The Bristol Massive

Modern Ian?

Perhaps I’m not pronouncing the name right. Eon as in E-o-n.

Ah, Modern Eon. I’ve never heard of them. That’s not meant to disrespect them, but they didn’t influence us much if we weren’t aware of them.

What effect did your well-reported literacy problems have on the song writing process?

It meant I wrote everything from the heart. I don’t think literacy problems is the best term for it, though. It was more that I didn’t receive a conventional education. I wrote very directly without any reference points, and I think all Strangelove fans related to that.
I saw you support Suede at the Roundhouse with Strangelove. At the time you looked very similar to Brett and people started cheering because they thought you were Suede than booing when they realised you weren't. How frustrating was it to be a support band?
It wasn't frustrating at all. We were playing the Roundhouse, a venue that’s been famous since the 60s. Some great artists played there and will continue to do so. You can’t let things like heckling bother you. Ultimately, it doesn’t mean anything.
Brett Anderson once said: "Strangelove? Yes, we like them. They are our tips for the top." You had a devoted and loyal fan base, but you never really broke through, did you?
I don't look at it like that. Breaking through? I lived my life the way I wanted to. I gave what I could of my self. I had a successful life. It's a mistake to drip judge by weird standards.
How much did creative differences have to do with Strangelove splitting?
People change. They need to be able to breathe. We spent a lot of time in each other’s company as we all got on really well. We were really good friends. There was a lot of mutual respect within the band and an awful lot of talent. At the end of the day, however, everyone needed room.
What was it like working with Madosini who you collaborated with at WOMAD festivals?
It was really inspiring. She was in her 80s, a South African shepherdess who lived on a hillside. Having only just been discovered, she retained a very pure relationship with music. She’d been singing in isolation for years and years. There wasn't any commercial understanding on her part. It made me realise how strange it is, the situation we're all in as artists in the western world.

Madosini was totally unconnected. She didn't know who Elvis was, for example. She just played her instrument. Working with her I experienced a weird sense of humility. That’s a word greatly misunderstood, including by myself.

She was like a punk; really spontaneous. Believing in the spirit of music, she put me in touch with all that when we jammed together. I’d been lost in some weird commercial world, which had nothing to do with music. It was just a massive jigsaw puzzle of personalities. She kept my inspiration alive and I feel must alive when I’m inspired. 

Madosini had a dignified relationship with music. I’m incredibly lucky to have had that experience. She taught me to get back in touch with rock and roll - the language it speaks to me. She helped me to do that, to start concentrate on that. All the other stuff like you were saying before about breaking through I’ve always found very problematic. I’ve never understood it. Madosini taught me that I don't need to. That’s incredibly liberating. Thanks, Madosini.
Your debut album as a solo artist, Luxury Problems, comes out next week. How different is it to Strangelove?
It's a natural progression of the road I’ve always walked and fans of my music have walked along with me. I set out on a road when I was 17 and I've kept walking along it.

Your list of collaborators is a bit of a who's who? Care to go through them with me?
There's a good scene in Bristol, It's quite relaxed and people are very generous with their time. Adrian Utley from Portishead produced the album along with Alex Lee who was in Strangelove with me. Damon Reece, the drummer from Spiritualized and the band’s guitarist Mike Mooney also appear. Tammy Payne offers backing vocals. Peter Trill comes right out of 60s London. I’ve always loved that period. He brings something incredibly unique to the album with his harmonica playing. I must also mention pianist Adam Coombes. In the eyes of the world he’s unknown, but he’s not unknown to me.
What's it been like working with Alex Lee again?
We’ve got chemistry between us. It's something other people have told me a lot. Adrian Utley commented on it. When we play together, it's just like the real thing. It’s been brilliant teaming up with Alex once more.
The album sounds incredibly heartfelt...
It comes from all different sides of me. Some of it is nailing down the past. Preserving the past, if you like. Some of it comes from my imagination. A song might also use you to come through. There's heart in it and there's also mind. You´ll find a bit of mirth there too.

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