Premiere: Elevator Division’s new single “Torn Apart”
Read more about Elevator Division’s reunion, and what inspires their new music, here.
In advance of Elevator Division’s show at the recordBar on Friday, October 1, we’re happy to premiere the second of the band’s two new singles, “Torn Apart.”
It hearkens back to the band’s earliest work on the album Imaginary Days. When I spoke with the band for this month’s print edition, I asked about how they came to return to that sound.
The Pitch: What I find really interesting is that “Torn Apart” has something I haven’t heard in your music in a really long time, which is keys. Elevator Division notably had those on Imaginary Days, but not much after. What was the impetus to bringing back an element that was part of your original sound?
James Hoskins: I think we just all love music that has keys in it and we wanted them in there. A lot of the music we’ve been listening to in the interim of the last decade and a half or whatever is key-heavy. Because we have five people now, we had kind of the extra personnel to have some keys in there, too. So what do you think, Chris?
Chris Stewart: I think a lot of the music the band started on was key-heavy. For a time, Elevator Division went down to a three-piece, and back then, you built what you played and what you wrote was off of what you could do in the garage. We didn’t have Garageband or readily accessible ways to record ideas. So: “There’s no one to play keys? I guess we just won’t have keys for these.”
There was the natural limitation of how music was made back then. Even though that has always been an influence and always something in all the music we’ve listened to, I think Elevator Division went through a time where it really stripped down to core elements and it just didn’t include it. Then, as you know, Jeremiah [Gonzales] joined the band. This was before I was in the band, but Jeremiah made it a four-piece with two guitars, just really driven by subtle keys. I think there are some subtle keys on both Movement and Years, but nothing prominent, ’cause we just didn’t have someone to play.
There’s the practical reason. I would say most of the music that has been really influential on Elevator Division had some sort of synthy/key element to it. Now we do have the extra personnel—and frankly, the talented people that can really play synth and keys and make it sound good.