A lot of thoughts can be had while becoming a cleaner you. Also, running can be a good way to work out a melody. Some of the most exciting soundbursts to become known to me lately are Extra Life (NY, unfortunately disbanded), Father Murphy (Italy), Flying Lotus (LA), Death Grips (NY), SchnAAk (Germany), Staer (Norway), Broken Heart Collector (Austria/Slovenia)... just on the tip of my tongue right this second... Death Grips has that urge, Flying Lotus has that depth, Extra Life was so demented, SchnAAk is a flame-licked fighter jet of life diving into the soft earth of my ... Basically, they all mean heavy business, and that inspires me.
I personally hear a lot of influence/similarities with the Yeah Yeah Yeahs, a band that I have loved for a long time. Do you feel like that comparison is apt, why or why not?
Arone - No. Yeah Yeah Yeahs are a bit more straight-up blues/punk, with a very raw edge. I’d say you probably think we compare because of strong female vocals, and potentially, the feeling of power is translated in a way you can relate to. I, personally, find Karen O’s vocal style to be a bit whiney and overly sexual. It works for her, and I appreciate what she does, but I don’t see the musical resemblance.
I, personally, find Karen O’s vocal style to be a bit whiney and overly sexual. It works for her, and I appreciate what she does, but I don’t see the musical resemblance.
I read that you used to work in Red Hook, what drew you there? Do you think the larger Brooklyn scene influences your music?
Arone - I had moved to Red Hook years ago because it was cheap, and it didn’t matter to me that the train wasn’t convenient because I rode a bike instead. We practiced in Aron’s basement, just outside of Red Hook, as Hominid (‘01-’03) and as Buke and Gase (‘07-’10). The “Brooklyn Scene” seeped into our collective musical sensibilities in the early 2000s, when DIY loft venues, masked bands and speakeasies were the key to a good time. Music seemed to be much more exciting!!
Lightning Bolt (duo), Flying Luttenbachers, Japanther (duo), Pink and Brown (duo), Yeah Yeah Yeahs (trio), Arab On Radar, TV on the Radio (at that time: duo!)... all these bands (and sooooo many more) were trying to light a million violent explosives with a limited number of matchsticks, and succeeding. Two-member multitaskers, Three-member absolute destruction of soul and eardrums, Four doing all that plus adding theatrics, and all loud, abrasive, mysterious, awkward, party-time, different... all within the intensity of a show... Nothing you’d hear on the radio... unless you listened to WFMU (all hail). It was an experiment of gravity. ‘How heavy is your intent?’ That’s what really seemed to matter, what really made the difference. This is what we loved and still carry with us from that time/space/scene: our intent.
As far as Brooklyn and the way space and place influence sound, do you think getting out somewhere else to record the album was a key factor for this record? How did being somewhere else affect the process?
Arone - Being away from the constant hustle of NYC and Brooklyn afforded us time, space, and perspective. Sometimes we think it made us slower in our process, but most of the time i think we were just relaxed, which is a nice thing to feel. This absolutely influenced the sound of the record, we were in a big echovious room, so we wrote big echovious songs. With intent.
Do you have a dream venue you'd most love to perform live at? Or a city?
Arone - Sentimentally, it would be highly redeeming to headline a sold-out show at First Ave in Mpls. (Every word in that sentence is Key.)
