Deep One Perfect Morning – James Vincent McMorrow Interview and Review

James Vincent McMorrow - Interview

‘The Sparrow And The Wolf‘  By James Vincent McMorrow.

If I Had A Boat’ By James Vincent McMorrow.

These days it appears to be de rigueur for singer songwriters to seek isolation in a remote location in order to feed their artistic muse. It worked for Bon Ivor and indeed it seems to have worked wonders for Irish singer songwriter James Vincent McMorrow who locked himself away for six months in a isolated house by the Irish Sea.  The resultant album “Early In The Morning” showcases James gentle, airy soulful vocals combined with dark poetic lyrics, it’s  a multi layered, atmospheric master class in gentle, lilting folk-pop which centers around ‘the darker, less spoken about aspects of life, solitude and disillusionment.’

You’d be hard pressed to find any trace of the hardcore punk influences James listened to in his youth on ‘Early In The Morning.’ This is dreamy folk pop replete with haunting falsetto vocals which at times seem as fragile as the beating of butterfly’s wing on a summer’s breeze, and at their peak can make the Beach Boys sound like Paul Robeson. His floating wistful music certainly has more in common with Fleet Foxes, Sufjan Stevens, Jeff Buckley and even on occasion, Antony Hegarty than A System Of A Down.  It’s an album full or warm, evocative songs, a kind of rustic folk music that seems to flit back and forth through time and has a genuinely authentic American feel to it.

James also has a damn fine beard, a wistful look in his eyes and can often be found staring into middle distance as if pondering the imponderable  as all great poetic singer songwriters are want to do.  Furthermore he also comes across as the type your chap your parents would approve of if your sister brought him home.    Having already scored a number one over in his native Ireland and gained an enthusiastic fan base in the U.S.  James looks set to charm the UK in the coming months and has already benefited from support from the likes of Zane Lowe and Huw Stephens.

Album rating : 8/10

We coaxed James from his hermits cave ( 😉 ) for a chat with regard to his musical journey thus far.


VP: James, you originally started music playing the drums, how did the process evolve from beating the skins to becoming a singer songwriter?

JAMES : Slowly over time, I took up drums because i wanted to be a part of music, but I liked the idea of existing in the background somewhere. I grew  frustrated being in bands when I started college, I wanted to play and learn all the time, the people I was trying to play with seemed to care more about saying they were in a band. That’s when I decided to learn other instruments like the piano and guitar for myself, and also when I started singing. Once you start learning about songwriting you seek out the best songwriters you can find, and that’s what lead me to folk music, to bands like the National, Arcade Fire,Band of Horses, Sufjan Stevens, Joanna Newsom. When I look at it over the years it seems like a completely logical evolution, but then I’ve been living it so it really should make perfect sense to only me!

VP:  You recorded your album in an isolated location, playing pretty much all the instruments yourself. Do you work better alone without anybody diluting your ideas and would it be fair to say you enjoy your own company?

JAMES : I’d  say I enjoy my own company up to a certain point,  but what I do like is making music in isolation, playing all the instruments, having to generate all of the ideas yourself, it means that the music takes on a sense and sound that is 100% yours. I’ve tried to make music with others before and it never worked out, but maybe now that I’ve learnt how I work best I could find a way of working with others without compromising on my ideas. Maybe!

VP:  Is it true that you recorded the entire album with just one microphone? Did you ever have any moments when you thought it wasn’t ever going to come together?

JAMES :  Yeah it was just 1 mic, an AKG 414, I think there’s some sort of magic in it, I’ve no idea how it managed to record all those instruments on it’s own! Making music day in day out over the space of 6 months, you’re going to have days where you just think what you’re doing is completely futile and pointless, and that you’ll never get to the end of it. I just learnt to be patient, if something wasn’t working, I’d move on to something else. That was how I made it work, for the first 4 months I worked on all the songs at the same time, only in the last 2 did I start finishing things, that’s what kept me focused and moving forward.

