There’s something weird going on in Omaha, Nebraska. I don’t know entirely what it is, but let’s hope it sticks around, because it’s creating some of the sharpest young musical minds the world has seen in recent times. Among them is Denver Dalley, founder and main-man of Statistics, one of the best little projects you’ve (most likely) never heard of.

I settled in with Dalley before a show in Vancouver. We walked away from the venue (the Showroom), which was noisy from sound check, and away from the area outside the venue, which was noisy with another show, and ended up hanging out on some concrete blocks by the Molson Indy track. From one side, the sounds of the Roots show that had been going on near the Showroom drifted around the creek to give us a musical backdrop, and from the other side, the colorful Cirque Du Soliel tents that were set up on the old EXPO grounds gave us a visual backdrop. Now that the scene was set, and Dalley was through marveling at and taking pictures of the tents, he began to try to explain to me just what that ‘weird thing’ in Omaha was… though even he seemed uncertain what the magical formula consists of.

“I dunno, I think, honestly I think a lot of the secret to the success or whatever, the formula, is that Omaha’s not a very big town… not a very big city I should say… and um, the main thing about it is like the people that are there. And I think it’s a really close-knit group of friends that inspire each other and kind of encourage each other to step it up a notch, you know. Even if the music sounds nothing alike, maybe it’s the recording quality or… I dunno, I just think that it’s kind of an inspirational place to live for music, and even with art now, it’s getting better all the time. And I think that’s the formula, that everyone kind of encourages each other to push that much harder or you know, to do that much more.”

Dalley’s also spent a lot of time in Nashville, Tennessee, where his immediate family now resides. Spending time writing in both cities, he notes that neither is really better, but just different. “Nashville is like, there’s a lot of major label stuff going on and there’s a lot of offices and paperwork and big deal stuff that I’m sure is very inspiring, but there’s not as much of a scene for if you wanna go out and catch a show or you wanna… you know if it’s not in an arena or something. There’s definitely more of a scene in Omaha than in Nashville I think. For this level [independent]…”

Before we turn the discussion to Statistics fully, the topic turns back to the Omaha scene, and Dalley’s previous (still maybe-who-knows-possibly current) project Desaparecidos, which belonged to the Saddle Creek family. Saddle Creek is one of those little-indie-labels-that-could. It began amongst a group of friends, and has pretty much remained in that family of friends through its entire existence. The label was co-founded by indie wunderkind Conor Oberst, which is the associated name here that you likely have heard before (or know by his band name, Bright Eyes). Incidentally, Oberst also sang in Desaparecidos, and (oddly) hence, this is why you probably haven’t heard of Statistics before (though we’re certainly changing that now, aren’t we?). Bright Eyes started getting buckets of attention from the entire planet, Desa unfortunately fell by the wayside, and Dalley used his new non-Desa-filled free time to create Statistics. So yes, it sucks that we lost one great band, but we gained another, which makes the world just that much more pleasant.

Also unfortunate though, is that Statistics has kind of been lost in the shadows of Oberst at the moment. Dalley doesn’t let that get to him, and in fact is vehemently proud of his longtime friend and collaborator’s successes. One thing that I noticed with the soft-spoken Dalley during our chat is that, even when my questions didn’t directly name, indicate, or even mean to imply anything to do with Desaparecidos, he’d infer that that’s what I was getting at and answer related to the past project anyhow. I suppose it’s something he’s been conditioned to do; dodging the Conor Oberst association is more challenging than just fielding answers about him (as you may have seen in the Stats' Ten Questions feature, this includes such directed comments as “what’s Conor up to?”). In relation to whether Statistics was now to be a fulltime project for him, I asked if he’d see himself collaborating with anyone else in the future. That’s right, anyone. Here’s what he had to say: “No, there’s been some talk of recording like an EP later this year when Conor’s in the studio with Bright Eyes. It’s like, while he’s got that time, just borrowing him for a little bit. But that’s the only… I mean there’s never been talk of any tours or talk of writing more stuff. Just recording what we have. ’Cause he wrote like 18 songs.” Sigh. Perhaps I should have been more clear. Oh well. Running with it, he does mention that they all want to tour again, but it’s just not likely with everyone’s schedules.

Back to the nature of Statistics and still talking about Oberst, Dalley says, “This is definitely my main thing… when we first started Desaparecidos, we all wanted it to be more of a fulltime thing but it just is… well like you were saying, like a filler, more of a project, ‘cause you know, we can’t all work on it, especially Conor, you know. Like a lot of times, everyone else can shift their schedule but Conor’s got bigger things going on, and that’s awesome, you know, we’re all pretty excited about that… but Statistics is definitely, I mean, I plan on touring pretty much for the rest of the year with this and working on it fulltime.

