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New York City band Secret Machines have managed to fly just below the radar throughout their career, despite playing with the likes of Interpol, Oasis, and U2. While they were recently together, however, they did one of the things they do best: record a cover. Yeah, we did this bitchina€™ cover of a€?Quisiera Ser Alcohola€? for a tribute album thata€™s coming out in Mexico. Youa€™ve been together for about a decade, which means you are now getting to the point where you have some really old songs.
Ita€™s weird, when you make a record, the truth is that you dona€™t know which one of these songs is gonna be a hit, and which one people going to want to hear ten years from now. So much of the impact of your songs comes nothing you could give from a songwriting perspective, but from your drums and the overall power of it. The beauty of Secret Machines is that the main songwriter in terms of the melody and the lyrics is Brandon, but hea€™s also the bass player. When you moved from Texas to New York in 2000, did you have anything particularly lined up waiting for you? About Gozamos  Gozamos is an independent online magazine focused on Latino arts + activism.
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Having previously interpreted lightweights like The Beatles, Van Morrison, and Bob Dylan, the band tackled a song by Mexican legends Caifanes for inclusion on an upcoming tribute album.

Before we moved to New York, we just learned the whole a€?Hunky Dorya€? record and some T-Rex stuff.
How do you face being the custodian of a catalog that is becoming a€?classica€? to your fans? It seems to me that one of those things contributed to a gradual shift in your sound to a tighter, more muscular sound. When we made our first record [EP September 000] we were really pushing the envelope in terms of patience.
We have a thing too, but ita€™s to make a conscious decision about, what have we already done and what do we want to do? You look at a song like a€?Sad and Lonely,a€? where the groove is the song, and you remember that there was a time when that groove wasna€™t there. Do you really play like that all the time, or do you sort of put that sound on professionally?
Ita€™s not counted, its just a spot where you gotta stop or youa€™ll just fuckina€™ lose it.
Over the course of three albums, two EPa€™s, and one guitarist, the trio has spent the last decade making rollicking, electrified stomps that absolutely shame most of the pablum currently calling itself rock.
On this delectable note, Gozamos spoke with Garza, contemporary rocka€™s preeminent hammer of the gods, about these current events.
I think any musician worth his salt needs to dive into a particular artist and learn the songs and get his head wrapped around that. Hopefully this can be kind of a reintroduction to people, especially to people who feel they know us.
Fresh off a productive first half of the year, the waning days of 2010 are going to be lazy ones for guitarist Phil Karnats and drummer Josh Garza. You look at a band like U2 or the Stones, and therea€™s even whole segments of their career that they dona€™t touch.

With us, we always just make an effort to play up to our strengths, do what wea€™re good at. And Brandon does that, but at some point he switches it over from just being the songwriter to being the rhythm guy too. You try to break out of the mold, but at the end of the day, whata€™s going to serve the song is being honest. Ita€™s finding that balance where youa€™re going forward without forgetting about your past. So to a certain extent, a song like a€?Moneya€? [an EP-released cover] is so spacious, ita€™s like this other world, but a world that we were able to create cause wea€™re able to play slow and heavy and hard. That led to the idea of a€?First Wave Intact,a€? a€?Now Here is Nowhere,a€? and once youa€™ve done that, you kind of say, leta€™s try to move forward. So therea€™s this liquid movement between what hea€™s trying to accomplish with the lyrics, melody, and with the rhythm.
You cana€™t look back, but you gotta dig into your past and have it be a part of the future.
I think a lot of bands put a cap on what they are and what theya€™re able to do because they have to fit into a certain style. From about 2000 to about 2002, we were just struggling, three dudes living in one room in New York, just struggling and playing music and making it happen.
Ia€™d rather someone not like our record because they didna€™t like where we went, not because wea€™re still doing the same shit.

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