As we reported back on 6th May, seminal Welsh band Datblygu have a new mini album, Erbyn Hyn, due out in a couple of weeks. The official launch party is on Saturday June 7th at Tangled Parrot records, a record shop where Louder Than War’s Simon Tucker works. It only seemed fitting, then, that we should ask Simon to interview said band in said shop, the results of which can be found below. But first, a few words from Simon to put the interview in context…
They say never meet your heroes. That it’ll be a crushing disappointment. Well luckily for me, I am about to interview a musical duo who have, only over the last couple of years admittedly (details of why are explained further in the interview) had a huge impact on my outlook at culture, politics, sex, and what being Welsh means.
That duo are David R Edwards and Patricia Morgan, who, collectively, are Datblygu. Now about to release their first material in two years, I caught up with them for Louder Than War to see what their plans are for the future, if they still felt the rage and injustices that fuelled their earlier works and what the album is really about. I conducted the interview via email (Pat) and in Tangled Parrot (Dave) where the official album launch is happening on June 7th.
Louder Than War: What made you decide to record an album at this moment in time?
Pat: David had been working on lyrics for about a year. They had to be put out there! I was ready for setting some music to them.
David: Because I wanted to have something to listen to. They asked Robert Smith of the Cure many years ago “Why do you make music?” and he said “Because it was something to listen to. It’s an arrogant answer but, not like I love the sound of my own vice but I love music, words, lyrics you know, my ideas for poetry, and my ideas for the way the poetry mixes with what Pat comes up with the music you know.
And obviously you did the EP (‘Darluniau Ogof o’r Unfed Ganrif ar Hugain’) a while ago.
David: Two years ago.
Two years ago? So obviously you’re not the most prolific of artists (both laugh).
David: No, there’s only eight tracks on this one, but the next one we’re aiming at, you know, for more. Sort of, twelve – sixteen songs. It’ll be a full length LP like.
Ok, that was one of my later questions: Is there a plan to do any further releases.
David: Yeah I’ve already started writing the new material, well the newest material then, but there’s no commercial pressure, it’s just what I like doing. I love writing so, it’s what they teach you to do from a very young age so, you know. Left alone with my thoughts in my room I tend to write poetry. If it’s poetry, I prefer to look at it as lyrics rather than poetry.
I think a few people would disagree with that. I think it is very much poetry.
David: Thanks. It’s just a label though isn’t it.
Where did you record it, and how did the recording process go? Was it easy?
Pat: We used John and Kev’s studio Neud nid Deud in Cardiff. David and I had already met up to prepare some demos, so it was mostly re-recording those, but in a proper studio. There is always an adrenaline rush when recording as we like to do it in one take. J&K gave us artistic freedom to do what we liked. I remember one occasion when John walked in with a puzzled look on his face and I said “Welcome to the world of Datblygu!”. He understood.
David: Yeah it couldn’t have been better. I caught the bus from Blue Street (where the main bus depot is in Carmarthen – ed) down to Cardiff ten past eight on a Saturday morning in January. I was there waiting for it about five am, you know, because I was excited pacing up and down smoking cigarettes. The bus eventually came, I jumped on no problems, fantastic journey. Got there and John the producer said you hadn’t even hung your coat on the back of the door. Went straight in the studio, pressing buttons, fiddling with guitars, or reading lyrics. So, yeah, we did it in Cardiff in Llwybyr Llaethog’s studio cos they’ve got a set up. You know it’s a very small set-up, but you don’t need loads and loads of equipment nowadays, technology has moved on at a pace over the last twenty / twenty-five years and you can get things done very quickly and cheaply.
Where in Cardiff is the studio?
David: In Grangetown.
How does the writing process happen in Datblygu? Does it work from lyrics / melody first or does the music get created then the lyrics added later?
Pat: David is always writing lyrics – they usually come first and I aim to find a way of bringing out the poetry of his writing with something that is sympathetic to the subject matter. I don’t really know how it happens!
David: Most of it is, I’ll say to Pat “have you got a tune?” and she says “yeah” and I’ll say “well I’ve got some lyrics” and we fiddle around with them and BANG. What I did was, what WE did was, I went on a train up to Abergevenny where she lives last October you see. So we rehearsed what we were gonna do, so we were 90% certain of what we were going to do before we went to the studio, so in the studio it was basically turning on the tape machines and uh doing a few overdubs and whatever you know? A few production things and it was done in a day. Eight songs.
In a day?
