Interviews

Blood Red Shoes – Interview

Wer bisher bei den drei Worten Blood Red Shoes nur fragend mit den Schultern gezuckt hat, sollte spätestens jetzt anfangen anerkennend zu nicken. Mit „In Time To Voices“ wollen Laura-Mary Carter und Steven Ansell nicht nur ein Stück des Kuchens, sondern gleich die ganze Indie-Bäckerei. Ein ambitioniertes Album sollte es werden, das verstärkt auf die Stimmkraft des Duos setzt und noch härter klingt als der Vorgänger „Fire Like This“. Doch das neue Album bloß als härtere Version seines Vorgängers zu sehen, würde der Sache nicht gerecht werden. „In Time To Voices“ ist nicht nur härter, es ist zugleich auch schöner, leiser und melodieverliebter. Wie Laura-Mary und Steven dabei Hilfe von David Bowie und Fleetwood Mac bekamen, haben sie uns erzählt.

This is your third record. If you could go back in time would you change anything along the way or do you not believe in regrets and feel that every little thing made you the band you are today?

L-M: I definitely have regrets.

Steven: I would definitely change things. There is stuff that we fucked up. Videos, Photoshoots… It sounds really lame when you think about how your band is presented, but when you don’t do it then someone else is deciding it for you. In the early days of our bands we were definitely represented as something that we weren’t. More clean cut, a fashion thing. People tried to make us a couple, which still happens these days – sometimes it annoys me and sometimes I will just laugh it off.

L-M: When you first start a band you don’t think about things that could affect you for the rest of your career and there are some bands, who are aware of that straightaway but in the beginning we didn’t really know how  to present ourselves.

When „Box Of Secrets“ was so to say a collection of singles and “Fire Like This” a journey, a record you had to listen to in one go to fully get it, what would you say is the new record “In Time To Voices” like?

Blood Red Shoes - In Time To VoicesL-M: I think it’s a slow burner.

S: Yeah, I think you have to listen to it as a whole even more than “Fire Like This”, it’s going to take some time to understand the record and there are details you might only get after listening to it for ten times, it’s supposed to be rewarding for people who actually make the effort.

L-M: Each song has kind of its own identity; it’s not as straightforward as “Fire Like This”, which was more of a live show. It’s a journey through different kinds of sounds as we tried to make each song sound quite different from each other.

Where did you seek inspiration for the record?

L-M: We were listening to a lot of Fleetwood Mac, they are great when it comes to melodies.

S: It was less about heavy guitar parts and more focused on the singing. The questions we asked ourselves were: How do you write a really good melody? How did David Bowie write such cool songs? What really inspired us were the classics.

I read you wanted to make a really ambitious record and “reach for the stars”, where did that ambition come from?

S: It was always there! We just needed to learn and couldn’t be an amazing band overnight. We always said the third record is the one we really want to fucking go and expand ourselves as much as possible.

L-M: We’ve been lucky in that respect that we had time to grow and I think that’s cause we’re so self-sufficient, because if you rely on stuff like labels you are pretty short termed and get to make one record or maybe a second one.

Do you ever feel like you have to prove something?

S: Constantly. Every year some new band shows up that hasn’t played to anyone yet, after we have toured the world. The whole music industry decides they love this band, they get all the money and all the hype, play above you at every festival, get all the attention and then they disappear again. So we constantly feel that we have something to prove.

L-M: We’ve always been a bit of the underdog band. We’re not in a scene, people kind of know us but we’ve had to work really really hard to get to this point. But it is not necessarily a bad thing, cause if it all would be easy we probably wouldn’t be here cause it’s the kind of thing that keeps us going,  it must sound weird, but it’s been kind of a blessing…even though it’s frustrating.

S: I think we needed to be the underdog to be this motivated.

Blood Red Shoes

When making a record how much do you worry about people not getting it or not liking it and how much do you just sit back and see what happens?

L-M: I didn’t think about it until it was done. But then suddenly I had these moments of “no one is gonna get it” or “no one is gonna like it”, but usually I try not to worry about this stuff too much, we gave it our all and if people don’t like it, what can you do?

S: Immediately after we finished it we both were really depressed and we thought it was a really bad record and were ready to scrap it, but after a while you get your head straight and say to yourself “this is the best thing we’ve done. I know it” it’s when you focus on one thing so hard, as soon as it’s finished it’s like someone drops an atomic bomb.

I read that article that Steven wrote earlier this year on how these times are hard times for guitar music. It’s not very likely though that you’re going to pull a Yeah Yeah Yeahs’s on us and replace all your guitars by synthies, right?

L-M: Haha, no never!

Foto 1: Ariane WhiteTapes, mehr Fotos hier

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