Nylon Pylon are the spirit of Madchester personified, but rather than simply rehashing a few Happy Monday and Stone Roses tunes for the new millennium they truly fuse dance and rock music in a noughties stylee. Born out of Stubbsy bass playing with the Clint Boon Experience the band released a couple of EP's on his Boony Tunes label and at the end of 2001 went on to sign on London Records. We caught up with the band as they headed back to Manchester for a hometown show following a years exile in the studio recording their debut album.
Q: When you first formed Nylon Pylon it was right in
the middle of the whole Nu-Acoustic scene. I think you guys captured the
spirit of Madchester without ever sounding like a throwback to that time.
Would you agree?
A: People soon get swallowed up in the bullshit. It's weird that fashion on a local level can dictate what everyone is into and give it three years when were up there, there will be countless number of people who will get up there and try and rip you off. I think we just tried to ignore what was going on around and now it's even more so because if you've been cut away for the year.
We might have the spirit of Mondays or that period, but
as you said we certainly don't sound like a throwback to that time. I was
like 12 at the time and I can't start talking "Rave On" or the Hacienda
because whenever I came into Manchester it was with my mum & dad at
the weekend. It was a long way from where we were - it was big, bright
and colourful and to us it was the big city.
Q: The last time I saw you was at the Faint gig at
the Roadhouse about a year ago. Apart from the tour with the Music last
month you've been locked up in the Studio for the past 12 months. How has
been going from recording these ltd edition EP's to actually thinking about
a full album?
A: Straight after that gig we started working with different people that we lined up from a producer point of view, but it was until the summer when we actually started recording the album with Dave McKracken producing and Max Hayes engineering. We were writing songs all the time and reworking songs from ages ago so the last year has been exploiting our material and turning them into actual songs.
Dave really put the emphasis on the songs and I think
when we first started working with the various producers it took a while
to realize that and stop focusing on the bleeps and squeaks and give it
a bit of beef. And then Steve Osbourne mixed the album in December so that
gave it a totally different slant again.
Q: In the past the live shows with running on this
groove and each song what mixed into each other - how's it all changed
with this new mindset?
A: We were trying to run every song into each other with limited technology and we've actually got the technology available that would make it a piece of piss. But we haven't done that because each song is a song in it's own right so I think the biggest transformation was that we needed to go through was to become a band with 12 great album tracks...we got signed on an incomplete album and we wanted every song to be as good as the ones we had when we were signed.
In the live shows now it's more full on and we felt much
more at home in the larger venues we were playing with The Music. We've
got the power of some of the best stadium rock bands out there and we've
got the sonics in the live set up that can we deliver it. I don't think
any of us expected it to be as beefy as it is now.
Q: Most of this year is going to be spent out on the
road culminating in a headline tour towards the end of the year. When you
get to that stage are you going to raise the game and do your own All Nighters?
A: When we've got our own headline tour later on in this year were going to have a good think about who were going to take out and what they're going to do for us. I'm sure we'll have a few All Nighters, the Primals thing is great and Ian Brown does it as well, and when you've got fans that want to stay out all night it's top.
"Pushin" is out now on London Records
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