The music scene in Brighton shape shifts on a frequent basis. It is this that makes it interesting though as bands grow and dissolve and then emerge in the shape of a different beast – in fact it was just today that The Maccabees called it a day. Pass the tissues.
Clever Thing are a fine example of this. Each member has been acquainted with, or performed in some of Brighton’s greatest exports from over the years – Bad For Lazarus, Pink Lizards, UNKLE, Eighties Matchbox – you name it, they probably have roots here somewhere. From these experiences, the band have welded a finely-tuned product. It picks at their influences and cuts them apart, in a surgical manner, they have now built their own monster.
After recently releasing their debut single, ‘In A Tissy’, I was keen to get hold of them and learn about each of their past, present and future tenses and also, how amazing it must have been to work with one of the music industry’s finest visual creatives, Steve Gullick (Nirvana, Spiritualized, Nick Cave). Here is a brief chat with Rich and Daisy:
So, how did Clever Thing come about as a concept?
Rich: Clever Thing was an unplanned pregnancy. The best mistake Mummy ever made. Daisy and I had started a relationship and were naturally songwriting together. It was directionless, pure fun. She had found herself with some recording time at Hermitage Works Studios with our godmother, Margo Broom, who heard our demos and invited us to finish them. We found ourselves there without a band (we drummed for each other’s songs in that first session) and under Margo’s tutelage. So there was NO concept at all! We hadn’t booked the session, planned to be there, or finished a song. The first slice we wrote and recorded was ‘My Pleasure’, the B-side to ‘In A Tissy’. It sounds like it was recorded in an introverted, moody, sexual atmosphere, and it really was.
Daisy: On reflection, the birth of Clever Thing was on the cards, in a surprise birthday party kind of way. It was ready to go, we just had to make the jump. It was so easy and natural in the context of a relationship built upon genuine respect and admiration for each other’s musical endeavours. Initially oozing and bouncing ideas between each other, the only way forward was to contain it into something tangible.
Without leaning too heavily on the past, you all have rich histories in bands, how have these provided a backdrop for Clever Thing?
Rich: An incalculable amount. Between the four of us we’ve been in well over 30 ‘serious’ bands. Which has often meant a lot of misfires, average material and 'that-wasn’t-very-good-was-it?’ shows. Similarly we’ve been privileged to be a part of genius moments from some very natural and talented people we’ve worked with. Every tingled spine, be it from bliss or embarrassment has been a huge lesson. Clever Thing is in no small way the home we have made for our instincts. We don’t care what anyone thinks because we KNOW what we feel. It’s the first fearless band I’ve been in, and a huge part of that is the thick skins and instinctive wisdoms we’ve carved through the years with our older bands.
Daisy: For this band I’ve learnt not to be too precious; to abandon any weight; to just have fun and be respectful of each other. It seems to be the easiest way to get the best out of any potential ideas we may have. Very quickly we had an abundance of songs, which is the only thing that keeps a project revolving. That in itself makes it a simple and satisfying place to be.
You have all been rooted down in Brighton to some extent with these projects previously, how has Brighton shaped you as a group?
Rich: We met on Brighton streets at Brighton gigs. I really don’t think it’s contributed anything else directly; but us actually knowing each other was quite a helpful step for the band I suppose.
Daisy: I think in a way Brighton’s like a sophisticated battle of the bands. It’s big enough and ugly enough to help you know better, but also gives you a cuddle when you’re feeling uninspired. It’s a sustainable place to be as an artist.
How do you feel Brighton helps or hinders artists?
Rich: Brighton is a utopia for young, creative and thoughtful people. On my travels across the UK I get quite saddened by how bleak and solemn the country can seem elsewhere. Every artist that comes to Brighton will find their common folk. I used to try to piece in bands in London as a kid and got nowhere slowly. In Brighton I was recording demos and playing gigs within weeks.
Daisy: Brighton is heaving with musicians and artists of every kind. It’s created a beautiful and accepting culture which is authentic to anyone who spends any time pursuing their passion here. It is undoubtedly vital in the future histories of individuals who have made it their home. Brighton gave me the confidence to tackle trial and error. It’s very real, but also familial in picking you back up when you don’t hit the sweet spots.
In your about section, it suggests you aim to find the space between Billie Holiday and Black Flag – can you elaborate on this?
Rich: I guess we like music as pretty as it gets and as mean as it gets. The middle ground makes us yawn. We just like hearing uncompromised character, and we don’t wanna waste your time with any less.
