No Rest For The Heartless, An Interview With Heartless Bastards

It may come as a bit of a surprise that the voice at the head of this year’s indie rock pack, emerges from the slight and unassuming frame of Dayton/Cincinnati native Erika Wennerstrom. Don’t get me wrong, the peculiarity of this phenomenon has nothing to do with the fact that she’s a female musician, but rather because she emerges from her shy frame as a performer far beyond her years. She lays her soul bare in her lyrics, channels a throaty howl that has been likened to Robert Plant in the pages of a recent Rolling Stone, and possesses a rare songwriters ear that has resulted in some of the strongest and most memorable rock hooks in recent memory. These are the things that rock and roll legends are made of. Not to be overlooked, her partners in crime, drummer Kevin Vaughn and bassist Mike Lamping have the high quality rhythm rock chops that will undoubtedly carry Heartless Bastards straight to the top.

But Heartless Bastards are no overnight success. The band debuted to a hometown crowd at the Comet (known for their unbelievable tofu burritos), and have been cutting their teeth with a wide variety of regional gigs ever since. The band also managed to work in some studio time, cutting a five-song demo that the band passed out by the hundred to new fans – one of whom is this amateur music critic who managed to catch a few of the band’s early Dayton and Cincinnati gigs, and whom was totally floored.

It was at one such gig that the band also made a fan of Black Keys drummer Pat Carney. Long story short, the band signed a deal with Fat Possum (home of the Black Keys) and headed to studios in New York, Mississippi, and Kentucky. The resulting record, Stairs and Elevators, bursts at the seams with the band’s distinct rock and roll swagger while Wennerstrom’s Midwest born wail soars to the rafters.

Heartless Bastards are a tour de force, a shining beacon of rock and roll greatness in an industry that as of late has celebrated mediocrity. It is Bettawreckonize’s distinct pleasure to introduce you to them here.

Interview conducted via e-mail by Tim Anderl.

Name: Erika Wennerstrom (vocals, guitar, piano)
Band: Heartless Bastards

Bettawreckonize: So this interview would've happened earlier, but you were trying to decide whether the band had to change its name. Had you picked out any other monikers that you were happy with?

Erika Wennerstrom: We had no other choices picked out for names. Ever since Mike Lamping and I came up with the name in 1997 we had wanted to use it, and in 1999 we did some scattered shows under that name. I didn't really take a serious direction with the group until December of 2002 though.

BW: So are you guys pretty sure you're not going to get nailed with a lawsuit for keeping your name? On a side note, the vida blue had to change their name after they were slapped with a cease and desist from one of the douche bags in Phish. They changed their name to Ten Grand after negotiating a settlement? What would it take in the way of a settlement to get you to concede your name?

EW: We had a lawyer who looked over the information I provided him, and from that information, and his own research. It seemed that we had it 1st. Before we registered our domain name I did a thorough search on the internet of the name, and nothing came up. 9 months later. James McMurtry released a live album under that name. I'm not saying he took it. It's like parallel development. We just had it 1st. Their lawyer sent us
something recently to cease and desist, but they didn't exactly provide proof that they had it 1st. I would of changed it before, just to save myself some legal worry, but they didn't contact us until after all our cd's had already been pressed. That's like a financial nightmare for a label. We've worked really hard under that name, and it can almost be like starting all over. We're just kind of hoping everything works out ok.

BW: What instrument did you play in Shesus? Were you their guitar player?

EW: I played Bass in Shesus.

BW: Under what circumstances did you leave Shesus? Was it hard to part ways with a band that was picking up momentum and getting attention (tours, Peel Sessions) like they were?

EW: When I left Shesus we we're in the process of signing with Narnack Records, and we had just got back from a tour out west. I realized then how much time, and work needed to go into playing shows, and promotion in a band. I always wanted to do what I am doing now. I felt that since I was in Shesus that my own musical goal was going to be put off for a long while. The Peel Session, and the tour with Enon came after I left, but I didn't regret leaving though. I was really happy for them, and I new I did what was best for myself. I feel a lot more fufilled focusing on my own music.

BW: The last time I saw you Heartless Bastards was a trio? What happened to your second guitar player?

EW: We started out as a 4 piece, but Mike Weinel left. I think we were exhausting him. He worked 40 hours a week, and then would play almost every Friday, and Saturday. Sometimes the Sunday was spent driving back from a city 5 hours away. I think he had to do what was best for him at the time. Just like I did in Shesus. We had a lot of shows booked though, and it was so hard for me to get the shows in the first place, I didn't want to cancell them. We decided to go ahead and play them as a 3 piece. We didn't want to wait for the perfect guitar player to come along. We continued on, and then Fat Possum came along. Them as well as others
recommended we continue as a 3 piece.

BW: Were you introduced to Fat Possum by The Black Keys or Thee Shams? Did they have anything to do with your hooking up with the label?

EW: We were introduced to Fat Possum by the Black Keys. Actually Patrick Carney. We played a show in Akron back in June on a wednesday for 5 people. Patrick Carney happened to be there. We had met him back in February when we played a show together at the Southgate House in Newport KY. After we finished our set we said hey, and had a couple of beers. That was that. We we're on the road for several more days, came home, a couple of weeks went by, and Mike Lamping happened to look in the junk mail folder on our email. Matthew Johnson from Fat Possum had emailed several times, and since he was an unknown contact to my hotmail account, it automatically sent the messages to the junk box. A couple more days and I might have never known.

BW: Did you record your full-length locally? Who do you ask to be behind the boards?

