For nearly two decades STS9 has fed listeners’ minds while becoming with each subsequent album and countless tourdates into jamtronica superstars.
With the creation of The Universe Inside the quintet may have put out its most important album – artistically and conceptually. Among the spacey atmospherics and danceable rhythms are lyrics and recorded content that reminds us of our interconnectivity, particularly at a time when the world needs a message of unity not division.
The album’s narrative ideas originated from two NASA Voyager spacecraft sent to the outer reaches of the solar system. Both contained Golden Records that included greetings in 59 languages. Rather than mention what divided us on this planet such as nations, wars and rivalries, they mentioned life, love, peace and birth.
The Universe Inside reflects that with thoughts of human identity and who we are, where we’re going, and our place in the vastness of the planetary system. As the album’s announcement explains, “We are one, made of stardust and the forces of nature that evolved over billions of years. Connected by the sun, moon and stars, we are the living, breathing conscience of the Universe. ”
After a seven-year break between studio releases the jamtronica act has grown artistically and boldly. Renewed creatively in 2014 with the addition of bassist Alana Rocklin, the members bolstered their live performances by treating crowds to a mix of longtime favorites, older songs that fell off the setlist and unrecorded tunes.
Unlike previous albums that took listeners on a sonic journey, The Universe Inside surprises them with the use of vocals on that could be described as pop numbers—“Out of This World,” “Get Loud” “World Go Round” “Give & Take” and “Worry No More”—especially when compared to the more classic-sounding material of “Totem” and “New Dawn New Day.”
Percussionist Jeffree Lerner and drummer Zach Velmer have discussed in recent interviews the group’s desire to be open to new musical directions even if they may surprise longtime fans:
Lerner: “…I don’t think there are any limitations. I think that we’re trying to be really open to where the music takes us…”
Velmer: “…We’re the artists, we want to push it.. we have to push ourselves. Our fans maybe want something, but that’s just what we do…we’re always going to push it as the artist – it’s inherent in us. The sound that’s coming out is through the inspiration from Alana or the ocean we were at that day. We’re going to push that sound, and push the envelope of our art.…”
During my time with Lerner, six years following our last conversation, we discuss STS9’s creative aesthetic, the band’s approach to making an album, how Rocklin has made the music and the art of making music exciting, music affecting consciousness and much more.
JPG: I’ve been following STS9 since 2000 but I haven’t been able to check out some of your recent shows so when I listened to The Universe Inside and heard the more upbeat songs with vocals like “Out of This World,” “Get Loud” and several others. I’m curious what fan reaction was because I was initially surprised. Was the band’s overall feeling, “We’re into this. We’ll just see what happens” ?
JL: First of all, the last thing you said is a really important thing. I think it goes without saying that we stand behind the music and the vision of the album as a story and how it unfolds and what’s being said, and it’s something we’re really proud of.
Good art entertains, great art challenges. Our fans are challenged by some of that stuff. Here’s the deal. Anybody who, maybe, had something to say listening to the studio album after they heard it live, I think it all clicks for them. The majority love the album from the get-go, totally appreciated the upbeat, totally appreciated that it’s much closer to what we do live than, maybe, any other album we’ve done… appreciated the vocal content and the message. Then, there were a few that weren’t sure.
These songs were designed so that when we go play ‘em live there are whole sections we can open up. The rigidity of the form on the album—not that its rigid but it’s always going to be the album—those songs change from night-to-night now; those whole sections of organized improvisation as well as bringing a track that was done in 2000 into a track that came out in 2016 and mashing ‘em up together and really making them a live piece.
I think everybody’s happy. It wasn’t necessarily dissent as it might be concern, and a lot of that was in the forum like, “I’m really not sure but I’m really curious to see what they do with ‘em live.” Once the tour was happening, we played these songs, everyone’s on board.
JPG: With past albums, I always saw the band taking me on a sonic instrumental journey. So, I was surprised when I heard vocals and then more surprised that there were a number of tracks with vocals, a lot going on here.
