BM Linx: Interview

New York, New York.  Frank Sinatra clearly had it sussed.  For across the waters of the Atlantic in the City that never sleeps, is a generation of achingly talented youth, spreading their own ethos of a revitalised music scene ready to compete with, if not surpass us Brits. 

If the late 70’s is anything to go by in NYC, then hows about the late noughties for a return to form, as the last 18 months has seen more action in its 5 boroughs, than it has done for years.  MGMT last year brought new meaning to psyche-rock blowing everyone away in the meantime, whilst garage rock has taken on a whole new life in the absence of stalwarts and once revolutionaries The Strokes.  And then need we mention the pop movements that have been coined wholeheartedly in an attempt to ambush and rid the countries reputation for packaged saccharine pop. 

So today all of that action brings us to talk about BM Linx.  A trio of New Yorkers who have until now been skimming the surface in comparison to many on the NY scene, but who are just about to change that perception.

Their self-released and underground electronic-rock debut in 2006 kept them fairly under the radar, but as they embark on touring the UK and releasing album number 2 this year, people at home and abroad are really starting to notice them.    

BM Linx is a multi-influenced, multi-dimensional band, interpreting the electronic rock arena in their own special way. Featuring songwriter/producer Tony Diodore on guitar and lead vocals, Andrew Griffiths on drums and Jonathan Murray on bass, they maintain a dark illustrious sound that has DIY garage qualities and a host of varying electronic instruments.

Sophomore record ‘Black Entertainment' comes as the finale to a period in the bands life where they signed to Craze Factory, roped in Alan Moulder on production duty and showcased their showmanship to rave reviews.  And the result stands up nicely amidst the other grads of the New York underbelly, all peddling their wares to us discerning Brit’s.

‘Black Entertainment’ is a clever and forward thinking way of addressing electronica amongst rock music for this day and age.  A compelling listen provided by the multitude of sounds and shapes it takes on through it’s life, giving the listener a better understanding of what the band is about than it’s predecessor did.  Clever.  Vocally it’s interesting in a way that so many artists zoning in on this kind of sound fail to grasp and with fresh electronic-scaping intertwined with the alternative edges it is a concept well crafted.

4or The Record had a chat with BM Linx in the lead up to the global digital release of ‘Black Entertainment’ on the 13th April, to enquire as to the record and a little bit more.

4TR: What’s the story behind the name BM Linx?

BM Linx: A friend of Tony's in high school had a Mercury Lynx (a Ford Escort clone) that had a BMW badge on the front of it. He called it the BM LINX (purposely misspelled by us).

4TR: New album ‘Black Entertainment’ is being released on Craze Factory after you were the first act to sign to them last year.  What made you decide to work with them as a label?

BM Linx: Signing with Craze didn't allow us to buy houses and boats and homes, or even quit our jobs, but they did allow us to develop ourselves the way we want and they invested time and money into this without forcing us to adhere to their rules. They're actually A&R at a much larger label and had been coming to shows for about a year before they signed us to their upstart.

4TR: Do you think as a band and musically your sound has progressed 2nd time around with soon to be released LP Black Entertainment?

BM Linx: Yes. The first record was done on zero budget in Tony's closet. Since we signed a deal with Craze Factory we were able to take the electronic elements written in the closet studio to Stratosphere Sound here in NYC and record over them.  

4TR: You ended up working with the revered producer Alan Moulder after he discovered you in New York and decided to take on the mixing duties of 'Black Entertainment'.  How did his experience and knowledge improve and develop the record?

BM Linx: Yeah, Alan didn't actually discover us in NYC... That was just some story concocted by a PR agent for whatever reason. Real story is that we used to be on a booking agency called Vital Talent, and the owner of the agency (Gerry Gerrard) knew Alan and sent the first record and some of the new stuff we were working on to him. He loved it. The response we got from him really blew our minds cause we're all fans of his work. Alan just knows a mix, how to make it aggressive but not overt, how to make it both modern and classic simultaneously... Dude is a monster behind a board. And a class act.

4TR: Alan Moulder’s renowned for his work with rock royalty like Nine Inch Nails and Smashing Pumpkins, but you as a band have a prevalent electronic element throughout your music.  Were you able to bring all your ideas together?

BM Linx: Yes. He's got so much experience with both rock and electronic records that nobody would have done a better job. Really it would be cool to have somebody like Frankie Bones or Carl Craig work on a rock record, and maybe that could happen in the future, but the wide scope of this record made Alan the perfect choice. 

4TR: From the concept to the finished album, was it everything you expected it to be?

BM Linx: Yes and no. This record is less an exploration of genres than a roundup of influential styles and time periods. It's a huge step toward finding our ultimate sound, so in that sense it's everything we wanted to accomplish this time around. We've learned a lot about production and how to utilize live instruments along with sequenced elements and in the future we'd like to see how far we can take that. 

4TR: What influences BM Linx’s music and writing?

BM Linx: The live performance, new technology, classic rock, classic beats.

4TR: How does your sound on record translate to your live shows?

BM Linx: We sound more like 'Black Entertainment' live. It was a lesson learned after 'The Portable Genius' that we're actually a rock band even though the record sounds a bit new wave... We do come across pretty heavy while maintaining the danceable elements. 

4TR: Your shows have been described as “exhilarating”; does much go into the production?

BM Linx: Not really. No props or special lighting system. We use some sequenced elements but keep it very stripped down. Mostly we just want to put on a strong, memorable rock show. Something we'd want to see. 

4TR: Your sound has a real cross-over element to it which has appealed to fans of pure rock music and also fans of electronic sounds, was that always your intention when BM Linx began in 2005?

BM Linx: It's happened somewhat organically because of our live music experience together with clubbing and djing over the years, but we were also fairly conscious of the cross over element we were exploring. 

4TR: How have the UK audiences treated you so far?

BM Linx: So far the reviews are very positive. What confuses American audiences seems to intrigue the Brits and that says a lot. It doesn't seem so important in the UK to be tied to some sort of pre-approved style or genre as long as the songs are good.

4TR: New York has been a hot bed of activity lately in terms of new music coming over to the UK, with this year already set to be huge for NYC bands.  Do you think the buzz is justified?

BM Linx: Hard to tell since we're in the middle of it;)

4TR: What other bands from home do you think we should be listening out for?

BM Linx: Just did a remix for a Brooklyn band called Freshkills that are good. Young Lords are pretty good. Nadastrom (I think they're from Washington DC) is doing some really sick electronic stuff. Township from Boston is awesome and very classic.  

4TR: Do you think the digital age affecting the music industry and how music is made available is a good thing or a bad thing.  Do you think that its result has made the industry saturated with artists, therefore making the really good ones harder to get their music heard?

BM Linx: It's happening whether we like it or not so there's no point in hating on it. It's definitely hyper saturated and tending to make music consumers AND musicians cynical and reactive. It also feels less important somehow. Consider that when Mozart "fans" went to check out a performance they couldn't listen to music unless is was being performed. Now everywhere you go there's some shit DJ rocking some shit remix of some shit band ringtones. But the same technology that makes it overkill is also what makes it possible to have a recording studio in your bedroom. Like anything, it's both good and bad.

4TR: Can we look forward to you touring in the UK and playing any festival dates this year?

BM Linx: Fingers crossed on the festivals, but we will be over in mid April for some shows in London. Can’t wait.

Words: Francesca Strange

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