Yeasayer Frontman Chris Keating on the Collaged Quality of ‘Amen & Goodbye’ and Benefits of Analog Recording

Matt Matasci

Yeasayer is one of the most enigmatic groups in the indie rock universe. Formed in 2006 by Chris Keating, Ira Wolf Tuton and Anand Wilder, the band just released their fourth full-length studio album, “Amen & Goodbye” on Mute Records. The band has always been known for experimentation, but their latest record takes it a step further. Yeasayer is first and foremost a pop group so they never lose sight of creating undeniably catchy choruses on songs like “I Am Chemistry” and “Dead Sea Scrolls.” Frontman Chris Keating took the time to speak with Entertainment Voice about the band’s new album, working with David Altmejd on their artwork and bringing Suzzy Roche on for the first single.

It has been nearly four years since the release of “Fragrant World” in 2012. How have things changed for the band since then and how did that period influence the writing and recording of “Amen & Goodbye”?

Oh man, I mean we definitely got a little older, maybe a little wiser. I think taking our time to make a record was important. We had this vision of making a sound that was really collaged and layered, so we just started experimenting. And then recording and revisiting some of those recordings, editing and sampling ourselves and taking time off in between recording sessions to think about stuff. The album has a very large scope.

Yeasayer went from mostly digital recording techniques to analog tape recording at Outlier Inn Studio. Do you find the transition had any effect on the way “Amen & Goodbye” sounds compared with your earlier recordings?  

I don’t know if the sonic quality was necessarily [affected] but it definitely influences the way you work because you’re not staring at a screen the whole time. We definitely did digital recordings on this record too; It’s just that the idea was to start off in a way that we weren’t staring at computer screens. That can influence your decision making about the way you want to work.

The promo photos and teaser videos surrounding “Amen & Goodbye” as well as the actual album artwork are incredibly striking. What lead to bringing on artist David Altmejd for the visual aspects of the album?

I’m just a fan really. I’ve been very excited about his work for the last 10 years when I first saw it. So I see things I am excited about. I make a mental note of what is exciting about it or maybe it would be someone fun to work with in some capacity in the future. So we started talking to David about three years ago just about doing something and then really linked up well with his schedule and it really turned out perfectly that he was able to do the artwork for the record. 

In what ways does the album artwork relate to the musical and lyrical themes on the album?

All the characters on the cover of the record are vague references to characters we’ve had in our different songs or quotes from people – actors or humorists or writers – like Mark Twain and there’s a William Gibson sculpture on the back. I gave Altmejd a list of 30 names that were references from songs or characters or ideas, and he just kind of ran with it.

Where “Amen & Goodbye” excels is the juxtaposition of experimental textures and song structures with unforgettable pop hooks and harmonies. How were you able to achieve this balance while writing and recording the album?

It was a lot of drugs. (laughs) I mean, that’s not true. Really, I think we’re fans of a really good hook or a catchy melody. But I’m also a fan of underground more experimental music so [we were] trying to find the place where those things can exist. We like to make records that are layered and reveal themselves more and more.

“I Am Chemistry” seems like a straightforward rock song before it takes an experimental left turn mid-song and concludes with vocals from folk singer Suzzy Roche. At what point did you realize you wanted that passage to be sang by a female vocalist and how did the collaboration with Roche come about?

I’ve been a big fan of the band [The Roches] that she was in . . . the record from the late 70s and early 80s I listened to a lot when I was making our first album. And then we just knew that because the album has an overarching concept of religious iconography and mythology that to have a female voice was important. We hadn’t really featured female vocals because you know we’re all guys in the band. So we started the discussion of should we get someone we know . . .? But we wanted to have sort of an intergenerational bit of  dialogue and she proved to be this amazing source. And her voice is kind of incomparable; she’s a very unique talent.

How was the experience of working with Joey Waronker?

He produced the record with us and he came on about halfway through and added all of his ideas. To me, he is one of the best living working drummers out there. We have the same taste, and he’s a part of a lot of music that I’m really into. He’s been there in the studio whether it’s R.E.M., Air, Beck or Atoms for Peace, he was involved and a part of those projects.

Every rhythmic idea – the melodies and the ideas for the songs, those are all written – but any rhythmic idea he stepped it up.

“Amen & Goodbye” is available on Apple Music April 1.