Album review: Neon Trees 'Habits'

With ‘Animal’ being a horrendously catchy track possessing a series of hand claps and a chorus that circulates in your head for hours upon end, hopes for Neon Trees’ debut release Habits were reasonably high. However, remember that band Orson from the mid noughties that had one half-decent song? Well, Neon Trees appear to be rather like Orson’s younger, slightly edgier sibling; minus the ridiculous hats and with a few more brazen guitar riffs thrown in for good measure.

From the off, it becomes seemingly obvious that this quartet are fans of both the heavier rock and more commercially-friendly indie-pop sounds. Instead of settling on just one for their own material, they have tried to encompass both but at no point does this really translate into a wholly smooth fusion of the two genres. ‘Love and Affection’ presents us with a taste of guttural, fervent vocals diligently laid against a more inoffensive pop-based guitar and drum permeated melody. Although kicking off with a determined riff and steady drum beat, the fiery direction it initially procures steadily veers off into streaks of diluted pop-rock. This is a pattern that occurs through the majority of the first half of the record including during the hideously lyrically contrived ‘1983’ and creates the impression that Neon Trees have nothing to present that we haven’t all heard before.

If you can push through this sense of familiarity however, the latter portion of the album indicates that this Utah-based band might, surprisingly, actually be able to offer us something more. ‘In The Next Room’ opens with retro-inspired finger clicks and a silky piano accompaniment that almost makes you feel as if you’re listening to a different artist and era altogether. Lead singer Tyler Glenn’s raspy vocals transform into a smoother croon, and this change is a refreshing turnaround when all hope was rather thought to be lost. Granted, the ubiquitous guitar riffs make a reappearance later in the song but at least we now know there’s variety in Neon Trees’ repertoire. ‘Helpless’ possesses a faster synth-tinted tempo bringing them more in line with their contemporary peers, and ‘Farther Down’ finally demonstrates an ability to write meaningful lyrics whilst rousing harmonies, a slower pace and powerful crescendos all show a deeper side to a band which ultimately does them credit.

So, whilst the outskirts may appear to be familiar and prosaic, it transpires that what lies in the centre of the forest is occasionally worth venturing in deeper for after all. If the band themselves can explore this heart further and be unafraid to detour from the well-trodden pop-punk path, then Neon Trees’ successive release may just be worth considering saving from an automatic trip to the chipper.

This review was originally published on www.culturedeluxe.com

Noah and the Whale, Koko, 17/2/11

They say time is a great healer and Noah and the Whale’s showcase of new material from upcoming album Last Night On Earth this evening could not have proved this point further. The previous release of lyrically raw and musically pared-down First Days of Spring saw the band deviate away from the jovial folk-pop sound with which they were initially associated; lead singer Charlie Fink’s break up with folk contemporary Laura Marling was believed to be the driving force behind this change. However, eighteen months later the group have returned with a vigour that will surprise even their biggest fans.

‘Life is Life’ grabs the audience’s attention from the off, with unfamiliar loop beats and heavier riffs emanating from the stage; the only remaining hint of the twee style that threaded throughout their debut album are the lovingly haggard rugs that adorn the floor. Fink struts around with a confidence that was rarely beheld in performances of past, and as he belts out the lyric “he’s gonna change his pace”, it could not seem more fitting. ‘Tonight’s the Night’ demonstrates that the power pop feel heard in their newer tracks is well and truly here to stay, although the country twang demonstrated by the vocals provides an enduring association with their older sound. The band seem to really relish this new-found vitality and ‘Give It All Back’, which Charlie describes as “a song for kids who believe in rock and roll” encapsulates you in such a happy fervour that you feel you could just as easily be skipping along carefree on a warm summer’s day.

                                                                                                         Photo by Rachel Lipsitz

However, upbeat wasn’t the entire plan for the evening and inclusions into the set list of melancholy and poignant tracks from their second album certainly affects the atmosphere in the room. Whilst the haunting ‘First Days of Spring’ causes an eery hush to fall over the bewitched crowd, more desolate tracks ‘I Have Nothing’ and ‘My Door is Always Open’ fail to have the same effect and the noise from various audience members’ conversations sadly dampens any real impression these songs might have created otherwise. Luckily, Charlie soon declares “we’re going to play some songs you can dance along to, if you like”, and ‘Rocks and Daggers’ rejuvenates the mood suitably. ‘Five Years Time’, as always, produces a roar of appreciation from the crowd, although this could soon find itself replaced as fan favourite by new single ‘L.I.F.E.G.O.E.S.O.N’. The upbeat lyrics and catchy melody induce a mass singalong and even gets people sitting on their friends’ shoulders (something I never thought I’d see at a Noah gig) and this sense of jubilation ultimately creates the perfect end to the evening.

