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Lo-Fi Revisited: A Grave With No Name

Sonic grandeur on a micro budget from London-based Alex Shields.

Where did you make the EP?
I recorded some of it in my bedroom and some of it in a church in Stoke Newington. Everything I recorded in the church sounded grander. I made it all on my own though I play out with my band. I prefer working on my own. I take a long time to make it sound a certain way. I get conscious of other people getting bored.

What are you trying to achieve with the songs?
I hope the songs always have some sort of longing in them.  I’m really interested in melodies. Melodies that you can’t deny. I’m a pretty closed person and I find making music emotionally dishonest in some ways. You make people feel some way and you may not necessarily feel that way yourself. But for me, songs just come out in a certain way and I have no control over it.  The songs are honest. I don’t really think of what I’m going to say.

Have you noticed a resurgence of interest in DIY values?    
Of course I have. In some ways you can’t say it’s not a positive thing. People who don’t know the technicalities of thing but crank it out and it comes out. Bands have never stopped doing it since Sebadoh.  There’s so much of bands who play garage rock, that’s the fad at the moment. That really doesn’t interest me.
There’s lots of bedroom bands.  It’s easy to blanket people. Some of my songs I take massive care in and others I try and bang it out.  The records I’m interested in like The Microphones and Steve Reich and Flaming Lips. The more you use sound, the bigger picture you conjure up. I know it’s really cool to like DIY but personally there’s beauty of a really strong record on a major label.

You’re working on new stuff now – how are you pushing forward?
I’m gonna concentrate on sounds for my next record. I’m getting better at playing my instruments. There’s so much effects on the record because it’s hiding the fact that I can’t really play. I have a really strong idea in my head about where I want to take the music.
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