- Interviews
'The Fine Art of Hanging on' is that how you feel?
I do feel like I'm hanging on, in many ways. It's not necessarily just a bad thing. In many ways I probably benefit from a precarious, untenable situation. If I was completely comfortable I fear the songs might dry up.
Wow, time flies, fourth album done and dusted, how does that feel?
Yeah, it's scary how time flies. I do feel like we should be on our fifth or sixth album by now, but it's always such a long process the writing, recording, release and promotion of an album. It feels like a million years has passed since we released the Sleeper... but it also feels like yesterday.
The storylines of the new album are already well documented, but from the recording perspective, what was different this time around?
It was a bit of a hybrid approach to recording. We got the basic rhythm tracks and some guitars and keys recorded in Konk Studios (as we did on Alone Aboard the Ark), but we then took the tracks away and completed the arrangements in my home studio (as with the first two albums). It was a good way to work as it allowed us to experiment with different sounds and production ideas. Recording to tape, using vintage microphones and a great mixing desk is perfect sound-wise, but computer recording allows a lot more freedom and portability. We recorded stuff by a stream in the Sussex countryside and in the Union Chapel for that amazing natural church reverb.
How is the archive of unused songs coming along?
There are a loads of half-baked demos knocking around, I've lost count. We've also got what I think could be the title track to the next album already 75% recorded. I found a CD of songs I recorded in 1999 in the loft yesterday. Most of it is awful, some of it bizarre, but there were two really lovely songs that I think I'll dust off and hone a bit.
The much missed musician and journalist Nick Gravenhurst wrote an article in 2008 'Why I Hate Rock n Roll' which painted a pretty bleak picture of the gig scene and venues in this country. How do you find life on tour has changed since you started touring your first album, 'The Sleeper'?
I'm not sure it's changed a great deal. Our expectations changed for sure. I spent nearly 15 years playing to empty rooms. When the Sleeper came out we gradually built up an audience of our own. It still amazes me, and makes me quite emotional, when we play to a big crowd. That said I can relate to what Nick Gravenhurst was saying - I saw him at a tiny venue in Brighton not long before he died. Sometimes it's a struggle if you arrive at a cold, sticky venue with no dressing room and find a promoter who really doesn't seem to give a fuck.
How do you go about creating new music, do you have to been in a certain space, mentally and physically or is it, when the spark strikes?
I tend to write more when I'm feeling a bit low, happiness definitely writes white for me. There's also a strange trance like state, just daydreaming really, that spawns musical ideas or lyrics. I'll be strumming away on my guitar and suddenly realise something worth pursuing has arrived - a lyric or a chord sequence - but I won't know where it's come from. Once I have a structure and a train of thought to work around I'll just run over it endlessly in my head, until I finally complete the song. Sometimes it'll take days, sometimes years.
Do you give any of the other band member's encouragement to add to the writing process?
I've tried co-writing in the past and I really struggle with it. I find it hard, almost impossible, to write with anyone else in earshot. I think it's because I'm quite self-conscious and if anyone else is present I can't attain that completely relaxed, dream-like state that throws up ideas. There have been a few collaborations with Christian, but it's always been me passing on songs for him to finish (Fighting Chance) or me incorporating part of his song into mine (It Dissolves in the Writing).
Do you ever write music with an eye as to whether it will sell or have a popular appeal?
Never, I wouldn't know how to go about that. In fact the opposite once occurred, I almost ditched Fight for Everyone as I thought it was too commercial sounding. It was a real struggle to finish the lyrics as I was worried about it sounding cheesy. I'm glad I persevered though as I'm really proud of it now, and it's great fun to play live. The catalyst to finishing the lyrics was a night drinking vodka and watching the 2012 Olympics.
What are the prevailing memories of your first and last gigs?
My first gig was at an Art College in Winshill, Burton-on-Trent (that no longer exists). I remember ironically putting my foot on a monitor in full ROCK pose. A load of performing arts students grabbed my leg and tried to pull me into the crowd. I panicked a little, but luckily they relinquished my leg and I retained a small vestige of my pride. The last gig we did was Full Time Hobby's 10th Anniversary at QEH in London. We played the Sleeper from start to finish, it was a really wonderful night.
What was your favourite album of 2014 and why?
I didn't actually listen to a huge amount of new music in 2014, which is strange for me, maybe I was too wrapped up in getting our record finished. I did hammer the War on Drugs for a few weeks over the summer. I love the production on that record, the layers of guitars and synths and the drum sounds make a real treat for the ears. Oh, and the Owen Pallett record is one that I'm still enjoying.
Do you have any downtime away from music and if so, how do you like to spend your free time?
I'm pretty one dimensional in that my life seems to always be wrapped up in writing or recording music. I do like to cook and I like to surf whenever I get chance to head over to the South West or Wales.
What one piece of advice would you give to anyone staring out on a music career in 2015?
I'm not sure I qualify to give anyone advice! Just try to do your own thing, don't copy other people, find your own voice and write from the heart.
The Fine Art Of Hanging On is realeased via Full Time Hobby on 13th April 2015
- Interviews
How have the gigs gone this month, any other dates planned soon?
Superb, thanks. We have just completed a headline tour throughout the UK and Europe. There has been a notable step up in the crowds in the build-up to the new album. Special mentions for the shows at Manchester, Carlisle, Paris, Vienna and Liege. All top drawer.
So far we have 'one-offs' booked in, and that will be the case for the rest of the year I would say. We play Indouro Festival in Portugal in May, alongside Clinic, The Liminanas, British Sea Power, Lorelle Meets The Obselete and more. Unbelievable line up.
We also play Eindhoven Psych Lab in June, headlined by Moon Duo. So, the one-off shows are more than worth it. We have a few supports to announce in the UK soon too, and more festivals.
How does it feel now that your second album is completed and you have road-tested the songs?
We managed to road-test it at 4/5 shows prior to recording, which certainly benefited the recording. It's weird as the songs are probably more fully formed now, but I think that's probably always the case when a band extensively tours an album. We have purposefully left out material from the 3rd album live, as we are already gathering that people are only just absorbing the new material.
What was different in the studio this time around compared to recording your debut album, 'Songs of Lies and Deceit'?
With this album we went in and did it as an album in one go. The debut album was recorded over 3 years, whilst this one was recorded and mixed over around 4 months. The first album was more a collection of our material over several years, whilst this album was recorded and sequenced as an album. I think it shows, and is without doubt notably superior to the debut. We recorded it so quickly as well, Wayne and I nailed our guitar parts within a day each. I definitely think that the 3rd album should be recorded in the same manner. Spending too much time on a record sickens it both from a production and personal level.
How far do you plan ahead as a band and is it a full time job for you all?
We still have day jobs, such is the nature of the music industry at present. If it had of been 20 years ago, in the times where Creation etc were splashing out crazy money left, right and centre, then we would be doing this full time now. It would be ideal to do that, but perhaps normality and day jobs help keep you creative, grounded and have perspective for when something isn't working.
We tend to plan around 6 months m advance for tours etc. The new record was finished September 2014, but we needed to ensure it had ample promotion time, hence the March 2015. When you put so much into a record you need to give it the respect and push it deserves.
How did the band come together in 2008 and with what aim?
