Tag Archives: Clark Baechle

The Evolution 
of Pop Music

April 15, 2017 by
Photography by Bill Sitzmann

Admittedly, 34-year-old Omaha native Jonathan Tvrdik doesn’t sleep much. Between co-owning Benson’s Krug Park, working as a consultant for his wife Sarah Lorsung Tvrdik’s business Hello Holiday, being a father to 2-year-old son Hugo, directing music videos and commercials, making music, and holding down a day job as both the executive creative director at Phenomblue and head of product design at Rova, there’s not a lot of room for much else. It’s a path he can trace back to childhood.

“When I was a little kid, I played by myself and was always building things,” Tvrdik recalls. “I’m an adult version of that kid who is constantly making new project—like a band, bar, new app, or music video. I’ve always been a goal-oriented person with lots of irons in the fire.”

Ironically, that’s where the inspiration behind the name of Tvrdik’s upcoming solo album came from. Titled Irons, it’s a project over two years in the making and one that took careful crafting with the help of longtime friend and drummer for The Faint Clark Baechle. Busting at the seams with heavy themes of introspection and emotional growth, Irons illustrates a tumultuous period in Tvrdik’s life.

“For better or for worse, that’s where I’ve always been—busy,” he says. “I don’t even know what that has created in me—like who am I as a person? I’ve always been a workhorse, but who am I really? Each song dissects a different thing I am doing or interested in, or a certain vice I have as a result of all the stuff I am working with. It’s a very self-analytical sort of record.”

Beginning with “Something Better” and culminating with “Star Stick,” the 11-track album is like Joy Division meets The Faint, or as Tvrdik describes it, “Frank Sinatra on top of electronica-goth.” It was a true labor of love and Tvrdik really trusted Baechle’s expertise. Some tracks he thought were polished and ready to go; Baechle would hear them and mistakingly refer to them as “demos.” It took the experience of his fine-tuned ear to sew up any loose ends.

“We’ve made a lot music together over the years from a musician and engineer standpoint,” Tvrdik explains. “For this one, we started working through the process of what it was going to look like. I always knew when I was done mixing and recording it on my own, I would take it to him to refine. My producorial technique is very raw. For songs I thought were done and perfect, Clark would be like, ‘I got your demos’ [laughs]. I’m very right brained and he’s very left. I wanted his brain to go through it with a fine-toothed comb and nit pick the hell out of it, which he did. I couldn’t be happier with how it turned out.”

Although Tvrdik’s music background goes back to The Cog Factory days, where Omaha staples like Bright Eyes’ Conor Oberst, Cursive’s Tim Kasher, and The Faint’s Todd Fink (Baechle’s older brother) got their start in the early ’90s, naturally he’s experienced plenty of evolutionary changes in terms of his musical output. At one point, he was in a hardcore band, and later a noise-based outfit. While he felt he was still emotionally expressive in all of them, it’s with the forthcoming Irons he felt he was truly able to effectively communicate to the listener exactly what he was experiencing.

This article was printed in the March/April 2017 edition of Encounter.

The Faint

October 9, 2016 by
Photography by Bill Sitzmann

Perhaps we’re spoiled in Omaha. While mainstream America suckles on pop-tart music offerings, we’ve grown fat on a steady diet of indie rock.

thefaintFor goodness sake, independent record label Saddle Creek Records is in our backyard. Indie rock star Conor Oberst considers Nebraska home. And hometown music legends The Faint continue to release new music for fans to devour.

In fact, the Omaha-based and internationally touring band, The Faint, just released a career retrospective, CAPSULE: 1999-2016, featuring 17 years of hits along with two brand-new tracks. The band currently consists of Clark Baechle, Dapose, Graham Ulicny (in place of long-time keyboard player Jacob Thiele), and Todd Fink.

“The new release is a collection of songs from the time when we started making music until now,” says Fink, the band’s lead singer, in a recent phone interview while on tour.

The new album, CAPSULE: 1999-2016, is filled with heavy, punky, electronic, pulsating, dark dance music of the past. The two new songs are titled “Skylab1979” and “ESP.” After a September digital release, the vinyl double LP was scheduled to debut on Oct. 28.

The Faint’s newest album signals a return to a familiar label, Saddle Creek. (That’s right, after briefly breaking away to start their own label, The Faint has returned to Saddle Creek.) In August, Saddle Creek shared a video for the band’s second new track, “Skylab1979,” which compiles old footage from outer space missions into a static-laden supercut.

We’re always looking for what’s going to happen next. We never quite get the momentum of other trends. That might hurt us, but we make music that we like and hope that fans like.”

-Todd Fink

While on tour, lead singer Fink shared his thoughts about the recording process, the band’s live shows, and his 17-year career with The Faint.

Although the band was conceived in 1994, and performed under the name “Norman Bailor” with a young Oberst, it grew into something much more. Songs faded. Faces changed (other former members included Matt Bowen and Joel Petersen). But the band’s insatiable desire for perfecting their sounds never wavered.

The Faint was electro-dance-punk before there was such a genre. “We were trying to push something futuristic, trying to find something that felt beyond guitars and traditional (rock) sounds,” Fink says.

In 1997, the band was renamed as The Faint. Two years and a lot of experimenting with synthesizers later, The Faint nailed its signature sound—throbbing and moody. CAPSULE: 1999-2016 takes fans on the band’s musical journey.

“That whole time we were figuring out what we were doing,” Fink says. “We waited. We were waiting to find out who we were as musicians, what our vision for music was going to be.”

Being visionary helped The Faint quickly find their audience. With Blank-Wave Arcade in 1999, the band began to enjoy breakout success, and people took notice.

Throughout the new release of CAPSULE: 1999-2016, The Faint continues to keep their die-hard fans in mind. “We’re always looking for what’s going to happen next,” Fink says. “We never quite get the momentum of other trends. That might hurt us, but we make music that we like and hope that
fans like.”

Visit thefaint.com for more information. Omaha

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