CABLE #6

THIS ISSUE: CONTRIBUTE:

Miles Kane Milky Tea Send your news stories to: Claudia Pink Studio [email protected] Wombats Owls* Follow us on: Bicycle Thieves In The Room Print Company www.twitter.com/elevatorstudios Mugstar Ditto Music or www.facebook.com/elevatorstudios MILES KANE RELEASES DEBUT SOLO SINGLE

Last Shadow Puppet and former Rascals front- man Miles Kane has released his first solo single, ‘Inhaler’ after completing a short tour of the UK.

With support from friends and fellow Elevator band, Bi- cycle Thieves, Miles took his highly anticipated material on the road. After performing a free gig at Liverpool Music Week, the tour culminated in Kane’s first lone date at The Water Rats.

‘Inhaler’ was released on November 22nd on Columbia re- cords and is a tribute to Los Angeles’ psychedelic garage group Bonniwell Music Machine - ‘Inhaler’ is an adapta- tion of their 1969 track ‘Mother Nature Father Earth’.

“I loved the guitar riff on ‘Mother Nature Father Earth’,” explains Miles. “It’s got a real groove to it and this riff inspired me to build a song around it which then became ‘Inhaler’.”

The b-side features a cover version of another of Miles’ vin- tage influences, a dazzling take on Lee Hazlewood’s psych- pop classic, ‘Rainbow Woman’.

The record is available as a limited edition 7” vinyl single and includes a special poster. The track will also be avail- able as a digital download.

Miles has announced details of a full UK tour in January and March, and will be playing at the Sound City 2011 Launch Party Miles Kane on February 25th at the Kazimier.

For more information, go to www.mileskane.com Miles Kane caught in a serious moment stood next to a window.

CLAUDIA PINK’S X FACTOR SUCCESS

For most people, a Saturday night in watching X show? “It feels really good! They have used my jewellery Factor is rarely life-changing, but for Elevator’s every week, it’s a buzz to see it on TV, it’s such a big show Claudia Pink, it was a night that has given her jew- so is fantastic exposure!” ellery national prominence. Does Claudia find herself rooting for the contestants who are wearing her items? “Well actually I do a bit,” she ex- Claudia Windle, owner and founder of Claudia Pink, has plains, “but Rebecca who wears my jewellery the most is seen her business grow in notoriety after X Factor contes- the best in my opinion. tant, Rebecca Ferguson, was pictured wearing one of Win- dle’s designs on the live show. Seeing her piece on national So with money can’t buy publicity under her heavily intri- television was completely unexpected. “I was watching it cate belt, what does the future hold for Claudia Pink? “Well and got a shock when I noticed it! It was hard to miss it as it ASOS have just been in touch and I will be joining their was a massive statement ring!” Marketplace, it’s a new section launching end of November, so that’s really exciting! I have just put on a fashion show Stylists on the show liked the ring so much they contacted with two other designers, it went really well, and was a huge Windle, asking her to submit some jewellery to potentially success, we had 500 guests and it was a great opportunity to be used on the show. “One of the head stylists got in touch be really adventurous with my designs. and asked if I could send down a selection, mainly rings earrings and bracelets. I made statement pieces that were It looks like Pink will be the new black in 2011.... all one-offs.” For more information go to: www.claudiapink.com How did it feel to be considered for such a high-profile Trey C wears Claudia Pink’s designs for the X Factor live show

PAGE 1 NEWS IN BRIEF

THE WOMBATS RETURN! have returned to the nation’s conscious- ness after the success of recent single ‘Tokyo (Vampires & Wolves)’ catapulted them back into the limelight.

The single was named ‘Hottest Record In The World’ by Zane Lowe on his Radio 1 show. The track was also selected as Zane Lowe’s Single of the Week and Richard Skinner’s Single of the Week at XFM.

The band completed an intimate tour of the UK in February, selling out all the dates almost immediately. The tour culmi- nated in a homecoming show at Static Gallery, Liverpool, where demand was so great, the band were forced to add a matinee to the schedule.

The band have just completed filming the video for the next single to be taken from the band’s second album, ‘’, which will be released on January 24th on14th Floor Records. Immediately addictive and upbeat, ‘Techno Fan’ also features sweetly memorable vocal harmonies and some characteristically unconventional lyrics.

