Kelman Press

Interview with Cherryade Records, November 2005.

Did you form Kelman soon after the split of your previous band, Baptiste, or did you have a short break before getting into writing and performing?

It was more like a short breakdown: a few weeks of a lot of flapping around and mild panic and disappointment, not sure if I could be arsed to go through the whole band-thing again and thinking more and more about just concentrating on writing, jacking in the music completely. It was my brother Marc who convinced me to give it another go in the end. All I knew was that I didn’t want a big-sounding band anymore and wanted to keep everything as stripped down and simple as possible. I also didn’t want to have to rely on anyone else who wasn’t 100% committed. It was probably a couple of months between the last Baptiste gig and the first Kelman gig – though to begin with it was just me, trying out some new songs and seeing if they worked. The band came shortly after.

You've recently become a three-piece. How did this come about? Do you find this adds an extra dimension to your sound?

Kelman was originally intended as a 3 piece and we did record a demo and played some gigs with a cellist, but things just didn’t work out with her. Then we toyed with the idea of getting a bassist, slightly worried that we were just being wilfully contrary by not having one. But when that didn’t seem to bring anything to the sound, aside from cluttering it up, we decided to just stay a 2 piece and bang on with the single and album. Paul Ragsdale, a very good friend of ours, agreed to produce us, and one night mentioned he’d a few ideas about some keyboard parts if we were interested. We were all drunk at the time, but it still seemed like a good idea the next day so we became a 3 piece. And now we’re all overjoyed with the new sound: everything seem fuller and warmer, without losing any of the intimacy.

How has it changed the dynamic of the band?

I can relax more on stage now that the guitar isn’t the only thing carrying the songs, which makes for better gigs. And rehearsals are suddenly more interesting. There’s more wine around nowadays. In general, things are just a bit more sociable - not so ‘Prick Up Your Ears’. Suddenly we feel like a band again rather than a duo. Someone liked the songs enough to want to join me and Marc – and he’s not even related to us! So, it’s all good. Though, that said, sound-checks now take an extra five minutes, but it’s all swings and roundabouts I suppose.

Has your approach to songwriting changed as a result? Do you work together on songs?

Not really. I write all the songs and usually have a good idea of how they should sound – well, seeing as one of our self-imposed rules is No Effects Pedals, once they’re written they’re pretty much finished. I usually get together with Paul over dinner to work out what the song needs, be it keyboard parts, melodica, whatever, before taking them into rehearsals where the three of us thrash them out and work on the dynamics.

You'd been playing live for a while before you put a record out; was it the response to your live shows that made you should perhaps release a record or was it always your intention?

Well, it definitely wasn’t because of the response to our live shows! The intention from day one was to release a record. That’s still the sole purpose. I don’t have the energy to go through another band just for the sake of it, without the knowledge that we’ll definitely get the songs out there eventually. Sooner rather than later as well. We were just waiting to get some kind of record deal, but eventually realized, Fuck it. We’re not getting any younger, so we may as well just do it ourselves.

Do you find London an inspiring place to make London?

I suppose so. I’ve never lived anywhere else, so is hard to tell. That said, I do love London and the songs are all rooted in some specific time and place. Eventually I’d like to end up in New York but can’t see myself writing songs there without feeling somewhat phoney. So, Kelman is definitely a London band in my opinion.

Are you surprised by the mainstream music media's obsession with bands like The Libertines and Art Brut, and refusal to report on anything else in the capital?

I used to be – years ago. And I probably still am if I sit and think about it. But I’m so out of touch with all music media that I haven’t a clue who they’re writing about nowadays. I’m fairly confident that it isn’t us though. Not having a manager doesn’t help as I’m pretty crap at the self-promotion lark. We even have trouble getting gigs let alone press. We don’t know anyone you see, and I’m sure it’s all who you know. Without wanting to sound too bitter and paranoid.

Have you been mostly playing gigs around London, or have you played in other places?

Marc and I played a gig in New York last November which was more a question of just realizing a childhood ambition rather than a serious attempt to find a new audience. Aside for New York, we would love to play around England a bit more and venture to Edinburgh once the album’s out. If the demand’s there, we will play. And even if it isn’t.

How have you found the response to your live shows?

It seems to be getting better. Slowly. We need to play with some like-minded bands really, without wanting to get tangled up in any scenes. Not that they’d have us of course.

Are you planning a tour in the near future?

If it was financially viable then I’m sure we’d all love to tour. Can’t see it happening at the moment though.

The media response to your single, 'The Happiest Man Alive,' has been fantastic. Are you shocked by the level of coverage you've received for your debut release from numerous online fanzines as well as Radio One airplay?

Flattered, but not shocked. Baptiste used to get pretty good reviews and I think this single is better than anything we’ve released before so I wasn’t expecting a slating. If anything, I was hoping for more reviews and airplay, which I know sounds terribly conceited but it’s the truth. Still, I’m more than grateful for any press we get, but, you know, you could always do with more. I have been slightly surprised by the number of reviews describing the song as depressing and wrist-slashing as I’ve always thought of it as a bit more upbeat and positive than that. A pop song basically. But that’s just nitpicking. It’s all fair game when it’s out there I suppose, and all good press has been gratefully received.

Has the single sold out yet?

I’ve still got boxes of the things under my bed. Probably best asking us in another 5 years or so.

Are you planning any future releases at the moment?

We’re about three quarters of the way through the album, and want to release another single first which is recorded and ready to go. If a label were to offer to put it out for us that’d be fantastic - otherwise we’ll just have to sit on it until we get enough money together.

Was it a conscious decision to self-release your last single, or was it a case of necessity?

Necessity, necessity, necessity.

I believe you're contributing a track to the Pennyblack Music compilation. Can you tell us about this?

At the moment we’re not sure which track to contribute. It’ll either be an album track like ‘Fucked And Far From Home’, or maybe even the planned b-side for the next single, ‘Resolve Is Never Stronger Than In The Morning After The Night It Was Never Weaker.’ Something completely exclusive would’ve been ideal, but unfortunately we don’t have the luxury of time and money.

What inspires your lyrics?

A combination of those awkward little situations you occasionally find yourself in, with all the things you wished you could’ve expressed at the time. And so on.

'The Happiest Man Alive' has drawn some pretty impressive comparisons to a number of musical luminaries; who are your principal influences?

Always the Velvet Underground. Then stuff like The Go-Betweens,The Tindersticks, Smog, Galaxie 500, New Order, Leonard Cohen, etc.

Are there any new artists we should be looking out for?

You’re asking the wrong person I’m afraid. I haven’t a clue!