JL: A lot going on there, yeah. And I think some of those earlier albums were designed that way in the sense that you go back to the early 2000s we were on the road 250 days out of the year. When we got to the studio space we wanted to do something different. We wanted a different kind of expression. From being a musician who can play a rock song to an EDM song to an acoustic set there’s a lot of fulfillment we’re looking for. We want to express all those places and all those parts of ourselves. We’re not just one of those things.
Was that something you were able to bring in more when Alana Rocklin joined that wasn’t possible with David Murphy?
JL: No, it wasn’t that. It was really organic. When Alana joined the group we had…geez, I think we’re up to 170 songs now we can play live. Imagine someone joining the group whose familiar but…we had to rinse out all those songs. We had to go back and look at the parts and through that process of refining the music; we were honing skills on this album at the same time. It was all synergy. I feel like we’re making the music we want to make and performing the way we want to perform.
JPG: As far as writing such a song…you can come up with another term if you’d like but a pop tune or a more straight-on song than a jammy instrumental, I would think you have to “wire” yourself a little different, was that easy to do or did Brad Bowden as co-producer help you along?
I don’t know if I’d use the word pop songs but they definitely have that element. Looking back on it now, it’s really an ode to music and music that inspired us whether it be a disco feel or rock feel or some of those classic hooks and messages of songs. This is what we were trying to do. Hunter [Brown] definitely has taken the lead on the production end of it as well as Brad being in there. They’re not necessarily creating on their own. It’s still a group experience and group effort. We’re all taking on our different roles. There wasn’t one person coming in and steering it that way. A lot of the tracks revealed themselves. A lot of the tracks didn’t start with vocals. They became the musical part of it and the message. We made the album we wanted to make.
JPG: I want to bring up this quote. You said, “I don’t think there are any limitations. I think that we’re trying to be really open to where the music takes us…”
JL: That’s a tough thing to explain. If we were to go down and write a song right now, unless someone came with an idea from their computer as a blueprint or melodic idea or beat idea, we’re creating that music together in a room. So, there is a real natural process.
To be honest with you this is something we’re stepping into. We’ve got this album behind us. We felt like we needed a full-length album with Alana on it to showcase where we’re at, what we could do and what’s possible. What’s next for us is writing music and, maybe, releasing singles and a more constant output rather than waiting for the big studio album. We’re jumping into the writing process. It’s super-exciting in a way to do it as a band rather than individuals coming with tracks. It’s always going to be a little bit of both, of course. It’s more organic.
JPG: It’s been seven years since you’ve released a new studio album and 2014 is when she joined. I imagine you wanted to record fresh and get her more immersed in the band aesthetic.
JL: That’s part of it. The time consumption of being a touring band, being away from home on the road and having to learn these 100-some songs…that takes up a lot of your day. We had to prioritize and make sure that our live show was right so that when that album comes out…a lot of things did get reworked. There’s a lot of growth, learning and gathering skills. It’s a self-produced, self-mixed album done in our studio.
JPG: Since Ad Explorata in 2009 you put out a lot of live releases, especially last year, how have things changed in the studio as far as writing and recording as far as approach or influences or new sources of inspiration – musical, science or whatever?
JL: Tons of influences. Alana, first one that I speak of, where she comes from and what kind of musical training she has and the knowledge of music, has been a big inspiration for us. We’ve taken a lot of lumps on the road and that’s where we learned a lot of our things. We were a young band when we started and didn’t necessarily go to music school and have that kind of training. It’s been a big inspiration as far as creativity and knowledge and also work ethic. She’s just on her instrument all the time and that’s just part of what she does—us too—and that’s been inspiring.
David [Phipps] has immersed himself in the analog synth world, and it’s become incredible for us not only in the studio but as a live thing, too. Doing improvisation off of analog synth is an amazing feat. That’s been a big influence. Our continued passion and our continued quest for growth and learning about our instruments and being in a band and all the lessons that come with that.
If you were to do this interview with all of us right now we all feel like we’re 18 again. Individually as musicians and collectively, it’s a whole new beginning. I don’t know how to explain that but it is a pervading feeling in the group that the best years are still ahead of us. It’s a real thing. It’s such a blessing. You can’t make up a feeling like that.