Me, Luke and Wayne have been in bands together from a very young age, so around 15 years. Our old band split in 2006, I spent the majority of 2007 writing new material, and we decided to give a new band a shot. Mike (bass) joined when our original bass player left. Mike was already a fan, the ideal replacement, the rest is history!
Our aims were genuinely just to make great music. We sensed when we started rehearsals for the band that it would only be a matter of time before people clicked how great the material was sounding. We also had other aims like to receive a play on BBC 6 Music (we've had around 30 plays and 2 sessions on the station, so we've achieved that!), tour Europe (which we have done 5 times), and support our idols (so far we've played with Clinic, Spectrum, Death In Vegas and many more). The only things we haven't achieved are to tour USA and have a Maida Vale session.
How do the ideas of a song first spark? Do you have to be in a particular place physically or mentally?
It's crazy, I never write under the influence, but I struggle to recollect writing a lot of our songs! I guess that's kind of the impact of the process. I wrote most the 2nd album in a very productive week. Then, when you take the songs to the lads it all just fits perfectly. Each of them gets it 100% every time, and lays their own stamp on it. If this line-up changed then the band wouldn't exist, simple as that.
What would be your own description of the music you make be for people yet to hear your band?
A melting pot of everything - psych, garage, krautrock, dub, 60s pop, noise. It doesn't rest easy with me being 'labelled'. We get the 'psych' thing most of the time, and I can see why, but that doesn't tell a fraction of the story.
What was your favourite Album of 2014?
A tie between Morning Phase (Beck) or Atlas (Real Estate).
How important do you think it is for new artists in 2015 to find a label?
Not at all. We hit a brick wall so to speak in 2010. We had no label anymore, and took it upon ourselves to finance our own 7"s, backed with press campaigns. It wasn't cheap, but we reaped the rewards in the long run, and as a result we gave behind able to work with brilliant labels from then on.
How is the music scene in Cumbria today, any artists emerging that we should investigating more?
Cumbria isn't an area so much for the stuff we are doing, but special mentions to Fading Face, Kontiki Suite, My Little Brother and Colt 45, who are bossing it in their respective areas. Cumbria is a huge county, but sparse too. It is criminally ignored. People only seem to pick up on bands 'originally' from South Cumbria (British Sea Power, Wild Beasts, Woman's Hour), which is only the tip of the iceberg.
The Lucid Dream is out 30th March 2015
CD/Digital via Holy Are You? Recordings
Coloured vinyl via The Great Pop Supplement
- Interviews
How are plans progressing for this year's festival and is the planning any different this year to previous years?
The planning is going very well and we seem to be ahead of where we are normally. We have strengthened the core team and increased the numbers of staff but that has to be done gradually and to budget. The planning is always different as we learn, plus this is the second year at our site, Catton Park.
We have never had such a helpful and supportive landlord, he is behind us all the way. He has installed full site drainage and maintains the site very well.
To be in the 8th edition of the festival and with so many other events falling away, what has been the key to your success?
Careful budgeting and letting the festival grow organically.
I have met other festival organisers whose ego is bigger than the event and it can cause problems, as they do it for themselves and forget about their customers.
How big is the team of people running the festival? It is reported that all or most are unsalaried, so this is a real labour of love?
All un-salaried and around 10 people in the core team day to day.We are lucky to have some of the best people in the industry, as our awards prove.
Which other UK festival would you most closely align yourself to?
Beautiful Days. I think it would be fair and proud to say. Mark Chadwick has been very good to us with help and support. He really is a top bloke and his advice has been great.
With a Whitsun weekend date on the calendar, how have you fared with the Great British weather over the years?
Last year we got sunburnt and a little wet. We have just booked in loads of metal track way so we will be ok anyway.
What is the capacity of the festival in 2015?
Around 9500 hopefully. I think by the looks of it we will sell out early. We have a very good line up this year which is why my business partner won Promoter of the year at the UK festival awards.
What do you think is the key attraction for people coming to Bearded Theory and what lasting memory would you like people to take away from the site this year?
The ticket price is still £87 for 4 days including camping. Food and beer prices are reasonable and we pride ourselves on value for money.
I think the lasting memory will be the people who you meet are all very nice and it’s like a big family. We have never had a violent incident ever and the atmosphere is great. I also think the line-up and what we have planned and the woodland stage will blow them away.Freddie Mercury hoovering the field might also be memorable…...
How do you fare with band riders? Without naming names, any memorable ones?
We don’t do too bad to be honest, Fresh herbs and spices at 10pm being demanded springs to mind….
Any one piece of advice for anyone thinking of entering the UK festival market over the next 2-3 years?
We are at 8 years and still building slowly, it won’t happen overnight so if you are a bit lazy don’t bother……
2015 is set to be an iconic year for Bearded Theory. As well as the eclectic range of music on show there is, amongst other things; a teen area run by the Drop Inn, the amazing Children’s Village, more site art by the wonderful Labyrinth Arts and finally Groovie Movie Solar Cinema will be making an appearance.
These changes along with bringing back the old favourites such as the real ale bars operated by award winning brewery Thornbridge, allowing own drinks into the arena, the magical Woodland Stage, Disco Shed, Open Mic Tea Tent, Magical Sounds, Victorian Circus, Healing & Earth Area, wandering weirdness all mean 2015 is on course to be our best festival yet.
Bearded Theory Festival, 21-24 May @ Catton Park, South Derbyshire
2015 Line up in full:
THE PALLET STAGE
Friday - The Mission, Alabama 3, Gun, Itch, Dizraeli & The Small Dogs, The Wakes
Saturday - New Model Army, Afro Celt Sound System, British Sea Power, The Mahones, Skinny Lister, Neck, Three Minute Heist,
Sunday - James, Buzzcocks, Misty In Roots, The Beat, Mad Professor + The Robotiks, Pronghorn, Back To The Planet, New Town Kings
MAGICAL SOUNDS STAGE
Friday - LAB4, Jah Scoop/ Geezer, Zion Train, Clumsy, Halcyon, Andy Haze, Chigs and Techip, Data 3, Drum Machine
Saturday - East Static, Green Nuns of the Revolution (DJ set), Cosmosis, Ed Tangent, Zetan Spore, Kristian, The Pressure Technique, Charlie H, Drum Machine
Sunday - Banco De Gaia, Merv Pepler (DJ set), Transglobal Underground, Black Star Liner (DJ set), Dr Trippy, Templehead, Grousebeater Soundsystem, Rev Phil Dread, Ushti Baba
THE WOODLAND STAGE
Friday - Jaya The Cat, The Talks, Pigbag, Kilnaboy, Tree House Fire, Captain Knives,
Saturday - Cara Dillon, Bill Smarme, The Jack Ratts, Louise Distras, The Leylines, Joe Zeffa, Mark Harrison, Troubadour
Sunday - Paprika Corps, JB Conspiracy, P.A.I.N, Baba Jack, Mistys Big Adventure, Keiths Big Uke Jam, Superfast Girly Show, Please Y Self Skiffle Band, Mr Motivator
SOMETHING ELSE BIG TOP STAGE
Thursday - 3 Daft Monkeys, Hobo Jones & The Junkyard Dogs, Bar-Steward Sons of Val Doonican, Zombie Met Girl
Friday - Radical Dance Faction, John Player Specials, Gaz Brookfield, Muff Said, Sweetchunks Band, Ash Victim, Ukulele Dave,
Saturday - Inner Terrestrials, Tarantism, Who Killed The Bear, Pure Evil, Demob, Muddy Summers & Gails Whores, Efa Supertramp
Sunday - AOS3, Stuart Turner & The Flat Earth, Society, Abdoujaparov, Skewwiff, Quercus Burlesque, Penny Orchids, Tez & The Suicidal Fish
- Interviews
How's London life today?
