We haven’t hung out in a park clutching a can of Bow since Lady GaGa was simply Stefani Germanotta and Pete Doherty was a talented musician.  But, before you try to get us on some type of register, we’re park-loitering in north London to talk to the latest hot new band from the US of A, Surfer Blood. We caught up with guitarist Thomas Fekete, drummer TJ Schwarz and percussionist Marcos Marchesani to find out about their debut album, Astro Coast, getting back to basics, and thieving from small children.

Surfer Blood first got together in their native hometown of West Palm Beach, Florida in 2008, as TJ explains: “JP (Pitts, vocalist and guitarist) started writing the songs about two years ago, about when I met him, and about a year ago we met the rest of guys and that’s when we started playing together and we haven’t stopped since then.”  The band’s unusual name comes from an equally obscure place: “It comes from a backpack”, explains TJ, “ You know when kids write stuff like ‘listen to Bob Marley’ and I saw one that said, ‘Surfer Blood’, on it and I stole it from a kid.”

The band’s sonically rich debut album is a swirl of Beach Boys melodies, Animal Collective psych with the songmanship of Weezer’s, Rivers Cumo. The album was recorded largely by JP in a University Of Florida dorm, although it wasn’t down to any die hard commitment to lo-fi recording. As Thomas explains:  “It was basically a budget thing, we just didn’t have any money…. so, JP said ‘why rush this?’ when we can just take it into our own hands and he took his sweet time on it.”

The DIY recording paid off as the band has created a deafening blog buzz; with US hipster bible, Pitchfork, declaring their first single, ‘Swim’, 34th in websites’ influential 100 Best Tracks of 2009. But, despite the hype the band’s aspirations are charmingly modest: “We don’t wanna necessarily be the next Green Day. We’ll never been the next Motley Crue”, Thomas jokes, “We just want to play music to whoever wants to hear it and, hopefully, people will continue to support it. We’re not going to change what we do. Feel it, don’t force, is what we like to say.”

The band is set to play this year’s Reading and Leeds Festival; a first and welcome surprise for them: “We’ve never played a festival” TJ confesses “We played one festival in our hometown…like, a Halloween festival. It wasn’t a band type thing, it was like ‘bring your kids, dress them up’ type thing.” With a successful debut album, critical acclaim and top festival appearance, are there any meltdowns around the corner? “We’re definitely doing what we wanted to do; touring everywhere, seeing as much as we can and enjoying it”, Marcus reassures us with wide-eyed enthusiasm, “we’re all as young as hell and we’re having an incredible time – it’s so awesome.”

Astro Coast – Out Now

The band are part of the latest swell of acts from East London, like Fair Ohs, Pens and Colours to provide a welcome answer to the US dominated drone of buzzing from the likes of bezzie transatlantic mates Vivian Girls, Best Coast and Dum Dum Girls.

We sat down for a cup of tea on a beautifully sunny day in Dalston with Male Bonding’s bobble hatted drummer, Robin Silas Christian, to find out about their sublime debut album ‘Nothing Hurts’, love of the US of A and a scary lady called Martha.

You formed two years ago at a house party called Rage.  How did you all know each other?

We knew each other because we used to see each other at the same shows in London and then we kinda ended up working in the same record shop Wreckless,. That’s kinda how we met we talked about doing stuff, they were in another band and I was in another band, and we finally got around to doing it just for fun.

So, you poached each other?

John and Kevin were in another band and my old band used to play with them quite a lot. And I lived with John anyway, so it was inevitable that we’d do something.

Do you all still live together?

We live together It’s pretty crazy. Me and Kevin work together sometimes – it’s all a bit much.

Are there any house rules?

No, it’s alright it’s not like a student house; we all managed to look after each other. People think we’re crazy, but it really makes sense.. We know when to keep out of each other’s way.

You started off releasing songs on your own label, Paradise Vendor, as split 7” with other bands, such as Pens, Graffiti Island, Fair Ohs.  What made you sign to Sub Pop rather than keep self releasing records?

We never really put our own records out to be fiercely independent or anything, like no-one else had offered, and then when people did offer it seemed like they really could do a better job than we were doing already. We totally grew up with Sub Pop and really trust them… it was never a masterplan to get signed to a big label

What’s it like being signed to them?

Really cool, they’re really sweet people. Y’know like, they would never make us do anything that we wouldn’t want to do. I just really trust them….they’re really awesome.

You’ve released your debut album, Nothing Hurts. There’s 13 tracks coming in at 29 minutes all averaging under 3 minutes long. Did you set out to make a fast record?

It’s because our sets quite short when we play live and we didn’t want anyone to get bored of it and I’d get bored for more than like an hour of watching something. And, especially the type of music we do I think 29 minutes is plenty…there wasn’t anything added for the sake of it. We’re just trying to write pop songs.

Do you like pop?

I used to be in a hardcore band called Bullet Union and John used to be in this band called Pre, and both those bands are like really noisy, so doing something like this is a total experiment. We really like pop bands.

How do you go about writing the songs?

It’s different really every time. John often writes a whole song, and most of the songs we did it together. We write the songs really fast as well, so if it isn’t working we just ditch it and do something else.

The album takes in surf, punk, shoe gaze. What were you listening to whilst you were recording the album?

When we actually made that record we were staying with friends in New York, so we were listening to lots of friend’s bands from New York like Vivian Girls, German Measles and then lots of bands we’re friends with in London, like Veronica Falls, Spectrals and Pens. We did a compilation of London bands, so we were just listening to that, we didn’t really think about it much, really.