JPG: Over the past two years the band has played live tunes that made it on to The Universe Inside such as “New Dawn New Day” at Alana’s debut performance with you, “World Go Round,” “Totem…” When you get into the studio after you play a song and extend it in a live situation, how do you go about revising it for a studio version?
JL: I don’t know if there’s that much separation in our approach. Being a live band, these songs were written to be played live. Those two worlds are always tightly considered. At least for this project it’s the sole consideration. We were trying not to make these songs so complex that we can’t play ‘em live and trying to keep it real.
JPG: Last year you put out four live releases. Was that a matter of filling a void because it was so long since you released a new studio album?
JL: No. We release every live show.
JPG: I understand bands do that with live downloads of shows but here you’re putting out specific compilations or specially-produced versions of a show.
JL: To speak for the “One:One” thing, it was such an incredible experience for us and our fans, and it was an intimate thing we felt like more people that were just in the room should share in that and that would be a really good one to share.
As far as the compilations, we’re just trying to pick and choose some of the more special moments and share those in a way we wouldn’t necessarily have to weed those out of the shows. It’s a way to highlight some of our better moments and where things have the possibility to go.
I feel like we have our hardcore fans who are going to have that show and then there’s another 2.3 billion people out there, right? (Laughs) And we always want other people to hear our music. We’re grateful, I’m grateful for the support of our fans but we want other people to listen to it too outside of that circle that people can get enjoyment. It’s not a negative thing in any way…
JPG: I didn’t mean for it to sound negative. You just see situations where artists put out a live release or an album of rarities or demos because there’s been such a long gap between studio albums in order to stir up fan interest.
JL: Yeah. I wouldn’t say overtly. I’m sure it serves that purpose as well though. It’s not necessarily why we do that. We’re still coming from that creative purity thing of we just want to share art. It’s not a compilation to make extra money or anything like that. We’re just trying to highlight some of those special moments and reel people in a little bit. But you’re right, it does serve that purpose but it’s not necessarily the way the band’s looking at it.
JPG: Back to The Universe Inside, I read about the background of NASA’s Golden Records, that they are traveling through space and the idea that we’re all stardust so we’re all connected. Did the concept and ideas come around first and the songs were built around that?
JL: It kind of happened at the same time. When you look at the albums – Artifcact or Peaceblaster – that’s what comes from our camp is a story, a deeper message. It’s not like we had to come up with it. It’s kind of been our story from the beginning if you look at Interplanetary Escape Vehicle album before I was even in the band it has that connection to our universe and inspiration that comes from that.
Really, what you’re witnessing is us trying to share more, to not be so mysterious, to be more forthcoming and get loud. As we learn and get a little older in life, you can have all the greatest intentions and all the greatest thoughts in your mind but if you don’t share ‘em they don’t mean much.
JPG: To get a little deeper then, how much of STS9’s music is an intellectual pursuit transferred into notes and rhythms?
JL: That could really be said for all music. It does start in your mind. We’re a group of concerned, engaged citizens in a world that we feel needs hope more than ever. If we can play our part then we’re serving our purpose. That’s our attempt.
I don’t wanna preach. I don’t wanna preach to anybody. I don’t wanna tell anybody what to do or not to do. But, love is all around. Love is all you need. This world is give and take. That really means something to us more than just what we put into our art; the way we walk the planet, the way we are the people we are.
JPG: It’s pretty amazing in regards to the timing of the album’s release. I’m listening to The Universe Inside and I’m thinking about the ideas behind it and how it relates to a post-election world.
JL: I wish I could say that we knew Trump was going to be president and wanted this message to happen but we didn’t. At the same time the stuff is going on and has been going on. For whatever reason, this process and election has brought it to the surface, and the veils are being lifted. With that comes a lot of scariness but within that comes also a lot of potential for growth and learning and changing. So, go back and read a poem from some famous poet that you love. It could speak to today. That’s where you start to get into some really good, timeless art. That message could be felt and heard over generations.
