Amelia’s Magazine | Music Listings: 24th August – 30th August

Having spearheaded the new London folk scene with their debut album, there medical Noah and the Whale are back with their hands full up, releasing a new single, album and film out this summer. We talk school plays, Daisy Lowe, weddings, gardening, Werner Herzog in the studio with the effortlessly charming frontman, Charlie Fink.

Photos by Katie Weatherall

Amelia’s Mag: You’ve got a whole host of new releases coming up – single, album, film – how are you feeling about it all, happy/nervous/excited?

Charlie Fink: All of the above… I dunno, we did the album so long ago… From the last album, I realised the only satisfying feeling you’re going to get is the feeling you get when you’ve finished it and you think it’s good, that’s the best it gets. Reading a review of somebody else saying it’s good is good to show off to your mum, but it doesn’t really mean anything. Likewise, if there’s something you believe in and someone says it’s bad, you’re still going to believe in it.

AM: And the live shows must add another dimension to that?

CF: Yeah. What I’m excited about really is that this record realises us as a band more than the previous one. So that’s going to be really exciting to go out and play that live to people.

AM: And is there anything in particular that has done this or has it been the natural progression of the band?

CF: It’s a million small things, from us playing together more, us growing up, learning our trade a bit better, from what happens in lives and the records you listen to. I very much try to rely as much as I can on instinct and satisfying myself. And this is not a selfish thing because the only way you can supply something worthwhile to somebody else, is if you’re totally satisfied with it yourself. Doing the right things for us and hoping that’ll transfer to the audience.

AM: Was there anything in particular you were listening to whilst making the record?

CF: The things I’m listening to now are different from the things I was listening to when I wrote the record. When I first started the record, I was listening to ‘Spirit of Eden’ by Talk Talk, which is a different sounding record to what we did. Nick Cave, lots by Wilco

AM: So tell me about the film, ‘The First Days Of Spring’, that accompanies the album (of the same name)… which came first?

CF: The first thing was the idea of a film where the background and the pace was defined by an album. But it totally overtook my whole life. It’s one of those things you start for a certain reason and then you keep going for different reasons. The inspiration was sort of how people don’t really listen to albums anymore, they listen to songs. We wanted to try making an all emersive record where the film puts people into it. We’re not dictating that this should be the only way people listen to music, we just wanted to offer something alternative. On a lot of records these days, you don’t feel like the unity of the album gives it more strength than each individual song. Whereas with this record, the whole thing is worth more than the individual parts. That’s how I see it anyway.

The First Days Of Spring Teaser from charlie fink on Vimeo.

There’s this quote from I think W. G. Collingwood that says, ‘art is dead, amusement is all that’s left.’ I like the idea that this project, in the best possible way, is commercially and in lots of other ways pointless. It’s a length that doesn’t exist. It’s not a short film or a feature, it’s 15 minutes and the nature of it is that it’s entirely led by its soundtrack. It’s created for the sake of becoming something that I thought was beautiful.

AM: And Daisy Lowe stars in it, how was that?

CF: She’s an incredibly nice and intelligent person. I met with her in New York when we were mixing the album and I told her I was doing this film… She was immediately interested. And her gave her the record as one whole track which is how I originally wanted it to be released. Just one track on iTunes that had to be listened to as a whole and not just dipped into. She sent me an email two weeks later, because she’s obviously a very busy person. With her listening to the album, a kind of live feed of what she thought of it. Making a film and having her was really good because she kept me motivated and passionate. She genuinely really took to this project. The whole cast as well, everyone really supported it and it was a pleasure to make. I had to fight to get it made and understood. It’s one of those things that people either passionately disagree with or agree with. From thinking it’s absurdly pretentious or beautiful. Fortunately all the people working on the film were passionate people.

AM: So is film making something you want to continue with?

CF: Yeah, definitely! At some point I’d like to make a more conventional film. The thing that really stuck with me about making a film was surround sound. When you’re mixing a film, you’re mixing the sound in surround because you’re mixing for cinemas. You realise the potential of having five speakers around you as opposed to just two in front of you. The complexity of what you can do is vast. So I’d love to something with that. If you record in surround sound you need to hear it in surround sound, so maybe some kind of installation… Then another film after that…

AM: You’ve been put into a folk bracket with your first album, is that something you’re ok with?

CF: I like folk music, I listen to folk music but then every folk artist I like denies they’re folk. It’s one of those things, it doesn’t really matter. We played last year at the Cambridge Folk Festival and I felt really proud to be a part of that. It’s a real music lovers festival. That was a really proud moment so I can’t be that bothered.