Who would you say your influences are?

We all really like My Bloody Valentine, Nirvana, the Buzzcocks, Mudhoney. I think, we all really like really different things; like John really likes hip hop.

A lucky 300 people who pre-ordered the album got a limited edition a hand-numbered cassettes of your Daytrotter sessions from the US. What did you do for the session?

We recorded it in an old school by the Mississippi river and we were sharing a van with the Vivian Girls, so they sing on it …they did one as well and we play on it. It was just really cool, there was a loads old equipment in this room, so we didn’t use any of our own equipment we just used what was in the room. I’d say it was kinda acousticey, which people wouldn’t expect from us and there’s new songs on it. I think it’s my favourite thing that we’ve done – it just reminds me of having a good time and being away as well. It was a cool thing to do.

You create a lot of the artwork yourselves. Is it important for you to keep control in the group?

I just think you’ve only got yourself to blame if it doesn’t look that good. Sometimes, if you get someone else to do it, then it gets awkward.

You duet with the Vivian Girls on the last track, Worst To Come who you’ve also toured with. How did you two get to know each other?

We met them because they stayed at our house the first time they came to England and we became best friend with each other – they’re like our sisters.

You’re signed to a US label and you’ve toured with a lot of US bands in America, like Vivian Girls, Dum Dum Girls and Best Coast. Do you feel an affinity with the scene coming from there?

Some of them. We like all those bands, we’re quite happy to be lumped in with them if people want to do that. There’s a bunch of great bands in England as well. I like just how the internets broken down the barrier between England and America, you can kinda make friends easily with people in different countries and then go and stay with them.

Do you feel there’s a transatlantic community?

Yeah, totally. Because, people can promote themselves now they don’t need labels –  everyone’s got an equal platform, if they’re good. Because of mixtapes, and the internet, you end up meeting people.

You’re playing a few dates over the next few months including Offset Festival, what can people who’ve never seen you live expect?

It can be pretty terrible! We’ve played quite good recently as we went to America for seven weeks and we played nearly every day and we’ve got some new songs. We usually play for 25 minutes and anything can happen.

You did a long tour of the US earlier this year. What’s the best thing and the worst thing about being on tour?

The worst thing is missing friends; it’s good for reading I read nine books on that tour. There’s not many bad things. We’re pretty lucky to get to do it, we definitely don’t complain about it.

What was your favourite place to play?

New York, because we’ve got friends there. LA was really good – we got stuck, because of the volcano. It was cool, because stayed with our friends and we just had like a holiday. We made a music video, which was fun. And Mexico was really good as we played at the bottom of a mountain. We played Nashville in North Carolina – it was all really interesting.

What was the strangest thing that’s happened to you on tour?

Loads of weird stuff happened. We got interrogated at the border coming back from Canada because we had some t-shirts, that was pretty annoying. We got our van broken into, that was kinda annoying.

My favourite bit was when we went through this town called Dixon in Illinois, which I think is where Ronald Regan is from, and we had to stay in a hotel that night as we couldn’t find anywhere to sleep and the weirdest woman working there. It was kinda amazing. She was called Martha, yeah we talked about Martha a lot on the tour, she explained to us that the internet wasn’t working as it was blowing a wind outside! I think Martha was my favourite bit of the tour.

What are your plans for the rest of the year?

We’re going to be pretty busy. We wanna go back to America, we want to go to Japan, UK tour, some shows in Europe. We’ve got lots of video ideas and we make lots of videos.

Have you go anymore releases planned on Paradise Vendor?

We’re gonna do some more stuff. The last thing we did was this compilation with 10 UK bands, which was the sixth thing we’ve done. I think there’s gonna be another 7” with probably two American bands and two English bands.

When are you starting work on the follow-up to Nothing Hurts?

We kinda already have. We’ve already got four or five songs. John’s writing all the time.

Nothing Hurts – Out Now

Years Not Long

American Football. Yes! Shooting hoops. Yes! Boy on boy hot french kissing.,,,erm, yes!  Watch some full on male bonding in the band’s new video, ‘Years Not Long’, directed by Vice Cooler.

http://www.youtube.com/watch?v=2xQXFWxJ8fQ

13 August, Yes Way Too, London

4-5 September, Offset Festival, Hainault

4 October,  Audio, Brighton (*with No Age)

5 October, Barfly, Cardiff (*with No Age)

6 October,  Club Academy, Manchester (*with Blood Red Shoes)
7 October, Electric Ballroom, Manchester (*with Blood Red Shoes)

8 October, Rollerpalooza at the Skate Centre, Sheffield
9 October, Stereo, Glasgow (*with No Age)
12 October, Brudenell, Leeds (*with No Age)

13 October, Night and Day, Manchester
14 October, XYOYO, London

Marie Wood

Brooklyn Bop

A blog buzz, backlash and three drummers all in the space of three years, Brooklyn’s Vivian Girls have had a rough ride on the wrong side of the indie tracks.

Cassie Ramone (vocals/guitar) and Kickball Katy (bass) released their self-titled debut back in 2007 – a chaotic mix of Phil Spector harmonies tumbling down the stairs with Replacement riffs. Selling out the initial press of the record, the band won overwhelming critical praise and support slot with Sonic Youth.

However, the girls’ overnight success lead to them falling victim to the build them up knock them down mentality as the blogs branded them, like they so often unfairly do with girl bands, all style no substance. But, they’ve bounced back to release their triumphant second album, Everything Must Go, a fierce kick in the shins of 3 minute fast and furious punk to their critics.

