After years of intense dedication to making music in every crappy van, cramped attic, and waking moment that presented itself, John Bowers and Aaron Chapmanācore duo of the Portland-based avant-pop band Nursesādecided to get busy living life for a change. Their art depended on it.
āIf youāre not living life then what the fuck [kind of art] are you going to make?ā Bowers says over the phone from Los Angeles, where he currently lives. āYou have to live life, and there are so many aspects of life, and clearly being in a band isnāt the only one. So we took time off of being in a band in order to write music.ā
Bowers and Chapman were probably due for a break. They met in their hometown of Idaho Falls, Idaho, in 1999, where they started making music and never stopped. Thatās nearly two decades of collaboration between two guys who are only in their early 30s.
The duo left Idaho and floated around for a bitāa California farm, a van in Chicagoābefore ending up in Portland, where they released a couple of well-received albums for indie label Dead Oceans. Their 2009 debut Appleās Acre and 2011ās Dracula earned glowing reviews (Pitchfork likened the band to āthe shaggy younger sibling of Animal Collective or Grizzly Bearā) and landed Nurses opening spots on tours with Stephen Malkmus and the Mountain Goats, among others. The bandās strange, rhythmic folk-pop held appeal outside the indie world, tooāmembers of A$AP Mob rapped over the Nurses track āYou Lookinā Twice.ā
All this acclaim and activity, however, took a toll on Bowers and Chapman, who eventually stopped touring and committed to doing just about anything else.
āWe just shifted down a gear, like, all right, this is still our primary focus, but weāre not going to feel like we have to be on a schedule or feel some urgency to be constantly putting something out,ā Chapman says. āAfter a while, that doesnāt feel good or natural. We need to allow ourselves the space to not do it for a second. And sometimes, thatās how the best ideas come about.ā
About four years of work went into the new Nurses album, Naughtland, which the band self-released earlier this month. Like Appleās Acre and Dracula, Naughtland overflows with Bowers and Chapmanās kaleidoscopic pop sensibility, where acrobatic melodies meet deep thoughts on identity, isolation, sociopolitical issues, love, and the beauty and terror of life in general.
Sonically, Naughtland is different from Nursesā previous work, thanks to the duoās evolving interests, improved production skills, and the technology necessitated by long-distance collaboration. That means more synths, drum machines, and manipulated sounds, which give the bandās irrepressible tunes a sort of bizarre, underwater-funk feel.
āWhen we made Appleās Acre, we had a certain type of song we wanted to write, but aesthetically and sonically we were embracing our lack of a technological sideāsinging at a MacBook because we didnāt know where the mic was,ā Chambers says. āWeāve spread our wings a little bit.ā
With no label backing and cover art by Chapmanās wife Andrea Glaser (in collaboration with photographer Chantal Anderson), Naughtland is a Nurses project through and through.
āItās a testament to life and all the complexities that go into it,ā Bowers says. āItās not always a direct reflection of events that happen, but the record is our combined two lives and how we express them. And thatās ultimately what we try to do. Weāre not just trying to make sick songs. Weāre trying to make a deep reflection on life.ā