SAVAK is a Brooklyn-based post-punk supergroup made up of former and current members of Edsel, Obits, Silent Majority, Nation Of Ulysses, Holy Fuck, Enon, The Make-Up, and The Cops. Enough said. Their most recent LP ‘Cut-Ups’ was released last October via Ernest Jenning Record Co. and you can find limited edition French and Czech singles separate of the album on Bandcamp. Be sure to catch them live along with The Messthetics & Sunwatchers this April 19th at the Space Ballroom in Hamden, Connecticut. Below you can find a Q&A session with principle songwriters: Michael Jaworski and Sohrab Habibion.
How did SAVAK form? Could you take our readers back to the beginning?
Michael: Sohrab and I met at The Bell House, a venue I work at in Brooklyn. He was playing in Obits at the time and those guys would occasionally swing by for a pre practice libation. Sohrab and I started chatting and realized that we’ve played a show together years ago at SXSW and we started connecting the dots with all of our mutual friends. I lived in Seattle for many years and Obits were on Sub Pop. It turned out we had a lot of mutual friends and common musical interests. The Obits fellas invited me over to jam one night after work and we all kind of hit it off. Sohrab and I thought it would be fun to start working on some music together and SAVAK slowly started to form as Obits were wrapping it up as a band. Eventually SAVAK became the main focus and we started playing with Greg Simpson, bassist in Obits, and drummer Matt Schulz, who was also in Obits. We formed the band with a general collective member vibe with Sohrab and I being the two constant members and we’ve had a variety of contributors on our records and live performances. Since we formed we’ve tried to keep the momentum going by casting a somewhat wide net among our friends and musical collaborators. In part because everyone is so busy and we want to keep pumping out the jams and playing shows. In other ways to keep things fresh and exciting as playing with different people will always add new perspectives. So far so good!
So, I have to ask about your band name. Savak was obviously the Iranian intelligence agency that protected the regime of shah. Does the band use the name as a reminder of the atrocities committed by them? What was the meaning behind it?
Michael: Sohrab came up with the name and is half Iranian, so he’ll probably have a more thoughtful answer than me. From my perspective I would say that we don’t think that names of rock and roll bands should be taken too seriously. We’re also political people and obviously citizens of the world and definitely understand the history and implications of the name. That said I do think it’s ok to appropriate certain words if the intention is a more positive connotation. Our roots are in punk rock and we still consider ourselves punk rockers. Sometimes stirring up the pot and making people a little uncomfortable is a good thing. Sometimes it’s good to get people talking and thinking about how we can make the world a better place and we’re trying to do our part. There is a history of other punk bands doing the same thing from Dead Kennedys, Gang of Four, Joy Division to Viet Cong… er, wait a sec. Scratch that last one. I guess you might say we’re working to make the same kind of impact with our music and art and the band name is just a necessary part of that equation.
Sohrab: Most people won’t actually know the reference anyway, but for those who do or care to explore, it opens a window onto the darker side of the human experience. And hopefully gives a chance to reflect on what we can become if we don’t make an effort to steer our ship in a different direction. My father, who’s Iranian, laughed when I told him the name. He thought Obits was bad, so he was amused that we chose something even worse. But he understands it’s just a band name. His response was, “Like the Dead Kennedys, right?”
What separates the work artistically with SAVAK from other projects all of you have going on currently and in the past?
Sohrab: I see it as just a continuation. There are things that we do that could be parts of songs in most of our previous bands. And that’s fine. It’s who we are and where our musical voices commingle.
Michael: There are certain similarities and differences from previous projects. Different people render different results. My personal experience with SAVAK has been a very open-minded and collaborative experience. I think at this point we’ve all been doing this long enough we’re hopefully a little wiser in some ways. Also, I think we’re more open to take certain risks and challenge ourselves in ways we might not have done with other projects. Stylistically, this band is more likely to incorporate influences from our broad array of tastes whether it is jazz, Zambian garage rock, hardcore, etc. It’s fun!
Your video for ‘I Left America‘ features clips of 19th and 20th century documentation of immigrants, laborers, soldiers, camps, and factories in America. How do you feel this history plays a role in the present space of our country?
Michael: This video is primarily Sohrab’s vision and work, and he wrote the lyrics to the tune so I’ll defer to him on this one.
Sohrab: I specifically chose that imagery to show the people who make up this country. The weary and bedraggled but still tenacious and resilient. The ethnicity of our immigrant population may change depending on whatever is happening in the world, but the fabric of our country and the humanity that we represent comes from our willingness to embrace those in need. Hope is incredibly powerful. And despite the awful, sickening, myopic, paranoid, selfish and morally corrupt display by our current administration, I believe we’ll return to the true spirit of what gives immigrants the inspiration to make the often unimaginable journey to our shores.
‘I Don’t Want To Be Defended‘ is perhaps my favorite off of ‘Cut-Ups‘ – but let’s pretend that hasn’t been secured in writing. What’s the story behind this track?
