Formed back in 2000 in Dallas, Texas, quickly thereafter relocating to New York-via-Chicago, alternative trio Secret Machines combine atmospheric keyboards, droney open-string guitars, thunderous drum beats and often-cryptic lyrics to create a sound unlike anyone band around (more on that here).

In advance of their debut Beijing show, this Friday, March 19th at Yugong Yishan , singer / keyboardist / bassist Brandon Curtis to a quick minute to entertain City Weekend for an 8 Questions with ___, offering anecdotes about leaving Reprise Records, replacing his brother Ben, the future of Secret Machines and there place in rock music's lineage.

City Weekend: So, how did these Chinese shows come about? What was your initial reaction when you found out you were gonna play in Beijing and Shanghai? Do you have any peers that have played here and offered any words of wisdom or horror stories from their experiences?

Brandon Curtis: I was really happy. First of all it's one of the great things about being in a band that one gets to travel to work in such diverse places. However, I am also excited because my brother Andrew has been living in Beijing for a couple f years now and I am excited to have the chance to hang out with him there. As far as horror stories, I haven't heard any - I haven't heard any wisdom either so...

CW: You guys have a sound that’s really hard to pin down; it’s rock and alternative and indie and psychedelic, definitely some Krautrock goin’ on there. In your own words, how would you describe the sound of The Secret Machines?

BC: I think you did just fine. Really though, I don't have any words to describe our music. It really is just stuff that we like. Nothing more complicated than that.

CW: From Now Here is Nowhere to your latest The Secret Machines there’s definitely a cohesive sound from one album to next, but at the same time an evolution. Obviously your line-up/formula changed for the last album with the introduction of Phil Karnats to the band, but how would you say The Secret Machines have evolved, and how do you think the addition of Phil on guitar has changed TSM?

BC: Well, Phil is a different kind of guitar player than Ben. You know how guitar players are, they are so particular. But for the most part the music has been driven by songs that I have written then collaborated with Josh [Garza, drums] and either Ben or Phil until it gets to place where we are all happy. However, the record we are working on now is quite different. We started with no songs at all - only about 14 hours of improvised music that collectively we have edited down to about 10 songs, which I am now mixing.

CW: After spending 2004 - 2007 on Reprise, you guys went the truly independent route, starting TSM Recordings, releasing The Secret Machines yourselves How would you rate the experience of releasing and promoting your own album to being on a major label?

BC: It's a lot of work trying to have one's own label. I can't say that the work really suits me. I am not nearly organized enough, or anything enough really. I like making music and working on its production but the selling is where I get all glassy-eyed. So, I would say, on the surface, it was better to have a big organization like [Warner Brothers, parent company of Reprise]. However, since we have been doing it ourselves, I have appreciated the level of control in how we are presented. Dealing with the details ourselves has made for the selling of the last record to be a very personal experience. For good or for bad, at least we did it our way.

CW: Why did you decided to leave Reprise and start TSM Recording?

BC: Well, like I said, we were working with this big organization. And that for the most part was good except that with the bigness of the team came the many MANY opinions and criticisms and ideas and compromises and you get the idea. We left because we wanted to do things our own way. Now, looking back I am not sure that our own way is really the best way, but at least we gave it a try.

CW: Given that big labels seem to be a thing of the past, combined with the fact that you already have a sizeable fan base, would you ever consider signing to a major again in the future? Or more importantly, what would it take for a major label to sign The Secret Machines in 2010?

BC: Well, I would like to work with a label again. Probably not a big one though. First of all because of what I said above, also, because I believe that small labels have the capacity to be more nimble and responsive to whatever is happening. I think I would like to work with someone who really likes the idea of working with us, warts and all. I guess that would have to go both ways.

CW: So I just listened to “Like I Can,” and I guess the most striking thing about the track are the string arrangements. I’m curious how you plan on tackling the song live? Also, how do you treat performing live differently than recording?

BC: The strings were arranged by the great Tony Visconti and it was a real pleasure working with him, As far as reproducing the songs live, we really take an organic approach; making a relationship with the room and the audience and ourselves and the songs and mixing it all together. I guess the songs are more about the immediate experience and the records are more about contemplation - sort of fading to the background.

CW: That said, what can crowds in Beijing and Shanghai expect from your gigs in March? Will you be playing just new stuff or tracks spanning your career?

BC: We like to play a little bit of everything, but usually the newer stuff feels the most exciting to perform. I think you can expect a very powerful show.

CW: Additionally, what’s next for The Secret Machines? I know you just released a couple tracks on the TSM Recordings website but is there a new album in the wings?

BC: I am in the process of finishing up the new record as we speak, hopefully we'll be done soon.

CW: What freedom did you have recording the new album that you wouldn't have had on a major label?

BC: Um, well we have always insisted on having complete freedom while we record. It's usually after that that the compromises sneak in. I expect there will be more of that too, once this is finished.

CW: Finally, China is still an emerging market/scene in terms of music, so there’s a chance that locals will be unfamiliar with The Secret Machines, so, in your own words, why should people go to your shows in Beijing and Shanghai?

BC: I consider Secret Machines to be in the lineage of rock bands that are fast fading from our culture. What used to be pop, or at least popular, were bands that provided immersive experiences, and that's what we like to do; loud and bright; something to lose yourself in.