David: In a day, yeah. Recorded and mixed in one day.
So you like to record it in one take? Is that important to you to get that flow?
David: Yeah, because you’ve got to be prepared. It’s very much like a live situation with no audience. The only audience you get, well the audience you do get is the people who hear it on a CD or on a computer you know. But I’d rather people consume (if that’s the right word) our material in the privacy of their own bedrooms or their cars or whatever, or their walking around with those things in their ears. I’d rather them do that than come to a gig, you know, because I think gigs are modern versions of public executions as far as I’m concerned you know? Because I think there’s nothing that the audience likes more than the spectacle of the tortured artist. That’s my opinion. And I speak from experience you know and I think people like Leonard Cohen and you mentioned the Swans out there (me and my manager had been discussing the quality of their latest album in the shop with David before the interview had started) and Michael Gira, he’s suffered a bit in his life and um yeah.
I think that’s kind of like stand-up comedy where certain sections of the audience want them to fail, and they heckle the performer etc.
David: Yes. I’m not saying all the audience, not everybody thinks the same way, you know what I mean? But I think the majority of people love the spectacle of a tortured artist, that’s why I compare it to a modern version of public executions. Dick Turpin swinging over the crowd with a rope round his neck you know what I mean? Because he paid for his crimes in the end sort of thing. I think that’s what half the appeal of New Order was because of Ian Curtis you know. They very much made a career of the fact that Ian had killed himself like and Factory Records made millions out of that you know.
(I then discuss with David the interview with Deborah Curtis (Ian’s widow) that I did when a student for my dissertation and how her book (Touching From A Distance) was a refreshing read as it presented the story from a more personal perspective and presented Ian as, in David’s words “a human being”.)
David: What a fantastic band though. A great lyricist, and New Order to. I’m not denigrating them in any way or slagging them off. I love New Order, Joy Division, I loved the whole Factory set-up.
Musically, are there any artists currently working that you admire and that you would draw inspiration from?
Pat: I think inspiration comes from your own mind. If I thought “oh, that sounds like xxx”, I’d change it! It has to sound like us, and no-one else! Currently I’m liking more experimental music, like the stuff played on “Cam o’r Tywyllwch” radio show.
David: Public Image Limited very much I suppose. From when I was sixteen years of age you know. John Lydon or Johnny Rotten.
Have you heard their new album, This Is PIL? Did you like it?
David: Yeah, very much so. I don’t think he’s put a foot wrong in his whole career. From the Sex Pistols to P.I.L. Of course I prefer the stuff he was doing when I was sixteen-seventeen years of age, but I think we all go back to what we liked when we were sixteen-seventeen years of age you know. That makes a lasting impression on you you know for everybody. I follow these great artists careers all the way through you know? I still love Leonard Cohen and he’s pushing eighty now.
And he’s been doing some of the best work of his career hasn’t he?
David: His last album is fantastic. And the tours he’s been doing. Live he’s been incredibIe.
In the past, you’ve not shied away from making your opinions known on a variety of subjects, will the new album see the same approach as previous and if so, who’s in the firing line this time? I heard Radcliffe and Maconie in there somewhere but I don’t know the translation.
Pat: Welsh media always gets a bashing!!
David: I’m not slagging them off as individuals it’s the whole thing of what they represent on their afternoon programme. It’s not them … I remember reading an interview with Sid Vicious once and he said what keeps factory workers doing their crappy jobs is the daytime radio schedule and that hasn’t changed. To me, there was this huge campaign wanting to save Radio6 and even at the time I wanted to see it abolished, you know, because people think of it as John Peel’s legacy. Do you know, they don’t even play The Fall often let alone us on a regular basis on that station so I think it stinks…
Ok, so that’s one establishment, is there any others that you…
David: Let me think for a second.
Because obviously schools and…
David: Oh yeah and the farming industry. Not so much the farming industry, but the way that the animals are treated, just seeing sheep crammed onto slaughterhouse trucks and CRAMMED on you know. I keep wondering where the fuck the RSPCA is you know? They’re crammed on these and they remind me of children going to school on these school buses. Do you know what I mean?
I know exactly what you mean. I’ve recently turned pescetarian…
David: Well I’m a vegetarian too and I have been since 1980.
