Jack: It was like wow, look at these people, how they would live what they preached.First things first, open up Portals from the top navigation menu on. Like Josef K, referencing straight from a Kafka novel. A lot of post-punk, which is probably the most important era for all of us.So many of those bands giving you ideas about where to go and what to read. Jack: It runs against a lot of what we were into at that time, which was a lot of punky stuff and a lot of No Wave. I loved the idea of portraiture and the drawn-out process of slowly making something.Īrchy: That's where Out Getting Ribs gets its style. Art wise there were loads of people, like Lucian Freud, how dramatic all of the dark tones in his work were. You’d set me off on a trail and then I'd find different bands. That would define what I was doing and what I was interested in. That was cool.Īrchy: You passed things down to me a lot. You played it, I played it with different bands, and we used to paint there. Jack: There was a night called Steeze, which was run by a guy called Luke Newman. There was none of that "south east London" tag. There was no emphasis on what it was, nobody was thinking about a label for it. Jack: We had our own little scene going on, 40 or 50 mates that would come down to most of our shows. They had a one-minute version of the video on there and a storyboard version in black and white. I remember the aisle itself and everything. Like, there's a cartoon band and I was really sold on the images of all the characters and the dynamic between them, and their music was super weird. I remember one of the first records I got was Clint Eastwood by Gorillaz. I'm not saying it came from that I'm just saying you developed quite quickly after that, musically.Īrchy: When I was young, there was always this thing of creating a band and creating an image for the band at the same time. Then your music developed from that point. Jack:ĝad would teach us songs, so that we would all play them together and learn the basics. We got into music because our dad was trying to get us to get into it.Īrchy: He just wanted someone to jam with a lot of the time. Jack: That's always the goal, to do something different.Īrchy: We'd draw loads. It's a very, very long process of drawing the same things over and over and over and over. It's an organic distortion from your hand. If you draw the same thing 100 times, gradually it changes. Then, you start building a wall, seeing where it takes you, where it would take the process. It’s the same with learning the mechanics of animation. Jack: It’s like you were saying about playing different instruments and almost playing them wrong. The texture of the paper and the way the characters were moving was exciting. There's so much texture to it.Īrchy: When I first saw snippets of the video, it was striking in the way it was made. I'd seen an animation by George Dunning called Moonrock. It seemed like the natural way to do things. I didn't want to hand over pieces of drawings to somebody to do on a computer. Jack: I don't know how to do any other animation. With the keyboard, because I'm such a novice at playing, it was more exciting. Jack: Is it different writing in terms of keyboards and guitar?Īrchy:ğor me, yeah, because my knowledge is completely different on both instruments. It gave it this dynamic I’d been waiting for. The song was quite a big stepping stone in the making of that record. The beat was from an interesting pedal, but it sounds like it could have been from a Casio keyboard. One tone to the voice, one tone to the track. Jack: Yeah, Friday Night, Saturday Morning.Īrchy: That was the main influence for that. Logos was me trying to be like Terry Hall in Friday Night, Saturday Morning. I was in a weird place after A New Place 2 Drown, and after 6 Feet where I'd written all these songs but didn’t know what to do with them. I think it was the first song on The OOZ where I knew what the record was going to be like. It works well with stop-motion animation.Īrchy: Logos comes from 2016. That's what the video does it's all about things changing perspective. When I'm listening to the music, I start to see the city as a zipper, all of these up and down squares, and then the moon is a face set against it. Jack: The poetry of it all simplifies things, so that all the elements almost seem the same size. It's a crescent moon sitting in the sky.Īrchy: There's also a lot of landscape in the song, and the video has got that desert. Jack: The moon is the motif you’ve weaved into your music.
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