06 January 2012 (Music Interview)

Words: John Balfe

Some of music's biggest names spoke to our exclusively to our Music Editor John Balfe throughout the course of 2011, including Chuck D, Richard Reed Perry from Arcade Fire, Professor Green and many more. Below are just a selection of some of the highlights..
 

 

 

Arcade Fire's Richard Reed Parry

On winning a Grammy:

I always use this analogy, that it kind of feels that we robbed a bank a little bit. We robbed the popular music bank. What felt like a triumph, besides winning that thing, was that because comparatively we're in the small leagues record sales-wise to the people that we were up against. We're not a mainstream radio band and we were up against Eminem who has sold 20 million records and we've sold not even a twentieth of that, so the triumph of it felt like 'anything was possible'. It was a David and Goliath kind of thing The little indie band that could. To do anything like that against a much huger commercial force was, for us and for where we come from, a pretty big victory.
 

Public Enemy's Chuck D 

On the state of hip-hop across the globe: 

They stick to their elements and fundamentals a lot closer. A lot of them speak two or three languages and have a commitment to their surrounding areas, have done topical research and reflection. That has far surpassed the United States, who followed a commercial dream which has now defaulted in the wake of capitalistic decay. All the things that the artists are reflecting today is the same old thing of the rich getting richer and the poor getting poorer. There's a recession and for people of colour, and black people especially, it's a depression and when America enters a depression then you have people of colour in a desperation. All the talk of "bling", gold and the riches - that sort of talk seems to be thing that reflects nobles and kings and affluence, but not the masses of the people.
 

The Drums' Johnny Pierce

On the Ian Curtis comparisons:

I think it's human nature. People love to label things. I think we're all probably guilty of that. I did an interview in Brussels a few months ago and the guy interviewing me opened with "Hello Ian Curtis, how are you today?" I looked at him and I said, "Ian Curtis is dead. My name is Johnny Pierce. My band is called The Drums and this interview is over." That was the first time I'd ever really put my foot down. To actually watch Ian Curtis and actually watch me on stage, there may be a vague similarity, but nothing really. I think the main thing is that there are no front-men really anymore, in the sense of really going for it and not being afraid to come across as foolish. I really make the decision before I go on stage to really let the music do what it wants.
 

Lisa Hannigan

On being pelted with paint in the music video to 'Knots':

It was my idea, so I can't really give out to anyone! The song is about being put through the wringer a bit, so I liked the idea of starting off really secure and clean and ending it as this bedraggled monster. The song is a bit like that and the idea fit the song. 

Scissor Sisters' Jake Shears

On touring with Lady Gaga:

It was exciting. It's going to be something we'll tell our kids someday, that we were on the Monster Ball tour; it's one of the biggest tours of all time. People will remember it forever and ever. To be a part of that and see it all go down and the mechanics of it was amazing. I don't think there's anyone who can compete with her! If she's taught us anything, it's that you just do your own thing. You go with your passion and you put on whatever you put on. Whatever you're discovering about yourself is the right thing.
 

Jape's Richie Egan

On the difference between latest album 'Ocean of Frequency' and its predecessor 'Ritual':

 

Ritual was the work of a much more confident man. With this record I questioned myself, "why am I making music, why am I doing this?" I just had to work that out for myself. It took a while, but I'm way more proud of this one. I don't even know if people are going to dig it. Probably not as much as Ritual, I don't even know, but for me it's a way better album.
There's some stuff I've done in the past that I've known was going to be a bit popular - and I did it for that reason - and that's the kind of shit that, when you look back on, you feel a bit dirty. With this one I can stand behind and say that at least I meant most of it. If it's a total failure, I'll try and do something popular again! 

Professor Green

On the therapeutic feeling of performing autobiographical songs live:

There might be a couple of shows where you don't get that massively emotional feel, but then you get that one show where the energy is amazing. There are different shows; some are good for banter and some are good for the vibe and you connect with your audience and then it all comes flooding back. It's quite bittersweet because of what I had to go through to write 'Read All About It'. Writing, for me, helps. Talking to people doesn't help. I've tried therapy, it doesn't work for me. It just becomes a battle of wits; I want to know what you're trying to figure out. Writing things down helps me to make sense of what is going on.
 

Other Lives' Jesse Tabish

On the differences of writing songs for live performances versus albums:

We actually made a point, when we first started this record, to be as idealistic as possible. To not think about any live setting at all, which actually did present quite a challenge when we were done with the record. But, at the same time, not thinking about it allowed us to make the kind of record we wanted. But as far as live, you know, it provided a roadmap to how many instruments, and what kind of instrumentation we'd do. People are playing three or four instruments but it's really fun. We were kind of scared at first..
 

Gomez' Tom Gray

On what he's learned in his 16 years in the music industry:

Well I wouldn't bore you with 16 years of stories about the awfulness of the music industry. I haven't really got any reasons to be bitter about it. We've watched it completely transform in every respect. The original idea of the band hasn't really changed since we started, and that was to make original music that didn't sound like anybody else. Now it's funny, because when we started there were a lot of bands who people were claiming were 'retro', you know? We perceived that as being kind of naff and we didn't really want to try and do that, we wanted to try and come up with something new and thrilling. I think the thing that surprises me the most is that people are happy with pastiche now and I think that's a strange thing culturally. I think if we settle for pastiche then music inevitably is going to become irrelevant.
 

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