The single will be followed by the album, ‘The Wombats Proudly Present… This Modern Glitch’, on February 7th.

The band, who were due to embark on a major UK tour in Well, we’ve never seen such a grumpy ping pong referee before. January, have decided to postpone their dates after the re- lease of the album was pushed back. “We are really sorry to The band’s long-awaited second album features production The album follows the much heralded ‘The Wombats those who have bought tickets already but we had to move by Rich Costey (Muse, Interpol, Franz Ferdinand), Jacknife proudly present… A Guide To Love, Loss and Despera- our January tour to March,” explained the band. “The album Lee (U2, , R.E.M.) and (Queens tion’, which was released back in 2007. The success of the date moved, which was out of our control, and we want the of the Stone Age, Lostprophets). The collection includes album saw the band complete two sold-out UK tours, play album to be out in time for the tour. The atmosphere would both ‘Tokyo (Vampires & Wolves)’ and ‘Techno Fan’, the and the Echo Arena, as well as being just not be the same if you legends did not know all the as well as ‘’ which was recently made nominated for Best UK act at the MTV Awards Europe. songs.” The March tour includes a sizeable London date at available as a free download at the band’s official site. the HMV Apollo. For more information go to: www.thewombats.co.uk

ELEVATOR’S CHRISTMAS FANCY DRESS PARTY

Dear Elevator residents,

The annual Elevator Christmas Party is to be held in the Novas building this year, in their brilliant function room on the top two floors. It is traditional Christmas dinner and we gather in Cains at 12 noon for drinks and then move to the Beer House for 1.00 pm before moving up stairs to the din- ing room top floor at Novas.

It’s open to all Elevator residents. Please RSVP via email before 5th December and please state whether you have any special dietary requirements. Don’t forget the fancy dress theme. The meal is on us.

Season’s greetings, Tim and Paul Speed. MILKY TEA RECEIVES BAFTA NOMINATION Please RSVP to [email protected] Creative 3D illustration and animation studio, Milky Tea BICYCLE THIEVES have had reason to celebrate after a BBC programme the Bicycle Thieves released their new single ‘Gallivant’ ear- company helped develop has been nominated for a Chil- MUGSTAR RELEASE THIRD ALBUM lier this month. dren’s BAFTA. Conker Media’s The Well, created for BBC Switch has al- Mugstar have released their third album, ‘Lime’, via US The single was recorded at The Motor Museum, Liverpool ready received critical acclaim, winning two Bannf World label Important Records. with Arctic Monkey’s producer Mike Crossey earlier in the year. Television Awards earlier in the year. The Elevator based group recorded the album at White- Milky Tea worked alongside Liverpool based Conker Me- wood Studios with producer Rob Whiteley last year. The The two-track single follows last year’s much hyped ‘Stop dia to create the 3D in-game artwork and say on their blog: four piece will also be appearing at this year’s In Between To Start’, released on Loog Records. The track was featured “We are crossing our fingers and toes that the award for Days, an exclusive festival held at Butlins’ Minehead site as NME’s track of the week and was voted 7th in Teletext’s Best Interactive can be added to the awards and nomina- which is organised by All Tomorrows Parties. Planet Sound’s ‘Top 50 Singles of 2009. tions already received for this cutting edge production.” ‘Stop To Start’ will be released in Australia on Useless Art The band will release forthcoming 7”, ‘Red Shift’, on No- For more information go to: www.milkytea.com vember 29th, on Champion Version Records. Records later this year.

For more information, go to: www.mugstar.com. The band have just completed a short UK tour with Miles Kane. Elevator’s control room. For info, go to: www.myspace.com/bicyclethievesuk PAGE 2 PAGE 3 INTRODUCING... STUDIO LIVERPOOL

The Studio Liverpool guys snapped by Nicola Leigh, courtesy of Reven Design.