VP:  You’ve previously said that ‘The Old Dark Machine’ kind of encapsulates the album.  You’ve also had the Bon Ivor type comparisons due to working alone, but what would you say are the main themes of the album?

JAMES:  I don’t know if the album necessarily has a theme, the year that preceded it was a pretty turbulent time for me, a lot of upheaval and change, some long days and nights spent thinking about the kind of music that I truly wanted to make. I guess I carried all of that with me into the album, in the playing, in the lyrics, but definitely not in a conscious way, I couldn’t read you a lyric from the album and tell you what it’s about, but it’s certainly all in there somewhere.

VP: It’s said during your youth that you were a fan of music with a punkier edge ?  What sort of stuff did you listen to in those days, and when did you begin to move your own music in a different direction?

JAMES:  When I was in school I listened to bands like at the drive in, refused, system of a down. A lot gets made of this, which kind of surprises me really, when we’re kids we all listen to a lot of music that we think we are going to be listening to forever, and we’re so sure that all other types of music are a waste of time. I played drums along to those records, I still love them to this day, but at the time I wasn’t writing songs, I was just learning and playing, by the time I even thought about attempting to write a song I’d discovered music like Donny Hathaway, CSNY, the National, and all of that shaped me as a writer.

VP:  I’m not sure how these things work, but you get a publishing deal, and later some of your music is used on big US TV shows such as Greys Anatomy. What happens? Do the TV company approach you or the label?

JAMES:  I’m not too well versed in how it all goes, with me I was incredibly fortunate, they asked to put one of my songs in a TV show before it had even been properly mixed and mastered, was just a friend in the US who played the unfinished record for a friend of his who worked on a big show. That money paid for the album being finished and put out, it was such a blessing to get it, and then I guess a few more of those things came in through my publisher and the label. The TV sync stuff is a pretty unknown world to me, I’m just grateful for it when it happens, it’s getting your music into the homes of millions of people in one fail swoop, it really gave my album some early life when I didn’t have any money and no one knew who I was.

VP:  What’s been your most amazing moment as an artist so far?

JAMES:  There’s been a lot over the last 12 months; it’s hard to pick out one single highlight. The first time I sold out a Dublin show, playing to a packed crowd at the Electric Picnic, having my album licensed to amazing people in the US, Canada and Europe, just a few of the ridiculous things that have happened to me since this all began.

VP: What do you have lined up for 2011?

JAMES: A lot of travelling and playing. The album has been out in the US for about 2 weeks, so the hard work there really starts now, and it comes out in Europe in a couple of weeks, so I’m expecting I’ll have to be 2 places at once from now until the end of the year at least! Also I’m trying to write as much as I can in my free time, just taking my time with the songs and allowing them to present themselves slowly. I’ve never really written songs as I’ve toured before, it’s a different energy and dynamic, I’m excited to see what it brings.

VP:   If there’s one song you’d wish you’d written what would it be and why?

JAMES:  ‘Hope There’s Someone’ by Antony Hegarty, or ‘I Love You More Than You Will Ever Know’ by Donny Hathaway, the 2 most complete and perfect songs as far as I’m concerned.

VP:  Five words to describe what music means to you?

JAMES:  Just three -it means everything….


Official Site



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James Vincent McMorrow – ‘This Old Dark Machine.’


PJ Harvey – ‘Let England Shake’ Review.

PJ Harvey Let England Shake 9/10 Review The VPME

Written On Your Forehead’ By PJ Harvey.

PJ Harvey – ‘Let England Shake’ Review

Full Album Stream

PJ Harvey has long been considered one of England’s most innovative and iconoclastic female artists and with her 8th studio album ‘Let England Shake’ she embarks on a historical musical voyage as she seeks to define her relationship with the land of her birth. This is a musical excavation of England’s very soil, of its history and the violent and bloody cycles of conflict that have shaped the nations geography and psyche. It’s not an album that presents England as a vision of idealised pastoral beauty but presents a more realistic view, which none the less still invokes a  sense of  yearning in Polly as demonstrated on ‘The Last Living Rose’ when she sings ‘Let me walk through the stinking alleys/ to the music of drunken beatings,/past the Thames River, glistening like gold / hastily sold for . . .nothing.’ As you may gather this is not an album for those  looking for a quaint  ‘idiots guide to Englishness’  or are familiar with England as viewed through the eyes of  Richard Curtis , which is, when you think about it,  essentially the same thing.

