These guys are the real deal. There is nobody out there like them. They are electro-folk-stroytellers, and they tell me they have never been to a place where they were not invited back. I can believe this, I saw them recently and I was delighted by their mix of beats, music, Lancashire traditions and humanity.
I can honestly say that Harp and a Monkey (http://www.harpandamonkey.com/ ) fall into no easily definable, preconcieved term. Take the first song on their album A Soldiers Song. it starts with beats and the recorded voice of a soldier who had fought at Passchendaele, the song then unfolds over a number of verses, there is a deft use of repetition that gives the listener a hook and means the lyric repays careful listening. Essentially they have taken what could be a rather hackneyed idea and turned it into something rich and strange.
In one of their own recent blogs they describe themselves as "the bastard sons of The Oldham Tinkers locked in the BBC Radiophonic Workshop with only the British Film Institute back catalogue and a handfull of scratchy folk LPs from the early 70's for company." I think that says it all myself.
How did you start
writing?
We have been writing for
years now both individually and collectively and with a variety of different
bands and people: some sublime, some ridiculous. We started writing as 'Harp
and a Monkey' in 2008, although we have known each other for years and worked
on different projects together before.
The idea for Harp and a
Monkey came about by accident – we had got bored of writing the same type of
songs so we decided to challenge ourselves for a bit of fun and all go out and
buy an instrument we had never played before (Andy duly bought a banjo and
melodica, Martin an accordion and glockenspiel and Simon a harp and viola) . We
thought that it would simplify what we did and lead to some interesting
results, and we think it worked. We also wanted to tell short stories rather
than write more obvious contemporary song lyrics. That's how we came to be
writing about volunteering for the First World War, cheated brides, mermaids in
cages and the importance of making a good cup of tea.
How did the band get
together?
Andy and Martin actually
went to the same secondary school as each other in Middleton, north Manchester,
but only started playing in bands together years later. Simon, who is from St
Helens, had moved to Manchester and answered an add in the Manchester Evening
News, about 15 years ago, for another project Martin was involved in. All three
have been good friends for well over a decade now.
Who are your influences?
That is a really
difficult question because there are so many and they are so varied. For
example, Martin might say electronica, folk and classical, Andy dub and
Americana, and Simon avant garde pop and rock. It really is that broad. For
Harp and a Monkey, however, we wanted it to sound very traditional and very
modern at the same time. We also wanted it to sound British. So, while there
are elements of all of the above, we hope it is the rather unusual blend that
makes what we do a bit unique. We have been described by so many people in so
many different ways that it has become a bit of a sport for us, but our
favourites is probably Steve Lamacq's description of us on his Radio 2 show as
“electro-folk-storytellers”.
Why Harp & a Monkey?
The harp part speaks for
itself and the monkey line comes from the simple rule of life that “anything
goes better with the addition of a monkey”. Having said that, Simon rightly claims he is
'the harp' and Andy the band's 'cheeky monkey', which leaves Martin as 'and
a...'. He isn't too happy about that! In practical terms, it does help having a
name like this, simply because nobody else does: so, when you type it into an
internet search engine it is us that comes up. We have all played in bands
before where there has been another act (in Scandinavia, Japan or somewhere
else more glamorous than your own place of existence) with the same name. That
can all become rather confusing and problematic.
If you were doing it
again what would you do differently?
I am not sure if we would
do anything differently. It might have been nice if we had thought of doing
something like this earlier, but music is like any other craft: you need to
work on it, hone it and master it. I don't think that we could have written
songs like this if we hadn't been that bit older and had the same life and
artistic experiences that we have had. So, no regrets, as they say.
Any advice for people
starting out?
We spent a lot of time
defining a sound and working on songs before going out and playing them, which
was a very important thing to do. Too many bands or solo artists throw a few
songs together and head out to what they hope will be an adoring audience. It
doesn't work like that. You need to think about what you are trying to say and
achieve, listen to lots of material by other artists and be honest with
yourself about how your own work matches up. You can also then try and target
the right audiences to play to.
At the end of the day, it
is also about hard graft. We have spent the past four years playing constantly
wherever people will have us. Sometimes we have played to hundreds, but most of
the time it has been to handfuls. That doesn't matter. We work on the principle
that if three people are there and we are good, those three will tell their
mates and next time there will be six – and so on. Also, it doesn't matter how
many people are in an audience, you only need to impress that one person who
may be in a position to help.
What's in the pipeline?
A second album hopefully
in the Spring plus a lot more gigs. We are planning to expand our reach in 2013
beyond our comfort zones of Lancashire, Merseyside, Yorkshire and Derbyshire.
At least one big festival is on the cards for the south in the summer and there
are likely to be showcases in London before that. Who knows, maybe it will stop
magazines like fRoots describing us as “northern separatists”. Having said
that, we would also like to get much further north, as we seem to have a
growing audience in places like Scotland. Maybe we will also try and learn some
new instruments? Or maybe we should try and get better on the ones we are
pretending to be proficient on at the moment!
If you were a colour what
colour would you be and why?
Bloody hell. Where did
that come from? We would probably be something classic and muted: the kind of
colour (think darker hue) that ages well, is never in fashion and therefore
never out. Garish and showy is definitely not our thing.
I like these guys and they are unique. Love their idea of a comfort zone!
ReplyDeleteThanks for the introduction Paul. I'm intrigued by the idea of learning a new instrument to simplify things down...
ReplyDelete