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the-evil-duckling · 3 years

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And now that Pride Month's over, Let's Talk About Pratchett.

The companies have taken down their flags. The marches and rallies are fading away. Rainbow colours are melting back into grayscale. And now that all the hubbub is dying down, let's talk about an author who did perhaps more than any other to introduce gender-and-sexual minorities to the public (and not just as a cute oddity to be cooed at from a distance, either).

Let's talk about an author whose works are perhaps the most representative, hard-hitting, and wholesome, in all of well-written English literature.

Let's talk about Pratchett.

Before we dive into the lovely little nitty-gritties, I want to just take a quick look at what Pratchett's writing really is, and what makes it so very exceptional. It's pretty simple, really.

He's funny.

That's the "secret" formula to Terry Pratchett's success across the global; he's funny everywhere, everywhen, across multiple generations and multiple decades and multiple geopolitical borders. You don't have to read Discworld with a lot of effort, thinking deeply after every line about the message the author is trying to convey. You don't have to analyze every character and every situation to see how the author is sculpting a crystal-clear mirror and holding it up to the face of Society. When I'm feeling down (cause college and life and pressure and dreams) and wanna start gouging out my forearms with my nails, I can just curl with one of my comfort books (like Men At Arms, or Unseen Academicals) and laugh and chuckle and just feel better. You can just enjoy it.

Now, I think, I can get to the fun stuff; analysing all of my favourite characters and the roles that they represent in mirroring Pratchett's view of People. (I should mention at this point that I am mainly going to be focussing on the Sam Vimes novels, and what I will be writing are my own thoughts and opinions. Anyone who knows more - or has just read/interpreted the books differently - is of course free to add their own musings.)

Fred Colon: Sergeant Colon is that rarest and yet most typical of things: Fred Colon is an ordinary person. He is no hero, or genius, or leader. He is not evil or even mildly malicious. And that is the very point that needs to be understood. People (most people) are not deliberately evil; they are, on the whole, fairly decent people who treat their friends well and try not to make enemies. It is just... petty selfishness, petty prejudices, petty apathy... all summated in every single member of the populace, and suddenly everyone knows that dwarfs are just money-grubbing bastards who'd bite your kneecaps off for a copper coin and trolls are dumber than the rocks they're made off but they'll as soon smash you to pulp as look at you and you can't trust a vampire cause they're too dead to be alive and-

Carrot Ironfoundersson: Captain Carrot is a cliché. Captain Carrot is a cliché wrapped inside a trope hidden in a Mary Sue, all turned on its head. Captain Carrot, rightful heir to the throne of Ankh, leader of all manner of beings, man who once beat Detritus in a fistfight... is not the hero of this story. In any other series, the story would have been of a brave new cop (who is also the king) standing up to the corruption and lawlessness of the Patrician while taking advice from his grizzled old half-drunk commander who dies four chapters into the first book with some vaguely portentous words that the hero remembers at the very last minute to give him the tools/strength/motivation necessary to keep fighting. But this is Pratchett. And the hero of the story, if there is one, is very much the grizzled old commander. Two other points have also always struck me about Carrot. The first is the matter of identity. Biologically, Carrot is very much a human, but in all other ways that matter he is entirely a dwarf - his name is Kzad-bhat, and even the deep-down dwarfs do not question his dwarfishness - and yet that does make him any less a human. In this is reflected the multiplicity of identity (not just of gender, which is what most people immediately jump to, but all identities). The second point is of the relationship between Carrot and Angua, which seemed to me a representation of a healthy dom/sub relationship. Unlike the twisted shit we find on ao3 (and in some published books that I don't feel that I need to name), Angua is at no point portrayed as lesser, weaker, incapable, dependent, or deferent. She is her own person, and the two of them just happen to have this kind of chemistry.

Samuel Vimes: Ahhhh. His Grace, His Excellency, The First Duke of Ankh, Blackboard Monitor Samuel Vimes, Commander of the City Watch. The protagonist, if not quite the hero, of the series. He is not perfect, not even close. He is casually discriminatory (species-ist?) and thoughtless in most of what he says. his saving graces are that his discrimination is universally applied at all beings living and dead, and that he has never, not even once, allowed his personal feelings of prejudice stand in the way of justice (which is at times, all that separates him from Fred Colon). Does that mean that it's all okay, and everything is now fine and dandy and hunky-dory? No. Not even fucking close. Words matter and actions matter and even how you feel deep inside - all of it matters. Prejudice is prejudice, and it is always wrong. there are no mitigating circumstances, no 'yes, but...' that can make it acceptable. But only an idealistic idiot would say that it is not better than the alternative. And this is the reason that Vimes is one of my favourite protagonists; he is not a hero. He is real.

Leonard of Quirm: A parody of the public perception of a genius (perhaps of Roundworld's Tesla and da Vinci), I have loved Leonard as a character ever since I realised he was gay. Allow me to elaborate. As I was recently re-reading Jingo, I noticed a line that went something like 'He started drawing how The-Going-Under-The-water-Safely-Device could be improved, piloted by a muscular man who was not overdressed'. And just like that, a couple dozen other off-hand comments slotted into place and I realized the homosexual truth. And I love this portrayal of homosexuality, because most books or movies or tv shows or fanfictions with a gay MC (or even sidekick) tend to have a storyline roughly equivalent to 'hey my name is [insert name here] and I'm GAY and I have a destiny to save the world and my family and my GAY boyfriend whom I'm dating cause I'm GAY and before I go outside I have to pick my outfit really carefully better go with salmon-rose-flutter pink cause I'm GAY and now I'm outside and I'm not very popular and this is my tragic backstory cause a lot of people don't like me cause I'm GAY and-' Yeah. This is not good writing. By barely mentioning anything, Pratchett somehow still managed to emphasise that a) homosexuality is one of your identities, not all of them and b) just because a story has a character who is gay doesn't mean that the story becomes about a character being gay.

Trev Likely: One sentence. Just one sentence. 'Hating people was too much work.'

If you actually made it this far, you are obliged to reblog. I'm sorry, but I don't make the rules. (Please?)

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sunsetinmyvein · 3 years

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The Radio Station - Chapter Six - Why Can’t We Be Friends?

26th of November, 2018

Eventually, she saw it all unfold in the headlines. The lies. The heroin. The trip to rehab. It was devastating to discover the root cause of Matty’s behaviour in such a disconnected way from how she might’ve expected to discover it a few years ago. A part of her wanted to reach out, to check in and see if he was doing all right, offer to help, but she suspected after their last two interactions that maybe she was better off just leaving it. However, in contrast to the sinking feeling from knowing he had been going through such turmoil, it was incredibly uplifting to see him getting back on his feet. For him to be writing and releasing music again meant that he must’ve successfully made it to the other side. Whenever the announcement of a new album came, she waited in anticipation for the email confirming that he’d be coming back on the show. She wasn’t entirely sure if she was excited at the thought of seeing him again, or absolutely dreading the prospect of things still being uncomfortable between them - her emotions seemed to regularly flip flop between the two. It was awfully close to the album release date when she finally got the confirmation from her boss; she had begun to suspect maybe he didn’t want to come back on the show after how they’d left things. He’d have every right to resent her after how she’d treated him.