Three months ago, Studio Liverpool was located at the The premise of both is simple. It’s an outlet for new and The heart of Studio Liverpool is an event called Embryo bottom of a pint glass. Founders Nathan Wilson and Cel- emerging talent, and not just of the theatre variety. From co- which takes place every 6 weeks. The event began at Stu- lan Scott neither lived nor worked in the city and they had medians to bands to puppeteers, all disciplines seem to have dio Salford; Cellan was involved with moreA veritable than wet 40 dream. of yet to set foot in Elevator. a place here, a fact aptly demonstrated during the launch them. Described as ‘one night of modern vaudeville, lost event which took place earlier this month. Poets, films, and beatniks, inspired madness and beautiful beginnings’ and Skip forward a season, and everything has changed for the excerpts from theatre pieces, DJ’s bands, even puppet bar- ‘featuring the cream of all that’s new and emerging’, the charismatic duo. Studio Liverpool is already up and run- men, all came together to set the out the stall for the one event sees acts from all areas try out new material and get ning, and with a successful launch night under their belts of the most exciting ventures Liverpool’s theatre scene has feedback from the audience. and a full programme of events booked for December, been witness to in a long while. there’s no turning back now. “There’s been 100’s of acts, and thousands of audience “There is something quite remarkable and amazing going members, feedback is always given, not shouted out, au- “We’d always talked about the idea of studios dotted about on in Liverpool’s creative communities at the moment, it’s dience members are encouraged o make notes throughout. the country,” explains Cellan. “It’s a unique selling point one of the main reasons we came here. We don’t mean to It’s invaluable. If you were lucky enough to get a reviewer for a performance space, there’s nothing like it that I know sound arrogant when we say that we aim to bring them coming along to your show, you’d be lucky to get only one of in Liverpool. The idea to get the other ones going formed together, to be this creative hub,” asserts Cellan. “There or two lines. during drunken conversation, and suddenly a lot of opportu- are intensely creative groups everywhere, and they’re not nities presented themselves over a couple of days. necessarily talking to or working with each other. We just “ There have been some experts that have been performed want to place ourselves where we achieve that. The value of at Embryo that have then been picked up by Studio Salford, “Cellan and I met up again at a play reading in August and being plugged into a network that’s buzzing AND is actu- it gives them a chance but also the actors involved who sat down afterwards to talk about rehearsal space and ven- ally producing as well is incredible, the people of Liverpool don’t necessarily have representation,” explains Cellan. ues, continues Nathan. “We’d had a couple of beers and we aren’t just sitting around talking, and they’re actually do- “Everybody can benefit from it. I have so much belief in said ‘let’s just open a theatre, we’ll just find a venue and ing it. the night and so many people take the opportunityIoisis founder Anna if they’re Rosser . open a theatre’. Then, two weeks later we saw a sign on a poet, film maker whatever. It’s not just for actors.” the side of Elevator saying ‘studio space available’, so we It’s not hard to see why the duo can embrace so many dis- called the number. As soon as we walked into the space, we ciplines so