What have been your musical epiphany moments?
SG: Discovering Original Pirate Material by the Streets was my first major epiphany in music. I remember a friend playing the album from start to finish at a house party, and I was totally blown away. The way Mike Skinner was able to create such a unique sound, with the clean beats, the cheeky and poetic storytelling, the catchy hooks and use of brass and strings samples, just opened my mind to a whole new way of writing music. Another was Arctic Monkeys' debut. I remember it coming out and feeling the huge wave of excitement in the indie scene - it was a level above anything else at the time. Similarly to Mike Skinner, Alex Turner's ability to craft such relatable stories through his honest and witty lyrics, as well as the funky and energetic basslines, had me hooked.
NA: Jamie T's 'Panic Prevention' was huge for me. Growing up, my brother had always been a strong advocate for US music, particularly heavier rock, which didn't always resonate with me as much, so it felt like this record was what I'd been looking for. I'd not heard lyrics with that sort of content and delivery, full of humour, sadness and grit. He also sneaks in very beautiful moments throughout the record, in my opinion, which still speak to me even 15 years on.
Talk to us about the song-writing process for you. What comes first, the idea? A riff? The lyrics? How does it all fall into place?
SG: Typically we'll start with a drum machine and an acoustic guitar. I'll often have an idea for a beat playing in my head, which I'll record to a voicenote on my phone, and then once I can I'll jump into the home studio to lay it down. I'll play along and develop some chord progressions before layering bass onto the demo. Gideon has bags of ideas and drafted lyrics on his phone, so we'll start playing with those and exploring vocal melodies and arrangements. Recently he's added singing parts into the mix alongside his rap sections, which opened up the chance for us to bring Josh and Blake into the band on vocals. After that we'll take it into a rehearsal room and work with the group to develop the track, add strings parts in and pad the song out fully.
Who has influenced you the most?
SG: In terms of bass playing Paul McCartney is a huge influence; I love the dry thumping tone of the Hofner and some of my favourite basslines are on songs like Penny Lane where the bass is leading the storytelling musically. I also take a lot of inspiration from bands like The Whitest Boy Alive and The Jam, particularly when it comes to that fast, sharp style of playing chords which you'll hear on tracks like KIN. Gideon certainly takes inspiration from artists like Kano, Dijon and Bakar - all have very unique approaches to their songwriting and raw, honest vocal delivery.
Where do you look for continuing inspiration? New ideas, new motivation?
SG: Gideon takes inspiration from everyday life and the journeys we're all going on. While we're laying down early demo takes of his vocals at the home studio I always enjoy the new story we're telling with the song. Musically we're all into a wide range of artists, so there's a constant flow of tunes being shared in our band Whatsapp chat - from rap to rock and everything in between.
We're all a product of our environment. Tell us about the band's hometown and how that reflects in the music?
SG: I guess one of the great things about Bedroom Tax is that we bring a really eclectic mix of personalities together, and that includes where we're from. Paul and I grew up in Tunbridge Wells, Kent, which has a very switched on music scene - producing bands like Slaves and Ladybird most recently. Gideon is an Essex boy via Zimbabwe, which has its own intrigue; he'll often tell us stories about his childhood there but growing up around East London definitely led him to soaking up the local rap scene and he shares an affinity for artists like Kano, D Double E and Lethal Bizzle. As a band we came together in London and we're all based in East London now, so I think when we're out seeing live gigs we're constantly meeting amazing and wildly different artists, which keeps ideas fresh.
Where'd the band name come from?
SG: We were looking for something punchy and bold that suited our politically charged songs. Since our relaunch, the songs have matured, incorporating more textured layers and sounds, and the lyrical content taps into people and relationships as much as social commentary - but we feel like the name gives us that ability to tap into the cheeky storytelling Gideon offers. The name always felt like it worked on different levels; it's got sex appeal as well as grit.
You have one chance, what movie are you going to write the soundtrack for?
NA: Lock, Stock & Two Smoking Barrels I reckon. Big film, pretty chaotic but it's got the funny side to it which I reckon we'd get on with. We'd leave in the bit with 'Zorba the Greek' though that's cinema history.
