giving the table a name

Jeff Allyn Szwast's avant-indie rock project Giving The Table A Name specializes in angular guitar progressions punctuated by thumping, crashing percussion, and vocals leaning towards the slithering and cerebral side. Titles like "epiglottis" and "harpies" may not make immediately clear what the intended subject matter is, and often parts of the lyrics are so distorted/quiet in the mix that entire sections can be made out by the listener - something that actually applies to a huge catalog of rock music. "Anything can happen now, I'd be too far gone to tell" is as good a lyric as any, but the band's real focus is on creating atmospheric textures that flirt with ambient music and quality, vintage prog-rock of (think King Crimson rather than Yes). On one of our favorite tracks, "snowpack", a deeper, more bass-heavy guitar tone is incorporated. The voices are doubled in harmony for emphasis and depth. A bright tambourine takes the timekeeping duties, while tom toms are free to roam outside the structure. The band's latest LP titled "Pillbug" is out now and can be purchased from a variety of sources. - Dave Cromwell - thedelimagazine.com

Giving the Table a Name is a one-man show, powered by Jeff Allyn Szwast, who takes on the complete instrumentation and vocals on the tracks of his latest release, Pillbug. Musically, Szwast creates palatable compositions that lean toward shoegaze and experimental. While listening, it’s not hard to discern the possible musical influences at work. Some tracks are reminiscent of Portishead, Pete Yorn, or Garbage. Other songs bring REM to mind or dare I say, Radiohead.

The ease with which these comparisons can be made might be a strength of the work, making the music comfortable, familiar, and engaging. But, it could also be perceived as its downfall, leaving more to be desired in terms of musical authenticity. That’s not to say that there is no originality within the tracks on Pillbug. Each track offers a unique monotone, yet melodic atmosphere, that shines with slight electronic grooves overtop crisp guitar tones and steady percussion.

“Snowpack” is a peppy track with a sweet guitar riff and enough rhythmic beat to get your hips moving. The dismal lyrics and dreamy vocals exist in contrast to the upbeat rhythms and riffs, giving the song depth and an appreciated complexity. “Vena Cava” is a beautiful, somber song with a touching melody and vocals that whisper and float between the gentle tinkling and strumming. “Vial” initially sounds like it could be an electronic, obscure remix of “Losing My Religion,” and I had to listen extra carefully to make sure that it wasn’t.

Giving the Table a Name delivers thoughtful and poetic lyrics, full of dark symbolism and covert psychological exploration on each track. The production quality is skillful and the songs certainly provide plenty of ambiance on which effortless indulging can ensue.

Visit them online at: www.gttan.com

Review by Nadia Lelutiu - www.targetaudiencemagazine.com

What's the meaning behind the band's name?
The name, much like the lyrics, ellicits different things for me. I sort of like the idea of giving human characteristics to an inanimate object. I also think it could be seen as starting with an everyday item that would just be ordinary in any other context, until you make it your own. That's a very important theme for me, and not just within the confines of an object.

How did you get started with all this??
Technically, the band started as the end of another band. Once that band dissolved, giving the table a name came about. I thought it would be a good idea to separate the egos from the songwriting, and try to learn a lesson in knowing when not to shove too much into one space and from one instrument. but it's possible I haven't learned that yet.

What's the message to transmit with your music??
Mmm, I know this sounds like a cop-out, but you have to make of it what you will. Refer back to question #1.

What's your method at the time of writing a song??
Whatever comes first, really. Sometimes it's a vocal or instrumental melody in my head. Sometimes it's a random string of words that pops out of my mouth. Many times a catchy tune will surface while I'm sitting around, defiling an instrument. Then you just have to take all that junk and put the pieces together. I always keep a pen and a scrap of paper on me in case I need to scribble down a phrase or sentence that's rattling around in my head. Sometimes it's very intentional, and sometimes it's all a big accident. Probably more of the latter.

