Elephant Stone get with the program and do the ‘Sourmash’ 10 question challenge…
1. Hi Elephant Stone! Firstly can I say what a great show it was at The Macbeth in London, you guys sounded magical. Has it always been an ambition to get over to the UK and do some shows?
We love the UK. All our favourite music came from here… Beatles, The Who, Kinks, Teenage Fanclub, Cornershop…. this list goes on!
2. With the recent release of your glorious EP, The Glass Box, did anything in particular inspire the songwriting process?
I guess the birth of my daughter was a big inspiration. Also, I wanted to see if I could write and record a record in a month; The Seven Seas took a while to put together, so I wanted to do something more immediate.
3. You hear bands talk about how their local towns/cities play a big part in their music, has Montreal been an influence on you guys?
Montreal has definitely been a big influence on us. There’s so much music and arts in Montreal, so it has definitely left it’s imprint on us.
4. I believe The Glass Box was recorded entirely on analogue, how did that come about and what was the experience like?
The engineer, David Smith, and I wanted to do a very raw and real recording. It’s been a while since I recorded all analog. So, basically, this ep was a huge experiment for me: write it in two weeks and record/mix in the next two weeks… just like they did in the ‘60s. Also, I wanted to have a limit and on we could add to the recording by only using 16 tracks for the recording process.
5. Rishi, it says on the bands MySpace that you are a multi-instrumentalist, what do you play?
in the band I play bass, sitar, guitar. I also play some tabla (very poorly) and keyboards (also poorly).
6. I obviously saw the inclusion of live sitar playing from yourself Rishi, what is it about classical Indian music that you like so much?
I grew up with classical Indian music… so playing the sitar was a natural progression. I’ve been taking lessons for the last 10 years. The thing that grabs me about classical music is that it is so different from rock’n'roll (very meticulous and requires a lot of focus), but at the same time, it shares a lot of the raw passion.
7. There is obviously a strong psychedelic influence in your music, what Psych bands inspire you guys the most?
Pretty Things, Beatles, Who, Flaming Lips, Kinks
8. Am I right in thinking that the name Elephant Stone is a nod to The Stone Roses? If so, have British Indie bands been an influence on the band?
I’m a huge stone roses fan. However, I originally wanted to call the band “Elephan”, but there’s already a band with that name. I have a stone statue of Ganesha at home… and the name “Elephant Stone” came up… very simple word association. Also, the stone roses reference didn’t hurt.
9. Being immersed in the Montreal music scene, are there any bands/artists that you feel deserve a mention?
The Besnard Lakes are definitely my favourite Montreal band.
10. So what is next for Elephant Stone?
More music, more shows. Would be great to do another UK/Euro tour in the fall!
Hailing from Montreal, Canada, Elephant Stone arrived on the scene last year, and their debut album, ‘The Seven Seas’ immediately won a nomination for Canada’s Polaris music prize. The band were formed by Rishi Dhir, formerly of highly rated psychedelic pop outfit The High Dials, who won a dedicated fanbase among the lysergic music community.
Dhir, a multi-instrumentalist, studied Indian classical music for three years after leaving The High Dials in 2006, and the influence is evident on this pop-psych meisterwerk. His sitar playing can also be heard on records by The Black Angels, who dedicated a song to him (‘Deer-Ree-Shee’) on their classic ‘Directions To See A Ghost’ album, and prog-psychsters The Earlies.
The boys have recently completed a very successful tour of North American, supporting friends the Brian Jonestown Massacre, and arrive in the UK for a mini tour on June 30th, before heading onto Germany and France and then returning home to support Besnard Lakes in a series of summer shows.
The Glass Box EP and The Seven Seas is out on 27th June 2010.