Currently out on a European tour, the girls are due to hit the London town this weekend with new drummer, Fiona Campbell. We caught up with Cassie to find more about their sophomore album, surviving being a buzz band, and where to grab a good Margarita in NYC.

You’ve released your second album, Everything Goes Wrong, last year. Who produced the album and where did you record it?

We recorded the album at the Distillery in Costa Mesa, California. The
studio is really special because it doesn’t have any new equipment -
it’s all analog and the only computer in there is a PC from ten years
ago or something. We co-produced the album ourselves with Mike McHugh,
the engineer at the Distillery. He’s been recording garage bands for
years, so it was right up our alley!

What were you listening to when you were recording the album?

Neil Young, Ariel Pink, America, the Wipers, Nodzzz, Steely Dan.

You sold out your debut single in 10 days, supported Sonic Youth and generally had the blogs buzzing about you and then there was reallynasty backlash. How did you handle that?
All of us were made fun of in school, so it wasn’t as shocking to us
as one might think since we’ve been used to dealing with people
talking shit on us our entire lives. However it obviously was a
terrible feeling watching your life’s work get totally demoralised. In
the end, it made us stronger people.

You toured the UK earlier this year and you’re coming back in July. How was the tour?
One of the best we’ve ever been on.  We met a lot of amazing people
and played with great bands. The crowd reaction was overwhelmingly
positive and I feel as though we were really in our element.

You seem to tour non-stop.  What’s your weirdest tour story?
One time we were driving back into America from Canada and the bridge
was closed and there was dead stop traffic on the highway for miles
and miles. It was taking people over 8 hours to get across the border;
they had to get on a ferry! But, we took all these back roads and
somehow we got to this other entrance to the bridge and they waved us
through, and we got over no problem and they didn’t even ask to see our
passports.

You’ve toured a lot with Male Bonding and you made a guest appearanceon their debut album. How did you two get to know each other?
On our first trip to England, we needed a place to stay, because we
knew we’d be in London for almost half the trip and we couldn’t afford
to stay in a hotel that many nights. Katy had been emailing with Simon
from the Rough Trade Shops and he told us we could stay with John
Webb (Male Bonding vocalist/guitarist), who worked there. As soon as we got to his house and met him we knew we’d be friends forever. And then we met the other guys in the band and we all fell in love (platonically). We had a great night
watching this Nirvana documentary and listening to the Wipers. It was
meant to be.

You also did a cover of ‘Perfect Day’ with Male Bonding. How
did that come about?
We just did a tour with Male Bonding – and we had this one day which
was hands down the best day of tour any of us have ever had. We saw
four juggalos fixing an overheated car, went to the Heidelberg art
project in Detroit, Ali got this ingrown toenail removed, and then we
played at the Magic Stick, which might be the best venue ever. It
might not sound all that incredible, but our spirits were all so high
all day that we decided it was a perfect day and then we decided to
cover ‘Perfect Day’ in commemoration. I figured out the guitar chords
during soundcheck and taught it to Katy real quick and that was that.
We didn’t even listen to the song or look up the chords to prepare,
all we looked up were the lyrics. After that we decided that every day
of that tour was a perfect day and we covered it every night.

If you could cover another song with another band, what would the song be and who would the band be?
‘Walk On By’ with Steely Dan.

You posted a clip on your facebook of the fourth member of
Vivian girls – Maru your tambourine playing cat. What other
instruments can Maru play?
Melodica, theremin, kazoo…

You’re from Brooklyn – how do you feel about the local music scene getting so much press attention lately?
It is what it is. It’s kinda funny to me, because the scene from which
Vivian Girls was born wasn’t really getting any attention at all in
the mid-2000s. Bands like Bent Outta Shape, the Good Good, Dynamite
Arrows, Meneguar, several others… they wove this cultural tapestry
which is completely ignored in the press’s perception of our band and
several of our friends’ bands. Matt and Kim are the one exception of a
band from this scene that broke out, but I bet no one would think that
Vivian Girls and Matt and Kim are related at all.

What new Brooklyn bands would you recommend?
Coasting, the Surprisers, Roman Candles.

We’ve got a day in Brooklyn and you’re our tour guide. Where would you take us?
Cho’s Variety Cafe for coffee, the taco truck on Bedford, Academy
Records, Turkey’s Nest Tavern to get margaritas to go, and then to
McCarren Park to drink them.

What was the last record you downloaded?
The new Ariel Pink album. It rules! ‘Bright Lit Blue Skies’ is the
best song ever.

Are you going to record a third album soon?
We’re working on it. We’ve already recorded a bunch of stuff for it
but we’re going to record more at some point in the future.

Who are you going to record it with?
We’ve already recorded songs with Jarvis Taveniere of Woods, and we
want to try recording with some other people as well.

What other plans do you have for the future?
Right now, we’re focusing more on other projects. I’m doing a solo
record and playing with the Babies and Katy has a new project called All
Saints Day.

