Jonathan Jarzyna: We started playing together more frequently, writing new songs and arranging older song ideas together. In January of 2011, we decided to ask our friend Tadklimp to come record us. That’s when things became more focused and serious I guess.
What made you guys decide to settle in Berlin over Brooklyn?
JJ: We all live and met in Berlin and it’s the city where Fenster began. It was never really a question. I’m from New York City but I’ve been living in Berlin for the past three years.
Jonathan: I grew up in Berlin, and Rémi [the band’s drummer] and I had never even been to the US before this last five week tour of ours which just ended. I mean, we loved New York but it’s not the easiest place to survive as a musician. We have a great and extremely inexpensive studio here and it’s where we’ve kind of grown up together as a band. We have plans to go back to the states, but Berlin is definitely a good base to have.
“Fisherman” by Fenster:
Is “fenster” German? Where does the name come from and what does it mean to you?
Jonathan: Fenster means window in German. We liked it because it’s sort of empty – just a view or portal to something. And a window fell on JJ’s head and shattered during the recordings of our first album, Bones.
JJ: I guess it’s something you usually ignore; it’s benign yet dangerous, apparently…
Could tell me more about the song “Oh Canyon”? The lyrics are kind of muffled, and once I saw them written out, I was surprised. For a song that sounds so upbeat, it’s kind of dark! What’s going on?
Jonathan: “Oh Canyon” is about a loser with nothing to lose.
JJ: While the music sounds fairly innocuous, the lyrics beg to differ “I’d stop the world to watch you fall/I love it when you’re low/ I’d hold the knife that cuts the rope/ I love it when you’ve broke.” The contrast between the music and the lyrics is meant to accentuate the song’s Schadenfreude – like, let’s have a party while we watch you suffer.
Where do the lyrics come from? What inspires you guys in the songwriting process?
JJ: I think we’re inspired a lot by dreams and cities. The way sounds collide with the unconscious – ghosts and traffic and the way some stories only make sense while you’re sleeping– but if you write down those fleeting images, you can still make them walk around in the daylight.
Is this the first album for both of you or did you have previous musical projects? What was the recording process like? How did recording so quickly shape the sound of the album? Do you wish you had had more time in the studio?
Jonathan: I’ve been in lots of different bands over the years – some bands that toured and recorded a few records and some bands that fell apart before they really got started.
The recording process of Bones was super intense. JJ and I took a month before the recordings even started to make pre-recordings of all our song ideas – like little maps or sketches with musical arrangements and low-fi recordings. We asked our producer Tadklimp to come record the album, but we only had 8 days so we knew we had to be fast. We barely slept, and when we did sleep it was mostly in the studio, but we knew in advance what we wanted so it didn’t really matter how sleep deprived we were. Of course there is always room for happy accidents to emerge like small riffs, or outside noise infiltration – and we wanted it all to be included in the album.
JJ: We like imperfections and errors, so with the skeletons of the songs firmly in place, we allowed ourselves a bit of ornamentation.
I think the fact that we knew we would have so little time made us do a lot of preparation, and to distill our aestehtic at a very early stage in the recording process. Having too much time to prepare or re-work things can be a trap – it seems that things get better or evolve, but really initial ideas and instincts can just get muddier. So I think it was fortunate that we gave ourselves constraints and deadlines. Excess for us often leads to confusion, while limitations can ultimately grant us clarity.
“White to Red” by Fenster: