An audience with the King of Spain

Words: Susie Ulrey 

So, I did a brief bit of research on royalty – beside betrayal, wars and inbreeding, one other lascivious detail caught my attention: courtesans. Like his fellow monarchs, one-man-band Matt Slate (aka King of Spain) has had one steady mistress for the last few years: his Zoom MRS-1680 digital recording studio.

Slate has accumulated nearly 15 years of history as a guitarist and songwriter in Tampa bands (Pohgoh, Chester, The Maccabees, etc) that burned bright and faded quickly.  But while playing in those bands, Slate formed solid relationships that would come full circle and prove fruitful.  A couple of years after he picked up a guitar, he got his first 4-track recorder and tinkered with side projects – nothing too serious, but just enough to make an imprint for future reference. 

After taking a five year hiatus from songwriting, loss became a catalyst for change.  Before Slate’s grandfather passed away in 2005, he put some money aside for his grandson- specifically for recording equipment.  As soon as Slate set up his studio he dove head first into a stretch of songwriting, wading through years of ideas and emotional baggage.  When he finally came up for air, King of Spain was born.

Whereas the creative process can be hampered while recording in a studio thanks to budget and time constraints, working at home allowed Slate to experiment with endless possibilities.  “Music comes in a feverish, mad scientist kind of way,” he explained with a smirk. 

After cutting his teeth on half-stack, ear busting rock why make the move to subtler landscapes and a more foreign approach to songwriting?

“I wanted to get outside of my comfort zone as far as the whole process of making music.  I will record ideas and sounds and the end product is more like a relief sculpture – I peel away at all of the sixteen tracks and see what sounds good together. That has allowed me to create a completely different sound.”

His debut release Entropy (out on former band mates’ label New Granada Records) is ambitious and textured.  Upon first listen, you’re hit with a wall of sound: guitar, keyboard, percussion and cloned tracks of Slate’s vocals are walloped with reverb and other effects, creating a finished product that is altogether beautiful. 

“I like to say that my influences range from Brian Wilson to Brian Eno.  I have been listening to experimental music (Animal Collective, Mum) and that helps me create using experimental means but the music comes out sounding pretty accessible.”    Indie rock aficionados will be challenged to pick out the amalgam of sounds on every track.  There are ghosts of his primary musical references in the melody and structure of his songs: “Mark Kozelek was a big influence as a songwriter so he probably has had a big impact on my songwriting”. 

In fact, Slate continues to write in a prolific haze that many songwriters only dream of.  “I already have fifteen to twenty songs I’m working on for my next album.”

With his debut album scheduled for release in February of 2008, Slate has plans to embark on small tours and expand his reach outside of Florida.  “Touring seems less daunting when there isn’t a lot of equipment and people to corral into a van,” Slate said.  “But I’m trying to make my set more of a multi-media experience so it can be more interesting than watching a guy with a laptop and a guitar.  I’d eventually like to surround myself with more musicians.” 

The King of Spain CD release show is Saturday, February 2nd at New World Brewery, doors at 9 pm.  Entropy is dedicated to his grandfather.

myspace.com/musicofkingofspain