Lucky Elephant - Welcome To The Beautiful South

The Isle Of Wight. The Garden Isle. The home to three quarters of Lucky Elephant. A place where plastic dinosaurs, crooked houses, steam railways, castles, and scary wax works all sit in a charming and unique way with a large number of old age pensioners and two very different music festivals. The Isle Of Wight Festival is a big mainstream beast which this year features the likes of The Prodigy, Razorlight and Neil Young. Bestival is the smaller, cooler, more eclectic festival set in the beautiful grounds of Robin Hill Country Park which this year hosts Kraftwerk, Massive Attack, Seasick Steve, Klaxons and Little Boots amongst its many attractions. Breaking More Waves chooses Bestival over the Isle Of Wight Festival every year, although this time we will be praying for dry weather following last years horrendous wash out.

Bestival is run by Radio 1’s Rob Da Bank, and it is his record label Sunday Best that have signed Lucky Elephant. The band are due to release an album this June. They will also be playing at Bestivals smaller sister festival Camp Bestival.

The bands sound, rather like the Isle of Wight, is unusual, eclectic, sunny and old fashioned mixing retro synths, tape delays, Wurlitzers, harmoniums, drums, ukuleles and guitars in a warm, sensual and beautiful way with wonderful heart grabbing French accented vocals supplied by Emmanuel Labescat. Breaking More Waves caught up with Emmanuel and found out a little more about the band. Emmanuel has an alluring use of the English language that adds a certain romanticism to the interview that also comes across in the bands music. Over to Emmanuel.

Tell us about Lucky Elephant and where you are from?

Half of the elephant is from the Isle of Wight, however a third elephant has also just moved to Ventnor, this beautiful little town in the very south of the pie. The home of the elephant is actually London, on Leonard Street, Old Street. Tall Paul, who plays the bass, runs Treacle Studios with a couple of other friends. It's a wicked place, really really not the traditional "studio" you can find in London - those places are awful - everybody who went to one of those big commercial studios knows that. You would have to pick a number and get in the queue it'd be the same. The home of the elephant is different, really low-fi, just a real and very inspiring place. Nick Cave and the Bad Seeds, and another big act too, don't remember the name, came down there because it feels like a place to play music. And they don't rob you too. Which makes everyone agree about it. We very lucky to somehow being a little part of this place. Personally, I'm coming from a town by the sea in the south west of France, on the Atlantic Ocean, very close to Biarritz. A little town called "Capbreton". It's quite famous for its surfing conditions, and for being a place where people for the major cities come and spend their summer holidays. In a way, it's very similar to the Isle of Wight if we consider the contrast between the busy summers and the long and empty winters.

What do you think, as musicians, are the benefits of being located where you come from ? And what are the bad things ?

I guess it depends where you come from. If you love playing music and you are coming from a place where people are very enthusiatic about music in general, with loads of live venues to go out and play or hear other people play etc etc...then why move? To be really honest, I'm not sure the place where you make your music has any importance, what really counts is where you meet the people you choose to make music with.

At Camp Bestival last year Breaking More Waves had a ʽfestival moment' when we saw you play. Your music was just perfect for the atmosphere. Have you had any ʽmoments' when you've played live? If so what were they and where were they?

Thank you ;o) . Camp Bestival was wicked! What a site that was!! From that stage we could actually see the sea! What a day. It was such a different concert to the other ones because the audience was made of different people, very different ages, and from that stage we were worried about all those little toddlers dressed up as little flowers, or lions or ladybirds , trying to stand on their feet while we were trying not too play too loud... Concerts are so different all the time. That's one of the very humbling things of making music. You never know how good it can be until you go there. One of my favourite gigs was playing at the Windmill in Brixton, for maximum ten people. We would have had more space on a Valentine's card, and there was hardly nobody there, but somehow it felt like everyone was having the best unexpected "moments" ever, on that night! You have some very cool moments, but also some very "special" ones -like having one of our harmoniums down on the third song of a set!! "Shit". ;o)

Talking of Bestival / Camp Bestival, how did you come to be involved with Sunday Best?