Buy Elephant Stone on
30th June 2010 – The Black Heart – Camden, London, UNITED KINGDOM
1st July 2010 – The Macbeth – London, UNITED KINGDOM
2nd July 2010 – The Captain’s Rest – Glasgow, UNITED KINGDOM
3rd July 2010 – The Source Arts Cafe – Carlisle, UNITED KINGDOM
4th July 2010 - The Cellar Bar – Peterborough, UNITED KINGDOM
6th July 2010 – King Kong Klub – Berlin, GERMANY
8th July 2010 – Hafen 2 – Offenbach, GERMANY
9th July 2010 – Blauer Engel – (Brückenfestival) Kiel, GERMANY
10th July 2010 – La Bellevilloise – Paris, FRANCE
Within this article, then, lie lessons on the benefits of ignorance, bloody-mindedness and the value of another weary click of another speculative URL. Because – and listen carefully – if A Million Years isn’t the most damn beautiful song I’ve heard for weeks – months even – I’m a banana.
There’s no point in wondering where this song came from, or how it came to be, or even what sparked its existence. Just be pleased this song is here, and gratefully allow its downy softness to slowly envelop your body.
There are times when the weight of the world just seems too much, and times when finding comfort is impossible. This song can’t help you with that.
But when that weight is lifted, and when you experience the honey-sweet lightness of relief, the sound you hear in your head will either be a soft, delicious wash of tinnitus-white noise, or it will be a song as beautiful, orange and warm as A Million Years. Hopefully it will be this exact song.
Life is strange. Orson Welles touched greatness and then never recovered. Joseph Heller stumbled over a baby-sized gold nugget first time. Takeda might never reach these heights again, but who cares? This song is the sound of them standing at the top of the mountain; panting, happy, dizzy.
Mozzy Green are Ben Sommers and Anna Scott, and they make sublime, intense, delicate and powerful music that’ll invade your ears, brain and heart.
Recently featured in Cent magazine alongside Mumford & Sons and Jay Jay Pistolet, as the artists at the forefront of the current nu-folk boom, we sat the dup down and interrogated them on a number of subjects…
Q1: Where did you get that name?
Anna: The Mozzy were an ancient race, inhabiting our earth circa 600BC. They were an advanced but vertically challenged group of beings. Early drawings found indicated that they were a hybrid race, with features found in humans, droids and nanny goats. They were fearsome warriors and the ‘Mozzy Green’ is the name given to their most famous battle (the stories of which Homer recited, but they were deemed too stupid when compared next to the Odyssey, so were never published) for the then sought after material of the era – the pea. The Mozzy were triumphant, but the battlefield was a mess, ironically culling any pea growth the two sides were fighting to control. The Mozzy were left stained green, and the subsequent, albeit last generation of the Mozzy, were born green. This pigmentation alteration remains a mystery to this day, but scientists are currently investigating into whether this case could throw some light on to what happened to the smurfs.
Ben: It’s the name of an ancient medicinal drink used by a small tribe of transvestite hunters who were based near to junction 23 of the M25. Obviously before the M25 was built, but in that general area. Apparently the soil is extremely fertile around there. We saw the name in a book and liked it.
Q2: Tell us a little bit about the band’s formation and history.
Anna: We’ve had a few incarnations, I joined in 2005 when we were about 6 strong. Since then we’ve slimmed down – not on purpose, but we are now a duo with a drummer for the bigger gigs.
Ben: There has been many line ups over the years. I began recording under the name Mozzy Green in 2004 and later met Anna around 2005. In between then and now we have had around fifteen different band members. We moved to London in 2007 and gigged solidly for two years. It’s an ever changing vessel and I think I like it that way.
Q3: Your influences are not immediately apparent. Who would you cite?
Anna: We’ve both got a wide range and lots of differing influences, mine range from Bach, Palestrina, Shostakovitch, Stravinsky, Debussy, to various D&B artists, trad and modern folk, various types of jazz, Indian Arabic and Russian folk, lots & lots…
Ben: Imitation is not something we want to do as a band and so there are no immediate influences we would cite to describe to somebody what we sound like. I guess our main influences are the sounds of our instruments that make the feelings we have inside of us come out when we write. Artistic influences for me personally include Syd Barrett, Tom Waits, Peter Gabriel…
Q4: What are you currently doing, and what are your plans for 2010?
