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La Fin Du Monde Interview; The Machine Without A Voice
Monday, October 15 2007 @ 02:00 AM PDT
Contributed by: Sage

Heathen Harvest:  Greetings and thank you for accepting the interview offer!  To start off, tell us a little bit about La Fin du Monde's beginnings and brought you give together for such an interesting project.
La Fin Du Monde:  We were in two different bands that played together all the time that just happened to break up around the same time. We were all good friends and wanted to play music together so we started up a new project.

HH:  Why did the departure of Jeremiah Root in 2004 nearly end the band?  Was he the primary song-writer?  Have there been any other hardships for La Fin du Monde?
LFDM:  When we started the band we knew Jeremiah was going to be leaving in the near future so we kind of thought of it as a temporary project. So when he left we took a little time off and decided we loved it too much and wanted to keep the band going. Chris Roberts was a good friend of ours so it ended up working out great that he was available to join the band. Jeremiah certainly added a lot to the songs, and is a great song-writer, but there has never really been a primary song-writer in the band. We always try to write collectively. Luckily there haven't been any other real hardships in the band. We just try to take things in stride and have a good time.

HH:  Was there a reason in particular behind your decision to stay as an instrumental band?
LFDM: There really isn't a lot of room for vocals, and it really frees up everybody in the band to explore different ideas without worrying about choruses or more standard structures. We really didn't think about it too much though, we just kept playing and it seemed to work best this way.
HH:  What is with some of the crazy song titles, and who is this unfortunate individual Paul?  Strangely, that was the most beautiful track on the album for me.
LFDM: It seems to take us forever to name a song so we usually throw a bunch of ideas out there and the stupidist one seems to stick (haha). Paul is a good guy and a good sport. Just don't let him live on your couch.
HH:  Are the complex Rhythms and time signatures that the music focuses around felt (i.e. flow from the musicians), or are they more or less composed (somewhat forced out through writing)?
LFDM:  Its really a little of both. We usually start with an idea that someone comes in with or just pops up when we're jamming. Which would be more natural and felt. Then we tend to see where we can take it and experiment with different ideas and time signatures. Sometimes it stays the way it was originally and sometimes it sounds nothing like it did. Thats where the composing and writing comes in.
HH:  For me, Tool seems like an obvious influence to you guys, yet I don't see their name in your influences list on myspace.  Am I wrong, or is there a specific reason that they're not cited?
LFDM: None of the bands listed on our myspace page are our actual influences. They're just other projects we've done or friends bands. But yes Tool has been an influence for most of us. Especially around the time of Aenima.
HH:  What are the Cammies and how big is this event?  Congratulations on taking home the title of best indie/experimental band in 2006!  You definitely deserved it.
LFDM: Thank you! Its a pretty big event around here. Everythings broken up into different categories and there's an online ballot where people can vote. All the bands on the ballot we're great, so we were very honored to win that year. Last year we got a chance to perform during the ceremony, which was a lot of fun, and there is a video of on our myspace page. Its always fun to get together with all the musicians in town and celebrate local music.

HH:  What is the most important song on a personal basis to you and why?
LFDM: Everyone seemed to agree that the most important songs are the new songs since they represent where we are now. I know, thats a cop-out answer(haha)

HH:  What was the idea behind the very interesting album artwork?
LFDM: The artwork was done by Adam(Scarborough-guitar). The music is really textural, so he wanted the art work to be as well. You can check out some of the other things he's done with our friend Ryan Hall Here:  Graven Images
HH:  Are you in any way affiliated with the band Pelican?  Your music seems a bit more uptempo and certainly more complex than theirs, but I can't shake the similarities that I hear.
LFDM:  No, we're not affiliated with them. They're a great band though, and have definitely done good things for instrumental rock in general, as far as raising its profile a bit.
HH:  I see that you have played with Grayceon previously.  Are the bands close?  I have reviewed their album as well and you both definitely seem like you'd be a unique mixture.  How was the gig?
LFDM: The show was great! It was actually the first time we've played with them. They're an awesome band though, both live and on record. We look forward to playing with them again in the future.  Highly recommended!

HH:  Has there been any label interest since the release of Life as it Should be?  Are you searching?  It seems like someone like Crucial Blast would definitely be interested in your music.
LFDM:  No, but we are definitely searching and would love to work with a label. Someone like Crucial Blast would be great. If anybodys interested, get in contact with us!

HH:  Are you looking to incorporate more members eventually?  Perhaps a keyboarist?
LFDM: Well our bassist Josh actually plays keyboard on a few songs, but we aren't really looking to add any other permanent members. There's already quite a bit going on in our music and it can be challenging to find room as it is. Plus five people's schedules is more than enough to deal with!
HH:  It's interesting to see that you have two bassists, and I'm sure this thickens the sound dramatically.  How does the music writing work around the two bassists?
LFDM: Well it really opens things up for everyone to explore different ideas. It gives the guitarists more freedom to play things without worrying about just playing chords or rythm-guitar type parts. It also allows our drummer to try different ideas within a single part by switching his focus between different players and not having to always hold things down. It also lets us bassists play things in higher registers or employ effects without losing the bottom end. We all try to be tasteful and not step on each others toes. Everyone's parts are a piece of the puzzle and there are definitely no egos in this band.
HH:  Why does the music focus on such melancholic musical progressions and chord structures while the album titles themselves are rather humorous?  Is there distinct purpose to this?
LFDM:  Well we're pretty much the goofiest bunch of guys you'll ever meet. We do take our music seriously but we certainly don't take ourselves to seriously. I guess it comes out in the song titles. Though usually we just can't think of a name for what seems like forever so "The Brutal Chicken Divine" ends up sounding better than "New Song 1"

HH:  Are any members involved in other projects? 
LFDM: Yes. Adam, Dan, and Josh are in a joke country band called Ol' Yeller with a couple other friends of ours.
HH:  Where does La Fin du Monde go from here?
LFDM:  We just want to keep moving forward. Do some touring, and hopefully record again in the not to distant future.
HH:  Lastly, Who won the fight between Dan and the can of Pork & Beans?  Was it a rough battle?  Did Dan go to Disney World after this amazing bout?
LFDM: "It was an epic battle, quite reminiscent of the Battle of Helm's Deep. Many friends were lost, and I'm not sure that can will ever operate again. But in the end, the beans could not withstand my omnipotent beard power." --Dan


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