She was knocked out of her thoughts whenever she heard a soft knock at the door, turning in her chair to see Matty standing outside with a sheepish smile, having arrived early. His hair was cropped quite a bit shorter than she’d seen it before but he was still sporting his natural curls. He was wearing some puffy yellow coat over a plain shirt, and stock standard worn out blue jeans. It was probably the most… average, that she’d ever seen him look (not that average was ever a truly fitting word to describe Matthew Healy). She waited for him to push the door open and come in, but he seemed to be waiting for her to let him in. As she stood up and opened the door, and he gingerly made his way inside and loitered next to her desk for a minute, she was suddenly vividly reminded of the first time she’d met him. All she could see was the nervous twenty-three-year-old that she’d met six years ago, who was scared shitless about his first proper radio interview. The nostalgia hit like a freight train, and before she could give it a second thought she grabbed him in a tight hug.

He hugged her back, pressing his face into her shoulder as he let out the breath he had been holding. “I’m sorry…” She said quietly after a moment.

He gave an incredulous laugh at that, “You’re sorry? For what?” He asked. “I was the dickhead.”

“I just…” This hadn’t really been the way she expected herself to instantly react, nor had she thought of anything to say in this situation. Her mouth was running dry trying to come up with the right words to explain what she was feeling. “I wasn’t exactly a good friend.”

“I think we were both a bit guilty of that.” He chuckled as he ran a hand through his hair, taking a step back.

“I should’ve tried harder.” She tried to explain, frowning at herself as she floundered for the right sentiment.

“It’s fine, truly.” He reassured her. “I wouldn’t have told you what was happening, anyway. Nobody knew.” He added with a shrug.

They took their seats opposite the desk, both feeling slightly relieved but well aware there was still tension surrounding them. “Uh, is there anything you want me to avoid asking about?” She asked eventually, busying herself with checking the text line to avoid looking directly at him.

“No.” Matty replied instantly. “I’d prefer you ask what you want to rather than censor yourself for my benefit. I won’t answer it if it’s too much.” He clarified. “Thanks for checking, though.”

“Are you…” She hesitated, unsure of the boundaries of their friendship now and how much she should be asking for her own curiosity. “Are you all right now?” She asked as she looked across to him.

He cracked a small smile, “Considerably better. Probably not all the way there yet, though. It’s hard with my girlfriend back at home for the moment, but I’m managing. Keeping busy with other stuff to stay occupied.” He answered truthfully. She nodded in understanding. “And you? It’s been at least three years since we’ve had a proper conversation.” The realisation of how long it had actually been stung slightly, but she ignored that feeling and instead focused on the fact that he seemed to genuinely want to know how she’d been.

“Good.” She grinned. “Doing well on the morning slot now that it’s been a few years.”

“You’ve been making a bit of a reputation for yourself over here, I hear your name get kicked around a bit when I’m at home. It’s nice to see you getting proper recognition for your efforts.” She tried her best not to blush at the subtle compliment.

Thankfully she didn’t have too long to dwell on his kind words and any connotations behind them before the interview started. The nervous butterflies sat at the pit of her stomach as she switched the live audio and video feeds over, lying in wait in case the interview still felt as awkward and forced as the last two.

“Matty, great to have you back.” She spoke, clearing her throat slightly.

“Great to be back after so long.” He said cheerfully.

“The 1975 release their new record in six days, A Brief Inquiry into Online Relationships-”

“Only six days?” He muttered to himself in slight disbelief.

“We’ve only got a relatively short interview today, because after this you are heading straight into the live lounge to play a few tracks for us.” He made a noise of agreement. “We’ve heard five singles off it, all of which sound very different from one another in true 1975 fashion.” Matty laughed lightly at that. “And I noticed that you did the same thing with this album as what you did with I Like it When You Sleep; the first single you released was the first track on the album. Is this becoming a habit for you guys?” She asked.

“Probably not a habit.” He started, letting out a huff. “It just felt like the most natural thing to do. Whether it felt like a primary statement or not, I’m not sure. We’d already made an album by that point, we hadn’t made a group of singles. I hadn’t been thinking ‘oh, how do we butter them up?’ Just thought… this is the first song on the record. Put it out.” He shrugged.

“Do you think this is your strongest record so far?”

“A hundred percent.” He answered instantly.

“I’ve heard people comparing it to OK Computer. Saying that it’s a similar thing for the millennial generation.” She prompted.

He let out a groan, “I try not to think much about it.” He admitted. “I mean, what do I say? It’s so humbling and amazing, but strange also, because… the only realisation that I really came to, about the record – I think the reference to OK Computer is maybe it’s kind of, the narrative is incredibly twinned with how we communicate and the internet and all those kind of things. Which is obviously OK Computer in a nutshell. My favourite records are about life.” He said, clenching his fist for emphasis and knocking the microphone lightly. “It’s maybe a bit of a big thing to say, but I was just writing a record about relationships. Well… I wasn’t even doing that; I was just writing a record. And it turns out if you’re trying to write an honest record about relationships and how they’re mediated in the modern day, you’re kind of by proxy writing about the internet.” He explained. Things already felt more natural than what they had of late. Matty felt more open and responsive, which instantly put her mind at ease.

“One of the other singles that we’ve heard from the album is Love It If We Made It, which is…” She tried to pick her words carefully to best capture her thoughts on the song succinctly, “a pretty powerful song to say the least.”

Matty nodded enthusiastically before answering, “The thing with Love It If We Made It… it was very, very difficult to write. It’s a list of information. The idea stemmed from the fact that over a year we collected tabloid newspapers every day to make the lyrics. Unfortunately, when we got to trying that, it was too slapstick. The song was hard to get right. It needed to be as objective and as fair and as anti… ‘watch out sheeple’ as possible. And that’s hard to do.”

“It seems you guys did a good job with it in the end. It’s been resonating well with our listeners.”

“Thanks.” Matty grinned proudly.

“It’s Not Living If It’s Not With You has also had quite the response.” She added, hoping he’d have a bit to say about that, and that maybe it could work as a segue to the questions blowing up her screen in her peripheral vision.

“It’s… I don’t know…” He sighed, staring blankly at the wall behind her as he tried to formulate an answer. “The way I always explain it, it’s like it’s a song that sounds poppy but it’s about something serious. Which, okay, that’s straight up 1975. And that’s because the feeling that I get from music, narratively or musically, can kind of be the same thing. You know like being nervous or being like, er, anxious for a date, physically could be the same feeling as the fear of heights if you get rid of all the intellect. Emotionally, you get the same thing. I’ve always been like, I get this feeling when I read the lyrics of Hallelujah by Leonard Cohen but I get the same carnal feeling when I hear the music to Girls Just Want to Have Fun. So… the synthesis of those ideas has just been the most obvious thing in the world for me, you know what I mean?” He looked across to her for confirmation. “I think that idea really sums up The 1975. If you’re a big fan of The 1975, that’s the most 1975-iest song on the record.”

She had hoped he would jump straight into the lyrical content of the song, but clearly she would need to segue into it herself. “That totally makes sense.” She agreed. “There’s been a bit of a debate about the subject matter of It’s Not Living.” She said, giving him a cautious glance. He’d said not to worry about asking whatever she wanted to, but that didn’t stop her from feeling like she was delving too deep into his private life.