- Marie Wood

Watch Vivian Girls ‘When I’m Gone’

http://www.youtube.com/watch?v=g8RHDgFYxY4

www.myspace.com/viviangirlsnyc

Everything Goes Wrong – Out Now

24 July, 1234 Shoreditch Festival, London

25 July, Islington Academy, London

We’ve been stalking James Murphy aka LCD Soundsystem for 26 hours, eight minutes and counting and all we’ve found is silence. It’s been nearly three years since the release of the critically acclaimed Sound Of Silver. Since then, Murphy’s kept a relatively low profile – returning to his day job as president of DFA Records, surfacing only briefly as LCD last year to release a cover of Alan Vega’s ‘Bye, Bye, Bayou’ for Record Store Day. With an album, tour, and a forthcoming movie soundtrack to ‘Greenberg’ already pencilled in for this year and the blogs buzzing with rumours that LCD’s latest album, This Is Happening, will be his last – Murphy’s one of the most wanted men in music right now.

27 hours and thirty two minutes later we finally catch up with Murphy, fresh from a photo shoot, out of breath and full of polite apologies. Although only one week out of wrapping up the record and admitting that he, “still can’t see the forest from the trees”, Murphy’s not scrambling to take the next flight home to JFK.  Rather, he’s refreshingly upbeat, passionate and extremely talkative; “I just haven’t seen people and I’ve missed being social – that’s why I don’t mind doing press right now as at least I’m not in the studio…it’s just a relief to not be in a box!”

Listening to This Is Happening is like stumbling across an old friend in the dark corner at a party, who grabs a bottle of JD and takes you on wildest night out of your life, before stumbling home arm in arm together in the blazing sun at 11am. From the electric pulse of killer opener, ‘Dance Yourself Clean’, to the gentle come down closer of ‘All I Want’ – it gives you the hit of beats, loops, glam, lyrical wit and everything that you’ve come to expect from an LCD record – and so much more. Something Murphy set out consciously to achieve; “I set out to be less afraid – I think that’s always a goal of every record to be less afraid of doing something different” he enthuses.

Part of Murphy’s desire to push himself and his band further saw him leaving his native NYC to record the album; “I was asked to do a movie soundtrack  [Greenberg] which was going to be shot in LA,” he explains, “and then I got very excited about being in a place that’s so different from New York”. He decided to rent a mansion rather than a studio to record in: “I found out it was much cheaper to rent a big place for everyone to sleep in and set-up a studio.”

The Manshun (as it became known) was transformed into a private playground for him and his LCD counterparts: Hot Chip’s Al Doyle; Nancy Whang; DFA’s latest singing Gavin Russon along with a couple of assistants. He white washed the walls, hung drapes and glitter balls and the band adopted a 24/7white uniform.

Watching the grainy YouTube footage of the Manshun on the band’s website, you get a chilling flashback to Brian Wilson’s drug fuelled recordings of the Beach Boy’s ill fated record Smile. So, did he lose the plot out there? “ I think I’m an overly sane person, so it helps me to make places where I can access that. Some people, like Brian Wilson, have indirect access with their id or their craziness; for me it’s not easy, so I kinda have to make a space.”

This Is Happening sees Murphy also once again airing his grievances in his usual deadpan style, in particular, his problematic relationship with the music industry. Standout track ‘Hit’ sees him take aim at the careerist bands, singing: “You said you wanted a hit and we don’t really do hits, I tried and it ends up feeling wrong”. “It’s about a conversation I actually had with someone I really admire, a really talented musician in a much more popular band,” Murphy explains carefully, “and, he was asking me: ‘do you think you’ll make a hit on this record? I think you should’. The way he was asking was just like it’s something you decide to do. That was just really funny, because of course I’m always trying to make the best records I can, whether or not they’re successful.”

What’s likeable about Murphy is his dedication to his band – he seems to actually care about making a difference, about being innovative – not just riding on the tailcoats of another trend. “The whole point of this is to try to make something that’s specific about me being in this band, about us being in this band, about being different from other things” he says with added vitriol, “I think the music world needs more non-professional people, I don’t wanna be a professional musician”.

This is partly demonstrated by the album standing out as one bold, cohesive piece of work, not just a bunch of clumsily put together iTunes-friendly tracks. “I think about the record as a thing you listen to as an entire record because I’m interested in records and albums and it’s kinda an end of an era for albums,” he tells us.  “Y’know, I just wanted to make sure that I’m making a good album; if we’re making an argument that albums are a good thing then I want to make sure that it’s a good one.”

So, with a sold-out tour and an album already being hailed as the best of the year, is Murphy beginning to regret his statement that This Is Happening would be LCD’s last album? “No, at the moment I feel like it would be and it should be, because I think there’s not that many people who make a good fourth record, ” Murphy says with an air of resignation.  “I really like our band, I like where we are and I like being ambitious and to be more successful… but, I’m also reaching a point where I don’t want to be much bigger than this; I don’t wanna be a celebrity…and I promised myself I’d be done when I’m 40.”

If LCD is going into early retirement, will he also be booking a one-way ticket for Florida? “I’ll be continuing to make 12” as LCD Soundsystem and running DFA and producing. There are other things I’d love to do, like put on a festival, maybe write a book,” he promises us.  “I wanna stay as excited and as, for like of a better word, as punk as the rest of my life has been – to a certain extent that might mean not being in a big band.”  Time may be up for LCD, but we still have plenty of time left for James Murphy.

- Marie Wood

This is Happening is out now.

Lcdsoundsystem.com

You’ve just released your fourth album, The Chaos. It’s your fastest record since your debut ripping through at a breakneck speed right from the 4,3,2,1 intro. Did you want it to be a fast, punk album?

Yeah, I think that’s a large part of what The Futureheads is….There was a little manifesto, a blueprint of rules in the beginning and I think on the second album we threw them out of the window.  But, in principle The Futureheads still stick to some fundamental parameters in which we make our music, and I think in it being raucous and fast and energetic and sweaty and all that sort of stuff is a large part of it and always will be.

