Jeff Lewis talks blues and psych rock in The Spyrals interview
Transmission 141: Interview with Jeff Lewis
The Spyrals, formed in San Francisco in 2009 and now based in Los Angeles, is a band rooted in blues, psychedelic rock, and garage influences. Led by Jeff Lewis, the group gained attention with their raw, self-recorded albums and vibrant live performances.
Artist: The Spyrals
Release Date: 2024-11-15
Genres: Blues Rock, Garage Rock, Psychedelic Rock, Stoner Rock
Description: Jeff Lewis interview: Exploring The Spyrals' fifth album 'Retrograde' and the timeless soul of raw psychedelic rock.
Early releases, such as their 2012 self-titled debut, established them within the West Coast psych rock scene, followed by notable albums like Out of Sight and The Curse. Their latest album, Retrograde, released in November 2024, was recorded at Station House studio in Echo Park and features the current lineup: Jeff Lewis (guitar/vocals), Georgia Feroce (bass/keyboards/vocals), and Dash Borinstein (drums).
What first drew you to blues and psych rock, and how did these genres influence the early days of The Spyrals?
The first CD I remember ever owning was the Best of The Doors when I was about 8. My parents rented the Doors movie with Val Kilmer and I heard Light My Fire and it got in my head. In high school I started getting into the classic rock stations in the SF Bay Area. I started playing guitar at 15 and got obsessed with it. One of the early songs I figured out was The Animals version of Baby Please Don’t Go, so the blues influence started early. I’d go to Blockbuster and rent any videos about guitar music, like Chuck Berry and Albert Collins. The psych rock came from some of the bands at the time like BJM, Black Angels, the Warlocks. But also Velvet Underground, 13th Floor Elevators, Spacemen 3. All an influence.
What was the atmosphere of the San Francisco music scene in 2009, and how did it influence your sound?
It felt like a lot was happening at once and the music was good. There was a good amount of bands and musicians available to play. We went through a few lineup changes starting out but it seemed to always make the music better. That era was about finding the sound of the band and going through a lot of experimentation and learning how to record. But also getting into local groups like Wooden Shjips and Thee Oh Sees. We had a DIY approach, playing generator shows in Golden Gate Park and hand-making 7-inch sleeves for singles.
How did relocating to Los Angeles influence the band’s lineup and your creative direction?
I got into a period of self-recording around that time and took a break from playing live. I spent a lot of time writing songs. Moving to LA was an escape. It was the fun place to be. It took a little while to get a lineup together. When I did, it was easy to get back into it. I realized how much I missed writing on the fly with a band.
What is your favorite piece of equipment or instrument that has been essential to your sound over the years?
The Fender Twin Reverb and Gibson ES-335. The Twin I bought when I was 18 and couldn’t predict the ear damage, but I still like the volume. The Gibson just sounds the best. It’s also my feedback machine. I play other gear but that combination of amp and guitar is where the butter is.
The decision to self-record many of your earlier works gave your music a raw, unfiltered energy. What challenges and rewards did this DIY approach bring?
The challenge was figuring it all out. We recorded on our own early on. Did some work in the studio which was mostly mixing. Once we got the Tascam 388 we did it all on our own. There’s not a lot of pressure that way and it’s not a waste of money. It’s fun to be self-sufficient. The other side is spending time trying to get the mix right, not having the best gear. It can become a real headache to get the sound you want and be consistent.
You’ve cited influences ranging from Robert Johnson to Neil Young. Are there any unexpected artists or albums that influenced your approach?
I remember trying to figure out music structure while listening to the radio when I was a kid. Like all the Seattle sounding bands in the 90s. I’d try to figure out how many times the chorus was played and things like that. That’s when I started thinking about how a song fits together. All those big radio bands. Later on a friend gave me a burned White Stripes compilation CD. This was just before they really blew up, but that excited me. I didn’t know that there was an underground rock scene and people were out there making music like that.
How do you personally connect to the songs on Retrograde now that they’re finished and out in the world?
Listening to it on vinyl for the first time was really rewarding. I have to be in the right state of mind to listen and appreciate songs that I worked on. Now that it’s all done and released I can’t critique any elements of the songs. Just have to accept them and that’s a good load off. It’s like they’re not a secret anymore and now anyone can enjoy them or not. Also the songs always evolve the more we play them live. We don’t play the same way twice.
What inspired the return to your roots on Retrograde?
Well it’s all an evolution. The roots are always there. If anything this album is the farthest from where I started. We didn’t even use a bass guitar for the album. I think the previous album we put out feels like a million years ago. We also self-recorded two albums worth of songs in 2021 and never released any of that. Making Retrograde in a proper studio and having the time constraint of being efficient had a big effect.
Were there any tracks on Retrograde that took unexpected directions during the recording process?
What first comes to mind is the last song You’re So Free. That was sort of a last song of the session, let’s just try this idea and see where it goes. So I’m glad we made that the end of the record. Very improvised but also took some effort to get there.
With Retrograde marking your fifth album, how do you envision this release influencing the direction of The Spyrals moving forward?
We want to do some more experimentation next. We’ll see what direction that takes. It’s hard to predict. These songs are fun to play live and that’s important to me. I think we’ll keep things simple for now. I can’t afford to start a synthesizer collection.
Photos courtesy of The Spyrals
Matteo Damiani is an Italian photographer and author. Curator of the sites Retrofuturista.com; weirditaly.com; china-underground.com and others
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Just caught them live at the kilowatt in the Mission, San Francisco. A great set. I’d like to see them play The Chapel. They should be opening for Brian Jonestown Massacre. That would be a great double bill.