PBS-FM Radio, June 2006, Warped Buildup with Andy Strachan

Article by: Nina Katze


THE LIVING END

With a worldwide tour scheduled for the next four months, it’s any wonder that the members of The Living End have the time to stop, scratch and draw a breath. But before they head off, drummer Andy Strachan sat down to talk to us about the finer points of their new albums construction and what exactly makes all the hard yards worthwhile.

Can you explain the writing process for the new album?
There were a few stages and different approaches this time around. Chris had a bunch of songs that he’s pretty much mapped out at home which we started working on in the rehearsal room early on. We then revisited some of the old songs that didn’t make the last record and tried to revive and refine them. By that stage we had enough songs for an album but we thought we’d try something a little different and get out of our comfort zone and the safety blanket of volume. We set-up sparsely with a good friend of ours, Woody, so that we could plug straight into a recording desk (I used an electric kit) so that we could record any ideas on the spot. It felt a little foreign at first but once we all relaxed the ideas began to flow and it was like musical ping-pong, one idea would trigger another and, before we knew, it, we had a dozen songs, five of which made the album. We didn’t know what to expect from those sessions or if we’d get anything out of them but it was very worthwhile and bloody exciting. By this time we had 40+ contenders and the challenge was on to choose the best 15 or so to start the next stage, pre-production. We spent about 2 weeks with Nick Launay (producer), bashing the songs into shape and making sure every song got given the attention that it deserves before we hit the red record button. In one of the last days of pre-production the most amazing thing happened. We started mucking around with a riff that Chris had which we’d briefly touched on in the sessions with Woody. We hadn’t taken it much further but there was something about the riff that we all liked. As we were playing Chris started singing some lyrics he’d been working on and 3-4 minutes later, Wake Up was born. The way we played it the first time through is the way we recorded it, a truly memorable moment in rock.

Why did you choose to work with Nick Launay (Midnight Oil, Silverchair, Nick Cave) as producer this time around?
His organic approach to recording, willingness to try anything at least once, open mindedness, his warped sense of humour and childlike antics, honesty, wisdom, knowledge, perspective, unstoppable energy, his ability to get the best out of anyone…inhale…and his fashion sense.

You’re renowned for putting on quote ‘exhilarating live performances’ and in the past you’ve been known to say that you are not so much of a record band, did that make you even more determined to deliver a really strong record with State Of Emergency?
Yes, bloody oath it did! That’s always the challenge, to get what you do onstage, on tape. I don’t know why, but it’s a really hard thing to achieve. This time around we weren’t going to settle for anything less. We had a great batch of songs and a great producer that we all trusted, the rest was up to us. We put ourselves through hell both physically and mentally but we are, for once, really happy with the results.

It’s been noted that the recording process for State Of Emergency was quite stressful. Can you explain why that was and how the making of this album differed to its predecessor Modern Artillery? What pressures does a band experience when they commence work on a new album?
I think every album is stressful in certain ways and probably always will be and that’s mainly because we put so much pressure on ourselves. We’re constantly trying to better ourselves individually, as a band and as songwriters. State Of Emergency was stressful but nothing like Modern Artillery, that was tough. On that album the pressures were coming from different areas like American record companies, working with a producer that didn’t want to be there and in hindsight was the wrong choice. This time around the pressure was coming from ourselves, to make the best album we’d ever made. Stress, at the time, is hard to deal with but I think, in some ways, we work best under pressure.

This is your largest national tour to date and incorporates some towns you’ve never performed in before. What’s it like playing to a new regional audience and how do these shows differ from major city gigs?
I love going to new places, especially regional towns because the crowds seem more grateful and turn a normal gig into an event. Don’t get me wrong, I love playing anywhere but I think sometimes the cities are a little spoiled with entertainment and can see a band any night of the week, whereas the smaller towns don’t have that luxury so when a band comes to town everybody makes an effort, it’s great. Oh, I forgot to mention……….the Parma’s are always better in regional towns.

You’re a band that seems to cater well for the All Ages market, how important is the all ages audience to you?
It’s been really obvious on this record that there is a whole new generation discovering the band for the first time, which is just awesome. All ages gigs are super important to us because it gives the kids that have bought the record the opportunity to come and see us live and, hopefully, continue to come to our shows for years to come.

In the USA you’ve signed to Billie Joe Armstrong of Green Day and manager Pat Magnarella’s Adeline Records with State Of Emergency released there in July, can you tell us how that came about?
Discussions started last time Green Day were in Australia. Billie Joe and Pat were aware that we didn’t have a US label for this record and began talks over dinner one night. Rae, our manager, met with them the following day for a chin wag and they left Australia with advance copies of the new album. Obviously there were lots of discussions and too-ing and fro-ing but the bottom line is they believe in the band and have faith in the record. Our decision was made easy by the fact that they’re genuine people and music lovers and don’t come across like typical record company executives.

Your are performing a string of dates on the Warped tour in the USA throughout July, who else is on the bill and what’s the difference between this kind of festival tour run and those here in Australia?
Who else is on the bill……..man, have you got half an hour? I’ve heard Joan Jett and the Blackhearts are doing it, that’s pretty cool, and I’m really keen to check out Anti-Flag. The Warped Tour is renowned for being gruelling. It’s pretty much shows every day in stinking hot weather for about 8 weeks or so, you live on a bus, no hotels and the few days off are spent on the bus driving to the next gig. Very glamorous, whereas a tour like The Big Day Out is only 6 shows over 2-3 weeks, no wonder the Yanks call it The Big Day Off.

After Warped, you tour the states to head line your own shows there, how do American audiences differ to Australian fans?
They talk differently…………but seriously, we’re lucky enough to have very passionate fans in both countries. The only real difference would be the size of the venue. At the moment, I guess due to the success of State Of Emergency, we’re playing to bigger crowds than ever before here in Australia so, hopefully, it will be received in the same way over there and with a bit of luck and a lot of hard work we’ll be playing stadiums by the end of the year!

The Living End have over 70,000 friends on your ‘my space’ page, how does the on line revolution help build a bands relationship with their audience and how do you value this kind of connection with your fans?
The My Space thing is incredible! I can’t believe how huge it is. It enabled us to communicate with fans from every corner of the world instantly so we can let them know personally what’s going on and when we’re coming to town. We sold out an LA club show earlier this year solely through advertising on My Space, before the gig was even announced publicly. Now if that isn’t connecting with your fans, I don’t know what is. Pole posters are yesterday’s news.

When you return from the USA you’ve hardly time to catch your breath before you embark on your 34 date national tour of Australia. How do you keep the pace up? What do you guys do on the road to maintain the high energy levels required for your dynamic and demanding performances?
I know, it’s crazy, isn’t it?! But we love it. We don’t do much in terms of exercise outside of playing shows really, if you come and see us, you’ll know why. We do try and eat as well as we can which is sometime a bit of a challenge. I think that’s the most important thing as well as sleep, which is also a challenge! At the end of the day though you just get through it. That hour onstage is what it’s all about and the rush you get out of that is stronger than anything and always gets you over the line.

What can fans expect on this tour?
Well for us it’s all about playing live and we try and give 110% at every show. People can expect 3 well dressed blokes, sweating their arses off and making the crowd dance like they’ve never danced before.