Was there a reason you decided…
David: Yeah, I was sitting outside the local slaughterhouse in Cardigan, it was bang in the middle of town. I was just minding my own business having a sly cigarette, I was sixteen, and a slaughterhouse truck with cattle in it drove up and I heard them making a noise. I thought… I ran home to my mother as you do and I told her what I’d seen and I was crying a bit and she sympathised you know, even though she came from a farming background herself she knew perhaps I was too sensitive a soul to cope with the hardship. The problem is, see, Simon, people don’t make the connection between the meat on their plate and the animal in the field and I know it’s a simple thing to say but they don’t. You get these people holding little pictures of lambs and that in the newspapers then tuck into a lamb casserole the next day.
I recently went with my family to Folly Farm and we walked around there seeing the pigs and the sheep etc., then we went to the restaurant and they were serving burgers and I couldn’t understand how people would spend the day there then go “right, let’s eat that now”.
David: Yeah it’s crazy. There’s one about that one. There’s one about shops or the high street which I’ve written. The only shops I really hate are jewellery shops and butcher shops.
David: Yeah because of the exploitation of people in the diamond industry you know? The price they put on that, the hard labour that South African’s have to suffer in order to produce the diamonds you know? So there’s that and there’s one about, a very introspective one, about being happy, which is called Bydolwg which means Worldview and Pat has a poem on there about death which is a very humorous way to look at death you know, like, if you’re lucky, people will bring you some flowers at your funeral like you know what I mean and you’ll get your name in the local paper, you’ll be somebody, do you know (both laugh). And the last song which is called Teimlad 2 which means Feelings 2 and that’s about traditional pubs really and nothing much happening in these traditional pubs and looking outside and seeing the traffic and seeing people speeding for their pension pots. It also mentions a few politicians that have become politically acceptable within the media. Now that Thatcherism has gone, you now, like Edwina Currie, and Michael Portillo with his trains and all this and those people were, you know, made up of people like me who suffered during Thatcherism in the 1980s, not just me the whole working class.
Being from the Rhondda I saw that myself.
David: Well there you are then, I’m preaching to the converted (both laugh).
But do you think it (Thatcherism) has gone though or do you think it’s put in a different smile and a suit and called himself David.
David: No, I think it has gone.
What do you think of politics at the moment because, I’m of the opinion that we’ve got the weakest Labour leader we’ve ever had or seen.
David: I was telling John downstairs (John Williams, co-owner of The Parrot Music Bar) about Milliaband…
How do you feel about the politic system…
David: Oh we need someone like Michael Foot back or Tony Benn you know. I liked Tony Benn a lot.
Is there anyone you’d vote for?
David: Nobody whatsoever. They’re all rubbish.
When you look back to the mid-90s period when Britpop was everywhere and the ‘Cool Cymru’ thing was happening, are you pleased that you stuck to your guns and stayed independent or do you ever wish you’d gone with the flow and created, maybe say, an English language album?
Pat: Heaven forbid! We’ve never been self promoters…!
David: No I didn’t do anything. I though I’d give these people like Catatonia, Gorkys Zygotic Mynci, Super Furry Animals their moment in the sun like you know. I didn’t want to compete with them (laughs). No no I wasn’t very well at the time as well so um. Super Furries covered one of my songs and turned it into a minor hit you know, it was on a top ten LP so good luck to them. They made Top of the Pops and all that, buy singing in English that’s what they wanted to do. They signed to big labels like Mark from Catatonia, I mean, him and me go back years. I’d rather see him with a guitar round his neck than working in a butcher’s shop like his dad was you know. Yeah my dad was too.
David: Yeah yeah that was his first job after leaving school and he ended up a virtual vegetarian. He lived to be eighty and he lived on whatever I made him, you know it could be a fish salad or a bit of chicken, but he wouldn’t eat any red meat you know.
Do you go into your family history on this album because you have done in the past?
David: My dad and my mum yeah. I haven’t got any brothers or sisters, see, so my mum and dad are very important to me, were very important to me and the memory still lingers you know. I think they’d be proud of what I am now with just a beer here rather than a bottle of whisky you know. Oh I used to put the stuff away Simon.
David: On the weekends, a normal weekend, I’d put two or three bottles of whisky away you know?
You avoid the spirits know though yeah?
David: Oh I’ll have a little one now and again but it’s never more than one, or two maximum you know, but and its small measures. I havn’t been drunk for four or five years whereas before, the volume of the stuff I was going thorugh … I’ve avoided whisky completely now for four years.
