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We wanted to make reactionary work, call everything into question: ‘Are they masculine? Are they homoerotic? Are they joking? Are they serious?’ We didn’t want to be just alright, and we weren’t trying to please. We wanted to really divide people, force them to pick a side
It’s about the difficulty and the beauty of living-in-the-now. The internet catalogues and codes our past, and almost supersedes memory, [but] at the same time as we have our personal history recorded for posterity, we’re forever thinking about the future, about what’s next, what’s the goal. In between those two things there’s a very small sliver of time which is actually the ‘now’.
We have an unnaturally smooth balance. That doesn’t mean there haven’t been toes that haven’t been stepped on or trees that haven’t been pissed on,” Thorpe laughs, “but there’s a familiarity in what we want to achieve – to make new music that has a bigger sense of purpose and belong and beauty. When you have that mutual desire and drive, everything else sets into place.
It was an artistic responsibility to take it as far as we could, to reinvest all that hard work and look at that financial support in the eye,” Thorpe explains. He is, of course, referring to their decision to delay touring until they had a grander album to tour behind. “At the end of the day, we can walk away saying we’re proud of that decision. We weren’t bankrupting ourselves, but there was a time when it was like, ‘Shit. We need to get this record out if we want to pay our rent.’ But musicians are privileged people. You get to do such a grand, incredible thing and part of the responsibility for that is to make work that has at least taken some toll on you.