It’s also an album that addresses the sometimes confused notion of identity, how we relate emotionally and intellectually to our own nationality and the collective pride and personal shame that can be felt as a result of our fellow countrymen’s actions. There is also a prevailing sense of  conflict associated with nationhood,  the wish to escape from the often  narrow minded  confines of  a world view you may not agree with, juxtaposed with the inevitable, almost spiritual sense of belonging you feel for the  place you call home- ‘Undaunted, never-failing love for you,/England, is all, to which I cling.’

The stark arrangements and Polly’s poetic lyrics draw you into an eerie journey through history from colonialism to World War One through to the present day and leaves a lasting impact long after the album has finished playing.  It conveys the horror and futility of war in a way that few artists are capable or brave enough to attempt, but makes no judgments, instead it considers its audience mature enough to draw their own conclusions.  It also demonstratives why Polly is such a vital and important artist as she scales yet another creative zenith.

It’s sometimes bleak, sometimes beautiful but it is always utterly compelling.  Maybe the boldest statement the album makes with understated eloquence is, to quote George Bernard ShawWe learn from history that we learn nothing from history’, war it seems is as cyclical and inevitable as the changing of the seasons.



Official Site


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Songs To Learn And Sing – Scanners – Salvation/Baby Blue

Scanners New Single - Salvation/Baby Blue

‘Salvation’ By Scanners

Baby Blue’ By Scanners

London four piece Scanners return with a dark glittering double A side ‘Salvation/Baby Blue’ from their soon to be released album ‘Submarine’.  Whereas ‘Salvation’ is a dark, sinister brooding, mini Goth pop opera  replete with menacing hypnotic bass line, sensual vocals and ominous keyboard riff  ‘Baby Blue,’  is it’s polar opposite. It’s a song which sparkles like the sun glistening on an undulating stream, sounding like a sultry indie version of the Mamas and Papas.  It’s all rather marvelous and certainly wets the appetite for the album which is released on 21st March.

Sounds like ?: Lust, despair, obsession, joy, redemption and hope.

The band are due to embark on a full UK tour this spring. Catch them at these dates:

8th March- Buffalo Bar- London

14th March- The Hydrant- Brighton

16th March- Louisiana- Bristol

23rd March- The Flapper- Birmingham

24th March- The Duchess- York

28th March- Kasbah- Coventry

29th March- Captains Rest- Glasgow

30th March- Ruby Lounge- Manchester

31st March- Sneaky Pete’s- Edinburgh

2nd April- Bodega Social- Nottingham

Lost And Found – Little Comets Interview And Album Review.

Little Comets Interview 2011

‘Darling Alistair‘ By Little Comets.

‘Adultery‘ By Little Comets.


It appears that many music fans view big record labels as inherently evil, that they essentially steal money, intellectual property and artistic ambition from musicians by way of their own version of the ‘dementor’s kiss’ – the record deal!!  Of course it’s not my place to comment on such scandalous allegations 😉 however, Newcastle four piece, Little Comets didn’t exactly enjoy the experience of being signed to a major label.  In fact they ended up in such a wrangle that their much delayed début album ‘In Search Of The Elusive Little Comets’ had to be prised finger by finger from Colombia Records vice like grip.  The band have since described the whole big label experience as ‘deflating’.  Colombia’s attempts to absorb the lads into the faceless machinery of a Kafkaesque system left them both baffled and frustrated. Any concerns were apparently patronised with ‘that’s not how it works’ or simply fobbed off with, ‘trust us, we know what we’re doing.’ Little Comets you see made the fatal mistake of having the audacity to have an opinion on their own music and this outrageous behaviour eventually led to a rather acrimonious spilt from Colombia, who then refused to give the band their album back!  However the label finally relented ‘after deciding that it didn’t sound enough like Ke$haand the Little Comets reclaimed what was rightfully theirs.

