Clinton ‘Bär’ McKinnon on Umlaut, Australia, and Desolé

Transmission 238: Interview with Umlaut

Umlaut is an experimental pop project led by Clinton ‘Bär’ McKinnon, former saxophonist and composer in Mr. Bungle. Founded in the early 2000s after McKinnon relocated to Australia, Umlaut has evolved through multiple iterations before settling into its current four-member formation. Alongside McKinnon, the lineup includes Angus Leslie (Sex On Toast), Shane Lieber (An Easier Question), and drummer Danny Heifetz, also a former member of Mr. Bungle, reuniting with McKinnon for the first time since California (2000).

Title: Desolé
Artist: Umlaut
Genres: Art Rock, Avant-garde, Experimental Music, Free Jazz
Label: Overdrive Records
Description: Umlaut’s Desolé arrives 25 July via Overdrive Records. Clinton McKinnon discusses tape archives, Australia, and reuniting with Danny Heifetz.

Desolé, the upcoming release from Umlaut, arrives 25 July on Overdrive Records. Tracked across several studios in Melbourne, the album brings together tightly arranged material and impulsive takes, shaped collectively by the group’s current four-piece formation after years of shifting configurations.

What was the first piece of music that made you realize you wanted to create something completely different from what everyone else was doing? 

Interesting question. I don’t know exactly. I’ve always loved “God Only Knows” by the Beach Boys and then “Life On Mars” by David Bowie. But going back to making 4-track songs in high school..I was just emulating little simple rock songs and slowly figuring out how to write music of my own. I was trying out little simple pop/rock forms and playing all the instruments. In a lot of ways I’m still doing that. 

Looking back at the Mr. Bungle material you initially adapted for Umlaut, how much of that DNA still exists in your current sound? 

It absolutely is still alive and well! Whether revisiting riffs that never found their home or doing some variation on an old theme, some things are just time-traveling and/or asking to be brought back for reconsideration. Oftentimes, it’s a subconscious process that reveals itself as an older idea only AFTER I’ve done the thing. Of course, I’m not necessarily intending to always have one foot in the past. But if I happen across an idea on an old tape or mini-disc that sparks my interest, I’ll see if I can’t breathe some new life into it. Generally speaking, for me, a good idea is a good idea. I won’t throw it out just because it’s been patiently waiting under a rock for several years. 

 What did relocating to Australia change for you creatively—and personally?

There are many fantastic people and musicians here who spurred me on and helped find others who were very helpful in making and recording music. Not to mention I was still coming into my own as a songwriter and then being sought-out by locals who knew of me as a Bungle-reject if nothing else.  So my memory is that the novelty of suddenly living here and the ambient “stranger in a strange land” feelings couldn’t help but add to the creativity that was happening for me. Hard to say if I’d done more or less if I’d remained in the USA after those “California” tours. 

How did you first meet Angus Leslie and Shane Lieber, and what convinced you they were the right fit for this phase of Umlaut? 

I met Shane after playing with him for one of his friend’s gigs— he basically found me! Angus was recommended to me by Jean Lizza because he had moxie. They are the right fit because they’re invested, capable, loyal and uber-patient with the vicissitudes of my moods! They haven’t bailed on my old ass yet. They’ve put up with and supported me in so many ways. Absolute legends. 

Why did you choose the title Desolé, and what does it represent?

Angus thought it would make a good album title. The song “STFU” used to be named “desolé.” Ada (the person responsible for the cover-art) recently reminded me how she understood initially that the album was going to be called “Grumpy Library,” after one of the songs. So I kinda messed that up! teeheehee. 

You recorded ‘Desolé’ across three different locations—how did each studio’s character influence the final sound?

So the sessions started off at Soundpark (of Idge fame). It’s a beautifully strange old place that may or may not be haunted. Anyway, it was a fortuitous place to start–great sounds and equipment. Danny really digs the joint as do we all.  So that played no small part in setting us on the right path and giving it a great vibe. We did other overdubs at my home studio and then also at Angus’ friend’s place as well as his own. Being able to work in relaxed settings allowed us to get results we were happy with. Michael O’Connell (who mixed most of the album) played a large part in the final sound of it. 

Beyond music, was there a specific film, book, or visual reference point that made its way into the textures of Desolé?

Hard to say from where I’m sitting. Not intentionally or consciously. I think a keen listener/observer will be able to discern more about my state of mind than I’m able to reliably report. But Bowie’s death and Prince’s passing had an effect. STFU for example was written to sort of emulate the grandeur of “Purple Rain” a bit. 

What was the first rehearsal with Danny Heifetz like? 

It was fun as hell! Generally speaking, I  had tried to not bother him with my music despite how much I admire his playing and sense of mischief. And then he moved to town so perhaps it was inevitable. To be able to play with him again really reminded me how much I’d missed getting to play with him back in Mr B. He has such a great feel— and doesn’t rush fills. 

Are there any sounds or genres you’ve been curious to work with but haven’t had the chance? 

Not really. I do what I can with what I’ve got and still have so much to do yet. Besides, I don’t set out to do music with a set style in mind per se— it reveals itself after I’ve begun and I follow it through.

If you could collaborate with any artist—living or dead, mainstream or underground—who would push Umlaut into completely uncharted territory? 

Probably Deerhoof. I love their aesthetic so much. 

Are you already writing new material after Desolé, or taking time before starting anything else?

I’ve already recorded an entire album on my own to keep my sanity what with the numerous delays that happened getting “Desolë” properly released. Hopefully it won’t take as long as this one did to put out.

Photos courtesy of Umlaut

Matteo Damiani

Matteo Damiani is an Italian photographer and author. Curator of the sites Retrofuturista.com; weirditaly.com; china-underground.com and others