THE COLOR OF LIFE:
An interview with Michael Krassner
(Copyright © 2000 Piero Scaruffi | Legal restrictions - Termini d'uso )


Michael Krassner has established himself as one of the most significant new voices to come out of America since the generation of Smog and Magnetic Field. While he certainly is a songwriter in the traditional sense of the term, he is also, and perhaps mainly, a team player: his masterpieces are credited to groups like Boxhead Ensemble, Lofty Pillars, Toe 2000, that hardly match your concept of a "rock band". Stradling the line between rock, jazz, folk and classical, Krassner's compositions for ensemble have basically coined an alternative to progressive-rock.

scaruffi: Where do you come from? And where are you based today?

michael: I grew up in the midwest (Wisconsin) and moved out west Arizona) as a teenager. I feel lucky to have lived in both places. I feel like a Midwestener at heart, but enjoy the open spaces of the Southwest. Both shaped who I am greatly. I'm very uncomfortable on the East Coast. Basically, the more down to earth things are the better. I'm in Chicago right now and it's a breath of fresh air compaired to L.A. I don't know how long I'll be there.

scaruffi: How did you become a musician?

michael: I started playing music at 14 years of age. I got my first Velvet Underground record and told myself that "i could do that" and just started writing songs. I always loved writing songs. probably my favorite thing to do. I sing constantly. I'd sing all day if i could. Not really fond of my voice which is a bit ironic, but I'm always working on it.

Before Boxhead, I just played in bands and recorded. I bought my first 8 track machine about 12 years ago and just love to record music. I had a nice 16 track studio in Chicago and I now work at a nice studio in Los Angeles. It gives me an opportunity to work with people like Simon Joyner, Scott Tuma and so many others. I still have my 8 track: I love that machine best.

scaruffi: Your songs are often too complex to be classified as mere songs. Sometimes they sound more like classical scores or film soundtracks, although there is a simplicity that is almost folk...

michael: This is mainly true of the Lofty Pillars. My songwriting partner Wil Hendricks and I are both heavily influenced by movies. When We Were Lost is a total response to the movie "The Ice Storm". (first time I ever let that cat out of the hat, but it's been a couple of years now). ....Anyway, I think we have very lofty conceptions about the songs and how they should be presented. We are not even close to where we would like to be with it all....We've been writing songs for about 10 years now and we always will: the Lofty Pillars are in for the long haul.

I look at making records like making movies. I love the whole production of it all. We are not a band that learns the tunes and goes into the studio and knock them out. A lot of pre-prduction goes into them, a lot of thought...

I like to record like Phil Spector did, like the whole Wrecking Crew thing. I love to write the chords and the words. Then we have arrangers and musicians coming in and all these great people contributing. Our records keep me busy about six months out of the year. I love to be in the middle of all this. I'll probably make another solo record next year which will be more personal and stripped down. As for the Pillars, we're working with bigger concepts, all our songs linked together. I think Amsterdam was very much a concept record.

scaruffi: How's the Chicago scene in 2001?

michael: The whole Chicago thing is great...but i think what really makes it great is ultimately it's greatest downfall. What i mean is this...Chicago is very much a project oriented city. Bands like the Sea And Cake get together once every couple of years and make a record and tour for a while, and then don't see each other for a few years. It's great that everyone contributes so openly to everyone's project, but I'd love to see a band like the Sea And Cake practice three times a week and be a real band...that would be fantastic. not to say they aren't great, they are, but I miss the whole band aspect of a good music scene. Take US Maple...now that's a band! They practice all the time and for the most part that is all they do. And guess what: they are one of the best bands in the universe. I think if people in Chicago were a little more selective and refine the number of projects they are involved with, it would be the greatest music city in the world... I don't know if someone else can see the whole double edge sword aspect of it all. I've certainly benefited greatly with the Boxhead Ensemble. The entire nature of the project is revolving. I just worder how good we could be if we played on a regular basis. I hate when things are mediocre, and sometimes they are... I'd rather suck really bad than be mediocre. Boxhead will probably never be stable, but someday i will probably only do the Pillars and me and Wil will live in the same town and we'll get together a couple of times a week to play and just have some fun...to me this would be heaven....

scaruffi: Why do you live in L.A. now?

michael: I moved to LA because my girlfriend lives here. She's a first grade teacher and has a good job. The distance wasn't working and to make things work means sacrifice. I miss Chicago and we might move back there next year, but the most important thing right now is to be together...we also like the Bay Ares and Portland.

scaruffi: What are you listening to?

michael: Right now I'm listening to Henry Gorecki's "Beatus Vir". This piece makes me want to weep it's so beautiful... If i could write one thing in my life that would make someone feel like I feel when I listen to this, everything would be worth it...