Since we can’t seem to get away from the topic anyhow, I ask Dalley if the people seem to be too eager to compare his current music with what he’s done before. He thinks for a moment before answering. “No, no, I don’t think, to compaaaare you know, like the actual music, but I mean I think that they’re interested to know that I was an integral part of that band and that’s something I did before this. But I don’t think they ever wanna… like the two sound alike or anything like that. I think it’s just more of a reference point of what I’ve done before this … and kinda my resume sort of thing.” Whether or not that’s a good or bad thing varies from project to project. Some bands toil in their past references for eternity, and some break away immediately and use the associations to their advantage without getting stale or desperate. While I personally think the latter might more be the case here, Dalley weighs in with his own thoughts.

“I think it’s a good thing. I mean, I’m extremely proud of that band and that album and I think it’s a great reference point… I’m guilty of the same thing. When someone comes out with another project… like Postal Service or something you know it’s like, ‘okay well, yeah I like what he did with this, I’d love to hear what he’s doing with this.’ But I definitely… that’s kinda where it stops… I don’t stack the two next to each other or anything… or you know bands that I love that broke up and then form new bands you know, like when the Fire Theft CD came out, I was really excited to hear that because I loved Sunny Day [Real Estate] so much… I guess the only time it could ever bum me out is if someone was to write a review and talk more about that than the actual content of like the CD that they’re reviewing. I mean ultimately I’m stoked that they wanna review it or write about it at all, you know. I think that’s rad. But I think like while it’s a cool reference point, ultimately I think the most important thing in a music review is the music… not like the range of other projects and that sort of thing.”

I agree completely, which is why we should finish up here with the history lesson and use the label swap as a perfect segue to the present and future. Rather than sticking close to home and putting out his music on Saddle Creek, Dalley hooked up with the well-respected Jade Tree label. He discusses what’s changed since being on that label. “There’s different things in how they run. Jade tree’s been a label for over ten years now, and Saddle Creek is still relatively new [ed. Note - it‘s actually been around for quite some time, albeit starting under a different name, but as far as being an official business, that’s a bit newer]. So I think Jade Tree in a lot of ways has kind of a formula figured out and they’re kind of a little more experienced… and not to say that Saddle Creek is inexperienced but you can kind of see some wisdom and experience. And with Saddle Creek… I dunno, it’s hard ’cause I live in the same town with the guys that run Saddle Creek and so, when I see them it’s more like, (deadpan) ‘oh hey.’ Whereas Jade Tree, we live across the States from each other and so when we see each other like, ‘heyyyyy!!’ And we talk on the phone but with Saddle Creek it’s like, ‘dude I’ll see you tonight at the bar.’ …with both I’ve got a working relationship and I’m friends with both labels. With both label heads, I’ve got a personal relationship with both of them, it’s not just a cold business deal you know.” He continues by talking about the Jade Tree showcase at this year’s South By SouthWest festival in Texas. “That SXSW show was like a really great experience for me because it was kind of like a family vibe you know. kind of like it felt like we were all part of something you know… It’s fun, I dunno, I had a good time. I just had so much fun just being around everyone and having that in common with them. With a lot of the Saddle Creek guys it’s like… we’re neighbours you know. so it’s kind of different things. I like it. Very fortunate in being able to work with these labels.”

He takes the opportunity to tease us about a forthcoming project. “I’ve got a third project that’s way more electronic and that’s gonna have like different vocalists on each. I’m gonna have all different singers on it and stuff, and that I’m gonna put out on a third label. And not because I’m not happy with either, it’s nothing like that. It’s just I like to work with different people and to kind of expand… maybe through working with a different label I’ll have different labelmates and I’ll meet different people through… I just think it’s great to expand and to meet more people and open more working and personal relationships.”

Now that he’s fronting a project and trying out some new things, I wonder what he’s learned in the past couple of years. “I learned I can never have enough clean pairs of socks on tour. I know that’s not very cool but it’s true, you know!” he says with a laugh. He struggles to think of something else concise, and I try to rescue him by offering we just go for the socks bit. He chuckles again and says straight-faced, “That’s it, that’s all I’ve learnt.” Seriously now, “It’s been a very [good] learning experience as a songwriter to do Statistics because I was just doing guitar with Desaparecidos, and now I’m trying so many different instruments and different aspects of it you know that... it’s like I was only one fifth of the band with Desa and now I kind of am the band… not live you know, I’ve got a live band, but you know what I mean, as far as writing goes.” He goes on with some of the varied aspects of being the front man. “Yeah. I do [like being the front man]. Sometimes I feel like I let the audience down when it comes to clever banter in between songs. Sometimes it works out great. Sometimes they laugh and it’s great. And sometimes they’ll just go like… ‘(inhales deeply) ahwerhaghk.’ It can change… it’s weird. Some nights the crowd is real friendly and nice you know, and I don’t know if I’m doing something different or something, but some nights they just stand back and very much keep to themselves. At any rate, it’s fine with me though because they paid to get in, and… people enjoy music differently you know… It’s not like you have to be dancing and freaking out or something. I respect both.”

