Joy Electric - Ronnie Martin on The White Songbook
Preconceptions have never been more dangerous. The songs on Joy Electric's The White Songbook, Volume 1 in Ronnie Martin's new Legacy series, are related to prior Joy Electric songs only by the post punk ethos, self-imposed production constraints, and studied song writing fundamentals that have been the foundation of Joy Electric for going on ten years. It is the new dimension explored within these barriers that sets The White Songbook apart. The abusively heightened work ethic that went into it. The unconscious discovery of timing and indulgence. The unleashing of hidden literature and repressed emotion. The 'fullness' of the songs. It has been some time since a sterilized, synthetic work of catchy pop music has been so affectual, haunting, heavy, and downright moving. Taste has become irrelevant, Ronnie's taste included, and the notions of appreciation and understanding are the only viable options for us, the listeners. I recently spoke to one of the last living punk rock true believers (Jonathan Richman, Ian MacKaye, Jeff Suffering, and Jack Rabid being the others), Ronnie Martin, about The White Songbook.
Treble : Is it fair to say that the songs on The White Songbook - Legacy Volume 1 are the songs you have been trying to make for the last ten years?
Ronnie : I don't think so. My songwriting has evolved very little since the beginning, because I'm very disciplined towards a very particular formula. These are songs that could've been on the first album, but I was in a different place then. I think in terms of arrangements and my knowledge and development in analogue synthesis, this record is a blueprint for where I've been wanting to head musically for awhile. I dont change, I refine. I believe in progression without change.
Treble : In technical terms, why are these new songs so much "richer" in tone and arrangement than past songs? What about in terms of presentation and expression?
Ronnie : I really struggled to develop full and complex arrangements this time. I've been listening to a lot of progressive music from the 70's, so I wanted the song structures to sort of emulate the mindset from that era. There are actually no chords on the record, because every sound was made on a monophonic synthesizer, so there was an enormous challenge to make something big from something small, so to speak. Everything was organized to support the melody, so the forced limitations I established for myself actually produced the results I've been striving towards.
Treble : Your vocal tracks. Outstanding. So much more authentic than in the past. Tell us about your approach to those for this record.
Ronnie : I'm not a very good singer, so vocals have always been a problem for me during recording. This time I simply used a greater deal of patience to somehow work towards the kinds of vocals I've been wishing to record. This album is a good start towards the types of vocal sounds I love, but have a hard time acheiving. It will get better next time as well.
Treble : The HOOKS on this record are filthy. You nail every single one that demands itself to be. And you hit them exactly WHEN they need to be. While you have always seemed to have a strong grasp on melody, a lot of your past songs seemed to suffer from timing problems, when it came to the actual hooks. What have you learned about timing and song structure that helped you to NAIL the hooks on these new songs? Was it a conscious effort?
Ronnie : I think the inclusion of background vocals really helped the melodic flow on this record. Most of the synthesizer parts are playing counter melody lines, too, so there's a good deal of musical notes weaving throughout the individual sections of the songs. I don't really feel that this record is any more or less melodic than anything I've done before, though. Song writing is the priority as always. I really have a clear understanding of the process involved in writing memorable choruses and other parts, and I believe there is a formula and a proper way to accomplish this. If there wasn't, then any chord played with any melody would translate into a good song. This simply isn't the case. There are a few good chord changes and a certain range of notes that fit perfectly within them.
Treble : Tell us about the apparent lyrical shift you undertook for this album. Specifically, the literary nature of about half of the songs, and then how you seem to FINALLY "vent" a lot of the strong opinions on scenester-lemming-kids and the music-industry, that you have held back from injecting into your music for so long, into the other half. Where did the lyrics, in general, for these songs come from?
Ronnie : I'm very angry and sad about a lot of things, but at the same time I hate cliches, so it's very hard to find new ways of singing about troublesome topics a lot of times. I was really depressed throughout the recording of this album, so I finally gave into a lot of the natural feelings that were trying to come out. I'm tired of fighting for this band. All I want to do is progress, but the lack of results can make you so tired day after day. I'm committed to what I do, and I've never backed down. Ever. This band has been at the face of more ridicule, snickering, and bashing than anyone else could ever imagine, but I've never been deterred. I believe in what I do, and that's why I'm still making records. I have to do this. It's just the lack of help that is so disheartening. I'm willing to do anything to get our songs heard, but the trouble is that I've never been able to find anyone else who is willing to do anything to get us heard. Singing about it accomplishes nothing, unfortunately. But I decided to let it all come out, for better or worse. But things are getting worse.
Treble : Do you regret the topical knee-jerk nature of Christiansongs? I.E. going 'in-your-face' about being a "Christian Band" in the midst of the height of the bandboy and fanboy talk about such things. Or do you feel that you made a point you wanted to make, and that it was worth the risk of songs that can be seen as cheezy and self-righteous? Did that album hurt Joy Electric? While The White Songbook has its flippancies as well, is it more affectual and organic because it comes from a less self-righteous, more inner-spiritual and honestly introspective, imaginative, vulnerable place?
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