Daisy: Even though there is a genre disparity between these two artists in particular, to us they evoke a very similar reaction. Pure jaw dropping, earthy beauty. They are both very precise in attitude and intention. That’s the bar right there, and we wouldn’t want to bust our balls for anything other than a storm.
You recently dropped your debut single, ‘In A Tissy’, how would you describe this song?
Rich: Very, very, very, very, very, very, very, very good.
Daisy: Definitely a cornerstone for Clever Thing. It struck the perfect balance between all the influences we had spinning around us in the beginning. Embracing the gnarly and nasty garage swing aspect but also trying to embody silly Hendrix-esque licks, and being very to the point lyrically.
What did you aim to do with this song – it has a real ferocity behind it and is quite a statement as a song – was it a particular attack on anything?
Rich: It’s funny you hear it as fierce because to us it was just written to be bouncy and fun. I think the ferocity comes from our attack as musicians, but not our sentiments. There was such a whirlwind in our personal lives when we started and most of the lyrics are autobiographical in that way; about trusting that your instincts aren’t hurtful even though everyone might be feeling a little hurt. We were taking responsibility for ourselves rather than everyone else for the first proper time and had to keep the invasive guilt away from our new lives. The trick is to forget you remember. Keep the cork tight.
Daisy: In all honesty, no. Another thing the past has lent us is learning how to serve a song. So when Rich played me the verse riff, it seemed like it would be a waste to not do anything other then be big and bold. We want to get hips moving.
‘In A Tissy’ was released through Enate Records – how come you opted to release through Enate Records?
Rich: One of the aforementioned lessons from past projects is to not chase the industry, or indeed, any success. If we don’t have loads of fun, we don’t imagine you will watching us. Depressing ourselves by chasing labels that barely exist is a bad way to find a smile. Enate is run by Margo Broom who offered us the release. If she hadn’t of, then I imagine we would have self-released. She is like family and that’s a philosophy that’s very important to us.
Daisy: Enate Records is the face of an institution that has been bubbling for a while now. Margo was a piece of the furniture in the project from the beginning. We got to hang around her incredible studio and find our feet. It seemed like a no-brainer for our debut to be a part of Enate.
How would you describe Clever Thing to those not accustomed with you – both musically and ideologically?
Rich: Very very very very very very very very good.
Daisy: Caged heat.
How do Clever Thing differ from what music already offers?
Rich: Almost entirely, especially in Brighton. There’s definitely a Brighton sound right now. A lot of grunge choruses with shoegaze / reverb / delay guitars. We don’t do that at all. We formed the sound around our love of big band, doom riffs and soul vocals. So I admit I was a little insecure as to how it would be received by our peers when the single came out. It seems to get hips swerving though so we’re gonna keep up the nasty swing.
Daisy: I’d like to believe that we’ve been around enough to know how important it is to be non-definitive to any era or genre when establishing yourself as an artist. To know that you don’t sound like your heroes is a really good place to start when developing your own sound. As soon as you understand you don’t actually sing like James Brown, you can slowly but surely draw out the bones of the beats, and licks that make you tick. With enough time, practice and patience you find yourself making original music. That’s when it gets really exciting, when you abandon what you think you should sound like and start embracing what you DO sound like. There are some pretty authentic things to dig out of yourself. So in that respect, I feel like we’ve gathered in this space, which means we aren’t afraid of what we create. I think you can hear that. We aren’t trying to hide behind anything.
Steve Gullick is a pretty big name to work with in the photography/film department – how did you find that collaboration?
Rich: Daisy and I played in The Duke Spirit recently and Steve was making a video. I didn’t know he was Steve GULLICK till a lunch break when Luke Ford showed me his work conversationally. I was so stoked! I was already a massive fan of his art, and Bad For Lazarus had even approached him in the past but couldn’t get it going, but we had a good personal connection and he was into it.
Daisy: Over a few brief encounters with Steve we expressed our respect and love for his work, and how over the moon we would be if he could grace us with his ocular genius for our first video. Before long he was waltzing into Brighton being every bit the legend that he is. It was an absolute pleasure and honour to work with him. He really is gifted.
How does the future pan out for Clever Thing in the way of releases/plans?
Rich: We sell out. Massively. See you in our infinity pool for the next interview.
Daisy: Abundance. Lots of shows, buckets of music and tonnes of fun. We want to show the world everything, we are practically bursting at the seams. Give us a smooch.