Michael: Thanks! Musically it came together when James Canty (bass guitar) dropped that ripping bass line and the rest of us filled in from there. Some of our songs come more fully formed from Sohrab or I, but this one was a true collaboration and Sohrab took the reigns on vocals and lyrics, as we try to trade off and keep it as equal as possible. I do think it’s of the groovier songs we have and I managed to pull off a guitar solo in the studio that I’ve never been able to replicate live. I guess I got lucky there!
Sohrab: Being a middle-aged guy in an unknown rock’n’roll band is a weird and funny thing. You really have to want to do it, accept the monotony/absurdity and have a sense of humor about it. I mention this as a setup because explaining to strangers that you’re in a band they’ve never heard of is one thing when you’re twenty-three and something completely different at twice that age. Our contemporaries are deep into their professional career trajectories so the idea that we’re pursuing something as ephemeral as this with no hope for financial reward is confusing. It defies the logic of how one is supposed to evolve in a society shaped by capitalism. The point of view of the lyrics is that our choice doesn’t need to be defended. We’re okay with it. Working on the fringes has its place and is no less valuable than what’s familiar in the mainstream. And that goes for everyone. It’s okay to wait tables, wash toilets, fix bicycles, sell shoes. We don’t have to graduate to other things to be happy or live satisfying lives.
Amongst a band whose members all have such varied musical backgrounds where does one begin when it comes to songwriting? What gets the juices flowing?
Sohrab: Sometimes it’s just random. I’ll wake up with a snippet of lyrics in my head or the clanging of the radiator prompts a rhythm for a vocal phrase. And other times it’ll be from listening to music. I’ll hear an idea in a non-rock song and wonder how that can be translated to what we do. These things can go either way, though. What seems like a cool idea in my head falls flat when I try to play it or relay it in the band context. I’ve learned not to be too precious about any of it. Just go with whatever works.
Michael: The musical nuts and bolts of most of the songs I write come from playing at home on my acoustic guitar. Trying to have fun while coming up with something catchy and interesting. Sometimes a basic arrangement will come together before I bring something to the band, but everything tends to change a bit once we start working on the song collectively. We try to keep an open mind all the way through the recording process too. I look for inspiration in lyrics everywhere. Books, movies, personal and political relationships, subway rides, daily observations and pretty much everything else. I try to keep an eye and ear open and hopefully shape a tune where the combination of the music and words help elicit some kind of feeling or spark some kind of introspection. It’s probably the hardest part of my songwriting process, probably because I don’t want them to suck… Ha!
The packaging for your albums thus far has been quite unique. Could you talk on the art for ‘Cut-Ups‘ and ‘Where Should I Start? / Expensive Things‘ specifically?
Sohrab: Michael had the idea to use some collages from Jim Blaha and when I checked them out was really excited by it. For the 7” we worked with our pal Rémi in Lyon, France. He offered to put out the single and asked if we were into trying silver foil and embossing, which of course we jumped on. And then he sent some of his grandfather’s technical drawings, which were beautiful, so we agreed to use those as well. There are about 5 different covers altogether. Rémi did an amazing job.
Michael: Jim Blaha from The Blind Shake is an old friend of mine and I’ve always loved his artwork. He’s a super talented musician and artist, and truly one of the nicest human beings out there. He was more than generous with allowing us to use his work on our album. We’ve had the real good fortune of working with some friends who are extremely talented artists. Lucky us!
‘Where Should I Start?’ had me wondering how all of you deal with stress. Especially in this frustrating time in our world. Meditation? Lavender spritzers? A dozen house cats to pet that surround you 24/7?
Michael: I try to stay active and sweat a little bit, whether it be going to the gym or carrying my 15 month old daughter around. I’ve had periods of life where I did yoga and meditated and there was a noticeable difference in my ability to manage stress. Unfortunately it’s hard to make time for it with a family, a band and a job. I enjoy the vin rouge and just chilling with a nice coffee at the park or in a cafe. Time in Central Park is a key for me. Also, VACATIONS!!!
Sohrab: Ha! I have a cat, enjoy herbal teas and do Pilates once a week. Though that’s just part of my lifestyle, I guess. Not really specific to stress relief. I’m pretty mellow by nature. That said, alcohol is a nice way to keep things light.
What brightens your day more: cheese and tomato sandwiches or 25 kilo sacks of organic coconut flakes? No, I wasn’t casually stalking your Twitter at all.
Michael: Sohrab is our tweeter in chief, so I’ll defer to him on this one. I try to keep my social media use to a bare minimum but I do enjoy the pretty pictures on Instagram.
Sohrab: A few coconut flakes mixed into granola with fresh fruit and yogurt is a nice way to start the day, but oh how I love a good cheese & tomato sandwich! I belong to our local food coop, which has a tremendous cheese selection and the Summer heirloom tomatoes we get are out of this world. With a little bit of mayo on a couple slices of Pullman bread and a sprinkle of salt… c’mon!
What album has held the most importance to you over the years? And what newer releases are you all digging?