AM: I recently sang your first single, ‘5 Years Time’, at a wedding, do you ever imagine the direction your songs may go after you write them?

CF: Wow. That’s really funny. I’ve had a few stories like that actually. It’s touching but it’s not what I’d imagine.


AM: Do you write songs in that way? Some bands set out to write a love song, dance song etc…

CF: I can’t really remember how I write… I was writing last night but… do you drive?

AM: I just recently failed my test.

CF: Perfect! Well, you know when you start driving you have to think through everything – put my foot on the clutch, take it off the clutch etc. Then when you’ve been doing it a while, you just do all those things without even knowing you’ve done them. That’s how it feels with songwriting, I can’t really remember doing it. It just happens how it happens. Or like gardening… you’ve just gotta chop through and it’ll come.

AM: Is being in a band everything you imagined it to be?

CF: For me it’s more about being creative. I do some production for people, the band, the writing and now the film. I just love what I do and just keep doing it. I follow it wherever it goes. The capacity I have for doing what I do is enough to make it feel precious.

AM: So are there any untapped creative pursuits left for you?

CF: At the moment what I’m doing feels right. I never had any ambitions to paint. I don’t have that skill. I think film and music have always been the two things that have touched me the most.

AM: So how about acting?

CF: I did once at school when I was 13. I played the chancellor in a play the teacher wrote called ‘Suspense and a Dragon Called Norris.’ Which had rapturous reactions from my mum. I don’t think I could do that either. When you direct though you need to understand how acting works. It’s a really fascinating thing but I don’t I’d be any good at it.

AM: Do you prefer the full creative potential a director has?

CF: The best directors are the ones that build a character. Building a character is as important as understanding it. It needs major input from both the director and the actor. You can’t just give an actor the script and expect it to be exactly right. You need to be there to create the little details. The way they eat, the way they smoke… That’s an important skill.


At this point, Charlie asks me about a note I’d made on my reporter’s pad, which was actually a reminder about a friend’s birthday present. Which draws the conservation to a close as we recite our favourite Werner Herzog films. Turns out, he shares the same taste in film directors as my friend.

Monday 24th August
Mumford and Sons
The Borderline, more about London

UK’s answer to Fleet Foxes, online Mumford and Sons, visit this celebrate their music video to the first single off their debut album in North London tonight.


Tuesday 25th August
The Troxy, London

If Charlie from Noah and the Whale tells us he likes Wilco, then we like Wilco. It’s as simple as that. It’s time to get educated.


Wednesday 26th August
The Hot Rats
The Old Blue Last, London

Otherwise known as half of Supergrass plus hot shot Radiohead producer, The Hot Rats get their kicks taking pop classics by, amongst others, The Beatles and The Kinks and infusing their own alt-rock psychedelica – worth a gander.


Thursday 27th August
Madam Jo Jos, London

Their blend of durge blues, barndance and freestyle frenzy jazz blues make KILL IT KID a gem to behold in a live setting.


Friday 28th August
Swanton Bombs
Old Blue Last, London

If you like your indie adorned in Mod and brimming with angularity, then Swanton Bombs will be pushing the trigger on your buttons.


Saturday 29th August
South East in East Festival – Teenagers In Tokyo, Tronik Youth, Ali Love, Publicist
Vibe Bar, London

It’s all about South East London – full stop. In this cunning event, it up sticks to East London, where synth-pop Gossip descendents, Teenagers In Tokyo headline a night of New X Rave.


Sunday 30th August
The Gladstone Open Mic Night
The Gladstone, London

As it’s Bank Holiday Weekend and all the bands are at Reading/Leeds Festival, London is starved of big gigs. No fear, The Glad is here – A little known drinking hole in Borough that continually serves up a plethora of folkey talent… and pies!


Categories ,folk, ,gossip, ,kill it kid, ,Mumford and Sons, ,Noah and the Whale, ,Nu-rave, ,pop, ,punk, ,radiohead, ,rock, ,supergrass, ,swanton bombs, ,the beatles, ,the hot rats, ,the kinks

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Amelia’s Magazine | Primavera Sound 2011 Review: Tennis, Pere Ubu, Deerhunter, Pulp and more! (Day 2)

Jarvis Cocker of Pulp by Sam Parr
Jarvis Cocker of Pulp by Sam Parr.