Sam and Paul have released an album in the early days of Sunday Best - under the name of "Boomclick", an album called Halfway Between. It's a lot more "produced" and different in a way to Lucky Elephant. I was lucky enough to have to sit next to Sam at work. That's how we met and then I met Paul, his mate from Boomclick. They took me to gigs, festivals, had really good fun. The good thing for me too was that i genuinely loved some of their music, specially songs like Must Have Been Crazy and Fire By My Side. I was very happy to be part of their gang, because I respected who they were as people. The bond with Sunday Best started from Boomclick, and it felt very natural for Sam and Paul once Lucky Elephant started to keep Rob Da Bank and Sunday Best in the loop of what they were doing.

Manu you are one of the most unusual and engaging front men we have seen in a long time. What is your approach to performing on stage ?

I naturally start by looking for the people who seem to be into our sound, it gives me a kind of trampoline to bounce upon! Then you become immerged into what you're doing on the moment. It'd be weird not to be...

Can you tell me a little bit about some of the sounds you make, as once again they are very unusual ?

First of all Lucky Elephant is kinda of a trio, because in the end it's three people playing instruments and someone singing. A trio always end up sounding bit different to more traditional set ups where you have a second guitarist, or an additional keyboard... I guess there are spaces that you can't fill, so it forces you to make the best music you can with what you have in terms of instruments available on the moment. The instruments are also kinda "vintage" as Sam plays an old wurlitzer, while Paul plays a Roland synth for the bass sound and a old Farfisa Pianorgan from 1964 that i bought originally for myself on Ebay!! Lawrence, who plays the drum, has been trained as a "jazz drummer" so he's as much into the rhythm/tempo than the tone of what he's playing. It's hard to say if he does it on purpose or if it's just totally natural, but he really approaches his drums like a piano.

We hear there is an album on the way. We're very excited about this, what can you tell us about it ?

It's very exciting. The album is called Starsign Trampoline and will be released on the 1st of June. It was confirmed just a few days ago. 2 tracks will be also released on I-tunes as a single on the 18th of May. The album has 11 songs, and each one of them took loads of care. And we also put loads of care into everything related to the album, from the beautiful artwork to the sound of the snare over this very chord - right there - listen!!... ;o) We had to drop some other tunes, not many, but about 4 or 5. Purely because we tried to put a collection of tunes together, to create something, more than just the "best" or more "catchy" or whatever tunes we had.

And are there plans for any more live shows ? We've yet to see you play at anything but festivals and want to see more....

We've spent most of the summer and autumn rehearsing the songs, recording and mixing the album. So we stopped playing live for three or four months. Since early January, we've been working on putting a new set together, and getting "stage fit" again as a band. Our first concert of the year was on the 7th of March at the Orange club in Canterbury and we were all really looking forward to it.

As this article is called Welcome To The Beautiful South, what is your favourite Beautiful South Song ?

Woman in the Wall

Thanks very much !! That’s been a brilliant interview.

No Thank youuu!!

Here is a sweet little video from Lucky Elephant. It's a self titled instrumental that is just screaming to be used as backing music for something wonderful. Breaking More Waves highly recommends that you make Starsign Trampoline an essential purchase this summer.

The B Of The Bang - Welcome To The Beautiful South

The B Of The Bang from Portsmouth are just about to set out on a nationwide tour with The Dawn Chorus in support of their single Alfred, Light The Fires. The band will soon be parading their music, a mixture of folk, rock and doom laden electronics through some of the toilet venues of the UK. Their sound has been described as dark and elegiac, so it comes as quite a surprise to find that lead singer Christopher Whitear, whilst having a certain and stable vision of how his music should be, also has a subtle and sometimes self depriciating sense of humour.

This article is called ‘Welcome To The Beautiful South’. You are based in Portsmouth. What do you think, as musicians, are the benefits of being located where you come from ? And what are the bad things ?

