Interview: A Conversation with Into It. Over It.
Into It. Over It. are punk fused with emo, fused with math. Evan Weiss is the brain while Rodrigo Palma, Josh Parks and Josh Sparks are the brawn. Writing for their latest album Standards, Weiss spent 30 days in a log cabin in Vermont to hone his focus on the music. The album is the sixth to his collection and even after turning 30 his talent has not worn thin. He’s got a hard hitting attitude that lays beneath augmented melodies, intricate time-signatures and reminders of solemnness. Great for a rainy day.
I wanted to learn more about his method behind the magic and luckily, I had the pleasure of getting some answers out of him…
Q: Talk me through your process of writing music. How did your isolated vacation in a Vermont cabin aid you with the process?
A: Writing music has taken on many changes over the years. However, the isolated process of Vermont was (to me) absolutely the most fun. The separation of distraction and creation did wonders for my psyche and mental space. It also allowed the time to pursue ideas properly, really problem solve and rehearse sections to their full potential. I am unsure if I could return to writing with the same fervor in our Chicago rehearsal space. I also highly recommend it for any musician. Discover yourself. Take that vision quest. Lose your mind and twenty pounds for the sake of your art.
Q: Did the trip change your perspective or outlook on writing music?
A: Completely. It allowed me to have fun again. I haven’t felt that way about writing music since 52 Weeks.
Q: How do you feel your writing process has changed since the days of writing ’52 weeks’?
A: Haha, see above! 52 Weeks was a slapdash test in ability. Everything since then has been different levels of structured. However, in the Proper/Intersections period, the writing process had become tedious. Less enjoyable. I was thinking too hard about what I HAD to write instead of what might have come naturally or really exploring sound.
Q: Do you still enjoy the material from your older days?
A: I do. I have a special place for nearly every song I’d ever written. Just some more than others.
Q: In ‘Open Casket’ you discuss the resentment you have for your friends from back home. What separated you from them?
A: It’s not resentment as much as it is disappointment. Motivation was the separating factor. Of course the song makes my feelings about NJ seem much more drastic then they really are, but it gets harder and harder to go home.
Q: Tell us about your math rock influences and how you implement them into your own work?
A: My goal with writing music has always been to make music accessible for all listeners, but in a way that people who are musicians can hear and enjoy all the subtle tricky playing that’s happening. It’s a fine line. I grew up in a house filled with punk and new wave. While punk is visceral and angry, new wave always struck me as punk being played by MUSICIANS. Bands like The Police and XTC were huge influences for me and that carried into my later years of really being drawn by musicians who can find groove and melody in odd time signature. I am excited by being challenged by music. The quest for good “Math Rock” has always been able to do that for me.
Q: What music are you listening to these days?
A: Actually I am currently really into this collective of early 80’s solo acoustic guitar and piano players, mostly revolving around the record label Windham Hill Records. People like Michael Hedges and William Ackerman. This has been an ongoing ambient and new age music wormhole that I have been falling down for the last few years which got started by people like Brian Eno, Gavin Bryars and Harold Budd. The hold is really fucking deep at this point. Haha.
Q: In ‘Standards’ you reflect on your age. Would you say growing older has mellowed you out?
A: I don’t know about that, but it’s reflective to transition and how that comes across in my lyrics. It’s not just me, but everyone else around me in our age range. Getting to your late twenties is a pretty wild time in someone’s life. A lot is changing, but you’re also supposed to have a lot of the big decisions in your life figured out. But then you realize that no one has it figured out. Everyone has their own plate full of problems and idiosyncrasy. That’s some harsh reality.
Q: “Despite a tendency for standards I’m a second guess, I’ve trained my vision to retire if the world’s a mess” – this is a great lyric, could you elaborate? What makes you feel this way?
A: Thank you! The song Old Lace & Ivory is related to my grandfather and a short story of him writing my Grandmother in WW2. I take after him in a lot of respects. Full of second guesses and personal uncertainty. Sometimes I (like he) would find it easier to run or hide from a problem than choose the wrong path.
Q: Any future album/song collaborations coming up?
A: There is always something waiting in the wings. IIOI is on a back burner writing wise, but I always have projects ready to work on.
Q: Now you have six albums’ worth of material, what can people expect from your live sets?
A: It’s a nice mix of all the material. Although primary focus is on each of the LP’s. We always play the songs that sound the best live.
Q: Do you still enjoy touring?
A: It gets harder and harder each year. I’m finding that now my interest is really primarily in making records. I get the most pleasure out of that. But, touring is what allows me to keep being able to do that at a level that continues to grow. It’s a double edged sword. So now the trick is to tour smarter and not harder. Be selective about our choices and make sure we are making the most out of each of our trips on the road.
Q: Are you looking forward to performing at Sound Control in Manchester?
A: Of course! Manchester has always been so excellent to IIOI!
Q: What’s next for Into It. Over It.?
A: Gonna keep pushing, see a couple new countries, start demoing new material and keep on pushing ourselves to our physical and creative limits!