Hi life is good! We are playing tonight in Islington, at the Old Queens Head and looking forward to playing the new tunes from our new album!
Your debut album, 'Lucky Bag' was released last March and your new LP 'The Girl Who Thought She Could Fly' is out on 30th March this year. What was the main differences recording album no.1 vs album no.2?
The main differences were that with Lucky bag we had many of the tunes recorded over quite a long period of time, songs hanging around that were not on an album, so in fact it almost turned into a ‘greatest hits compilation’ but without the hits. Were as the new album, 'The Girl Who Thought She Could Fly’ was written over around 6 months and recorded straight away as we were writing, and turned into a bit of a story with the songs joining together to tell that story..
How did the band come together and how would you describe you music for first time listeners?
I have known Pete the drummer in Playmaker for around 10 years and we had hung out in other bands before Playmaker. Stacy the bass player was one of the group who used to come along and watch us play, help out with the gear etc, and it was a natural progression for him to end up with us making the music! Matt was the last to join, again a mate of a mate and we started jamming and it just clicked.
I would say the music is primarily guitar driven, but the tunes are most important, we arrange the songs that way, so the tunes can float to the top! It’s hard to say what or who we sound like, people see different things ..all I would say is have a listen to our single/ title track from the album The Girl Who Thought She Could Fly,I think it’s a Bond theme with guitars!
How do you approach getting your music heard and making an income. What are your feelings about Social networking as a means to musical recognition?
We very much approach everything we do from a creative and enjoyment point of view. If we enjoy it we do it! We don’t worry too much about making a living, its a sign of the times these days that a small percentage of musicians make real money from their music, its a fact that you need something else to pay the rent..
Social networking is amazing, you can announce a gig, stick it on the events page of FB and you instantly have reached out to a few hundred people. The old way was printing flyers handing them out at gigs, so much hassle..and without crowd funding site Kickstarter we wouldn’t have got our first album made so..
What are your hopes and ambitions for the new record?
We really want people to just enjoy it for what it is. If we can get it played on the radio..even better! If it gets our name out there its done its job..then on to the next recording sessions!
Was there any music that you listened to through your School / College days that you still get a kick out of today?
I listen to lots of stuff from back then, I went on a Youtube journey the other day..where one song leads to another ..and ended up hearing Bluetones, Suede, Strokes , Clash some brilliant tracks that made me want to play guitar!
Your debut LP was made via funds raised on Kickstarter. How did you find that experience and would you recommend using that platform to other new artists?
I would recommend any artist to do the crowd funding thing. We made a lot of new fans through posting a funny little video, and it’s fun to reach out you know.
If you could tour with any current band or musician, who would that beand why?
Black Keys, I love their sound and energy. They look like a great Rock and Roll band.
What was your favourite album of 2014?
Turn Blue; Black Keys
Any tour plans for this year?
More London shows then a launch for the album in April.
- Interviews
Third album done and dusted, how does it feel being in a band in 2015?
D: To us, it feels good. We make the music we want to make, the music that feels true to us. We respect one another and are always excited to hear what we are able to write. I can't speak for any other bands though!
'Caul' was recorded in your own studio, how was that experience and what drove the decision to create your own recording space.
D: The studio is owned by James who plays viola, synth and guitar in Last Harbour. He has a pathological addiction to acquiring old gear and had outgrown his home studio, so we all pitched in to build a new space. It felt pretty surreal to be recording music that is personal to us in a space that had been a building site only months before, but also pretty special, like building an ideal home to live in. It allowed us the time to perfect the songs and arrangements, to experiment and test out ideas and for reflection too - you can't analyse what you're doing necessarily at the moment of creation, so a little luxury of time was invaluable. Of course, the record still needed to be finished and that's where I come in, waving around billboards with deadlines and lists, shouting the odds. Every band needs a benevolent dictator.
K: Building the studio was part of building the record. We were writing and rehearsing in the shell of it, as walls were added and equipment was brought in. The luxury of time, of having a base we could walk into, was something we’d never really had before. It was a D.I.Y aesthetic - in every sense. It gave us somewhere to retreat to, to separate us from everything and lock ourselves away. I think we thrive on that separation. We’re not fashion followers. We’re not scenesters. We’re privately flamboyant.
What was the spark for the ideas of the themes on the record and how would you describe your music to new listeners?
K: Firstly, for this album- no love songs, songs about love or songs about the loss, absence, power, joy or arrival of love. Nothing. That was my intention from before the writing even began. I had absolutely no interest in writing something like that. Once that decision was made, it was a relief. It can be a lazy subject for songs. The whole world of themes opens once that is gone. So the themes developed from there. The songs are, on the whole, based on true events. ‘Guitar Neck’ is pretty much fact. ‘The Pressure’ is fact. ‘Before The Ritual’ is fact. Thematically, there is a plan- it all fits together, from start to finish. I’ve got the map. But I’m not showing you.
As for describing the music, I think we’re a little too close to it to be able to do that accurately. People have said ‘Cinematic’. So I’ll just repeat that. ‘Cinematic’.
D: Our former drummer Huw has a failsafe way to describe bands: "It's like the Velvet Underground, only a bit more/less..." Everyone knows the Velvets so you just add a little twist and, hey presto, awkward conversation over.
Who designed and what was the inspiration for the cover of the album?
K: I designed it. I wanted it to reflect some of the themes and arrangements of the album. So there are bits of modernism in there (David’s photographs of Preston Bus Station). Then there are photographs of the Holloway Wall, a fairly forgotten 1968 Modernist structure in Manchester, designed as an acoustic shield. So that Modern Utopian idea, hidden away and a little disregarded. Then a piece Baroque sculpture. All collaged together in the same way that those influences and sounds are collaged on the record.
Was there any new instrumentation or recording techniques tired on 'Caul' that were new this time around?
D: We used a lot more analogue synths - the Juno 6 and the Roland SH09 are all over the record. A drum machine appears on 'Guitar Neck', the same type used by Suicide. Probably more guitar FX - I finally found a way to use an ancient Autowah without destroying the songs. Less in the way of acoustic strings though our old violinist Sarah did join us for one session and added some great parts in super-fast time. And the backing vocals from Claire Brentnall (of labelmates Shield Patterns) and Anna & Tammy were a new experiment too. We're especially happy with their doo-wop parts on 'The Promise', which is by far and away our most ambitious song. We think it worked.
K: We had Michael’s bass in a cupboard, a microphone in a mug for drummer Howard and Gina played a loaned piano which was worth more than my life. We spent some time experimenting with touches of distortion and effects on the vocals. Various 80’s delay units and spring reverbs. We have a six and a half foot piece metal air conditioning unit- ‘the ductaphone’, through which we forced the vocals. I cannot hide my love of reverb and delay. Without guidance I would have reverbed the delayed reverb, through a delay pedal. Then added a further swamp of reverb. I was advised on subtlety.
Are there any bands past or present that you draw inspiration from and what was your favourite album of 2014?