Listening to the album, you can’t help but agree with Van Morrison when he said “You can bet 99.5% of the record business knows nothing about music.” I mean really, what were Columbia thinking?? ‘In Search Of The Elusive Little Comets’ manages to combine erudite lyrics with breathless upbeat melodies and is an album positively brimming with ideas. The album starts with the morality tale that is ‘Adultery’ – ‘The signs of cavorting/Still cling to his clothes/Tension mounts/He tells her that platonic love never counts,’ there’s the brilliant gritty kitchen sink tale of domestic violence told via  ‘Her Two Black Eyes’- a world ‘where tension and silence/Can merge into violence’ and the bleak angular Albarnesque Brit Pop of ‘Isles’ (replete with a wonderful cinematic video that would do Shane Meadows proud.) Don’t be put off  by some of the seemingly  weighty themes contained within because the overall effect of the album is actually surprisingly uplifting. Like Edwyn Collins and Orange Juice, Little Comets deftly combine intelligence with danceable guitar driven melodies, creating an album that is genuinely inspiring.

Robert Coles’ vocal technique may at times be something of an acquired taste and occasionally he may veer towards a male version of  Marina Diamandis/Lene Lovitch yodeling at a Futureheads gig, yet somehow this  adds to Little Comets very British charm and appeal.  The album’s closing track ‘Intelligent Animals’ is something of a revelation, a piano led lament that in Chris Martin’s hands would no doubt  come across as preachy and hollow but Little Comets produce a song that really is profoundly effecting.

Little Comets Indie Chart

If Columbia executives chance across the I-tunes alternative download charts (above) they may well be ruing their decision to let Little Comets go, still, I suppose they can continue to keep putting their faith in contrived  singers who wear placentas around their neck and sing about the square root of fuck-all.

Album: 8.5/10

We had a word with Robert about big labels, stalkers and house parties in Liverpool.


VP:  How do, how are you?  So your semi mythical debut album ‘In Search of Elusive Little Comets, is finally out. I say semi mythical as it looked at one stage as if the album would never see the light of day, what happened! And Is the title somewhat ironic?

ROBERT:  Hello! We’re good thanks. Just finished rehearsing so full of sweat and ringing ears…. Yes, we’re glad that the album is finally coming out: it’s been quite an arduous road at times but I think because we managed to produce the album itself, the sense of musical ownership that we have over it has meant that we’d always pursue having it released.  The title is a fortunate accident…. during an afternoon of typing-little-comets-into-google we came across an article from a scientist who postulated that the oceans of earth were populated by the vapour of millions of tiny ice balls careering through the earth’s atmosphere every day, but totally invisible to radar. It was called ‘In Search of Elusive Little Comets’, but we thought it would make a nice name for an album.

VP:   I’d imagine getting the album out under your own steam, getting radio play and support from the likes of six music was pretty satisfying and a vindication of sorts.

ROBERT:  That was lovely. We really respect DJs like Tom Robinson, Huw Stephens, Steve Lamacq and Zane Lowe who have real commitment to discovering new music and so the first time Isles was played on the radio we were very proud, especially without the power of a major label to force people to play the music. Since leaving Columbia we’ve felt like a band just starting out again, but determined to enjoy ourselves and not to take anything for granted.

VP:     So what lessons did you learn from your big label experience?

ROBERT:   Hahaha, we seem to be accidently stepping on the toes of the next question all the time….. erm…. I think major labels can be very positive for a certain type of band, definitely one in an embryonic stage, but we had very strong intentions to do everything ourselves, from production to artwork. We certainly entered into the relationship with a great deal of naivety in expecting to be able to do this, but I also think the label failed to understand that this was a key part of our identity. Also, we should have rinsed them up a bit more, and pimped our van out with a jacuzzi.