Anna: We’re recording an EP at the moment, and have some good gigs lined up – we’re on at the Junction Cambs in June. We also have a plan to turn the entire population green (like the Mozzy of old) but that’s on the backburner at the moment.
Ben: Currently Mozzy Green are writing and recording for a debut EP. Both of us have solo projects and working with other bands. Myself, I’m working on a project called Avocado Chip which will be coming out on 360. It’s a pretty big project so keep your ears peeled for details. Anna is recording solo material and also working with a few bands, namely Underground Railroad who are signed to One Little Indian.
Q5: Are there any bands and artists currently playing that you like?
Anna: Unfortunately I live on a forced diet of Radio 2 at work at the moment, nothing that inspiring on there, but I do like Ruth Theodore, Bat for Lashes, Gogol Bordello, The Strangerhood are awesome, Imogen Heap, to name but a few…
Anna: That depends…the voice that musicians have to say what they need to say is so very important and should never be censored (like the Dixie Chicks were..) but if you mean ”politics” in the industry, then no, but anything that generates revenue will always attract situations where politics will arise. Music in an ideal world would be pure and free of greed and vanity, but as soon as it becomes a living, the politics begins. I think that’s got a lot to do with why there’s been a shift towards more independent models: you’ll find a little less politics and more creative freedom.
Ben: If a person has an opinion on a subject then I think they have the right to express it, no matter what they do for a living. Would you ask ‘does politics belong in plumbing?’ Well as long as the plumber does his job and fixes your sink then it’s your choice if you want to make him a cup of coffee and chat to him about the Labour party for half an hour. The same applies to music. If an artist feels compelled to campaign about things they feel strongly about then who am I to say that they shouldn’t. It’s my choice to listen or not listen. Music should be a free for all for any subject or feeling or anything the artist wants to express. There is far too much focus on ‘Oh, I hate that band, they always rant on about the church, or love, or grapefruits, etc etc.. fuck it, don’t listen to them then if it pisses you off. I take my hat off to any band or artist who honestly writes about what they actually feel. So yes, politics does have a place in music. As much as anything else does.
Q7: The music business, such as it is, appears to be populated by opportunists, sharks and leeches. How do you navigate these treacherous waters?
Anna: Trial and error I think! You listen closely to what fellow musicians say and experience, and you have to research but ultimately go with your gut instinct. There are so many bands and artists who can be romanced by the idea of a quick rise to success, and there will always be people ready to exploit that. I think you have to become business savvy and not get excited about seemingly good opportunities that could come back to bite you later. We all still fall to exploitation when playing live for free, because if we didn’t do it, there would be a queue of other bands who would. It will take all the bands on the live circuit to stand up and refuse to play unless promoters and venues start to pay the bands who generate them money.
Ben: We bought guns.
Q8: Obama or David Icke?
Anna: David Icke, Crazy (or at least that’s what we’re meant to think) but inspiring.
Ben: Both are good at talking bullshit for hours. Although David’s is more often entertaining and I’m positive – he’s the more honest of the two. All Obama is, is a charismatic actor to charm the masses. He works for the banks, not the people. So fuck him.
Q9: Coca Cola offer you £500,000 for the use of a song for their ad campaign. What do you do?
Anna: Tell them to p**s off.
Ben: Now how do I answer this? We could say ‘no way would we ever work with a corporate company like Coca Cola. It would destroy our credibility among our peers and we’d be forever labeled a sell out by future generations’. Or we could say, ‘hell yeah, £500,000? For that money we’d write a song for Pepsi’. Ah, I don’t know. Depends how hungry I was on the day. As I’m writing this I’ve not long finished my dinner. So today I’ll say no.
Q10: London: hell hole or paradise?
Anna: Bit of both really, I used to live there and it sapped the energy out of me, I didn’t bounce off the wonderful hive of creativity like I hoped, but now when I visit for gigs or generally, it’s inspiring and full of life. I always go back to the sticks feeling revived and full of ideas. It’s an amazing city, I think sometimes you can become blind to what’s around you if you’re there for a while.
