Which has to be a riot, because we put them in some ugly shit. And tucked it in furniture at furniture stores. You self-released your first disc, OK Calculator, and pretty much handed it out on the street?ĭS: Yeah. Pitchfork: You've definitely shown steady growth. And I think that being on Interscope, if a volunteer firefighter in Montana wants to check us out, it would be easier to get our record. Pitchfork: What kind of new audiences do you want to reach?ĭS: I've just looked at it like, I didn't want to alienate anyone. Ultimately, we weren't just writing to an indie rock audience. And we knew that this was going to happen, so we were like, "How do we reach the most people before the next TV on the Radio comes out?" They end up being marketed like laundry detergent. You know how you read a magazine, and it's like all the music magazines have turned into Marie Claire? It's like "66 Hot New Bands With Hot New Looks," you know? It's new bands, new bands, new bands, new bands. But when it gets out into the world, you have a very slim opportunity. I make music to bring the dead to life for a couple minutes and then let it go. We're able to put on record what's happening in our times, and we want that message to be heard by the most amount of people. We write music because it's an immediate form of communication. I don't think that TV on the Radio is some dark mysterious band that no one can know about. We don't want to be hidden behind some shroud of secrecy. Was that mainly a means to improve distribution and PR support?ĭavid Sitek: Just to get the music heard by the most amount of people. Pitchfork: You guys recently signed to Interscope. This is the cost of helping to hype a neighborhood, but Sitek sounds resigned: "It just means I'll go make somewhere in New Jersey cool." One of the only blends of New York noise, beats, and soul that actually adds something to its influences, the five-piece has been called "Brooklyn's best band." But that tag might not apply anymore: not only does their new label deal give them a way out of cult indie status, but Sitek tells me his landlord is tripling the rent to try to drive out the nest of prestigious studios in his building and replace it with a high-rise. These days, it counts five members: Singer and guitarist Kyp Malone joined the band before their last album, Desperate Youth, Blood Thirsty Babes, and drummer Jaleel Bunton and bassist Gerard Smith are the latest recruits. Sitek started the band in 2001 with singer Tunde Adebimpe. "I have saxophone players and flute players in here." But we were talking about the project that christened the studio, Return to Cookie Mountain, the major label debut by the band that Sitek produces, plays in, and co-founded: TV on the Radio. He was in the middle of a Beck remix- "It's turning into a free jazz song," he laughed. He's an Ivor Novello winner and very much a man in demand, with his other recent credits including GRID Legends, Forza Horizon 5 and Total War: Warhammer III.David Sitek spoke to me on the phone from Stay Gold, the studio he built from scratch over the past two-and-a-half years. The game also has an original score, and Ian Livingstone is the person credited with composing it. The Underestimation of Denial – The Nick Tree Band.The Hunted – Caitlin Alise Parrott, Tony Staffor Jr, and Michael Smith.The Devil Inside – Daniel Murphy, Anthony Sanudo, and Eric Serna.Sun Goze Down – Robin Loxley and Jay Hawke.See You Everywhere – James Mclean and Grayson Voltaire.Love Letters – Huxley Ware and Dexter French.Easy Little Movement – Dwight Batteau and Mario Grigorov.Dive Back Into Love – Sam Clines and Luke May.Devil’s Gonna Come – Raphel Lake and Royal Baggs.California Calls – Dan Gautreau and Tom Stubbs.Bring The Good Stuff – Nicholas Kingsley and Daniel Farrant. Break My Heart – Nick Kingsley and James Grinder.
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