Ooh La La: Guster’s Latest Era
Guster's upcoming album Ooh La La (out May 17th) embarks listeners on a journey through the complexities of life, love and nostalgia. With each track offering a unique perspective on the human experience, the album showcases the band's versatility and emotional depth over their 30+ years of making music together. In this exclusive interview with drummer and co-founder Brian Rosenworcel, we delve into the making of the album, the band's creative process and their ambitious "We Also Have Eras Tour."
Ally Giust: The title of your upcoming album is Ooh La La. What inspired this title-choice and how do you think it reflects the themes you explore in the album?
Brian Rosenworcel: You know, I think for the first time in a long time, we picked an album title that does not reflect the themes of the album. I think we were tired of that. We always pore over the lyrics to try finding something that stands out, like, "The moon and stars are ganging up on the sun" for “Ganging Up On The Sun.” Then, title tracks like “Keep It Together” and “Look Alive.” “Evermotion” was a lyric that was stuck in the song “Gangway” on that record. Anyway, they all seem to have extra depth to them, and then “Ooh La La” doesn't have many layers to it, and for that reason, it actually felt – like, exciting. So, we looked at some other things there in that song, “Keep Going.” You could have called your album “Keep Going.” You could have called your album “The Bright Side,” which is the lyric from there, and all these things that have meaning, but Ooh La La felt just a little bit more fun.
I had the pleasure of listening to Ooh La La early for this review.
AG: It is a pretty fun album title. I listened to some of the album already, and you guys did a great job with it.
Rosenworcel: Oh, thank you. I appreciate that. It's been a 5-year journey to get an album finished, [which] is longer than I recommend, but at least we still like the song. That's a good sign.
The album opener "This Heart Is Occupied" begins with a stripped-down, deconstructed vibe, featuring melodic guitar strumming that sets a contemplative tone. The lyrics immediately immerse listeners in a narrative of longing for spontaneity and connection amid the responsibilities of adulthood. As the song progresses, the drums kick in around the 1-minute mark, adding depth and rhythm to the composition. It's worth noting that the arrangement feels more lowkey than usual for Guster, but they pull it off exceptionally well, showcasing their versatility as musicians.
The second track "When We Were Stars" shines with a captivating groove, immediately drawing listeners into a world of nostalgia and longing. The introduction of bongos right off the bat adds an infectious rhythm to the song, setting the stage for a journey through memories of a presumably former romance in Montreal. As the song unfolds, the drums take center stage, driving the melody forward with an irresistible energy. Despite the upbeat rhythm, there's a subtle undercurrent of melancholy woven throughout the instrumentation, perfectly complementing the bittersweet lyricism. The contrast between the cheerful groove and the wistful reminiscence of the lyrics creates a compelling tension, highlighting the complexities of lost love and yearning for reconciliation. The chorus, with its longing to return to a time of magic and promise, serves as a poignant reminder of the fleeting nature of romance and the ache of longing for what once was.
“Despite the upbeat rhythm, there's a subtle undercurrent of melancholy woven throughout the instrumentation, perfectly complementing the bittersweet lyricism. The contrast between the cheerful groove and the wistful reminiscence of the lyrics creates a compelling tension, highlighting the complexities of lost love and yearning for reconciliation.”
AG: Speaking of it being 5 years since your last album Look Alive, if I'm remembering correctly. Were there any lessons that you learned from Look Alive's reception that informed the creation of Ooh La La, or was it a completely separate thing?
Rosenworcel: No, I always think there's a relationship, and I always think that Guster albums seem to be reactions [to] the previous album. So we also have this quality where we choose different producers and totally embrace that producer’s ethos. On Look Alive, we were working with this British guy named Leo Abrahams, who was tired of creating warm sounds and Beatles pastiches and wanted to find sounds that challenged him. So, we embraced a lot more of an icy kind of sonic landscape and sounds that were – harsher and challenging, and they made the music more exciting in lots of ways. After living with that — we love that album — and in the context of working with Josh Kaufman in the pandemic landscape, those pianos and acoustic guitars [had a lot of appeal] as a comfortable place, and Josh really helped us focus on the [heart and emotion] of each song. [He also worked on] the lyrics of every song and made that the priority, rather than focusing on “sonics.” You know, sonics can go wherever they want to go – so every song, I think, comes across with some heart, and that is the achievement on this record.
"All Day" is a melodic journey through the depths of enduring love and shared experiences, reflecting on the resilience and devotion that defines lasting relationships. With a thumpy bassline and a synth-infused atmosphere, the song envelops listeners in a comforting embrace, reminiscent of the security found in a cherished partnership. As the lyrics delve into moments of building together and leaving lasting imprints, there's a palpable sense of commitment and patience that resonates throughout —
“So we’ve come this far
If we sit and wait
Well we got all day
All day.”
— despite the hurdles encountered along the way. The chorus echoes the abundance of time, serving as a reassuring reminder of love's enduring nature.
AG: Could you talk a little more about the songwriting and arranging process for this album versus your previous ones? Were there any new instruments or techniques that you introduced or delved into while recording this album?
