I’ve got like a 1 ½ octave range [[meeee tooooo]]
Without the bluster of the Drones behind it, that 1 ½ octave voice has to carry more of the weight on the solo album- so how would Liddiard review his Drones-less work? “I would say that the timings wonky and the vocals are out of tune,” Li...ddiard admits, “but [critics] won’t hone in on that – they’ll say something like ‘teenaged poetry’ or they’ll say ‘claustrophobically depressing’ or ‘self indulgent’… I’m sure they’ll think of shit I couldn’t think of… and I’ll be like whatever ‘fair enough’. It’s a pretty gnarly kinda record so you can’t blame anybody; no one has to like it I don’t care. I like it, that’s the reward for me"
Even a bad review can hold a certain reward for Liddiard, “Anyone that’s been around for a while, once you get over [bad reviews], they’re actually hilarious. When you’re young and you’re doing it, or younger, you get a bad review it hurts, but eventually you just realize it’s a big world, there’s a lot of other shit going on. My mum didn’t like what we did, my dad doesn’t really get it, but I don’t feel bad about that. If someone from Minnesota doesn’t like it – ‘whoopie shit’. It’s fun to read, it’s hilarious.
“If I hear something that’s completely un-harmonic and just doesn’t have any melodic structure I can enjoy I because I can go ‘oh I’ll use _that_’. Someone else will just hear a total mess,” Liddiard explains “You can take anything, wether it’s scales, approaches, ideas, attitudes, fuckin’ atmospheres it’s endless.”
I listen to a lot of Frank Sinatra, a lot of old jazz and you can put it all in. Thelonious Monk – that’s my idea of piano playing that’s how you do it. It’s just weird and kooky and it has punk intonation; there’s four-four and then there’...s living in the moment, of just doing it.”
“You just get shit from everywhere, it’s fun to do… I don’t know it’s weird,” he explains. “It’s gotta be authentic, and then second to authentic it’s gotta be weird coz weird makes shit interesting. My favourite Bob Dylan songs are the weird ones like Dear Landlord or Poor Boy – you’re just like ‘fuck what are you taking about’ they’re intriguing. I’m a fan of weird.”
I’ve had people talk to me like that. It’s weird. Some people are cool and they go ‘I don’t like it’ but they’re still warm and they’re nice and you can hang out and they’re fine. I don’t expect everyone to like it, cause that’d be impossible. Then there are some people that are weird they don’t have any social skills. And they come up and go ‘I don’t like it’ and you thing ‘oh, here we go’ they’re just retarded socially
“We run on deadlines, if you do make a perfect record it’s a fluke. You can’t plan a hit, that’s the whole thing, you’ve just gotta let go at some point. You’ve gotta make a deadline and the deadline’s gotta come and it’s gotta be enforced ...otherwise you just keep working on an album or a song forever. At some point you’ve gotta say ‘alright, next!’ next step – let’s record this song, or release the song, or tour this album whatever the next step is and be done with it. If you do make a masterpiece it’s not ‘Oh I did that’. People say that in hindsight – ‘Oh yeah, I did that deliberately’ – but they forget all these forces of fate which helped put things in place. We don’t plan for that. We just make shit we like, shit we want to hear.”
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