Iain Cook, Lauren Mayberry and Martin Doherty are Chvrches – Glasgow’s shiny new synth-pop trio that has been responsible for some of 2013’s best pop highs.
They started the year on great footing, earning a coveted spot in the BBC’s Sound of… poll before releasing their gossamer debut LP The Bones of What You Believe in September to rave reviews.
But the three-piece didn’t appear from nowhere - they have experience in their ranks. Martin previously toured the world with The Twilight Sad while Iain was a longstanding member of respected post-rock outfit Aereogramme.
Both acts have already built admirable fanbases and enviable back catalogues but Chvrches have chosen a new path, melding ruthless synth angles and melting pop refrains with an unassailable production aesthetic.
We caught up with Iain from the band to find out what life in Chvrches is really like and to get the lowdown on the tight-knit Glaswegian music scene from which the band emerged...
They started the year on great footing, earning a coveted spot in the BBC’s Sound of… poll before releasing their gossamer debut LP The Bones of What You Believe in September to rave reviews.
But the three-piece didn’t appear from nowhere - they have experience in their ranks. Martin previously toured the world with The Twilight Sad while Iain was a longstanding member of respected post-rock outfit Aereogramme.
Both acts have already built admirable fanbases and enviable back catalogues but Chvrches have chosen a new path, melding ruthless synth angles and melting pop refrains with an unassailable production aesthetic.
We caught up with Iain from the band to find out what life in Chvrches is really like and to get the lowdown on the tight-knit Glaswegian music scene from which the band emerged...
It’s not really something that bothers us too much. The way we deal with it is to stay super-busy. When we put our song Lies on the Neon Gold blog in May 2012 we hadn’t really let anyone hear anything so we had no idea if anyone would be interested in what we were doing. We hadn’t done any gigs; we were just a studio project at that point.
Ever since that lit the flame we’ve had our heads down and have been busy. Doing the album took up most of our time during that initial phase – from the start of 2012 until we finished round about June this year. We were aware that all that stuff was going on around us but we were really keen to immunise ourselves from it by staying busy. If you didn’t have a body of work behind you then you could see all that stuff as pressure, as a negative thing. We were ultimately trying to please ourselves. We have really high standards in terms of songwriting and production, and even our live show. If we can live up to these high standards then we’re doing as well as we could.
The internet - and blogs in particular - have really helped launch the band, although I know Lauren has spoken out about online misogyny in the past. Is it a love/hate relationship?
The internet is something that, without which, we wouldn’t exist in the way that we do. It’s accelerated what we do to such an incredible degree, it’s been nothing but positive for us. It was initially just small blogs but then bigger blogs and then the songs got passed around on Twitter and Facebook. Without all that we wouldn’t be where we are now. Obviously there have been a few negative aspects but they really are in the minority compared to what it’s actually done for us.
You have picked up accolades from all over the world. Do you still see yourselves as a Glasgow band?
We have all individually come up through the Glasgow music community, but it doesn’t feel like there’s a particular scene up here. Glasgow’s a real hotbed of musical and artistic creativity and it has been for a long time. But it’s more like people that know each other who drink in the same bars. It’s a good support community but it’s never felt like a coherent scene. We’ve grown up with that and cut our teeth here.
You were previously in post-rock band Aereogramme – how has your approach to making music changed with Chvrches?
There are some similarities I suppose, but things have changed a lot. With Aereogramme I was brought on during the making of the first album A Story in White as the orchestrator/electronic/producer kind of guy – and that’s what I’d been doing since I joined the band in 2001-2002-ish. I was there more as an arranger and producer than an actual songwriter.
This project is something that’s really different in that Martin, Lauren and I are all songwriters. There’s no one person who brings an idea – we get into the studio and throw ideas around and experiment. It happens really quickly and it’s a thrilling experience. That’s what really hooked me when I started working with these two. I’ve never felt that kind of energy before.
How about the instruments you’re using these days?
We’re using all electronic instruments for the most part with this band, but that’s neither here nor there. We could be using guitars and drums, the fact is we’re in a small space hammering out ideas and writing songs whereas before we would be standing in the rehearsal room trying out ideas or sitting in the studio working on arrangements. This feels quite different in many ways and quite familiar in others – it’s a strange one.
My feelings are mainly relief. There was a very intense period when we were working on the album and we kind of had to stop at some point. We could’ve kept going but there were so many demands on our time pulling us here and there. There had to be a point when we walked away and say, ‘Ok, ok it’s done now’. Now it’s out I feel really proud that we managed to get something out in the time that we had. And people are responding really well to it. I’m glad to hand over something we were happy with.
Your music straddles indie and electronica. Do you think there’s much of a crossover between dance and indie in Glasgow?
