Husbands

CD version contains exclusive bonus track not on the LP edition, packaged with a 12” x 24” fold out poster.  LP version with free download card in a jacket silk-screened by Jason Urick. 

Hello Jason, can you tell us a bit about the origins of the band? For example the name and what you play in the band?

Jason was a very popular name in the late 70’s when I was born. Urick is of Croatian origin and probably had 20 some extra letters lopped off at some point.

I play a laptop and whatever is within arms reach.

Perhaps a bit about the album and the recording process?

Husbands was recorded entirely by myself at Floristree in Baltimore.

Sounds and ideas were recorded as early as 2005, but the majority of the “song” creation and mixing was done in mid-to-late 2008. In general I tend to work pretty quickly on mixes/songs once I collect sounds I want to work with. It keeps it fresh and exciting for me. Hopefully the immediacy translates to the listener.

Many sounds I use are recorded using the stock laptop mic. It’s something I started doing when I didn’t have money for a proper mic and I grew to like the quality of it. I think my time spent as a teenager obsessing over early Pavement and Sebadoh records had more of an effect than I realized.

Interesting, did you know you are now a label mate with Jason from Sebadoh? And speaking of mates, could you tell us about the title? The cover?

The title Husbands is a tribute to the Cassevettes movie of the same name. I became pretty obsessed with the movie around the time of creating the first pieces for this record. The scene in which they are sitting around the table in a bar singing songs especially resonated with me. It was long, drawn out, uncomfortable, but ultimately beautiful and rewarding. While I wouldn’t say that it was an intentional influence on the record, it certainly seemed in-line with what I was doing.

The artwork is obviously a tribute to the John Lennon/Yoko Ono record.

Jason, this is a lot about you, care to talk about anyone else?

My friend, Emma Walters, contributes harmonica and voice to “Strides” and “The Eternal Return”. “Strides” was a grab of her playing around with a harmonica near my computer when I instinctively hit record using the onboard laptop mic. Days later I started playing with the sounds for fun and that piece grew out of that. “The Eternal Return” was started as I was showing her the process behind the creation of “Strides”. This was more of an intentional collaboration.

Thank you, Jason.

Now back to you please.

Can you tell us a few words about your background and your overall approach?

For people that are familiar with WZT Hearts, I think they will also find similarities too much of what we did in the band. I think the solo tracks are very in-line with the more ambient pieces the band produced. Ghosted, fragmented melodies, distorted tones, etc.

themoonstealingproject releases on No Type were short and sweet. I tend to view the two EPs as studies - almost. They were both made as I was trying to figure my way as an electronic musician.

While the music is made on a laptop and electronic and/or even “experimental” in nature, the songs are an honest attempt at “pop”. I work with tools that I understand and that allow me to easily communicate my ideas with the least amount of struggle.

Speaking of struggle. Are you familiar with the Bee Gee’s?

“Let There Be Love” is based entirely of two one-second samples of the Bee Gees song of the same name.

Well, thanks for your time Jason! Before you go, are you planning any shows in the near future?

I’m currently organizing a winter tour of Europe and will be playing a few select dates in the US. More soon! Thanks!