After una copa de tinto de verano, about it I’m ready for another night of music overdose. First on my list is Julian Lynch, side effects the etnomusicologist from Winsconsin that conquered my heart with 2010’s LP Mare, a dreamy collage of folksy pop tunes with a shade of drone that seriously make you feel as if you were floating in a mare (which means “sea”, in Italian – I’m not sure that was his purpose in titling his album that way, but it gives a pretty damn good idea of what his songs sound like).

To be honest, I expected something quite different from his set. Strangely enough, his unhinged harmonies, between prog, metal, jazz, indie and psych, though verging cacophony, mingle in a perfect way and make extreme sense, creating a hypnotizing ensemble of notes and echoing vocals.

Julian Lynch by Laura Lotti
YouTube Preview Image
Music video: Julian Lynch – Garden 2

After his performance, I rush to see The Monochrome Set the avant gard post-punk outfit whose original formation featured nonetheless than Adam Ant. Although guitarist Lester Square is still rocking as hard as far back in 1978, the band seems to have lost his idiosyncratic verve, and their performance feels quite cheesy.

Tennis by Laura Lotti
Tennis by Laura Lotti

On the other hand, one of the contemporary bands I’ve always regarded as ‘cheesy’, Tennis, surprise me on the ATP stage. I’ve had mixed feelings towards this husband-and-wife duo since first hearing Marathon last year. Despite the song being a perfect ear candy of 1960s bubbluegum pop, they seemed to be one of those music blogs darlings, with too much buzz about them and too little to prove. However, their debut album Cape Dory sounded immediately so catchy when it came out a few months ago – a collection of simple, shiny, sticky-sweet pop melodies – that now I feel compelled to check them out. And this the best thing I’ve done today! In fact, they are so good live, I almost want to cry. Their gig reminds me of another great band I saw exactly on this same stage last year, Beach House. The melodies are kept to basic – only keyboard, drums and guitar, played by hubby Patrick Riley – and Alaina Moore’s eerie voice is the protagonist. I can’t help but squeaking “ohmygawd they are so sweeet” while jumping around every 3 seconds, stars in my eyes as teenagers in love do (ermm, maybe, given the times we are in, used to do when I was a teenager) – that’s the effect of their music – to the point that I’m afraid my friend wants to punch me in the face.

Music video: Tennis – Cape Dory
YouTube Preview Image

Thank god at the end of their set my face is still unscathed and, charged up by the positive vibes assimilated at Tennis’ gig, we all happily stroll (or shall I say, run?) to see James Blake. The Pitchfork stage is already jam-packed to welcome him and his band (a drummer and a guitarist, to translate in a live dimension his qualities as producer) and since the first beats everybody is humming and moving their heads to his music. How to define his sound remains a mystery to me. Would something like dubstep-cum-singer-songwriter-skills-cum-free-jazz-hints give an idea of his idiosyncratic style? I don’t know and I don’t care. He’s good as hell, that’s all that matters, and his elaborated melodies provide the perfect soundtrack to the rapidly falling dusk. Again as for Tennis, the voice plays a fundamental role here, but this time is smudged over the melodies in electronic effects to become integral part of the whole sound.

JAMES BLAKE by Laura Lotti
Audience at James Blake’s Set by Laura Lotti

If I’m usually concerned about music that (largely) avails of digital technology, I have to say that James Blake is a good example of how to use it, and explore new spaces between liveness and reproduction. Despite my original wariness towards this 22-year-old artist, seemingly too young to be actually so good as popular press and industry people depict him, I must admit I’m glad I’ve been proved wrong. Unfortunately his performance is spoilt by the reverber of the sea surrounding half of the stage (very pictoresque, thank you. What about sound quality, though?) and the echoes coming from the other stages. But hey this is a festival. You can’t have it all, can you?

Music video: James Blake – The Wilhelm Scream
YouTube Preview Image

So far I’ve seen two new bands that have managed to put up with the hype pumped up by the media: Tennis and James Blake. I’m already satisfied, and with this new hope towards the future of music, I head to see another kind of genius, an innovator of the very concept of music, who’s inventiveness hasn’t stopped since the 1970s. I’m talking about Pere Ubu, that on stage is still as charismatic as ever and plays a jarring, spirited set of new and old songs – coyly alluding to his “old girlfriends” every now and then and drawing from his flask one too many times – accompanied by a whole ensemble of awesome musicians, especially drummer Steve Mehlman.

Pere Ubu by Sam Parr
Pere Ubu by Sam Parr.

