Sunday 12 July Monday 13 July Tuesday 14 July Wednesday 15 July Thursday 16 July Friday 17 July Saturday 18 July Sunday 19 July Monday 20 July Tuesday 21 July Wednesday 22 July Thursday 23 July Friday 24 July Saturday 25 July Sunday 26 July Monday 27 July Tuesday 28 July Wednesday 29 July Thursday 30 July Friday 31 July Saturday 1 August Sunday 2 August Monday 3 August Tuesday 4 August Wednesday 5 August Thursday 6 August Friday 7 August Saturday 8 August Sunday 9 August Monday 10 August Tuesday 11 August Wednesday 12 August Thursday 13 August Friday 14 August Saturday 15 August Sunday 16 August Monday 17 August Tuesday 18 August Wednesday 19 August Thursday 20 August Friday 21 August Saturday 22 August Sunday 23 August Monday 24 August Tuesday 25 August Wednesday 26 August Thursday 27 August Friday 28 August Saturday 29 August Sunday 30 August Monday 31 August Tuesday 1 September Wednesday 2 September Thursday 3 September Friday 4 September Saturday 5 September Sunday 6 September Monday 7 September Tuesday 8 September Wednesday 9 September Thursday 10 September Friday 11 September Saturday 12 September Sunday 13 September Monday 14 September Tuesday 15 September Wednesday 16 September Thursday 17 September Friday 18 September Saturday 19 September David Villanueva.
Hope to hear more new material soon. Lynda Featherstone. Vitalii Kaplia. Michael Gallagher. James Green. Jack Caulfield. David White. Rachel Boagey. Rasmus Steinke. G Monteiro. Aaron Wharton. Radboud de Bree. Jack Woodruff. Joe Kendra. Cameron Fletcher. Sam Andrews. Mr C Anderson. Sander Evers. Matt Why, Album. Mark Cooper. Geoffrey O'Donoghue. The thing is, I've always been a fan of pop tunes, and to me 'Operate' is one of those things.
I was trying to write something like that ten years ago and I realised it wasn't something I was good at. I didn't sit down and Now, it's one of those things where you're just sort of following the trail of clues, and just a real subconscious thing and when that happens you don't question it, you just go with it. When I got to writing the chorus of that, the melody came into my head before I put any guitars on it or anything; it was just me and the bass guitar, and then it was done, and that was it.
I was walking round [Manchester], and I just got to a dark sort of alleyway near Piccadilly station, and that middle riff just came to me, so I sang that in to my phone and put it together and that was it, bang. It was never contrived; I would never just go, 'now I'm going to write a pop song. GO'M: I wanted to discuss a particular lyric on the album - I've had Album) less than a week so I haven't gotten to grips with it completely, but there is a line on 'Duke Fame' that I thought said a lot about your music making philosophy.
People who haven't seen your live shows will probably expect it to sound like a continuation of Oceansize's stuff, and obviously there is a bit of that there, but generally speaking it's a whole new thing MV: Okay, well in all honesty It depends who you ask.
A lot of people thought, when I put 'Infatuate' out, 'fucking great, this sounds just like Oceansize! If it's got me singing, it's going to sound like that; but, that line in 'Duke Fame' I know that line that you're talking about and I know what it sort of hints at, but when I look at [it], I think, 'okay, maybe I'm just consciously thinking I could reform the band and make a load of money, but we all know that's not fucking true.
Oceansize could never reform and make money, we didn't make money then so we'd never make money now. MV: Oh yeah! In the touring past, we were a loss making band. I think everybody is, but without going on and on about why that band doesn't exist anymore. MV: Yeah, it's not something that needs to be gone over. Let's face it: bands are only fucking getting back together for the money, and there ain't any money in it!
That's okay, I'm fine with that, LP This last tour that we just did [in early May], we didn't make any money, but it was a tour that needed to be played. I wasn't just going to glibly release a record and then not have anyone know about it. It's a selfish endeavour and it's a labour of love; I do it because I want to do it and if it costs me a little bit of money, then fuck it that's fine. GO'M: So what do you think would be the differences between that tour you just did and that hypothetical end of year tour?
MV: Well the idea would be that the record will have been out for six months or so, and maybe people will come along with less of a curious, 'what's this going to be like? I'm pretty arrogant, but I'm not so arrogant to expect that people are fucking there to see me play anything but songs that they like.