Tonight certainly marks the start of a new phase in Noah and the Whale’s career, but it is far from unwelcome. The response is hugely positive both from the crowd and the band members themselves, all of whom seem far more assertive and involved than on previous occassions; violinist Tom Hobden in particular steps to the forefront by assisting on vocal duties.

Their development as a band as they perform tracks from each of their three albums tonight is apparent, and their newly acquired desire to experiment with sounds and styles is at times subtle, but admirable nonetheless. I for one, cannot wait to see how these guys evolve from here on and sincerely hope that they retain the confidence to continue doing so.

This review was originally posted on www.culturedeluxe.com

White Lies, Shepherds Bush Empire, 11/2/11

When you release a follow-up album to your debut that receives as great reviews as Ritual has, then there must be some pressure to sustain and transfer this glory in the live performance. However, if White Lies were feeling the strain at all this evening, it certainly didn’t show.

Striding confidently onto the stage and launching into old favourite ‘A Place To Hide’, lead singer Harry McVeigh ecstatically punches the air and thrusts us into the awaiting set via his recognisably deep and yearning vocals. There’s nothing like a satisfying crowd sing-along to kick off an evening, and the trio absorb this early enthusiasm before moving immediately onto new material. Searing riff-driven ‘Holy Ghost’ showcases the electro influences that are considerably more apparent on the second album than their anguished debut, and the faster-pace to these newer songs helped lift the overall tone of the night. Even ‘To Lose My Life’ seems to have been ramped up to these boys’ new-found energy levels as it skips along a beat quicker than usual, before a stunning rendition of ‘Strangers’ solidifies the band’s move into synth territory. ‘Farewell to the Fairground’ and ‘Death’ both receive a rapturous reception and with the thunderous clapping and chanting, the atmosphere in the room is undeniably and thrillingly electric. By the time they return for the encore and round up with latest single ‘Bigger Than Us’, it’s not entirely clear who is more jubilant about the way the evening has unfolded; the audience or a beaming McVeigh and his cohorts.

Yes, the band have adopted hints of the currently ubiquitous electro trend, but instead of letting it overpower their original sound, they have simply woven it in amongst the myriad of instrumental layers they already possessed in order to enhance it. Adding further merit to their already scintillating performance is the astute lyrical content, enhanced by McVeigh’s ever-steady and pitch-perfect live vocals. If tonight is any indication, it certainly won’t be long until the days whereby White Lies grace venues of this modest size are but a distant memory.

This review was originally published on www.culturedeluxe.com

Foals, Brighton Dome, 8/11/10

Foals are like a fine wine; they’ve matured and simply got more delectable with age. Gone are the days whereby the band came on stage and immediately launched into a raucous frenzy so that they couldn’t fail to grab the audience’s attention. It’s taken them a couple of years to arrive at this point, but they’re finally letting the music rather than sheer attitude prove their worth, and this new-found assurance is wholly favoured. ‘Blue Blood’ with it’s singular guitar plucks supplies a more subdued and atmospheric opening to what long-term Foals fans might be used to; though as a band they’ve never been adverse to experimentation so expectations for their set list should be no different.

Not by a long shot have all traces of the exuberant Foals gone however, and they swiftly follow up with a highly charged rendition of ‘Olympic Airways’. The crowd go wild for old favourite ‘Cassius’, which switches things up a notch to such a frantic level that even lead singer Yannis Philippakis can barely keep up, skipping words as he goes in order to stay with the riffs. The fervent and extended instrumental in ‘After Glow’ and the subsequent poundings of ‘Alabaster’ bring a sense of the dramatic to the occasion and rile the audience up into a maniacal state. Disappointingly, this sense of elated commotion is stilted temporarily as a rendition of the haunting but slow ‘Two Trees’ merely serves to dampen the atmosphere somewhat. However, the pace soon kick-starts again and the sparks of excitement spitting around the room help guide the band back on their electrifying track for the remainder of the evening.