What were the rules at the beginning?

No talking in between songs we’d sort of go into songs as quickly as we could; we wanted the harmony and backing vocal arrangements to be scattergun, in a sense that, people wouldn’t know where to focus on when they see us live as they’d be so much going on from all corners of the stage; obviously, no effects pedals – a very organic rock band sound.

I think a lot of those things are still there, but y’know we’ve written four albums together and sometimes you have to produce an element of performance. On this record … we wanted it to be a bit difficult to play, we wanted to go home at the end of the track and still have to practice our guitar parts because they’re a bit of a challenge. You kinda have to keep challenging yourself, otherwise it becomes a little bit dull.

How did you approach recording the record?

We did the first five tracks with Youth and only three made it onto the album, and we recorded the rest in the northeast. We’d write the songs, rehearse them and record them all at our own pace.

You recorded your last albums in really short burst of the time with ….taking just two weeks to record.  Did you spend more time on this record than your past ones?

It’s the first time we’ve not really given ourselves a deadline and just had that liberty rehearsing, and things come together naturally without having our eye on the clock. The whole album was recorded in all sorts of different studios, in all sorts of different points in the last 12 – 18 months. It’s been put together a little bit like a jigsaw and I didn’t even think it’d come together at all like an album in the beginning, but once it’s been mixed and master and the artworks there and you put the record on it does sound like an album now, its got that thread running through it that ties all the songs together.
What was the main inspiration behind the album? There’s a lot of political references – was it politically motivated?

I definitely think there’s some sort of overture to certain elements of politics, for sure, and it’s release comes at an apt time for that. I think that those sorts of things have been building up for sometime. Stuff like unemployment, recession, confusion and fight personal politics, finding your niche, trying to excel in something, trying to succeed in spite of someone trying to bring you down. All of those elements are there in the songs, but I think the fundamental thing that unites all those songs is that their positive and optimistic and we want it to be righteous and positive; it needs to be a party record, because in times of uncertainty it’s never been more expected for music to turn dour and angsty and pessimistic and that’s not the right way of dealing with things.

Did being back in Sunderland influence it?

I’d say that some of it is intrinsically linked to the northeast, y’know and what was going on with our family and friends back there – it was almost odes to people back home. ‘I Can Do That’, I wrote that song directly about me dad because he was made unemployed and you realise what an ageist society we live in; it’s hard to coax positivity out of someone when they seem so down on their luck. …

Those sorts of experiences are invaluable it’s the whole part of human experience: it’s when you lean on someone, it’s when you have this interaction with humans that can seldom occur when everything seems to be peachy…. Sometimes the most human elements come out of people in times of struggle; that’s really interesting for us to have written songs about them on this album…coming from where we’re from, we’re kinda entrenched in this ‘fight’ mentality, not just politically speaking but economically, socially – you’ve got a lot of content up there!

This is the second album you’ve released on your own label, Nul Records. Do you have more freedom now than when you were on a major?

Yeah, I think there’s a trade off and it think the trade off is that we don’t have the massive budget, but we have a decent arsenal to get our music out there…a lot things that help you sleep at night than when you were signed to something so monstrous. I think we’re finally happy to do it on our terms and in our own way – I think it’s more self satisfying…There’s this really enjoyable wave of optimism sweeping through the band and it’s nice to feel like that when you’re releasing a record, rather than anxiety with people around you talking about charts and radio play.

You’re playing Reading and Leeds and Summer Sundae this summer. What’s your favourite festival to play?

Glastonbury, just because it’s like no other festival in the country – it’s not just like a music festival, it’s a festival of culture and creativity. It’s just got that added dimension…the theatrical element a lot of the other festivals miss out on. We love doing them all, but Glastonbury’s that little more magical.

What does the rest of the year hold for you?

We’re off to America after the tour, then back for the festivals, back to America and then a bit of Europe, Australia and Japan and then a UK tour and then start thinking of another record!

The Chaos – Out Now

13-15 August Summer Sundae, De Montfort Hall & Gardens, Leicester

27 – 29 August Reading And Leeds Festival

Marie Wood

Since being captivated by the pop pixie’s charm last summer with her defiant debut single, ‘Stone Cold Sober’, Paloma has rocketed to success with a Top 10 album, ‘Do You Want The Truth Or Something Beautiful?’ and numerous TV appearances that have gradually earned her a reputation as being one of the nicest woman in pop – she’s more likely to make you a brew than throw a left hook. But it’s not been an overnight success; Paloma’s been grafting in the business of show for over six years – after finishing college she ran away to join the circus before coming back to take an MA in Drama at Central St Martins, working as an actress, a magician’s assistant and sales assistant in Agent Provocateur to fund her studies and her dream. “I’ve worked really b***** hard”, she says as we settle down for a chat.  “I guess, there’s been many times leading up ‘til now that I could’ve given up, but I was stubborn and I didn’t and I’m really glad that I didn’t”.  Us too.

Her determination even shone through when she was forced into the wings a few years ago at a time music executives only had room in their narrow machismo minds for one big weaved soul singer: “I don’t think that bitterness is very healthy”, she affirms like some unknown mantra, “I don’t feel bitter about anything. I didn’t think I should give up, because my philosophy was that at the time all that was in the charts were loads of indie boy bands who all sounded the same, so I didn’t understand why there couldn’t be more than one person who sang soul”.