VP: You self produced the album, is this due to the fact that you wanted to produce something that was a true representation of the band, not someone else’s vision and  not sullied by  having , say, having a Mark Ronson style guru throwing in trademark ‘honking horn’s all over the shop ?

ROBERT:   Yes, I think a combination of that and our song-writing process. It is very rare that we’ll play a song live without having recorded it first as that’s when it really takes shape. Consequently we won’t demo songs, we’ll record them properly and so the first version of a song tends to be a final version… I think another problem was that we couldn’t agree with the label on who should produce the album. We had a list of producers and engineers whose work we really admired, but that just weren’t compatible with their ideas of how the album should sound… the compromise was that we would record the album with Daniel Rejmer (an engineer who Mickey really respects), whilst they would source a mixer.

VP:    What’s the scene like in Newcastle, I believe you started off doing your own club nights, and put on gigs in unusual settings?

ROBERT:  It’s really good at the minute, bands like Frankie and Heartstrings and Grandfather Birds are creating some lovely music which is great for aspiring musicians in the region…. it’s nice to have a community of bands in the area that we get along well with and enjoy listening to and playing with. I suppose that’s why we started putting on our own nights, so we could choose the bands we played with… the unusual setting gigs were Mickey’s ideas: he wanted us to play to a captive audience, so he cajoled us onto metros, trains, trams and into lecture theatres and supermarkets to do little performances.

VP:   Best Gig, Worst Gig?

ROBERT:   Hmmm worst gig was probably a house party in Liverpool where 5 people turned up, but we still played – it was our version of sadism. My favourite gig was probably in Norwich last October: we’d had a lot of fun playing with Darwin Deez and the crowd were lovely – they were quiet and then loud at the appropriate times, the venue had lovely acoustics and we got a nice veggie stew beforehand and had a travelodge party afterwards. It was snazzy.

VP: Isn’t the social networking side of things almost a full time job for bands these days. Some fans seem to expect access all areas these days, which can be nice but the flip side is you could one day attract a fan like Annie Wilkes in ‘Misery ‘ y’now- ‘God came to me last night and told me your purpose for being  here. I am going to help you write a new album- I’m your number one fan.’ How do you deal with this side of things?

ROBERT:   Erm…. I don’t know. I suppose we all do a little bit and try to reply to every message we get sent… we don’t have too many crazy fans although we all do have a designated stalker: two from Scotland, one from Sunderland and one from Huddersfield.

VP:   What are your favourite albums from 2010?

ROBERT:  Yeasayer Odd Blood and Everything Everything Man Alive.

VP:    And what are your own plans for 2011?

ROBERT:  Hopefully: Mickey will finish his house which lacks central heating and a kitchen; Mark wants to consummate his marriage; Matt wants to get a store card for Vivienne Westwood and I’d like to really learn how to garden. As a band we’d like to play some nice festivals and sell enough albums to be able to make another one…

VP:    A five word band motto would be?

ROBERT:  Just one will do: Booooootler.


Official Site


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‘Isles’ By Little Comets.

‘Joanna’ By Little Comets.

Songs To Learn And Sing – The Barettas – Touche

The Barettas From Canada

‘Touche’ By The Barettas.


Today’s featured song comes from a  pulsating,  punchy, pretty, post punk, power pop, pulchritudinous posse (how’s that for alliteration!!) or The Barettas for short. Hailing from Hamilton, Ontario, Canada and definitely not to be confused with dire all girl rock band the Berettas from the UK, they have just released their first single ‘Touche’ as a free download. It’s  implausibly catchy in a Gwen Stefani meets the Libertines wrestling The Donnas at  CBGB’s kinda way.

They’ve opened for the likes  New York Dolls, Juliette Lewis, and She Keeps Bees but to be honest we don’t know too much about the band other than what lead singer Kate tells us –  ‘Our first 7 inch ‘Touche’ is very much a product of our surroundings, with two rough edged pop numbers giving a glimpse of where we’ve been and where we’re headed!’ There are no trust funds in Hamilton, so each of us has taken on a couple jobs, usually a combination of cleaning houses during the day, and tending bar at night. The reward and real purpose for these jobs is that it lets us make music and blow off steam at every other possible opportunity.’


