Q: Hey, can you tell us a bit about where you come from, and what made you want to start a career in music?
Mike Byrne: I grew up in Dublin Ireland. I started playing music because the music I wanted to hear wasn’t out there. So I had to find people so we could make it ourselves. I’m not looking for a career in music, it’s not work to me, it’s creating something I think is good that I’m proud to be part of. Most of all, it has to be fun, if it isn’t then its not worth putting effort into doing it.
Andy Marvell: I really hated the idea of settling down, being comfortable and making lots of money so a career in music seemed the obvious choice. Locks Geary-Griffith:I grew up in a small town in Derbyshire called Diseworth. My dad used to play a lot Gloria Estefan while I was growing up and my brother listened to Britpop. I remember I loved to sing along to everything and was most happy when there was music playing…and Top of The Pops….that played a part.
Marian MClenaghan: I’m from Co. Antrim, North of Ireland. I grew up playing music in school and in the traditional settings in sessions etc. and thank God I did because I was never interested in anything academic.
Q: And what other artists have you found yourself listening to lately?
MB: I’ve gone back to the bands of my punk roots, so mostly listening to those old punk, goth and phycobilly bands now. Nothing I’ve heard since has been better.
AM: I’ve really liked Suede’s Autofiction. And I’m also going back to a lot of The Smiths albums recently.
LGG: Gia Margaret just released her new album ‘Romantic Piano’ and it is stunning. It’s beautifully written, it’s mainly instrumental but there’s a couple with vocals, her voice is like mist. I adore Young Fathers and their new album Heavy Heavy, is their best yet, I feel like they’ve really found themselves here, they’re incredible live as well, so much energy and positivity. I’ve also been listening to Car Seat Headrest again, I became fascinated with their last album Making a Door Less Open.
MMC: A lot of the time people recommend things to listen to, whether they’ve come to see us play and have been reminded of another artist or violin player. I like to try to listen to whole albums. On my phone notes I’ve got Nora Brown (old timey Appalachian banjo), Karen Dalton (American country and blues singer, guitar and banjo player) The Coffinshakers – all recommendations. Farid Farjad (melancholy Iranian violinist) – a lovely couple kindly ripped me a CD of him after coming to see us play.
Q: Who were your first and strongest musical influences?
MB: Dead Kennedys, New Model Army, Stray Cats. You’ll hear bass playing influences from them in a lot of our LOCKS songs.
AM: Mostly jazz drummers from Art Blakey to Elvin Jones. The Buddy Rich and Gene Krupa drum battles I always found particularly exciting. And of course Buddy Rich vs. Animal on The Muppet Show.
LGG: Well I can’t deny growing up with Oasis, Gloria Estefan and Hanson didn’t have some sort of impact. But I would say Shivaree’s album I Oughta Give You A Shot in the Head for Making me Live in this Dump had a huge influence, she writes about such dark subjects and sings them in a weird off- kilter way. Elastica and Hole definitely played a part, I love Elastica’s second album, it is ridiculously chaotic. But seeing women on stage looking so effortlessly cool and singing in a raw style was an eye opener….then came Tom Waits.
MMC: Shakespeare’s Sister, as a four year old I wanted to be Siobhan. Cher and Tina Turner.
Q: You have just released your new EP, ‘Tall Tales’. Is there a story behind it?
LGG: We always chat about the story behind it or the themes that link it together, but to be honest each track is an individual tale of its own.
Q: Could you tell us about the inspiration behind the title “Tall Tales” for your new EP
LGG: We were thinking about what to call it for a while and we were going over different ideas, song lyrics, etc and Marian just said one day ‘What about Tall Tales’, it’s the first line in Jars. So we have her to thank for that!
Q: How would you describe the overall sound and musical direction of “Tall Tales” compared to your previous works?
LGG: I think we’ve stripped back more and more layers, we’re getting closer to the core of what we truly sound like. We played everything on this album…..as in, there’s a lot a weird sounds which is probably Andy hitting a drum with a pan, or Marian scratching her fiddle. Our producer Alex really encouraged us to experiment and I think we’re all excited about the direction we’re going in…the weirder the better.
Q: Could you discuss any standout tracks from “Tall Tales” and what makes them special or significant to you?
MB: The outtro on Nola is a lot of fun to play. We could keep playing that jam-style for ages, and probably have no idea where it would go.
LGG: Jars for me! It was written in such a funny way. We’d just returned from Harlequin Fayre and I was feeling claustrophobic in the city, which has never happened to me before. I went for a walk around High Gate Wood listening to CocoRosie and Tom Waits, it was an odd combination. When I got home I wrote Jars and recorded it onto my phone, the megaphone bit was actually me putting on such a posh, over-the-top out of key voice, it was ridiculous. I sent it to Marian and said ‘have I lost the plot’?, she said ‘nope, that’s our next single’, I think we went for a drink and just laughed about that voice so much.
MMC: I absolutely love Jars, the plummy voice is a stroke of genius but I couldn’t take you seriously for ages when you sang it. It’s my favourite song of ours. We always get a reaction after we play that. Secondly, I love how big and atmospheric Last Band is, there’s so many layers or weird sounds on there, I always hear something different every time I hear it.
Q: Could you describe your creative processes? How do usually start, and go about shaping ideas into a completed song?
MB: Locks writes a song with guitar and vocals and sends us it. We all come up with our own parts for it. Then we get together in a rehearsal studio and play it a lot, refine, reshape, all join tight together on it. Then we sort out arrangements and dynamics together. Also more again is added once we go it to a recording studio. So its layered up really.
LGG: I would describe it like I create the wire coat hanger and Mike, Marian & Andy create the Victorian with all the lace and mourning jewelry. It starts with a pretty ropey demo on a phone that’s on its’ last legs.
Q: What has been the most difficult thing you’ve had to endure in your life or music career so far?
MB: Coronavirus Lockdown, I hated it, I had to stop doing the things I loved. Never thought that could happen.
AM: Life & music are definitely more of a spiral than a trajectory. Dealing with the lows and finding motivation again to push through for the highs.
LGG: I think the most difficult part is to not be disheartened by certain things, because that would be so easy. It’s easy to just give up when things don’t go the way you expected, but there’ll be another route to take.
MMC: Can’t recall a single thing, I always wake up at the crack of dawn to greet each glorious day with open arms!
Q: On the contrary, what would you consider a successful, proud or significant point in your life or music career so far?
MB: All of it. It’s all part of the journey. You have to take the bad with the good, hang on and enjoy the ride.
AM: Being introduced by Steve Lamacq, someone whose radio programmes I’ve listened to for years, on the 6Music Introducing Stage at The Great Escape.
LGG: I agree, when Steve Lamacq invited us to open up his stage at The Great Escape, I think we were all quite star struck and immensely nervous. He’s always supported us and we’re forever thankful for it.
MMC: Playing the BBC Introducing stage at TGE for Steve Lamacq was very special, we were on such a high after it. I will never get used to hearing us on radio either.
