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On October 21, 2008, Californian singer-songwriter Brett Dennen issued third studio album "Hope For The Hopeless" via Dualtone Music Group/Downtown Music. Multi-platinum producer John Alagia (John Mayer, Dave Matthews Band) aided in the process, and recordings were laid down at Village Recorder Studios in Los Angeles. Reportedly, recordings boast an increasingly electric demeanour. "Hope For The Hopeless" has accrued appearances upon several noted charts, more specifically; number four upon the Independent Album chart, number six upon the Digital Album chart, and number forty-one upon the Billboard Top 200 Chart. Inaugural single "Make You Crazy" features Afro-Beat king Femi Kuti. Actress Mandy Moore appears in the track's music video, which was filmed in downtown Los Angeles over the course of one day at the old Rialto Theatre. At tastemaker AAA stations across North America, the composition was a top ten hit. On November 15, Dennen performed the song upon "Good Morning America Weekend". Sponsored by organic drink-maker Guayaki Yerba Mate, an intimate mini-tour saw Dennen perform at smaller venues. The tour began at Portland, OR on November 3, and concluded at New York City's Canal Room on November 18. From January 2009 into the spring, Dennen plans to embark upon a larger headlining tour alongside his whole group. A two night jaunt will occur at The Fillmore in Dennen's hometown of San Francisco, whereas another two night jaunt will take place at Los Angeles' House of Blues.
Rolling Stone magazine named
Dennen one of their "Artists to Watch in 2008", and stated that "
his third disc suggests he may soon give Dave Matthews a run for his tour grosses". Amongst
Dennen's advocates are the likes of
John Mayer,
Michael Franti and
Jason Mraz. Episodes of "
Grey’s Anatomy", "
Scrubs" and "
House", amongst others, have featured
Dennen's numbers. Furthermore, NPR, Entertainment Weekly, USA Today, and The Washington Post have cast a spotlight upon the singer-songwriter. Aiming to shed light upon third studio album "
Hope For the Hopeless",
Dennen spoke to Ultimate-Guitar via email.
UG: Looking back, what are your thoughts and feelings as regards your 2004 debut?
Brett Dennen: Looking back, I feel that my 2004 debut happens to be an extremely modest, humble body of music. However, its simplicity is actually very powerful. The record was laid down via meagre finances, and that can be heard upon the full length itself. Partly, that's what lends the album a unique aura. Within that specific album, there lies the genetic makeup of all the records I will ever pen.
How did you strive further towards discovering your individual musical identity in writing 2006's 'So Much More'? Between the release of your first album and the recording of your second, how had you evolved as both a musician and a human being?
In penning 'So Much More', I felt slightly more comfortable with my point of view as a writer. I knew what I wished to express, and how I wished to express it. I tried to overcompensate though, and that's 'So Much More''s weakness. Lyrics flood each specific track, and that was due to the fact that I spent so much time on the road. I felt as though I wasn't afforded enough time to write, and record. So many words and ideas grumbled inside of me, and for that reason, it was necessary to flush them out of my system.
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| "I wanted each song to make a statement which you could immediately understand." |
'Hope For the Hopeless' marks your third studio album. Could you provide background information concerning the album, but more specifically how it came to fruition, and evolved into its completed state?
Ever since the completion of 'So Much More', I’ve continually written. I never focused too much time upon one specific composition, but wrote as many as I could. I wanted 'Hope For the Hopeless''s material to be simple, and direct. I wanted each song to make a statement which you could immediately understand, and possibly several other points which the listener has to rummage towards in order to discover. John Alagia helped in honing the tracks, and the album was cut alongside musicians he personally selected.
Is the album optimistic?
I think 'Hope For the Hopeless' has some optimism, though I don't feel the album is solely optimistic. The album fails to ignore the suffering which optimism emanates from. How could 'Hope For the Hopeless' ignore that suffering? All optimism, humor, wisdom, and joy comes from suffering.
