The Elephant 6 Recording Co. Documentary Shows Why a Scruffy ’90s Indie Rock Community Still Matters – Warungku Terkini
Opening in theaters today, The Elephant 6 Recording Co. captures the slippery collective’s rise to indie acclaim. First-time director C.B. Stockfleth supplements original on-camera interviews with archival footage by filmmaker and former Athens scene regular Lance Bangs (who also appears in the film). Thanks to executive producer Rob Hatch-Miller, director of the like-minded doc Other Music and a relentless clearer of licensing rights, the film sounds like Elephant 6. Thanks to the collective’s sprawling trove of flyers, photos, and surrealistic visual art, it looks like Elephant 6, too.
The Elephant 6 Recording Co. may be as wide-ranging and impressionistic as its namesake, but the film wrestles with the need for a narrative focus. It follows the intertwined musical biographies of the collective’s four co-founders, two of whom are currently unavailable to speak for themselves (Olivia Tremor Control’s Doss died unexpectedly in 2012, and Mangum has for decades declined to participate in interviews). The irrepressible Schneider, who was the E6 production whiz in addition to leading the Apples in Stereo, could easily have run away with the film, and nearly does. In the opening minutes, Schneider portrays a mad scientist alongside Elijah Wood, serenades Stephen Colbert with a satirical ode, and indulges a request from behind the camera for a 60-second history of Elephant 6 (he starts with the Big Bang). But Schneider’s enthusiasm feels endearingly authentic—as comedian David Cross says at one point, “He sounds like an excited 12-year-old.” To watch him go from eager, goateed young musician witnessing the vinyl pressing for the Apples’ first album to eager, fully bearded mathematician giving a TedX talk is a genuine delight, like checking in on a childhood acquaintance and discovering they grew up to be the genius you suspected they were.
Inextricable from all this is the rise of Olivia Tremor Control. Through candid conversations and concert footage from throughout the decades, the film establishes the band’s well-documented McCartney-Lennon dynamic, with Doss the “pop perfectionist” and Hart the “experimentalist,” in the words of self-described E6 historian Ron Kwasman, of Midwest indie-pop band Margot & the Nuclear So and So’s. The Olivias’ multi-instrumentalist John Fernandes, interviewed inside storied Athens record shop Wuxtry, brings in helpful context: When Schneider moved to Denver and started the Apples, the trio of Doss, Hart, and Mangum headed to Athens and began the short-lived Synthetic Flying Machine; Mangum left the band, and Olivia Tremor Control was born. The film lays out the historic significance of the Olivias’ albums, particularly 1996’s Music from the Unrealized Film Script: Dusk at Cubist Castle (“the greatest psychedelic album of our time,” as Kwasman recalls), along with their fearsome onstage reputation (“Olivia was the best band I ever saw live,” says Ben Crum of the E6 outfit Great Lakes).
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