Since Engine Down formed in 1996, comprised of members of hardcore and indie innovators Sleepytime Trio, The Weak Link Breaks, and Bughummer, they have managed to compose engaging post-rock that alternates between aggressive and melodic with care, control and precision.  An Engine Down fan knows what they can expect from the band - a rollercoaster of melody, punctuated rhythm, and inquisitive and introspective lyricism that makes leaps and bounds in brave, new directions.

After spinning their newest record, Demure, a few times, and speaking with modest vocalist, Keeley Davis, it is obvious that Engine Down value's dynamics and earnesty above all.  This has allowed them to break out of the emo/hardcore mold sure-footed, and to hone and mature in their post-rock craft without alienating their listeners under the guise of avante garde elitism or artistic obtrusiveness.

In this interview, Davis discusses bridging the communication gap between artist and audience, dealing with the media, traveling abroad and their newest album.

Interview conducted in via e-mail, February 2002.

Name: Keeley Davis (guitar and vocals)

Band: Engine Down

Tim: You were a late addition to the band, joining in 1998 right?

Keeley: This is correct.

T: How did you come to meet the other guys in Engine Down?  Under what circumstances did you join the band?

K: I have actually been friends with Jonathan since 4th grade and we started playing music together in a high school band. I knew Jason during the high school years as he was very much into the same styles I was into. We parted ways when I went down south to art school in Savannah, Ga. My band at that time had played a couple shows with Engine Down and after graduating from school I was looking to relocate. They had just lost their guitar player and needed a replacement for a US tour. I gladly joined up for the tour just for fun, and then fate brought me to Richmond and into their lives for good.

T: Most of the songs on Under The Pretense of Present Tense are more aggressive and dissident than those on To Bury Within The Sound, which is definitely more calculated and atmospheric.  Is this a sign of maturity?

K: I don¹t think we are necessarily mature, but the music has grown to feed the interests we have in music. Growing is unavoidable in any form and it is only natural that our music grow.

T: It seems that there is a noticeable evolution from one Engine Down record to the next?  Is this evolution intentional or the natural progression of you guys as musicians?

K: El natural. An idea of how a song "should sound" can talk itself into a circle. I am not interested in conceiving a theme for a song. No, not at all will I push myself to write that perfect pop song. Everything we do is direct effect from just picking up our instruments and opening our mouths.

T: In the past Engine Down has used piano, cello, vibraphone and other interesting instrumentation; Can we expect to see any of this "live?"  Is there a lot of experimentation on the new album with instruments that aren't traditional to rock bands?

K: We have used keyboards, cello, percussion at some times live, but only when the chance was there. The new album I would say is a hard backing for the songs. There are rare accounts of added instruments besides our four-piece outfit since we feel the songs are strong enough by themselves and carry enough weight by themselves.

T: I noticed that you did the artwork on To Bury Within The Sound.  Did you do the artwork on the upcoming album? Where do your ideas come from?

K: I do most all of the artwork as it comes. My ideas are sparked from the scenes around me, I just form them into scenes I would much rather see.

T: Do you have a similar mantra for the way that you write lyrics?  Are they a representation of the way your life/world is or do they tell the story of the way you would like things to be?

K: They tell a story of what I witness, wish, and lost. My lyrics are a brainstorm of thoughts I almost find can solve my deepest confusions, but are lost because of a short attention span.

T: Music is obviously a passion for each member of your band.  One can see that from the strong resume and Engine Down members' involvement in other bands like Denali, Bats and Mice, etc.  Are you ever content with playing one instrument or style of music or will you continue to seek out as many different creative outlets as possible?

K: For myself, it is hard to stay in one position for a long time. I like to move around and taste other things. When we do other projects it just helps refresh the canvas for the projects we have done for longer periods of time.

T: Is it ever hard to separate the music that you are making with Engine Down from the music you make with another band, or does the chemistry between a different set of players dictate the difference naturally?

K: It is very easy to switch rolls. I play different rolls in different projects, lead, rhythm, etc. A bands sound is always changed by each individual input. When one member changes, the whole page changes.

T: Was your Fall 2001 European tour your first trip overseas?  How does the European audience differ from those in the U.S.?

K: This was Engine Downs first trip and I must say, “See ya soon.” The European audience starve for this stuff more than the U.S. It seems music strikes emotions a little more personally and sincerely to them. I enjoy the states but Europe can really make you feel like your music makes a difference in someone’s mind.

T: What reaction are you hoping to elicit from an audience?  When is making music most rewarding and what part does the audience or listener have in its success?

K: I hope to strike an alter ego. I hope to completely change someone's mood just by using sound. It is a real thrill to think that I could inspire someone the way I have been inspired by others. If I can be lost in the music, without a single thought except for the right now and right then, then I could ask for nothing more.

T: Are there any stories from Europe that are particularly significant or memorable?  Did the events of September 11 impact you trip or experiences?

K: Of course September 11 was probably the biggest impact on the trip. We felt like aliens watching a movie. Not sure what to feel or how to react, we just kept on doing what we were there to do. Europeans were concerned for our well being, but at the same time did not think we deserved special treatment because this sort of thing happens all around the world. I had an amazing time though. I would not let the terrorist win by disrupting my life or altering it.

T: What bands do you count as your peers?  Are there one or two bands that you've toured with that you would count as kindred spirits? Why?

K: This tends to change every time we tour with a band and then bury them in the desert. Q And Not U, the mercury program, Bats and Mice, Fin Fang Foom, ah I cant take on this responsibility to list my friends. I enjoy any band we play with that has a sense of humor and can enjoy the simple things in life or in a van.

T: What is the title of the new record and how is it different from other Engine Down releases?  How is it similar to previous releases?

K: The new record is called Demure and is a strong example of our confidence in the music. It is similar to the beats and grooves of To Bury Within The Sound and has an edge in some songs like Under the Pretense of Present Tense. We are beyond excited about this release and feel it is our break from being modest.

T: Is the title of the new album meant as irony then?  In what ways are you discontinuing modesty?  Is this Engine Down's big arena rock album?

K: BIG ARENA ROCK! nothing closer to the truth. It is of course close to groove and the atmosphere, but oh yeah it can ROLL. The title is meant as irony, but only because we feel this confidence and no longer feel we need to sugar coat what we are doing. It is the true us.

T: Is recognition by the music media valuable to you?

K: Of course. Why wouldn’t we want to be recognized by others for our hard work?

T: Right, but is what people write about the record going to influence your opinion of it or the way that you write songs or play music in the future?

K: If I here one more Sunny Day Real estate comment about the last EP then yes I might stalk someone, but no it will not change the way I write music. What people write is always noodled in my head, but it is just an opinion. Music is not wrong or right, it is liked or disliked. If everyone likes the new record then I feel we all have the same taste, if they hate it then obviously they have bad taste.... point made? I just tend to get worked up when I read reviews and someone takes the easy route of comparing music to format that is obvious, but not relevant. It is easy to pass off another record and not take the gamble of really noticing something for its merit and change. Writers have a chance to change the way people think but a lot, those who aren't even writers but are allowed to write an opinion, don’t want to be disagreed with by "the scene". 1. I care about what people write. 2. I don’t care what people write.

T: Do you find it more or less difficult to separate making music from being part of the independent music business as you get older?

K: Yes it is harder. Especially since playing this music doesn¹t leave time to work a stable job, we must make sure that our bills get paid without loosing sight of what is important.

T: What can a record buyer/music fan get from Engine Down that is unique or that they can't get from another band?

K: I hope a change in everyday patterns. I hope to spark a feeling of excitement, inspiration, or just the fun of listening to music.