STROLL ON INTERVIEW HAPPY BIRTHDAY - One of our favourite bands of recent months have just released their self titled debut album, a stunning collection of great pop songs. We decided to interview them, here’s is the outcome…
1. You guys have released your debut album on Sub Pop. How it come about you signing with them?
I met some people from the label at SXSW in Austin, namely Dean Hudson. They came to see me play as King Tuff because they liked my album. We started talking and the relationship blossomed into them putting out our record. I really didn’t have any other labels talking to me, and I like the label so it just seemed like a good match.
2. On you’re your debut record, there seems to be a lot of different influences. Who would you say are the bands influences collectively?
We all love The Beatles. I had a ton of unfinished songs in my head for a long time and they were all really different from each other. Once we started the band we just kinda randomly decided which ones we wanted to work on, so that’s why it’s all over the place.
3. There seems to be a very special scene in the US at the moment including bands like you guys, Vivian Girls, Real Estate and Tune-Yards – there is a very communal feeling about it, how do you think this has come about?
Well I have known Katy from the Vivian Girls for a really long time, and obviously Tune-Yards is Ruth’s sister. Once you start playing shows you realize that all these bands know each other and are friends because we’re all in it together. Most of us were teenage punx, and I think its more acceptable nowadays to have a more DIY approach. Of course it all gets lumped together as “lo-fi” but its not true, most of these recordings actually are pretty clear sounding.
4. When did you guys start? And what made you want to be in a band and make music?
We’ve all been playing together for a long time, first in Feathers in 2004. I was in punk bands before that and I made my solo albums but didn’t have a band. It’s really cool to play with other people because they always have ideas you never would have thought of. I just always wanted to be a musician and be in a band since I was a kid, I can’t really do anything else except draw dots on everything.
5. Where do you see the band in 5 years?
I just want to be able to support myself from my music. I don’t need to be rich, I’d just like to pay rent and eat sometimes. I hope that happens sooner than 5 years from now.
Lead track ‘Boomerang Boy’ features the guitar playing and production skills of Micko Larkin, ex of Larrikin Love, (alongside Gaoler’s Daughter bassist Alfie) and currently playing guitar in Courtney Love’s current incarnation of Hole.
It follows on from the acclaimed debut EP ‘The Only Way To Travel’, which came out at the tail end of 2009. The response to the last EP was excellent, with Steve Lamacq, Tom Robinson and Huw Stephens all playing the lead track, ‘Jumbo Jet’, followed by regional stations playlisting the track nationwide. Gigs with Babyshambles and a mini-headline tour followed.
The action has already begun for ‘Alchemy’, with bloggers showing their support across the world. In early May, Sun Coming Up displaced Eminem and leapfrogged Jay-Z to claim the number one spot on the incredibly influential Hype Machine. Radio has also been swift to show support, with a BBC 6 Music session and interview mooted for June. Radio Two’s Dave Cash even proclaimed his love of the band, playing the country tinged ‘Meet You On The Other Side Of The World’ alongside Johnny Cash on his show at the beginning of May.
Gaoler’s Daughter will be out and about over the next few months so catch them while you can. There is even a STRONG rumour that Micko Larkin will make a guest appearance at the London show on May14th.
GAOLER’S DAUGHTER UK TOUR Thursday 13th May 2010 The Lock Tavern, Camden London Friday 14th May 2010 Staggs Head, 55 Orsman Road London Saturday 22nd May 2010 The Windmill, Brixton, London
Friday 28th May 2010 Concorde 2, Brighton Sunday 30th May 2010 Marquee, Liverpool Monday 31st May 2010 Coal Vaults, Coventry Saturday 5th June 2010 Sound Control, Manchester CANCELLED Sunday 6th June 2010 1 St. James Street, Nottingham CANCELLED Monday 7th June 2010 Acoustic show – Boogaloo, Archway, London Friday 11th June 2010 Half Moon, Putney, London Saturday 12th June 2010 Sellindge Festival, Hope Farm, Ashford Sunday 13th June 2010 Strummerville Summer Session Friday 9th July 2010 Lounge on the Farm Festival, Kent
Originally conceived as a creative outlet whilst Babyshambles were on holiday, Roses Kings Castles have grown these past two years into a name that is synonymous with smart, witty, acerbic pop. Definitely not indie, yet proudly, defiantly and genuinely independent.