Errr.....hmmm......good things.......errr.....the sea? Just joshing - I think Southsea especially has a great music community at the moment. There are some really strong bands around (The Dawn Chorus, Hold Fast, Loz Bridge & The Box Social, Andy Foster and others) and some great venues who really get behind live music (The Cellars, Little Johnny Russell’s etc...). Stuff like Southsea Fest last year showed that, when people set their mind to it, great things can happen. I love the whole 'independent republic of Albert Road' spirit...it's reminiscent of the North Laines in Brighton. Only with less silly haircuts.

On the downside - Portsmouth is not really known for its cutting-edge, forward-thinking, embrace-culture attitude is it? But I do think that’s slowly changing. There's only 143 lad-rock, libertine rip-offs this year so that’s down 82% from last year...

Yes we agree that there have been a huge number of sub standard lad rock bands in Portsmouth. Where are the girls forming bands ? When there is a girl in a band it seems she is always the vocalist backed by males. And yes, whilst The Libertines at their peak were fantastic, there are too many imitators who make even the Pigeon Detectives look good. Anyway, moving on, you’ve just teamed up with Jellymaid Music. Tell us about them.

It’s run by Rich Tamblyn who owns The Old Blacksmiths Studios in Portsmouth. Basically, The Dawn Chorus released their album on it last year and it got some great reviews (including a not-to-be-sneezed-at number 7 in John Earls revered Planet Sound list of 2008.). Neil from the band asked if he could record some of our stuff and it worked really well so - like magic, we find ourselves fighting for a common cause. Not sure what that cause is yet mind....we'll be going on tour with them in April so we'll see....

You have a single out this week called Alfred, Light The Fires. Explain and discuss this song please.

It’s from a dream I had. Basically, it was this gothic animation type affair that had a little lad in a flat cap being mischievous in the 1930's. At the end of the dream he burns down an old peoples home, inside which is an 80 year old version of himself. What does it all mean Breaking More Waves???

It means you need to stay off the cider I think. Some of the sounds you make seem to come from a pretty dark place. Why ?

I can't afford light bulbs (chortle chortle). I don't know....it just seems more.....appealing I guess. Its not a conscious decision. I just like minor chords.....there are couple of songs on the album that might surprise you though. They're almost....jaunty. (shudders)

You are building quite a reputation for your live sets where you sometimes go fully unplugged. Is that something you enjoy doing ? And where did the idea come from.

It came out of necessity really. The B Of The Bang is a collective, sometimes there are 6 of us, sometimes it's just me. We played a gig where everything was going wrong, power failures, equipment breaking. I just thought it might be nice to try it. I'd much rather be one of those bands that some nights are utterly fantastic and some nights are utterly shite. You have to try things to keep it interesting for yourself and the audience. Sometimes they work and sometimes not. Again, it's not really a deliberate attempt to be different. I just get bored easily. Those bands you go and see and it just sounds like they've put the record on, I sort of think "what's the point?"

Do you have plans for any further unusual happenings at future live shows ?

You mean like jugglers and dancing girls? Perhaps we could have some dadaism in there? A bit of confrontational situationist type stuff? We'll have to see - hopefully.....

Maybe you could get this man here to DJ before you come on ! I believe you shared a stage with him once ! You also have a reputation for liking your sound to be a little imperfect. De tuned guitars etc. Are you worried that this may put people off your music ?

It’s a weird one this. I speak to a lot of people who just don't seem to understand the concept of imperfectionism. I don't get the point of ironing out every little trace of what makes something human on a record. Obviously you want things to sound as good as they can but a little lo-fi never hurt anyone! The albums I love are ones you have to invest a little time and effort in, you can't really hear the words on Loveless but it's part of its charm. Beauty buried under noise. It's a recurring theme for me I suppose. If you were recording Leadbelly today would you use auto-tune on his guitar? I'm all for using technology but it should support and emphasise what you're trying to say, not squeeze the soul out of it. There's a bit of computer software that can tell you whether your song is likely to be a hit single, which is why a lot of stuff on the radio has that same chord progression, the same bit that changes key etc....fuck off Nickelback.

