Oliver Kalb has been making music under the name Bellows since 2011. He released Bellows' first album, the understated indie-folk-pop masterwork, As If To Say I Hate Daylight, while attending Bard College in 2011. That release, as well as 2014's Blue Breath—an album recorded while in search for a place to call home after graduating—established Kalb's skill as a lyricist and as an arranger. His most recent release, last year's Fist and Palm, is Bellows at its best, channeling new electronic influences into Kalb's intimate acoustics. Never one to shy away from self-criticism (as is perhaps most evident on Fist and Palm) it is no surprise that Kalb was willing to reveal his five favorite and five least favorite tracks of the many he has penned in Bellows' six-year history. Read on for Kalb's own thoughts on the process, and be sure to grab tickets to Bellows' July 15 show at Baby's All Right.
Oliver Kalb: I’ve been writing and self-recording music as Bellows for the last seven years. Recording is a pretty intense and life-consuming black hole process for me. When I’m recording an album, I listen to each of the songs obsessively, trying to iron out all the lyrical flaws and dips of the production, bouncing new mixes and walking around alone trying to imagine how each song can expand and develop in its recorded world. Sometimes this makes for really cool experiments, and songs I feel really proud of — when a lot of work goes into a song and it pays off, it’s cool to listen back years later, and hear the product of long periods of intense anxiety and labor live and breathe in a finished state. But other times, when I listen back to my own records, I’ll shudder at certain tracks. There are some songs I’ve released that I just totally hate, songs that make me feel really embarrassed when I hear them.
In the myopic world of self-recording, sometimes flaws that would be really obvious to someone listening with an untrained ear won’t be apparent to the actual person making the music. It’s very easy to get tunnel-vision when you’re working on an album, and think you’ve stumbled upon a really interesting and weird experiment, that to anyone else listening just sounds like a bunch of convoluted nonsense. I can hear some of my own songs, in hindsight, as really ugly kinks that might’ve been ironed out if I’d given myself some distance from the project. Years down the line from some of the records I’ve made, I’m able to see a little more clearly which experiments were successful and which were just kind of bad or confusing ideas, in need of an editor. So I decided to use this spot to explore what I think are my 5 best songs, and why I still respond to them after so many years, and then also what I think are my 5 worst songs, and why they’re bad, or at least why I don’t consider them good vehicles for conveying the ideas or feelings I hoped they would.Read More