After more than 30 years and a dozen previous albums together, Detroit rockers Sponge, who had huge success in the 90s with songs like “Plowed” and “Molly,” is saying goodbye with a final album, Recuerda tu Muerte, and tour.
It might seem ironic to many the band chooses to go out when they are still feeling so creatively and musically vibrant. As frontman Vinnie Dombroski talk about in the following int, Recuerda tu Muerte is an album that recalls the best of the 90s, bringing up a strong Alice in Chains vibe. So, why go out now? Because, as Dombroski explains, he wants to, one, go out before the well is dry for Sponge, and, two, he has other musical ventures to explore that don’t feel like Sponge.
And in 30 plus years he has had amazing opportunities, from meeting the legend, Chuck Berry, to opening for KISS and Alice in Chains in their hometown of Detroit. So, Dombroski has no hesitation saying fare thee well and embracing new challenges.
Hit Parader: When you start playing new material live, it totally takes on its own direction and becomes its own thing.
Vinnie Dombroski: Yeah, man.
HP: So, are there songs off this record that are already starting to morph for you?
Dombroski: We just started rehearsing some of this stuff, man, and I think the band sounds great. The band represents it really well, although it’s not like playing “Plowed” for 30 years where it’s something that you’ve reinvented, made your own. And that’s how it sits. When you play new stuff, you’re just like, “What do you do with this?” So, we’re in the process.
HP: The new stuff feels like songs that can morph so much. It’s a very heavy record, the only word I can think of it to describe it is sludgy, but I mean that in the best way possible. It has just the stuff that exists in so many dimensions.
Dombroski: You said sludgy? I like that word, man. That’s why the record cover was so important. And the black and whiteness of everything is so important because that record to me is something that’s black and white. I would look at this record like the record’s haunted in a way. Not necessarily in a dreamlike way, but a lot of people dream in black and white. But this record to me is that kind of thing. It’s almost like a strange dream. And the cover is definitely almost like the entrance into that dream. And the cover to me represents the sound of that record. And there’s nothing bright and jangly about it, that’s for sure. This is not “Molly.” “Plowed” is definitely a darker song, but it’s up-tempo. This record is the last thing from jangly. It’s not New Pop Sunday.
HP: When I say sludgy, it almost feels like quicksand in the way that it can morph and shape. It reminds me of the 90s to me in the best way, like Alice in Chains stuff that evolves. When you were writing the record, did you feel that?
Dombroski: It became more apparent the more I dove down a rabbit hole of putting together demos and then beginning to record the record. Really what was apparent was that shape was and I didn’t want to deviate from that for a second at all. Some records you go, “Well, we got some room to lighten up a little bit.” Maybe the lightest song in the record is “Lead Gods.” It’s dark in regards to what the content is, but it feels upbeat. That’s the only one that kind of got away and was a little lighter. But everything else just seems to be pretty consistent. And we wanted to keep it that way.
HP: Did you find that when you were writing takes its shape and tells you what it’s going to sound like?
Dombroski: This record was, I think, ultimately dictated by the lyric content. When I sat down to write lyrics and I was dealing with just very basic guitar ideas the lyrics were really important, and those lyrics were done before I ever really started to demo anything, so I wanted to make sure that the lyrics were solid. The ideas were solid before I even decided to go and demo things simply at home. And that, to me, was the key to everything. Now, some songwriters might tell you song melodies are just vitally important. And I really get that. But you wouldn’t tell Leonard Cohen or Kris Kristofferson that. The lyric, to me, is just vital. Melody, certainly, for sure. Maybe more so in a pop sense, but in this sense, with this record, the lyrics had to be nailed down 1,000 percent clear across the board, and that was the catalyst for everything. The sound, the look of the cover, everything followed that.
HP: Most artists talk about songwriting being subconscious, so were there songs on this record that surprised you?
Dombroski: I couldn’t agree more. A song like “Plowed” was one of those things that just happened immediately. And it’s an interesting point you bring up. To sit down and just sit. And it might be an hour here one day, two hours on another day, or all may come quick. Whatever it is, it comes from sitting and then getting out of the way. I don’t want to be in the way. I don’t want you to see me all over those lyrics. That’s not what I’m going for. I’m really looking for something else. Or better yet, I’m not looking for anything. When I get to that point where I’ve got an idea, then that idea kind of fulfills itself without me getting in the way. It’s not coming from the guy sitting in the chair so to speak and that’s, to me, the number one most important thing. Great subject, great question.
HP: What has songwriting meant to you?
