Q&A: D.C.R. Pollock
BRINGING IT BACK TO THE ORGANIC ROUTE - D.C.R. Pollock hones in on the stripped down instrumental side with his new music. Dave Pollock’s, the man behind D.C.R. Pollock, pairs up with friend Lexi Vega from Minitrees for join his latest track “Lost Track” for a sweet, heartfelt track. Fans and critics alike are drawn to Pollock’s raw though full sound, thanks to his “songs that read like the ravings of a drunk trying to recite Bukowski under a bridge for boxed wine.” Check out his new song “Lost Track” and read below to learn more about his writing process, inspirations and more.
LUNA: For those unfamiliar with your music, can you describe some of the main sonic elements?
POLLOCK: Well at its core, my music is just my voice and a guitar. That element is usually accompanied by a pretty strong rhythm element. Each record has its own flavor of sonic touches, though. The last LP, ‘Young Buck’ was carried by a lot of samples and a-tonal synth stuff. So I decided to go a more organic route with this new batch of songs. The new LP I’m working on is almost exclusively nylon guitar, piano, horns and a shit ton of harmonies. All the records are pretty lyric and vocal-heavy though. Not a lot of instrumental breaks. Might explore that field in the future.
LUNA: Can you share a bit more about the creative process behind “Lost Track”?
POLLOCK: Not much to say about my creative process. I work full time, so I write when I can where I can. Once the song's written I take it to my brother, Jon Joseph, and we usually record it over a day or two.
‘Lost Track’ in particular was fun because we got bring in my friend Lexi Vega from Minitrees to sing harmonies all over it. It’s always great to see talent just do their thing.
LUNA: Is there a common theme or narrative you are drawn to when writing?
POLLOCK: I write almost exclusively about myself or my point of view. It might be an ego thing, or maybe that’s just what’s easiest for me to write about. I’m particularly drawn to the underbelly of things though. I like finding the humanity in things that are marginalized or stigmatized as wrong. I spent a lot of time in a Catholic Worker community and they always taught that the places your most afraid of are the places you haven’t humanized yet. I also got a lot of buddies with addictions and in the marginalized parts of society and I always hated how people spoke of them. So I like to try and humanize what they’re going up against. I partially like finding how love flourishes in those lifestyles. How relationships work and look on the margins. To put it into one phrase I’m drawn to love under capitalism. The different ways capitalism affects and dehumanizes us, but also the different ways love flourishes in spite of all of it.
LUNA: What’s been inspiring you lately?
POLLOCK: Well, we already touched on what I’m drawn to when I write. Now more than ever we're seeing the full effects of capitalism in decay. It’s inspiring to see how everyone’s coming together (metaphorically 'cause social distancing). I’ve been on the phone for hours on end with people organizing around this pandemic/recession. It’s given me some hope and inspiration hearing people so passionately rallying each other together.
LUNA: Are there any artists in particular that have shaped your sound?
POLLOCK: I’m obviously a big fan of Bright Eyes, Manchester Orchestra, and the rest of the sad white dudes. But someone who’s been really shaping how I approach a song lately has been Tom Waits. Can’t get enough of that guy. I’m also apart of a strong circuit of songwriters that probably shape the way I write a song more than any artist I grew up listening to. People like Jake Tittle, Light Widening, New Balance, Minitrees, Illuminate Hotties, and a thousand others. Most importantly is probably my brother and producer, Jon Joseph. That dude is more essential to D.C.R. Pollock sonically than I am.