Now with oestrogen flooding the charts, Paloma is riding high on the wave of innovative female artists: “It’s really a triumphant time for women and really amazing” and she’s basking in her own success: “I’ve been really, really pleased. Things like the Jools Holland stuff has been something that I always wanted to do”. As well as having top ten hits and devilish wit, part of Paloma’s appeal is her unique brand of style: with flame red hair; sky high heels; and vintage clothes that look like she’s come out of a 50’s film noir, Paloma is a fashionista’s dream. She says she combines modern and classic icons taking her inspiration from “Marilyn Monroe films. Josephine Baker, Marlene Dietrich, and more contemporary people like Bjork and Grace. She wouldn’t be seen dead having a trackie-b day: “I’m sort of not the type of person to wear tracksuit bottoms, but I do have days where I just wear trousers and a shirt and no make-up. But, if I was going to dress like that I’d be more like Diane Keaton in a Woody Allen film”.

2010 is set to be another busy year for Paloma as continues her ascent to the top. This month sees the release of a fourth single from her stunning debut – the vintage swing jive of ‘Upside Down’.  The feedback on the song has just been massive!” she enthuses, “It’s like a great song that feels positive and lively and a celebration of life, and why not celebrate that!” ‘Upside Down’ is backed by a brand spanking new track, ‘Technicolour’, which she promises to also be “quite upbeat and fun as well. Another celebratory song!”

Paloma hits the road with her band this spring for her first UK tour, which she promises to be “as bells and whistles as possible”. Support is set to come from her friends, Le Shark: “They’re kinda of like punk and funk”. Her stage show is more like a theatre production than a gig; past shows have seen her cast herself as Alice in Wonderland clambering over mini white chairs; playing peek-a-boo with burlesque fans; and smothering herself in paint. Although, for this tour she’s keeping her cards firmly to her chest refusing to disclose anything about the theme, as she says coyly that she wants to “keep it a surprise”. However, if she could hire anyone to direct her shows it would be Oscar Winning costume designer Eiko Ishioka: “She did all the costumes for The Cell, The Fall and Interview With A Vampire”, she says in awe, “I think she’s amazingly innovative and captures the mood of what I’m trying to do really well, kinda like, story telling and fantasy”.

After the tour, Paloma’s set to be at most of the major festivals this summer starting with the Isle of Wight, although you won’t see her negotiating the mud in her nose bleed platforms: “I’d rather be in a hotel. I don’t like not having showers”, she giggles.

Despite achieving success as a recording artist, Paloma is not about to give up on her dreams as an actress. She’s already notched up appearances as Andrea (the emo) in St Tinian’s and as the late Heath Ledger’s girlfriend in ‘The Imaginarium of Doctor Parnassus’, and this year she’s appearing in a short film for Channel Four’s ‘On The Up’ season. What’s her dream role? “I’d like to be the star of a Tim Burton film!” she enthuses “I don’t think I’m too dissimilar to Helena Bonham Carter?”

So, with a dream music and acting career, what more could a girl ask for? “I’d like to release a second album and I’d like that album to do as double as good as the first one”, she laughs. And, as the clouds clear in the sky we’re sure that it’s going to be a bright future for Paloma.

Upside Down is available for download from 14 March

Paloma is also playing at:

19 March, Manchester Academy

20 March, O2 Academy, Leeds

24 March, O2 Academy, Birmingham

How did you get started as a songwriter?

Going regularly to the open mic at the Sidewalk café had everything to do with it. I became inspired to write better lyrics by studying the other songwriter-performers there.  It’s a very special open mic… and the vibe is great there.

Tell us about your band members?

They’re grrrrreat, We get along – Cole is a nasty dresser, watch out for him!

You only play with four strings on your guitar. Why not the usual six?

The story of this is that back when I was very inspired by Animal Collective (and very rusty on the guitar), and I experimented with three strings (later four) in various random tunings, some of which were very low, in order to get a unique tone.  Also, I find that restrictions and limitations really pique my creativity.

Your lyrics go from blissfully sunny to achingly lonesome. Where do you get your inspiration?

‘Constellations’ was very inspired by existential philosophy, and the re-appropriation of a nursery rhyme was an idea I stole from fellow sidewalk-er Bell.  I’ve been through some lonely-ass times in my life, and on the unreleased album that I made before this one; all the songs were about that. I was in a “severe solo angst” at that time in my life (to quote Timothy “Speed” Levitch).

You’re working on your debut album. What’s it going to sound like?

The forthcoming Darwin Deez debut (which will be self-titled) is done and it sounds a lot like ‘Constellations’: up-tempo, energetic, indie homebrew.

Where are you recording it?

I recorded and mixed it all at my apartment in Manhattan.

When’s it going to be released?

April 12th, baby.

We’ve waved a magic wand and you can make a guest appearance in any band of your choice past or present. What band would it be?

Hmm….I think I’m going to go with Antelope -  they’re a minimal, polyrhythmic band from DC.  Can I use the magic wand for evil?

When are you going tour in the UK?

April/May, but we’ll be in London in early March for a few shows.

What can we expect from your live shows?

Man, you can expect us to rip through all the Deez hits, sweat, and dance our asses off to my custom mash-ups.

Whilst you were on tour you posted some free style raps on your blog. Would you ever do a rap side project?

You know, I never really thought it would be appropriate, but the existence of Weezy’s ROCK ALBUM made me think again.  Bottom line, if I felt people wanted to hear that from me I would be game, for sure, but I want to make radio music, and I think radio rap is mostly shit.  It does move people’s bodies, though, and I’m into that, obviously, but I’ve tried very hard on this album to make music that is capable of making a listener dance and also cry. I like to do both simultaneously, is that weird?