How about all-ages crowds? “I wanna have all shows as all ages. I’m not saying, like, I know that means they can’t drink or whatever but again I guess I’m being idealistic, but I hate the idea of someone wanting to come to a show and not being able to for any reason. But I love all ages shows. It’s great.”

We begin to talk about his writing style. “I think writing-wise I do it for me. There’ll be something that I feel good about that I’m proud of… something that satisfies me just to write it. And when I hear it all like a finished thing that’s kinda like really rewarding to me. But then I decided to put it out on a label and tour behind it and that’s more public.” One track on his latest disc (titled Leave Your Name) pokes a sharp stick gently in the direction of smarmy media types (uh… much like myself??). I ask if “Sing A Song” has created a stir amongst said media weasels. “A little! I mean some people kinda get that it’s just like…. I dunno, I feel that when people write reviews a lot of times, when I read them, it almost seems like they’re kinda talking to me. Theyre like, “Then why do you do this…?” or they kinda question it. And it almost sounds like it’s directed at me, which is great, but I thought this would be kinda like a pre-emptive way to talk to them and give them some fuel for their fire. I really wasn’t trying to be a smartass or anything. I just thought it would be something – just kind of a pre-emptive strike and I think it’s great… that I can combine my artistic medium ,or whatever you wanna say, outlet, with someone else’s. I think that’s just a neat thing to combine two passions like that. For me to put something out there and for someone to write about it, whether it’s a review or interview or anything you know.” Well, don’t I feel special?

Continuing to be on the fence and accepting just about everything the world wants to throw at him, he comments on the ways in which people review his music. “I think as long as it’s earnest and it’s well-written I really enjoy both [whether people trash the music or not]. I could read a review where someone just trashed me you know, and be like, ‘you know, that was a good review… it was well-written, it was clever, the jokes they used were good…’ or whatever… and after a show when you’re talking to your bandmates or whoever and people are like, ‘you know, that was good but it coulda been better.’ You kinda feel like you’re getting the real deal and it almost feels good to kinda be like, ‘well, fair enough. Like there’s something to work on you know.’ … I guess my favourite reviews, whether it’s positive or negative, I like to hear like what people think when they hear it, what it makes them feel, rather than writing up, just strictly the formula… and maybe it made them feel nothing, you know. Maybe it was like ‘this is boring, it’s nothing groundbreaking, yada yada yada.’ But like to me that’s more fascinating.”

With the songwriting being in his control now, Dalley has more room to experiment than ever, and if the leaping styles of the recordings are any indication, he’s used that freedom to the fullest. “Yeah. yeah I love [the freedom]. I love albums like um… like a Blink 182 band or a Jimmy Eat World band, I feel like a lot of those songs have the same kind of feel. They have the same kind of energetic, upbeat kind of thing. And that’s great for what they are, but I was trying to do something that was like a little bit more of a story or could have more applications to someone’s life... I look at it kinda like a mixtape you know… for all of us who have short attention spans when it comes to listening to music. Sometimes you just wanna hear a song that’s really loud. Just like you’re mad or something. And then sometimes maybe you just wanna hear a song that is more gentle and sad to fit your mood. I guess like trying to put all that onto one CD instead of having like, ‘well this is an early CD, this is an angry CD and then later in his career, this is the sad, introspective…’ There’s a way to tie it all together and not be limited… I think on the next album I’ll make each track have these vocals and a little more straight forward and then have these pre-rolls between songs that just pulls it altogether that’s more transitional. Instead of having a three-minute song that’s instrumental and ambient maybe it’ll just be like a thirty second interlude.”

