Q&A with Ramona Falls’
Brent Knopf

Some of indie rock’s finest acts will descend upon Madison’s High Noon Saloon this weekend for the second annual FRZN Fest. The four-night affair kicks off Thursday night with a killer bill featuring headliner Wild Belle. Amongst the four bands set to play Thursday — Wild Belle, Ramona Falls, Night Moves, and Psychic Twin — there’s a pretty wide spectrum in sound. With openers Night Moves and Psychic Twin, we hear modern takes on the ’70s and ’80s, respectively. Psychic Twin makes synth pop akin to new wave and, at times, electronic music. With an accessible, captivating sound built on warm synth and vocal textures, Psychic Twin will undoubtedly set the stage for a mighty evening.

Minneapolis’ Night Moves are no strangers to Madison; they played just this past September, opening for labelmates Dirty Projectors. Night Moves have garnered a well-deserved buzz for their debut record, Colored Emotions. A hazy collage of cosmic pop and country psychedelia, the record introduced Night Moves as a band to watch closely. They recently signed to Domino Records and are still touring Colored Emotions heavily.

Brent Knopf, who we were fortunate enough to speak to (see below), is the mastermind behind pastoral rockers Ramona Falls. The multi-instrumentalist/singer left his longtime group Menomena recently to focus solely on Ramona Falls. Their newest record, Prophet, is a more revealing statement than any of Knopf’s previous work. Knopf sought to write more personal songs and eliminate the technical distance that he channeled in Menomena. Ramona Falls toured Prophet all of last year and are on the last leg. Their show has received rave reviews and they won’t disappoint on Thursday.

Lastly, we have the headliner Wild Belle. The sibling duo, who recently signed with Columbia Records, are set to release their debut, Isles, in March 2013. Wild Belle’s sound utilizes an expansive palette of grooves and pop melodies to create powerful tunes and catchy hooks. Their accessible sound may certainly propel them to greater fame once Isles is out, so it will be nice to see them in a more intimate setting before it’s too late.

Without further ado, our chat with Ramona Falls’ Brent Knopf: 

You’re beginning the last leg of Prophet shows here in the U.S. As you reflect on 2012’s touring, how do you feel you’ve grown as a live act since Intuit?
“We’re touring much more to promote Prophet than we were able to for Intuit, and it’s been a blast. It’s nice to have 22 songs to choose from when creating a live set, rather than just 11, though I’m dreading the inevitable moment when a fan expresses dismay at not hearing their most beloved tune at a show (usually ‘Freebird’). A big change has been adding Lauren on violin — it’s really diversified our sound and frees me up to play more guitar, which I love.”

Since leaving the democratically creative Menomena, you’ve had a larger, nearly sole songwriting role in Ramona Falls. Do you find the increased responsibility daunting? Or do you purely enjoy it?
“It’s challenging, for sure, to shoulder a heavier burden, but the feeling of forward motion is so gratifying. I love the unpredictable ideas that result from the collision and combination of different creative personalities, and I sought that out with three dozen folks for Intuit, then honed in on collaborating with the band and four guests when we made Prophet. I want to be a participant in creating beautiful things and have reluctantly embraced the idea of being captain of the ship.” 

Prophet was praised for an impeccable attention to detail, among many other strengths. While digital recording lends itself to fixing mistakes easily, would you ever take on the challenge of another medium, like tape?
“I’d love the chance to try. Limitations can be creatively invigorating. I hope to someday be able to afford to do a recording with tape. Each medium has its own challenges, and yes, I’m open to trying my luck. I only hope the result would be worth releasing to the world.”

Your unique approach to songwriting in Menomena has been well documented since you often use your own homemade software. Has this method continued in Ramona Falls?
“Yes. Seven of the 11 songs on Prophet emerged out of sessions using this homemade software. It’s unclear how much I’ll use it on the next album, as I’m experimenting with a different songwriting approach at the moment and I’m curious to see where it will lead.”

Ramona Falls is lyrically more open than much of your previous work. What do you attribute this to?
“Especially with the songs on Prophet, I was trying to crowbar myself into a more optimistic state of mind. I’m sensitive to unmet expectations, so I sometimes try to protect myself by expecting the worst. So, it feels super vulnerable to express hopes, especially if they’re irrational. Many songs reflect this internal debate. I’m suspicious of faith but I crave transformation.”

With a U.S. tour ending early this year, you should have some free time in 2013. Do you reckon you’ll start a new record?
“Yes. I reckon I will, gosh darn it.”