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The thrust a minute quiz

It's eyes down and no conferring as Colm Russell asks We Are Scientists about their new album, intra-band bullying and why Alex Turner wouldn't know a hit single if it bit him in the ass.

Colm Russell, 01 Apr 2008

One of 2005’s unexpected successes, We Are Scientists had the unusual luxury of almost three years to write and record the follow up to their debut, the acclaimed Love And Squalor.

“On the first record, we were writing quite randomly and actually had full-time jobs,” recounts lead vocalist/guitarist Keith Murray. “This time we were vagabonds. We had nothing to ponder but writing a new record.”

For an act who spent their pre-major label days plugging away thanklessly on the self-financed independent circuit, the experience must have made a welcome change.

“It wasn’t pleasurable at all, it was a nightmare,” Murray insists.

“He’s just saying that because he doesn’t like having his nose held to the grindstone by me,” interjects bandmate Chris Cain.

So the duo haven’t perfected a democratic working relationship within the studio?

“It’s more like a master/slave relationship. He’s the goose that lays the golden eggs… I gotta keep him laying those eggs,” Cain states.

That the bassist’s tongue is lodged firmly within cheek throughout this series of exchanges will come as no surprise to those familiar with We Are Scientists’ trademark brand of playfulness. The double-act specialise in humour of the driest variety imaginable. For a taster, just visit the band’s website. It features an interview with a groundhog, an advice column and a series of reviews on random subjects such as ‘Gas Station Marketing’ and ‘Paperclips’.

Hot Press senses an entertaining anecdote behind the name of their latest long-player, Brain Thrust Mastery.

“There’s no story behind the title - in fact we very carefully chose one that meant nothing,” admits Cain. “Although we readily admit it’s meaningless, it’s funny, because it looks and sounds better than anyone else’s album title. Especially the more meaningful ones.”

The most striking thing about the record beyond the brilliance of its moniker is the immediacy of its contents. Is the move toward a more ‘pop’ oriented sound imagined?



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