Running through many of Dalley’s songs are various electronics. Some of these are old gadgets, some of them are new, but I wonder what growing up in the '80’s, where new technologies were all the rage amongst kids, computers were coming into vogue, and home entertainment systems took off, has to do with how he creates music today. “Very very much inspired by Nintendo. I think that’s awesome. I think that’s something so many people our age can relate to. And Stars Wars. I love the idea of growing up completely separate in an entirely different state or country or whatever and being able to share important elements of your childhood with someone. I love to try to touch on that.” Considering the nostalgic bent of his song, “Hours Seemed Like Days,” I ask him if he could in fact turn back the clock, if he’d go back in time at his current age, or actually go back to his childhood. Dalley wrestles with this for a moment after I tell him that no, he can’t choose to go back to being a kid with an adult’s brain. “Dammit! That’d be fun wouldn’t it? Wouldn’t it be great to be like talking to an eight year old and all of a sudden he’s having this really deep conversation with you and arguing and stuff and you’re like, ‘how…what? Who are you?’ ...I dunno, I’d probably go back as a child. ‘Cause that’s what I loved about it… I think that was one of the things that I loved so much about that time and growing up is that everything is so new and so exciting and that’s like… I really feel that when I was younger time felt so much longer to me. If you got on the time-out chair for an hour that was like, ‘(gasp) an hour!,’ you know, that was like so epic. And now, time just flies by.”

The '80s aren‘t where it stops though. “Sometimes I wish I could go back before my time period… you see movies and I wish I could grow up in the '50s or '60s just to experience something different. It is easy… it’s super easy to romanticize the past and make it idealistic and I think that’s what I love you know. I think in my mind I could go back to this ideal childhood and an ideal time you know but if I was to go back I’d probably be pissed off you know. (laughter) I’d just be like, ‘this sucks.’”

We stick with technology, but turn to the internet. “Right now I don’t have a computer. Everyone’s like, ‘dude are you serious? You know like, you’re living in the dark ages, man.’ I need to get a laptop but um, I have had a computer for a while and I’ve written songs on it and used that as a tool. It’s great, so much of my communication’s done through emails and stuff, and you know it’s definitely a help. But uh, I guess I don’t have enough access to it which is ridiculous. Now you can have little browsers that you carry around in your pocket… I’m a big fan of downloading and CD burning and all that. I think that music’s for everyone or for whoever wants to hear it. I don’t think you should have to… you’re just curious and you wanna listen to it? Fine, you know. If you wanna go out and buy the CD, fine. But I think I’ve got a very idealistic view of it and I don’t see really repercussions of it… I’m just of the frame of mind like, I want my music to get out there and I don’t really care about whatever. But at the same time I don’t feel like I can speak for other artists and… to each their own though. When it’s out there it’s for whoever wants it.”

Dalley muses for a moment on the internet, and if physical albums might actually become obsolete. He mentions that he likes being able to have the artwork with CDs, but sees the convenience of technology. “I don’t have an I-Pod yet, but I can see how much handier it is like in the tour van you know like people have these huge books of CDs and it’s like, we could have that or we could have something about the size of a pack of cigarettes… I can see the ease of that, and how handy that would be.” We’re interrupted here for a moment by a scattered-looking woman, who wanders by the waterfront near us and appears to begin shouting to someone on one of the boats anchored in the harbour. By the time we get back on track, we end up talking about Statistics’ enormous ten-week tour that basically kicked off the year.

“It was loooong! It was good, it was really good. We had a keyboard die on us pretty early on. So that was kind of a bummer. And we had a day off and were able to go through Arches National Park in Moab, Utah, which is amazing. I love stuff like that, I love going to national parks and that sort of thing” He goes on to point out that the Arches National Park is where the opening sequence of Indiana Jones and the Last Crusade was filmed. “That was really cool for me, like I looooove stuff like that. It just reminds you how small you are you know? How big the universe is and how long it’s been around and it’s kinda a good feeling you know?” He continues to say that the bands they played with and the shows were all great, and yes he had enough clean socks. I ask if the extended trip gave him further experience to help with his stay home- be on tour dilemma that he outlines in the third person on “The Grass Is Always Greener.”

“I wanna try and stay out as much as I can now while, like while I’m young. And you know like, that’s what I’m thinking about like this week I think I’ve been… I mean this year… in 2004 I think I’ve been home like three weeks maybe? Or four weeks… And it’s great you know, I love scenic, like… this right here (indicates the mountains and water and city around where we‘re sitting), I’ve never been to Canada before and it’s really rad to get up here… But yeah I figure in a few years I wanna have kids. Well I guess I should probably try to have a relationship with a girl first, that might help. Or I can just adopt. That’s so bad… I figure I’ll just get it all out… well not all out… I’ll get most of the touring out of my system now and then be a homebody later.”

Not before you hear of Statistics though. Want to hear them instead of just hearing of them? Go to Jade Tree's website to check out some samples.

Elsewhere

By Andy Scheffler
Photos : Andy Scheffler
Published : July 22, 2004.