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ever really nail it. I’m sure that's probably had an effect on commercial viability, you know -


- Yeah, but that doesn't really matter that much, does it? Te only other time I've seen you was at Bestival in 2011 and I think you described that as 'the send off for 'Crooks and Lovers'. Does that mean you've changed your set nowadays, and is there less time for some of the more leftfield tracks from that album? We still play a bit of it, and we've got another member now so that's changed the way we play quite a lot. I think playing so many festivals, we ended up going from one extreme to the other. When we started out, it went from being a really disjointed, kind of meandering set - which didn't work at festivals at all, you know - to then finding what festival music was, which I don't really have a problem with. Now we're coming off the back of this summer, and doing these shows, we're looking at doing some kind of slower, kind of weirder bits and we were a little bit nervous about it in rehearsals. Ten I thought ‘you can't be playing to the people who make the most noise all the time’, you know.


Yeah, 'cause people who like the new record and people who like the old record are gonna enjoy the stuff that's not four- to-the-floor all the time. Who's the new person you're playing with live? Is that an extra instrumentalist - - Pretty much, yeah. I mean, we've put him behind a drum kit, so he's kind of looking after most of the rhythm side of it, but he's playing bass and some keys and stuff as well, so he's like us in his ability to play a multitude of instruments not very well! We've played with good


drummers before, and it sounds ridiculous but I’m really not into it. I want to carry on working with non- musicians, or whatever, and the thing is it's freed us up to use the technology that we're using a lot better because we're not worried about two of us controlling five bits each, and keeping time with each other and making sure that everything's locked in. We're able to lose ourselves in one or two bits of equipment, or instruments rather, than five or six, which I think benefits the performance somewhat.


Yeah, and you're obviously singing on some of the tracks as well, which is a fairly new thing. Lyrics haven't really been the focus before, so how have you written those songs? How did they come about? I think those songs were just forming themselves. I've always got hooklines in my head, it's just that this time, I started pushing them a bit closer to the front instead of replacing them with another instrument, which I used to do quite a lot.


How did the tracks with Archy [King Krule] come about? Again, did you just meet him, or was it a planned thing, to get someone on board? Er, well we actually planned to have nobody on board, 'cause I just didn't want to make a second album that, I think, I don't know - I think electronic music sometimes does itself a disservice when the second album comes out and guest vocalists are brought in, 'cause it's almost saying that it can't stand up on its own. I was watching one of Archy's videos, just sitting in the hotel room and thinking that there was a correlation in some way, that they'd really work together, you know. It made me definitely want to try it, and that was a couple of years ago, I guess. Basically it turns out we pretty much live in the same area, near Peckham and he just came in and was really relaxed; came in and took away a couple of bits that we'd started, which ended up being the three that are on the record. It was about three or four sessions of going over stuff, but it was really enjoyable for us, because he had quite an instinctive way of working, not trying to figure out a lot of stuff before, or precious about his art as well. He was happy to try stuff around.


I was gonna ask you where the inspiration for the instrumental tracks


come from, 'cause I think a lot of people do it quite differently. You said you start with the production, but is it a case of having a little riff or something - - Yeah, it can be anything; it can be just trying out a compressor with the bass guitar or something, and it'll be the compressor that I get excited about, you know, it's not my playing. Ten it's all just very simple stuff, you know, me not being a virtuoso, it's quite an enjoyable way of working. And then, it's almost like there's only one or two options really of what I could play, because the sound pushes it in a certain way, you know. After the fact, it's very hard to say where that came from, where that instinct to create that sound came from.


Did signing to Warp mean that you polished this album more than 'Crooks… ' Was there any pressure from them to get more - not commercial, but - - No, there was no pressure from them at all really. Tey signed us without hearing any of the record and they didn't have any suggestions about which direction it should be going in, or anything like that. I think whoever the record had come out on, it would have been a more well- rounded sounding thing.


Your music - to me anyway, maybe because I’m biased - sounds very British, and it definitely doesn't sound like it comes from America or other parts of Europe. Do you think your music has an affinity with your surroundings? Yeah, I mean, I don't necessarily know if it's geographical, or your social surroundings… if I moved to L.A. I'd still be making British records because that's actually who I am. Unless I had some complete shift in outlook on my life, I think that'll always be a starting point, you know. So yeah, I’m kind of reluctant to buy in to the idea that if you go to the countryside, you'll make a certain kind of record and if you're in the city, you'll make that type of record. I just kind don't buy it.


Just to ask you about Norwich - you've played before and you're playing the Arts Centre again. Are you excited to come back? Yeah, it was cool; I remember being pretty ill but it was a really lovely venue. Te sound was good and you could tell people were listening. Hopefully we'll do it justice.


Alex Trossell


Spectro bring Mount Kimbie to the Norwich Arts Centre on November 15th. For all the information, go to www.norwichartscentre.co.uk. Read the full version of this interview online at Outlineonline.co.uk


outlineonline.co.uk /November 2013/ 23


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