Gravenhurst
5 questions to Nick Talbot

LA RECENSIONE

1. First of all, I want to tell you that even if nobody gives a damn, “Fires In Distant Buildings” is my album of the year. I understand it's not really a stroke of luck if the soundtrack is still right for slitting my wrists, but look, I'm trying my best and I'm sending you a photo of the New Year's Eve party: I put on “Fires In Distant Buildings” and got as drunk as a skunk. I’m the one on the right. We remembered how the “Daily Telegraph” described you (“Not to listen to when you’re alone”): we got a bit scared and so we stayed close all evening – she was a bit plain but she was the only one who was up for it. We even played "Flashlight Season," which honestly further encouraged me to touch myself and in fact I tried but she refused. So what should I do? Live in terror? Sleep in a hostel?

You're right. I suggest sleeping with as many people as possible, and you can do it at the same time. A hostel-type thing would actually be perfect.

2. Nick, what kind of people have you met at Warp Records? I mean: how do they look at you? Is it true they touch themselves? That they hug to stay closer? I try to imagine their faces when they hear “Animals”: “I don’t know what I’m doing right now.” Every time I listen to “Animals,” I can't help but get emotional.

Sounds like you know about “group sex.” Honestly, we don’t sleep together often, although I wish we did. I'd like to screw them until they bleed. (???, Ed.) Animals... Animals... Animals... hmm. They ask me about that song too often. Actually, I don’t even know what the heck to tell you. Let’s just say that when I wrote most of “Fires…” I was dealing with deep issues, some of which still make me sad. “Animals” is about violence, towards oneself and others, restraints, and lack of self-control. There’s a line in a Big Black song called “Bad Houses” that says “I tell myself I won’t go even though I’m driving in that direction.” The next album I’m working on won’t be so clearly psychotic. It will take a broader perspective.

3. Listen, don’t take offense, Nick, but I noticed some nods to certain post-rock this time: I’m referring to the explosions in “Down River,” the 10 minutes of “Song From Under The Arches.”

“Down River” was mostly inspired by “24 Hours” by Joy Division and early Sonic Youth. Whether they are post-rock or not, who knows; your guess is as good as mine. Maybe someone even sees Slint in it, since they talk about them as post-rock. “Songs From Under The Arches” was influenced by Low, and a bit by a song by Richard Thompson called “Sloth” from the Fairport Convention album “Full House” (after this collection of specifics I kind of feel like he's taking the piss, Ed.). It lasts about 10 minutes. Not many people in today’s music scene know that song, so no one ever notices. My influences go beyond the recent post-rock scene. Some reviews compare “The Velvet Cell” to Interpol and The Strokes (!!! Ed.). This is really funny because I wrote that song long before those bands hit the limelight, and the lyrics are a bit Stereolab style, while the chorus is pure Sugar/Husker Du (the certainty that he’s taking the piss, Ed.). I truly believe some journalists have a really scant record collection (is he talking about me? Ed.).

4. Nick, please tell me who writes your press materials: Reckless Records' said you are a cross between the Velvet Underground and Richard Thompson. Do they pick them at random?

They are written by collaborators at Warp, the Press Office, and myself. Like I said, some of the songs are indeed inspired by Thompson, and the cover of “See My Friends” by the early Velvet. Also, there are Stereolab, Elvis Costello (“Nicole”), early Suede (“Animals”), Pearls before Swine (“Cities Beneath The Sea”). Some journalists notice, others don’t. The truth is, all we can do is declare our loves. However, I like to think that everything sounds like nothing but Gravenhurst, but this apparently doesn’t interest the journalists.

5. Honestly, when I heard you were going to play at Spitz, I was a bit upset – last time, a Scotsman wanted to throw a chair at me; plus, it’s such a sad place. Anyway, it was nice, there were a lot of people, and my depression went away. Can you tell me what it’s like playing with John Parish?

I really like the Spitz because it’s opposite Hawksmoor’s Christchurch, which has always had a demonic influence on me (… Ed.). The place is pretty quiet, indeed. Parish is a dear guy; he partly owns ToyBox studios, where “Fires...” was recorded. And then he lives in Bristol, like me.