I don’t think it’s segregated. Obviously there are micro-scenes that form around labels like LuckyMe or Numbers, but it feels like everyone is just having fun doing their own thing. Some of that energy bleeds into other aspects of the scene. People like Hudson Mohawke and Rustie and what they’re doing with the big hip-hop producers is having an impact on people internationally but also people in Glasgow. It’s a really vibrant city musically, and in many other creative ways, although I wouldn’t really feel comfortable with the idea of a particular scene. We’re just a load of people following our own paths and sometimes drinking in the same pubs.
Why do you think the Glasgow music community is so resilient?
It’s been the case for quite a long time. Glasgow has a real stronghold when it comes to cool labels. But if there were no labels in Glasgow and no funding bodies I still think there would be that resilience and that desire for people to make music in this town. It just feels irrepressible, and looking back historically, you could argue that’s always been the case. I don’t know if it’s something to do with the spirit of the people – there’s something about the north of Britain – maybe it’s socio-economic, maybe it’s because it fucking rains all the time! Glasgow’s horrendous – it rains all the time! What do you do when you’re stuck indoors? You pick up guitars or whatever.
How have some of the local stalwarts like Rock Action and Chemikal Underground influenced you, if at all?
Chemikal Underground were a real inspiration growing up and have obviously brought some amazing music into the world. The three of us grew up listening to all that stuff and it was a real inspiration to us to make great music and keep going. When we see bands like Franz Ferdinand – bands you’ve just seen in Nice n Sleazys or Mono – go on to conquer the world it gives you a real kick up the arse as a musician in Glasgow. Why just look at just playing local shows to the same people every rainy Tuesday? I guess it encourages you to look bigger and give it a shot.
It definitely seems that it’s personality led in Glasgow, as in, things are happening up there because there are some big characters just doing it…
And that’s always been the case for many years. Even looking back at people like Midge Ure and Annie Lennox and Shirley Manson – those are big names that have done amazing things internationally since the eighties. It’s an inspiring place to be and to come from.
How important was the local live scene – particularly pubs – when you were first starting out as a musician?
Local pubs and small venues have been hugely important. I’ve been playing in bands since 1993 and there’s a real willingness from pubs and promoters up here to give young talent a chance. They are a really encouraging force bringing new bands through and are the musical life blood of the city.
Do you have a favourite venue?
It’s tricky to pick a favourite venue, but in terms of starting off, I’d say there’s no better place to play than Nice n Sleazy. It’s a great size and has a great sounding PA. I’ve had many sweaty nights in there with some incredible new bands that went on to explode. It’s a great grassroots venue. Obviously there’s the legendary King Tut’s too, but Nice n Sleazy is my preference.
What are you working on at the moment?
We’ll hopefully get some stuff written over the Christmas break – that’s the plan at least. Then it all kicks off again at the end of January. We’re going to Singapore, New Zealand, Australia and Japan. And then we’re going to be back out on tour in America and Europe again. It’s going to be really busy until the end of next summer but I’m hoping we’ll be able to slot in some writing time because it’s something we really miss. The energy in the studio is what brought us all together in the first place and while it’s fun touring the world and playing live, we’re really keen to get back in and start on the second album. I don’t want to lose the momentum we’ve initiated.
And that’s always been the case for many years. Even looking back at people like Midge Ure and Annie Lennox and Shirley Manson – those are big names that have done amazing things internationally since the eighties. It’s an inspiring place to be and to come from.
How important was the local live scene – particularly pubs – when you were first starting out as a musician?
Local pubs and small venues have been hugely important. I’ve been playing in bands since 1993 and there’s a real willingness from pubs and promoters up here to give young talent a chance. They are a really encouraging force bringing new bands through and are the musical life blood of the city.
Do you have a favourite venue?
It’s tricky to pick a favourite venue, but in terms of starting off, I’d say there’s no better place to play than Nice n Sleazy. It’s a great size and has a great sounding PA. I’ve had many sweaty nights in there with some incredible new bands that went on to explode. It’s a great grassroots venue. Obviously there’s the legendary King Tut’s too, but Nice n Sleazy is my preference.
What are you working on at the moment?
We’ll hopefully get some stuff written over the Christmas break – that’s the plan at least. Then it all kicks off again at the end of January. We’re going to Singapore, New Zealand, Australia and Japan. And then we’re going to be back out on tour in America and Europe again. It’s going to be really busy until the end of next summer but I’m hoping we’ll be able to slot in some writing time because it’s something we really miss. The energy in the studio is what brought us all together in the first place and while it’s fun touring the world and playing live, we’re really keen to get back in and start on the second album. I don’t want to lose the momentum we’ve initiated.