K: There was a fair amount of discussion early on about what we were listening to. Roxy Music’s 1976 live album ‘Viva!’ was major for me. Like so much early Roxy it has a real drive and power and elegance to it, but with a fraught, harder edge. Late 70’s Bowie was discussed a lot. There’s a breadth of bands which inspire us individually. Within that there is some crossover. Keeps us on our toes. Record of the year is easy. Scott Walker + Sunn O))).
If the band could choose to be on the cover of a magazine which magazine would that be and why?
D: With our faces?
K: The Fortean Times or The New Scientist. Preferably both within the same month. It’s the real news.
Just how difficult is it to earn a living wage from being a musician these days and where would you say are the bands strongest fan base are domiciled at the moment?
D: Extremely hard but I'm not sure the fact that it's hard is any different from decades past, more that it's 'how' it's hard is different. We don't earn a living from this nor do we expect to. I think Steve Albini might be right when he says that very few people should expect to earn a living from their artistic endeavour, but then I'm guilty of usually thinking Albini is right. You might earn a bit and of course it depends on definitions of what 'a living' is. The corny answer is: Do it because you have to. It's also true.
K: I don’t know about fanbase, but we have some really nice European supporters. That’s quite a wonderful thing.
'Caul' is being released as a digital download, a CD and on vinyl. What is your preference?
D: To be able to let others hear the music is enough in itself.
K: Vinyl. I cannot resist its physical dimensions.
What one piece of advice would you give to anyone starting out on a music career in 2015?
D: Practice tolerance.
K: Tolerate practice.
Last Harbour will release their third full length album 'Caul' on Gizeh Records (via Kompakt distribution) on 9th February 2015.
- Interviews
Second album done and dusted, what was different in the studio this time around?
This is the first time I've ever written the songs in advance. I wrote quite a few - almost 50. Then recorded and arranged them on my laptop and chose the best 11 to work on in the studio with Leo. It took an awful lot of pressure off not to be writing songs during sessions or on the night before. It meant that the proper recording sessions were a lot of fun.
There seems to be a whole host of people on the record, how do you choose who to work with when creating a new record
I try to be flexible and open to changing my plan if good collaborative possibilities arise. It ends up being a combination of people I've worked with before and me asking people I admire if they might be up for getting involved. I contacted lots of producers with the help of my label (Full Time Hobby) and was very lucky that Leo was interested in working with me.
How are you enjoying life in Sheffield and did the 'Steel City' provide any ideas for the record.
If I'm honest I moved to Sheffield because it's so much cheaper than London and it's not too far away from family. However it turns out I really love it here. Both my wife and I feel there's a very friendly way about people - it's a bit like living in a giant village sometimes. It's lovely being near family and in some ways being here has allowed me to be myself a little bit more.
I think both that atmosphere and a general increase in my own well-being have influenced the album. Plus I can afford to have a room dedicated to songwriting and that makes a massive difference to my creative output. The only song that directly name checks the area is Gentle Morning Song (A dog barks somewhere in Gleadless) but being here has certainly influenced the record.
Do you have much material lying around waiting that may see the light of day?
I wouldn't say that exactly but I do have loads of ideas. I'm hoping to win the lottery so I can build a little studio and get cracking on them!
The band plays The Lexington in London on 21st January are there any other dates or musical adventures planned for 2015?
There are a few European dates not long after The Lexington and then I'm open to seeing what offers come in. It would be great to have some adventures!
Are there any particular stories you would like to share behind the songs on the new album?
Gentle Morning Song is all about getting to the age where you find yourself lying in bed on a Saturday night instead of being out on the town and you listen to people coming home from the pubs and clubs in the early hours. You're in that twilight state between sleeping and waking and you're also in a place where you can relate to both being young and growing old. There's great comfort in the safety and security of home and family and yet there's also a small part of you that would quite like to be in the pub.
What was the idea behind the art on the album cover of Chromatics and who designed it?
The artist is the wonderful Chrissie Abbott - She's done all the Diagrams artwork to date. When we discussed the album we talked a lot about the mind and how it's the main filter through which we interpret the world and our experience of it. This led to Chrissie's idea of the mind as a magical box that we pull our existence out of and the artwork came from that.
How do you step away from music and is the spark of a new song more likely to occur on or, off the road?
I'm not someone who lives music all the time really. I love to read (popular science / psychology / good fiction / poetry) and I find exercise to be brilliant in keeping my head above water - I tend to find I drift towards and into anxiety and mild depression without it. Seeing friends and family is the best thing really. When writing I do get idea on the road and everywhere else but I prefer to sit down quietly and focus on them at home.
Do you think it is important for new artists to find a label in 2015 or should they take the DIY approach?
I think it makes a lot of sense for any artist to begin with a DIY approach. There are of course a few artists that get picked up by major labels and developed but in my experience smaller labels don't really have the budget to try lots of things until they get it right with a new artist. If you've got lots of ideas yourself then try and put together something that you think is release ready and then perhaps a label might be interested in helping you cross those final hurdles to get it out in the world. I certainly think that a good label and all the contacts, experience and assistance that they bring can do wonders for an artist just starting out. For many artists similar to myself it's a gradual process of moving from self-release to small label to medium label over a period of several years.
What music did you particularly enjoy listening to in 2014
I loved the Sweet Baboo album - especially the wonderful song Wild Swimming.
Tour Dates
23rd Jan - UK, London, The Lexington
11th Feb - France, Paris, Le Point Ephemere
12th Feb - France, Lille, La Paniche
13th Feb - Germany, Berlin, Comet Club
14th Feb - Germany, Hamburg, Molotow Club
25th Feb - UK, Manchester, The Ruby Lounge
26th Feb - UK, Bristol, The Lantern
4th Mar - UK, Leeds, Brudenell Social Club
- Interviews
Third album done and dusted, U.S. Tour on the horizon, how does it feel being a musician in 2015?
That’s a good question, kind of a funny question – I don’t know if there’s anything else quite like being an independent musician in this day and age, in this society. So much of what it is is so nebulous and indistinct, fleeting and non-repetitive in a way – which, in that way makes it seem like a perfect metaphor for the quintessential human life actually. You definitely have to be (or become) pretty good at defining meaning for yourself, which is something I’ve worked on my whole adult life. I was just reading something written by a music publisher, he was talking about the so-called de-valuing of music, which is something I’ve certainly thought about. Talking about how, like, if you walked into a Bentley showroom and said, “hey can I just pay what I want for this blue one?” – you know, how that would go over.
How the term file sharing is kind of a joke, a real cop-out, a gloss-over, like it should really be called willful copyright infringement or file stealing, and I just had to laugh. All that is so far from my daily reality. I mean, on one level all that stuff is true of course, and is obviously very pertinent to my specific life, and if I really started to think about it I’m sure I could get pissed off about it – but really, when I talk to myself it’s much more like “well, I’m just fine. I feel incredibly fortunate to be able to spend a lot of my time doing exactly what I want to be doing, and growing at it and in other areas, moving in the direction I want to move in.” You know, and I have this very long-term view of things anyway. I always have. That’s a good thing for a contemporary indie musician to have. Well, for me it is anyway.
It's been written that your new album is a significant change of direction that has come about since you entered your thirties. Is that something you can expand on?