We hear there is an album on the way. We’re very excited about this, what can you tell us about it ?

I can tell you it's called Beginning. Middle. End. It has 11 songs on it and a few incidental bits of music that link some of the songs. I want it to be like watching a film or reading a book, hence the title.

The video for your song Lung had a great concept. How did that come about ?

It's great because it had very little to do with me! Some friends of ours have a small film company called Pinter Moments. We get on really well and have a lot of similar views on music and film. One of them, Cal, sometimes plays guitar with us and he had this idea for the 'pass-it-on' motif. We did a bit in real life too....leaving CDs and tapes around for people to listen to and give away. They're probably still there....

And finally, this article is called Welcome To The Beautiful South. What is your favourite Beautiful South song and why ?

....I’m sorry I have to go......

The single Alfred, Light The Fires is out this week, you can buy it here. Catch The B Of The Bang on the road with The Dawn Chorus in the UK at a venue near you soon, check the Myspace for details. Here is the video from one of the bands own self releases, Lung released prior to signing to Jellymaid.

Peggy Sue - Welcome To The Beautiful South

Peggy Sue, from Brighton, used to be called Peggy Sue and the Pirates. They consist of Rosa “Rex” Slade and Katy Beth "Klaw" Young, now recently joined by a drummer called Olly. Their sound is stripped down, raw and minimal with just a guitar and drums with guest appearances from other instruments such as the melodica and tambourine. Their music is heavily based on strong soulful vocals and quirky harmonies combined with an odd mix of rockabilly and punkish folk. They have played numerous gigs including some high profile supports with Kate Nash. The group have released several EP’s and singles as well as a monthly demo CD for a period of a year. Let’s meet them.

This article is called ‘Welcome To The Beautiful South’. You guys are from Brighton. What are the good and bad things about being a musician in Brighton ?

We’re actually Londoners but the band was born in Brighton and I think it wouldn’t be the band it is if it hadn’t been. Good things are that the music scene is so diverse and not really cliquey at all and everyone is very supportive of each other. So we’ve played with bands like Blood Red Shoes and the Maccabees which musically doesn’t make perfect sense but shows the sense of community there is. The worst thing is that it can get a bit depressing if you start thinking about how many people and bands there are there and how unlikely it is that everyone will make a career in music.

What is your favourite place to play in Brighton ?

We played a show at the Duke of Yorks cinema that was amazing.

If Breaking More Waves was a tourist visiting Brighton what would you recommend we do for a weekend ?

Go to see a film at the Duke of Yorks it’s the best cinema and the popcorn is really cheap. Play the 2p machines on the pier and walk down the seafront past Hove to Moroco’s for an ice cream even if its cold. On Sunday have a Sunday lunch – Brighton is the best place for Sunday lunch. My favourites are The Constant Service or The Walmer. Go for a drink at the Hand in Hand but don’t take too many friends because it only fits about 20 people.

You used to be called Peggy Sue & The Pirates. Where have the pirates gone ?

We had musical differences.

You’ve recruited a drummer. Tell us more.....

Olly joined the band about 6 months ago. We’d wanted to get a drummer for ages but all the drummers we knew were already in bands. We bumped into Olly in Texas and said we were looking for a drummer. He’d come to watch us a few times back in England and his first reaction was ‘no, don’t get a drummer I like it how it is.’ But he called us when we were back home and said ‘if anyone’s going to be your drummer its going to be me.’ Its definitely changed the sound a lot but not in a bad way – he’s an incredibly creative drummer and also very fun. He’s a good addition for sure.

Your live sound has a raw edge to it that you have managed to keep in your recordings. Is that something that you plan to continue or are you going to ‘gloss up’?