Those who have seen or read interviews with Yannis will be aware that he can be a rather reluctant and obstinate participant. However, what he lacks in enthusiasm for the media he most certainly compensates for once he is on stage and tonight is no exception. Between calmly walking through the baying crowd to jumping up and down like an excited bunny at the opening thumps of ‘Electric Bloom’, he certainly knows how to captivate an audience. He’s known for his enthusiastic stage dives but adds additonal thrills this evening as he ventures up to the balcony during the finale of ‘Two Steps Twice’, meandering his way across before climbing over the edge and leaping back onto the stage to triumphantly wrap up proceedings.

The ability to enchant both musically and visually is a rare talent, but Foals manage both in adundance. Their live shows possess an invigorating energy that engulfs all in it’s wake yet at the same time continues to exude an air of collected sophistication. This dexterity undoubtedly elevates them significantly above their peers and makes them truly unmissable performers.

This review was originally published on www.culturedeluxe.com

Fenech Soler, Tunbridge Wells Forum, 3/11/10

Despite The Forum starting out life as a public toilet, since it’s conception eighteen years ago as a music venue it’s played host to what have eventually become some rather successful bands. Coldplay, Oasis, Green Day, The Libertines and more recently Mystery Jets and White Lies are amongst this list, so it’s no surprise that one of the most exciting bands of 2010 are playing here tonight and adding their name to the list of esteemed alumni; Fenech Soler.

The quartet gracing the stage take no prisoners from the off, launching into the resonant and pounding bass notes of ‘Battlefields’. As the grinding electro beats and synths reverberate around the room, the tone is set for the subsequent 45 minute showcase. Lead singer Ben Duffy’s high-pitched vocals provide the ideal counterpart to the crunkier instrumentals that support them, and the veracity and panache in his performance certainly aids in creating the party atmosphere that suits them so well.

Smoothly transitioning through ‘LA Love’ into the throbbing rhythms of last single ‘Lies’, the crowd finally start to warm up as they’re hit by twinges of song recognition and the band undeniably feed off the positive response they receive from their small audience. The scratching intro of ‘Contender’ is remarkably catchy and provides a great foundation to a track that gets everyone moving. Upcoming single ‘Demons’ swings between softer verses and frenetic choruses and provides a gratifying variation that keeps us on our toes, whilst ‘Stone Bridge’ changes the pace entirely. The addition of piano on stage at this point detracts from the guitars and synths that previously dominate, and demonstrates the band’s more affecting side whilst also illustrating their ability to veer away from the upbeat funk-driven style they’re more accustomed to producing.

Fenech Soler are undoubtedly a great live band, with their musical ability and vocal prowess proving predominantly unfaltering. Tonight established that the group’s energy and enthusiasm in addition to their vivacious sound can and will inject life into stoic rooms nationwide and cause even the most resistant of audiences to succumb to their addictive electro-pop charms in the end.

This review was originally published on www.culturedeluxe.com

Interview: JD Samson

Whilst some of you may be most familiar with JD Samson as one third of electro-dance aficionados Le Tigre, this Ohio native has many other impressive strings on her bow. Between producing art, film making, forming her own dance troupe and campaigning for gay and lesbian rights, it’s surprising she actually has any time left not only for Le Tigre but now for new band MEN. I spoke to JD to discover more about her latest musical venture, as well as the other multiple endeavours that occupy her time.

You originally joined Le Tigre as a projectionist, and it wasn’t until a bit later that you joined the group as a musician. How did that transition from behind the scenes to being part of the band come about? 

I met them all and was friends with them independently of each other and they asked me to go on tour and be the projectionist; I was actually in film school. The first Le Tigre tour I did was in the States in April of 2000, and on the tour everyone was like, “you should be in the band!” and I was like, “I don’t know what to say!”. Then a couple of months later, Sadie, who was in the band in the beginning decided she wanted to continue her own career so she left the project. I had already been working on stuff with them, so it just kind of happened.

You studied film at university, so did you have any musical aspirations before you joined the band or is it something you really just fell into? 

I played classical and guitar when I was twelve or something, and I really loved music. Music was a huge part of my life and I listened to it 24 hours a day and I promoted shows in school. But I never really expected it to be where my career would lead me. I think that a lot of what I was doing in film and video was translating well to music, so I think my learning curve was kind of high in terms of building on that. It was really cool, doing something new and approaching it in that much more of a punk way, because I just didn’t really care what was right or wrong.

A lot of Le Tigre’s songs have been used in adverts and T.V. shows, yet the band never really enjoyed the more mainstream success that would typically come from that sort of exposure. Are you disappointed that these media inclusions didn’t elevate the band’s status to another level or do you feel such attention would have deviated away from the music? 