Dombroski: I sat down God knows how many years ago to start writing songs. It really is a great space to be able to still to this day with this record to sit down and go, “Okay, where’s it coming from today?” And get out of the way. I’m not that clever. The one thing I can do is sit and wait. And if it means sit and wait, if I write one good line, sit and wait, that’s a good day. I love fronting a band, I love being in a band but the only reason I ever did anything in this business is because of writing some songs. If you ask me what do I do, I guess I write songs. I love fronting a band, but I love writing songs. To me, that’s sacred stuff. And I’d love to keep doing it with enthusiasm.
HP: Are there artists you look at and really admire for the way they’ve been able to evolve and change?
Dombroski: That’s what a career is to me. We want to keep going, but we want to still feel excited about what it is that we’re creating. And I want to maintain that, man. I hope folks don’t feel like you’re abandoning your fans or your fan base or anything like that. But again, what do we hold sacred? Number one thing: the songwriting. There’s nothing more important than that to me. Everything else is what it is. But for me, it’s that.
HP: Obvious question for you. What’s the song that first comes to mind when I ask what song do you wish you had written?
Dombroski: “When I Get to Heaven” [John Prine]. It’s just an outstanding song. Without a doubt that one I think of.
HP: What was the last song that you were jealous of?
Dombroski: There’s that Kristofferson song, “To Beat the Devil.” That one, man, it’s just like, that is so clever. It’s so good, to write anything near that would just blow my mind. And certainly, I think newer bands too that are out there doing cool shit, whether it’s Queens of the Stone Age. No, they’re not new, but Idles, Viagra Boys, Amyl and the Sniffers, just cool stuff. They’re writing differently than we wrote rock songs, but I really appreciate what they do.
HP: Does the music business feel different for you than it did when you had success in the ‘90s?
Dombroski: If I could have been dating Jewel back in the day, or we could have had Molly Ringwald in the “Molly” video, which she wanted to be in the “Molly” video, maybe somebody would have been dating Molly Ringwald. Or we were supposed to go on the road with Alanis Morissette in the UK. And we got the call to do the KISS show at Tiger Stadium with Alice in Chains. We didn’t even know who Alanis Morissette was, but we went and did the Alice in Chains KISS show. Who knows? Somebody could have been dating Alanis Morissette. Labels loved that shit back then, man. It’s just a fact of life. If we could have sold more records because we were dating an actress, the label would have loved it.
HP: Looking back is there anything that you particularly wish would have happened at the height of commercial popularity?
Dombroski: I was hoping to do collaborative writing with PJ Harvey back in the day. The publicist was trying to set it up. That would have been interesting.
HP: For you, who would be the dream person to write a song with?
Dombroski: Unfortunately, he passed away. But, [Mark] Lanegan would have been a cool thing. To write a song with Lanegan would have been badass.
HP: Why him?
Dombroski: I just think the lyrics are great. The vibe is great. You know, that record with Greg Dulli, the Gutter Twins record, man. Definitely one of my faves. That would have been smashing.
HP: Did you ever write with Dulli?
Dombroski: No, but I saw him about a year ago. They sounded fantastic. The Afghan Whigs were killing, man. So, yeah, that would have been a good one.
HP: You said if you hadn’t gotten out of one situation in Detroit, you might never have made it. I’ve known Greg for 30-plus years. And he’s talked about the fact that he probably shouldn’t be alive, like many people from that era. And when you see people who come out of that era, when you look at a guy like Slash, who is the nicest dude ever, and all the shit they went through, how inspiring is that to you to see all these people who were your peers and are your peers and who came out of it and are still having fun and still probably doing more creative music than ever before?
Dombroski: I think it really underlines, underscores, always reminds me of what the most important shit is. We’ve all done the dumb shit. And the lucky ones have gotten through it. But to still be able to do the number one most important thing, which is to write songs, to me, if we’re able to do that and they’re doing it and they’re active doing it and they’re doing good work to me, that means everything. So, it’s a cool club to be in.
HP: What I’ve found from talking with all these people is because as you get older you appreciate things differently. Do you appreciate things more now because you understand that they are rare, they are special?
Dombroski: I like it when a great song idea comes to you. Yes, you’ve had them before. You’ll hopefully have them again. You have no fucking way of knowing. Oh my God. I’m just blown away about all of the cool opportunities that we’ve had, that if I had those today, I’d have lost my mind. I think the only thing that kept me kind of not fanboying out or freaking out was I was just so cocky. That’s the only word I could use to describe it is that you’re so certain about what you’re doing and what you’re doing is the only thing that matters.
HP: So, are you enjoying it more now?
Dombroski: Oh yes, by far. I wouldn’t go back then for nothing. Yeah. For nothing, man. Cause I’m here doing what I like to do. I’m not doing completely dumb shit anymore. Hopefully I can enjoy it. I wouldn’t go back.