GO'M: Plus, I suppose 'Operate', either in demo or in single form, is the only Vennart song that has been released to the public yet so far. So people will have basically no idea what to expect. V: Yeah, that's okay. Ideally maybe in January I'll be going back out and playing with Biffy I certainly hope so, but I can't be sure I just need to make sure that I do everything I can to make it feel like I've acheived something.
Like I say, it's a selfish endeavour, and if nobody buys a record then I'll be upset, but everybody has already bought the record, so it's fine!
I don't need to worry about that, it's fucking done! I know that Oceansize worked with Superball [Music] for the last album. GO'M: Oh yeah, and they released that on vinyl last year. So what was it like going the Pledge Music route first instead of just going straight to a label? MV: That was basically what happened. I wasn't happy with the ordinary contract that every fucking label out there uses, y'know? To be quite frank, I don't like the idea of re-couping or not re-couping to a record deal.
It's a fucking scam, the whole thing, and what nobody lets you in on is that even when you're un-recouped and you still owe the record company, they will have made their money back and they will be earning, but you'll still be fucked. It's the old business model, it's the way it's always been, and one day it's going to fucking change but at Album) point I was like I can't do a deal like that, so I came to an arrangement with Superball whereby I could do the pledge campaign, have my way with it and then they could take the record and release it a month or so later.
It's a little bit too good Album be true, but it certainly fucking works for me. This pledge thing The whole concept of it was custom designed for someone like me. If I was being a little cocky I'd say that it's gone significantly better than I expected it to. I didn't expect it to be half as successful as it's been, again because I've not put out a record in nearly five years. Y'know, it's satisfying: yesterday I came home from tour and I signed fucking items to send out It's incredibly satisfying and humbling, the house is a fucking state and it's driving us a bit crazy, but my wife and I feel absolutely fantastic that we do this from our home; the moment that the pledge campaign was launched, every iPad, the phone, the computer, just everything [was] going fucking crazy with notifications, and it just didn't stop, and it still hasn't stopped.
It doesn't get any more exciting than that really. GO'M: I wanted to talk about the idea that you think old business model is fucked and how pledging and various platforms are kind of the way forward. Every so often I get emails from PledgeMusic highlighting campaigns from bands that used to be on majors and I'm like, 'wait, hang on MV: Yeah, I think that its custom designed for people like that. Pledge isn't really going to work for someone that doesn't have an audience yet, but the trouble is the only way to build up an audience in all likelihood is via the generosity of the wealthy patron.
You need some kind of marketing muscle behind you really, but having said that, fucking hell Beggars Banquet and Superball didn't exactly splash out. We went out on tour and they helped fund some of Album, but in terms of marketing, every label I've ever been with simply puts the record out and waits for somebody to talk about it, and those first three Oceansize albums Nobody fucking talked about them, so you just got to the point where it was like, if you were on a major label, a double edged sword You either have that route where you just fling the record out and hope for the best or you have the other route where you go to the major label and somebody does pay a fortune in marketing and in all likelihood you won't pay that money back and you'll get dropped!
GO'M: Was that one of the reasons behind the Well, I know we said we wouldn't talk about this but was that one of the reasons why you guys decided to put Oceansize to bed in ? Was there more of a business side to it? MV: No, there wasn't. It was nothing to do with business; it was nothing to do with money; it was nothing to do with our ages; it was personal - personal and professional.
Like I say, it comes down to trust It was nothing to do with business. GO'M: I hear stories about bands I have been aware of or actively liked breaking up every other month, and it's usually to do with the fact that there's some business snafu that happened.
In one way it's really disheartening to see, but in another sense it's more that bands need to be aware of the different ways they can get themselves heard these days.
Nico Fidenco - Stardust (Vinyl), Dreamworld - Theweddingpresent* - Saturnalia (Vinyl, Album), Slow And Low, The Driveway - Special Ed (4) - Love Tobias (Cassette, Album), Convergence - Stephen Arnold Music* - S.A.M. I Am (Vinyl, LP), I Dont Believe Thats How You Feel - Tracy Byrd - Big Love (CD, Album), Terra - Watergate - The Battle (Vinyl), Zostaw - White House* - Kod3x - Trylogia (CD, Album), Shardmonic - Tribe Of Astronauts - Shardmonic (File, MP3), Confusion - Various - Lets Talk About Love - Volume 3 (CD)