You cut a very dashing shape. Describe your style in three words?

Big granny sweaters.

Who are you style icons?

Uh, Twiggy?  Just kidding! Um, Jacob Ciocci, from Paperrad, whom I’ve known for years (family friend) is a style hero of mine, but I don’t think I have any icons really, other than him, I dig Natasha Khan’s style [Bat For Lashes].

What’s your favourite outfit and why?

The thing I’m most excited to wear at the moment is an oversize bat-winged denim jacket with huge pockets, a puffy lapel, and big wooden buttons, which I found on the street a few weeks ago.  I’m going to pair it with some normal looking tight jeans and low tops to maximise its effect.

You have beautiful curly locks. How do you keep them in tip-top condition?

Why thannnnk you!  Answer: no shampoo, no conditioner, no nothing.  Just hot water rinse and drip dry.  That’s right – you’ve been shampoozled!! Shampooing is a vicious, oily cycle and you’ve got to break FREE, mannnn!

You sell some very fetching handmade Darwin Deez tote bags. What other merchandise or clothes would you like to make?

Umm, maybe underwears [sic] that say “deez nuts”??

You now live in NYC – we have 24 hours in the city, where would you take us?

Most likely to a new loft/DIY venue that I haven’t yet heard of or been to myself.  Grab a falafel at Oasis afterwards and then go home to make out!

You’ve posted awesome videos on YouTube of you and your friends doing choreographed dances called Spring Dance. Are you going to do Spring Dance III?

Oh thank you. um, yes!  Spring dance 3 is in the can and it’s called Winter’s Splinter, and it’s to a mash up of Passion Pit and Was (Not Was).  But after that maybe some Enya, as per a great suggestion from someone I met on tour.  Tears for Fears?

Britney, Beyonce and Lady GaGa are all one dancer short on their forthcoming tours and they want you to fill in for them. Who would you dance for?

Hmm….whoever paid the most!

You’re a follower of Meher Baba who adopted silence from the age of 31 until his death. If you were to adopt complete silence, what would you last words be?

Hmm, well I can still write, right? I’d probably say “Jai Baba” which is something we Baba Lovers say to give Him props. We also say, “Avatar Meher Baba Ki Jai”, if we really want to big him up.

Where do you want to be this time next year?

Writing jokes in LA; or on a big tour bus; writing a great new song upstate; performing at a big awards show; on MTV; wooing Zooey Deschanel away from Ben Gibbard; making history; desiring something I don’t have; cashing cheques out the mail [sic].  Basically, everything they say in that Dire Straits song.

www.myspace.com/darwindeez

So what’s got everyone dancing to The Drums’ beat? “I think the difference between us and other bands is like, we care about how the band comes across on all levels: musically and aesthetically” Conor explains. And, he’s right. Looking like James Dean in Rebel Without A Cause and having songs that Phil Spector would break jail for; The Drums make you want to be either in their gang or make out with them. Describing the perfect pop song as, “probably somewhere between ‘Pale Spectre’ by The Wake and ‘Leader Of The Pack’ by the Shangri-Las”, their Summertime EP took the 50’s three minute pop formula and married it to the desolate cool of the Factory Records era. “The band kinda started on those core pop values from the fifties and sixties” Conor tells us dragging out each vowel, “we kinda naturally, like, the four of us, were only around us four and nobody else and we were just working on what we wanted our songs to sound like”.

The band’s debut album due out this spring looks set to continue where the love affair started with Summertime, but maybe with a few heartaches on the way: “The songs still sound like Drums’ songs” Conor reassures us, “but, maybe they’re a little less jumpy or uppity…-people have described the Summertime EP as happy or fun whereas the full length record has songs that are upbeat and songs that are also a little more brooding and stoic”. The song writing on the album has followed a similar pattern to the debut EP with the band’s original pioneers Jonathan and Jacob writing the songs with occasional input from Conor and Adam. Conor revealed: “the actual song writing is still in the way that the Summertime EP went where Jacob and Jonathan write the songs and try and find collaboration with whatever band member if there’s reason for it, or if there’s an idea that somebody has…it’s sort of like constantly the four of us bouncing ideas off each other for everything that the band does”.

This month The Drums head out on the NME Shockwaves Awards tour along with Bombay Bicycle Club, The Big Pink, and The Maccabees. The band’s dedication to the values of pop’s golden era, when The Supremes’ perfectly teased bouffants were more important than who was playing the songs, has seen them use a backing track when they play live. “You showcase yourselves when you play and in the process we want it to look a certain way, we want it to feel a certain way and come across a certain way”, Conor says slightly defensively like tired leader explaining his party’s manifesto, “we use backing tracks because there’s things and aspects of our songs that we want to portray live without having to compromise the visual of our show”. Although, somewhat controversial “the visual” is attention grabbing enough with Jonathan flailing his arms like Morrissey and David Bryne in a dance off as matching backing singers shoop in time. It’s something that UK audiences are already lapping up, as their a few sold-out dates last year showed. Conor tells us: “We came out there last year…we played to like 30 people in an attic in Cardiff and then came to London to huge crowds in Koko in Camden – I loved that – I think that in a lot of ways the crowds in London were a lot more fun and accepting than the crowds we get a home sometimes”.

With their poster boy good looks, love of pop hooks, and east-side cool The Drums look set to be leaders of the pack.

