Kevin Whelan is anything but ordinary. From a very early age, he gravitated toward music and made that work his lifelong passion. Inspired by legends like Liberace, The Beatles, and Chris Squire, Kevin has forged his own path over a 30+ year career that has withstood the test of time (and then some). The Vinyl District recently sat down with Kevin to discuss The Wrens, his most recent project Aeon Station, and of course all things vinyl.
How did you get your start in music?
I got started in music because my mother bought a piano from one of her coworkers. She’s a schoolteacher and one of her friends was giving up a piano and she got it for a couple hundred dollars. She brought into the house and nobody knew what it was and it sat in the dining room for a long time. I just tried my hand at it, liked it, and then got a teacher. That’s how it started. I think it happens for many musicians in their early teens’ where you just don’t fit in and you’re trying to, and music finds you so beautifully (and unexpectedly).
Who were your greatest inspirations as a young musician?
Oh, my goodness—it’s definitely diverse. Of course, I’d say all the great songwriters have these phases where they’re inspired by bands like they love. For me, it was The Beatles, The Clash, The Pixies, and then on to Radiohead. But I started in piano, I have always shared that my first true inspiration was Liberace. I saw him perform live when I was a teenager in Atlantic City. Seeing that showman aspect and how he communicated with his audience through the piano was a pretty exciting experience, and a unique one to say the least.
How did the Wrens get their start back in 1989?
Yeah, ’89. I started the band, geez, back when I was 16. There were a couple versions at the beginning, but it didn’t become The Wrens until I got to meet Charles and Jerry, and of course my brother was always involved too. We actually got our start because we were going to open for The Fixx, and funny enough that never materialized. Since that didn’t happen, we figured we’d stay together and give it a go as a band. Then very quickly after that, we all moved in together and stayed that way for almost 15 years. It was a pretty deep commitment for sure.
What were your biggest challenges as an up-and-coming band during that timeframe?
Everyone forgets history. But at that time, you figured that was the end of era where the metal bands were on the decline. There was really no Nirvana yet on the horizon at that point. You had your R.E.M., you had The Replacements, a ton of indie rock stuff. We were more into the indie space but were focused on songwriting. Although we played along with bands like Limp Bizkit, we were not really desired and didn’t really fit in at that time. So it was very hard.
What made the band unique at that point?
I think what kind of made us unique is that we were kind of mixing influences in a really weird way. We tried to make XTC sound like They Might Be Giants sound like The Beatles. So all real song-based, but I think we had a quirky view of it. The Wrens were always looking to say, “How could you make guitars sound original?” We had this whole period where we only wrote songs that were one minute long. I mean, we kept trying different things until we found “the right clothes for us,” which really took a long time actually, maybe 10 years. It was a long journey.
What were the last few years for The Wrens like? What brought the demise in 2021?
I think I’ll start with the end. So, I still believe that I’m in The Wrens and that I am a Wren. You figure I gave my life to the cause since I was 16 and continue to do so because it’s something that I love. I would never say that—I never uttered words of break up or this or that, that’s not coming from me. I think what happens is that we always had a unique process for sure, and we really believed in and supported each other in that unique process because we lived together for so long.
Then I think life happens, right? You get married, you get older, you have kids, and you ultimately realize—and we realized it a long, long time ago—that “the dream” was never going to happen for us. We were okay with it. We actually embraced it and enjoyed who we really were. But I think there’s only so much time you can wait to do music. So, that was it for me personally. I was like, “Well, I just want to do music and enjoy it because time is so precious. I think that covid showed everyone that really, and it amplified how time is so critically important in isolation and what that means. So I think that’s where it stems for me personally.
Tell us about Aeon Station?
So the way it transitioned was all quite fast. I felt that I had waited to do music long enough—well over ten years plus. I told the guys, “Hey, I’m at a point where I just can’t wait anymore, and I’m going to go, and I’m going to enjoy music and do this, but it doesn’t mean anything for us. I just want to do it.” That’s how Aeon Station came to be
What were your initial expectations regarding the release of new music?
I didn’t have any expectation of any new music actually coming out until re-engaging with SubPop. They’re a storybook kind of company and amazing in every sense of the word. They were very kind and said, “Hey, yeah. We could help support, put it out, and see where it kind of goes and at least have it be part of the catalog and a footnote of a footnote in music.” I said, “Okay, let’s go from there.” That was it. But it was really just me enjoying music, not actually searching out something specific on how I’m going to put it out. It just sort of happened.