wholeheartedly. With theatre, performance, pro- Bands in Elevator could benefit from the launch of Studio knew this was it. This was where we were going to open. duction, choreography, lighting, and set design all honed Liverpool. “Because we’re about new and emerging work, That was 3 months ago. It’s all moved so quickly. As soon through various stages in their thespian lives, Nathan de- the majority of the music we’ll be using, house music, and as we decided, the opportunity just presented itself. scribes it as “culminated in a ball of me wanting to do this is music at the bar etc, will be local bands, signed or unsigned. and this, so fuck it, let’s just open a theatre!” As far as the bands concerned, it’s getting their work heard “Since the word about what we’re doing was put out, people The pair met during a stint on a corporate gig. “We realised without having them to put in the legwork.” have been very supportive.” we had a lot in common and shared passions,” explains Cel- lan. “That’s rare. I’ve had a few business partners in my “December is full. We’re looking forward to it with an air of “It’s a good indication for the next 12 months as that the time, but I really feel that Nathan is the yin to my yang. anticipation,” enthuses Cellan. “The thing I’m most looking opportunities were created by people’s enthusiasm, and “We wouldn’t be here if we didn’t trust each other’s forward to is the first piece of theatre, which will be Mac- people’s passion for it,” furthers Cellan. “Anyone we talk strengths and abilities,” he furthers. “We complement each beth in February. It ain’t going to be pretty, it’s a dark piece. to has been so excited by it. Word of mouth had been amaz- other.” This is not Disney does Shakespeare. ing. Studio Liverpool gives people an opportunity that they wouldn’t necessarily always have. With theatre produc- “Not just in an artistic capacity, but also in a personal ca- “We have room for three more in-house companies. I would tions sometimes it can be a bit of a closed shop for new and pacity,” continues Nathan. “When I’m running around like like after the first 12 months to have all of them in place, so emerging work and new writing. There is a long and ardu- a headless chicken, Cellan’s there to say ‘it’ll be fine, and we’ll start the next year will be a full programme of theatre. ous process that you go through if you’ve written a play to when Cellan’s running around in a panic, I say ‘don’t do So how do you get involved? “Volunteers, front of house, get that play on. It can take two or three years, it’s to do with that that’s my job’!” technical staff, people behind the bar, they are all an essen- getting agents, and getting it vetted and people in the know. tial part of what we’re trying to do. If you want to put your That’s not what we’re about. If people have a production or “It’s would be an enormous responsibility to take on indi- work on, or even get assistance in developing the script anything they want to bring here, they just have to call us. vidually. We need to drive it in the right direction,” says contact us, or just pop in. The more the merrier. Studio Liverpool is a sister organisation to Studio Salford, Cellan. “You can talk about stuff or you can do it, so even an umbrella to five in-house theatre companies that Cellan in the middle of a global recession we thought, we’ll open Ladies and gentlemen, the performance is about to begin..... states “deserves credit for reinvigorating the fringe in Sal- a theatre!” ford and the North West”. For more information email: [email protected] PAGE 3 PAGE 2 INTRODUCING... DITTO MUSIC

