Dude York: 5 Albums That Changed Our Lives
TIDAL Rising artists Dude York released their debut record, Sincerely, back in February. Back then, we called it “a dance party/anxiety attack of a pop punk masterpiece that will appeal to both Weezer fans and those glowy kids that go wild in Tacocat’s feel-good pits,” and we’re sticking to that jumble of descriptors.
Lately the band, composed of Peter Richards (guitar), Claire England (bass) and Andrew Hall (drums), has been on the road in support of the album, and the other day they stopped by TIDAL HQ for a chat about their influences and favorite records. Naturally, Weezer is on said list, along with a melange of indie, hip-hop and Josie and the Pussycats cuts.
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The Unicorns, Who Will Cut Our Hair When We’re Gone?
Peter Richards: This record was a real catalyst moment of, ‘Wow, pop music can be dynamic and subversive at the same time.’ It can also be very much the expression of the relationship between the collaborators making the music. The way that relationship expresses itself, both lyrically in the way their humor unfolds on the record and also in the way that their melodies intertwine.
It’s like a really beautiful commitment to each other, and to goofiness. That was kind of a great relief of pressure. [Music] doesn’t have to be heavy to be really good art. Not to say art is the goal, but great music can just be important on an intimate level rather than a grand and epic level.
Claire England: Not to sound like a parody of a rock musician, but I’m gonna say Pinkerton was very important to me. That album was the reason that I started playing guitar, because I felt like I’d never heard guitar [like that before]. All the emotions of the lyrics and stuff. The lyrics are not necessarily relatable, but the guitars had everything that [Rivers Cuomo] was trying to say.
England: That soundtrack was a more important band than any real band at the time. I feel like they are trying to do the same thing that I am trying to do. That fake band was better than any real band I was listening to at the time. I’m just trying to create that real feeling of Josie and the Pussycats. I’m trying to write those songs.
Richards: Three years ago I told somebody in New York that we were covering all of those songs for the Halloween cover show we did. They were like, ‘Oh there’s this band here called Charly Bliss and they sound exactly like the Josie and the Pussycats soundtrack.’ [Charly Bliss] covered all those songs on Halloween, I think, two years after we did.
Andrew Hall: That was sort of a portal into a whole weird, free section of the universe.
Richards: That really kind of taught us that the rules don’t apply. That you only put rules on yourself. True liberation comes from stripping those self-imposed rules away.
Hall: Or creating a bunch of other people’s rules and proceeding to demolish them one after another for two and a half hours at a time. Da Drought 3 is like two and a half hours long. It’s like two CDs.
Richard Hell, Blank Generation
Richards: Another album that I think was super important to me was is Blank Generation by Richard Hell. Robert Quine’s guitar playing was really important. Claire was talking about the guitars in Pinkerton saying more about the emotion than the lyrics do. I feel like that’s what Robert Quine’s solos do. They just leap over themselves and contort kind of like I imagine early punk dancing looked like. They have this intense visceral physicality to them that I still find exhilarating to this day. And I’m still trying to play like that.
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