I grew up on Sixties Folk, Activism Music, Bob Dylan and…those messages still ring true today. A different set of circumstances but they’re very similar things. We’re still fighting for human rights and we’re still fighting for minorities. These things haven’t gone away.
JPG: Are you familiar with the English dance act from years ago, The Shamen? They incorporated consciousness concepts and the influence of Terrance McKenna into their music. There seemed to be a correlation in what they did and what you’re doing. It may be something for you to check out.
JL: I’d love to! I’m always into stuff like that. I think you really spoke to something. These messages…it’s hard to say…I don’t want to claim that our messages are universal– that’s for someone else to decide – but those correlations when you talk to somebody else and feel that these are connections that humans have.
You know through your work and the industry that you’re in, the jamband world…you probably read this in the article that we did last time…Jambands isn’t about the music. It’s about the people and the culture. Right? You can’t say Medeski, Martin & Wood is a jamband and somebody else is a jamband. You understand we’re not necessarily talking about the style of music. We’re talking about the community. And what a community it is! These people are supporting live music. They’re connected. They become a family. They have relationships that are probably 15, 20 years…some people met at a concert 20 years ago and are still buddies. It’s this incredible social linking element that’s really important in our culture right now.
JPG: When I interviewed you last time we discussed peaceblaster.com, I didn’t see it on the band’s website. So, do you post informational stories on your Facebook page or…?
JL: Well, it’s diminished a little bit. It’s funny that you should mention that because we were just talking the other day about wanting to bring that element back.
JPG: Back to the new album, it’s out on your 1320 Records label. There are 55 artists listed on the label’s website. We talked about it in 2010. How has it evolved since then? Are you still deeply involved with it or more hands off due to being busy in STS9?
JL: The roster’s increased with a lot of young artists who recognize our place in the industry and what was done and want that association with us. It is something that goes through periods of time where we’re more hands on for periods of the year and more hands off when we have people that we trust making sure that things go right. It’s a little of everything.
I will say that the plans for the future will be to utilize that a little bit more and try to offer the artist some more services, some broader things. It’s something we want to keep alive. It means a lot to us. It’s mostly a labor of love, not a huge profitable thing for us but it is important.
JPG: Also, back in 2010 we discussed the Make It Right Foundation and plans to build a house in New Orleans (at the time of the interview the band was in the midst of raising $150,000 to build a house in New Orleans’ 9th Ward following the aftermath of Hurricane Katrina.) Do you have an update on that?
JL: There is. I don’t think it took more than 18 months from the time that the remix album started (released to raise funds) and we raised enough money. Probably in another six months after that there was a family in the house living there. We got a chance to roll through the neighborhood and ended up meeting the family who invited us in their house. It was one of the Make It Right Foundation’s houses.
It seems like a lot has affected one family. It’s an incredible thing but the reality is there’s so much we can do and so much to give back. We have spent a number of years trying to get a non-profit status, not for the whole organization, of course, but to be able to do non-profit work. It’s something that’s real important to us, and it took a real long time. Just this year we have now got our non-profit organization put together. It’s called Just Thanks. It’s just an infant right now but in 2017 we’re gonna be unveiling and bringing back some element of that back.
JPG: My final question relates to the band’s approach in the live setting. Is there a different approach to playing a festival show versus a headlining gig versus a vacation destination gig like Dominican Holidaze?
JL: Not really, unless we’re doing an Axe the Cables set. But, I will say that within that there’s consideration of what time we’re in and what we played there last time, what’s in the news. We had a plethora of incredible artists who passed away. So we paid homage to David Bowie and Prince…
All that being said, that goes into every show. We like to say that whether it’s Red Rocks or a 500-person venue, every night’s Saturday night. Those people who paid that money to come through the door deserve our best every night, and just because it’s a Sunday doesn’t mean we’re gonna gear down or play a mellow show. Just because it’s Dominican on the beach where everybody’s in flip flops that we’re not going to come out there and squash your face.
We are just becoming a finely-tuned thing and we’re coming with it every chance we get. We’re excited. We’re amped over here.
