Kevin from Candlebox did an interview with Jim Ryan from Chicago Now and Kevin had to say some interesting news as he said the band will be releasing 3 EP’s this year. This is what he said:
“We’re going to release three EPs this year. And we’re going to put them out on Bandcamp for free. I’m not going to charge unless people want to make a donation [in which case] they can. And that’s what I love about Bandcamp: you can pay a buck for the album, you can pay ten dollars or whatever you want. Or you can just download it and listen to it.
I say it every night on stage: “If you’re hearing something you haven’t heard before, just go on Spotify and type in ‘Candlebox’ and download anything you want.” Because I’m not concerned about making my money off of records anymore. For me it’s like, buy a t-shirt, come see us play live and I’m happy with that.
I’m never going to sell a million records again. And I know that. And I accepted that a long time ago. And, for me, it’s really about people hearing the new stuff that we’re creating and some of the stuff that we’ve already created that they may not know about.”
He also spoke about emerging from the Seattle scene and “Dissapearing in Airports”:
“Q. I’ve heard you say the response to the latest Candlebox album Disappearing in Airports has been really strong during these recent shows. What’s that kind of reception been like?
KM: This record, the response on stage has been amazing.
All the songs lent themselves to the acoustic guitar very well. They just kind of fell into place and they’re very simple chord progressions and I think that’s probably why.
Our first album, there’s a lot of intricacies in it. There’s a lot of us yearning for something as a band, and looking for something different, because we wanted to stand out in that world.
The movement of grunge – if that’s what you want to call it – was so prominent that we needed to kind of… We weren’t a grunge band. We were a blues based rock band. So, to come out of Seattle at that time, we needed to make sure that those songs would stand the test of time. So, we really, really dug deep for interesting parts.
And I don’t concern myself with that anymore. Because I have that foundation – because I have that 10% of that audience from that first album that still cares about what we do – I know that I’m able to write the songs the way that I want them to speak and the way that I want them to play. And that’s kind of what I do now.
So, it’s really just an album that I think spoke very well for itself, and continues to do so, and people love it. And I’m thankful for that.”
Kevin also spoke about playing acoustic shows:
“Q. Well, this is obviously a bit of a departure from the typical, full band Candlebox sets. And there’s a real focus on getting to the stories behind these songs. Does telling those stories in a more intimate venue, where the spotlight is squarely on you, make for a bit more vulnerable performance experience?
Kevin Martin: (laughing) Yes, considering I’m a terrible guitar player! That’s why I bring Brian along with me.
No, it does. It’s a really stripped-down version of the songs. I think there’s probably only maybe six or seven songs in the set that were actually written on acoustic. The rest of the stuff is mostly electric driven. So it’s been a bit of a challenge over the years to transpose those songs that weren’t written acoustically to work acoustically – such as the song “You” from the debut album.
And, of course, telling the stories about the songs. When you write them, you don’t want anybody to know what they’re about. Because you want them to experience their own feelings with that and attach themselves to the songs their own way. But I guess over the years of watching whatever it was on MTV – Unplugged, Storytellers, all these sorts of things – I felt like, “Hey, maybe it’s time for me to kind of let these people know what these songs are about.”
Q. How does that process of picking which songs are going to work in this setting, and which ones won’t, and then reworking them for performance as an acoustic duo, go?
KM: Well, for example with the song “You,” it took about a week of us trying to figure out capoing, strum patterns, the two guitars and how they could work together with the opposite melodies – certain chords that can overlap, if you will, in transposing that progression to work. That one took about a week. About the third day in, I was pulling my hair out going, “Why are we even trying this?” But then, magically, you capoed on the 7th [fret] and there it was.
If you’re a theory driven musician, it gets a lot easier. But I’m strictly a feel player. So I don’t have the theory behind a C major 7 against a G over C [chord]. So, it really took me quite some time figuring out how to transpose them.
Then there were songs that were super easy where it was like, “Why didn’t we do this on acoustic in the first place?” But it takes time and it takes a lot of that brainpower that we don’t use every day to kind of figure it out.”