Who are your music influences??
I don't really like to dwell too much on particular influences, because it comes from everywhere. When I was walking home tonight just after dusk when the sky is that brilliant midnight blue and it hasn't reached its peak of darkness yet, I was just staring at it, thinking about what I'd play to go with it.
Plus, if I start speculating on influences, i'm going to forget some key players, and I'm going to completely not acknowledge things that are influencing me subconsciously. I think we conjure things from places we're not even aware of, half the time.

What plans do you guys have for the future??
I'm definitely going to try and get older as the years go on. I think that's a goal I can stick to.

What has been the funniest prank you guys have been or took part while on tour or after a show?? Mmm, I don't know about pranks, but one time when I was playing with some other fellas, our drummer urinated on another band's vehicle after the show. but that's not really funny, is it?

If you guys were stranded in the middle of nowhere after a show or while on tour. The help is 65 miles away from where you guys are, ¿Who would you guys send to look for help? And if while the rest wait, there's no food and the only way to feed yourself is by eating each other, ¿Who would you eat first?
I've pondered this scenario many times, and I think I'd have to send one of my arms for help. And while I'm waiting for it to get back, I'd probably eat my left buttcheek. I 've noticed a little asymmetry there lately, and it's probably the meatier of the two.

What country you guys would love to play?
I don't think I have a specific preference. A country where they have good health insurance.

With what bands you guys would love to share stage??
Maybe Elliott smith or Morphine or Jeff Buckley. But I think they all have other things going on at the time being.

Are you guys OK, with the direction the band is going actually?
Considering that nobody has forced me to change the moniker to "The Staples Center" or "Pepsi Arena", I'd say I'm ecstatic about the direction of things.
- Vents Magazine

It’s rare when a musician personally crafts every piece of his/her art. First, there’s the music. Often times the music is made up from various sources, i.e. band members, various studio musicians, producers, sound engineers, etc. Then there is the marketing aspect; the designers that design the album art, the flyers, the posters, the website, the people on the photo shoot, retouchers, etc. Then of course there are the PR people and the booking agents, etc. That isn’t the case with Jeff Allyn Szwast’s project Giving the Table a Name. Jeff is one of those rare creators that has his hands on every aspect of his music. We had an opportunity to talk with Jeff about Giving the Table a Name and his new LP Pillbug. Check out the interview below . . .


The New LoFi: To start with, thanks for getting us a copy of your new LP. We’ve been loving it over the last few weeks. Tell us a little about Giving the Table a Name and Pillbug. What’s behind the name, who is in the band, who played on the LP, how long has Giving The Table a Name been an entity? Where are you from originally? Where are you based out of now?

Jeff Allyn Szwast: Pillbugs are woodlice from the Armadillidiidae family. They’re sometimes called roly polies. As far as the album goes, I’m the only person who played on it. Giving the Table a Name has technically been in existence since 2004, when the first album under that moniker was released. I grew up on an island off the coast of Georgia, and I lived in Athens, Ga. for seven years. Giving the Table a Name came into being when i relocated to Brooklyn, where I’ve been based for the past eight years.

The New LoFi: Where did you record and master ‘Pillbug’?

Jeff Allyn Szwast: The recording process all takes place in my little dungeon of a bedroom, from the rough sketches to the final mixdown. I’ve had my last two albums mastered by Fred Kevorkian.

The New LoFi: What is your music about? What inspires your sound? What else inspires you creativity?

Jeff Allyn Szwast: I don’t think my music is about one thing in particular, but I’d have to say currents of melancholy, disappointment, and a general fascination with the bizarre run pretty strongly throughout. Sound can be inspired by a lot of visual things, ideas, and emotions, I think. The more unusual the circumstance or imagery, the more I’m intrigued by it and likely to write around it. The funny thing about a song is that they’re often written with a somewhat vague and mysterious angle, so it’s not until after you’ve identified with it that you come to realize what it’s actually about.

