which is more than the price of the album. Where do you stand on the idea of letting other people attribute value to your work? I'm all for it as long as it works in our favour!


I read that ‘Yes, It’s True’ was 6/7 years in the making, and that the songs were written over years, with no overarching concept, yet there’s still a real cohesion to it. Does that come down to experience, or the production process, or serendipity? I think it's a little of all three… Going into the recording process, I was concerned with how we were going to make it sound like an album with intention. Like every recording process, there are these times where you'll write in the studio while you’re waiting on this or that, and you'll come up with something that ends being a part of the record. Ten with the mixing process, mixed with the magical moments that happen along the way, you end up with a cohesive record.


‘Yes, It’s True’ explored the idea of taking stuff away, rather than adding everything, and every part to the record, which was a change from your usual M.O. Will that have an effect on your live dynamic, do you think, or will fans still recognise the same kind of ensemble we’re used to from you? I think just like the recording process happens and surprises are made, the same goes for the live experience. I believe the band is at its best at the moment; we have been together for a while now and the musicianship is stellar. Te songs that have been written through the years really give us an opportunity to hit the whole sonic


16 / June 2014/outlineonline.co.uk


I believe the band is at its best at the moment; we have been together for a while now and the musicianship is stellar.


expression.


Tere’s vitality and directness to ‘Yes, It’s True’. It comes across like you’re still invigorated by the work you do as a band. Is that fair to say? I would say so, yeah... We explored worlds that we hadn't in the past, which kinda gives you this newness to what you've been doing. Exercises if you will. Te more you exercise the better you feel, even in music.


Tat hasn’t stopped you exploring other avenues though; can you tell us about a new third band you’re purportedly working on? Well, Preteen Zenith was something that was hatched from getting together with my friend Phil Karnats who was a former bandmate from Tripping Daisy. I had some songs I had written and wanted Phil to record them for me. Trough that process we decided to put this band together and make a record, so we did. We've only played one show but the record is out there, and maybe one day we'll do it again. No pressure,


when it comes it comes.


I was reading in the news just this week that your label, Good Records was going to be focusing on releasing singles, not albums. Much nostalgia is attributed to the album as a format, but what freedom do you think singles bring to the artist? Well it gives the artist the ability to be as spontaneous as they want. Not having to rely on releasing an album’s worth of material gives you a freedom to explore other musical territories. We're not saying “no” to the album by any means, just saying it’s ok to do a song every now and then that doesn't have an obligation to an album.


I’m really chuffed to read that you had a successful Record Store Day in the Good Records shop. If a reader was just embarking on their first vinyl collection, which five albums would you implore them to buy? Wow… I think you start with the classics and work your way forward.


Lastly, I know this is a tender topic, but the sad loss of Ben Curtis last year, and Wes in 1999 brought added pertinence to the amazing work you did as Tripping Daisy. Having the body of work you did, as a band, do you think that’s the best legacy you can leave, as an artist? I would say it doesn't hurt.


Emma R. Garwood More Information


Te Polyphonic Spree come to Te Waterfront on June 9th. For tickets, go to www.ueaticketbookings.co.uk.


Read the uncut version of this interview on Outlineonline.co.uk


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