Did that go hand in hand with the performance anxiety and pressure? Were you a big drinker before the band started or was it…
David: Well we started the band, I was sixteen when we started the band so it’s the time underage drinking starts in the house with your friends and by the time you’re 18 you’re going out to pubs and doing gigs whatever and you know somebody buys you a pint and then its, do you want a whisky with that? And you say yea so by the time I was 23 – 24 I was a bloody whisky addict mun and working really hard at crap daytime jobs as well, Simon.
David: Yeah I worked in the, um, for the Wales tourist board as a bloody as tourist information center receptionist, but it did give me time to write lots of lyrics in the morning and in the evening and it paid my whisky bill you know and then I worked as a clerk in the NHS and ended up as a schoolteacher and I had some sort of breakdown when I was a schoolteacher and they kicked me out and said well you’re obviously more interested in music than anything else so why don’t you go and do that.
That’s interesting. That trade (schoolteacher) is known for people having breakdowns and stuff.
David: I went to the local MIND lady here in town you know the mental illness charity, mental health charity rather and, um, I’m going back four or five years now, and we got talking and she said do you know the two biggest groups of people I see? Taxi drivers and schoolteachers and I said funny, I’ve done both of those. Their both very stressful jobs.
Really? Taxi drivers?
David: I did that as well. So I’ve been around. Nowadays you just see me with a bottle of beer and a cigarette but I have put the hours work in you know. Not exactly digging coal like my granddad, well like ALL our bloody granddad’s you know. We suffered in another way. Like I always say to people, my Dad always used to say and I’d say Dad why have we got to pass all these O-Levels? And A-Levels and get a degree? He said, Dave, he used to say to me “I don’t want you dirtying your hands like I’ve had to dirty my hands” he said right? And I turned round to him a couple of years later and said Dad I didn’t have to dirty my hands as much, all I’ve got on them is nicotine stains but I had to dirty my bloody brain I said you know what I mean?
Yeah I do.
David: It’s bruised mun. So it took me a while to recover for that.
You do seem very well at this moment in time.
David: Oh I’m alright. I’m coherent in I. I’m not a pisshead anymore. I like a drink, who doesn’t? Every normal person likes a drink you know that to me (lifts bottle of lager) could be a cup of tea, but it’s a bottle of beer you know? I’m not necking them but if you’re in a rock and roll band you know, the graveyards are full of rock stars aren’t they? The best one’s go on forever.
There are people that have gone through it and survived.
David: Yeah, yeah I think a lot of people have.
Will there be English translated lyrics accompanying the album?
Pat: I believe so…
David: Yeah yeah well that’s up to the record company. I have translated all the lyrics into English. Took me about two days (laughs) took me longer to do that than record the album(both laugh).
So I did that and handed them to the record label. Their going to use them for mainly promotional purposes I think so whether people want to send the record company a stamp addressed envelope with 10p in it or something they’ll get two A4 sheets or something similar to that.
I know because after the reissue of Wyau / Pyst / Libertino that was my, because I’ve come to the band late, basically working here (Tangled Parrot Records) and my boss Matt kept telling me that I HAD to listen to Datblygu and the reason I was reluctant was he pitched it to me as kind of similar to The Fall and I love The Fall and I thought oh I don’t need another version of The Fall. Also, it’s kind of an embarrassment for me not being able to speak my own native language. My parents don’t speak it, and I come from South Wales. My education was, my Welsh teacher would just put a Welsh book in front of me and ask to copy it from there into my own book. That was it … for three hours.
David: Lazy bastards.
They were. Never speaking it or anything you know.
David: Oh fucking hell. That was disgusting wasn’t it.
So obviously I kind of had that inner embarresment about not being able to understand your lyrics. But eventually something clicked in my mind where I thought to myself that I don’t understand African or Indian but I still love the music without knowing what the musicians are singing about so why can’t I apply the same theory to Welsh music?
David: There’s a George Michael album called Listen Without Prejudice (both laugh) although I’m still prejudiced but there you are. Did you think we sounded like The Fall then because I don’t think so?
No, I don’t think so. I think the same basic inspiration and attitude is there.
David: Oh well, yeah, that’s “the punk thing”. That goes back to John Lydon, that goes back to Elvis isn’t it? Do you know what I mean?
Yeah but going back to that reissue (Wyau / Pyst / Libertino) and I could sit and read the translations, THEN it (Datblygu) clicked with me. I think that’s been such a popular thing that album. It’s done well hasn’t it?
David: Yeah, I was standing in the bookies in Cardigan going back now probably six or seven years and I was just minding my own business looking at a race you know. I put a fiver on a horse and these two beautiful girls walked in and said can we have your autograph please? I said why? You must be joking and they said no no we want your autograph. That was the first time it had happened and since then a couple of people have asked for them including yourself which was a bit embarrassing for me you know (both laugh).