I don’t think we will ever ‘gloss up’ partly because we are still not amazingly skilled musicians so part of the rawness comes from our abilities. Luckily all the music we love the most retains that rawness and we tend to be less interested in artists once it seems like they’ve perfected their art. Still, our song writing skills and our guitar playing abilities are improving all the time and we want to make music that we are proud of and that is long lasting but it would also be quite nice to make a living out of it. That spontaneity of anti-folk music and other music that isn’t overworked is really beautiful but at the time we’ve never been purely an anti-folk band our voices have a huge R’n’B and soul influence and that is music that is all about being perfect and impressive so hopefully we can find a middle ground.

We’ve seen you play a couple of surreal gigs. At Camp Bestival last year you were dressed as animals and the year before that you played in a Toy Museum at the Great Escape. Have you had any other surreal gig experiences ?

We played a show in Austin, Texas last year at a man named Hank Sinatra’s ranch. The stage was made out of old metal and there were hens and a huge bbq. All the English people were just following the shade around the garden in a little group because it was so hot. Then Two Gallants played later on and the drummer had to keep his kick drum in place with a big rock. It was basically the best day ever.

You’ve toured with Kate Nash and have just got back from dates with Mumford and Sons. What was it like ?

Both tours were amazing in different ways. The Kate Nash tour was the first tour we ever did and also the first tour she ever did so everyone was new to it and excited and it was really fun. Plus we got to play Shepherds Bush! The Mumford tour we just did was incredible though, it was much more humble but still the crowds were amazing and attentive and musically it made a lot of sense. We were all travelling in one van and sleeping on friends floors and it really makes you feel like you’ve gone somewhere – more so than when you stay in a travelodge every night that looks identical and stop in a service station that sells the exact same sandwiches. Although you do end up a bit smellier.

You also have something in common with Breaking More Waves...you played Bestival. We appeared there Djing in the Hidden Disco. Do you have plans for more festivals this summer, and if so any clues which ones ?

Yes lots. We want to play as many as possible. The only ones we have confirmed so far are Bestival and Green Man but we’ve got a long list of ones we want to play.

You’ve been putting out a CD a month to your fans. How challenging was that, and why did you do it?

It was challenging because we’re a big shambles and time management is not our strong suit. The actually making and posting of the cd's had a lot of stages and thus lots of moments where we just didn’t get things done it time. The CDs themselves were not a challenge to make - we put on a new song, an old song and a cover – and recorded them in friends bedrooms or on a dictaphone. We did it partly because we had no plans for official releases and we were getting restless and partly because we had a back log of old songs that we knew would never see the light of day. It was also a good way of forcing us to work on new material. It was a great thing to do and I’m really glad we did it and it’s pretty cool that all the months except the last two are already completely sold out.

Thanks very much for answering these questions. But finally, as this article is called Welcome To The Beautiful South, what is your favourite Beautiful South Song ?

Perfect 10

Peggy Sue are playing various gigs and festivals this year. Catch them if you can. You can see a video of the girls dressed up at Camp Bestival, shot shakily by Breaking More Waves here.

Or here is a slightly less wobbly video !

Loz Bridge and the Box Social - Welcome To The Beautiful South

We recently introduced Loz Bridge in our New Waves At Breaking More Waves feature. Now it’s time to meet the man himself.

Hello, please introduce yourself and tell us a little about your band and the music you make.

Hello, I’m Loz Bridge and I front Portsmouth-based band Loz Bridge and the Box Social. We’ve come up with a style loosely termed Dark Americana which encompasses old time blues and jazz elements brought up to date. We sing about witches by the fax machine, breaking china and drinking cider, and the many awful things that go on down by the river. We’ve just released our first EP “Witches” and we’re currently trying to spread the word all over the south coast scene.

As a musician what do you think the best and worst things about coming from Portsmouth are?

