January 1, 1999 by A.S. Van Dorston

Originally published in Chicago Magazine.

With a new solo album released February 3 and his own art show in March, Sam Prekop’s solo career looks like a piece of cake.

Sam Prekop has been an integral part of the Chicago music scene for more than ten years, beginning when he founded Shrimp Boat in the ’80s with drummer Brad Wood, who would later become better known for producing Liz Phair and Veruca Salt. After some folky self-released cassettes and a debut album, they achieved critical attention with 1991’s Duendeand 1992’s Cavale. Then, at the height of their—admittedly still cult—popularity, they disbanded.

Prekop soon picked up where he left off, exploring jazz, soul, African and Caribbean rhythms with a new band, The Sea And Cake, named after a Gastr del Sol song, “The C in Cake.” Members are a who’s-who of Chicago’s avant-pop scene, including John McEntire (Bastro, Gastr del Sol, Tortoise), Archer Prewitt (The Coctails) and Eric Claridge (ShrimpBoat), along with production help from Brad Wood. Prekop made four albums and one EP with them, and plans to start working with them again in the spring.

His first solo album, released on Thrill Jockey, is a deceptively low-key affair with delicate songs surrounded by ambitious string arrangements by Chicago engineering guru Jim O’Rourke. It should stand as one of the best albums to come out of Chicago in 1999. Perhaps Chicago’s time has come to have its first indie-rock crooner heartthrob.

Fast ‘n’ Bulbous: I started following your music about when the last Shrimp Boat album came out. Since then you have obviously grown considerably. How much do you think the music around you has influenced you since the 80s? What new things have replaced old favorites?

Sam Prekop: Well I have a lot of new favorites over the last couple of years. I’ve been getting into Brazilian music recently, and a lot of electronic music.

I can hear some Brazilian elements in your album. Do you like Arto Lindsay?

I haven’t heard a lot of his stuff but I heard he’s doing good things.

Would you claim any of these people as influences—Tim Buckley, Nick Drake . . .

I really like Nick Drake. I like him a lot. But again I’ve only started listening to him in the last couple years.

. . . Randy Newman or Van Dyke Parks?

Jim O’Rourke is way into Van Dyke Parks. He loves him. I’ve only heard his first album once, though. I’m familiar with some of the things he did with the Beach Boys, who I also just started getting into recently.

The biggest difference between your new album and The Sea And Cake is the use of electronics, though you’ve obviously been going in that direction, and acoustic classical instruments. I imagine some people have already been associating you with “orchestral pop.” Are you OK with being associated with orchestral pop or do you seek to become your own genre?

Well, this is really the first time I’ve heard that. I guess I’m OK with that, although I would prefer to have my own genre.

But what if orchestral pop becomes the next big thing? What if your next album sold a half a million copies?

I couldn’t really imagine.

But if you did, would you consider leaving Thrill Jockey for a major label?

I’ve kind of seen a little bit of what’s involved in trying to make a lot of money with music and, not that I wouldn’t mind a little more money, but it wouldn’t be worth it. I’m happy the way things are going. I’ll just keep working hard.

Any plans for a tour? How many people will be accompanying you?

In April we’ll be touring the U.S., and then Europe and Japan. Everyone in my band will be in Europe—Archer Prewitt, Josh Abrams, Chad Taylor, Rob Mazurek, Jim O’Rourke. Everyone except John [McEntire], who just played the triangle. I don’t think he’ll be making it.

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