‘It’s more cynical…there’s an element of darkness to it’, states Harriet (Campesinos) violinist and one seventh of Los Camp. For the first single, ‘A Sea Is A Good Place To Think Of The Future’ the band took the tongue out of their cheek and dived headlong into a swell of despair – a theme that runs throughout the album: “Gareth was quite interested in the idea of drowning due to a lot of the literature he was reading, so I think that element comes through” Harriet explains. Although, fans don’t have to worry that the band have swapped their acidic wit for naval gazing introspection: “it’s more like a variation of emotions”, Harriet promises, “I guess you could say it’s an album where you go through experiences, because it’s part truth and part mythology.  I wouldn’t say that it’s a sad album…but it’s definitely different from anything we’ve done before”.

Recorded in Seattle and Connecticut whilst the band were on their American tour, ‘Romance’ fleshes out the band’s already rich sound: “There’s brass, stand-up bass, and some other people singing on it, and there’s more complicated string arrangements”, Harriet says.  Whilst recording the album the band lost longtime member Alek Campesinos who left the band to return to her studies. Alek still features on the album and the band recently announced her replacement as Kim Campesinos: “She’s seems to be really enjoying it”, Harriet says “it’s amazing that’s she’s managed to find her own voice and find her own place… Everyone’s been really, really receptive to her and welcoming!”

The band take their new line-up out on the road this coming February for a full length tour. With the dates just in time for Valentines Day, has the band got anything special to give us: “Maybe balloons?” Harriet laughs, “we’ll probably just go and play, just hang-out, talk to people – we’re not very inventive like that!” But, with live shows that are more fun and exciting than any cheap date clutching a stuffed toy and a box of Roses, who needs romance?

loscampesinos.com/

Romance Is Boring – Released 1 February 2010
UK Tour Dates

11^th February – Wrexham Central Station
12^th – Liverpool EVOL
13^th – York Fibbers
15^th – Aberdeen Tunnels
16^th – Dundee Dog House
17^th – Edinburgh Bongo
18^th- Derby The Venue
19^th – Leicester Musician
21^st – Cambridge Junction
22^nd – Norwich Arts Centre
23^rd – Brighton Audio- New Slang
24^th – Portsmouth Wedgewood Rooms
25^th – London KOKO
1^st March – Birmingham The Rainbow
2^nd – Northampton The Roadmender
3^rd – Reading Plug N Play
4^th – Kingston Banquet New Slang

69′s Christmas Playlist!

http://open.spotify.com/user/*marie*/playlist/3SXabOaCXJMDMEIvhUG8QQ

Ramones – Merry Christmas (I Don’t Want To Fight Tonight)

NYC’s finest bring peace on earth to Christmas with three chord punk, oh, and a few jingle bells.

The Ronnettes – Sleigh Ride
Before Phil Spector got himself a grey afro and a penchant for firearms he crafted a cracking gift for himself – the festive 60s girl group doo-wop of, ‘Christmas Gift For You: A Tribute To Phil Spector’.

The Raveonettes –  The Christmas Song

The Jesus And The Mary Chain having a shoot out with Santa in the wild west over who gets the last turkey twizler.

Otis Redding – Merry Christmas Baby
Grab some mistletoe and find a fittie for this sultry forgotten Christmas gem.

Eels – Christmas is Going To The Dogs
The Scooge of indie banishes his blues and picks up the sleigh bells for a dog’s eye view of Christmas.

Elvis Presley – Santa Claus Is Back In Town
Elvis swaps the leather jumpsuit and burger for a Santa suit and a mince pie for this jaunty ode to the other legendary fat man.

Slow Club – Christmas TV

Slow Club try and get their nearest and dearest back in time for turkey with this delicate acoustic duet.

Bruce Springsteen  – Santa Claus Is Coming To Town
The Boss does Christmas the only way he knows how – Santa is coming to down in stonewash denim, a white-t-shirt, and with a hell of a lot of sax!

Sufjan Stevens – Did I Make You Cry On Christmas (Well, You Deserved It!)
With more Christmas songs than pearly whites Sir Cliff, Sufjan dons a double knit Christmas jumper once more for this lo-fi treat.

Minuteman – Last Christmas
Obscure reworking of the Wham classic that looses the cheese for Grandaddy beats and lashings of angst.

The Beach Boys – Frosty The Snowman
Brian Wilson and co swap surf boards for sleighs and sand for snow, but hold on to harmonies as rich and warm as mulled wine.

Bing Crosby and David Bowie – Peace On Earth/Little Drummer Boy (Medley)

Bing pops over to Bowie’s for a good old natter and a bit of a croon for the oddest festive duet ever.

The Killers – A Great Big Sled
A nostalgic synth tribute to a time when all you wanted for Christmas was a scalextric and a Teddy RuxPin – yes, we remember fondly, Brandon. Guest vocals by ex-Curve’s Toni Halliday.

Mew – She Came Home For Christmas
Mew pull out the strings and all the stops to thaw out the heart of any Grinch with this chilling Christmas anthem.

The Flaming Lips – Christmas At The Zoo
Wayne Coyne escapes his giant hamster ball in time to busk at Whipsnade Zoo.

The Knife – Reindeer
A sparse, menacing electro ode to the plight of Rudolph and his fury friends.

Low – Just Like Christmas

Alt-country as beautiful and melting as plains of lush white snow.

Judy Garland – Have Yourself A Merry Little Christmas

A Christmas classic from the divine Ms Garland.