Fanstage featuring Guy Buttery

Guy Buttery talks about his new limited edition vinyl record (yes, you read that right).

Guy Buttery limited edition vinyl record

We were ecstatic to sit down with one of our favourite South African artists, Guy Buttery, and talk about the many projects he's been working on, the most recent of which being his foray into vinyl records. We wanted to lend a bit of focus to his new record "To Disappear in Place," because it is exceptionally rare for a South African artist to release an album in the vinyl record format. The first question that popped into our heads, and probably now into yours too, was: Why? The press release for the album aptly explains the motivation behind it:

Despite the ongoing change in the industry, vinyl records have remained a sought after product to serious music fundi’s, DJ's and album collectors. If anything, with the rise and rise of digital music, the vinyl has become a sort of antidote symbol for those that value the tangible embodiment of hard copy albums. LP sales have increased where CD sales have dropped, probably because they represent authenticity to fans. For Buttery, it is a way of recognizing independence within the industry, to develop his music and distribute it in ways that fit with him and his personality, by ultimately going the indie route. Releasing a vinyl record in South Africa does exactly that.

What follows is the first Fanstage interview with one of South African's finest multi-instrumentalists.

You've recently put together an album of out-takes from your last album, Fox Hill Lane, with producer Chris Letcher. "To Disappear in Place" will initially be available only on vinyl, which you must be thrilled about. Can you give us a bit of background on how the album came about?

It's a bit of a strange tangent into marketing South African music. It's hard enough to sell CDs, but putting out a vinyl... (laughs) But it's a cool project. I've been a vinyl junkie since I was fifteen. Steven Hawes (AKA Erased Records) in Joburg approached me about putting this album together just to release on vinyl. I started going through all the outtakes from the Fox Hill Lane sessions, and there ended up being so much stuff. There were cool demo versions and cool live versions. Chris Letcher has arranged some beautiful strings and did some vocal stuff that just didn't make it onto "Fox Hill Lane" before it went to print. I just think he is the business. I'm such a fan. He's one of the best producers, composers, musicians in South Africa by miles...if I'm not being too obsessive (laughs).

We mixed the whole album out in 2 days at Peace of Eden in Knysna and we ended up having more and more material. It was supposed to be a 7-inch, then a 10-inch, and then we had to do it on a 12-inch. It just became this big project. The concept is basically - 300 copies and that's it. The album lives and dies in that space, which is quite beautiful for me.

Can you explain the significance behind the title of your record, "To Disappear in Place."

I read that phrase somewhere in a magazine and it just stuck with me. Kind of the same thing that happened with "Rust Never Sleeps" tag for Neil Young. The title seemed very appropriate to me for a few reasons. Most obviously because the album is released in a limited quantity and then kind of disappears from the market when its sold out but its still around and "in place" somewhere in my discography. Secondly, all these out-takes would have otherwise disappeared and never see the light of day. I figured I'd rather them get out there than vanish and sit in the studio's files for eternity. The third meaning behind the title is not revealed.

How will fans be able to purchase, "To Disappear in Place"?

Since I've largely become independent in the last few years, I've found that social networks, email and my various websites handle almost everything for me. I've put the album up on Bandcamp (http://guybuttery/bandcamp.com) but find I am selling the bulk of them directly to the public through Facebook (www.facebook.com/guybutterymusic). I guess for the public its faster and even easier these days. The album will however be available through a few smaller outlets around the country in limited quantities. They seem to be moving real quick which is great!

"The album lives and dies in that space, which is quite beautiful for me."
- Guy, on the nature of the new limited edition vinyl record 'To Disappear in Place', of which there are only 300 copies.

You have recently recorded a series of live shows at Howard College theatre in Durban for an upcoming live album. You must have had opportunities in the past where you thought about doing a live album. Why is this the right time?

Well you know I'm a bootleg freak. I've got so many classic recordings of artists. I think the artist exists in a very different world in the live environment. The studio is either contrived or produced (in a good or bad way). The live thing is fully organic, fully raw.

