“Our kitchen in Canada is much cooler.” Photo of Tokyo Police Club from Static and Sirens.

This post is part of an occasional series of news, interviews and videos in advance of the Monolith Music Festival, Sept. 13-14 at Red Rocks Amphitheatre.

Tokyo Police Club became popular in several indie circles after its 2006 EP “A Lesson in Crime�. The eight songs made up only sixteen and a half minutes, but the catchy, fast paced, spastic rock left an impression. In April, Saddle Creek Records released “Elephant Shell,� the band’s first full length, and though the songs haven’t become drastically longer a subtle maturation is apparent.

In advance of the band’s Sept. 14 Get Real Denver talked to Tokyo Police Club’s Dave Monks about America vs. Canada, the band’s evolving sound, and Canadian nachos.

My Canadian friend told me to ask you about Sneaky Dee’s nachos. Should I know what the hell he is talking about?

I just got them last night. I’m across the street right now, actually. They’re 13 dollars. It’s a humongous plate of nachos. It’s just nachos done really well and they serve it until 4 a.m. You shouldn’t really feel obligated to know what he’s talking about.

How’s the Saddle Creek thing going for you guys so far? You’re kind of a weird signing for them.

It’s going awesome. Every person on the label is just really focused on our record. People are always talking about how the music industry is always changing, but because they’re a small label they’re able to keep up that.

They’re usually just such an insular label that doesn’t often reach out of their circle of friends or Omaha. I think you might be one of their first signings from outside there.

Well… they signed a couple bands from San Francisco. Two Gallants is from there.

Had you guys done much in America before you were a touring a band?

Not really. We just started playing shows in Toronto. America was as much of a new foray for us, as was Canada. In touring America you realize what Canada is. As a Canadian it feels like it’s always having this Canadian identity crisis, and it wants to be different from America and it isn’t really that different. But in touring America it made me realize some international pride.

It seems like “Elephant Shell� is a little calmer than “A Lesson in Crime.� Is that a conscious sonic thing or did it just happen?

It just ended up happening. You can’t really say, “We’re going to make a record like this.� That’s just how it came out. We didn’t make any conscious effort to change our sound or not change our sound.

Was it a different recording experience? The songs sound a lot bigger.

We had more time for it. The first EP took three days to record. It was pretty different, yeah.

You guys have a lot of music videos for a band that only has out two EPs and one full length. Are you particularly into filmmaking?

Ha. No, we’re just really into being Canadian and getting grants to make videos. Canada has thing called VideoFact. They’re designed to help Canadian bands get a leg up on American bands.

Have you played in Denver before?

Yeah. We played the Larimer Lounge twice and we played the Bluebird Theater.

Is there anyone you’re excited to see play at Monolith?

I’m probably going to see some good bands. The festival lists sort of run together for me. If you could tell me a few people who are going to be there…

TV on the Radio, Justice, Blitzen Trapper, Rock Plaza Central….

Rock Plaza Central! They’re from Toronto right?

Yeah.

I keep hearing about them. I keep meaning to listen to them, so probably them.

–Marlon Frisby