The album is being released on the Ankst Music label with whom you have a long history. What is it about the label that makes you like working with them?
Pat: Basically, when David is ready, he asks if we can put out some new material. Emyr says ‘yes’ to a recording or re-issue. We provide the creative; they put it out!
Emyr always does a good job on the production and marketing side – he knows us well enough by now!
David: Been with them since 1991. It’s Emyr now on his own mainly. He’s just a big pal. We’re big pals even though he lives one end of the country and I live down here. We both went to Aberystwyth University and various points in our educational careers and um we just get on you know. We’ve got a similar outlook on life I think and he sees potential in me that was overlooked by other people you know. It was his two co-founders of Ankst Alun Llwyd and Gruff, they formed Ankst with him but he’s like taking it over now you know its um I think Alunn Lloyd does Turnstyle Records in Cardiff releasing various stuff by people like Gruff Rhys and uh.
Euros has done some stuff on Turnstyle I think.
David: That’s right yeah so. Los Campasinos are on there as well.
He’s very supportive of you.
David: Yeah, Emyr is very supportive and you know and the roster of bands, there’s only half a dozen bands on the label, so we’re in good company so.
Is there any in particular on there you like?
David: I love Geraint Jarman. He was the first Welsh rock star that wasn’t bloody embarrassing right. His music still stands up, what he’s doing now and what he was doing in the 1970s and 1960s. There’s him and there’s a good band called Klaus Kinski.
Yeah there’s a couple of other artists as well. Well Supper Furries started on Ankst, Catatonia you know. Gorki’s.
It is good company.
David: Oh yes it’s the best. I wouldn’t go with anyone else ever.
Obviously there’s no pressure there for releases. You can work at your own time.
David: Well nobody says you’ve got to tour this album for about three years or whatever. I’d say well the whole album is about not touring you know. As I said at the beginning of this interview it’s for people … like this Tangled Parrot shop right? People like CDs or records don’t they? That’s our medium. It’s not standing in front of, the problem is nowadays I mean, live performance is where the money is. I’m not talking about little venues like The Parrot downstairs here. I’m talking about festivals and all that.
Glastonbury get’s mentioned…
David: Well I hate that. I’ve always hated that.
Why? What is it about Glastonbury that…
David: I hate trendiness.
Ok. You feel it got too trendy?
David: Well it started off with very noble ideals. John Peel was involved in the beginning of Glastonbury and people used to play for bottles of milk from Michael Eavis’ cattle, but the whole thing has got so big now. People can’t climb over the fences anymore. That’s number one and number two you walk in there apparently and there’s cash point machines on the inside.
There are cashpoint machines there yeah.
David: Are there? Which to me undermines the whole ethos of hippydom. It’s just I find the whole thing very very boring and I wanted to make a record that wasn’t very boring.
Well I can tell you that you’ve not made a record that’s boring.
David: Ah thanks.
The album launch is taking place in an independent record shop (Tangled Parrot, Carmarthen) on June 7th. What is it about these types of businesses that you admire and why choose this one in particular?
Pat: Record shops are great places to hang out and meet like-minded people. You can enthuse about music! – they have a “feel-good” factor. The Tangled Parrot has a great atmosphere and such nice people running it! It’s also important to support local businesses.
Because I agree with you. Music mattered most to me when I could lock myself away in my bedroom put on some headphones and lose myself in it. I felt they were talking to me.
David: Well they still are, even the dead. Talking of which, do you know what the outward groove says on Love Will Tear Us Apart is?
It’s not the one about the chickens feet, no that’s Closer isn’t it.
David: No the outward groove of Love Will Tear Us Apart says , Ian Curtis had written, “I’ve only got record shops left”.
Really? Because it’s said he was talking about setting up a bookshop with Annik.
David: His girlfriend yeah.
Because there’s a great documentary made by Grant Gee on the band that you should check out and it was the first time she (Annik) had been interviewed on camera I believe. Genesis from Throbbing Gristle is on there as well.
David: Ah yeah. I loved Psychic TV see. Well they go back, Throbbing Gristle was in the seventies and Psychic TV started in ’82 was it? Something like that? Same time as us.
Did you ever cross paths?
David: No, never crossed paths but I’ve consumed some of their work you know um they did one gig, Throbbing Gristle this is, live in a mental hospital somewhere. Remember that? (both laugh).
