March’s sophomore album release Golem saw Los Angeles-based Wand state their claim as a face-slapping psychedelic force to be reckoned with, inviting you on a juvenile joyride to bold, head-melting dimensions unknown across nine treacherous tracks.
Fast-forward six months and Wand are still skidding through the grimy back-streets of sludge rock and doom with gusto, yet this time around there’s even more on offer. To investigate the trio’s new-found Crazy Horse-indebted groove, we sent Yasmyn Charles down to Brighton to catch up frontman Cory Hanson and find out how, exactly, their new album 1000 Days became reality.
What was the formative process of Wand and how did it come into being?
Well, the three of us went to art school together and after we all graduated we all had a bunch of different projects and I just kind of asked everyone if they wanted to play music together… so we did. It’s a pretty unremarkable story! [Laughing]
Did you have any idea of the sound direction you wanted to take?
I was listening to a lot of 70’s German, kind of krauty music at the time and I’d been playing in a lot of Rock n Roll bands and then decided I wanted to start a more ‘arty’ rock-driven project I guess.
Do you feel you’ve kind of achieved that with Wand?
Yeah, I mean it was maybe a good choice because there are a lot of musical directions you can take at any given time. So it makes it easier to be inspired than maybe working within a more succinct genre of music that’s more defined by the traditions it’s partaking in.
Would you say that residing in LA has had a positive influence on your sound due its current and past musical history or has it had no effect at all?
Well I’m from LA and I’ve never lived anywhere else so I think it has had a huge effect on me in terms of growing up there and sort of seeing the way things have changed. LA’s an interesting city because it has these really intense moments of scene proliferation, it’s an explosion of bands then it will kind of eat itself and then it has to start over from scratch. Then there’ll be moments where LA seems so attractive then huge lulls where it’s a very unattractive place to be and everybody hates it. And right now for some reason there’s like a really big light shining on the place that I’ve lived forever and everyone is transplanting themselves into the city and it’s kind of bizarre to me.
Golem sounded far more acerbic and abrasive than Ganglion Reef and this was supposedly down to a shift in songwriting away from you to greater inclusion of the rest of the band. Has this been the same for 1000 Days?
I feel like our process is constantly evolving because we’re always trying new ideas and configurations of writing songs. With 1000 days, it was within the sort of framework for which we wanted to make the album in terms of it being a lot larger and more about having the space to make mistakes and experiment with things. Both Golem and 1000 days are very performance intensive. We spent a lot of time in a rehearsal space for like hours and hours and hours just reconfiguring songs, breaking them apart and trying to find every possible outcome that we could. The only rule that we had for 1000 days was that every single part of the process for writing a song, the song had to change dramatically. It had to be altered from one moment to the next; it could never be played the same way twice.
Is this something you recreate live as well?
Yeah, we try. I mean it’s interesting because we don’t really like to play the songs the way they are on our records. For us the records are these things we spent a lot of time making and in order to stay true to the writing process and the kind of spirit of the songs, they have to change within the structure of a performance. It’s a very different space than a recording space.
You’ve said that Golem was recorded at “not an upbeat time”. Has the atmosphere affected the output on 1000 Days the way it did with Golem?
We’ve gone through a lot of changes as a band. And personally through a lot of highs and lows in our short career that have totally influenced the way that the records are shaped and the kind of themes that get brought into the songwriting and the recordings and the way that we treat the recordings. We definitely have no intentions of making a happy record or a sad record but rather something that’s a little more true to the time we spend in the band and out of the band.
There’s definitely a sense of that on the albums. There’s no emotional guidance, you form your own emotive ideas about the music.
Yeah, I mean, we don’t really have a compass for those kinds of things or a trajectory… in most ways [Laughs].
It’s been said that the influences for your past material have been Final Fantasy and Dungeons and Dragons, what have been the influences for 1000 Days?
Hmmn. Let’s see… We were listening to a lot of Crass and a lot of Psychic TV and Throbbing Gristle. A lot more Industrial and Anarcho-Punk bands.
There’s maybe a slightly more electronic slant on 1000 Days, is that something bore of listening to these industrial acts?
