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One Df Those Bands That People Don't Go To The Manhattan To Drink Dunns I sobel was once known as Aberdeen but dis covered the existence of several other Aberdeens and switched to something a tad more exotic. The band consists of Clay Jordan on guitar, Lara "No U" Rossman on keyboards, bass and vocals, Howard Hudson on guitar and vocals, Lucas Jensen on drums and Elise Jensen on trumpet and miscellania. ("She's the Lawrence Tolhurst of the band," says har big brother, 'The go-to girt.") I recently had the distinct pleasure of sitting with Jordan, Rossman, Hudson and the elder Jensen—four starkly contrasting personalities with a healthy degree of conflict in their musical visions—as we attempted to crack the sweet, gracefully sad nut that is IsobeL (Before I forget: Until the band's long-mulled-over debut pops its head out of the basement, contact Jensen at 546- 2941 or e-mail isobelathens@aol.com for free samples.) Flagpole: So the impetus of this conversation is the fact that you're getting ready to open for a band called Grandaddy. Could you fill us in on the Grandaddy phenomenon, for the uninitiated among us? Lucas Jensen: I think they've been together for eight years. They're from Modesto, California. They're starting to build up a buzz in the Flaming Lips Soft Bulletin aftermath. The album [The Sophtware Slump, on V2] is a good synthesis of Pavement, The Soft Bulletin and I think there's some Radiohead floating around in there, too. Not to sound too fawning, but it's one of my favorite records of the year, and some of the other people in the band feel the same way that I do. FP: I've always thought it must take a huge amount of discipline to play "slo-glo." Do you ever feel like busting out with "Psychotic Reaction " or "Louie Louie?" Clay Jordan: Well, first of all, any musical term is essentially arbitrary, so I guess you could describe our music as "slo-glo," but we don't stick to any one genre. We have harder stuff, too. We're louder in some parts and slower in others. Mainly, we're about atmospherics, texture rnd attention to detail. Aside from that... It's human nature to want to categorize things, but I think we're very diverse. Lara Rossman: At almost every practice, one of us will start playing a pop riff. We've decided that we do write really good pop songs, and it's songs. The conflicting passion and perfectionism can be frustrating. LJ: It's a frustrating, slow-going process. We have hundreds of riffs on tape that are probally just going to sit there. Howard Hudson: When I come in with my own idea, everyone else's input almost always makes it better in the end. CJ: Most artists create subconsciously. What we create happens in practice, not so much with else the way my favorite bands have affected me. You drift into a quandary if you try to measure success by how many records you sell That's a false gauge. LJ: Being able to afford the kind of high quality hookers that... did I just say that? Just the indie-rock nod, the equivalent of the "wash board dance" at a jam-rock show. Guys wearing button-down shirts and khakis bobbing their heads and my friends heckling me in the crowd. That's all I need. To be one of those bands that people don\ go to the Manhattan to drink during. That's my level of success. FP: Who's playing whom in the movie. HH: I think John Cusack's gonna play Clay. Matthew Broderick would be the first choice, but I think he'd turn it down. LR: I could probably be Joan Cusack if Clay was going to be John. I think I'm wacky enough. Julia-Louis Dreyfuss is another person. She's a great actress and hilarious, and I think I'm pretty damn funny. LJ: I m stuck when it comes to me. There aren't enough husky actors in Hollywood. HH: Clint Howard. LJ: Clint Howard?! Are you serious? He may be one of the two ugliest people on the face of the planet. Clint Howard?! I like that guy who played Grover in Kicking And Screaming. I'd like him to play me, just 'cause I like him. Emerson Damerun WHO: C-randaddy, Bright Eyes, Isobel WHERE: 40 Watt Club WHEN: Tuesday, July 18 HOW MUCH: $6 fun to write them. For me, it's been a challenge to write these slower, hazier songs. Each instrument plays a more important role in the song, and it's important to get everything right as a lyricist CJ: We do write decent pop songs, but I'm trying to veer away from that. Pop has already been done in every format. There're still some great pop bands in Athens who are trying to push the envelope, but it's kinda been pushed to the limit. Why not experiment with different sounds? FP: The songwriting process, as I understand it, begins with a vision and ends with c manifestation: an actuality. How deep is the canyon between thought and expression where Isobel is concerned? LR: It's rare that am, one of us will bring in a completed song. It begins as an idea, but we all try to weave our passion for music through the what someone's brought in. It comes immediately, and then you refine it from there. The four main members write all our songs together. LJ: We used to actually name our songs after bands that we thought they sounded like, but I think we're past the point where we can go "Here's the Spiritualized song" or "Here's the Cure song." We're a lot more cohesive now. FP: What's your definition of success? LR: I guess mine would be to not only love the music I'm playing, but to have others love it as welL Even if it's just five seconds of one song, to have it touch someone else's life. That's my defini tion of success. HH: To create something tnat you're happy with even if no one else likes it. 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