Six Parts Seven
Interview with Allen Karpinski
Words: Christian Crider
Photo: Russell Lee

For nearly twelve years, Six Parts Seven has been amassing an impressive catalog of instrumental indie-rock. Their latest effort, Casually Smashed to Pieces, was released way back in January and offers a moody and introspective sonic-trip, as well as spiffy Viking cover-art. Guitarist Allen Karpinski talked to Reax to offer his insights into their music and current tour.
 
REAX:  For our readers who are unfamiliar with your work, can you tell us a little about yourselves?
Allen Karpinski:  Six Parts Seven has a revolving cast of magicians that play music with your mind. The now-touring line-up includes: Allen Karpinski (guitar, bass), Mike Tolan (bass, banjo, guitar), Tim Gerak (guitar), Matt Chasney (drums), Jacob Trombetta (lap-steel, keyboards), and Keith Freund (cornet, baritone). We reside in northeastern Ohio, primarily the cities of Akron, Cleveland, Kent, and…secret places.

REAX:  When listening to “Casually Smashed to Pieces”, it was immediately apparent how well the tracks fit together as a whole. What elements played a factor in this completeness, and can you give us a glimpse into the band’s creative process?
AK: The final track sequence for the album didn't come about until after initial mix-down sessions. Nothing was planned. We wanted to write our version of a pop-instrumental album, something a little more upbeat and brightly vibrant than past efforts. But once we heard the songs it was clear how they had to play out.

REAX:  Aside from other music, what would you say is the strongest influence in your work as a band?
AK: Our personal relationships, both inside the group collective, and as individuals. We play out our exhaustions and elations: jobs, relationships, desires, responsibilities: quilted, in a pattern of notes.

REAX:  How does your time in the studio reflect your live performance?
AK: We perform our material pretty straight. What makes our live performances interesting are the uncontrollable factors that set the tone for an evening: general room-sound, crowd reaction/interest, personal moods, an attentive sound-person, etc. Plus, the dynamics are much more pronounced, both in volume and delivery. The studio work we do sets the stage, provides a schematic of the possibilities, and grants us the confidence to perform.

REAX:  How do you feel about the niche that instrumental rock has carved for itself in the world of indie-rock, and where do you see room for improvement or innovation?
AK: Any niche or genre inevitably suffers from over-saturation of ideas. In the instrumental-indie world, this would manifest in the ridiculous over-use of tremolo-picking techniques. Mogwai brought the sweep, and power, of that sound to our attention on their first album; Explosions in the Sky have banked their entire musical careers on it. But at this point that sound is tired, offering nothing new in texture or dynamics.

I don't care what kind of music you’re playing, the best thing you can do is play honestly, let your individual quirks of personality work their way into the sound. The songs we return to over years are always original in this sense; the others will drop off and disappear . . .