If somebody came up to you and said, "This place is such a shit-hole"; you’d probably tell them to move or to shut the fuck up. But when somebody you don’t know says it over a few guitar chords, you’ll sing along with them with a big grin on your face. You’ve got to love that.
Our Christmas record was significant. John Peel flipped out and played it on daytime BBC and that was a huge thing for us. This one feels like we took a bigger chance and some people might not like it. That to me is satisfying.
Belgian Post-Rock didn’t sound promising I have to admit. Still there was a picture of a silo and a cow on the cover
I’d prefer to keep people guessing.
We had to prove to ourselves that we wanted to make this kind of record. It was made in a studio situation that wasn’t “live”. In the past we all played together. With this one we laid it down, part by part. And you can hear the space that ensued through the recording.
The whole way we live at the moment… I mean I hope we are typical of people our age. But you can’t help but notice at present things like the media and politics and the environment; the whole way the upper echelons of the word works; its really scary to our generation and in some ways it seems to need fighting against, counter-defining for ourselves.
The Hip and the Homelessness is a superb blend of a heart-rending story and a great tune getting on just fine.
I can’t help being flippant reviewing this, simply because the music puts me in a flippant carefree mood. It’s a great feel-good record. Track it down.
…this is a High Church lament; sounding for all the world as if Syd Barrett has broken in through the vestry and is messing about with his local church organ and a Casio.
Oh hell, describe a kind of Gothic, Dark Folk album that is primarily instrumental and viola-led.