The Parsons brothers, co-founders of Ditto music hang out in the street.

Elevator newcomers Ditto are no stranger to the charts. in physical CD sales, but an increase in streams and online let us know where they’re playing and put two tickets aside Since forming in 2007, Matt and Lee Parsons have stores. This has helped us achieve what we’re doing. It’s al- for us and we’ll come down and give you our opinions on notched up an impressive seven Top 40 singles and already lowed clients to send their music out very inexpensively and what we think of your band. For doing that we’ll put your have one world record under their belts. Not bad for two make money from it. The way the industry had developed record out for free on iTunes, 7digital, Spotify and handful brothers dropped by their before their first EP in this digital style, and the way acts don’t require the large of stores where you can market yourself. came out.... sums of money put into them the way a record label would have done beforehand has definitely changed the industry “A band can come to us at any level. A bedroomA veritable artist wet might dream. Despite Ditto being born from dreams of rock and roll ex- and what it can offer to unsigned acts. come to us because they want their music on Spotify so cess, it transpires that losing their record deal was the best they can share it quickly with their friends. Maybe your thing that could have happened to the Birmingham based While other online distribution companies exist, they’re band is looking to break into the charts, we’ve had seven brothers. The online music distribution company is chang- not doing it quite like Ditto. “We work with everyone from Top 40 hits with unsigned artists, all you need is to have ing the way the music industry works, as Vice president Jay bedroom artists to touring bands. At least 30 to 40 percent already got a fan base established,” asserts Kerr. “We have Kerr explains. of our client base are independent labels, they distribute loads of little hints and tips on how to chart, it’s a process of through us because we don’t take any commission on sales, taking time rather than pouring money into it, so if a band “Matt and Lee’s band was big on the Midlands music scene. whereas other aggregators take 20 percent of the revenue, had been touring the country for a couple of years, they can They got a couple of showcases in London, got signed by we don’t take anything,” reveals Kerr. “We work with artists approach us and we’ll plan for a chart single. We’ll get it in a label and then dropped shortly after the first EP was re- like who have done it themselves for their entire the online stores and sort out things like SMS keywords and corded,” he explains. “They were stuck with a product to careers. They distribute though us because they don’t need get their pre-release sorted. This is how we’ve got nearly all sell, and a fan base but no way to get it into retail stores.” a record label. Another one of our artists, Temposhark, ini- of our top 40 singles. tially went with us to get some sales to get some revenue While most bands would have at this point returned to their and recognition so that they would then get picked up by “If you want to get onto the top 40, these days you need day jobs with their tail between their legs, Matt and Lee a label. They made so much money from releasing their to sell about 6000 in the 1st week. What we do with our decided to take the matters into their own hands. The group music through us that they realised they didn’t need that artists is put them on pre-sale about three months before- decided to put the EP out themselves without the help of a investment and they could do it themselves. hand, because all those sales count for the first week,” he label. “They learnt how to get CD’s into likes of HMV and explains. “The exposure you get from charting is absolutely online shops, and they researched how to set up a record “Another one of our acts, Whitey, took all the money from phenomenal. It’s crucial to have your Ioisisfan basefounder in Anna place Rosser to . label,” says Kerr. “This gave them a platform from which sales and then went over to America and then got signed keep the money rolling in. We had the first unsigned band to release their own music. So they released the EP, it didn’t by Sony, I guess it all depends on the artist and what they in the top 40, which was Koopa; it’s in the Guinness Book sell very well, and unfortunately, they didn’t make it as rock want to do with their careers. If they’re selling, then there is of Records. They put their single on pre-sale and toured up stars as they’d hoped. But they realised that they already no need to sign a deal, if you’re making enough equity and and down the country promoting it. As soon as the Monday had this platform in place and that they could help out other you’re happy, just do it yourself.” came, they already sold enough o be in the charts, they were bands, basically help them to achieve what they could do right behind Beyonce. when they were signed without being signed. And it’s not just the Brits who will benefit from Ditto’s expertise. Plans are already underway to open more of- “If a band is hard working enough, if they have a good fan “Bands were offered services which helped them promote fices worldwide, but first, moving headquarters to Elevator. base, and are willing to put the effort in, then we provide a themselves, market the band, get music on online stores “We’re opening an office in Nashville, and six months after- platform where they can push the effort you put in. A band very cheaply and basically start generating revenue,” Kerr wards, in Sydney, we’re expanding across the world. Firstly should put money into recording, practicing and market- explains. “The company, based in Birmingham until sum- though, we wanted to move somewhere where there is a bet- ing. Distribution doesn’t need to be an expensive part; it’s mer of this year, was started in 2007 and has been develop- ter band scene,” explains Kerr. “We’ve done the distribution just a matter of putting something on sale and getting the ing ever since. We now distribute artists from all over the thing for years, that pays the bread and butter. The majority revenue stream back. They should really put the money into world.” of the staff have all been in bands and have a very big pas- marketing.”. sion for music, we wanted get more actively involved with Since Ditto founded, the music industry had undergone the live scene, helping bands with tours, helping them mar- “Get a fan base set up, work hard, practice hard, buy de- many a facelift. With label funding for bands becoming in- ket and brand themselves and helping them develop their cent instruments and once you’ve got a decent recording creasingly scarce, the DIY scene has flourished, and Ditto fan base. We want to get stuck in with Liverpool scene, it’ll and you think you could make some money out of it then has grown with it. “The two main reasons that we are a com- take a lot of effort and a lot of midnight emails but I think come and talk to us.” pany are firstly, that bands can do it themselves now. They we can do it,” he smiles. can do their recording in their rooms, put on tours them- Chart success may be closer than you thought... selves, and basically create this network of opportunity,” Maybe the promise of free distribution will help them be- explains Kerr. “Secondly, with the way the internet is going come enveloped in the live scene faster... “We have a pro- For more information go to: www.dittomusic.com and the way things have developed, there has been a decline motion on at the moment were any band in Liverpool can