Michael: So many records have meant the world to me at different times in my life, and they always will. I guess if I had to pick one, I’d say ‘Let Ιt Be‘ by The Replacements because it’s the record that made me want to play music. I don’t listen to it all that often these days, but I’ve probably listened to it more than any other record with the most spins coming from age 16 – 25. Lately I’ve been digging new stuff by Idles, The Breeders, Cut Worms, Olden Yolk, Baxter Dury, Hot Snakes, Nap Eyes, Lost Balloons, and probably another dozen that I’m missing here…
Sohrab: Hard to say, as it changes depending on my mood, but a few that never go out of rotation are ‘Revolver‘ by The Beatles, the first three Wire albums, ‘Laughing Stock‘ by Talk Talk, Television’s ‘Marquee Moon‘, and Charles Mingus’ ‘The Black Saint And The Sinner Lady‘. Recent things I’ve been enjoying include the latest records by Yazz Ahmed, Alvarius B., Baxter Dury, Les Filles de Illighadad, A. Savage, Kelley Stoltz, and Msafiri Zawose.
On a related note: what are some interesting music/punk/diy documentaries that ‘ve caught your attention recently for our readers to check out?
Sohrab:
“Beware Of Mr. Baker”
“Ethiopiques: Revolt Of The Soul”
“I Called Him Morgan”
“Muscle Shoals”
“Salad Days: A Decade Of Punk in Washington, DC (1980-90)”
“20 Feet From Stardom”
“The Wrecking Crew”
“What Happened, Miss Simone?”
Michael: I haven’t seen too many punk/DIY style documentaries lately but I can recommend the Pulp doc “A Film About Life, Death And Supermarkets” and the Iron Maiden doc ‘‘Flight 666’’. Both are incredible, uplifting affirmations of why rock and roll is so important to our world.
I spotted some sweet gear on your Instagram. What do you – and if you can speak for others in the band – use normally for recording and playing live?
Michael: I recently bought a special edition Fender American Jazzmaster from Chicago Music Exchange. It’s a new guitar and doesn’t have the standard Jazzmaster bridge and I love it. I’ve played Gibson guitars for so many years and I’m really enjoying this new guitar and its sound. Nothing beats my 68 Trini Lopez, but I tend to leave that one at home these days. I also just picked up a new Vox AC30 hand wired amp and I’m in love. Previously only played Fender amps but man this thing is sweet.
Sohrab: Live I tend to rely on my Gibson SG guitar. It’s sturdy and travels well. For recording I switch it up to get different sounds. Sometimes I think of specific things that might benefit the song. Other times I’ll pick a less expected guitar to see if it adds anything interesting. We’re recording our new album now and so far I’ve used the SG, a Gretch Silver Jet 90s reissue, a 1958 Guild T-100, an 80s Fender Lead II, and an Eastwood Delta-6. For amps mainly I use my Guild Thunderbass head & 2×12 cabinet or my Sears Silvertone 1484. Both are late 60s models and have a great, natural sound. I add some color with a few pedals, but like to start with a good amp sound.
How would you describe yourselves as live performers? What can concert-goers expect from your gig April 19th at the Space Ballroom in Hamden, Connecticut?
Sohrab: We move around a little and chitchat a bit, but there’s no “show” or anything. It’s just us playing our music. Hopefully people find something to relate to and a way into the songs. But there are no fancy costumes or shirtless guys climbing the rafters, so we ask the audience to do their part to make it a collectively positive experience.
Michael: We get into it! We have fun, get sweaty and play our tunes with enthusiasm. No light show, smoke machines or sweet back drop. Just gentleman putting their soul into the tunes.
Have any funny Van Halen-brown-M&Ms rider requests? I may have heard something about queso and SXSW…
Sohrab: We always ask for local specialties. Food, drink, whatever. We want to learn about the things that people are into wherever we are.
Michael: A nice bottle of wine is always a treat but rarely happens. Like Sohrab said, local stuff rules. We try to enjoy the local cuisines and delicacies when we travel. We try to reward and enjoy ourselves after spending hours in a van.
Having travelled and even lived all over the country, what are some of the differences you’ve seen and experienced with the DIY scene on the east coast as opposed to the west coast?
Sohrab: I can’t speak to the US coasts, per se, but from touring in Europe a bunch I can report that DIY is alive and well. There seems to be a healthy new generation of people and a decent number of old timers who still care to make art and music and support similarly minded folks outside of the mainstream. I feel like that’s where culture really exists. Starting at the margins and working your way in is a great way to get to understand a place. And these small contributions have a much greater long term impact on society than the sponsored and branded events that we are bombarded with.
Michael: I lived in Seattle for 17 years and have been on the east coast for about 6 now. I can’t say I’ve noticed that much of a difference. Generally people putting effort into DIY shows and scenes happen to have a similar ethos. The local brew might be different, but the punk rock spirit is there. I guess it’s also easier to have house shows in cities that aren’t NYC, although it does still happen here.
Can fans expect any other 7” in the coming months? What does 2018 have to offer for SAVAK?
Sohrab: We’re hoping to get our next LP out this fall. And we have enough new songs so that we should also be able to put out a couple new 7”s or EPs, too. We’ll see. We just do what we do and hope for the best.
Michael: Gotta keep on chooglin!
Photo credits: Jon Von Pamer
Sarah Medeiros