This bleach-blonde giant is a proper drum-machine himself. Got to this point I could go and see Ariel Pink’s Haunted Graffiti but
a) he’s playing bloody far away
b) Pere Ubu is a magnet.
I’ve literally got no chances of moving away from here (or better to stop moving) hypnotised by David Thomas & co’s syncopated rhythms and funny jokes.

Pere Ubu2 by Laura Lotti
Pere Ubu by Laura Lotti

No Joy are another welcomed surprise. The Canadian band fronted by blonde grrrls Jasmine White-Glutz and Laura Lloyd, praised by the likes of Best Coast’ Bethany Cosentino and Pitchfork for their recent release Ghost Blonde, are so powerful on stage that I cannot stop dancing and staring at them: two blonde full manes shaking constantly to the melodies created by their same guitars and otherworldly voices that intertwine with each other and and with the kicks and snares of bass and drums in a perfect entente. They are grunge, they are rock, they are cool as hell. I want to be blonde and I want to be them. They close their set with a never-ending droned-up hazy cover of Del Shannon’s ‘She Said’ that puts everybody in a hypnotic trance for the following 15 minutes.

Music video: Del Shannon – She Said
YouTube Preview Image

Now it’s time for slowcore Low, that play an atmospheric, almost whispered set. Although the stage is packed, it feels as intimate as if they were playing in my living room. The festival stage itself though, flattens a bit their magic.

Low by Laura Lotti
Low by Laura Lotti

And now it’s the band I, like probably most of my Generation Y mates, am most dying to see tonight: Deerhunter. Bradford Cox & co play and achingly haunting array of songs from ‘Halcyon Digest’ and their previous releases, building walls of melodies as overwhelming as they are perfectly balanced with each other and with Cox ‘s voice. They create dense atmospheres, delicate but strong, textured, complex but fluid. Deerhunter is a band that will stay. I can picture Deerhunter being one of the bands that my nephews will come and see in one of their reunion maybe here, exactly on this same stage, in 40 years time.

Deerhunter by Laura Lotti
Deerhunter by Laura Lotti

And if Deerhunter were one of the must-see bands of the night in my personal list, Pulp’s reunion is a universal must-see! It seems like all the Primavera Sound attendees have gathered under the San Miguel stage to witness this glorious comeback.

Music video: Pulp – Common People
YouTube Preview Image

Now, I am one of those people that, if everybody says ‘white’, have to scream ‘blaaack’ with all the energy in my lungs, and always swim against the current. So, don’t take it personally, this is not an attack to Britpop nor to one of the most brilliant contemporary British icons that have made the history of music. However, I must admit, I’m quite disappointed by this concert. Jarvis was one of us, wasn’t he? So what about all this Lady Gaga-esque stage design and bright neon visuals, that dangerously make of Pulp the caricature of themselves? It feels like a mammoth money-driven pop reunion. That’s what it is, after all, I bitterly sigh to myself. I cannot feel much energy in the air, though Jarvis is still in enviable shape and jumps around like a cricket from the beginning to the end. However, towards the end of Pulp’s gig he regains my interest, when, as in the best pop fairy tales, he doesn’t forget to get political, and declares himself indignado for the shameful events happened in Plaza Catalunya the previous night, delivering a memorable performance of ‘Common People’ dedicated to the struggling protestants.

Categories ,Adam Ant, ,Amelia’s Magazine, ,Ariel Pink, ,Ariel Pink’s Haunted Graffiti, ,Atlas Sound, ,Avant Gard, ,barcelona, ,Beach House, ,beer, ,Bradford Cox, ,Common People, ,deerhunter, ,Disco 2000, ,electronic, ,festivals, ,James Blake, ,Jarvis Cocker, ,Julian Lynch, ,laura lotti, ,low, ,Music Festivals, ,No Joy, ,Parc del Forum, ,Pere Ubu, ,Post Punk, ,Primavera Sound, ,psychedelia, ,pulp, ,Queuing, ,Rebecca Elves, ,Rock and Roll, ,Sam Parr, ,spain, ,summer, ,Tennis, ,The Monochrome Set

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Amelia’s Magazine | Festival Preview: Secret Garden Party

secret garden party

Out of all the festivals that fill the calendar over the British summer, medical none are quite like the Secret Garden Party. Every year friends come back, page wide-eyed, stories tumbling from their mouths about the fantastical things that they have seen and experienced. Last year’s festival had a whole stage on a boat in the middle of the lake on site (above) – as the festival was brought to close on the final night the ship was fully exploded in a mad orgy of fiery violence. It sounds like it was brilliant. Every year they have things like this.

