Mystery Jets interview
- Jun 21, 2010
Mystery Jets have transformed themselves from prog outsiders to pop innovators over the years, without ever losing their sense of fun or adventure. New record 'Serotonin' is coming out soon, so what better time to interview lead singer Blaine Harrison? He has a way with words, from granny's glitter box to falling in love with beautiful Peruvian girls - plus whether Dennis can really fool them...
Greg Rose: The new album 'Serotonin' is on the way. How does it differ from what has gone before?
Blaine Harrison: I think its the most spacious record we've made. There's moments of real intensity but there's a lot of breathing space in there too. I think it's a record we've had inside us since we stared, but we've needed to make everything that came before to come this point. It's very concise in that sense.
GR: You wrote recently: "Waiting for your record to come out is a lot like waiting for childbirth." Are you having contractions yet?
BH: I think the contractions began at the end of the last day of recording. It was the point of no return. I've tried to listen to it as little as possible since that point as a means of separating my self from the songs before we take them on the never-ending tour later on this year.
GR: 'Twenty One' had a very young, innocent feel. Is that something you are keen to keep hold of or get away from?
BH: 'Serotonin' feels like the end of a series, as if the next will be a departure somewhere else completely different. In retrospect, this album feels like a sister record to 'twenty one'. Its' less naïve, possibly slightly jaded, emotionally unstable older sister. Similar themes run through the two of them, but I'd say the innocence you mentioned has been replaced by something more vigilant.
GR: Are the suits from that era of the band going to come back out of the cupboard? Is it time to forget the '80s?
BH: Ha! No i think Glastonbury 2008 was possibly the last time we took those out. If i remember rightly they didnt survive the weekend's endeavours very well. We had Grannie's glittery dress up box for a good time after that, but synthetics and man sweat don't go together too well, you end up covered in a weird balmy rash and smelling of mothballs.
GR: The klaxon ringing at the start of the last album was a great idea, what opens up this time?
BH: We open the show now with a recording of someone performing a deep hypnotherapy technique on the audience, but somehow it didn't make it onto the album, which is a great shame. We felt the opening track on there, 'Alice Springs' works a similair job though. Its a lets-go-to-war song inspired by two of my all time favorite australian films, Gallipoli and Priscilla, Queen of the Desert.
GR: Chris Thomas produces this time around. What did he bring to the table and why did you choose not to go with Erol Alkan again?
BH: No reason in particular other than we have always enjoyed the experience of working with someone new. The early stages of a relationship always produce the most intresting and unpredictable results. It's kind of like making out with someone in the dark. Erol has always been like a big brother to us and we love him dearly. Coincidentally he is the throws of making 3 of his own records as we speak, which is what is so fantastic about his work method. He only seems to be completely engaged if he throws him self completely into whatever he does.
GR: You have said the film A Single Man influenced the video to 'Dreaming Of Another World'. Any other cinematic influences on the new album?
BH: The idea of listening to this unwritten, unrecorded lp whilst looking out of the window of a plane seemed to be a recurring image in my mind for a long time. I hear a cinematic, panoramic sound when I hear it back, but i think its also because i'm aware of the kind of records that inspired it. We do sometimes talk about film sequences when we discuss how we want something to come across to the listener too. A sequence from 'Solaris' came up recently. It's the bit where the man sees the vision of his dead wife and all the cups and saucers are floating around the room. That's pretty much how i wanted this record to sound actually.
GR: You are now with Rough Trade. How is it working with those guys?
BH: The best thing about Rough Trade is that nothing is imposed on the artists. When you're on a major, you have a cackle of people around you whose job it is to make you look, sound and appear more marketable than you probably are. And believe me they have some pretty 'funky' ideas. I think Geoff Travis (at Rough Trade) signs bands that he can see have their own ideas. And the best bands do. Jeff Lewis can put out a couple of home recorded EPs and spend the next six months working on comics, or British Sea Power will decide to only play sea side pavillions on thier next tour, and Rough Trade will be totally behind them.
GR: Why isn't Henry in the live band any more? We miss Henry.
BH: Well your not alone, actually you wouldnt believe how many young Japanese girls spend the entirety of our concerts chanting his name. Henry is still and will always be very much a part of who we are and what we do. He shot the record sleeve and co-wrote a good half of the lyrics on the new record with us. He just doesn't tour anymore. But it's not like he's sitting on his ass at home filing his nails all day, he spends most of his time on boats, ferrying wild exotic birds and plants across the river, and writing poems. Not a bad life really.
GR: After the lovely 'Young Love' link up with Laura Marling, do you have any more collaborations in the pipeline? Who would be your dream musical partner?
BH: We did some work last year with a group of insanely talented string players called the Elysian quartet, who i would love to make a record with in the very near future. Maybe an album of Todd Rundgren covers, that would be great.
GR: What is your favourite song today? And what album/artist have you recently got very bored with?
BH: Today it's a song called "we were children" by a great new london band, Tribes. They channel the early Sub pop Seattle sound and are fronted by a mesmeric young singer called Johnny Lloyd. I have to say i don't listen to the radio much at all unless it's to tune into Jarvis Cocker's excellent Sunday service show on 6music. I'm without a doubt incredibly bored with all things Simon Cowell, but seeing Rage against the Machine play their victorious free concert last week was a nice reminder that lots of other people feel the same.
GR: Are you looking forward to getting back into the touring routine, and everything that goes with it?
BH: I can't wait. Making records is only half the fun of being in a band as everybody knows. I'm particularily looking forward to playing in South America again and falling in love with a beautiful Peruvian girl and spending christmas on her parent's ranch.
GR: You are playing Glasto this year. Last time I saw William he was brilliantly worse for wear at that festival. What are your plans for it this year?
BH: My plan as it stands is to get on the shandies pretty quickly, hear Stevie sing "Sir Duke" then disappear off into the post-apocolyptic never-never land of Trash City for the rest of the weekend. Hopefully re-appearing the following week with some remnants of my mind still intact.
GR: In hindsight, can Dennis fool you?
BH: He certainly did, and he will again.
Mystery Jets will release 'Serotonin' on July 5th. They're playing live here, there and everywhere too, check the website for the dates.
Greg Rose
