Πέμπτη, 7 Μαΐου 2009

caretaker


“One thing I distinctly remember is being at my grandparents' place in the early 80s and whenever I used to go there I would just sit with headphones on going up and down the wavebands on their old stereo, finding all these weird foreign radio stations - just enjoying the static between and then the odd voice would fight through that. I guess that kind of stays with you and maybe somewhere down the line this comes out in some of the work.
“Apart from that, I don't remember too many specific musical moments when I was a child. I tend to remember television more and have been exploring a lot of old series which I used to watch when I was younger. It turns out that a lot of the things I remember often have very strange soundtracks, mainly electronic. For example the Look and Read series - which was pumped out to all British school kids in the 70s and 80s - particularly 'The Boy from Space' section. If you watch that again now you could be listening to a Ghost Box release. The Ghost Box guys have totally nailed that sound." “You tend to find you often unlock memories the older you get, when you are exposed to older audio. I was listening to 'Maid of Orleans' the other day by O.M.D. and when the synth kicked in I was straight back to '82 or '83. Pop music is, of course, probably the biggest influence - too many musicians are very elitist when it comes to their influences - you know, that need to look cool - so pop is dismissed in favour of their love of hip-hop or experimental music. Of course, pop is always our entry point-into music. The early 80s were a good time, I think - certainly better than now for Pop. Synth-based Pop was especially amazing when I was a kid…I mean, it was a new style - that futuristic dream we were all sold. You know the style, about how we would be riding around in little spaceships in our technological cities, with robots doing everything for us. I guess the title of the new release, Sadly, The Future Is No Longer What It Was, is a reflection on that ideal we were all sold back then - I mean, sadly it's not exactly Tomorrow's World today, really. It's not the techno city, really. Maybe we should reclaim that future ambition again. People seemed happier about the possibilities.”
“Τhe future is a funny old business... I need to think when the future stopped being the future for me (laughs)…it's an important question these days which must be answered [laughs].
“I am not a political man, but one thing about the future, I think, as a nation in Britain is when Tony Blair came in - we looked to a future out of the grip of the Conservatives as a time of change. When, in actual fact, we were given more of the same from New Labour and, in fact, it maybe even got worse. I think many lost their faith in the future then as change never came. As always, a constant in future is change. But remember the nation’s euphoria? - the same thing happened in America with Obama too and will ultimately lead down the same road with no new dawn. Where has that elation and hope gone? It's been ground away and we're just left with misery, despair and credit crunches everywhere these days back in Blighty. That's my Lilly Allen lyric there: "It's just misery, despair/ and credit crunches everywhere" - either her or the Arctic Monkeys can have that one on me [laughs].
“I have only played parts of the new album to a few people who have visited the flat here. Every response has been amazingly positive. Weirdly, one of the weakest tracks (to my ears) is the one from the video last year and that is a stunning track. I'm raising my own bar [laughs]. I've just spent the last 7 or so hours working on this one track, slowly distressing the audio so that it's at the point of breaking…The killer is that it almost brings me to tears each time I listen to it. So I've spent four hours on the edge of becoming a mess...strange times…
“The track itself reminds me of something somewhere between Les Baxter and Brian Eno (or Harold Budd), but with this strange futuristic (in a bad Dr. Who way) style wobble that appears from nowhere and goes back to nowhere. There's piano in there and it sounds totally out of tune, but somehow it works. I can't quite work out how it does work. The title is relevant too: 'When Did Our Dreams And Futures Drift So Far Apart ?'.
[ολόκληρη η καταπληκτική συνέντευξη εδώ]. κι ένα κομμάτι απ' το νέο άλμπουμ του εξκλούσιβ.
when did our dreams and futures drift so far apart