It’s a strange festival in that the attraction is not so much the lineup (good as it may be), or the site (beautiful though it is), but the other people who attend. The organisers explain it best:

“We provide the Garden and plant the seeds, but you nurture its life and allow it to blossom. It is your party – your creative participation allows the festival to rejuvenate & regenerate. Our number one rule is that the festival must facilitate your participation.”

Simple, eh? This means that there’s a very blurred line between performers and attendees, leading to a merry atmosphere that’s had people deliriously happy since 2004. It may not have the ‘big’ names that characterise the larger, more corporate festivals, but that’s not the point (and, as the four friends who run the festival say, “there’s something unsettling about relaxing in a field in the summer underneath a giant Pepsi logo”). This sharing, communal atmosphere is largely responsible for the festival’s grand reputation amongst the partying people of Britain.

There are still stages and tents and acts and headliners, of course. This year there will be performanes from artists as diverse as Mercury Rev, Fionn Regan, Eliza Doolittle, Mr Fogg, Marina & the Diamonds, and Crystal Fighters (but that’s just scratching the surface of the lineup). They’ll be appearing on the different stages and in the different tents across the site – wonderfully-named things, they are. There’s The Great Stage (aka the main stage), or the Wild Stage (bands play to the audience from a treehouse), or The Pagoda (a DJ arena, backed by a Peter Foster-designed pagoda), or The Feast of Fools (a medieval banquet experience underneath a huge, ancient oak), or… well, take your pick, there are 14 different locations to choose from, all of them suitably wacky and enticing.

This year’s theme (for there is always a theme) is ‘Fact or Fiction’. Again, in the festival’s own words:

“In 2010 The Secret Garden Party will be prizing open the chinks in man’s most carefully constructed edifice: Reality. The Garden will be exploring the illusions, visions, theories, fantasies, mysteries and legends that have created a rich world between Fact and Fiction.”

The idea is to come in a costume that’s stranger than fiction. Whether that is entirely logically possible is a moot point – it’s all about having as much of a party as possible by exploring the inventive ideas of the past, present, and future. Plus it’s a chance to dance in a field dressed like Bowie in Labyrinth. No?

Ah, Secret Garden Party. Between the hippie girls with flowers in their hair to the massive raves in the woods at night, there’s a lot of space to do your own thing. It’s a festival all about doing what you want to let yourself have a good time, and in the process get other people to enjoy themselves more through the power of community. It’s all very excellent.

Categories ,Bowie, ,Britain, ,crystal fighters, ,Eliza Doolittle, ,festival, ,Fionn Regan, ,ian steadman, ,Marina & the Diamonds, ,Mercury Rev, ,Mr Fogg, ,Secret Garden Party, ,summer

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Amelia’s Magazine | FFS at the Forum: Live Review


One of the surprise music announcements of 2015 had between that of the collaboration between art rockers Franz Ferdinand and veteran pop eccentrics Sparks. Born from a long term mutual admiration and a chance meeting in San Francisco, they released a well received album under the nom de plume of FFS and, following a sold out show at the Troxy in June, they returned to London to play a pretty much packed out Forum.

Coming on to the stage to the strains of, if I wasn’t mistaken, the theme to 70s sci-fi show Blake’s 7, FFS kicked things off with Johnny Delusional, the lead single from their eponymous album. Ron Mael’s stately piano intro gave way to a dizzying dancefloor beat, with brother Russell and Franz Ferdinand front-man Alex Kapranos bouncing around the stage.

I did wonder how the set would progress, whether it would be a run through of tracks from the album maybe followed by a couple of the two bands’ own songs for an encore, but pretty quickly Kapranos hinted that they would air some songs “we’ve never played together before.” And sure enough, there was a smattering of individual Franz Ferdinand and Sparks material, with both Russell Mael and Alex Kapranos sharing vocal duties – amongst others, Take Me Out, No You Girls and Do You Want To made an appearance from the FF half of FFS’ back catalogue, whilst the Mael brothers’ contributions included When Do I Get To Sing My Way and, inevitably, This Town Ain’t Big Enough For Both Of Us (though Kapranos wisely left Russell Mael’s still remarkable falsetto well alone). SparksGiorgio Moroder produced hit Number One Song In Heaven also saw an impromptu Charleston from that normally immovable object, Ron Mael, before segueing into a pumped up version of Franz Ferdinand’s Michael.