Well, as far as I can tell, there have been marked shifts in both the content and the sound of the music from my first two albums to this one. And as far as me being in a different stage of my life, I think that pertains primarily to the lyrics, or what the album is “about” on a textual level. If I think about the kinds of thoughts, ideas, feelings, observations that I was having during the course of writing this record, I would agree that the sensibility, overall as well as the specific kinds of problems I was trying to work out or address in these songs, are those of my life in my thirties, and much less about the specific things I was worrying about in my twenties. Of course, I think there’s certainly a degree of overlap – me being the same person, just a bit older – but I would agree this is a document of a slightly more matured person, and mindset. And with respect to the other part, the musical, or more formal half of the record, I’d say it’s only natural to want to change as an artist. I certainly wanted to on this one, and I intend to on every one. I’m really looking forward to doing something very different on the next one in fact.
What was different in the studio this time around and how long did the process take from writing the first song to the album hitting the shelves?
It was a very different process this time around. The largest difference was that Godfrey Diamond and I rehearsed the foundation of the band, the rhythm section, before going into the studio to cut basics. On the first two records, it was my voice and acoustic guitar that made up the bed tracks on top of which everything else was added. And the other huge difference was having the Alomars (Carlos Alomar, Robin Clark, Lea-Lórien Alomar) and Gordon Grody create this family feeling when we did the background vocals, which are the other crucial part of how the record turned out. That was something incredibly special, and totally unique to this album. I wrote the first couple songs a good while before I wrote the rest of the album, and probably a solid two years between that first writing and the album being released. It’s always my wish to close that gap. My dream is to someday write something and record it immediately.
How does the spark of an idea arrive that drives you to write a new song and what comes first, words or music?
Generally speaking it’s music then words for me, although there have been a number of exceptions to that rule, including three or four of the songs on this record. Accordingly, the initial impetus for a song can either be a musical figure, or a lyrical one. Occasionally they’ll happen simultaneously.
Do you ever write music with an eye to whether it will sell or have popular appeal?
No, I just think that the music that has always touched me the most happens to be somewhat conventionally song-structured songs, and probably mostly those with great, personal melodies. I also think that as I do get older, I’m really drawn to the idea that the best music, the best anything for that matter, is possibly that which a two or three, or maybe five or six year old could most naturally relate to. You know, less thinking, more feeling. That’s after all what made me love music in the first place. In any case, my music doesn’t sound to me like anything I’m hearing on the radio these days anyway.
Any chance of any U.K. dates this year?
Well I would very seriously love to but not surprisingly it’s going to come down to finances. Another one of those “real” realities of being a contemporary DIY indie artist. You have to make decisions like “branch out into new touring regions, or promote the new album.” But it is among the highest items on my list to get over there already. Please let your club-owner / show-booker readers know that if they are willing to cover my expenses, I am there.
Who designed and what was the inspiration for the cover of the album?
I designed it, and I think a good bit of the inspiration came from the notion of moving (sometimes expressed as driving), which is a theme dealt with throughout the album, in some songs more than others. Songbird, which starts out the album, is probably the most concrete example of this, and that probably also has something to do with why I put that imagery together in that way.
Do you have any downtime away from music and if so, how do you like to spend your free time?
Not much in the way of down time, per se. When I’m not doing music in whatever form, I work in film and video in a variety of capacities, have done just about everything over the years – shoot, write, edit, direct, produce. And as far as free time, the best of all is when I can get away with my wife, anywhere, as long as we’re alone together. And during my solo free time, whenever and wherever that is, I write songs. I also love to read and do so a good amount. I think this has definitely increased in my thirties. Oh, and movies. I’m obsessed with going to movies in the theatre. I go by myself all the time.
What one piece of advice would you give to anyone starting out on a music career in 2015?
Do what you’re drawn to the most, what excites you the most, and do it as much as you can. And surround yourself with good people!
What was your favourite record during school/college time that you still play today?
There are a few but Peter Gabriel’s Us always seems to stick out. Increasingly, as I get farther away from the time when I listened most intensely, which was in college and the couple years after, I’m struck by just how much that period of his career heavily influenced my relationship to music and songwriting at a very crucial stage in my development, and to me those influences still show up regularly. That record and period of his had a profound influence on me.
David Bronson – Questions is release on 13 January via Big Arc Records
- Interviews
Second album done and dusted, what was different in the studio this time around?
It was very different in that we hardly used a proper studio as such. On "Woodditton Wives Club" I recorded the whole thing at Press Play Studio in London, which is owned by Andy Ramsay of Stereolab (he produced too). Spent the best part of ten days in there and it was a great experience.
For the new record we didn't spend much time in "proper" studios at all, just to record some drums really. A couple of days was all we had. The rest of it was either sent to me via the wonder of modern technology (Robert Rotifer's electric guitar parts from Canterbury, the horns from the USA, Laura J Martin's in Liverpool, John Howard's piano in Spain, etc, etc) or in my little home studio, which isn't very high-tech at all.
Putting this record together was like a jig-saw that Bear (The producer) & I had to piece to together. It was a really interesting way to work actually. A bit like a sculpture appearing out of a big piece of rock. We just did whatever we fancied doing on any given day.
You have lived in both Liverpool and Cambridgeshire; does either location inspire your music?
Absolutely, you can't escape your roots (and I wouldn't want too) so Liverpool never really leaves me wherever I am. I suppose that's how most people feel about their home town. It's a very musical place you know..
The countryside in which I live now though, the space, the peace, the strange people who live in the village (all lovely of course), how could it not....
How would you describe your songs for people that have not heard your music yet?
That's a difficult one. Something I always struggle with. I'm into writing songs, I'm not really that bothered about the genre or whatever. I just like to follow my nose, not force things, amuse myself.
There are a million artists I admire but this album has been compared to people like Sufjan Stevens, The Miserable Rich, Nick Drake, Tim Buckley but then again I've also had Field Music and even Charlie Chaplin.
There was a review the other day that said one the songs sounded like "Prince"!
I'm not sure. I suppose deep down I'd like be like Harry Nilsson. He just did whatever he liked. When they asked him what his style was he said "well they're just songs, you know..."
Are there any stories behind any of the songs on the new record that you would particularly like to share?
There's stories behind most of them but I think it's best to let people listen to them and work out what they think.
I did have this idea when I was making the record that these were the thoughts rushing through someone's head as they were about to die. I put it together like that. Then when I realised how pretentious that sounded I stopped mentioning it!
Who designed and what was the inspiration for the cover for the album?
The album cover was designed by my friends at Design Friendship, extremely talented people who have helped me with all sorts of stuff over the years. They're absolute diamonds. The photo, however, was taken by another very good of mine Frank Van Delft in Holland. He took me to a museum of old computers and typewriters and just took loads of shots. They're virtual reality glasses circa 1993 I've got in my hands!
Do you ever write music with an eye to whether it will sell or have a popular appeal?
No I don't. I wish I did, maybe I'd have more money.
Just how difficult is it to earn a living wage from being a musician these days and where would you say your strongest fan base is domiciled at the moment?
It's very difficult but the flip-side is anyone can get out there and make records nowadays. There's not so many gate-keepers and if people like what you do they can generally stumble upon you. That's what's happened to me, it's all been a bit of an accident. I was meant to have given up any ideas of a music career when I moved to the country a few years back. It didn't quite work out like that.
I don't do it for money, which is just as well.