He hummed thoughtfully. “I’m pretty sure most of the fans know what it’s about.” He said with a dry laugh. “I’ve not like… done some big reveal of my relationship with drugs over the past couple of years. I think that because…” He stared down at the desk with a frown, “I used to have nightmares about being exposed. Because remember, my whole game has always been that ‘do I know that you know that I think that I’m a rock star?’ that’s always been my whole thing.” He said with a pointed look. “So, the idea though, of actually being known for being a junkie and doing those kinds of things, used to terrify me. Because then I’m a cliché. I lose all of my irony and lose all of my funniness because I’m an actual cliché. So, I think even when I’m talking about it on this record, I’m still going ‘Danny ran into some complications-’ it’s like I’m using characters. It’s a bit like somebody going ‘I’ve got this mate, right, and he’s got a bit of this weird rash-’ “ He chuckled. “Like ‘yeah, all right, well tell your mate-’ it’s like we know who you’re talking about. I think the idea that I’m still trying to hide and remove myself from it is part of the gag. But then the chorus is brutally honest. It’s difficult to write a song like that. It’s hard to despise the idea of fetishizing or romanticising drug use as a behaviour but then only having my truth. Like I don’t have anything else, I don’t have anywhere else to talk about it. There is a hopelessness to drug addiction. You don’t keep doing it because it’s cool, you keep doing it because you feel like there’s no life without it.” His expression seemed to become quite sombre at that before he continued his train of thought. “And to express that… it wasn’t like a relief for me. The music is a catharsis for me, but it wasn’t like I needed to get that out. Unfortunately, I’m only my set of experiences, and they’re pretty limited as somebody who’s been on the road for four years trying to mediate his life through drug addiction, y’know? So yeah… it’s difficult to walk that line. Um… But I just had to make sure that… like with most of my work, any discussion of my behaviour is normally with a profound distaste. And kids are smart, man.”

She hadn’t really expected him to be so open about it so readily. “What started it?” She asked instinctually, almost forgetting for a moment that she was at work and meant to be providing entertainment. “If you don’t mind me asking.” She added as an afterthought.

He waved a hand dismissively at her worry. “I’d be on stage, and there would be however many thousands of people. And I’m genuinely trying to connect with people, you know? And then it’s done. Go back to the hotel room. Go to sleep. Like… what?” He answered with a frustrated huff. “I was trying to change culture in my head ten minutes ago and now I’ve gotta go to sleep? I used drugs to go to sleep primarily. I’ve never had a good relationship with sleep, anyway… I’ve always been jealous of people they’ll tell me about a dream and they’ll kind of like explain this little kind of film that they’ve been that has a dynamic of emotions and it was up and it was down and my dreams are just like terror. Just fear. I’ve never had that many good dreams. And drugs stop you dreaming. But then obviously… you have solutions to get rid of that post-show buzz. Didn’t really get me anywhere. Spoilt it, as well. Did way too much. Did loads of it.” He admitted. “So, I can’t do anymore of it… when I’m older.” He laughed.

“So, you became reliant on that as a comedown?” She questioned.

“It was always gonna happen with me with opiates.” He said bluntly. “I only say this in case people relate to it, but like, when I was younger, I kind of used to dream about being sedated. And unfortunately, sex, drugs, other things, religion, I’ve loved all these things in my life but they’ve never just-” He clicked his fingers, “turned it off. And unfortunately, when I tried those drugs, I – temporarily, for a moment – had that. And I was like, right, this is gonna help. And erm,” He picked at his nail anxiously. “It just takes your shine off, slows you down. Makes you lie, which is a nightmare for somebody who is so Mr Tell The Truth.”

“The lies are what got you caught?”

He made a noise of contemplation. “The problem is… I’m very, very lucky, is what I am. And I have an infrastructure around me of like… we’ve been a band since we were fourteen, I’m twenty-nine, right.” He said with a pointed look in her direction. “We’re like brothers, we love each other. I have amazing opportunities like this,” He gestured around the studio, “I have my health, I have all these things. There’s not a lot of people around me who allow stuff like… hard drug use. And that’s really annoying when you’re a drug addict. But it also makes you reflect, you know what I mean? Because you just end up lying, and being a version of yourself that- but that’s part of the sickness. You incentivise things weirdly.” He explained with a shrug.

“And the rehab centre you went to was in Barbados?” She asked. He nodded in response. “I heard that the band paid for that?”

His expression visibly softened when she brought that up. “Yeah. I think the nice story was that uh… Obviously, I’m in a fortunate place in my career that - obviously I have to think about those kind of financial things - but before I went I was kind of thinking ‘I’ll sort that out when I’m out there’ and then I remember saying to Jamie ‘oh-‘ and he was like ‘aw nah, nah, it’s all sorted’ and I was like ‘Oh, how much did it - what was it?’ and he was like ‘oh, well we just did it out the band’ and I was like ‘oh really??’ “ He seemed visibly touched by this story, even retelling it now.

“That was pretty amazing of them to do.”

“Yeah… Yeah, it was.” He muttered, still clearly caught up in his own thoughts. “And you know what, if you want a band to last forever, share.” He added simply.

“And this place you went to, supposedly they do a bunch of stuff with horses?” She asked in confusion. When she had heard this information, she was almost certain she had gotten her wires crossed, but Matty was already confirming what she had said.

“Equine therapy, yeah! It was, basically…” He started trying to explain, before cracking a smile and looking across to her. “In reality what it was, for the first two or three days was me stood in a field rolling my eyes next to a horse.” He said with a laugh. “That’s what it was really. This guy put me in a field with a horse and was like ‘talk to the horse’ so I’m like” He gave a sarcastic look, “ ‘…all right?’ So, he leaves me alone and I’m like ‘hey man’ and the horse obviously didn’t say anything.” She couldn’t help but laugh at the image. “And then he put me in the round pen, right. He put me in this pen which was just round – was a good explanation of it.” He reprimanded himself with a snort. “And I stood in the middle, and basically he said ‘I want you to walk towards the horse. It’s gonna send the horse around in a loop, and I want you to assert your position. You’re not going to get the horse. You’re just telling the horse that this is where you’re going’. All this stuff. So, I do it. And he goes ‘you’ll notice three things, at one point the horse will dip its head, then it’ll bow its ear to you, then it’ll start biting its lips. Once it’s done these three things, I want you to turn your back and drop the rope.’ So, I’m like right, lips, thing, do this, yep. And the horse is running, the horse is running, I watched for these three cues, and I dropped the rope and I turned round. The horse stopped dead.” He clapped his hands together for emphasis, staring at her seriously.

“I swear to you, it was one of the most profound moments of my life. The horse stopped dead, came over to me and stood behind me – and this is a horse that for three days had mugged me off. And I was… stood there with this horse, that now… wanted to be with me?” He seemed entirely perplexed by this. “Then when I walked it wouldn’t cross my feet,” He gestured to his feet as he said this, knocking his microphone in the process. “Sorry, I keep hitting the microphone. Way too gesticulated today. Erm, when I went into the field and hung out with it, it wanted to be with me. And then I stood there and was like ‘Ah… Right…’ Then all of these profound things… It was so…” He tried his best to find the words. “It ate everything it needed to eat, and didn’t complain about it, and didn’t eat too much of it, and ate the right stuff. It had the ability to destroy anything it wanted, but the desire to hurt nothing. It was physically perfect and strong. It was forgiving with its time with me. And it was kind of compassionate in a way, ‘cause he’s a horse, he doesn’t want me there, he just wants to be a horse. But he let me be there.” It was abundantly clear how much of an impact this experience had on Matty. He spoke about it so passionately that it was hard not to feel moved by what he was saying. “I found myself envying all of these human qualities in a horse. And I think that was the point of it…” He said with a look of finality. “At least, I hope that was the point of it. Otherwise I’ve screwed it up and learned nothing.” He laughed loudly. “But it worked for me.”

“How are you finding it? Being off the drugs?” She asked, leaning back in her seat after having been leant forward in interest for the last few minutes as he told his story.