I think we achieved the attention that we wanted. We really developed a scene of people that was full of feminists and queers and freaks and it was such an incredible space to be in every night. I guess I don’t really wish that anything had happened differently, you know? I think that we accepted offers for our music to be on television commercials and stuff like that based on the fact that we need to make money and we’re not really afraid of doing that. We’ve kind of reached the point where we’re not trying to gain more fans right now, what happened kind of was. We feel really positive about it and nothing could damage that, I don’t think.

MEN’s sound is more typically dance than that of Le Tigre. Is dance as a genre something you wanted to explore more? 

I’ve been DJ-ing for a while, so I think I’ve been influenced a bit by what I’ve been listening to, and also by seeing what kids are into. When I play a song and there’s a crazy build with kicks that roll, people are freaking out and that kind of energy isn’t something that we really paid attention to with Le Tigre very much. I think it’s a new thing also for a new generation, it’s crazy to watch kids respond to that, it’s kind of like a trigger. So I think that also had a lot to do with it; learning what’s happening right now. I learned to make music on Pro-Tool so I’ve always been an electronic music person, but it just moved into more of a club feel because I’ve been DJ-ing.

Do you prefer to DJ or make music? 

Sometimes I really love DJ-ing, and sometimes I really love to make music, so it’s hard to say. I think the part about DJ-ing that I really like is that I’m by myself, so if you fuck up, you fuck up, so it’s easy. You make the decisions on your own and you don’t have to talk about it all the time, so it’s been a nice departure for me, to have that space. There’s also less pressure as you’re just playing other people’s music and sometimes you can play what you want and sometimes you can read the audience and play what they want. [But] making music feeds my creativity. Being able to be creative inspires me more.

Who are your biggest influences, musical or otherwise, both past and present? 

Vocally I’ve been really influenced by Sean Paul and Joan Armatrading. I think that they both have this really interesting rhythm that is really different to a lot of other people. They’re not similar to each other, they’re both so different! So those are two people whose vocals I really love. Music wise, it changes a lot. A lot of times I’m really inspired by the people around me, like my friends. I love The Presets, I think their records are really great. I love a lot of Hot Chip stuff… these are people that I know, not extremely well but that I know. Also touring with bands… we toured with The Gossip and we toured with Peaches and I’m inspired by both of those bands and their live shows. My friends really are the people that most inspire me now.

You grew up with a huge interest in art, which carried through to your time in college. How does art influence your music, or do you view them as two separate entities? 

I think we are artists, I am an artist. I feel that everything I do is content-based, whether that’s lyrics or score or making a song that’s really long but only has one chorus. There’s a reason why it’s like that, there’s always a reason. Even if it’s only a sample, there’s a reason it’s that sample. I like to think of it as more art-based music making but I don’t really care if other people know where it comes from, that’s how I make stuff.

Do you still do a lot of art? 

Sometimes. It’s really hard time-wise and I definitely feel I have to be in a space where I’m like, everything else gets cut out. But there’s definitely days where I sit and make art all day.

Who are your favourite artists? 

(Pause) I really like my friend Emily Roysdon’s art. I really love my friend Brendan Fowler’s art, he’s really incredible. I guess Henry Darger, I think he’s amazing. Who else? I don’t know… My friends are incredible. Kate Hardy, Ulrika Ulrer, she did the cover of our ‘Credit Card Babies’ 12″ that I love.

You’re a passionate campaigner for gay and lesbian rights, and the issues raised within these are portrayed through your music and your art and dance projects. How important is it for you to have these outlets to convey your socio-political beliefs? 

I wake up in the morning and I’m queer, and I wake up in the morning and I’m an activist. Even if it means I’m just walking around on this planet. I don’t really feel like I need those things to be an activist, but they are really helpful to create visibility and queer rights and equal rights in general. I think even looking at those ‘It Gets Better’ videos, we don’t really need you to but it helps.

There’s been a recent spate of suicides in gay teens and you said in your biography that growing up and coming out was difficult for you, but you’d think that fifteen years later it’d be a lot different. What’s your take on the situation?

I think that it’s really interesting, I made like, five ‘It Gets Better’ videos and didn’t post them because I felt “I can do a better one, I can do a better one.” But today I read the lyrics for ‘Keep On Moving’ which was a Le Tigre song, and then I just did that because I said this ten years ago and it’s exactly the same now. One of my things I didn’t end up using was that I was lucky my community was so awesome when I was coming out, but it’s more about the pressure that you put on yourself. I think that’s the thing that people really need to pay attention to because you could have the most supportive family ever, but if you feel like you are somehow letting yourself down or something, then that’s where the real trouble starts.