PAGEPAGE 34 PAGE 4 INTRODUCING... IN THE ROOM PRINT CO.

A veritable wet dream.

Hot Club de Paris used to aim their van at cliff tops before they moved into the printing game

The banter is the same. Standing in a room with long-term produce small runs at low cost. It helps us afford to make the name of a club night that we used to run before we got Elevator residents Hot Club de Paris and watching them records, and can in turn help other bands to finance their signed,” he explains. “Unfortunately we got too busy and work, you bear witness to the same quick quips and light- practice.” were unable to continue doing it, so the night went on an hearted witticism that have seen them heralded on the live ultimate hiatus. The name was taken from a song by Joan of scene. But with start-up businesses being infamously labour in- Arc who had taken it from a line from a TS Eliot poem “In tensive, has In The Room detracted from the album cur- the room the women come and go, talking about Michelan- The movement too is similarly fluid. These are three guys rently underway? “Making t-shirts isn’t fitting in with band gelo.” It’s funny because our second order was for Joan of who have the load-out and load-in down to a tee. Since practice at all because we’ve been so busy,” he laughs, “but Arc. I designed their shirts and it was intensely satisfying forming in 2005, the amount of man hours Paul, Matthew we’re hoping to get right back on it this week. For better or to do that. and Al have spent together is more than the average family for worse, we’ve always considered ourselves to be men Ioisis founder Anna Rosser . manage in a lifetime. of business, so we’re adapting perfectly. We’re really ex- “Our first order was for a load of Mugstar shirts. They re- cited about the new record,” smiles Paul. “It sounds like ally have to be one of the best bands in Liverpool right now. But the music that they’re moving to is not Hot Club, it’s Aerosmith.” Their new album is a proper jaw-dropper. early Dr Dre. Al is crouched painting photo emulsion onto a screen, while Paul and Matthew work together on the car- Which came first: the carousel or the concept? “The t-shirt “It’s fun to walk around town and spot t-shirts we’ve ousel. printing carousel came first. A friend who used to manufac- printed. I wouldn’t call it pride, but it’s always cool seeing ture Hot Club de Paris merch was selling up and I thought people wearing shirts we’ve printed from the local skate Welcome to HCdP’s new venture, In The Room. Despite it might be good for us to produce our own merch instead shop, Lost Art. being in the midsts of recording their third album proper, of paying someone else to do it. I talked it through with the band set up the screen-printing business in Elevator just the other members of the band and we agreed that it might So while In The Room is a means to an end, do the group over a month ago and already have a slew of successful or- be cool to try and start it up as a business and pay our rent have future plans for the burgeoning business? “I was ders under their belt. without having to leave town and do shows all the time. thinking it would be cool to move into a more fashion/bou- And how steep was the learning curve? “We put in a hideous tique area and produce our own shirts for sale, as well as Already noted for their DIY work ethic, the band have amount of time and got everything wrong until we learned managing band’s online shops with band-friendly rates and found a new way to fund the costs of self-production, but how to do it right. Now we’re doing everything right and it ethical production values. Elevator have supplied us with still keep it all entirely on their own terms. “We never really feels a lot like magic. an awesome space and a load of work, which we are very set out to be specifically DIY,” explains vocalist and bassist grateful for. Paul Rafferty, “but we realised early on that the only way Another service offered by In The Room are the creative of maintaining a band like ours professionally would mean design talents of Paul. Employed by label Moshi Moshi The band will embark on a European tour in January to that we’d have to make cuts in all the areas that cost the as an in-house designer, Paul has also worked on national promote the EU only album ‘Free The Pterodactyl 3’, a most amount of money: Drivers, recordings, artwork and campaigns for the likes of Crisis. “I like it when we’re print- compilation of Hot Club’s 2010 offerings ‘With Days Like more recently, making merch. No one buys records because ing stuff that I’ve designed,” he explains. “That’s far more This As Cheap As Chewing Gum, Why Would Anyone it’s too easy to steal them. This means that labels are less fulfilling, but we’ll seriously print everything apart from Want To Work’ and ‘The Rise And Inevitable Fall Of The willing to spend their money on bands like us. Merch is swastikas and sketchy right wing stuff. High School Suicide Cluster Band’. one area that for the most part they’re unable to control, so we thought it’d be a good idea to offer a service that can How did the group land upon the name? “In the Room was For more information or a quote, contact [email protected]