He pulled a face as he tried to answer that in a manner suitable for a mass radio audience. “I mean… I wouldn’t say I’m this ‘beacon of sobriety’ “ He punctuated that with air quotes, “that’s kind of, telling you how it is to be an ex addict. I don’t know.” He answered sincerely. “I’ve not gone long enough. I’m not gonna start talking about ‘I haven’t done drugs in five years - ten years’ it was only a few months ago. I was still doing loads of them.” He said as he scratched at his neck.

“Is it harder now without them?”

“I don’t sleep as good as I used to with it, but I’m getting by.” He replied with a nod. “I’m all right with sleeping now. The band and my girlfriend have been really supportive and helpful. I’m doing all the things now that I used to do when I took drugs all the time. So, I’ve just made a record without doing it all the time,” He ticked that off on a finger, “so that was an experience, that was a challenge. I’ve now started touring without doing it all the time,” He ticked that off as well, “that’s an experience, that’s a challenge. I’m now about to start getting on planes all the time and touring internationally,” He added that to the list, “that’ll be a challenge. But you’ve just gotta take it day by day as the cliché says, or you’ll freak yourself out.”

“You talk about drugs pretty freely in your music, but you don’t really speak about it in interviews, was that to try and stay… disconnected from it to some degree? Did you think it was going to get as bad as it did?” She asked. She had entirely tuned out of the fan questions being sent in now, asking these questions almost purely from her own curiosity to know what had happened to the Matty she knew.

“No, no, no… I didn’t. I mean, I think the thing that I think I always have confidence in is that because I’ve – regardless of if it’s drugs or relationships - the main thing I’ve done with The 1975 is spoken about myself with kind of quite a profound disdain.” He answered. “There’s not really been a celebration of the behaviour. I think that if I was ever romanticising or fetishizing the use of drugs, I think I’d catch myself doing it. And if I ever have done that in a lyric, it will be immediately met with a lyric that shows that one up to be ironic or flawed.” He elaborated. That made sense. Most of his songs did reflect that attitude. “I’ve just had to be honest. Religion allows you to kind of give something away, sex, exactly the same thing. They’re just ways of giving up some kind of responsibility in the moment. But by that point I’d done ‘em all!” He grinned, still trying to keep the mood light despite the heavy topic. “Drugs was the only one left.”

She stared at him for a moment, just taking in all of the information he’d given her in such a short timeframe. It was a lot to process all at once, but it made a lot of the pieces click into place and answered a lot of questions that had kept her up at night when they had lost contact. Eventually she clocked back into reality, seeing that he was watching her just as intently as she had been watching him while he had divulged some of the most intimate aspects of his life.

“So, to a lighter note-” She segued.

“It’s fine, I don’t mind talking about it.” He said with a chuckle.

She smiled back at him, “I’m sure our listeners have enjoyed hearing it all in such great detail. But, there are some other big events that have been happening in your life as well that we haven’t brought up.” She said.

“Oh?”

“The 1975 will be headlining Reading and Leeds next year.”

“Yes!” He beamed. “It’s our first big headline festival. It gets me proper emotional. We didn’t just go as kids, after I got to thirteen, Christmas took a back seat and the date on my calendar was Reading and Leeds. I went one year with a tenner and no tent. I mean, I’ve had some moments there. It’ll definitely be a very humble show. All of this ego and confidence here will be gone.” He scoffed, “ ‘Honestly guys, thanks so much for coming.’ ” He said in a feigned blubbering emotional voice, before giggling at himself. “But like, we’ve just become a really good band in my opinion. I think we could headline Reading and Leeds tomorrow if you asked us to.”

“Are you particularly excited to have content off the new album to perform there?”

“Definitely. There are some songs on there that will be added into the festival setlists. It was about creating a distillation of what preceded it. Everything needed to be better, more extreme. Poppy bits poppier, heavy bits heavier, honest bits more honest.” He explained with a nod. “You can look at your work and be like ‘what did I do there that someone likes’ or ‘let’s try and do that piano thing’. Me, when I’m like, really personal, really honest, that’s when I get the best reaction. So, I just tend to do that. Like what’s gonna make me, y’know-“ He started pretending to tear up for emphasis.

“And you guys are already working on the next album, Notes on a Conditional Form? This one’s not even out yet!”

He just laughed. “We went away and what happened was, we finished A Brief Inquiry, kind of had a week off and then we started with Notes. I’m just letting it happen.” He shrugged. “I’m letting it happen in the next six months. It’ll be before…” He seemed to be doing some calculations in his head. “August. It has to be in time for Reading and Leeds.” He added decisively.

Glancing down at the clock on the screen next to her, she could see that they had in fact gone over time. “Well, as always Matty, it’s been lovely having you on the show, but I think we have to wrap it up so you can scoot over to the live lounge and get yourself set up.” She said with a small sigh, disappointed that the interview had to end after how well it had been going. Matty had felt entirely captivating as he spoke today, clearly on his game.

“God, this’ll be the first time we’ve played together in… ages.” He said as he pulled a hand through his hair and leaned back into his chair. “And we’ve not played these songs live yet, either. This will be the debut.”

“Incredibly exciting.” She nodded. “So, I’ll let you go. Tune in folks in half an hour, The 1975 will be playing a short set for us of songs from their new album, A Brief Inquiry Into Online Relationships, in the live lounge.” She spoke into the microphone, before rounding out the interview.

Matty didn’t move from his chair across from her as she switched the camera feed off and switched over to the next round of tracks.

“Are you coming?” He asked as soon as she took her headset off. “To the live lounge?” He clarified.

Her shift was meant to end in just over twenty minutes, and they started in thirty. She could probably finish up quickly enough to make it down there in time. “Yeah, I can do that.” She said with a nod.

He grinned eagerly, “It’ll be wicked to have you there for it.”

“It’s probably about time I saw you guys play.” She laughed as he stood up.

“I’ll see you shortly.” He said over his shoulder as he made his way out of the studio.

* * *

By the time she made her way down to the live lounge quite a crowd had already formed. Her handover between shifts had been fairly rushed in an attempt to get out of there quickly, but obviously The 1975 knew how to draw an audience. She managed to squeeze her way through a few crew members to get a decent enough viewing point. Whenever she caught Matty’s gaze, he waved at her excitedly. She waved back, suddenly feeling a bout of nerves at the thought of finally watching him in action. Once the cameras were set up and all of the equipment had done one final round of checks, they launched into quite a boppy first song. She recognised this instantly as Tootime, as it had been her favourite of the singles that were released. He sounded a bit rusty and raw, which thankfully he could cover with the filter over his voice, but his enthusiasm to be performing again was unmistakable. The looks he was throwing to his band were nothing short of ecstatic, and despite being out of practice they played the song flawlessly. They finished up the first song, and he shrugged off his yellow jacket as they changed their gear over for the next two. Their little live set was only three songs long in the end, but they felt It’s Not Living and Sincerity Is Scary were excellent choices to best get across the vibe of the new album. After seeing what they could do in a tiny room with minimal fanfare, she was suddenly kicking herself for never getting out to one of their live shows.

When they had wrapped up the set, Matty started packing away his gear before seeing her starting to leave. He quickly dropped what he was doing and called out to her to wait up. She turned to face him, as he suddenly realised that he hadn’t worked out what to actually say. “Look, I’m sorry about… how I’ve been lately.” He eventually settled on.

“It’s okay, you were going through a rough time.” She reassured him.