What are your plans for MEN, do you see it as like a side project? Le Tigre have been on hiatus for a few years now, are you going to get back together and record, or are you going to focus on MEN? 

MEN is my priority right now for sure. Le Tigre is putting out a live DVD in March, I think, and that’s been pretty awesome to work with Kathleen and Jo again, and we also did some writing for another artist together, which was awesome too. But I think we’re all in very different places artistically time-wise and getting our schedules together is pretty intense. So, for now, MEN is my number one thing. I see it as my project, not my side project.

Finally, what are three songs you wish you’d written? 

That’s a good one. I was listening last night to Warpaint and I was like, “this band are awesome!”. You know that song ‘Undertow’? I kind of wish I had written that song, I think it’s really good. I also really wish I had written ‘Once In A Lifetime’ by the Talking Heads, and I also really wish I had written… this a good question by the way. (Long pause) I feel like there’s a lot of Gossip songs I wish I had written, but I can’t really think of just one. There’s this one song called ‘Jason’s Basement’ by the Gossip, it was on their first record, and I’ll say I wish I’d written that one. Although now I’m like, ‘I should have said this!’.

This interview was originally published on www.culturedeluxe.com

Interview: Cloud Nothings

Despite being touted by many music critics as one of the bands to categorically watch this year, Dylan Baldi, the young man behind much-lauded Cloud Nothings could not be any more unassuming. Sat quietly wearing a beanie and tapping away on his Mac as techies run around the room chaotically and his bandmates joke loudly in another corner, first impressions are that he cares little for rock-star pretention or any glare of spotlight on his personal being that might arise as a result of his career choice. Laughing amiably throughout their meeting, Dylan spoke to me about the reasons as to why he prefers to work on a solo basis, the benefits of recording at home, and why you probably shouldn’t pay too much attention to his lyrics.

Your debut EP Turning On had a very lo-fi, almost grainy kind of sound, whereas your self-titled LP is a lot crisper and more evidently produced. Obviously this is because the first was recorded in your house and the second in a studio. Were you pleased that the newer material has shed this more lo-fi sound or is that something you’d have liked to have kept, or would want to bring back?

When I made it I was certainly happy with that because I wanted to get away from the whole lo-fi tag, but if I was to make a record right now, I’m back into liking that sort of music again. So if I made something now it would be like that but I’m happy with the way it came out because that was the record I wanted to make.

Which environment did you prefer working in and why? I mean obviously a studio has all the equipment and some amazing facilities, but did you feel you had a sense of freedom at home that was lost when you went into a more professional environment?

I kind of like working at home more because I like working alone more, really. Not that working with someone proved to be hard or anything, it went really well with [producer] Chester. But when you’re at home you feel more comfortable doing it.

Would you want to go back to recording at home or is that something management wouldn’t let you do?

I don’t have management, so I would let me do that, yeah! I might do that on the next one, actually.

The overall style in the tracks between the two releases is noticeably more different; the self-titled release has a more punky feel to it. What caused or influenced this change and development?

Kind of playing with the band, actually. I was really getting into that kind of music when I was going into recording that album [Cloud Nothings] so it kind of just came out that way. It was just sort of an accident.

Despite having a band that tours with you, I gather that you view Cloud Nothings as more of a solo project.

Yeah, through recordings at least, I like to do things on my own. I also write everything on my own and then show them how to play the parts. But it’s kind of becoming more of a band, just on its own because at the minute we’re not recording, it’s just tours. I would like to keep recordings more to myself.

Does it not get lonely recording on a more solitary basis?

(Laughs) No, it doesn’t get lonely, it’s what I like doing, so it’s ok!

If you did decide to record with a full band in the studio, what kind of effect do you think that would have on the sound? Do you think it would change it, or would it still very much be you?

Erm, I would say “do this, do this” but it would never happen so I’d just get frustrated. Not that what they do is bad, I like everything they do a lot but with the recording, I’m really kind of anal about all that stuff. So I would just get really frustrated.

Your ascension from recording in your parent’s house to being signed and now touring internationally happened pretty quickly and I’ve heard the words ‘cult following’ being banded about as a result. Would you be happy maintaining this more underground appreciation, or is cracking the mainstream something that you really want to do?

I’m not really concerned with it. You know, if we never crack the mainstream it’s not a huge deal to me, because all the stuff that I really like is not the kind of stuff that you’d say would crack the mainstream. If we do, I wouldn’t mind because it just means we get paid more! (Laughs) And that’d be fine. But I’m not too upset about the fact that we might not.