I think probably most people know of me in Holland, where my first record went down quite well. They're lovely people the Dutch.
Do you have any downtime away from music and if so, how do you like to spend your free time?
I spend most of my time looking after my kids so I don't get much downtime, and when I do I normally seek out my guitar! If I'm not doing that I'm probably watching Everton lose on the TV.
How important do you think it is for new artists in 2014 to find a label?
I don't know. It would be handy for me but then on the other hand I get to do what I like. You can do it either way, I suppose the difference right now is you don't NEED them. Although saying that, I wouldn't mind having some big label behind me, it would take the pressure off financially that's for sure. EMI? Sony? I'm here if you need me.
What was your favourite record during school/college time that you still play today?
There are so many. David Ackles eponymous first album. That was a very important LP to me.
What are your musical plans for 2015 and how far do you actually plan ahead when it comes to your musical activities?
I don't really plan anything, maybe I should! I'm going to Holland to play some shows in a few weeks, then I'll be going back over later in the year. We'll be recording a new album for release hopefully in the autumn.
I'm hoping to tour in the UK too. Anyone out there interested in having me come play do drop me a line : )
Both of Alex’s albums are available via Bandcamp so you can have a listen for yourself HERE
- Interviews
Has the musical year of 2014 been kind to you, what are your highlights?
Yeah, I'd say so. It's been a year of hard work, lots of writing, touring, and studio time. I'd say the highlights were making a record with my best buds and touring in England.
New album and tour early next year, is it time to kick back and relax over the holidays?
Yes! I have this whole month of December off, so I get to spend some time with my gal and my family.
Where are you spending Christmas this year and do you have any traditions for this time of year, that make you think, 'this is Christmas'
We will be going to Dallas, my hometown, this year for Christmas. My family's Christmas tradition is not having a tradition. One time we had Chinese take-out for our Christmas meal. I actually quite enjoy how laid back we are over the holidays.
Where did you record the new album ‘All These Dreams'' and how long did you spend in the studio?
We spent 10 days total recording at The Casino, which is a studio in East Nashville run by Eric Masse.
Was there anything different about the recording process this time around or, ideas you tired out for the first time?
I think this time around the process was more thought out than anything I've done before. The producers (Jordan Lehning and Skylar Wilson) and I put a lot of work into the arrangement of the songs. We also put strings on all but two songs, which was a new and very cool thing to witness in the studio.
Any particular stories around any of the songs on ‘All These Dreams' that you would like to share?
Suwannee County, the last track on the record, was based on a conversation I had with an old man at gas station in Florida about fishing and spirituality... two things that share a common thread, for me at least.
How important do you think it is for new artists in 2015 to find a label and how is life at Loose?
For me, finding a label home at Loose has been gratifying. They have supplied ideas and connections I would never have had before.
You are touring with Justin Townes Earle in January/February. Do you know each other well or, do you normally just get acquainted as the tour progresses?
I got to know Justin when I was "tour managing" Caitlin Rose on some dates she supported. I say "tour managing" because I was really just hanging out. Justin is a super talented guy. I'm looking forward to opening up his shows.
What music did you listen to during school/college days that still send a shiver of greatness down your spine today?
Everyone I discovered and fell in love with during that time of my life are still my all time favorites - Guy Clark, Townes Van Zandt, Kris Kristofferson, Jackson Browne, and Leonard Cohen come to mind.
How do you step away from music and is the spark of a new song more likely to occur on or, off the road?
I step away from music by going fishing. To answer the second question, I almost never write on the road. I might gather general ideas, but I'm too distracted to sit down and try and write.
Tour Dates 2015
18 Jan GATESHEAD, Caedmon Hall
19 Jan MANCHESTER, Band on the Wall
21 Jan OSLO, John Dee
23 Jan STOCKHOLM, Sodra Teatern
24 Jan GOTHENBURG, Pustervik
25 Jan MALMO, KB
26 Jan BERLIN, Grüner Salon
28 Jan HAMBURG, Nochtspeicher
29 Jan AMSTERDAM, Paradiso
30 Jan GRONINGEN, Oosterpoort
31 Jan ROTTERDAM, Rotown
01 Feb UTRECHT, Tivoli Vredenburg
03 Feb LEEDS, Brudenell Social Club
04 Feb NOTTINGHAM, Glee Club
05 Feb BRISTOL, The Tunnels
06 Feb LONDON, Union Chapel
Andrew's new album ‘All The Dreams” is released on Loose Records on 26th January 2014
Photo by Melissa Madison Fuller
- Interviews
How did the band come together and with what ambitions?
The band came together as all significant historical meetings of great minds do in a pub in Shepherds bush. Our ambition was to fulfill our lifelong dream of starting a Screamohardcoretechnoindustrialdeathmetaldrumnbass band. We wanted to create a sound that could kill a man or at the very least inflict the brown frequency. But that didn't work out. So we settled for melodramatic French pop instead. oui.
How do you go about creating new music, do you have to been in a certain space, mentally or physically or, is it, when the spark strikes?
Well usually it goes a little bit like this...
Turn off the lights.
Light a candle.
Pour a little rum.
Dust off the piano,tune the guitar.
Refill our rum.
Say a little prayer to Apollo.
And hope for the best.
Marketing an album sung in French to global market, did you think that was risky from a sales perspective?
We always knew singing in French would make life a little harder for us but it's also what makes us feel a little bit different (in London anyhow). Also the French language seemed to compliment the music far more than English did. So to hell with the consequences to sales!!! By the way our next album is in Latin.
Are there any particular stories you would like to share behind the songs on the record?
No particular story to tell about any particular song on the album but I will tell you this.... That WHOLE record was created from fun and frolics with friends and music. Something good came out of those daft winter nights.
There seems to be some modern band influences to your sound, Tindersticks? Elbow? Are there any bands that you particularly draw inspiration from?
Well that's a strange thing. All the Bonbons have very different tastes in music from each other yet we seem to find a common ground in the music that we make. But there's one thing that unites us all!!.. None of us listen to any other music that sounds like the music we make. I think that's odd and unexplainable.
Where did you play your first gig? Any particular memories?
Our first gig together as Les Bonbons was held where all great significant historical debut gigs are held in a pub, in shepherds Bush. The same pub where we first met in fact. Not the same night tho. I remember Fred Bonbon was very very very scared. Not because it was our first gig but because it was Halloween. Ha!
If the band could choose to be on the cover of a magazine, which magazine would it be?
Playboy
How will you be spending Christmas this year and if you had to choose one album of 2014 as your favourite, what would it be and why?
Finishing our second album this winter......... and learning Latin.
Favourite albums of 2014?
Our two favourite albums of the year are: Mick Harvey - Intoxicated Man and Pink Elephants Double LP re-release (Mute Records) and Goastt - Midnight Sun (Chimera Music)
Joyeux Noel to everyone ! xx
Les Bonbons self-titled debut album is out now via Ciao Ketchup Recordings and is also available on itunes
- Interviews
Wow, time flies, a decade on Warp Records, how has your outlook changed towards being in the music industry over the years?
That’s a big question. Over the last decade huge technological changes have hit the industry. Some of these have been for the better; when Flashlight Seasons first came out, Facebook, Twitter, Soundcloud, This Is My Jam, Tumblr et al didn’t exist; these are now recognised as essential profiling and marketing tools for releases. I signed just on the cusp of mass downloading. The year I recorded Flashlight Seasons was the year I got broadband fitted!