PAGEPAGE 34 PAGE 54 INTRODUCING... OWLS*

Jennifer Pelligrini pointed her camera at the band in Woolton Cinema Sometimes silence speaks louder than words. In the mys- been able to produce myself, anything I’m involved with I been able to match that, where the lyrics have just come just terious case of Liverpool’s Owls*, an empty MySpace page have a weird objectivity to. I’m too involved in it to produce as quickly, and we get a song together in aboutA veritable two wet hours. dream. created an intrigue that words couldn’t muster. The frus- it, but I can tell everyone else what to do, I’m quite bossy. I’ve never written this many songs in a year. tration of having to have actually been there saw the buzz The recordings we’ve done so far, we’ve spent no longer about the four-piece flutter across the city like wildfire than two hours on one song.” “We’re in the honeymoon period,” laughs Carl. “In a year’s after just one gig. In an age of impatience and in a city time we’ll probably be killing each other. At the moment, full of musos, the intangible proved to be a heady mistress, “On the demos we have recorded you can actually hear Carl we’re just weighing each other up, there’s that wanting to and Owls* were more than happy to court the fascination. talking through how the structure is going to come togeth- impress but not sticking your fence too far above the fence.” er,” laughs Tommy. “You can hear it in the background, so “It was a conscious decision not to do that kind of stuff,” I take them away and try and pull something together that “It’s like a creative spur rather than competitiveness,” says explains guitarist Carl Cook. “We don’t like the format, it suits and is in keeping with the style of the tune. Then we’ll Tommy. “It’s like, well he’s doing that, I’m going to do this sounds shit when you actually play it, it never works and it’s bring it together, Carl will say ‘I think it would be better if to match it. It kicks us all up the ass, but there’s no ego like an X-Factor popularity contest. we did this’, then you discuss and lay it out. That objectivity involved.” is very organic. “The irony of it is, I use it to find out when people are play- “We’re looking to do the album early next year, February ing gigs and to listen to new bands. Everything we should Though the hype may have sparked an interest, it’s the dark time,” explains Carl. “It wasn’t planned, but we’ve realise be doing for our own band but decided not to! The only rea- melancholy of the band’s sound which keeps the listener that momentum is a big factor of what we’re doing. We son our MySpace exists was because we did a Sound City absorbed, layer upon layer of musical craftsmanship, each know what we need to do before and after it in order to gig, they said we needed a MySpace, it was just put up for dripping with a flair discarded by most musicians long ago. plan it. the benefit of the brochure, but it had nothing on it and we And there’s a swagger to it, an insolent twist at the corner decided to keep it like that.” of its mouth which acts as a heartening antidote to the fore- “It doesn’t feel like there’s anyone thereIoisis with founder a stick Anna but Rosser it’s . boding. all happening very quickly,” agrees Tommy. Owls* only formed in January, but already they have admir- ers scattered across the globe. You Tube, proving fruitless “Carl, Adam and Etienne had already decided on the sound “Any album that you make is a reflection of a band at a for official band material, throws up fan videos created to before I joined,” explains Tommy. “There were 11 pieces of particular time,” says Carl. “It’s almost just documenting the recently downloadable tracks the band reluctantly set music on the CD they gave me and told me ‘make of that where we’re up to, we want to get all the recording done so free. what you will’. we can move on to the next stage of what we’re doing and progress the sound. “Primarily what we’re doing is geared towards live,” ex- “We didn’t decide on the sound,” explains Carl. “Past bands plains Carl. “The more we can get people to gigs without I’ve been in, there’s generally someone who tells other “You get a lot of bands who have their own identity worked downloading tracks the better. It’s never the same twice people what to do, that’s how it works, there is generally out stylistically before they even play a note, there’s none when we do it live. We’re still pulling together, by the time someone who dictates what the other people are going to of that here. We don’t come at it like that. When we get we’ve recorded the album next year we want all the gigs play. This is the only band I’ve been in where we do our asked who we sound like, it’s hard because we’ve done it kicked completely into shape. Even in terms of what we own thing completely. inside out, there was nothing in mind. My formative years record, we’ve got quite a big backlog of material as well, we were grunge and quite obvious classic rock stuff. When I need to get the right feel for what we’re doing.” “The music dictates what we do, we trust each other. I don’t was young, I’d learn to play every Dinosaur JR record, that really need to tell Etienne (bass) or Adam what to play and doesn’t come across fully in what we do but it’s there.” The band is comprised of Tommy, Adam, Carl and Etienne. they don’t tell me. It’s four individual elements. It is or- Previous endeavours include The Cranebuilders (Tommy) ganic. Everyone just comes together, the whole is greater Maybe, in these super-paced days of Spotify and its ilk, and The Stairs and Manna (Carl). Adam appeared in the than the sum of the parts. having access to everything all at once makes you write Echo aged just four for his extraordinary drumming skills. things off quicker. When you haven’t heard a band but hear Carl also turns producer, and has helped create the studio “It feels lucky, in a sense, because the thing that used to piss the hype there’s still some hope they’re just what you’ve sound of acts such as John Power, The Suzukis and Edgar me off about being in a band was the labour process,” says been looking for. For those who took the time to find Jones after being ‘spotted’ by John Leckie during his work Tommy. “You had to go over and over what an idea was. Owls*, the hope is very much still alive. with The Bandits. In this group it’s very intuitive. Carl will usually say this is what I’ve been working on, and it just falls into place almost For more information go to: http://owls.bandcamp.com “I can’t produce our band though,” asserts Carl. “I’ve never instantly. There’s’ been a couple of occasions where I’ve PAGEPAGE 34 PAGE 64