We’re great actually. Spread all over the country right now but the sun is finally shining and life is good. Very good in fact.
Can you talk to us more about your latest single “The Son’s Room”?
It’s a bit of a departure from our usual sound in that it’s got more analogue synths, clarinets and flutes than it has guitars. No guitars in fact. It’s partly inspired by childhood memories but also by an Italian noir film of the same name….a dark little number that inspired Phil’s lyrics and our songwriting.
Did any event in particular inspire you to write this song?
Growing up really, those evocative memories that shape you and you can’t shake off. The smells, sounds, shapes that seep into your brain as a child and keep returning throughout life. There’s a real air of melancholy and yearning going on. We think it’s the best thing we’ve done in years.
How was the filming process and experience behind the video?
Aaah it was a guy called Marc Andre who crept into a Turkish gay nightclub and documented all the unbridled disco action, then slowed it right down. We love the juxtaposition of the sadness of the song with the hedonism of the people, the dancing, strobes, the drugged-up love… all of it.
How was the recording and writing process?
Long for this one… started off as a very jaunty guitar-led song with an influence of bands like Talking Heads, then it was stripped back, slowed down, and electronic beats added to inform the rhythms. The song had been knocking around for months and we couldn’t get it right but then something clicked one day. We went to our little paradise studio in the midlands valleys in England. Surrounded by lambs, donkeys and a little tequila. It all came together, rather beautifully.
What role does Brooklyn play in your writing?
Brooklyn? Not that much. Ade was out there recently for the Bowie exhibition. But can’t say it inspires the writing. We love a lot of art, books and movies from the borough though. Actually Ade did some demos out there apparently so it’ll inspire the next bunch of songs perhaps. He was hanging out and staying in Dumbo.
After the success from your previous record, were you any nervous while working on this newest single?
Yeah plus it’s two years on from the last EP. We have quite big gaps for some reason but we are going to release two more singles and some remixes this year in quick succession. That makes us less nervous, to keep things fresh and alive.
Does your new single mean we can expect a new album – how’s that coming along?
Hmmm… dunno, we should do maybe! We have 4 new tracks plus a couple of remixes but we are finding more and more that writing in short bursts suits us better. Albums are why we have the huge gaps. It’s a new way of working for us. We might put them all together at some point for an album, like we did with ‘A French Connection’.
Any tentative release date or title in mind?
Just the next single, Hey Joe which soundtracked a recent short film about the English playwright Joe Orton. It will be a ‘double A’ release with another new song ‘Post Human’ which ends with a West Coast funky hippy/Roy Ayers/Flaming Lips instrumental psychedelic wig out. Seriously!
Will you keep diving into the themes of loss on this record?
It’s usually loss, death, bereavement, bleakness, futility, and history… all to a funky happy beat.
Any plans to hit the road?
Yeah, there’s been a few personal things with some of us which has delayed stuff but we are announcing live dates soon. Not soon enough.
What else is happening next in Alberteen’s world?
Back into the studio to write more so we don’t leave it so long until the next one, and working with an amazing Parisian DJ who is also a French film historian/buff – a guy called Comma Period. He’s working on remixing an older track we have re-recorded and always wanted to revisit. It’s sounding awesome. Plus it’s an excuse to go to Paris.