Eschewing the traditional album/tour/single route, RKC have established an identity that is often quirky yet never annoying, and in the process made some stunning music. Comparisons with Belle & Sebastian’s pastoral warmth and the acidic outsider pop of Syd Barrett, have now dissolved as RKC have moved into a sound that is comfortably their own.
The eponymus debut album has sold more than 3,000 copies since its release in September 2008 and an ever growing army of new fans across the globe have enabled a lengthy spell in the studio, which has produced a wealth of new material. The album Suburban Time Bombs was recorded in the second half of last year, and the first single from the album, One Born Every Minute is out now.
RKC are currently deep into rehearsals with new band members to be revealed shortly, and to coincide with the release of the album, they will be playing selected live dates in the UK and across Europe.
Following twelve months which has seen London-based psychedelic popsters The See See, picked by Jack White to support his Raconteurs, on a UK tour, 360 Degree Music are proud to announce that the band have been personally invited by Brian Jonestown Massacre to support them on their forthcoming British tour.
The band, who feature one Swede, an American, one Kiwi and a Yorkshireman, have also released two SOLD OUT 7” singles, most recently ‘Keep Your Head’ / ‘Clap Your Hands And Shake A Chain’ (Great Pop Supplement) in 2009. The band have had airplay from the BBC’s Steve Lamacq, Mark Radcliffe, Stuart Maconie, Tom Robinson and XFM’s John Kennedy.
Although The See See is comprised of former members of groups including The Eighteenth Day Of May, The Soledad Brothers, Grand Cobra and The Waxwings (as well as acclaimed singer-songwriter Pete Greenwood), they’re fundamentally a band made up of four drinking partners, something which adds to the relaxed and unforced nature of the music that they make.
UK and Ireland Tour Dates:
14th May Shepherd’s Bush Empire, London *
16th May 02 Academy, Birmingham *
17th May Academy 3, Manchester *
18th May ABC, Glasgow *
19th May Spring & Airbrake, Belfast *
20th May Academy, Dublin *
25th May Hoxton Bar & Kitchen, London **
* Supporting Brian Jonestown Massacre
**Supporting Ruby Suns
1. You guys have finished recording your new record now? When can we expect to hear some of the new material?
Brandon: We’ve finished tracking everything, but it all still needs to be mixed. We’ll have the first single ready soon and that should be out hopefully by mid June or something like that. As for the actual album – due to touring commitments, we won’t be able to mix it properly until probably July, so hopefully the album will be out by the fall.
Charles: Either on tour- there are 5 new songs in the set and we’ll be touring the uk beginning next week- or when our album comes out in August!
2. I’ve heard you being compared to bands like the Velvet Underground and Jesus & Mary Chain – but who do you think of as your influences and who are you currently listening to?
Brandon: Both those bands we would consider influences, particularly Velvet Underground. We listen to a lot of stuff but I think our actual songwriting, when you strip it down and just play it on guitar and sing, is mostly influenced by 60′s pop music and garage rock. We write those kinds of songs and then try to put it through a weirdo filter of all the other stuff we like; krautrock, suicide, dub, spacemen 3, early punk – all that stuff.
Charles: I think our influences change all the time, Brandon and I are always getting each other into cool stuff. German prog rock like Neu, Harmonia, and Cluster are always around, so is Frankie Valli and Bo Diddley and the Mamas and Papas and the Sex Pistols (of course)!
3. Does the recording process just involve the two of you? If so, how do you make the transition from studio to live show?