I couldn’t tell you I’m afraid, coz I don’t – I was born and raised in Preston, and (after a 3 year stint in Amsterdam) moved to Portsmouth in 2003. I can tell you what the best thing is about coming to Portsmouth, is that I’ve made some amazing friends here, some of the best I’ve had. All that bullshit they spin you up North about how people aren’t friendly down south should be ignored. I found the accent incomprehensible when I first arrived though. “Rynd the rynd-a-biyt”? what’s “Rynd the rynd-a-biyt?” I’m into it now though, I’ve started doing my shopping at “Asdas” and all women have become “hon”.

If I had a weekend to kill in Portsmouth where would you recommend I go, and what should I avoid?

Despite what people will tell you, there is a thriving music scene in Portsmouth, and you should definitely head to The Cellars, The Wedge, The Drift (upstairs, never downstairs), and now that they’ve installed a new PA Little Johnny Russells to check it out. You should definitely eat at The Agora (Greek and Turkish), the Kum Pan (Thai), Rosies or Lemon Soul. If you want to see a film try and bypass the tyranny of Vue and nip round the corner to the No.6 independent cinema in the Historic Dockyard. Anywhere on Albert Road should guarantee you a good night, but whatever you do stay well clear of Guildhall Walk. Unless you want your face glassed off that is, in which case knock yourself out…

To be provocative for a moment, one of Breaking More Waves criticisms of the Portsmouth music scene is that there is too much back slapping with not enough constructive criticism. This can lead to artists becoming inward looking in a ‘big fish in a small pond’ kind of way. We think it has something to do with the geographic nature of Portsmouth – it’s almost an island. It possibly explains why so few bands from Portsmouth achieve any commercial success nationally. Would you agree or disagree, and explain what you think about this criticism.

Hmmm, this is a tricky one…

Let’s say you’re right and what Portsmouth needs is more constructive criticism, from where is this criticism going to come? I once read a piece of advice by a record company big shot to struggling young bands that said no-one in the business will ever tell you to your face that you suck, just in case you do make it huge and they become the one idiot who didn’t believe in you. I think that holds true for most elements of the local scene, but it’s established critics like this blog that do have an obligation to be impartial about the material they’re reviewing. I’d argue however that the main point of these critiques is not to educate but to entertain. And let’s be honest for a moment - as an artist the only real reason I expose myself to criticism is in the hope of receiving some positive criticism. I’m not genuinely interested in a constructive analysis of my latest EP, I want a sweet sound bite from a recognised name that I can slap all over my website to generate more interest. If the EP is slated then I’m not going to change my whole style to fit in with his or her comments, I’ll do my best to ignore them and carry on as before and I’d advise any self-respecting artist to do the same! Which raises another interesting point – who’s advice is right, and why should I listen to your opinion? Surely it’s the obligation of any artist to follow his own judgement, and conduct himself and his work according to his own values. I wonder how many times the artists we all now hold in high regard for their individuality had to endure and ignore the opinions of those around them who were all too keen to offer their ‘constructive criticisms’?

I’d argue that if as an artist you don’t possess the ability to judge your own work objectively then you don’t have what it takes to make it in the competitive market. It’s not the plaudits or slatings of your peers that define you, it’s whether what the product you produce is what people want to hear. If you want some criticism then ask yourself this question: do people come to your gigs? Surely that’s the only bottom line that really counts. If not then you’re doing something wrong, and by that token the only critics with a truly meaningful voice are the ticket-buying public.

Now, if you’re the band arguing that you’re not getting your big break because you live on a peninsular…move! Sorry, but I just don’t think that excuse cuts it when there’s local bands like Tremain regularly transporting their fanbase to London and back to secure gigs like their recent show in the O2 Indigo2! Bjork made it global and she’s from Iceland - you don’t find a more desolate rock than that. It doesn’t even have trees for God’s sake!

If you set your own limitations at the edges of your hometown then that’s as far as you’ll ever get, and that’s as true in Preston as it is in Portsmouth…or Iceland.

Some really good points there Loz, and at some point in the future Breaking More Waves may well discuss the value of criticism, as we believe it does have value, both in the sense of professional journalism and amateur music blogs and fanzines. But for now let’s move on. What is ‘the box social’?