You now write for a music publication (The Ripple Effect?). You're going to write a 1,000 word essay on one song. Which would it be and why?
NA: I think if you want an essay that unpacks an artist it's probably someone like Kanye I'd want to write about so I would dive into 'Coldest Winter' from the 808s album. Was such a shift from him as an artist and something I never saw coming. You've got rap/vocals over Depeche Mode-esque synths and these really visceral drums, it's something else.
However, if I'm allowed an interview I'd do 'Ironic' by Alannis Morissette. I want to ask her why there's no examples of irony in any of the situations she describes. It's driven the world insane for years, we need answers.
Come on, share with us a couple of your great, Spinal Tap, rock and roll moments?
SG: We were playing a gig at Grow Hackney, and I got a bit carried away during one of the choruses that I accidentally knocked over a huge bass stack. It crashed onto Gideon and caused a complete scene mid-song. Another fairly Spinal Tap moment was checking into a very spit and sawdust pub we were crashing at in Deal, ahead of a gig there, and when we came back we ended up hosting a party above the pub after it had closed.
Tell us about playing live and the live experience for you and for your fans?
SG: Playing live means so much to us and we can't wait to get gigging again. Energy is key for us, we're always up for a big one on a night out and we try to bring people along with us with that vibe. Gideon will be charging around the stage with mic in hand, and people love it.
SG: I love songs that give me goosebump moments; whether it's an emotive section of music or genius level storytelling. That can be an inspirational 16 bars of rap, or a beautifully sung chorus, but more importantly it's about the story that's being told.
NA: Yeah agreed, any song that takes you to a place or time is a big thing for me. I think it also says a lot about a track if it makes people shut up. I don't mind a bit of singing along but a song that silences people has often got something about it.
What one single album do you wish that you'd written or performed on, and why?
SG: Going back to the earlier question, probably Original Pirate Material by The Streets, just because of how important it was and how unique it was. No one had really done anything quite like it before, the DIY approach to recording, the brand new space he created himself harnessing garage, rap and jazz elements.
NA: Erykah Badu's Baduizm for me. Beats are the unsung hero on that record and being exposed to her and her contemporaries' music as I learnt completely changed the way I viewed percussion. Fusing the machine and acoustic elements within a genre she virtually carved out herself is what makes the album so special and would've been proud to slap my name on it.
What piece of your music are particularly proud of?
SG: We've got a single coming out later this year called 4AM, and for me the chorus is up there with anything we've ever done. Blake, our new female vocalist, took Gideon's initial vocal idea and really ran with it. The vibe is a little different from KIN, with garage beats and more reverby and echoey guitar effects, tied together with the strings section.
Vinyl, CD, or digital? What's your format of choice?
SG: Digital just changed the landscape from a day to day perspective and it's opened things up for new artists so much, but obviously there's something very romantic about buying a vinyl. I love the artwork as much as anything else.
Whiskey or beer? And defend your choice
NA: I can't even pretend to like Whiskey, so it's beer every time for me. I feel like beer is almost a universal language. Virtually every country has their own, there's rarely a time of day where it's not appropriate. Like, I couldn't picture the 7am airport drink being a whiskey, feels all kinds of wrong.
We, at the Ripple Effect, are constantly looking for new music. What's your home town, and when we get there, what's the best record store to lose ourselves in?
NA: I grew up in Ipswich and what we lacked in stores devoted to vinyl we made up for in charity shops. You'd get, and still can find, some genuinely unreal records stuck behind the usual tat. When I was around 14 I found a first pressing of 'Hunky Dory' in a British Heart Foundation which was my gateway to everything David Bowie had to offer.
SG: We've got a couple more singles lined up for release later this year, and we're keen to play the new material to people live so hopefully we'll get at least a couple of London gigs in the diary.
Any final comments or thoughts you'd like to share with our readers, the waveriders?
NA: On the earlier point RE: Gigs, we want to do something weird and wonderful for our return to the stage. Anyone that's feeling adventurous with an idea of their own, give us a message
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