The Facts: Cookies is a band from New York City specializing in popular music. Ben Sterling formed the band shortly after the dissolution of his former group (the critically lauded Mobius Band) last year, enlisting Melissa Metrick (vocals/bass/keyboards) and Ian Ainley (drums) to help craft a unique and compelling sound. Unlike most good bands specializing in popular music, Cookies is a truly innovative outfit, incorporating into its productions a genuine love of 90s hip hop and R&B, electronic music, and – perhaps most importantly – savvy, distinctive songwriting. We’re grateful to Ben for taking the time to answer our questions, and for creating some excellent lists. Those of you who are in the NYC area should be sure to check them out tonight (Thursday, November 10th) when they play at Glasslands, in Brooklyn.
Listgeeks: So far you’ve released six tracks, and based on the live set, it seems there’s more than enough material for a full-length on hand. Do you anticipate releasing an album in the coming months? More generally, do you think we’ve moved past albums, for the most part?
Ben Sterling: We’re doing at least one more single and then probably an album. I like singles. I like albums. Grouping songs together will be around in some fashion forever… though our attention span is shorter, expectations are changing, and the internet means we often hear a song or two and leave it at that. But maybe that’s fair. It’s hard to make a record that deserves its length. They are very rare. Even “Rumours” has a couple wack songs.
LG: Your previous band, Mobius Band, was a little more on the traditional side, both in terms of the live show and from a production perspective . . . what are the main differences in how you approach realizing the songs in Cookies Vs. the way process worked in Mobius Band?
Ben: Mobius Band was a gang. We met in college and lived together and finished each others sentences. We were a thorough democracy with every decision. It was great for a long time. But then it wasn’t anymore. The dynamic broke down and got weird, like it usually does.
Cookies: “Love Will Never Do Without You” (Janet Jackson cover)
Cookies doesn’t work that way, it’s truly the opposite and that’s something I need after that experience. For me, the process of writing songs is very simple to start with and then excruciating to finish. The original rush of an idea is quick and beautiful and easy. But it’s just an idea, not a song or a production. The rest is basically window dressing and finishing lyrics, but without that it’s not a song, unless you’re making folk music or free improvisation. The original spark usually takes about ten minutes but I can’t finish a song in under two months.
LG: I’m a big fan of the boy/girl tradeoff vocal approach, which seems to be becoming a more central element in your productions. Has working with Melissa over time changed your perspective or approach in writing the songs, or did you envision that Cookies would have this type of dynamic from the start?
Ben: Melissa’s voice was at the heart of it from the beginning. I love her voice and have always wanted to do something focused on singing together. At least in my little hetero-framed world, the dynamic between men and women is relevant to just about everything, so it can point in every direction at once. It’s a really good challenge to write for a female voice. I’m not sure I’ll ever be totally comfortable with it. That’s part of why it’s so interesting in the first place.
LG: Who are some of your major influences at the moment from a production perspective? Which artists have done things you’ve found compelling in the last year or so?
Ben: I’ve been digging back into early 90s New York hiphop. It’s such an optimistic era. Tons of 60’s and 70’s samples, everything soft focus. A lot of Pete Rock and some lesser known stuff. Caribou’s “Swim” is probably the best pure production work I’ve heard in a few years, it’s untouchable. Stockhausen’s “Gesang der Junglinge.” Watch The Throne sounds amazing blaring from a car loud and distorted. New stuff: I have a feeling the new Chairlift album is going to be era-defining, based on one live show in June.
LG: You’ve collaborated with the photographer Emily Keegin and director/designer Wyeth Hansen, both of whom seem to have a visual sensibility/vision that really works with Cookies. Are the visual aspects of what you’re doing an important part of the process of releasing the music? How did those collaborations come about?
Ben: Part of why Emily and Wyeth are in tune with the Cookies aesthetic is because they invented the Cookies aesthetic. I knew what the cover was for “Summer Jam” before I’d written the song. I’m so lucky to have Emily in my life, she is an amazing artist and thinker. We’ve got some great stuff coming soon. Wyeth is the same, just a great friend that makes work I admire. He made the “Wilderness Tips” video in one night. I made him dinner and spoon fed him wine, and he sat there mumbling at the computer and made a video in two hours.