Now a whole generation of music lovers has grown up not having ever paid for music; or perhaps more interestingly, not having ever bought a physical recording. Insofar as we can convince people to pay for music at all, it has changed from an ownership model to a rental ‘music on demand’ model where people want to be able to access whatever music they want wherever they are. Spotify, for instance, allows them to do this. It’s not yet clear how well this works out for the composers, but there will always be people who want vinyl, which has became a kind of antiquated luxury item capable of paradoxically delivering superior sound quality.
For Gravenhurst the biggest changes have been personal. In a documentary on Gerry Rafferty I watched recently, La Roux’s Elly Jackson said that when you go from being unsigned to being a professional musician, music goes from being something you do almost 100% of the time to about 20% of the time, and I thought that was very perceptive. Being on a label like Warp has shielded me from the excesses of the music industry ‘machine’; I wasn’t forced or cajoled into doing anything I was uncomfortable with, but on the other hand it took me years to learn how to say no. (I’m actually very proud of the fact that I’ve never turned down an interview.) But most crucially I didn’t yet have a manager and I wasn’t coping well with managing myself. I couldn’t find the time to actually pick up the guitar; I was forever answering emails, and Warp was having to pick up duties that a manager should fulfil.
Fortunately, this period only lasted until the summer of 2005 when I was contacted by Michelle who offered to manage me, and I think I agreed before she had finished the sentence. Michelle was already managing the Ralfe Band and had been working in the industry for many years beforehand and within minutes of meeting her it became clear she knew far more about it than I did. She took on pretty much 100% of the administrative side of it – she runs the Gravenhurst machine; I just have to provide the fuel. I won’t stretch this metaphor any further.
I just have to make records, perform shows, have my photo taken and do interviews and she does everything else. She also acts as my closest creative confidante; she’s the first person to hear a new song and she isn’t afraid to tell me if it needs more work or if I’m being lazy. She’s a very close friend. I couldn’t put a song on an album if Michelle didn’t love it too; some musicians find it baffling that I let my manager have a say in the creative process, but for me it’s essential. She has to push the music for me and she can’t do that if she doesn’t believe in it. Going back to 2004, I definitely had that kind of childish reaction to press coverage that many musicians suffer – that “Whatever they say I am, that’s what I’m not”. It’s only recently clicked with me that I should have been glad for the Nick Drake comparisons – he wrote Pink Moon, one of my favourite albums! OK, so Simon & Garfunkel are a far more formative influence on Gravenhurst, but come on, Nick fucking Drake - there are far worse people to be compared to!
The other really significant change for me took place in 2008 when after touring The Western Lands I stopped touring with a band and just did sporadic solo shows. For a while I stopped doing anything. I’d also recently got divorced and had a lot of issues to contend with. Perhaps a year went by without me writing anything.
There were a few problems with the Gravenhurst ‘rock’ line-up: we were loud, and playing the more post-rock Gravenhurst albums (Fires In Distant Buildings and The Western Lands) I kept straining and losing my voice. But I just wasn’t happy touring. Looking back, there was nothing wrong with that band, (though we lacked vocal harmonies but my good friend Robin Allender was playing bass and he would likely have provided them if I’d asked); really the problem was me. I thought I hated touring, and given you have to tour to promote albums I seriously questioned whether I wanted to continue at all, in many senses.
The big change came in 2011 when Paul Smith of Maximo Park invited me to support him in a solo capacity on his new solo album tour, and I met his backing-band-mates, and we had an amazing three weeks. I realised I could tour provided I surrounded myself with women (Freudian psychoanalysts get your pens out) so when I then completed The Ghost In Daylight in 2012 I poached Claire Adams and Rachel Lancaster from Paul’s band. Claire plays bass and drums in lots of bands including Beards, but in the Gravenhurst Ensemble she plays drums and sings harmonies. Rachel plays guitar and bass and sings her own solo material and plays in various bands including Silver Fox, though in the Ensemble she mainly plays bass, synth and sings harmonies. The only drawback to this is that they live in Leeds and Newcastle respectively, while I live in Bristol. This makes rehearsing difficult. But I needed a band for The Ghost In Daylight touring and Michelle said “Geography aside, who would you most like to have in your band?” and they were the simple answer.
So we decided that mattered most and, we would have to work around the geographical logistics somehow. We’ve managed around a hundred gigs now. It’s not really a conscious process, but they keep me sane on tour. We’ve never really discussed it. It’s a subconscious thing. They just make me feel like I can do it. Partly because they are amazing musicians with beautiful voices, and partly because they are such awesome dudes. Ten years ago I suffered that anxiety most songwriters feel, as to whether they will write a song as good as the last. I don’t really think like that now. I don’t know why; I just don’t think in those terms anymore.
Whose idea was it for the 10th anniversary album reissues and with what aim?
I don’t recall who first mooted the notion but it was likely either me or Michelle, and after discussion of what it could involve, such as touring Flashlight Seasons from start to finish (see below), we put it to Warp, who had just taken on a new staff member Matthew Jones to work on archives and special projects, so it was perfect timing.
You ended up with a whole album of archived songs (Offerings). How did you decide what material to include and are there still unearthed songs that may see the light of day in the future?
There is actually a lot more unreleased stuff, because the decision over which songs to include was based on the period on which the songs were recorded. We restricted ourselves to what we called the ‘Flashlight-Black Holes era’. There is quite a lot of material that was recorded for Fires In Distant Buildings and onwards, so there will almost certainly be another compilation of unreleased stuff in the future. I have a terrible memory, and it seems I recorded a lot of stuff and then forgot about it. And the ten songs on Offerings were whittled down from sixteen contenders – whether those will see the light of day I don’t know... hardcore completists might have to locate and burgle my hard drives.
How important do you think it is for new artists in 2014 to find a label?
Whilst there are multiple avenues for making your music available to the public that didn’t exist a decade ago, just making something available doesn’t make it known. Having a record label with the capital to put into promoting you is what makes the difference. People might get discovered online, on youtube, bandcamp etc, but they then sign to a label. Unless a band isn’t interested in an industry career anyway – and I know many fine bands who couldn’t give a shit about getting signed – finding the right record label is largely the difference between making music, and making music that the public knows about.
Of course it is on a sliding scale; Warp won’t spend the money promoting my records that they will spend on, say, Grizzly Bear because my music has a more niche appeal. That said, Warp is a label full of artists who should logically have niche appeal, but Boards Of Canada and Aphex Twin album promotions have to involve listening parties, where the press are invited to hear the record, to prevent the albums being leaked. The Warp roster is full of frankly peculiar success stories. It’s a huge privilege to be part of it. I’m not the only ‘singer-songwriter’ anymore either! Lonelady has a second album in the works and I’ve become friends with Steven ‘Bibio’ Wilkinson, and it turns out we are both hugely more excited about synths than guitars.
You are also a freelance journalist and producer as well as being a musician, any preferences if you had to choose one career over the other?
I need them all in my life, for the sake of my mental health. I see the journalism as a kind of intellectual counterweight to the purely creative act of composing music. Now is a terrible time for print journalism and journalism in general so I’m very lucky to be published by a website as good as The Quietus.