“I was,” He nodded, “but it’s not really an excuse.” He added with a sigh. “Can I take you out to lunch after this? To apologise properly.” He asked with a hopeful look.

“You don’t have to-” She started, before he interrupted.

“I know I don’t have to - I want to.” He corrected. She considered this offer for a moment. “Please?”

“Sure.” She nodded, trying to conceal her smile. “That’d be nice.”

She waited patiently as he packed up his gear, feeling slightly awkward for loitering around a studio that wasn’t hers while she watched everyone else clear out. Once everything seemed fairly put away, he exchanged a quiet word with the band and walked over to where she was standing.

“Any preferences for where we eat? It’s your apology lunch, after all.” He said as he slipped his jacket back on.

She grimaced at his choice of words. “Don’t say it like that.”

“Why?” He laughed.

“It makes me feel worse than I already do.”

“Suppose we’ll just feel bad together, then.” He said as he wrapped an arm around her shoulders and ushered her back out of the building. She couldn’t deny, it felt nice to be seeing Matty act more like he had when they’d first met. Whether that was because she enjoyed the attention or because it was nice to see her friend feeling more himself was up for debate.

Due to neither of them being the one to want to make the call about where to eat, for fear of the other not enjoying it, they ended up going to the only place that served food within their direct eyeline – a bakery. It made her feel less like she was taking advantage too for him to only have to pay for pastries and coffee, not a proper fancy meal with drinks. They caught each other up on the fine points of their lives that they’d missed out on hearing over the last few years: highlights in careers, people who’d come and gone, other artists they’d met that had proved to be noteworthy (for good reasons and bad). It was incredibly reassuring for the both of them to know that conversation still flowed easily enough between them when they weren’t actively disliking each other.

“Sorry if the interview was a bit… too personal. We didn’t really talk about the record all that much, in the end.” She said, thinking back to how long they’d spent discussing his drug habits rather than his impending album release.

“Stop apologising.” He said around a mouthful of food. “I’m the one who’s supposed to be saying sorry. And I’m sure the fans would’ve liked it.” He shrugged.

“Yeah, but I don’t want to force stuff out of you for the sake of entertainment.”

“Like I said, I wouldn’t have answered if I didn’t want to.” He reminded her.

He waited a beat, composing what he had originally wanted to say today before clearing his throat. “I really am sorry, you know. For how I left things.” He said as he stared down into his mug of tea.

“It’s genuinely okay, Matty.” She reassured him. “I wasn’t really any better.” She added under her breath.

“I was just a bit oblivious and hopeful when I fucked stuff up initially. I wanted to act like I hadn’t dropped off your radar for two years.” He admitted as he scratched at the side of his head. “If I’m honest, I was reaching out to get some support from an old mate in a time when I felt pretty overwhelmed by everything that was happening. But I went about it in all the wrong ways and just made it a whole lot worse.” He clarified with a dry laugh. As if she hadn’t already felt bad enough, now he tells her that she’d shut him out when he had been trying to ask for help? The guilt increased tenfold.

“Sorry.” She said. He was about to tell her off again for apologising, but she cut him off. “I was already pretty shitty that I hadn’t seen you in so long, so I was pretty quick to want to end that interaction when things started getting… difficult.” She explained.

“Guess you live and learn, huh?” He said with a small smile. “At least we’re still mates now.” Hearing him say that helped ease a bit of her worry that she’d done as much to fuck things up as he had. At least now that it was all out in the open, they could move past it.

“Yeah.” She concurred, returning his smile. They finished up the pastries that Matty had bought before stepping out of the bakery. Both of them felt like a weight had been lifted now that they knew they hadn’t screwed stuff up for good between them. Having each said their piece, they were pretty confident that they could give friendship another shot.

“It was great to see you.” He said as he pulled her in for a hug tight enough that it almost made her lose her breath.

“Next time we’ll have to make sure it’s not so long.” She said as he moved back from the hug.

“We’ll keep in touch.” He agreed with a nod. “And I mean it this time.”

Taglist: @imagine-that-100 @ghostlightqueen @tooshhhy @robinrunsfiction @approved-by-dentists

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#Matthew Healy x Reader #Matty Healy x Reader #Sunsetinymvein

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tisthenightofthewitch · 4 years

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Ghost frontman Tobias Forge on the band’s 5th album, songwriting and what’s to come

In less than a decade, enigmatic rock band Ghost has earned a Grammy, released four albums, two EPs, a live album and its latest double-single, Seven Inches of Satanic Panic, but it has built and continuously expanded upon a deep backstory about the band members themselves — the “Nameless Ghouls.”

Each album cycle welcomes a brand new ringleader/singer, each portrayed by frontman Tobias Forge, who is the founder and sole songwriter of the band. The mythos of Ghost is now massively popular among many of its diehard fans.

Now that the Swedish group has wrapped the final North American leg of its highly extensive Ultimate Tour Named Death tour, they’re gearing up to put out their fifth album — a “heavy” one that Forge promises will be “seminal” in Ghost’s timeline.

So does that mean fans should expect to see a new frontman in the near future? Very likely, but not for a little while. For now, Forge, 38, still portrays Cardinal Copia, a charismatic and theatrical character who adds a tinge of humour to Ghost’s explosive two-hour set.

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The Cardinal claimed the throne after the “death” of Forge’s Papa Emeritus III character in 2018. He was the first to break the tradition of Pope singers in the Ghost timeline, and it seems his run will soon come to an end. Or will it? We don’t actually know.

What we do know is that next March, the “Final Gig Named Death” is set to take place in Mexico City. It will wrap the heavy promotional cycle for the band’s latest album, Prequelle (2018) — which kicked off in 2018 with the Pale Tour Named Death.

Prequelle launched the Swedes into mainstream success with its first single, Rats, which spent seven weeks on top of the rock charts. The album also included the unexpected disco-inspired smash-hit, Dance Macabre

Ahead of the band’s show in Hamilton, Ont., on Oct. 17, Forge/Cardinal Copia spoke with Global News about Ghost’s newest singles, their live spectacle, progress on the upcoming fifth album, and why he doesn’t like to record with heavy metal producers.

Global News: You’ve outdone yourself on the Ultimate Tour Named Death with not only the beautiful stage setup, but the extensive setlist and detailed choreography. It’s very humorous too, yet you still want more. Is it even possible for you to top the current show?

Tobias Forge: I’m certain, yeah. [Laughs] But it’s hard to say that without sounding like I’m soiling the one that we’re currently doing. [Laughs] I am fairly certain that a lot of the things that I have in mind right now, I will be orchestrating about a year from now. It will definitely be a vast and advanced version of what we’re already doing. You have to remember that the even though the show we’re doing right now is our most accomplished one so far, it started with us playing in theatres, and now we’re playing arenas… so the stage setup is still in its Frankenstein phase, meaning that we’re still working with the smaller production we had from first year of this tour. Right now, it’s like we’re repairing an old house, whereas next time we can start something fresh.

Similar to the production jump that Iron Maiden took from the World Piece Tour to the World Slavery Tour in the ’80s then? [Earlier on, Forge reminisced on touring with the band, which he called one of his “old heroes.”]

TF: That would be a very good analogy for it actually. [Laughs] I compare it a lot to what bands like Iron Maiden and Metallica have done and continue to do. They’ve always done it right, and so will we. Next time we can start from scratch with a production that is purpose-built for our album and tour, whereas this is more of a mixture between the stuff that we did on the last album cycle, too. It’s just extended, right? We’ll build the set from the ground-up.

