from the sixties, which was this old rotating Wah pedal, so it’s a wah pedal with vibrato, and the vibrato comes from – it’s a giant thing and it has a spinning drum of hot wax inside, which makes it sound like vibrato, but it sounds like nothing I’ve ever heard before, so I used it on everything. But it actually died…! When we were recording our opening track. It was like, what? It’s almost sixty years old now, and the opening track of our album, the first sound you hear is through that and it has a little guitar pick, like a chimey loop that sounds like a doorbell, which was the last thing ever recorded through that pedal, then it died at the end of the track, so we were just like, “Woah, RIP.”
I think my favourite song of yours to date is ‘Lil Echo’, which is the B-side to ‘Follow Baby’ – it’s darker than the rest, isn’t it? I wondered, does it show the expanse that we might be able to appreciate when the album comes out? Yeah, I think there’s some stuff as dark as that, maybe… I’m trying to
TO COLOMBIA WAS LIKE, ‘WHAT? THAT’S SO RIDICULOUS
think what’s on there! Erm, yeah, but I think that’s one of my favourite songs, ‘cause it’s one of the older songs, but yeah, the album’s definitely got some more stuff like that on it.
You were previously called November and the Criminal – I know you’ve left it behind, but what do you take forward? What do you take from that experience? Well I guess we were in college and our final line-up of November and the Criminal was the line-up that went on to form Peace, so I guess when the line-up fell together, that’s when we were happy with each other. We’d sort of got used to each other as musicians and started playing live a bit and then when we started writing and made Peace after that, we knew each other, I guess, and knew we wanted to be in a band together.
It’s like the Avengers: Assemble…
I REMEMBER LIKE EVERYONE WE TOLD THAT WE’D SIGNED
Yeah, that was it; we knew exactly how – we were a bit wiser, I guess.
Nowadays, there doesn’t seem to be so much snobbery towards pop, or dance music, or R&B – - Yeah, there’s no shame in writing something that could have been like, a pop song 10 or 20 years ago. Tat now almost seems fresh. Pop music now seems to be like someone had a bank full of hook lines and songs aren’t written like songs anymore; they’re just a collection of catchy lines. So writing a good pop song sort of respects what good songwriting was, over the last sort of fifty years. Now it’s almost an alternative thing, which doesn’t make sense.
So Harry, I just want to ask you quickly about the ‘What the Fuck Birmingham’ billboard; you were having a bit of fun, obviously, when you asked for that from your newly signed label, but it just shows that bands play a fair game with record
Django, Miles Kane and Palma Violets. For tickets, go to
Awards Tour line-up at the UEA on February 15th, along with Django
www.ueaticketbookings.co.uk. Read the uncut version of this interview at
Outlineonline.co.uk
labels now. Is it indicative of how you assert yourself as a band, and call the shots? Well we were having fun – but we were testing them and it’s good to make sure; it showed that we were gonna do things our way, I guess, which they’ve never had a problem with. We’ve always done things the way we wanted to do it, down to artwork and all the online stuff. We kind of demanded a few things, but it kinda worked in our favour and I think they really liked that we were like that. I don’t think bands do enough stuff like that I guess, or have enough fun.
Where the billboard was, did it get a good reaction? Where was it, and did you get messages off people saying they’d just seen your face? Did it get a good honking? Yeah, it was on Digbeth High Street, opposite a wall that we used to like, sit on I guess, so it was in a funny place, I guess. But it was great, everyone was like, ‘What the Fuck?’, like exactly! We just couldn’t believe a major record label had got involved. I remember like everyone we told that we’d signed to Colombia was like, ‘what? Tat’s so ridiculous!’ It just makes no sense!
Emma Garwood Peace perform as part of the NME
20 /February 2013/
outlineonline.co.uk
Page 1 |
Page 2 |
Page 3 |
Page 4 |
Page 5 |
Page 6 |
Page 7 |
Page 8 |
Page 9 |
Page 10 |
Page 11 |
Page 12 |
Page 13 |
Page 14 |
Page 15 |
Page 16 |
Page 17 |
Page 18 |
Page 19 |
Page 20 |
Page 21 |
Page 22 |
Page 23 |
Page 24 |
Page 25 |
Page 26 |
Page 27 |
Page 28 |
Page 29 |
Page 30 |
Page 31 |
Page 32 |
Page 33 |
Page 34 |
Page 35 |
Page 36 |
Page 37 |
Page 38 |
Page 39 |
Page 40 |
Page 41 |
Page 42 |
Page 43 |
Page 44 |
Page 45 |
Page 46 |
Page 47 |
Page 48