Brandon: Our friend Jon Greene has always been an integral part of recording. He’s produced everything we’ve done so far with us. James Ford produced the newest album, but Jon was with us engineering everything and we’ll be mixing the record ourselves with Jon. As far as instrumentation and tracking stuff, it’s 90% Charles and I but James Ford, Jon Greene and our touring organ player, Robin Eisenberg, have all contributed bits here and there. When we record we don’t really worry too much about how we’ll be able to replicate something live, we just try and get it too sound as interesting to us as it can. When we assemble a live band we try our best to match what we’ve recorded but part of the fun of it is changing it around so that it’s do-able live. It doesn’t always sound 100% the same as the recordings, but to us that makes it a lot more interesting.
Charles: It is mainly the two of us but we get by with a little help from our friends! Jon Greene is the “3rd Crocodile” and he produces most of our recordings and helps us attain a lot of great sounds- this process we call “screaming chrome”. When it comes time to work the songs into the live set, he helps us with that too- seeing as he is a very capable sound engineer as well. As of late, Robin Eisenberg, our touring keyboardist, has been playing on all of our recordings. She is an incredible talent and can nail whatever style of playing were looking for, plus she is one of the most enthusiastic people you’ll ever meet. While the writing will always remain Brandon and I’s thing, we are always happy to have great people around us helping to make something wicked.
4. There seems to be a very special scene in the US at the moment including bands like you guys, Best Coast, Woven Bones and Dum Dum Girls – there is a very communal feeling about it, how do you think this has come about?
Brandon: Over the past few years we’ve all just met each other through touring and playing shows. Me and Dee Dee from Dum Dum Girls have been married since before either of our bands have been around, so I’m not counting that obviously. But as far as Best Coast or Woven Bones go, we’ve just met them through playing together and mutual appreciation of what the other are doing. Same as everywhere else, there is an overwhelming amount of crappy music here. So when we find kindred spirits we try our best to make friends and engender a coalition.
Charles: It’s wicked! All of these bands, I’m sure get posed with this question a lot, can remember the early stages of their friend’s bands and now for instance a lot of us are playing Primavera this year. In 2008 when Crocs started touring and having 7″s released we played with our friends a lot, as we were all starting out. I’m sure there was a feeling that came across, I know I felt it when I saw them, (this includes Cold Cave and Reading Rainbow and Beaters) that we were all excited to be out of our towns, playing and having fun with likeminded people. I can’t really explain it. But its cool. And completely unforseen.
5. A recurring theme amongst a lot of the bands on the scene over the past couple of years is the DIY ethos. You yourselves tend to release a lot of one off singles with different indie labels. Is this independent / DIY ethos something you believe in?
Brandon: We’ve both been involved in punk since we were teenagers. It’s the culture we feel most a part of and at home in. Small labels and self releases are things that we are used to and comfortable with and it means a lot to us to be able to keep some semblance of control over what we are doing. Obviously there is a point where you need the money and assistance that only a bigger label can offer but we would never divorce ourselves from the culture that we feel a part of. And even when we’re working with bigger labels, I have a small label with Dee Dee so that we can release our friends bands and solo stuff.
Charles: Absolutely, no one’s gonna do you any favors especially when you’re brand new and no one knows who you are. Reverting back to your last question, all of these bands just started booking tours and releasing singles however means possible and eventually they worked hard enough and got somewhere and now they can steer the path a little more and give themselves more freedom to create whatever it is they see their music being.
6. Where do you see the band in 5 years?
Brandon: I don’t even know where we’ll be in 5 months
Charles: Hopefully releasing singles and albums and touring just like we are now!
360 Degree Music began working with Inwits in September 2009, and the band have been busy writing and rehearsing ever since, breaking only to play the odd show, with a particular highlight being their stunning performance at the Stroll On Christmas Party in December.
On March 28th they head off to Edinburgh to play their biggest gig yet, supporting Idlewild in the 1500 capacity HMV Picturehouse. This gig is actually just one part of the Haddow Festival taking place in venues all over the city on the day, and promises to be a humdinger!
We caught up with the lads for a chat prior to this momentous occasion:
Q1: Where did you get the name from?