Rosenworcel: I don't know about new instruments, but one thing that was definitely new was [that] we went in unprepared. It was 2020 and we were looking at [the project] like, “Oh, God, we don't know how long it'll be until we can tour again.” We had these — I'd say — 6 to 8 songs, but they were half-written from jam sessions, and you can piece them together in your mind or over email and from your various remote locations. But, we really wanted to just get inside a room and be musical together. So, Ryan and Adam and I went out to Woodstock with Josh Kaufman and, off and on for many months through 2020 and 2021, we started to get into the songs and taking them apart and reinventing them. Josh had to do a lot of work to help us get them to a spot where they felt like songs, so we definitely were doing more writing and arranging in the studio than we used to, but we got there okay.
"My Kind" unfolds as a mesmerizing exploration of love's transformative power, enriched with the signature Guster sound that fans know and love: a deconstructed blend of unique percussion, vocal harmonies and rocking guitar riffs. The song opens with a dazzling display of musicality, incorporating a jazz-inspired groove that immediately captivates listeners. As the protagonist navigates themes of fear and reassurance, the song exudes a smoothness that underscores the depth of emotion portrayed. There's a sense of profound understanding and connection, as the protagonist offers unwavering support and comfort amid uncertainty. The reintroduction of congas adds a layer of richness to the sound as well, enhancing the song's dynamic texture and rhythm. The track is a testament to Guster's ability to blend musical elements to create a cohesive and immersive listening experience.
"Keep Going" unfolds as a soothing anthem of resilience and optimism, enriched with gentle percussion that sets a tranquil tone from the start. The song's light tambourine and shaker elements create a calming atmosphere, inviting listeners into a space of rumination and reflection. As the lyrics delve into themes of perseverance and determination, the protagonist's unwavering resolve shines through, even during unexpected detours and challenges. Despite the darkness that may surround the subject, there's a steadfast commitment to continue moving forward and toward the light. The repetition of "It's ok, I'm alright" serves as a powerful mantra of self-assurance and perseverance, echoing throughout the song with a sense of conviction and strength. It's a reminder of the importance of resilience when overcoming obstacles, even in the face of life's uncertainties.
AG: Speaking of touring, you guys are currently on the “We Also Have Eras Tour,” and it's supposed to be a very unique experience. What has it been like planning this and executing it? It's a very ambitious tour.
Rosenworcel: It's definitely ambitious, especially for us, where we're used to just showing up and playing our show and, you know, [now] we have enough songs that we can make every show as unique and exciting as possible. [We’ll say], “Oh, this time we'll play this one,” a song we haven't ever played there, and that's kind of been enough. But, I think we really pushed ourselves to create something that would be special and that would really invite people in, so we envisioned this based on Taylor Swift's concept of “eras” and her idea of spending a little time in each era, each album. But, ours, unlike hers, is a chronological journey and we're doing a lot of storytelling through these sort of theatrical, Broadway-style sketches. I wrote those just based on how I felt, like – what were the big moments in our band's history? What are some funny moments? What makes this a concert, a story that people can connect to amid the eras that they came to see? It's been fun to witness the musical evolution from our college days to now because it really highlights our [musical journey] this way. You can see exactly how we grew because it's chronological. It's been fun to act onstage and to get laughs and otherwise put on a very unique kind of show.
"Gauguin, Cézanne (Everlasting Love)" unfolds as a mesmerizing journey through surreal experiences and artistic inspiration, enriched with a smoky ambience that adds depth and mystery to the sound. From the first notes, listeners are transported into a world of transcendent beauty and psychedelic exploration. It’s sweet-sounding, surface melody elevates lyrics that encapsulate the romantic feeling of being the only two people in the world.
“The Richmond Bridge dropped out of the fog
The redwood towers scattered their song
This is the closest I have felt to God.”
"Witness Tree" captivates from the start with its soothing introduction, setting the stage for a profound journey of introspection and connection with nature. As the song progresses, a dynamic beat kicks in around 38 seconds, instantly prompting listeners to tap their feet and bob their heads along with the infectious guitar and drum rhythms. What makes "Witness Tree" truly stand out is its undeniable showmanship. The song exudes a sense of charisma and flair with every note and chord, each played with precision and passion. The guitar and drum rhythms are not only fun, but also encourage intense head bobbing, immersing listeners in its infectious groove. Adding to the song's allure, is its fantastic horn arrangement, which injects bursts of energy and excitement throughout. The horns elevate the track to new heights, making it undoubtedly the highest-energy song on the album. Despite its upbeat tempo and catchy melodies, though, "Witness Tree" doesn't shy away from addressing deeper themes. The song's underlying message of recognizing imbalances in the world and the need for a deeper connection with nature remains palpable.
Album cover.
AG: I find that album artwork is often an extension of the music itself. When you were designing the album cover for Ooh La La, what was the thought process?