Did you always know that Ghost would become such a theatrical band?

TF: I definitely always had a picture of there being a stage show, but 10 years ago, I had no idea it was going to be as [vivid] as it is now.

Are we going to be introduced to Ghost’s new frontman at what you’re calling the “Final Gig Named Death” next March? Will we meet Papa Emeritus IV? Or is it possible that Cardinal Copia might live on?

TF: Well, it’s the last show of this touring cycle, so something will definitely happen. I just can’t tell you anything about it. [Laughs] But this tour has been really incredible, it’s just time for us to do something new. As much as I love being here in Canada, I think we picked a great time (and place) to end this tour. I genuinely love being on the road. I love playing the show, and ultimately, I’m feeling very good about the band this year — who are so extremely fluid.

Overall, everything is working out really well for us, but now it’s like ‘OK, so the restaurant is just running now?’ [Laughs] You start thinking about the next one. It’s just not enough. You go, “I feel like I’ve pretty much done my thing here…” Except of course for coming in and making the infamous carbonara every night; going through the old ancient recipe, you know? [Laughs] My mind is always thinking forward though, and I’m already thinking about the next time we’re coming back here.

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You actually paid homage to one of Canada’s greatest songwriters recently, Leonard Cohen. What prompted your decision to cover something as iconic as Avalanche for your latest album, Prequelle?

TF: I think it was the one song that right off the bat just felt most Ghost-like. It would feel weird to cover Take This Waltz or something like that. It just doesn’t fit our script. It isn’t actually my favourite Leonard Cohen song. Intuitively, I’d probably choose one of his prettier songs, but Avalanche felt very Ghost-like.

What about the future of Ghost? With such a busy schedule have you even had time to think about a plan of attack for the fifth album?

TF: Oh, I think about that a lot. Currently, we’re in the planning stages of it all, which means that I’m hamstering all my material as we figure out scheduling and who’s actually going to be producing it. I’m working very hard on it right now, and as much as I often contest ideas by thinking about what I should and shouldn’t do, I know it’s easier to define that just by looking at your previous experiences.

So for example, our last four records. Having said all of that, overall, I have a fairly good idea of where I’m going with this one. I want to create a record that lives up to my lifelong dream of being able to kick-off a touring cycle in arenas, so by that logic, this album needs to be by a band that starts touring cycles in arenas. You know? You just can’t f**k around with that. You really need to be on your absolute top game.

Is Seven Inches of Satanic Panic a taste of what’s to come for this album?

TF: It’s not a taste of the new record, no. Those songs are like a side note of Ghost — still fitting in the universe, I think — but they’re definitely not close to what I have in mind. [Laughs] The new record will be more in line with the previous four, in the sense that it will feel like part of the whole story. Whereas that of the singles and cover EPs, which are a little bit more tongue-in-cheek. [Laughs] There’s a dichotomy between a lot of the things that we do though, like for example, the records and the live show.The records are like the script, or Bible, they’re not meant to feel humouristic. Whereas in our live show, we present the ideas in a humorous way. Not in a sense where we are mocking our bible or story, but in the same way that a church might go through rituals with children. Where people are giggling a little because they think it’s silly. “A-ha.” Everybody knows it’s a little stupid, but for some reason, it feels purposeful, because your kid is being baptized or whatever. [Laughs] So that’s that’s what I’m shooting for. I don’t want the records to be too fun or silly, I want them to convey a message and have a clear meaning.

Your lyrics contain such unique concepts and qualities too. Do you write Ghost’s albums all by yourself? After all, this band is your project.

TF: Usually. But what I’ve learned and cultivated a liking to do in the last few years, is collaborating with outsiders. I’ve always been accused of — especially in my own bands — not being able to work well in a team. People have said I’m just overall bad at teamwork, and that was the fact for a long time. But when I made Meliora, I did so together with a producer named Klas Åhlund — who is both a producer and a songwriter. And that’s when it dawned on me that I can work really well with people, but I need to choose who I work with. It’s like … I like kissing people, but I just want to choose who I kiss. [Laughs]I’ve been in bands where there’s always someone, or some people, who just f**king crowbar themselves into the process, and that does not work for me at all. That’s unfortunately when I become like a dictator. Whereas if I choose to work with someone, I’m actually quite flexible. Like working with any professional songwriter, you need to establish a little bit of a vibe together. [Laughs] We need to be aiming for a very similar thing. That person needs to have some sort of … hard-on for rock music, or for what we do in Ghost, otherwise, it might be hard if it’s someone who works against that.

Do you find that collaborating helps with the songwriting, then?

TF: Oh yes. You can make incredible progress in your songwriting that way, because all of a sudden you have this person who’s not at all locked into the traps of being in your band; someone who is not the bass player that suddenly wants a bass solo or the drummer who wants to make the album very drummy. If I find those collaborators, it’s like a catalyst for me to write more, write better and ultimately, step up because I want to impress that other person.

In one or two days, I’ll come up with a skeleton of a song and go, “This is my idea, this is the chorus, but I don’t really have a pre-chorus yet. What do you hear? What do you think?” And then once I hear someone else tinkering with it … I become a little bit like a husband who agreed to a wife-swap. In this case, the song would be my partner, and when I see someone else [kissing] her, I’m like, “No! Let me do this.” Then you go and you do it properly, because it wakes you up. [Laughs] It’s really all about just having to impress someone else. If I don’t make the changes right then and there, then the idea is just gonna drift away. It’s a perfect way for me to write, because it really brings me to life.

You produced Opus Eponymous by yourself, and since then you’ve worked with a completely different producer for each of Ghost’s albums, including Dave Grohl. Do you just not want to do the same thing twice, or are you ultimately trying to find the perfect collaborator?

TF: I believe that there are exceptions to all rules of course, and I believe that a good team truly is a good team. But I also believe that it’s very healthy to make sure that you don’t get stuck in your comfort zone, because it can become too comfortable. I’ve had that in the past with at least a couple of my previous producers, where we’re almost too good of friends; we’ve actually hung out so much, that we’re buddies now. And there’s nothing wrong with that, but it doesn’t always allow for further growth, which is exactly what I want to do. In this case, I have to make our fifth record. I want it to be a seminal record for us. That’s why the process right now is to find that perfectly balanced producer that is gonna make sure that we’re making a rock record — it needs to be a heavy record — but it needs to be someone who understands the factor of, “This needs to be relevant, now.”

Ghost is unique for a metal band in the sense that you don’t often work with metal producers. Is there a reason for that?

TF: I’m sure people in the heavy metal sphere might have noticed that too. … And there’s a reason for that: metal producers are very purpose-driven. They do a fantastic job and they know exactly what they’re going for. They’re experts in doing exactly that. And I have nothing against it, but that’s not what I’m trying to do. So I need to be fully aware and completely awake in trying to find the right producer for Ghost in that moment.

Klas was perfect for me. His whole professional life, he has been writing pop music and playing in Teddybears and writing records for Robyn and Ellie Goulding. You have all these different artists and this huge variety, but he started off playing prog music. He was a guitar virtuoso playing Yngwie Malmsteen/Ritchie Blackmore-type stuff. So when I came and talked with him about making a rock record, he was just like, “Yes, I’ve wanted to do that for such a long time.” It was perfect for both of us, because we were able to talk about all the common denominators. We could reference things from Euro Disco all the way to Slayer just to explain a simple idea. Whereas if you end up with the typical metal producer, they might say, “Slayer, of course. But everything else you mentioned is just ‘ordinary music.'”

