Words Words Words
Where does commerciality begin? A sound; a look; a feel and straddling that fine line between credibility and superficiality is ofter an impossible act to do. You end up "too punk" for Missouri and a smarmy sellout to the rest. And you starve.
But in the middle of last year an unknown group called the Psychedelic Furs released an LP, and my ears told me that hare was one good tightrope act. We all remember that album, showcasing perhaps the most accessible post-punk sound on two continents. Hello to June 81, and here comes numero 2: Talk Talk Talk. A more "commercial" record, some have said, and I tend to agree. But it is not less appealing by far, rather, it is embracing more and more people into the fold of fandom. Yet most of these new found converts (and many old fans) have no idea where the Furs are from, or where they are going.
Through a series of interview (by face and phone) with Duncan Kilburn and Richard Butler during the last tour, we tried to drag out as much as possible from a band whose identity is low-key (to say the least).
In The Beginning: The group formed some 5 years ago in London in the midst of
the punk explosion as a garage band (just like yours). Just a bunch of guys playing in each others homes. The original complement was Roger Morris, Duncan Kilburn, Richard and Tim Butler, and nine drummers. Obviously, the drummer was the hardest member to pin down.
Duncan: "It's probably something to do with their temperament. We think it's to do with the fact that they hit things all the time."
In the beginning of '79 John Ashton joined on second guitar, and about two
months after that Vince Ely became the final drummer. With the bands personnel finally settled, they could devote time and energy to getting things done, and within three months things began to move. They started playing larger and larger venues and gathering a following, and in October 79, CBS signed them up.
By November, they had their first 45 out ("We Love You" b/w "Pulse") and had started work on the debut LP, with Steve Lillywhite producing. Astutely, they released it in the UK (March 80) several months before the US release, so that it "would get established." First US tour was over the fall/winter, then back to the studio, with Talk... being released in June of this year, Steve Lillywhite breaking tradition and producing them a second time
"With producers it's a case of keeping a team together if you can. It's like sound guys and light guys; once they get to know your material, it's not so much what you play," states Duncan. And that goes for engineers and studios too. "It's just so we can get a continuity."
Unlike many bands that have risen from new wave, they like the studio. "When we go into a studio, it's like being at home, they're all so friendly. It's really a help."
So, will they have Lillywhite and the rest of the gang on the third LP? "No" is Richard's reply. Duncan had read that Lillywhite would never produce a band three times. "We've been talking to lots of people. We've been talking to Todd Rundgren quite recently about the possibility of doing is." It's a question of when he can do it, when they can do it, etc.
In conversation with Richard, Todd's name brought out a sorta yes, a sorta maybe, as producer. I'm betting Todd Rundgren will produce when the record is recorded at Christmas.
I don't know about you, but I'm curious as hell about the reason "flowers," and "stupid," among others, were used so many times on the first album. "It does get a bit boring to hear the same word 23 times on an album," was Duncan's feeling on the subject.
“Richard thinks a lot about Andy Warhol." Mr. Butler is a painter (of all things). "I remember he used to do huge murals of flowers and stuff. It just always struck me as if he had a fixation in flowers. But I think he's finally exorcising it."
Richard defends himself by their utility. "They're a good image. They're an intriguing image, if you like. I mean, you have them at weddings and funerals- lovers use them."
So there's no message, no symbolism? "Work things out for yourself," is Richard's reply. The second LP deals more with relationships than objects, but the idea is the same. The first LP was an "abrasive album, where as this one is far more mellow, but still about strong strong subjects." "Pretty in Pink," and "Mr. Jones," do follow the UK tradition of attacking the complacent. Interestingly enough, after this their attitude about their home summers turmoil in England, is not one of reveling-in-anarchy.
"The US is ten times better than England," what about the atmosphere Killing Joke has said exists there? "If they mean by atmosphere that pople are throwing bricks in the streets, yes, they have atmosphere.
“I don't think that's very exciting." Ok, Duncan. What are the future plans? “Rest, sort things out after the your, and think about the next LP, and do it well.
A unique approach in Britain today, since everyone and his sister releases singles all the time. We don't write hot singles- it gives us a longer life." I almost forgot to mention their name. How did they get it?
According to Richard Butler, when they started all the bands had punk names. They all said that the 60's were useless, and never influenced them.. Well the Psychedelic Furs consider themselves influenced by that and if they picked the right name, they would seperate themselves from the "punk thing." Okay?