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Muse Magazine
February 1995

SOMEWHERE, OVER THE RHINE

Over the Rhine sounds like a wonderful place to set one's heart's desire. More happily within reach than 'over the rainbow', but no less romantic. Not surprisingly, Karin Bergquist and the members of Over the Rhine have sought every opportunity to travel across the ocean in search of the adventure they dreamed of, living in the seemingly all-too-ordinary Cincinnati neighborhood from which they take their name. Of course, the journey has been a dream come true and the lesson learned a universal one: 'that people down the street are wrestling with the same angels and demons as they are anywhere else.' So far, the journey has always ended where it began: Over the Rhine.

Karin spoke to us about the new OTR album, Eve, about her adventures on the road, and about finding her own heart's desire.

Muse: The studios where you recorded Eve sound great. Could you describe what it's like there?

Karin: At Longview Farm, there is a complete facility in a big old red barn. That's where we recorded and lived. The lower level contains bedrooms and a kitchen, the second level is the horse stable with plenty of wild farm cats, and the upper level is a recording studio. It's really unique.

M: Did you all enjoy working in such a remote location?

K: Well... I loved it. Longview is really a best-kept secret. Aerosmith and Stevie Wonder have recorded there. When the Stones rehearsed there, they stayed in the very rooms that we slept in, Rich chose Keith Richard's room which is very cavern like; pitch black dark with absolutely no windows.

M: Then from that idyllic setting you went to New Orleans to mix the songs?

K: It was like going from church on Sunday morning directly to the brothel. I think the two opposites of the spectrum were really good for the record because it's pretty accurate in terms of life in general. I loved New Orleans, it's such a spooky place. The first night we ever stayed in New Orleans was really intense because I looked up at the midnight sky as we walked around on Bourbon street and there was an eclipse of the moon.

M: Like the vampire song, Moon Over Bourbon Street?

K: It was really, really bizarre.

M: Do the band members share some common influences from other bands?

K: If you peeked into our CD collections they'd be very diverse, but we respect each other's influences and there are some common threads. I grew up loving Led Zeppelin (laughs) which is really odd if you knew me. That surprises some people.

M: Zeppelin is associated with one certain sound, but their music is really so varied.

K: Most people don't think of Zeppelin as a melodic band. That's why they're surprised that I've been influenced by them. I think one thing that is shared by many of the bands that have established themselves besides their tenacity and their willingness to do this until they're absolutely crazy, is the fact that they can accept change and growth and allow that to come through their music, and they do it well.

M: You mentioned tenacity. I'm always impressed at how much heart some bands posses.

K: Well, that's what it takes. Once we played a club in Toronto, and the club owners will often have to pay fees for bringing a band into Canada, border-crossing fees, work permits etc. We just didn't draw much of a crowd because nobody had ever heard of us at all, and the crowd was very small. When we left, we offered to give back the fees and the club owner was so thrilled by that. He told us "You know, the only other band that's ever done that was the Police. They came across and played for eleven people." It's interesting to think of The Police playing for eleven people. I can't even fathom that. But, you know, everyone starts somewhere.

M: You've played for some big crowds in some beautiful spots in Europe.

K: Yeah, we played festivals in Holland and England and in Finland way out in the middle of nowhere. That was really unique and interesting. There was this group of violinists, young boys, that looked like they pushed the plow all day long and then picked up their fiddles just before the sunset to practice. They came to this festival and every day they went out into the middle of a field and just played their hearts out. They loved music passionately and they were amazing.

M: Did you grow up with a lot of Scandinavian culture in your family?

K: My father's family came over from Sweden, but I did not grow up with my father. I was only recently reunited with him. His side of the family adopted me when we were reunited and they've taught me so much about the ways of their heritage. A friend of mine just found a book for me about growing up in the Laplands where some of my family was from. Apparently the Laplanders are not treated very well by the governments there because they're the minority and we know how that is in all countries and cultures, unfortunately. They've been shunned and treated poorly and that was sad to learn, but I think they're also a very hardy flock and nothing can keep them down. They're a very colorful people.

M: So those are the reindeer herdspeople in your background?

K: They are. The reindeer herders (laughs)! This is true.

M: How fortunate that you've been able to visit over there in the context of the band.

K: Yeah. It's really been quite a vehicle for me. I met my father and his family through the band on our travels. When I complain about climbing in the van, I just have to bite my tongue and remember that I've had a lot of good experiences.

M: Do you edit yourself much in the writing process?

K: Sometimes I like the process where it's late at night and I just see what comes out. The melody comes first and the lyrics just write themselves. I often don't know what I'm trying to tell myself until it's out there and then it's sort of a revelation. An experience of grace.

M: The love of words comes across in the band's lyrics, very playful and poetic.

K: I think we all feel that way about all the fun little things you can do with words. Not to sound too wordy or anything. Linford is probably the real word-pirate of all of us. I'm really jealous of his talent.

M: Are there songs that don't end up on the album because they're too personal?

K: Not yet (laughs)

M: How do you feel about the songs that don't make it to the album? Do you feel sorry sometimes that they might go unheard?

K: Yeah, they're sort of like the last two kittens in the litter to go, you now? We try to make other homes for them. We'd like to put them out as B-sides someday, but yeah, it is important to find homes for all the kittens. It's a very hard decision to make too. When we were deciding what wasn't going to go on the record, it was a real tension-builder because we have personal investments in each song.

M: Can you talk a bit about the writing of "Daddy Untwisted"?

K: Mmmm, that's an interesting one. The last few years have been centered around my father because we had been separated for about 25 years and reunited. We had two years together before he died last February. All of this subconscious stuff was coming out, pouring out of my ears, and eyes, and mouth. That's where the idea for the song came from. But I just said, "Look, I can't, I don't have anything for these verses." And Linford said, "Let me try, I can feel something here." He came back with those lyrics, and it all came back right through me. This is exactly what I would have said to my father, had I met him in high school, when I was really going through the turbulence of being a fatherless child and not knowing the whole truth. Asking, "Why? Where is he?" That song really, really connected with me. (after along pause) Sorry, it's a little heavy, isn't it?

M: It's very personal. And you're so open about it.

K: It's funny, I'm really not like that. It's odd but the band has really been a vehicle for me to be vulnerable which is something that I don't really naturally do. I've been very guarded, so I've learned to build walls very well. Now I'm in the process of learning to tear them down and that is so difficult. The band helps me do that because you're exposing yourself to the masses, but it's still not as intimate as one on one. Those are both levels where I'm struggling, and learning how to be vulnerable. That's a very necessary part of life. That's definitely something that I'm struggling with right now, in these dark hours of January.