I’m not saying that every heavy metal producer is like that, I just feel like metal today, as opposed to 1975, is such a defined genre, that people our age and younger have lived their entire lives knowing exactly what heavy metal is. But people who were around when they made Back in Black didn’t really know what that was. There’s so many rules now. It’s too refined. The whole culture breathes a little bit of a puritan-like conservatism. In order to make new records, I think sometimes you need to try not to think too much about all of these rules.

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#The Band Ghost #Ghost Band #Tobias Forge #Tobias Interview #Cardinal Copia

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masseffectspotlight · 6 years

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This week we’re featuring @lauraemoriarty!

What got you started writing Fanfic?

Oh god.... I'd have to think right back to the early days of the internet. I think I'd just finished Final Fantasy VIII, and wanted to read more about the characters-- and then I decided to write a very, very bad (I was about 14 or 15-- can't remember now), fanfic that involved the main characters going on a journey... I stuck around in the Final Fantasy fandom for a long time, and then lost interest in writing fanfic around the same time I discovered forum-based post by post RPG sites, so writing fanfic went by the wayside. But what I did learn from those sites was a lot about character development and how to keep learning from your characters-- so it was a really great foundation for later writings. A friend got me playing Mass Effect, as I'd been obsessed with Dragon Age: Origins, and after the ending of ME3 (which I really didn't mind, and still don't), I decided to write about it. The characters sucked me in, and my Sheps weren't done with their stories. Are there any authors, published or fanfic, that inspire you in anyway? Oh god. Another tricky question....Published authors that have inspired me in the past include JK Rowling, Tolkien, Robin Hobb-- and I'm also inspired by poets such as Leonard Cohen and Alfred Tennyson. One of my more recent published author influences is the wonderful Sarah J Maas and her world building in A Court of Thorns and Roses, along with her Throne of Glass series. As for fanfic authors that inspire me, I'd go with our lovely Lena (vorchagirl), Kim (mizdirected), Juleshawke, and a whole host of others who I'm probably forgetting right now. Other authors have also contributed heavily to my work: L.M Montgomery, Louisa May Alcott, Charles Dickens, and to a certain extent, so has George RR Martin. The GRRM influence is more apparent in my Dragon Age works, than my Mass Effect works. What Mass Effect character comes easiest for you to write and why? This can be a canon character, an OC, or one of the MCs (Shepard/Ryder) After Rose Shepard, Aoife Shepard, Lee Shepard, and Grai Shepard, one of my favourite characters for me to write is probably Udina. He simmers with outrage, and I feel that he has such potential. Another favourite of mine to write is Conrad Verner, but in my world, he has a huge edge to him. Another character who I love to write is Nellie Nevell-- Rose's twin sister, and a navy surgeon who worked in the refugee camps during the Reaper War. She's a different type of Shepard, in that she sees far more of the war than Shepard does, and it's a lot harder for her than most people would expect. She has a very different perspective on the war, and I find it to be an interesting and refreshing take on it. Are there any characters you want to tackle writing but haven't yet? Why? Ashley Williams. I'm torn on whether to like her or dislike her, because her favourite poet is my favourite poet, and I think I'll need to write my mShep/Ash story in order to explore her and what she truly is underneath her skin. I'd also really like to write a Jack/mShep fic that's from her pov alone-- that'd be interesting to write because Jack is so complex and damaged, and I'm fascinated by her. Time to talk about your fics! What's your favourite story you've written / are working on? I love most of what I write. I'm most proud of On Both Sides of the Glass, which is a post-war fic that features Leonard Cohen lyrics at the start of each chapter-- even the name of the fic is a line from one of his songs: "The age of lust is giving birth And both the parents ask The nurse to tell them fairytales On both sides of the glass" It's heavily influenced by the music of Leonard Cohen, and Rose, my absolutely precious Rose, is quite a strong character. I'm putting her through hell over and over, and she just lets me. It's pretty amazing what she's gone through, and what she still has to go through. I like writing Rose's post-war journey, and I'm planning on writing hugely ambitious work for her pre-and-during the Reaper War stuff, along with an origins story that starts in 1066, with the Norman Invasion. Rose and Kaidan are soulmates through time and space, and I wanted to write something that would combine my love of historical fiction with my precious baby. Start with On Both Sides of the Glass and go from there. Things will make more sense if you do. What's your second favourite story you've written / are working on? The Renegade Angels. This story came about incidentally-- I messaged Laura (aka Potionsmaster) about an AU she was writing, and we hit it off. We're both massive Potterheads, and our story reflects our shared love of Harry Potter and other things. Aoife (aka Effie) is a bundle of anxiety masked by obnoxiousness, a sense of humour, and an attitude of "who gives a fuck?" What's your third favourite story you've written / are working on? Probably my entry for the 2018 Mass Effect Big Bang. It's a lot darker than my usual stuff, and features a Shepard who is genuinely tired of being labeled the Butcher of Torfan, even though she ceased being the butcher a long time ago. 0h! Welcome Home. I really like what I did with my Shepard here. What are your greatest challenges when writing? Not going off on random tangents and lecturing readers on things that are well-known in canon. I have a habit of educating people while writing, and I struggle with that. I also struggle with writing smut-- I love writing it, but it's a massive struggle for me to write it inventively and with enough feeling behind it. Another great challenge for me when writing is to not get distracted by google searching-- I'm working on something that spans 1100+ years, and trying to get all the history into it without it sounding like a history lecture is pretty fucking hard. What are your greatest strengths when writing? I'm honestly not sure. People say that my work concerning PTSD is really human and tender, and because I've been through trauma, I think it's one of those things where I end up working through my own trauma of surgeries and idiots who have no place trying to cannulate a traumatised patient. I love writing battles, and the action of war and death. One of the things I love to focus on in writing is the way that there are always unforeseen costs to being a hero in the moment, and that there are always going to be the shadows of what you lose when you go to war. Okay, we're almost done! Any WIP or sequels or anything you'd like to give a hint about? I have a few things in the works, including a Jack/MShep fic, and another Shega fic.

#Mass Effect #mass effect andromeda #Mass Effect Writers' Spotlight #meffw #lauraemoriarty #fic recs

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markwatkinsconsumerguide · 7 years

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Consumer Guide / No.40 / Maggie K de Monde (Swans Way & Scarlet Fantastic) with Mark Watkins.

MW: Maggie, you wrote your first song - “Gloriana” - aged 14. Can you recall the first two lines? What's the story behind it?

MKDM : Mark, the first two lines were : “ Mrs Moffat’s done a bunk, the barbs she ate made her a punk. She flies higher, cooler higher, in her automatic Hotpoint spin drier.”

“Gloriana” is an imaginary state of grace/imaginary place where everything is calm and full of love, and there is no suffering, and everything and everyone is in perfect harmony. A Utopian fantasy. I think I was very influenced by the TV show Rock Follies at the time!

MW: How did Swans Way, then Scarlet Fantastic, come about?

MKDM: I met Rick P Jones at Kent uni where I was studying French and Drama. Rick was a guitarist. We formed our first band Playthings, and then we met Robert Shaw and decided to do something completely different - which to us, meant ditching our original instruments and starting afresh on something new. Hence me playing the drums!! We read a lot, and watched a lot of old '50s movies, and listened to many soundtracks (French and Italian). We were looking for some different influences. Marcel Proust wrote a novel, “Swann’s Way”. I think we may have chosen our name as a nod to this, although we spelt our name differently, as we didn’t want people to think that we were all about the book.