Listening to the FFS songs, it suddenly becomes clear how much of an influence Sparks were on Franz Ferdinand, I think mainly on Alex Kapranos’ lyrics and delivery. The unmistakeable imprint of Sparks’ songwriter Ron Mael is ever present, as is Franz Ferdinand’s art rock nous, and the two complement each other surprisingly well. What’s also evident tonight is how much fun everyone seems to be having on stage (though it’s typically hard to tell with Ron Mael, ensconced behind his “Ronald” keyboard and with the same expression he’s been using since scaring the audiences on Top Of The Pops all those years ago).

Franz guitarist Nick McCarthy stepped up to duet with Russell Mael on Things I Won’t Get, whilst Police Encounters supplied a suitably silly “bomp bom diddy diddy” refrain. FFS closed the set in a typically less than po-faced fashion with Piss Off, before an encore that climaxed with the epic, genre hopping and ever so slightly knowing Collaborations Don’t Work.

Franz Ferdinand and Sparks proved that they weren’t such an unlikely pairing after all, and while the FFS project might well be the aural equivalent of the sideways look to camera, they show that, in these days of earnest artistes, fun (without being self indulgent) and music are not mutually exclusive things.

Categories ,Alex Kapranos, ,Blake’s 7, ,FFS, ,Franz Ferdinand, ,Giorgio Moroder, ,Nick McCarthy, ,Ron Mael, ,Russell Mael, ,Sparks, ,The Forum, ,the Troxy, ,Top Of The Pops

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Amelia’s Magazine | Music: Interview with Tennis

Tennis by Jane Young
Illustration by Jane Young

Could you introduce yourself please?
This is Alaina from Tennis.

Where are you from?
My husband Patrick, link our drummer James and I are based out of Denver, more about CO.

Could you describe you music?
We like to describe our music as minimal, viagra order vintage pop. We like to write and record with limitations and use mostly analog equipment, and draw most of our inspiration from 50′s and 60′s pop–not anyone in particular just the general aesthetic of the times.

Do you write it yourselves?
Patrick and I write all of our music.

What are your songs about?
Our album Cape Dory happens to be specifically about a sailing trip Patrick and I took in 2009. We learned to sail and live aboard a boat together, it was such a life-changing experience that it inspired song writing for the first time.

Who/what are your musical influences?
50′s and 60′s pop, musicals, Grandaddy and Todd Rundgren.

Tennis Tiff 2

Where/what else do you draw inspiration from?
From life experience. We make it a priority to live a life full of new experiences that are challenging and unfamiliar. For us creativity comes from uncomfortable and new situations. Patrick and I began writing music after spending seven months living on a boat and sailing the Atlantic coastline together. The first pieces of music we wrote were dripping with nostalgia for the coast, for sailing, for sleeping under the stars. We missed the life we left behind so much that song by song, we catalogued our experiences, so that when we wanted to reminisce we could just press play.

You sing of places; e.g. South Carolina, Bimini Bay – why is this? Are locations/ and particularly these places important to you?
These places were important to us while traveling. We spent a considerable amount of time in both places and writing songs about them occurred quite naturally.

How did you get together?
Patrick and I met in college. We were philosophy majors and our paths crossed.

Is it true you purchased a yacht and sailed around the east coast for eight months?
Hardly a yacht, it’s more the nautical equivalent of a Honda Civic. But yes, we did purchase a sailboat and sail around the east coast for seven months (we lived aboard for eight).


What was this like?
Learning to sail and live aboard a boat was the greatest adventure of our lives. It was the experience that made us want to create something. We didn’t know it would be music at the time, but it was the catalyst that made us realize our creative potential.

Do you enjoy adventure?
Absolutely, we think adventure begets creativity.

And touring? What is it like?
Touring has been a difficult adjustment for us. We love to travel but touring is quite different. Fortunately we are very close as a band. We are supportive and caring of each other, and we appreciate the opportunity to share our music.

Do you plan on playing in the UK? …Any festivals?
We were just in the UK in January and had a wonderful time. I’m not sure when we will be in the UK but we will be playing Primavera Sound in May.

What’s next for Tennis?
Quite a bit of touring, followed by a break this summer to write and sail again.

Tennis‘ first album, Cape Dory is out now on Fat Possum Records.

Categories ,Alaina, ,Atlantic, ,Bimini Bay, ,Cape Dory, ,Denver, ,Fat Possum Records, ,Granddaddy, ,Helen Martin, ,James, ,Jane Young, ,Patrick, ,philosophy, ,South Carolina, ,Tennis, ,Todd Rundgren

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