This page contains a Flash digital edition of a book.
acoustic guitar like a MOTHER.

In Italy, you’re ubiquitous, like, you’re absolutely huge. Obviously you’ve got a major following here anyway, but what’s it like when you go to Europe? Is it quite a different thing? It is, you know! In Europe there are some places where it’s really difficult to even walk down the street and that’s not so much fun, you know - I like my freedom. But you know, Skunk Anansie’s been a band on YouTube the whole time we weren’t around so we have a lot of new fans in Europe because over there it was this legendary thing. For them it’s like Nirvana coming back or somebody. It’s been really cool to have that loyalty, you know, because the English industry – not the English fans, because the fans are really loyal – but the industry, they’re so obsessed with new music, or not even new music, but new bands. To be obsessed with new music is great, but to be obsessed with new bands is a bit limiting, you know! [LAUGHS]

Tat night we got to hear the new material for the first time and it’s fair to say that it was accepted brilliantly, we seemed to adopt it instantly. Yeah! And that’s what’s really lovely, you know, because I think every band has a good amount of insecurity in them and for me I always think that nobody cares what we’ve done, they just care about the old songs more than they like the new songs. Ten that’s just like ‘oh, that’s so heartbreaking!’ Our band needs new blood and new stuff and exciting new things. We’ve got a brand new show that we’ve never done before live, we’ve got projections going on and some special tricks going on. We designed them for the arena shows that we’ve been doing in Europe.

I saw Ace’s hand being slashed by his acoustic guitar strings, which looked bloody painful – you had two power cuts at the Village Underground gig – is Ace practising acoustic as back up? No, actually we’re doing a Skunk Anansie Unplugged, a very special show at Cadogan Hall in April and we’re reworking some of the Skunk Anansie songs acoustically. We’ve got two guitarists and stuff – it’s very special, so that’s why he’s playing

It’s impossible to keep up with that – I think rock bands need money and development and a bit more time, you know. Tey’re not given that time any more, which is why you don’t see that much rock music in the charts any more. I think the thing about being in a rock band now is like, we really are the originators because we really now just do our own thing; we’re not gonna be on the radio, we’re not gonna be lauded by the press. When we did ‘Black Traffic’, I was like, ‘I don’t give a fuck about anything anymore! Tey’re not gonna play Skunk Anansie on the radio anyway, so why try and make a radio friendly album?

Because you don’t see radio as a viable medium for your music, do you think it helps that magazines like Kerrang! have maintained a strong relationship with you? It really does help because the thing about Kerrang! is that they support rock music; they’re one of the few people standing alone with their hand in the air going, ‘we wanna rock!’, you know.

I was explaining to a work experience girl that when I was about 14, I had to collect tokens from Kerrang! and then send them off – with a stamp – in order to come and see your gig at Te Waterfront! She looked incredulous when I said “stamp.” [LAUGHS] Yeah, I was playing a record

and had to turn it over and my niece was like, “oh my God! You have to turn the record over?!” I was like, “oh, you do not know you’re born!”

A new song that had a resonance with me is the song, ‘I Hope You Get to Meet Your Hero’, because last time we spoke, I explained you’d been my musical idol for a long time, and you told me not to put anyone on a pedestal. Te funny thing is that song is about anti-heroes and it’s actually quite venomous; it’s sung with gritted teeth and is about being let down by your hero and saying, ‘well, I hope you get to meet your hero and I hope she treats you better than you treated me.’

To talk about a couple of other songs as well – ‘Tis is Not a Game’ and ‘Sticky Fingers in Your Honey’, they’re the ones where people hear echoes of the first album because they’re political, they’re cheeky… I think that writing political songs is a bit of a minefield, you know, because I think what’s really important for us is to stay away from the clichés, and it’s very difficult to stay away from the clichés if you’re trying to sum up the feeling of a generation. But if you can find something that actually affected you personally, and talk about it in that way, then you touch more people. Political songs – you don’t go to write them, they just happen. It’s like songwriting; go and try and write a song like this, or like that and it always fails. We still learn that lesson now – we learn it with every album.

So Skin, you’re gonna bring us a kick- arse show - no doubt – so what, as an audience, can we do for you? I think, you know, a packed house, full of people coming to see a good show. Have a couple of drinks and just go for it. Just dance your arses off… And look after me when I come into the audience because I have a new trick – that’s all I’m gonna say…

Emma Garwood

Don’t miss Skunk Anansie when they return to the UEA on March 14th. For tickets, go to Read the uncut version of this interview on / March 2013 / 17

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  |  Page 49  |  Page 50  |  Page 51  |  Page 52  |  Page 53  |  Page 54  |  Page 55  |  Page 56  |  Page 57  |  Page 58  |  Page 59  |  Page 60  |  Page 61  |  Page 62  |  Page 63  |  Page 64