Yeah, we all have a previous relationship to these kinds of bands but the influences seemed to take on more of a character during the recording of 1000 Days. I mean we’ve had synthesizers on every record and on every record we process all of the guitars through a lot of synths. They’re very much studio records in the sense that everything is being massaged and processed and treated in a certain way. So it’s sort of an accumulation of experiences in the studio that resulted in the records sound.
So you’ve followed a very natural process with the recording sound but also appear to have a deliberate ‘mystical’ aesthetic both visually and as part of your sound. Is this intentional?
Yeah, I mean there is a curiosity/relationship to fantasy or esoteric themes but I feel that a lot of the space that’s occupied is not that. Like, if that’s the kind of outer… ‘trappings’ of the music, then the things going on inside are pretty real. [Laughs] In the sense of us being human beings it’s kind of inescapable that we’re going to have a relationship to the music that’s really intense.
Do you think that that’s essentially the nature of psychedelic music in the sense that’s it’s something both real and a form of escapism?
Well…I wouldn’t say the music’s escapist, though it may flirt with those ideas, I think that in the most positive sense, escapism is a way of finding a moment of removal from the present or whatever surface problems that are accumulating in order to better understand what’s happening. It’s so that you can re-interpolate into reality or the present and become better equipped to deal with shit.
If you had to describe 1000 Days in one sentence, what would it be?
[There’s a long silence] I don’t know… I feel that the title is pretty indicative of what’s on the record. To me it feels massively contained. It’s a lot of information and a lot of music that’s selected and curated in way that despite it being the shortest record we’ve made, it feels like the biggest. And it is, for us, our biggest… kind of…
Magnum Opus?
Not our magnum opus but up to this point the truest that we feel about music and about playing and making records. It’s just a more ambitious version of what we have been doing.
Even though that wasn’t a sentence it was still a pretty good answer! Has there been any anxiety with trying to follow up the success of Golem.
I have a lot of anxiety about those things! We basically started writing 1000 Days as soon as Golem was mixed and mastered and the artwork was at the plant. We were like, let’s make another record before this one comes out and we did it with the last one too. The real hurdle we’re going to have to overcome at some point is that, now we have these records and the stuff that’s been happening, we need a little time to process all of this in order to make the next one.
Would you say that all your past projects have taken a complete backseat along with your solo work?
With Pangea I haven’t been in that band for 3 years and Meatbodies 2. As for all of my other projects, they’re now just kind of happening in the leftover space… there’s no real point of even talking about them because they’re in the spectrum of ideas that are maybe materialising in some way or another.
So Wand’s your main output for material you’re truly happy with?
Yeah, at this point. I’d love to be happy with some other projects really soon, and hopefully that’ll be the case. But for now Wand is the main vehicle for my songwriting at least.
What’s next for Wand?
After this tour the record comes out then we have a US tour. Then after that we’ll start recording and writing again. We’ve established this sort of cycle of touring and recording.
There appears to be this idea of ‘if a shark stops swimming it dies’ – where you always have to be creating?
Yeah we don’t feel very comfortable taking time off because we’re not in a position where we’re making enough money to! [Laughs]. We’re still kind of struggling to make a living as musicians and artists and so there is a sense of urgency. It’s also important for us not to get ensnared in the kind of cycle that most bands get trapped in. Where you make a record…it takes 6-8 months to comes out… then you tour the record for half the year then it takes a year and a half to produce another record. We’re definitely not interested in that kind of structure, and we can’t do that because we have to keep making records.
Support Wand in their mission to keep playing and making music by ordering their new album on Drag City out on September 25th from here or order it from your local record shop. It’s a damn good one, you will not be disappointed.
Promo photos: Romain Peutat
Words and instant camera shots: Yasmyn Charles
Ty Segall’s Twins was a big one for us because it opened us up to a lot of modern garage and psych music. Other than that we like a lot of different stuff – 60s psych/garage/pop (Gandalf, The Doors, King Crimson etc.), 70s Metal & punk (loads of Sabbath), 80s alternative rock (anything associated with Steve Albini like Slint and Pixies etc. and many others) leading into 80s/90s Seattle grunge. 
