Music: Scrabbel

Scrabbel started as a jam session between two high school friends and has transformed into an orchestral experience that has lit up the eclectic San Francisco music scene. Scrabbel's 2nd album release, "1909", finds co-founder Dan Lee as a one-man band (he sings and plays at least seven different instruments in this album), all the while collaborating with more musical artists than before which makes for some stirring and electrifying live performances. Dan took some time off between studio work and performing to talk more about Scrabbel as a band, the making of "1909", and the creative inspirations that drive his music-making.

There's more of an orchestral/ symphonic sound in "1909" with the addition of Rosemary Kim, Arel Cordero, & Jonathan Chong on violin and Hellen Jo on cello. Was there a certain approach or new direction you wanted to go with "1909"?

I love the addition of strings! It is something I've never worked with before, and I was excited to have the chance. My goal for these instruments was to make sure that whenever the strings played, they were not just some bland background enhancement, but instead, carried the melody and focus of the song. I met Hellen because we were both going to play music for our mutual friends: The Clarendon Hills. I asked her if she wanted to record cello for me, and that was that. It's been a lot of fun for me to work with her. I have a trial and error style of writing for the cello. I usually hum the melodies or play them on the guitar, and Hellen transposes it to the cello. It's the same for the violin. Rosemary was the original violinist, but she left to go back to school, so I had a number of different people come in and record the violin parts. As for re-creating it live, Hellen is the string section. She can play the different melodies of the string section on the cello and that seems to work just fine.

In your music-making, you play A LOT of different roles. In the self-titled debut CD, it's listed that you did "acoustic & electric guitars, bass, samples, drum programs, vocals, piano, organ, keyboards, saxophone, ukulele, claves, shaker, drums". For "1909", you're plate was A LITTLE smaller, "only" vocals, guitars, bass, organ, percussion, drum loops, xylophone, and clarinet. What is your process in trying to manage all of these parts? And how difficult or easy is it?

That's funny that you perceive it to be less on "1909", because I actually feel like I did much more. The first record was a collaborative effort (minus a song or two). Usually Becky or I had a song idea and we developed it through practicing, each contributing something to the final outcome. We parted ways before the 2nd record was made, so for "1909", I ended up writing everything, except for the Kink's cover and +/- cover. Although more people contributed their musicianship to this record, it really is a solo effort. The plan was something like; if I can't play the instrument myself, then I'd ask a friend to do it for me. That was especially true for the drums on Riot Series. I've seen Pete play drums before, and when I wrote that song, I had his drumming style in mind as a perfect compliment. I really liked having different people play different parts, because they brought their own style of playing to it, and it kind of opened up my ability to try different songs.

Scrabbel started out as a duo group. Now with "1909", it's more of a solo project, but also a bigger collaboration with other musicians. How was the recording/ studio process for "1909" different from the first album?

I did have more guests play on this album, but it wasn't a collaborative effort like the first record. On the first record, Becky wrote and played her own parts, and we gave suggestions and ideas to eachother all the time. That record seems much more playful and whimsical to me. We kind of had an everything-and-the-kitchen-sink approach to recording. For "1909", I started off recording some songs thinking that Becky was going to contribute her parts later. When her break became indefinate, I just ended up recording more and more until I had a full record. I just kept writing and arranging, and just had friends come in and play parts for me that I couldn't do myself. All the while, I was still playing shows, but bringing other friends on stage to help me out. In some ways, it's not really a 'Scrabbel' record, but I was just too lazy to change the name. I really miss the collaboration, but out of circumstance, I ended up writing it all myself. That's probably the biggest difference between the 2 records. On one hand, it's ultra satisfying to have created something myself, and at the same time, it's been very difficult to not have a partner in crime. I did a lot of second guessing, because there was no one to really give their 2 cents or to bounce ideas off of. Or to share the joy of creating something and putting it out there for people to hear. Recording-wise, I love to be in that mode. I am most happy and alive when I am working on something. It really just takes over my life, and I love to get caught up in it. I'm a perfectionist, and I think that that kind of attitude can be hard in the recording studio when you put that on the people recording for you. I generally like to work alone, and I think I'm getting better at it.

In your eyes, do you still see Scrabbel as a "band" or a "solo act"? Or is Scrabbel more along the lines of a "fusion ensemble" like the jazz group, The Weather Report for example?

I think it is both. We were clearly a 2-piece band for the 1st record. After Becky left, I started having more friends join me for the shows to fill out the live sound, while recording by myself. At the moment, I like to think of this as 2 different worlds: a studio scrabbel, and the live version of it.

Scrabbel live! Dan Lee at left, Hellen Jo with cello. (photo: David Huang)

A lot of the musicians you've collaborated with on "1909" are also involved in other creative mediums such as painting, printmaking, comics. How did these creative sensibilities in other areas influence the making/ collaboration of the album?

I think I am very lucky to be around people that are very creative and wanting to express themselves and share that with others. Hellen draws comics and acts in a comedy improv troupe. Nathalie is a print-maker. Alicia is in the Aislers Set and various other bands, and the others are also involved in the arts in one way or another. Knowing them and just being around others in the art world is crucial, because it gives me a home where people support eachother and expose eachother to different things.

What is the biggest lesson you'll take from making "1909"?

Just to have more confidence in what I want to do. After I finished recording it, I spent a while trying to find a label to put it out. After some dissapointment, I eventually just pressed them myself. Having done that, it started to get some recognition, and then a label (ThreeRing Records) picked it up and gave it a full release. I think that the whole process has made me trust my musical instincts more, and to just trust that something good will come of it if I just keep working.

What part of the music business do you enjoy most? (i.e. performing live, writing songs, collaborating, etc.)

I love the process of recording. I really enjoy dreaming something up and then attempting to materialize it. That's the time when I am the most happy and excited about music.

What album, song or piece of music really made you want to start making your own music?

I first started recording music in high school. Becky's older brother had a band called Shoot The Pony. She and I were freshman at the time, and I thought they were great. Because I loosely knew them, I felt like being in a band and playing shows was something attainable for me. That was really what inspired me to make music.

What was the most recent concert or music event that you went to? And how was it?

I haven't seen as many shows as I'd like to this year, but off the top of my head.....M.I.A., Teenage Fanclub, Beck, LeTigre, Boyracer, Architecture in Helsinki, The Lucksmiths.....

Any new projects in the works?

I was going to start something with a friend of mine that plays flute and sings. She was going to be more of the focal point, and I would just be the behind-the-scenes-music guy, but she moved to Costa Rica before we could get off the ground. I'm supposed to collaborate with an animator (Dino Ignacio) to make something for an arts organization - LocusArts.

What is the one thing you want people to walk away with after listening to your music?

A CD of it! (ha ha ha) If they like what they hear, I'd want them to tell their friends and come again.

Where is the one place you want to be right now?

away from my day job.