EW: When we first made contact with Matthew Johnson from the label, he had plans to be in New York several weeks later. He arranged for us to meet him up there so he could hear us live. I was kind of last minute to book a show, and so he knew people at this studio called Quad, and he got us some time there. It's the same studio where Tupac got shot. The Stones, McCartny, and Pavoratti recorded there too. So as he was hearing us live for the first time we we're being recorded. We were on 4 hours of sleep,
and really nervous so most of the songs didn't turn out, but the intention wasn't actually to record an album then anyway.The Song New Resolution from that day ended up on the cd though. Then we signed with the label and made arrangements to go down to Water Valley MS where the label has a studio. We recorded all the songs in three days, vocals, and all. My voice was getting really shot on a lot of songs, and some of the takes didn't end up working out, so we then made arrangements to record more locally at the last minute with Steve Girton at his house. I had heard a cd he did of a band called Wil-o-ee, and liked the drum sound a lot. When we got there though we found out that they got that sound by the drummer being in the garage, which was seperate from the house, and then he ran lines into his house , and the guitarist played in his bathroom. We went ahead and went with it. So we were all in seperate room when we recorded. Some of the guitar and bass were scratch tracks though. If I remember right, I don't think there was enough mic's to do a live recording.

BW: What is your favorite thing about the record? Are there any parts of the record that you wish you'd been able to spend more time on?

EW: Honestly I think with a little more time we could of done everything better. I haven't listened to it since we got it in the mail several months ago. I was picking it apart too much, and I don't think it was healthy for me. I'm sure I will listen to it some time soon though.

BW: Were the incidentals of putting a record together (art, etc.) something that you sweated? For example, was choosing a title for your debut record something that you agonized over?

EW: Choosing the artist for the album came easy. The same show we played with the Black Keys in February there was an artist named Daniel Schmidt there who took photos of us. He emailed us the photos, and there was a link to his website in the email. We had discussed him doing the album cover 6 months before we even signed to Fat Possum. The title of the album came pretty quick too. Stairs and Elevators. It just popped in my head. It's because I have a lot of ups and downs in my life.

BW: Did you record the song for the Junior Kimbrough tribute during the sessions for your full-length? Are you psyched to be paired up with people like Iggy Pop and John Spencer on that record?

EW: We recorded the song "Done got Old" for the Junior Kimbrough tribute in Mississippi during the same session as the album. We were extremely excited to be on the album. A good deal of the artists have been in heavy rotation in my tape/cd throughout the years. Especially Iggy and the Stooges, Cat Power, John Spencer Blues Explosion, and Spiritualized. The Black keys track on that cd is my favorite though. The newer artist I like a lot too, but the older ones I like for artistic and nostalgic reasons.

BW: Are you expecting to be pigeonholed into one genre or another when your record comes out?

EW: Some people are already putting us in the Blues catagory because we're on Fat Possum. I think some people don't know how to separate the two. The owner is a fan of all kinds of music. He's starting to sign different kinds of bands. There's just not a lot of original blues left anymore. On the record there's a song on piano that I find to be anything but blues, but it's been described as such. I think it's funny.

BW: What "tag" are you most dreading?

EW: I haven't really thought about it. Hopefully I won't find out soon.

BW: Heartless Bastards seem to have the midwest work ethic and indie rock sound. Are there other bands from the midwest who've really inspired your band and the way you pursue making music?

EW: As far as our sound. I just write songs as best as a I can, and hope people will like them. I'm Inspired by music all the time, but not specifically to the midwest, or even this decade. I bartend and hear a juke box all the time that spans decades of music. I go to shows all the time, and see new bands from all over when we play at shows too.

BW: Who are your favorite songwriters, both from the bands and artists who are your contemporaries and from those who are legends?

EW: Rolling Stones, Led Zepplin, Modest Mouse, Black Keys, RL Burnside, Stooges, PJ Harvey, ATDI, Mars Volta, Joplin, Flaming Lips, Jesus Lizard, Spiritualized, Royal Trux, White Stipes, T Rex, Sonic Youth, Pixies, Breeders, GBV, Brainiac, The Make Up, Wu Tang Clan, Otis Redding, De la Soul, Bjork, and Velvet Underground.

BW: It is unusual to see your kudos for ATDI because your own band really sounds nothing like them? What was it about At The Drive In that turned you on?

EW: I think they sounded really different, refreshing.

BW: Where do you get your inspiration for lyrics? How about melodies and song structure?

EW: They all just kind of come out of me.

BW: Your personal style seems to hint to both deep roots in classic rock and indie rock? Do your own listening habits lean further in one direction?

EW: No.

BW: Being from the Dayton/Cincy area did you have any strong feelings about Guided By Voices' breakup?

EW: I really like GBV. Bee Thousand's my favorite album. I think the 1st album I discover by an artist is always my favorite, because there's that excitement of discovering something new. Even if ones later are better. It's always going to be the 1st one for me. ( not necessarilly the first made by the artist, but the first I discover). I kept up on their cd's for a while, but Pollard writes so many songs I couldn't keep up. They put on a great live show. Hopefully they'll do some reunion shows sometime. I don't really have a strong feeling about the breakup though. I was more
upset when At the Drive In brokeup. I had tickets to their show at
Bogarts, and it got cancelled. There wasn't any closure with that band. Mars Volta's cool, but there was a lot more energy in ATDI. Maybe it was from all the bands tension.

BW: You just came off a series of several tour dates so it seems
appropriate to ask: Do creepy guys try and pick you up when they realize you're the frontwoman for such a kick ass band?

EW: Yeah I get hit on by creepy guys sometimes. I don't think it's because of the band though. I think I'm just a magnet for weirdos in general. It's probably cause I'm a weirdo too, but I'm not a creepy weirdo though.