Recording occurred at Village Recorder Studios in LA, so how did sessions develop from rough demos to the finalized tracks? Was it a smooth process?
In Studio D at Village Recorder Studios, nearly all of 'Hope For the Hopeless''s musical elements were recorded with a group. A few overdubs occurred in select instances, although the album was mostly cut live. The tracks were given to the group, and they subsequently learnt their respective parts. We then discussed an approach, entered the studio, and worked upon the material. The recording process happened to be very smooth, and each musician happened to be extremely accomplished.
John Alagia handled production, so how did he approach that task? What were his methods in getting the best performance out of you?
John let me be myself, and was complimentary when I was performing well. When I was performing inadequately, he gently nudged me towards an appropriate direction. He has insane ears - John hears everything, and never lets you get away with anything. He takes the talent you have, and translates that into something much larger, but with a broader appeal. That's an incredible ability to have.
How would you musically compare 'Hope For the Hopeless' against your previous full lengths? In what ways does the album showcase your progression as a musician?
'Hope For the Hopeless' is economic, never holds back, and never overcompensates. The album performs the exact function it needs to; the music achieves just enough to let the tracks speak for themselves, I think.
Is there a reason why you've opted towards a more eclectic approach on this record? And would you say this was incorporated in the album?
That’s just who I am. I have an eclectic taste, and that reflects in the way I write. Within all my albums, I think I'll opt towards a more eclectic approach.
You cite inspiration "ranging from Fela Kuti’s 'Expensive Shit' / 'Ransome Kuti', to Joni Mitchell’s 'Court And Spark', to The Rolling Stone’s 'Exile On Main St.'". What strengths do you feel each of these releases boast, and in what way have they influenced you as a singer-songwriter?
For each respective artist, I think they're pivotal works. Throughout their duration, each album is strong.
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| "I feel that my 2004 debut happens to be an extremely modest, humble body of music." |
Why was "Make You Crazy" chosen as the inaugural single, and what does its lyrical content concern?
The day I brought "Make You Crazy" into the studio, that song was chosen as the album's inaugural single. The track's lyrical content concerns the mental and psychological effects which cruelty and injustice has upon me.
The track also features Femi Kuti. How did his involvement materialize, and how would you musically describe his actual contribution to the song?
The president of my record label actually introduced me to Femi Kuti. With his voice, he introduced a world of music. In my whole life, I've never been so inspired around anyone as I was with Femi.
Can you provide details on the filming of its music video?
"Make You Crazy"'s music video was filmed in downtown Los Angeles, at the old Rialto Theatre. Shot in one day, we were situated in an actual shoe store we had especially borrowed for the occasion. Femi flew in from Lagos, and was present on set for several hours. Additionally, Mandy was present on set for several hours. We completed so much in a single day, which is remarkable.
With Jason Mraz, you co-wrote the song "Long Road to Forgiveness" in support of the album 'Songs for Survival' for the charity Survival International. Could you provide background information on the charity itself and how you came to be involved with the compilation?
Take a glimpse at Survival International's website, which can be accessed at www.survival-international.org. On behalf of indigenous people across the globe, Survival International promotes advocacy, education, and campaigns. The charity's website lists many ways that people can become involved.
In November, you embarked upon a mini-tour, and performed at intimate venues. From a performer's viewpoint, how does the atmosphere at more intimate venues compare to the atmosphere at larger venues?
It's an opportunity to be more intricate, and subtle. In performing at larger venues, those minor nuances fail to reach the back row. At smaller venues however, those minor nuances speak volumes.
What can ticket buyers expect in attending your planned larger headlining tour in early 2009? Will the incorporation of more electric elements on 'Hope For the Hopeless' affect the way you perform?
Of course, my live performance will incorporate much more electric elements, and boast much more energy. The chosen setlists will be meticulously constructed, whilst the production will be much larger.
Interview by Robert Gray
Ultimate-Guitar.Com © 2009