Is that something you admire? People like…
David: Yes yes.
Because you seem to quote these people, like you’ve done already Michael Gira and Ian Curtis.
David: Well I love Michael Gira because there’s a song, one of my all time favourite songs called Goddamn the Sun off um, I can’t remember the name of the album now (The Burning World) it’s the one with Saved on it as well. Very poppy album but Goddamn the Sun is one of my all time favourite songs ever (David starts singing) “When when we were young, we had no history so nothing to lose” and people thought it was me singing it and I said it’s not me mun it’s the Swans mun fucking hell. They did a cracking version of Love Will Tear Us Apart as well. Did you ever hear that?
I’ve never heard that no.
David: Yeah it’s cracking.
We (me and Matt) saw them last year at Greenman festival and they were amazing. It’s like voodoo it is really something spiritual going on.
David: Of course there is mun.
Something otherworldly kinda thing.
David: Well that’s what music is all about isn’t it? That’s the one thing about the live thing is its like the shaman entertaining the tribe isn’t it you know.
Well he’s a perfect example of that because he just stood there conducting the band up an down up and down.
David: Well that’s worth the price of admission then.
That’s where the live thing comes in to affect, but I’m on your side where I think more music has affected me by listening to it at home. Maybe sneaking in drunk or…
David: Well that’s why John Peel was so important, you see, because he would talk to you, you had teachers screaming at you all fucking day and then you’ll go home and he’ll say or you turn on the radio, radio 1 at 10 o’clock at night and there’d be this fairly decent, sort of upper middle class well spoken man playing The Fall and you’d be thinking bloody hell working class men from Manchester you know. And I grew up watching Coronation Street when I was a … from 1965 / ’66 on. I didn’t grow up in Manchester, but it was very much a part of my consciousness you know.
I went through a big Manchester phase from rave culture to the Happy Mondays etc and in fact those bands are still very important to me, Joy Division in particular, and it is a very important place.
David: Oh it is yeah.
Have you ever made a pilgrimage to there?
David: Yeah we played there once.
David: Manchester University.
David: Oh instantly forgettable haha. One of the support acts stole all the beer so. It was alright it was bit of a laugh I remember it more fondly than it was in reality at the time I suppose, but yeah it was an experience.
Finally, the question many people are going to ask is … Do you have any plans to support the album with some live shows?
Pat: NO! You only have to look at the cover of Erbyn Hyn to understand why…
We’ve already covered the last question so I look forward to a full length album…
David: Oh one thing, I am appearing live in Dinefwr Literature Festival (Llandielo, June 20th – 22nd) being interviewed by Huw Stephens the Radio 1 disc jockey.
I know. Geraint Jarman’s there too right? Are you looking forward to that?
David: Yes. I’m doing my own stuff, answering questions and Geraint will be there as well so that’ll be a good night.
Do you know each other personally…
David: We used to write letters to each other when either I was low or he was low or whatever, we used to hit things back and forth. His last album actually called Breckwast Astronot which means Astronauts Breakfast has got about twelve – fifteen songs on it was amazing you know. It’s a really good, you know, I was delighted that he had produced it you know because I’m a big fan.
Is it just Pat that does the music on this release?
David: Yeah well I do two, I wrote two songs completely. The first and the last one and she’s done the music to all the ones in between.
You do play then? Quite a few instruments?
David: Yeah, play everything badly and not an expert on any instrument. I like fiddling around, you know, with tunes. I love it. I love being in the studio, it’s good fun as long as you don’t do it all the time. You have to leave it a couple of years so you’re fresh then.
Because bands go on this record, tour, record cycle.
David: I know, how can they do that.
You might as well get a full time job eh?
David: You might as well work in a factory or an office if you’re gonna do it like that. You know it’s alright. It pays the bills doing it like that but I find the bands that do do that haven’t got much to say to me whereas The Fall still have as they only do only one album a year or whatever I don’t know, I still buy everything they do…
And like that the interview was over. Datblygu prove they still have a lot to say and fire in their bellies. Hopefully, this new mini-album will be listened to by a teenager on their own in their bedroom and it will resonate with them so they feel comforted and satisfied that there ARE still people out there who understand them and the issues they are facing. Maybe then they will form a band and start their journey … fingers crossed.
Main photo courtesy of John Griffiths.
All words by Simon Tucker. For more of Simon’s writings for Louder Than War visit his author’s archive or follow him on Twitter @simontucker1979.