This one reads a bit like a manifesto at times, people, and we love it. Below we have part two -- or in Regolith parlance, that's A3E2, or Artist Three, Episode Two -- of Boston indie scene veteran Supriya Gunda's entry into Clicky Clicky's 30-day songwriting and song-recording challenge. "This isn't the right time and place for regular-ass rock," Ms. Gunda tells us in the midpoint interview below, speaking from somewhere, we imagine, deep inside a zone. "I can't stress the importance of just taking five minutes a day out of your life to breathe deeply, center yourself, and make a fucking dope beat," the proprietress of indie rock concern Digital Prisoners Of War continues. To say we're excited about where she's going with this, based on her focused responses to our informal check-in below about her progress, is an understatement. If you are just joining us, Gunda began her stint as our Regolith artist-in-her-own-residence a couple weeks back; the intro piece detailing Gunda's background and prior accomplishments is online here. Check out the complete interview below to learn more about her old-school, no frills approach, as it certainly gives us a sense of what we will (dope beats) and perhaps will not be hearing (guitar) when Supriya turns over her proverbial tapes at the close of the challenge in a couple weeks. And of course, don't forget to check back to hear the final results. We'll leave the light on for you. -- L. Tiburon Pacifico
Clicky Clicky: How has the project been going to this point? Easier or harder than you anticipated? What have been the biggest challenges?Well, an endgame is what she's got, as Ms. Gunda's time as our Regolith artist-in-her-own-residence draws to a close in a couple weeks, as stated supra. Be sure to check back in for our post mortem interview and the big reveal of Supriya's potentially guitar-free and likely dope-beated (beaten?) new sounds. If you somehow missed it previously, we've embedded Digital Prisoner of War's Casually Defying Physics EP below for your listening pleasure. And if you are just turning on to Regolith and want to click back through prior episodes featuring Guillermo Sexo/Future Carnivores/Emerald Comets guy Reuben Bettsak and Chandos bassist Sean Tracy below.
Supriya Gunda: It's good! It's fun. I don't know [that] I have anything listenable going on but, who knows, maybe I do! It's a surprise! The biggest challenge is the everyday -- waking up, brushing teeth, driving on the Mass Pike westbound, sitting at a desk, eating, sleeping, repeating. But making the time to work on this is a visceral reminder that we only have so much time to work with in the first place. I can't stress the importance of just taking five minutes a day out of your life to breathe deeply, center yourself, and make a fucking dope beat.
CC: LOL, that statement would make a great framed needlepoint. Can you tell us a little about your recording equipment and setup? Are there specific reasons you use the equipment/software that you do?
SG: No need to get techie here -- dusty but trusty Tascam 4-track. $200 work-from-home laptop. IPhone voice memo recorder. Jewel-toned, CVS-brand earbud headphones plugged into the mic input for vocals. Pro gear, Pro 'tude.
CC: Could you describe for us the techniques you are using to get your sounds? Would you use the same techniques if time were not a limiting factor? How did you learn to record this way?
SG: I've been MacGyvering, mostly. You don't learn that in school. You learn that by watching "MacGyver."
CC: Do you have any unusual tricks or rooms/spaces you record in that are exclusive to your home studio?
SG: The bathroom isn't really unusual, but obviously a great place for natural reverb; likewise, under a blanket in bed can make for a great dead space.
CC: What instruments have you been using to this point? Do you foresee introducing others?
SG: I'm using a consumer-grade 1980s Yamaha keyboard and a lot of 'found' instruments. This isn't the right time and place for regular-ass rock. I might go guitar-free altogether.
CC: Do you find that the time limitations change your approach to writing and/or recording?
SG: Yes, in that I don't have time for self-doubt. I need to produce content without stopping to consider whether it is worthy of the world. Which, in turn, gives rise to the realization -- fuck what's worthy of the world. I NEVER have time for self doubt. #yolo.
CC: Do you feel that the songs are turning out differently than they otherwise would if you weren't restricted to 30 days? If so, what do you think would be different about them?
SG: Definitely. To paraphrase Taylor Swift, I think this may be my first real pop album!
CC: What makes you say that?
SG: Because I'm getting down to sick beats.
CC: At this point, do you find the time restrictions to be a hindering your process? Or do you find them to be liberating in some way?
SG: I find it to be very liberating. I crave endgames.
Previously On Regolith:
Regolith A3E1: Supriya Gunda Is A Songwriter
Regolith A2E3: Sean Tracy Presents Dye's Alone
Regolith A2E2: Sean Tracy Writes Songs Under The Gun
Regolith A2E1: Sean Tracy Is A Songwriter
Regolith A1E3: Reuben Bettsak Presents Emerald Comets' Inside Dream Room
Regolith A1E2: Reuben Bettsak Writing Songs Under The Gun
Regolith A1E1: Reuben Bettsak Is A Songwriter