Fill us in on your 2021 release, Observatory?
Oh, gosh. The thoughts were like a mixture across 10 years in one’s life, like your thirties and your forties, trying to navigate that tricky time. I think it came from emotions that all of us fear, right? The narratives that we play in our head of insecurity or “I’m not good enough.” Or what if I do this, but I have these passions and things are changing all round me on a daily basis. So I think, thematically, that’s where it came. At the end of it, it really was quite hopeful and positive because these are feelings everybody can overcome. We all have setbacks and we all lose from time to time, but overall in our lives, we can overcome. I think that’s where the record was kind of thematically going and I was just very lucky to have the opportunity to put it out and am very proud of it.
Were they all new songs or unreleased Wrens material?
It almost is like a 50/50, almost exactly. So half the record had been around for quite a while, since 2013. Those songs were just sitting there waiting to go. Then oddly enough, the other half might have been written much more recently over a couple weeks.
What are your favorite tracks off the album?
Oh, boy… I would say my favorite track off the record, songwriter-wise, is “Leaves.” I think in terms of story and structure, I love “Fade.” They’re on the first side. I also love the “Alpine Drive,” which was sort of this song that I was able to do with pianos. It’s a Grateful Dead type of ballad, a little folksy. So I’m really proud of those three.
What surprises does 2023 have in store for the band?
I haven’t even said it out loud—or maybe I’m just thinking about it now—but after all these amazing years, I think I might be hitting my point where it’s like, “Okay, I’ve done it.” So maybe writing one last complimentary piece of music. You figure I started in the eighties and now here I am, so I think that would be nice. So, I think if I can pull off one more, I think I’ll be a pretty happy after a truly wonderful career.
What do you think about the resurgence of vinyl around the world?
A cool add on to your initial question on how it was when we started as The Wrens—people detested vinyl; they made jokes about it. Our generation, all The Wrens, all the guys, loved vinyl. We’re from the seventies and the eighties and it was huge. Then the vinyl generation transitioned to CDs and then to the streaming services. Lots of change. Just this last weekend, I was at a record store in Summit, New Jersey, and then I got to do a record store set. It was unbelievable. I mean, there are stores now that have are truly 100% vinyl. So it’s fantastic. I’m glad that vinyl is transitioning back into an art piece that people can appreciate in their life.
Do you think vinyl sounds uniquely different than newer digital formats?
I think it’s a different listening experience because it’s physical. I grew up with putting dimes and pennies on my arms or flipping the needles, and you contrast that with the digital streaming we experience today. No offense to digital, but I enjoy the process of listening to vinyl. I can touch the record, read the liner notes, and appreciate the history behind the music. Vinyl is raw and I love it!
What’s is it like making music with your brother Greg?
It’s wonderful. It’s a gift in life because we fight, well, like brothers. Working together is a unique process and he helps me out greatly because he’s honest and can say things like, “Well, that was horrible.” So that helps when you have somebody who can just tell you what’s bad and good. He’s such a gift.
Who would you consider your favorite bassists of all time?
Because of The Beatles, I have to say Paul McCartney. But I think top to bottom, the true bass player is Chris Squire from Yes.
Is there one classic bassline that stands out to you as perhaps the best of all time?
My all-time favorite is the “Magnificent Seven” by The Clash.
What was the last major concert you attended?
Good question. Speaking of baselines, my wife got us tickets for Chic and Duran at Madison Square Garden. Crazy.
Favorite ’80s hair metal band?
I was not the biggest metal fan, but I think I have to say Bon Jovi because they are New Jersey.
Favorite classic SubPop artist of all time?
Wow, good question. Man, they’re so freaking many. Woo-hoo. You know what? I’m going to have to say, The Shins. They are pretty spectacular for sure.
Outside of music, what other hobbies do you have?
None—music is my life!
Any final words?
Absolutely. I would just say thank you to you, to The Vinyl District, for continuing this incredible legacy. You place a spotlight on vinyl and which allows artists like me to put out new music on vinyl and create art. Just thinking The Wrens or Aeon Station’s vinyl might be in someone’s home or prized collection is mind blowing.
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PHOTO: EBRU YILDIZ