Ah well if we were to tell you too much it might defeat the object of its meaning. Our inner wit chose it really. Inwit is a word that’s fallen out of use in the English Language over thousands of years so it’s both old and new – a lot like our musical influences. A certain Irish novelist resurrects it in his novel Ulysses, quite possibly the greatest artistic statement of the last century. The plan is for our record to achieve that status for this one!
Q2: What are you currently up to, and what are your plans and goals for 2010?
Currently shooting the breeze, but the breeze has been colder than usual of late so also making a point of keeping warm in the rehearsal room and learning a few new chords. We’re now on C#m… Our plan and goal and dream will always be to make great music, then release it and hopefully play it to more people. The exciting thing about 2010 is we can actually realise that dream this year, so I guess that’s the first plan and goal. From there we just want to play our instruments more and more till we need a breather.
Q3: Tell us about the four guys in the bands?
Buskers. Schemers. Full-Time Dreamers. The sum is most definitely greater than its parts.
Q4: Who are your influences, musical and otherwise?
Anything or Anyone with Soul. It’s getting harder to find.
Q5: Jazz or Electro?
Both are extremely exciting and there’s nothing like a dirty electro beat to get down to. But programmed beats are one thing, “The Freedom Rider” by Art Blakey is quite another. Jazz was, is, and always will be the coolest genre of music known to man. That’s coming from a guitar band. Socially it’s as important to black America as the blues (and we love the blues), musically it pisses all over most things with still a fair bit left in the tank. Finally, and most importantly, it’s unquestionably the sexiest sound going. Getting sexy to a jazz groove takes the word living to a whole new level. Miles Davis over Little Boots any day.
Q6: England or somewhere else?
England is where we’re from, and is obviously important to us. As an English band you can’t help but inject an element of Englishness into the music you make, especially with the rich musical history Englishness entails, particularly over the last fifty years. We’re all products of our time and place so obviously our songs brim with references to London, because that’s our experience. But at the same time we’re all citizens of the world and there’s much to see! James Joyce wrote masterpieces about his homeland from Paris, Zurich and Trieste. We want to be on stage playing music wherever that stage is. There’s six and a half billion people scattered around this globe and we want to play to as many of them as possible, be they in England or indeed somewhere else.
Q7: On your MySpace page, you claim that ‘attitude breeds creation’. How so?
Attitude channeled in the right manner breeds creation, those who can appreciate that whatever they’re doing in their own life will understand the meaning of that statement. Those who can’t, well essentially their the type who channel their attitude into hitting people with bottles on a Friday night, and spend the majority of their adult lives doing coke in the toilet of the same pub they’ve been drinking in since they were sixteen. We stopped worrying about those people a long time ago.
We don’t care he supports Tottenham. Jokes Dave! He’s a good lad from the north side of town with an eye for a garment and an ear for a melody. He and his sidekick Michael Warren have hit on a type of melancholia most of these idiot fashionista bands would remove the entire stitching of their skinniest pair of jeans for.
Q9: Is there ever anything good on the telly? If so, what?
Depends what you’re into. In fairness though some of the documentaries that have hit the small screen in the last few months have been nothing short of superb. Berlin, Making of Modern Britain, The Bible and How Earth Made Us to name but a few. It’s been a while now since it finished but Bruce Parry’s Amazon showed us all what traveling should be about. (No offence to the millions of Brits on tour in Australia). James reckons Gordon Ramsey puts on a good show whatever anyone says about his wrinkles or extra-marital activities, where as Joseph is more of a Hugh Fearnley-Whittingstall man! But you can’t beat the political parlance of This Week with the unholy triumvirate of Andrew Neil, Dianne Abbot and Michael Portillo late of a Thursday night.
Q10: Name five great movies.
Citizen Kane - Stonewall classic.
Un Prophet – French gangster masterpiece currently up for an Oscar.
The Big Lebowski - Comedy genius from the Coen Brothers.
Apocalypse Now – Vietnam epic based on Joseph Conrad’s novel Heart of Darkness.
The Last Waltz – Swansong of The Band, with greats like Dylan, Van Morrison, Dr. John, Clapton…