The New LoFi: What are your plans for Giving the Table a Name in the near future? Do you have any shows planned? Are you working on new material? Working on any videos? Are you partnering with any other artists?

Jeff Allyn Szwast: I’m not very good with plans, unfortunately. Shows, despite being a lot of fun and very gratifying, are difficult for me to orchestrate, as I don’t currently have a backup band. Plus, I like to put together something really special and all-encompassing when I do a show. I am trying to scrape some people together, though. All I know for sure is that more music will be made, and more art will be created around it. Videos are in the planning process. I haven’t plans to partner with other artists at the time being. It could happen, but I sometimes fear I’m a bit too much of a loner to accomplish that. This is part of the backup band problem, too.

The New LoFi: Do you have any favorite tracks on the LP? Tell us about that?

Jeff Allyn Szwast: I like Epiglottis (leak). It’s very true to life. I have some kind of problem where my trachea wants to function as my esophagus, and I end up choking a lot on fluids. Water, coffee, spit. Snowpack and Hollow Bellies’ are a two-part narrative. The first one is about a person who is traveling to see his lover. He’s the victim of a hit-and-run, and his lover waits all night for him to arrive, but to no avail. The second song explains what happens to his corpse in the aftermath. I don’t like to give too much away, though. I think any of these songs can be a metaphor for other things.

The New LoFi: Tell us about any of your other creative outlets?

Jeff Allyn Szwast: I used to be a painter and work with mixed media, but I’m not sure i can still call myself that. I’ve got stuff in pieces laying all over my apartment, heading in a certain direction, but it hasn’t added up to that greater number just yet. Lately I’ve been more consumed with recording, taking photos, and working on the website.

The New LoFi: What have you been listening to lately? Do you have anything that you can share with us that has just blown your mind lately? Movies? Artists? Street art? Restaurants? Gadgets? Books? Whatever comes to mind . . . .

Jeff Allyn Szwast: This is where i turn into a completely selfish bastard, because when I find something I really like, I tend to hoard it all to myself. One of my favorite performers recently became quite a superstar, and although I’m really happy for them and all their well-deserved success, something just isn’t the same now as when they only belonged to me. I did recently find an old electric typewriter that’s pretty neat. Does that count?

The New LoFi: Yes, that definitely counts. I saw someone carrying an old typewriter last week on the subway and thought it was the best thing I saw all day. You don’t see them too often. Especially the electric ones circa 1970 Smith-Corona style.

Check out tracks from Giving the Table a Name here

- thenewlofi.com

Upon first hearing Brooklyn-based Giving The Table A Name’s sophomore release Tines, there is the uncanny feeling of experiencing the strangest, most fucked-up music you’ll hear east of Jandek. And that is the beauty of it. Where Jandek thrives on making people wonder which, if any, drugs he’s imbibed, Giving The Table A Name could either have taken them all or simply fallen under the Zappa auspice of “take no prisoners, take no drugs, all will be fine.” Also, Radiohead could soon be irrelevant.

From the bizarre (I now must use this word very loosely) “Battery Acid Tongue” and “Peristalsis Goner,” the acoustics seem to waver from avant-garde to sublime. Comparisons to Califone resonate throughout, and where the music here is self-produced, the quality never lacks. Not even for a moment.

“Before And After And Before” is almost hypnotic, and if Thom Yorke is looking for inspiration to get it back on track, then I might suggest he start here.

The experimental nature of this whole album is certainly due to the fact there are no label executives hovering about suggesting to the artist what ‘the people want to hear.’

From the packaging (the lyrics are featured on x-ray film) to the subtle, eerie allusions in “Capillaries,” it’s frightening to think there might be a doctor moonlighting here. If so, just let me die if there are no other options. But make sure this is playing as I fade away.

It’s very clear something great is happening here, what it is we may never know, but while there is still air to breathe, let’s enjoy this one. It may not last and if there is a dry eye in the crowd when it’s over, then surely dehydration is the only logical excuse. - www.indie-music.com