
Thoughts about music and the world in general, which may offer an insight into our creative process, or not. Subscribe to the RSS feed for updates.
The next few blogs on this site are going to explain what the 11 songs on our album, The Regional Variations, are about. I know, isn’t it exciting? This one is about Drowning Nightmare 1. Sort of. Be warned: lengthy tangent approaching. Let’s begin. At a show we played at Metro in London last year, I got talking to a woman in the audience who seemed very surprised and disappointed to discover Hamish and I are not lovers…
I read the NME today, for the first time in a while, curious as to whether it was worth Ash, our PR person, sending them a copy of the album. Clearly we’re not going to turn down publicity from anyone (we are not idiots) but it really made me cross, as the NME generally does.
Back when we released our first single - a CD, which we spent much time and more money than was probably sensible or necessary packaging as beautifully as possible - I couldn’t help noticing how many people were suddenly predicting the imminent demise of the CD single.
I had a dream about OMD the other night. I’m walking through town with Andy McCluskey and someone like Janet Street Porter. Andy is explaining why he went from making landmark experimental pop albums like Architecture & Morality and Dazzleships to writing gloopy, predictable ballads for Atomic Kitten. To illustrate the different direction his life could have gone in, he takes us to Billy Childish’s house…
The greatness of Kitchens of Distinction is something I frequently shout about at anyone who will listen, even as they stare at me in mute incomprehension when I tell them The Death of Cool is one of the best albums of the last 20 years.