By Isa Jones
By Mary Willson
By Brian Turk
By Drew AIles
By Taylor Boylston
By Bree Davies
By Emerald O'Brien
Westword: I'll bet traffic jams aren't exactly what you've been used to for the past few years.
Nathan Shineywater: No, man. We've been camping for about three years in California. We had a remodeled chicken coop that we were playing music in. It was really mellow, with thirteen redwood trees in the front yard and Coho salmon that come up every year. We had a bathroom and a stove, but there were no bedrooms, so we lived in tents outside the cabins.
You obviously had your reasons for wanting to live like that.
It was all about making choices about what we wanted to react to, a reclamation of freedom. If I was back there right now, I wouldn't have to react to all the inconsistencies that come along with living in a city. Cities are an industrial notion set up so that you absolutely have to spend money to function within them. I don't think that should be the definitive human experience.
I hear gospel in your music. Where does that come from?
I was raised by a preacher, and Rabob was raised playing church organ and piano. At my granddad's country church, we'd always sing. It wasn't very big, just a bunch of peanut farmers.
Does your music share some of the same motivations as gospel music?
I feel like things like organized religion don't really work. Those paths aren't really going to work for our music. When we play, we are conjuring something for ourselves. The music has been a spiritual ingredient to my living, and it has been my way to participate with society. I'd gotten to the point where I didn't want to participate anymore.
Did you feel like you lost anything in putting your sound through the technology of CD-making?
No, I'm fascinated by it, and I feel like it's a format that has a potential to reach many different levels of communications, with folks that maybe we don't even understand yet. But I don't treat it lightly. I think the recording process should be held with reverence. My friend, who was the drummer in My Bloody Valentine, works with Hope Sandoval now, and they take about three years to do a record, and they hold it with reverence. When you sit down and hit "play," it sounds like something you could give to your grandkids. I hope we can do the same thing with our music.