The second career as a journalist came about because I was blogging fairly regularly while writing for Bristol and Bath’s magazine Venue, a listings magazine with a very high standard of critical writing. Venue sadly folded, and while I didn’t write for them every day or week and wasn’t dependent on them as some of my friends were (most of whom are now treading water as freelancers) I noticed something missing in my life. I blogged more regularly, as well as doing my satirical/profane web ‘comic’ Ultraskull, and I had got to know John Doran (Quietus editor) after he interviewed me back in 2007, and we’d stayed in touch. We had discussed the philosopher John Gray in our interview, and an opportunity to interview him came up in 2013. John Doran wrote that he didn’t expect me to have the time to be able to do it but asked if I had any questions I’d like to pass his way. I replied –faster than I’ve ever replied to any email- that I actually did have time to interview him and I very much wanted to do so!
So John Doran kindly gave me the gig, and the interview with John Gray took place over email, back and forth, over a couple of weeks. I was delighted because John Gray told me it was the most penetrating interview he had ever done, and invited me for tea in London to discuss the issues further. Back of the net!
After that I; tried to write more regularly, but as my main income does still come from music I try to prioritise that. But I just recently interviewed Alan Moore so that’s two of my literary heroes interviewed. Gordon Burn sadly died a few years ago so I won’t be able to interview my favourite British writer of the past forty years, but as soon as David Peace writes a book that isn’t about sport (about which I know nothing) and gets back to crime I’ll be after him.
As for production, I produce my own records and there aren’t many producers I can imagine working with, just because my process is so ungainly and random, but I’ve tried to push my remixing services because it’s such fun; I get to crank out the drum machines and synths and demonstrate a side of myself as a producer that perhaps isn’t so evident in Gravenhurst records. So far I’ve done three commercial remixes, but only the 9 Bach and Dive Index ones have been released to date– there’s more to come, but my particular favourite will be released to coincide with another release from the band in question.
One of your articles in 2008 'Why I Hate Rock n Roll' painted a pretty bleak picture of the gig scene in this country, have thing improved?
In terms of the state of the touring circuit, largely no. Some independent venues go the extra mile to make sure the artists are looked after, but even the best run venues in the UK don’t compare to the level of hospitality which is the norm in Europe. But that essay was most importantly about Rock ‘n’ Roll as an idea, a legend, a convenient fiction conjured up to excuse the ineptitude, zero hospitality and a whole host of other bullshit behaviours, by both bands as well as promoters, and that legend persists.
Rock ‘n’ roll will never die because so many music fans and music writers believe in it as an idea; they love its grubby authenticity and roguish credibility. It is the music industry equivalent of the lad mags that glorify East End criminal gangsters who once tortured people and pulled their teeth out with pliers – they portray these ‘geezers’ in an aspirational light.
It’s utterly fucking despicable and I won’t have any part of it. But to return to the touring circuit; the UK has an atrocious reputation worldwide for its awful gigging circuit – mainly its hospitality, backstage facilities and half-arsed promoters. It’s not as often the sound that is the problem – we have our fair share of great engineers and decent rigs, but we have a hell of a way to go if we want to attract bands to play here with anything other than a heavy heart and a sense of trepidation.
Do you have any live dates planned to tie in with the re-releases?
Yep – we have booked an extensive UK and European tour where we will play Flashlight Seasons from beginning to end followed by half an hour of other material!
How do you go about creating new music, do you have to be in a certain space, mentally and physically or is it, when the spark strikes?
I honestly wish I knew, and then I could put a leash on it and control it to some extent. I work slowly and I don’t work often. I am lazy, but when I do actually start something it has to be perfect; I also don’t get inspired that often. I don’t work fast enough on my lyrics; I take ages to get them right, but I should really treat writing and recording as a nine to five job like many others do. But I’m a lazy fucking bastard, and I’ve always been a night owl. I never feel right or remotely creative until the evening. Repeated attempts at forcing myself into a regular routine have collapsed in failure.
How is the music scene in Bristol today, any artists emerging that we should investigate more?
The music scene in Bristol is as eclectic as it ever was, though unfortunately the press outside of Bristol generally only pays attention to the bass music. That was particularly understandable from 2007 onwards when we had a remarkable second renaissance of bass music here, led by producers such as Pinch, Peveralist, Joker and Ginz, but as the dubstep sound has dissolved to some extent and crossed over into techno and the resurgence of house there has been less press coverage of Bristol.
There are loads of great guitar and noise bands, but if they aren’t signed to a London label they won’t get written about. That’s likely true of any city that isn’t London. It’s probably true of London too! But there are quite a few bands in Bristol who have been going for many years and have positively rejected the music industry and any notion of an industry career, and just make music for their own pleasure. Many of these bands are superb. But if you want some hot tips, I suggest you check out SJ Esau’s latest album ‘Exploding Views’ on from Scratch Records, and Paul Jebanasam’s ‘Rites’, on Subtext. The former is demented folk-hip hop Husker Du pop, the latter a haunting work of modern composition that brings to mind alien beings terra-forming a planet in an electrical storm.
Do you have any plans for 2015 and how far do you actually plan ahead when it comes to your musical activities?
We will tour Flashlight Seasons for as long as people want to hear it; I think we’ll enjoy that a lot. I’d like to release a new album next year but it’s only half written and only very slightly recorded. A central problem is that I don’t plan ahead nearly enough. I need someone standing over me, cracking a whip, then Gravenhurst fans would get their money’s worth.
Enter the world of the music and writing of Nick Talbot HERE
The tour below accompanies the reissue of the two classic albums, 'Flashlight Seasons' and 'Black Holes In The Sand', and the additional new album: 'Offerings: Lost Songs 2000 – 2004', a compilation of unreleased material from that period. Released on 1st December 2014, the three albums will be pressed on vinyl accompanied with digital download codes and essays by Nick reflecting on this early material after a decade of progress. A triple CD release will comprise all three albums. All available via the Warp Shop
- Interviews
Road to Horizon are a 5 piece Nu Metal band from Yorkshire, currently on tour with Enter The Lexicon.
You're halfway through a tour with Enter the Lexicon, how's it going ? No Yorkshire/Geordie rivalries?
No those guys are great, it's been a good tour so far and we are all on speaking terms. We do seem to have a party bus reputation though (please note this interview is taking place on the bands amazing ford transit hotel) last night in Leeds was a respectable 3.30am (it was a Saturday).
The Faultlines EP is out October, and is supported by a very indie movie style video. It has an expensive feel to it, how much input did you have?
It was totally ours, the wasteland and old sign making factory are all in Sheffield, The actors are mates and all post prod is what we can do ourselves, cost was minimal as we have to do it ourselves (check out "faultlines" on you tube).
You were working with producer Lee Batiuk on the EP, how did that come about?
Lucky break really, our old manager had a contact and we made the most of it, you make your own luck when the chance is there.
What's the plans post tour? Writing, Recording?
We never stop writing; we are always looking at lyrics and sounds playing with them looking for the hook. There is a lot of material and we would love a chance to get a full album out there.
How long has the band been together, many line up changes or is it a happy long term bunch of mates?
Since 2008 in various guises, we like the 5 piece set up now, all the components work, there is a real band ready to break vibe.
Thanks guys love the van, and wish you the best, the video alone is worth people taking the time to see where Nu Metal is heading.
Questions from iain @docswallow