A ‘Box Social’ means different things depending on which country you find yourself in. In America I believe it’s fundraiser where they auction off lunchboxes. In Canada I think it’s like a big car boot sale, but my favourite usage is from Victorian Britain. It was deemed inappropriate at this time for young people of opposite sexes to mix together unattended, so the responsible parents would throw parties in their houses called Box Socials where the kids could mingle and the love would flourish…

In my world it comprises Andrew Foster: genius intuitive guitarist and some-time banjo fiddler (and singer/songwriter in his own right), Andy Booth: double bass wrangler and ladies-man, and Matt E: man-mountain and simply the best drummer I’ve ever known.

We hate the word ‘influences’ as it infers ‘who do you like to copy’ which is not always true. So instead, tell me about five albums that you love, irrespective of if they are influences on your band or not.

Alice, by Tom Waits
I’m obsessed by anything and everything that Tom Waits produces, but I think this is the album I come back to most often. It was described by Waits as an album of ‘fairy tales for grownups’ and that encapsulates everything I love about it. Magical and innocent, terrifying and monstrous.

The Bends, by Radiohead
For all of the disconnected, Radiohead offer a horribly disconnected friend to be weird with. I’ve found that the images from this album (the machine that can’t communicate, the fake plastic trees, the gunboat in a sea of fear) are the ones that most articulately define the feelings of alienation, so it’s the album you come to when you feel the most alienated. And that’s a pretty special thing.

Want One, by Rufus Wainwright
There’s moments that come along once in while where you hear something genuinely new, things you didn’t know existed in the world until that moment. That’s how I felt when I saw a clip of Rufus Wainwright performing ‘Vibrate’ from Want One on some late night review program back in 2003, and was hooked. His mix of the classical and the contemporary and some truly awe-inspiring song-writing is something incomparable. He’s one of those guys that makes you wonder why you’re bothering to try since you’ll never say it as clearly or as cleverly as him. Incidentally, seeing Rufus live performing songs from Want One and Want Two was one of my favourite gigs ever.

Without You I’m Nothing, by Placebo
There’s just no-one in the world who can do what these guys do as well as they can do it, and there’s something incredibly appealing about that. When Molko sings the chorus line from the title track “Without you, I’m nothing”, you really feel it – that’s something you can’t fake.

On How Life Is, by Macy Gray
Maybe it was just that this album arrive at a point in my life where I started to write music that I’ve got such affection for it. Or maybe it’s just the groove. This sits in the category for me of a perfect album, there’s no waste, no fat, nothing I’d loose to improve it. It’s ten perfect tracks, a killer voice, amazing feel – and if you ever doubt Macy’s songwriting abilities just listen to ‘Still’ and tell me she can’t write a good tune.

How do you approach playing live, and do you enjoy the live experience?

Playing live for us is like cooking Chinese food; it takes us a month’s worth of serious preparation to play for half an hour. And I’m happy with that - I’d far rather spend a month producing half an hour of really honed material than go out gigging three times a week playing stuff I don’t really care about. I basically want every show we do to be worth the ticket price. Everybody has bad nights and that’ll never change, but if we fuck up because we haven’t rehearsed enough then that’s our fault and there’s no excuse for charging people money to see that show. Also, I have trouble persuading people to come and see me support a band that I wouldn’t want to see myself so I now try to wait for shows that I have a genuine emotional investment in, then I can get enthusiastic when I’m trying to sell it to people.

What are your plans for the band this year?

Well after my rant earlier about setting your own limitations I think my priority has got to be getting out and about gigging outside of Portsmouth!

And finally, as this article is called ‘Welcome to the Beautiful South’, what is your favourite Beautiful South song?

Rotterdam, for a particular reason. As Chris Rock said, “Whatever music was playing when you started having sex, you’re going to love that music for the rest of your life.” So…

The Witches EP by Loz Bridge and the Box Social is out now, and you can read more about it here.