What’s the difference in response to your music in the UK and back home? You’re garnering quite a bit of attention over here but are you still fairly unknown in America

It’s pretty similar to over here, actually. The last tour especially you could tell that people were coming out just to see us specifically. So it’s just kind of steadily growing as things go on, it’s going well.

Pretty much every single article that I’ve read about you makes a significant point…

…that I’m only nineteen? (Laughs)

Yeah! I’m very aware that bringing it up now makes me a bit hypocritical but does it bother you that it seems to be such an important factor that people take into consideration?

It doesn’t bother me really, I don’t really think about it. I mean, going around and doing all these things that I’m doing, it doesn’t feel like I’m nineteen because it’s pretty crazy for someone my age to be doing. Everyone that you meet generally in this field doesn’t take it into much consideration, so it hasn’t really bothered me. It’s just something for people to write about and start an article with, that’s what usually happens!

You don’t view yourself as a ‘figurehead’ for younger musicians?

No! No, I should never be that! I don’t want anyone to look up to me! (Laughs) That’s ok if they do and if that ends up happening then cool, but I don’t view myself in that way.

Who were your biggest influences when you started writing and what bands are having the greatest effect on your style at the minute?

Hmm. When I started writing I was probably listening to a lot of Guided By Voices, and stuff kind of like that. But when recording the latest album and at the minute a lot of my favourite bands are acts like Hüsker Dü, The Replacements and Television Personalities.

I’ve read a lot of interviews where you stress the point that you don’t care much for lyrics and would much rather focus on the melody of a track. A lot of music critics and fans alike would argue that the lyrics are a substantial part of making up a song, so what would you say to people who might suggest that as a result you’re not producing the entire package?

I guess that to me, it’s the whole package. I don’t really care about the lyrics because they’re just words to me. I care about reading a poem or something, when there’s nothing else going on and you’re just sitting there reading and that’s really important and I really do like words. I took a lot of English classes in school and I read a lot. But within a song I don’t find it that important for some reason. I just never really think about the lyrics and have always focused more on the melody. The first thing that I listened to that was kind of breaking away from it, was listening to the radio that my parents listened to. It was actually really weird, like minimalist classical music. Generally there’s no lyrics in a lot of them and the way it all works is that there’s not even usually a melody, it’s all just kind of black chords, so the harmony sort of is the melody. That kind of got me away from really caring about lyrics to just focusing on sounds and things.

So would you ever consider releasing a purely instrumental record?

Erm… no. (Laughs) Maybe eventually but not in this kind of style, just because with this sort of music the element of the human voice really gives it more of a push and authenticity, more feeling. I took music composition classes in college but not with this kind of stuff.

What do you think separates you from all the other emerging indie acts out there at the minute?

I think… hmm. I think I’m the only one in the band who wears skinny pants! I don’t know. We just kind of have a rock band sound that’s more traditional and that’s not something that’s really around too much right now or too popular, which I think is too bad. And we have a real drummer!

If I was introducing someone to Cloud Nothings for the first time, which record of the two you’ve released so far should I tell them to listen to in order to get a feel for what the band really represents?

Hmm. I would say the first one actually. But then tomorrow I might say the second one, you know? No, probably Turning On just because it was me on my own, not really thinking about what anyone else would think of these recordings because I didn’t know anyone else would care. So probably that one is more of a genuine view of… me.

What’s up next for the band? With the last two recordings being released pretty close to each other, are you going to leave it a while before you release another record and just tour for a bit, or do you want to push out another record quickly?

I want to put out something else really quickly. We’re touring a lot but we have a month off in April to May, so I’m hopefully going to maybe record an album then. Maybe get it out in the Summer, or before 2012, definitely.

Are you going to be back over this way playing any festivals?

Yeah, Primavera in May and then I think a couple of ones in August but I’m not entirely sure which ones they are.

Finally, name three songs you wish you’d written.

Oooh. That’s such a hard question. There’s this song ‘Chartered Trips’ by Hüsker Dü that’s real good, I really like that song. It’s just going to end up being my favourite bands again! There’s a Replacements song called ‘Androgynous’ that is really good, I’d like to have written that. And there’s a song called ‘Rhythm of the Rain’ by The Cascades, who are a ’50s, almost like vocal group. That’s one of my favourite songs too, so we’ll go with that.

This interview was originally published on www.culturedeluxe.com