From a feature - 'The Juliana Hatfield Three: Still Becoming What They Are' - by Stephen M. Deusner for Paste::

If Whatever My Love sounds like a direct sequel to Become What You Are, it might be because several of these songs were written in the mid to late 1990s, when Hatfield was at the peak of her popularity. She recorded “If I Could,” “Now That I’ve Found You” and “Invisible” as demos, with Philips on drums, but they never fit on any of her subsequent albums. “I loved those songs and I didn’t want to forget about them. Todd was actually the one who suggested I bring them back for this record. He made me remember how much I liked them.”

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A feature by Patrick Foster in USA Today:

The focus of the shows will firmly be on the music and, befitting a reunion tour, the group's better-known work will take center stage. "We're actually going to be playing the Become What You Are album in its entirety. That's the first order of business. After that we're going to do some songs from the new album and some older stuff from throughout the years." As for crowd expectations, "it will be a nice kind of mixture" she predicts. "People that will be there for nostalgic reasons, and I think there will be some younger people."

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From an article by Jim Sullivan for WBUR's The ARTery:

At various points, Hatfield, now 47, has moved away from music, or at least, has talked about doing so. “I feel like I should be doing something more grown-up or something more respectable,” she says, “but I just feel yanked back over and over again. It’s like being in love with someone who drives you crazy. You think you want to get away, and you try to get away and you just keep getting pulled back. It’s almost like it’s out of my hands. I can’t quit it. I keep trying, but I just can’t fight it anymore.”

Juliana, on the appeal of Guitar-Bass-Drums trios and keyboards:

It’s kind of classic and simple and hard to really fuck it up. It’s like there’s a comfort and simplicity in that sort of lineup, although lately I’ve been playing a lot more keyboards on the recordings. I’ve been getting back to playing keyboards. I just think it’s more fun to play a guitar live, because you can swing it around and bash on it and move. But with a keyboard you’re more rooted to one place. Also, I like how the guitar strings can bend, but the keyboard is more stationary and static, and you can’t … in a live setting, it’s kind of restraining.

Read the whole interview with Len Comaratta at Consequence of Sound.

Juliana, interviewed by Kenneth Partridge for Nylon:

I’m nostalgic, but I’m more nostalgic for the 1970s, when I was a child growing up...That’s the era I really connect with. The music, the television, the movies, the fashion, the décor: The ‘70s is my favorite era. When I think of the ‘90s, I think of really bad fashion—like, a terrible fashion era. Not great TV. I don’t think it’s the best. I’m not personally nostalgic for it, but I understand that some people are, and if I can go out there and make those people happy while playing some music with my friends and having fun today, then that’s great. Then we’ll all be happy.

Minor Alps, on the question of more music and that song they worked on in Europe:

Juliana Hatfield : On n’a pas de projets. Matthew a commencé à travailler sur le prochain Nada Surf donc il va surtout faire ça et on n’a pas de projet après ce soir, notre dernière date. Aucun projet.

Matthew Caws : Si ! On a commencé à parler d’un enregistrement ! On a cette reprise…

Juliana Hatfield : On a aussi écrit une chanson sur scène.

Matthew Caws : Ah oui ça aussi !

Juliana Hatfield : On a écrit une partie de la chanson et on veut enregistrer cette reprise qu’on joue en live donc il y a ces deux idées.

Matthew Caws : Oui, c’est cool ! On ne sait jamais, peut-être que ça pourrait aller ensemble : on a ce refrain qu’on a écrit au début de la tournée et on ne sait jamais, ça pourrait être le couplet ce qui serait énorme. Parce que... c’est dur à dire. On a écrit le couplet le plus joyeux du monde… et puis il y a la reprise…

Juliana Hatfield : Il y a toujours d’autres trucs qui peuvent mener à des futurs trucs…

The full interview (en français) from the final night of the recent European tour in Paris can be read at Froggy's Delight. There's also a review of the show.

Thomy Keat's photo portraits used in the interview can be viewed in higher res at Taste Of Indie.

Matthew Caws, on the cover art for 'Get There':

It’s a photograph from the Olympic Peninsula, near Seattle. It’s not an Alp. We actually were messing around with a lot of photos of the Alps themselves; there were some really cool ones, night time ones, but it was hard to make them work. They were awesome, but really weird and dark. I’ve actually had a bad experience with that in the past, with a Nada Surf record we did called Lucky. You don’t always know how it’s going to print; you’re looking at your computer screen and thinking it looks great, but obviously the screen is generating light. You get the real thing and think “oh, man. This is not how I thought it was gonna look, it’s really fucking flat.” We love that picture too, though. It’s a nice fit, I think.

Dating back to their Manchester show in April, there's an interview with Juliana and Matthew published today at Drowned In Sound.

Freda Love Smith, with high praise for 'Get There':

I have known Juliana Hatfield for 28 years. We have worked together in two bands, toured together countless times, and well—I love her. But even if I’d never met the woman who put the babe in Blake Babies, I would admire her agile guitar playing, ambitious songwriting, and gorgeous, unmistakable singing voice. Juliana’s productivity is staggering – she has released 19 full-length albums, and her current project, Minor Alps (a collaboration with Matthew Caws), is just about the best thing she’s ever done.

I caught Juliana before she leaves for a string of European tour dates with Minor Alps. My longtime vegetarian friend recalls the time that Denny’s slipped her a meat burger, and shares a recipe for her virtuous, tasty go-to dinner at home.

