You wrote the thing about me, me maybe being gay, is that what you said?
No, no, that wasn't me, that was Kate, she said.
You know, it's not impossible. I can't remember why did you say that?
That's good, it's good for the way you picture a thing if we, you know, are just friends or are we lovers.
This is a mystery that a band needs.
How does it end, how does it work? Have you been actually playing for a bit, didn't you?
Because sometimes bands will just, they'll play a few shows, there'll be an instant.
But it's really different, like we've got friends who are on labels, they got on labels very quickly.
Before they'd done a lot of stuff and it gives them a really different frame of mind.
They, you know, sometimes will have to write songs for, you fill out a debut album or something like that.
There weren't even enough songs for a debut album.
But we already had been a band who was just completely left alone by the world.
You know, we never were interviewed, or nobody was all that interested apart from a few friends,
and we just did shows and songs to the other shows.
So we already were kind of sure of ourselves.
But I'm surprised because you had this real hardcore of fans, didn't you?
And they were chefing up songs from all of the albums.
Last year, at the end of the road.
Yeah, that was really strange.
And again today, like I don't know how they get this crowd at the end of the road.
They do such a good job.
So for all our friends as well, all our friends play bigger gigs here.
And like Darren Hayman, say, or Jeff Lewis, and everybody knows them.
And they all, they know, it's like, I don't know where they all come from.
Because most of the time we play in bars and like nobody knows us.
And like every gig is like their first time hearing you.
And it does seem like end of the road, really, you know, what they're doing.
They really get like an audience that's into it.
Like last year at the 10th, we had no idea what happened.
And that was awesome.
And then you, songs from CD-Rs, and like things that I've forgotten that we've done.
And it was really, you know, really fun.
And yeah, it's like, oh yeah, can you remind me of the lyrics to that one?
Yeah, it was like that.
It was, you know, really odd how they all got the CD-Rs.
I mean, these are CD-Rs that maybe 50 people in the country had.
Really?
But it seemed like there were, or maybe 100 people at most.
And it really seemed like everybody in the town, everybody who had them was there.
Well, because I was just surprised with you, I came along.
Yeah.
And I was like Christ, you guys must have built up a big following playing pubs in London.
And everybody's come because they know you and they're really keen.
Yeah, no, that's all the week before that show we'd play in front of like two people in Canada.
And the week after we were playing in front of two people in Canada.
Same today, it's like just one of those funny things that we could go on somewhere to.
This is called Leave the Scene Behind.
It's called Leave the Scene Behind.
It's called Leave the Scene Behind.
It's called Leave the Scene Behind.
Can I ask you as well about the guitar style, because it's quite...
Well, when we heard Sofley, we were sort of thinking there's a lot of old-time rock and roll.
It almost reminds me sometimes of Martin McFly and Back to the Future.
It's like taking a really old sound and talking to it through an interest life almost.
It's amazing to watch.
Well, we really like guitar music.
Old rock and roll is the electric guitar style we like.
I'm not interested as a music fan, really, in the electric guitar plays after about 1972.
I really like Dick Dale, Link Ray, Rolling Stones, Chuck Berry, Neil Neil Young.
I love his guitar playing.
You get more freedom in the studio to try and do different stuff.
When you're on the tape machine, you just do it really quickly yourself and you can't mess around with it too much,
because you've just two or four tracks, so you get stuff done really quickly in the studio.
I'm sorry.
Sorry, the main thing with us is that none of that side of it is all that considered.
It's like we talk a lot about, you know, we think about it really hard when writing the songs and when we're playing together.
The thing that no one knows about this is that the first thing we ever did with this guy was to do it.
The first thing we didn't know about home recording was that the first thing we were going to do with a new band
was what all bands do, which is going to get some random guy to make them a demo.
And it sucked, and so then we tried to record ourselves at home, because my specific boyfriend at the time had a 4-trip or something.
That's the level of technology that you were using.
Are you finding that home recording is getting a bit easier nowadays?
So I was just getting more of something like computer recording. It's sort of easier in a way, but it's harder to get a good sound
than when you're just restricted on a 4-trip.
Most 4-trip recordings of anybody just sound good, like tape just has a good sound, I think.
We just recorded some Bruce Springsteen covers, and Dave's got an old cassette deck.
It's a 2-mic performant, but it's near the left and right.
You record it on that, and that's really good.
How do you do that? There's just two area mics.
Two mics, you just stand in the bedroom and you record a bit of this and that, and then you do 12.
If we need the mandolin now, it's one closer off the other way, and Dave's thinking it needs to be louder.
He just takes a step forward or backwards, and that's really good.
We recorded lots of songs.
There's a lot of performance up, and you watch it, and we've got a surreal movie.
It's how everything was recorded for years and years.
If you've got a box set of early Billy Holiday things, there's a dozen of them, and they recorded two mics.
It's just what people used to do, and it's really fun.
Instead of moving a thing up and down on their controllers, you're moving backwards and forwards yourself.
That's something about studio sort of the gen is that they kind of limit everything.
The distance between the quietest thing and the loudest thing is incredibly limited.
You can't record compared to a live show or a home record.
Things don't tend to kind of fly out, and also you can't move.
Yeah, it does really change the atmosphere.
So that's a little bit nothing.
Took the time to admire, to speak with which we grew boring.
I was a rapid mess on folding dresses in stock rooms and warehouses,
sanding chairs and cabinets in canary water.
Guys, you've got to worry about the ones who sing really happy music.
The story of John Lee Hooker, who every night just sings the blues.
Every night he comes off stage and he's feeling good.
He's got his suit and his sunglasses on.
He's got some white shoes that are boring.