I also feel like I'm getting to an end of an era with a bunch of tunes that existed in the live environment that haven't made it on to an album for one reason or another. Mostly because they work better in a live context. Live albums are like a testament to a period, and a cool little transition between studio albums.

You've performed countless numbers of times in front of audiences around the world. What is the biggest challenge for you now when you step on to a stage?

(laughs) Geez man, I just immediately think of tuning the bloody guitar. What a mission! I think at these gigs (referring to the live recordings at Howard College Theatre), out of 14 tunes, only two songs were in the same tuning. It sounds kind of silly, but it's more the technical things I worry about - if the room is working for the guitar. From these two shows, the vibe in the room was completely different each night. It's just interesting. You play in the same room with the same set up and same sound, and the audience actually almost makes the gig. It's just an exchange of energy. It's amazing how much the audience is part of the show.

You've played and collaborated with Nibs van der Spuy many times. Are we likely to see a collaborative album from both of you?

Well actually we're doing an album together in November - we haven't really put it out there yet - but we're going down on a tour through Eastern Cape and we're stopping off in Knysna to record with Howard [Butcher] at Peace of Eden Studios. It's about time we do it. We started doing some reunion shows in March after five or six years of not playing together much at all. We've worked on a whole bunch of new tunes. We didn't just fall back on other stuff. We've got a bit more focus and a bit more direction. Like we don't do so many 12 minute songs anymore (laughs).

"Live albums are like a testament to a period."
- Guy, on the reasons behind recording a live album, due for release early next year.

You've recently integrated an Mbira into your live performances. Can you tell us a little more about it?

I've actually always wanted to play one. They're quite ambient. They can be all fast and finicky and crazy, but I dig the long spaces. For me it sounds like something Chris Letcher would use for some weird production, and I just dig the sound of it.

You've been in the music industry in South Africa for a decade or longer. Would you say it's grown much during this time, and what would you attribute that growth to?

I still see South Africa's music industry to be quite insular. It seems like everyone knows everyone, and I think that's a cool thing. People work with and for each other. It probably has grown. There are definitely way more festivals which is a good indication of growth I guess. When I started there was a handful, and now there seems to be a festival every weekend. I think the internet has helped people a lot. Young artists get out there, because the tools are at your doorstep, in your bedroom. I used to have to go and take printed photographs to the newspaper and say "Put me in your paper!" Now you just email something and it's done.

What are the 5 most important live albums that you've heard?

Wow that's a big question. Well automatically what comes to mind is Michael Hedges's "Live at the Double Planet". I was listening to that a lot two or three days prior to the live (Howard College Theatre) recordings. I was actually listening to that Tony Cox and Steve Newman live album today. It's from 1983. It's called "A Hundred and One Ways to use an Acoustic Guitar." I listened to that loads growing up. But the live stuff for me has always been live rock bands and live reggae. Bob Marley, "Live at the Roxy" is just epic. Zeppelin "How the West was Won," all that stuff. And just bootlegs. There's probably more bootleg stuff that I like. And Doors and Hendrix, that stuff I love. That was where they were for me. And I think that's where they saw themselves - in the live context.

Your most memorable performance?

One that always comes to mind - I did this gig in Italy (this guitar festival) with all these other amazing guitar players. I think it was just a combination of people not speaking English and just having that language barrier where the music really just has to talk for you. And there was this beautiful old theatre with beautiful acoustics, and all the people I'd met, and the train ride there going into the Alps. It was a combination of things. That was very memorable for me. That was pretty damn epic. I think I also just played really well, and had a great response. It was one of those "nearly in tears" vibes. It really was.

Time for a bit of self-promotion. You've checked out the website, Fanbible. Do you see it as a tool for underground or lesser-known artists in the country, or mainstream commercial music?

I think it's the perfect tool for anyone. It's a perfect tool for a one-man comedy act who's got a thing down the road, or the Prime Circles and Parlotones of the world. If there's enough traffic through the site, I think marketing is marketing. If people are keen to check it out, artists will be keen to put there stuff on there and promote it amongst everyone else. It helps everyone see each other.

Guy Buttery releases limited edition vinyl