Read the article, which includes a Juliana recipe (!) at Paste.

Juliana Hatfield and Matthew Caws (Nada Surf) give us insight into co-songwriting, combining their voices and the '90s threads that pulled them together.

Because one video interview for Radio.com is not enough.

New York's Q104.3 has a Minor Alps interview and performance available to view or download.

Musicians @julianahatfield and @nadasurf discuss Minor Alps, Hulk and more: http://t.co/hriWwaop62 pic.twitter.com/YCrIaIkwIk

— Marvel Entertainment (@Marvel) December 3, 2013

Juliana, speaking in New York last month in the aforementioned interview:

What’s really strange for me is that I realized I have absolutely nothing planned for after tour. I guess I’m just going to rest for a little while and then start writing again. I’ve been painting and writing and that’s all I have planned.

Minor Alps, the duo of Juliana Hatfield and Matthew Caws recently sat down with Anthony Mason of CBS Sunday Morning for an in-depth interview where they talked about how they came to work together and co-writing all 11 songs and playing 90 percent of the instruments on their debut album "Get There."

Last night's acoustic show for Radio.com at Rockwood Music Hall in NYC is also covered in a feature and photo gallery.

“We’re not reinventing either of our wheels, but it does go in a slightly different direction than places I’ve been in the past,” Hatfield said. “There’s not a drummer on every song but we did more with drumbeats than I usually do. I also played a lot of keyboards, which is something I haven’t normally done – that was really fun for me. I studied piano for many years, so I was like, hey, I remember the keyboards. But it was more because some songs cried out for instruments that weren’t stringed instruments – like this feeling or vibe where a mellotron was needed, or we could mess around with something else.”

Taken from a feature on Minor Alps at The Patriot Ledger.

There's a further piece behind a paywall at The Boston Globe.

“We’re doing a lot of singing in unison, it’s really cool, it’s fun,” says Hatfield, her voice picking up pitch and speed. There’s a genuine expression of excitement to her tone that seems to catch her off-guard. It isn’t surprising, though–even in the more dour moments, it sounds like Hatfield and Caws are having a blast.

“For me, that’s the best part,” she says. “It’s natural, it’s not having to try to very hard or to force it. We just blend really well and it’s really easy to harmonize, which is great because I rarely ever sing with other people.”

Full article at Dig Boston.

(Diffuser): We’re going to put each of you on the spot for a second: Matthew: What is your favorite Juliana Hatfield song or album? Juliana: What is your favorite Nada Surf song or album?

MC: Whoa. Well, there’s a recent song called ‘Candy Wrappers’ that I adore. I love a lot of songs by the Who, but the first one I fell for was ‘Can’t Explain,’ and it’s still my favorite. So in this case, the [Blake Babies] song called ‘Out There’ on ‘Sunburn,’ is still one of my favorite songs by anybody. But I’m just a big fan in general. I really feel like a lot of what Juliana does is stuff that I wished I did myself. I said once that I thought maybe our ancestors are from the same town in Scotland. There’s something deeply connected for me, melodically.

JH: It’s weird how when we sing together, it just falls into place easily. It just makes so much sense without having to think about it. It’s just like a real nice thing that happens to happen. You can’t really explain it. I, like many people, think that the ‘Let Go’ album is probably like Top 10 desert-island-disc-type [material], and then from the recent album [‘The Stars Are Indifferent to Astronomy’], I was really obsessed with the song ‘The Moon Is Calling.’ I was in art school that year — for that one year the record was out — but I would drive back and forth to school every day and that song was on repeat; it was the only thing I’d listen to over and over and over again to art school for months. And I was really obsessed with it. I’m not sure why. It’s nothing I can explain. Something just hit that spot deep inside of me.

There's a terrific interview with Juliana and Matthew at Diffuser, where they talk in depth about the songs and recording of Get There.

Juliana:

I was living in a studio apartment in Allston, Massachusetts, which is sort of like a student ghetto of cheap apartments. Evan Dando was sort of crashing there. He had nothing to do with it, but I just remember he was around. And I was trying to write something catchy and accessible, but not in a crass, commercial way. I just came up with those four chords that are the verse, and then it sort of ended up not having a chorus.

I've always been in this sort of perpetual state of existential longing. I feel like something's missing. I almost feel like I have a twin who died at birth but no one ever told me that the twin existed. And with this song, I was trying to explore the idea of a sister who I never had. In the beginning, that seemed like a really nice idea. I had two brothers, but I never had a sister. But then the song ended up being kind of sad. It was more of a longing for a sister who was never nice to me, or a relationship lacking the things that I wanted from it.

SPIN has a lengthy article revisiting 1993's My Sister featuring quotes from many including members of The Juliana Hatfield Three and, yes, the Violent Femmes and the Del Fuegos.

You don't want to miss this one.

Another little Aussie Q&A with Evan and Juliana at news.com.au:

J: We don't talk much about feelings. We have this thing in common, we like to make music and it's a language we both can speak. We don't really have to connect in other ways.

Ahead of the Australian tour which begins on Sunday (Dec 16), Melbourne's Beat Magazine has a short interview with Evan & Juliana:

Dando remembers encountering the members of the Black Babies (sic), albeit with the odd skewed image. “The drummer had a really nice rack,” adds Dando, to Hatfield’s amusement. “She did, she had a really nice rack,” Hatfield laughs. “Yeah, it was a great rack of toms,” Dando clarifies. “Actually, she didn’t have a rack of toms at all,” Hatfield counters.