After the release of a critically acclaimed album, The Fugitive Kind, Rick and I became restless, and decided we wanted to take a different musical direction. We weren’t inspired by Swans Way any more. We bought our own studio gear and Rick learned to programme drum machines and synths etc and we came up with a glam/pop/electro/ kind of sound which seemed quite unique to us at the time. We were into larger than life imagery and big slogans: - “Energy Breeds Energy” , “Deconstruct the bad vibes” and many more. I think we felt we were on a bit of a mission, we were very much into the idea of spreading peace and love! We used to describe our sound and imagery as a mix of the REAL the SURREAL and the FANTASTIC. We needed a name that encompassed all this so we chose Scarlet Fantastic! Rick used to make a joke and say it was the colour of my lipstick!

MW: How did Swans Way and Scarlet Fantastic compare and contrast?

MKDM: I think there were similarities in the sense that we were out on our own, doing our own thing, writing songs from the heart, but sound wise there were definite differences as Swans Way had a very organic sound and Scarlet Fantastic was more electro. Lyrics were a very important part of both projects.

MW: Tell me about Duran Duran...

MKDM: Rick and I were in our first band Playthings before Swans Way. Duran Duran used to say that we were the other best band in Birmingham apart from themselves. Birmingham back in the '80s was a very close knit scene, everyone knew everyone. We toured with Duran Duran as they had their first hit “Planet Earth”. I was with Simon sound checking for a gig at Aston Uni when they received the news that “Planet Earth” had charted. Simon was a big, friendly, bouncy ex-drama student, always the flirt too!! Jon Taylor was the one who was always perceived as the cool one (I guess he was initially a little shy). My mum had a cup of tea with him once and said: “what a lovely boy he is!” . Nick Rhodes was the one who people would sometimes say had a tendency to be somewhat of a poseur, but I think he was genuinely into quite diverse and left field art projects etc. Andy Taylor the guitarist was the most down to earth, a salt of the earth Northern lad and Roger Taylor the drummer just always looked incredibly cool!!

MW: …careless memories of BBC Radio 1?

MKDM: I used to love doing Radio one sessions, going to the big studios in Maida Vale and then getting all excited when the sessions would air. Swans Way played live several times on Radio One sessions but I can’t remember whose show we were on. Janice Long was a great supporter of ours along with her producer Mike Hawkes.

MW: ...TV appearances?

MKDM: I think Top Of The Pops and The Tube were always my faves. Both shows were iconic for their time. I miss them both, and sadly there seems nothing like them today. The Tube made several really interesting films of Swans Way and Scarlet Fantastic ; it’s so great that those time were captured on celluloid and can now be see on YouTube all these years on!

MW: Maggie, tell me about your new album Reverie...

MKDM : Well Mark, I called my new album Reverie as I felt the word describes the sound. Reverie is released on Dirtbag Baby Records and it’s distributed by Right Track through Universal. It’s a gentle, dreamy alt-folk album. A journalist recently described it as ethereal folk. It’s a very song based album. I wanted the emphasis to be on my voice and my words. I had an idea for the overall sound and it was a joy to work with my husband and musical partner on it, Mark Leif Kahal, he produced it and played most of the instruments on it too. We really went for clarity and an uncluttered sound. The songs were very much influenced by dreams and nature. There are many similar themes to the original Scarlet Fantastic from 30 years ago but the sound on this new album is very different. It’s more in keeping with my previous album Union which was by Maggie and Martin, a collaboration I did with Marc Almond’s keyboard player.

MW: OK, let’s talk books...

MKDM: The most recent book I read was written by my friend Clayton Littlewood, “Dirty White Boy”. It’s about a shop he had on Old Compton St., and the daily goings on with all the Soho locals. It’s hysterical. It’s a real fun read and it’s in a diary form as Clayton started off by blogging but ended up turning it into a novel. I love his observations of people and places, he’s so insightful and so funny!

My next read will be a re-read, “Tender is the night”, by Scott Fitzgerald. It’s been on my mind often lately and definitely needs a revisit. I love the time it’s set in and I’ve been enjoying a lot of artists from this period recently too. I have also just bought “Testimony” by Robbie Robertson; I can’t wait to to get tucked into this! I’m a huge fan of his and the whole period with all his contemporaries, some legends. It’s meant to be a brilliant book.

MW: Which newspapers can’t you live without?

MKDM: I read The Guardian and The London Evening Standard. Simon Jenkins is one of my favourite journalists. On world news, I’m a big Christiane Amanpour fan.

MW: What are the best and worst aspects of social media?

MKDM: The best aspects are being able to spread the news about my work and to connect and reconnect with people/old friends/new friends/like minded people etc. I enjoy learning about new projects and hearing reactions to world situations etc. I feel the whole “community” aspect of it can be a positive thing. The worst aspects are the cruelty and bullying that can occur, especially amongst teens. I think people can also waste way too much time on social media and forget about/neglect real life. I do know that it does help socially isolated people and lonely people which is a very positive thing.

MW: List your Top 10 favourite EIGHTIES albums...

MKDM:

1 Joshua Tree - U2 (1987) 2 This is The Sea - Waterboys (1985) 3 Faith - George Michael (1987) 4 Kick - INXS (1987) 5 Purple Rain - Prince (1984) 6 Let’s Dance - Bowie (1983) 7 Sign o’ the Times - Prince (1987) 8 The Lion and the Cobra - Sinead O'Connor (1987) 9 Fisherman's Blues - The Waterboys (1988) 10 Hounds of Love - Kate Bush (1985)

Each album I’ve listed here reminds me of a very specific time in my life and a very specific feeling evoked when listening to the music. My life’s journey has been accompanied by some very poignant soundtracks. I spent a very special time in South Africa with my father before relocating to Dublin which was full of magic. Throughout my African experience then onto my Dublin experience, before, during and after, The Joshua Tree held a very special kind of magic for me as did the top 5 albums I’ve listed, all of them in fact! Very hard trying to pick the favourite. All sensational and played an important part in my life, helped me through a few things and celebrated with me too!

MW: Which BOWIE song is your favourite? How did you feel on hearing the sad news of his death?

MKDM: Mark - I was devastated when I heard of his death. It’s so difficult trying to pick one favourite song, I have many but one which never fails to move me is “Wild is the Wind”.

MW: You live in Eastbourne. What do you enjoy doing along the South Coast?

MKDM: I love the nature here. I walk and cycle often and spend a lot of time by the sea. I’m enjoying painting again. We have a fantastic modern art museum here, affiliated with the Tate, so I’m often there. We have some great record shops and cafes and some amazing restaurants too (I’m a real foodie!!). I often hop over to St. Leonards, Hastings or Brighton. London isn’t far either. I travel a lot around the South East as there is always a lots going on. Music, art shows etc. I have my own studio so I record a lot of stuff here too.

MW: … plans for 2017?

MKDM: I have a song “Heartbreak House” on Hifi Sean’s album Hifi Sean Ft. The video for the song will be released shortly. I filmed it in St Leonards, it’s turned out to be a rather neo-Gothic affair! Sean is ex-Soup Dragons, his album is doing very well, his track with Crystal Waters has just gone into the Top 40. There are some interesting artists on the album, Yoko Ono, Fred B52’s, David Mc Almont and many many more. As well as being a part of that I’m writing new material and I’m also painting a series of still lifes in oils. You can keep up with me on my Facebook musician pages, Maggie K de Monde, Scarlet Fantastic and Swans Way. There is also a website www.scarlet-fantastic.co.uk

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