Slow Dancing Society (SDS) is Washington based musician/producer and nostalgist extraordinaire, Drew Sullivan. If ever there was an artist who truly expressed themselves in a way that defies everything music and art expects, and at times demands, then slow dancing society would be that artist. With influences ranging from classic artists such as Brian Eno, Def Leppard, Tears For Fears, The Cure, Eddie Money, Pink Floyd, Prince, Spandau Ballet and U2 to contemporary artists like Manual, Charles Webster, Explosions In The Sky, Sigur Rós, Hammock, Red House Painters and My Morning Jacket, one might begin to understand what they are in for when they hear something coming from slow dancing society.
At times there is a pure abandonment of structure, continuity, consistency and most importantly, hipness. If one were to compare the music of slow dancing society to anything, it would be our memories and our past. Which is probably why one will experience such a sense of nostalgia and an overall coloring of sentimental values when they listen to the music. One cannot refute the notions that life is abstract, doesn’t always make sense, isn’t always beautiful (though at times the contrary) and never what it seems. So why then does the music have to be?
Q: Who is the man behind SDS?
A: Simply one big music lover trying to create music that is functional. I’ve always loved the idea of music that has a function or purpose. Something that can score your daily life and hopefully enhance the moments we all live. I know music does that for me in a big way. I’ve always felt so bad for people who aren’t moved by music. It’s like they don’t know what they’re missing and how much more beautiful life can be with some good sounds shadowing them.
Q: Musical influences growing up?
A: Lots of ‘em! It wasn’t only artists or bands but rather movements and genres that really influenced me quite a bit. I’ve always been fond and still am to this day of the Glam/Hair Metal/Stadium Rock sound. The overall timber of most of that music was just amazing. Huge drums, soaring guitars, crystal synths and great harmony. Far too often that music has been laughed at or made a mockery of due to the ridiculous nature of what they wore and how over the top the music was. But couldn’t the same be said for how ridiculous Rap stars of today dress? Yet everyone thinks those guys are great artists when really that is some of the worst hip hop out there. Even still you could say the same thing about indie artists. Lets put on some air tight jeans, not produce are records that well, have way too many unexpected chord changes because we want to be (un)pop and sing a bit off key because we don’t care. This is what is cool? But when you get right down to it, most of the songs in the 80’s by those bands were really beautiful pieces of music. Most of the guitar players were very well trained and the overall musicianship was great as well as the sound production. Sure, a lot of the lyrics were about sex, drugs, partying and being pissed at your old man, but the music was great. The problem most people have is that they can’t separate music from lyrics and just let the lyrics be another instrument. When one can do that, I think they’d find the music from those artists pretty moving.
Other than that I’ve always been hugely influenced by The Cure, Pink Floyd (Gilmour era), Prince and my favorite artist of the 80’s…DEF LEPPARD! “Hysteria” is the best album of all time, hands down!
Q: When did SDS begin?
A: I’d say the Slow Dancing Society that most people hear today was created back in 2003-2004. I initially used to DJ under that name in Los Angeles when I spun deep house from as far back as 2001.
Q: Where is SDS based?
A: Spokane, WA. Most people have never heard of it but I just tell them Seattle. Even though it’s like 4 hours from there! Complete opposite side of the state of WA. Really, I’m closer to Idaho.
Q: What does the name SDS mean?
A: Like I said earlier when I spun house music, the kind of house music I’d play was really, really deep and moody. I was never able to get people to dance but I was always able to get their undivided attention. My mix cd’s became quite a thing to seek out as they were more concept based and were ultimately a great thing to well, ‘come down to’, if you know what I mean! Haha. Remember, we’re talking about club culture here. But I thought well I’ve got a group of fans or a society of slow dancers! So there you go.
Q: When did you start creating music?
A: I started writing songs at the age of 8. They were horrible and mostly really bad rip-offs of other artists at that time. That would have been 1988, so basically I re-wrote “Hysteria” by Def Leppard over and over. I really started to get serious about song writing in the late 90’s.
Q: When was the first gig you played at?
A: That would have been 1998 with my first real solid band that actually cared about making music, rather than just trying to get laid cuz they were in a band. I’m not gonna lie, we sounded like every 90’s band at the time. The Verve Pipe, Seven Mary Three, Sponge…etc.
Q: What equipment do you use when playing live?
A: Back then it was a Purple sparkle-like carnival ride paint job on a Les Paul through a 4x10 Fender Bassman and some plain old Boss distortion and flanger pedals.
I’m not really playing live at the moment as Slow Dancing Society, but I’m working on getting a live show together that will ultimately end up being sound installations and experimental improvisations.
Q: Musical bio from 1st production up until most recent?
A: Really when I first started ‘writing’ per-se it was with your basic run-of-the-mill computer/loop programs. I’d take samples and mess with them until I found stuff I liked. Played some acoustic guitar parts over it and that was about it. When I first started pre-production on “The Sound Of Lights When Dim” I went out and bought a lot of studio gear and really started to tighten the overall sound up. I’ve really approached the following two albums the exact same way although with the forthcoming album I’ve really started to utilize a lot more instrumentation and less synth work.
Q: What kind of studio equipment does SDS use?
A: Ableton Live for recording and sequencing.
Fender Strat, Fender Tele, Fender Jazzmaster, Gibson ES-335, Gibson Acoustic
Sure 57 mic
Crate Tube Amp
Line 6 Delay and Reverb
Boss Tremelo and overdrive
Native Instruments Battery, B4 and Absynth 3
Q: What genre does SDS music fit into?
A: I’d say lately it’s mutating into a lot of 80’s infused pieces but I don’t see that lasting for too long as it was just a personal phase I wanted the Slow Dancing Society sound to graduate to. However I’m sure the overall sound will always find itself tucked nicely in the downtempo/ambient/film score niche.
Q: What is the best way to listen to SDS soundtracks?
A: Even though it’s ambient I’d say LOUD! There are so many sounds going on that you can always find something different in there. Headphones always work well too, but they don’t tend to get the tones that big speakers can.
Q: When is the best time to listen to SDS soundtracks?
A: From what I’ve been told when you want to go to sleep! Haha. Not in the bad way but really to relax you and take you somewhere else before you retire for the day.
Q: Plans for the future/Upcoming releases/gigs/events???
A: I’ve got a new album coming out in July through Hidden Shoal Recordings which I’m really, really excited about. This album is basically my homage to the 80’s music that I loved. Hair Metal, New Romantics, Art Rock…etc. It’s a very personal album and I won’t make another album like this, but I think it’s my best work yet. Definitely summer music. So take this album with you to all the sun drenched settings this summer.
I’ve done a few remixes for an electronic outfit from the UK called Lustral and those should be released very shortly.
After that I think I’m gonna take some time off and start writing again. I’ve been working non stop on the last 2 albums to get them to where I felt they best should be and I haven’t been writing enough.
No big gigs planned as of yet, but it’s always a possibility!