Rosenworcel: Well, we like finding random artists whose work we appreciate – whose aesthetic really speaks to us, and then delving into all the work they did. Ryan found this woman, Naomi, on Instagram, and I went through all her stuff: the kind of flamingos, what seems like a paradise-style Eden or utopia of an island with those really dark clouds, or some sort of harbinger. [That] sort of combination, to me, provided an extension to this album. Say a song like “Maybe We're Alright,” and I don't know if you've heard the whole album, but it’s the album closer and it encapsulates the way you felt in 2020. It's like you're saying “we're alright,” but you don't believe it, sso there's a certain, sort of lingering, apocalyptic component in the midst of all this beauty and gratitude and other things. Something in that combination really spoke to me. I don't know that people look at Ooh La La and feel both of those elements, or if they just see cool flamingos and pink clouds [while] there is a looming apocalypse.
"Black Balloon" takes listeners on a heartfelt journey of acceptance and companionship in pairing with the inevitability of change. The song, largely acoustic with subtle piano and synth chords in the background, creates a bittersweet atmosphere that perfectly complements its introspective lyricism. As the lyrics unfold, the protagonist personifies the black balloon as a symbol of uncertainty and change, acknowledging its presence with a sense of defiance and courage. There's a profound realization that change is an inherent part of life, and despite the disruptions it may bring, there's a calm acceptance of its inevitability. The repeated refrain "I'll go with you, if you'll ask me to" underscores a willingness to embrace change and uncertainty, anchored by a sense of companionship and solidarity. The imagery of flying together symbolizes a journey into the unknown, but one with trust and support guiding the way.
"The Elevator" embarks on a profound exploration of the intricate emotions woven into farewells and treasured memories. From its gradual ascent to its triumphant crescendo, the song guides listeners through a journey of introspection and nostalgia, propelled by its infectious rhythm and evocative storytelling. As the lyrics unfurl, they reveal the delicate balance between reluctance and acceptance of departure. The protagonist grapples with the complexities of bidding farewell while embracing a profound gratitude for shared moments. What sets "The Elevator" apart is its exceptional lyrical craftsmanship, standing as a pinnacle among the album's offerings. Verses such as,
“Pure imagination, you’re love made of love
Fourth of July plays in my mind
Gunpowder sky burned in blue red and white
Ashes to ashes and dust gone to dust,”
paint a violently beautiful picture. The rhythmic pulse of the bongos infuses the melody with vitality, deepening its infectious groove and captivating listeners. As the composition progresses, it swells into a crescendo of unparalleled magnitude. The outro's instrumentation forms a passionate surge, radiating resilience and hopefulness while the horn arrangement adds a final flourish of brilliance. In essence, "The Elevator" serves as a testament to the profound beauty found within shared experiences and the nuanced emotions entwined with parting ways.
AG: And as you reflect on 30+ years of Guster's music, are there any albums or eras that hold particular significance to you?
Rosenworcel: I mean, it's well known that we're proud of all our eras, maybe with the exception of the first two. Like, when you're in college, you only know so much. There's some good songs on our first album Parachute. We're playing ones we can tolerate, but as we dig in on this tour, when we project the album cover, as we enter every new era and I hear people applaud, it's really special. It's just really nice to remember that your albums have been a part of these people's lives. Yeah, I mean, all the music still holds up for me, and we can tolerate the first two records in small doses.
"Maybe We're Alright" delves into the profound journey of life, exploring the myriad of challenges and uncertainties encountered along the way. Against an initial acoustic backdrop, the song sets a nostalgic tone, weaving a tapestry of melancholy and bittersweet emotion imbued with layers of resignation and acceptance. As the lyrics unfold, they evoke a longing for reassurance and acceptance alongside the complexities of existence. Some of the most striking phrases in this song are:
“Chasing fireflies as the sky turned gray”
“Trapped in mason jars as they flash and fade”
“The church around the corner has a sign”
“The end is near but help is right inside”
“Whatever gets you through the night”
Despite the ups and downs, there's a resilient spirit that permeates the song, offering a glimmer of hope that things will ultimately be okay. What sets "Maybe We're Alright" apart is its ability to capture the universal experience of navigating life's twists and turns with a sense of optimism and perseverance. The build-up toward the end feels like a cathartic release, as if running to the future with one foot in front of the other. As the album-closer, "Maybe We're Alright" leaves a lasting impression, serving as a poignant reflection on the journey of life and the resilience found within. Its nostalgic melodies and emotive lyricism resonate deeply, offering solace and comfort to listeners as they embark on their own journeys.
AG: As a band of so many years, you guys have emphasized the importance of staying engaged and putting in the work. How have you managed to maintain creative momentum and the same passion for music-making after so many years together?
Rosenworcel: We made 9 albums, but the idea of putting new music into the world is so exciting. It's never not been exciting. The idea that “oh, there's a song on here that maybe will have some legs or maybe will live on beyond me,” I mean – that's amazing. Even just the idea that people are going to listen to the thing that we wrote [is] so cool. I hope I never lose that perspective. So, that's really what motivates me. We don't get paid for making an album. There's no record label. That's like hanging a bag of cash for you to make your songs. It doesn't work like that anymore. It's more your creative passion, and [an] “I got something to say.”