The Gutter Twins

Are Sitting Pretty

By Leo McGovern

08.18.08

For a guy whose music has been described as “brooding,” “confrontational,” “tense” and “anxious,” Greg Dulli is a pretty personable guy. The former Afghan Whigs frontman and brains behind The Twilight Singers just wrapped up a tour with The Gutter Twins, his collaboration with former Screaming Trees and Queens Of The Stone Age singer Mark Lanegan, and when Antics gave Dulli a call to chat about the hauntingly rocking Saturnalia, the Twins’ first record, he was gearing up to see a Los Angeles baseball game between the Dodgers and his favorite sports team of all time, the Cincinnati Reds. When Dulli and Lanegan, who’s known to be a bit somber himself, interview together the subject of sports is usually somehow broached, generally with some seemingly random baseball fact or reference to an athlete known mostly by hardcore fans. The rapport between the two is strengthened by their mutual love of sports (Dulli of baseball, Lanegan of basketball). “He’s one of the best friends I’ve ever had,” says Dulli.

Dulli’s currently in Los Angeles to be closer to his Gutter Twins bandmates as they prep for another tour, but he spends a lot of time in New Orleans, where he writes most of his music. He proved easy to talk to, as our 20-minute conversation weaved between sports, the Twins’ record label, Sub Pop, and how living in The Big Easy has affected his songwriting.

How has the music industry changed for you in the past 15 years or so? It seems you’ve come full circle, releasing this album through Sub Pop.

Working in the record business is like standing in front of the cemetery gates, rattling the doors right now, my friend. My opinion of independent labels is they’re doing it the right way—for the love of the music. They’re choosing records they’re proud to represent and doing it in a way that’s financially feasible for themselves and the artists. The new independent model is the way to go. As far as Sub Pop, I watched them go through tough times, when I was on the label and after I left. I’m blown away and incredibly proud of Megan (Jasper) and Jonathan (Poneman) for what they’ve done at Sub Pop, the turnaround they’ve had there. They’re making great records with great people. Their perseverance and vision are unparalleled, especially in a fickle business like rock and roll.

Do you feel like you have more creative freedom now than you did maybe 15 years ago?

I always had creative freedom, bro. For better or for worse, it’s all my fault. If you liked it, it’s my fault. If you hated it, it’s my fault. I’ve always had utter and total creative freedom.

It’s nice that you can take that attitude and be comfortable with it, because it seems like a lot of artists aren’t.

Nah. You know what, man? Without going into specifics, I made some massive mistakes, but they were mine and I take full responsibility for them. At the same time, I did some things that only me and two other people in a certain mental state understand, but at the time it was brilliant so I stand by that.

How much time are you spending in New Orleans now?

In 2007 I spent 10 months there. This year I knew it was going to be less because of work I have to do on the tour. I would imagine that when the tour ends…I tend to gravitate towards New Orleans for the rest factor. Since 1996 it’s been the place for me to write songs.

How has spending time in New Orleans affected your songwriting?

It’s weirdly made me more prolific. I used to be really lazy. I’d go, “Does the album need eleven songs? Okay, here are 11.” “Do you have any B-sides?” “No. You didn’t say you wanted 12.” Or 14, heaven forbid. After the Whigs and after I stopped playing for a while, I didn’t really do anything. Then I moved down to New Orleans and all of a sudden I did six records in five years, and I would’ve never guessed that out of me.

Do you find that you have a certain amount of anonymity living in New Orleans?

I have anonymity everywhere I go, bro. I roll under the cover of night, and I don’t really draw a lot of attention to myself. I feel as anonymous as John Doe. Not the singer from X [laughs].

How did you become familiar with Frank Relle, the photographer who took the photo for the cover of Saturnalia ?

I’d seen his cover for Kermit Ruffins’ record (Live at Vaughan’s) and thought it was pretty sweet. We met through an Uptown filmmaker and we went to take a picture together down in the 9th Ward, where we were apprehended by the National Guard. It was wintertime, and there were nine of them against Frank and me. They took our IDs and got us surrounded, hands on their guns and stuff. I was like, “Are you kidding me?” One of them comes up to me and says, “What are you doing out here so late?” I go, “It’s 6:30 in the evening!” Frank and I were suitably bonded after that, and we ended up using a shot that he hadn’t shown anybody yet. I just thought it was fabulous. I think Frank’s got a great eye.

Did you think there was something about that photo that ties in to Saturnalia?

I think it was naked. I think the empty lot was naked. I’m not going to deny that the two empty chairs appealed to me. Sometimes you see it, and that’s all you need to know.

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