Transmission and Interaction: A conversation with Marie/Lepanto’s Will Johnson

By Brent Thompson
Will Johnson (Centro-Matic, New Multitudes, South San Gabriel) and Justin Peter Kinkel-Schuster (Water Liars, solo) are two artists known for prolific bodies of work, so their partnership in the project Marie/Lepanto should come as no surprise. Taking its name from an exit off I-55 in Arkansas that sits between the two artists hometowns, Marie/Lepanto released the album Tenkiller on Big Legal Mess (a Fat Possum Records imprint) in January. On Saturday, February 17, the duo will perform at Saturn as the supporting act for Pedro The Lion. Recently, we caught up with Johnson as he and Kinkel-Schuster were set to embark on their current tour.
Birmingham Stages: Will, thanks for your time. How did the project with Justin first take flight? How long have you known each other?
Will Johnson: We met briefly back when he played in Theodore, but the bulk of our friendship has existed over these past three years or so.  Our bands played a show together on the final Centro-matic tour in 2014, then we did a living room tour together a couple years ago.  That’s when the idea for this record started to materialize.  Toward the end of that tour we stopped in at Sam Phillips Recording to see our friend Jeff Powell, who cuts vinyl and engineers sessions out of there.  Shortly thereafter, we agreed to meet back in Memphis to record there with him.
Birmingham Stages: How did the songs for Tenkiller come together? Did the two of you sit and collaborate or bring in some individual songs to the project that were fully realized? If you will, please discuss the writing process for the album.
WJ: We essentially agreed on a recording time and wrote separately during the ramp-up to that.  We sent a few demos and lyrics back and forth, so it wasn’t a case where we were showing up with all our cards hidden.  I wrote a handful of songs, then tried to pick some from that group that I could easily hear Pete’s voice and playing on.
Birmingham Stages: When you are writing, how do you determine if a particular song best fits Marie/Lepanto or your other projects?
WJ: Most of the time I’ve just written in batches, then sorted it all out later.  That was the case leading up to this record.  There have been one or two exceptions where I’ve conscientiously tried to write toward a record.  The South San Gabriel “Carlton Chronicles” record was that way.  But I found early on if I’m thinking too much about how to compartmentalize songs from the outset, I take a chance on losing a grip on what’s most important about the moment, which is hopefully writing the best song I can write.
Birmingham Stages: If you will, talk about recording at Sam Phillips studio and how that came to be the location for the recording.
WJ: After the visit with Powell toward the end of that first tour, it seemed like the obvious place to re-convene for the record.  He’s a mutual friend, we had both worked with him in various capacities, and knew that his style and personality would be a good fit.  Fortunately all our schedules lined up to where we never had to keep the idea too far down the line, or in the abstract.  We finished the tour and immediately put in on the books.  Walking into that studio is a pretty psychedelic thing, and I’m glad we visited prior to recording.  It’s a bit like time travel backward, some fifty years.  So much is still in place, and there’s a near-intimidating amount of history surrounding you.  It can feel distracting at moments, but ultimately it was an honor to get to record some music inside those walls.
Birmingham Stages: Some artists tell me this is a great time to be recording and releasing music – multiple outlets and no “gatekeeper.” Other artists tell me it’s a difficult time given anyone can release content and it’s hard to get your songs heard among the clutter. How do you feel about the current climate?
WJ: I think it’s a bit of both.  The easiest thing about these times is that anyone can record and release records.  The most difficult thing about these times is that anyone can record and release records.  Inevitably, it leads to an overwhelming amount of volume to consider as a consumer, and to try to be heard through as an artist.  From both perspectives I think it’s a matter of peeling things back and trying to find what speaks to you in the moment; finding a voice or a simple sound that turns you on amongst all the noise.  In my experience as a listener, it’s still a raw and base reaction to a pristine form of communication.  From an artist’s standpoint, I think it’s a matter of finding unique ways to connect with your crowd, and staying dedicated to the work required to sustain that connection.  Limited edition releases, unique merchandise offerings, regular touring, and consistent social media presence are all time-tested, and generally positive forces.  Playing live regularly is still crucial in my opinion.  It’s a raw transmission and interaction in a room with people presumably interested in your music.  Amongst all the clatter and speed of our daily lives, that’s a rich environment in which to make a memorable connection.  No matter the era of music or technology, I think it’s still as pure a force as ever.
Marie/Lepanto will perform at Saturn with Pedro The Lion on Saturday, February 17. Doors open at 8 p.m. and showtime is 9 p.m. Advance tickets to the 18+ show are $20 and can be purchased at www.saturnbirmingham.com.