Palm Honey: An Interview


Jeremy Corbyn has pissed off Palm Honey. “He’s upset me” deadpans frontman Joseph Mumford, who is miffed that their BBC Introducing set at Glastonbury “clashed with Corbyn.” Whether that’s because the Reading four-piece were forced to miss the speech that drew one of The Pyramid’s largest ever crowds or because said crowds didn’t turn up to watch Tucked Into The Electronic Wave live isn’t clear.

Those who did prioritise their set experienced a moving stream of dream-pop psychedelia, which the band (Joseph Mumford, Harrison Clark, Seb Bowden and Ayden Spiller) repeat tonight for a rapturous audience in the basement of Stoke Newington’s Waiting Room.

Palm Honey don’t write about politics. But that’s only for fear of sounding “too preachy…we don’t want to sound like U2 or something” grins Mumford. Outside of the studio though, politics is a “second favourite” after music. Though his speech clashed with their set, Palm Honey “still love” Corbyn for his honesty and principles: “he’s stood for the same things his whole life and hasn’t been interested in careerist nonsense.”

In particular, it’s the contrast with the grotty politicians we’re used to that make Jezza so appealing: “people are fed up with nonsense fake politics and those who dictate the media are completely out of touch with people in general.” Despite this, the frontman also predicts the sticking power of the current Conservative government, propped up by the DUP: “far worse things have lasted in government…I think they will probably last a while because people will forget and become apathetic.”

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On a far less depressing note, and one that we’re always happy to discuss: vinyl. As for all of our alumni, records are a “ritual”, and for Palm Honey, it’s the fact that records encourage fans to “actually listen to the whole body of work” that make them so important to a music industry drowning in corporate interference. “We are big believers in format: in an EP or an album and I think it’s important that people listen to music in that context rather than taking things out.”

With a record (You Stole My Blackout/Bones) already out on Flying Vinyl, Palm Honey return this autumn with Starving Hysterical Naked. Mumford “loves Ginsberg a lot”, though the song title (a line from fifties Beat Poem Howl) was chosen for the aesthetic more than any affinity the new material has with the poem: “it’s a stark image and I think a song title should give you an idea of its aesthetic.”

“Not as pop-y” as previous records, the upcoming track shares affinity with Ginsberg’s classic through its mood: “it’s the darkest, heaviest and most dissonant thing we’ve put out.” We hope you’re as excited as we are!

 


 A version of this article first appeared on the Flying Vinyl Blog here

 

The Orielles: An Interview

At their headline show at The Finsbury on Friday 26th May, I spoke to Sidonie (drums) and Henry (guitar) of The Orielles.

 

I want to ask you guys about politics, but let’s start off with music: can you talk me through your new single I Only Bought it for the Bottle?

Sidonie: it’s about the idea of narcissism and buying products at face value. The idea came from when we watched the film Neon Demon by Nicholas Winding Refn, which is about modelling agencies and how they produce blindsided models.

 

How about 8-minute blinder Sugar Tastes Like Salt? What journey did that song take?

Henry: Each part was written at different times when we were all listening to different music. It was written over the span of three years. One day we hope to do the full half an hour’s worth of every Sugar ending we’ve ever come up with.

 

Did you hope the song would challenge people’s shortening attention spans?

Sidonie: It was always a risk. But it was a risk that we were prepared to take.

Henry: I don’t see why you should shorten a song. You insult people’s intelligence by only giving them 3 minutes of a song.

 

What are your hopes for the election on June 8th?

Henry: A Labour majority. I went to see him [Jeremy Corbyn] in Hebden [Bridge] when he did his manifesto speech. The town hall got too full and there were loads of people queueing, so he went up to a balcony and did a second speech from there. Amazing guy.

 

How do you think you’ll feel on June 9th?

Henry: We’re going to do either three things [if Labour lose]: we’re either going to start a punk band, move to Canada, OR move to Glasgow and wait for the Scots to become independent.

 

And if Labour win?

Henry: Either way, I am going to have a mad’un: a celebration or a commiseration.

 

It’s Jeremy Corbyn’s birthday today.

Henry: Happy birthday, daddy!

 

What do you think he’d be like as a father figure?

Henry: He’d teach you life lessons from when you were young; he’d get you politically-active from a young age like it should be.

 

Should the voting age be lowered to sixteen?

Henry:  Yeah. If 16 and 17 year olds could vote, it would be a completely different story. And there are people who are eighteen years-old who aren’t voting and I just can’t understand why. It stresses me out.

 

What is your opinion on how the press has been during the election campaigns?

Henry: – Awful. After seeing the Corbyn speech, I went to the local supermarket, and all of the newspapers had headlines like “Theresa May is for the Working Man.” The manifesto had been leaked and already Theresa May had used the press to take Labour’s strong points as her own. The fact that she’s not debating infuriates me. When I saw Corbyn do his speech, I just thought to myself, if people actually listened to what his manifesto is about, there’d be no way you’d vote Conservative. That’s why she’s not debating: she realises that Labour and their manifesto is actually something to be reckoned with, and that the majority of the UK don’t like being fucked by a government that they didn’t vote for.

 

Where were you when you heard about the bombing at the Manchester Arena?

Henry: I didn’t hear about it until the morning. And in the 24hr news cycle, I just heard more and more about it through the day. It was really nice to see Mancunians and people showing solidarity.

Sidonie: We saw so many promoters who said they’re going to keep the shows on because they wanted to prove that music is about love and sticking together. That’s the best thing to do in times like this; fight against it.

Henry: They want to divide us and keep us separate and scared and you just can’t let it happen can you. Music is such an effective form of escapism, and a gig is where people come together as a community. For someone to target as sacred a place as a gig really got to us on a personal level.

 

Let’s talk about vinyl: what does it mean to you guys?

Henry: It’s nice to fill your house or room with music played on a natural record.

Sidonie: You’re not just buying it to listen to; it’s something you can hold, and so much nicer than just a download.

Henry: Vinyl should be considered as a full piece of art; start to finish on both sides. We keep them close to our hearts. I’ll never forget the day we got test presses through for Sugar.

 

Do any records stand out as particularly special?

Sidonie: I always The Pastels, Slow Summits. It’s perfect for every occasion.

Henry: On tour, wherever we go, we just buy records. I came back off tour with 4 new LPs and 3 singles. Not only does it remind you of the tour, it reminds you of the town you got it in; how the gig was; what the weather was like; what beer was on the rider. It’s like getting a tattoo: a little time capsule of when you bought it.

 

Do you think that reissues damage sales of records by new bands?

Sidonie: I don’t think so, no. We buy both; I think true fans of music will definitely buy both.

Henry: I think that reissues are an amazing thing about modern day consumerism. For example, I bought the record by Donny & Joe Emerson, which is an album by two brothers recorded on a farm. Someone found it and reissued it for the whole world to hear. For people in our generation who have a love for music like that but can’t buy the records because they’re hundreds and hundreds of pounds, reissues are an amazing thing.

 

What do you think the industry can do to support young musicians, especially those in guitar bands?

Henry: Scrap pay-to-play shows completely.

Sidonie: I think that the most money nowadays is in going to gigs, so maybe make them a little bit cheaper to encourage more people to go and to buy merch. From touring, we’ve realised that we don’t make much money from the gigs: it’s all from the merchandise.

Henry: This might not be a good idea but: record live shows because a young band starting out will not have the money for studio time and to be able to put songs out there for people to actually listen to. So if you record a set and chop it up into the songs and release that, that’s a really easy way for bands to get their songs online.


Edited and shortened for clarity. A version of this interview first appeared here on Flying Vinyl.