Band Camp

When The Boat Comes In – Tom Williams (and the Boat) interview

Tom Williams And the Boat Interview

‘Get Older’ By Tom Williams & The Boat.

As band names go ‘Tom Williams and The Boat’ may not initially strike you as the most exciting.  You may well imagine this musical collective consists entirely of epically bearded, rosy faced gentlemen adorned in cable knit sweaters, who have an alarming propensity to break into sea shanties at the drop of the hat. Then again maybe you picture Tom as a plucky fresh faced young character from an Enid Blyton novel, single handily taking on a fleet of German U-Boat in his rickety little wooden craft, whilst on holiday at Uncle Marmaduke’s coastal retreat…You would of course, be considerably wider of the mark than a Chris Waddle World Cup penalty and would do well to remember the maxim- never judge a book by its cover,’ erm, or a band by it’s name.

Tom Williams and The Boat’s self released debut album ‘Too Slow’ is something of a gem, a skilfully crafted collection of songs that combine intelligent lyrics with tunes that are catchier than a cold at a “battery farm” call centre. It’s an album of light and shade, full of wit and charm but with an undercurrent of snarling aggression that bursts to the surface on occasion. It’s also impossible to pigeonhole in terms of genre, it may have originally gestated in the belly of nu- folk but Tom and has band have chosen to walk a different path and the album probably owes more to Jamie T, Billy Bragg and Andy White than to Johnny Flynn or Mumford and his male heirs. It’s far edgier than much of what passes for nu-folk these days, containing a spiky, post punk pop vibe which is fuelled by skewed electric guitars, distorted violin and of course whip smart lyrics

Album opener ’24,’ all chiming guitars and wry observational lyrics, in many ways encapsulates all that is great about Tom Williams and The Boat.  It’s reflective, infectious and highlights Tom’s waspish sense of humour, juxtaposed with the feeling that something slightly darker lurks beneath the surface. It may to some degree, be a song about fitting in, ‘Judge me by my shoes, judge me by my shoes/I’m wearing Nike trainers from 2002’ ,but also goes on to address concerns over the increasingly violent nature of everyday life. Previous single ‘Concentrate’ details the inner thoughts of a suicide bomber, whilst ‘90mph’ highlights Tom’s predilection for dark imagery as he asks ‘Have you ever seen a dead man, unzipped out of it’s bag/Lying in an inch of chemical reserve mouth froze open wide’.

And the tunes just keep on coming, ‘Train Station Car Park’ sounds like a young Billy Bragg at his most jaunty whilst the twisted ‘See My Evil’’(- I once knew a girl who got pregnant at nine…or nineteen but anyway/. . . and her son committed suicide when he was just fifteen’) has a hint of a less pun-centric version of Carter USM fused with the dark mind of a young Nick Cave.  Just when you think you have the album pegged, along comes ‘Strong Wheels’ which serves to highlight the eclectic nature of the album and sounds like an early Cure song !

‘Too Slow’ is an extremely promising debut from a hugely talented band and songwriter and one cannot help but feel that it’s only a matter of time before Tom and his band’s musical ‘boat comes in.’

We quizzed Tom about putting the album together, free music and boating knots( well not really)


VP: Hello there! So who is Tom Williams, who is in his boat and how did you all get together to make music?

TOM: Hello! I am Tom Williams, and the Boat is my killer band…we all met in an acoustic venue in Tunbridge Wells called The Grey Lady…all playing in other bands or there with friends.

VP: Your debut album, ‘Too Slow’ is has just been released did you enjoy recording it? Were their times you thought ‘we’ll never finish this’ and is it a relief to actually ‘get it out there’?

TOM: One of the biggest downsides of not being signed is not having any money…so although we recorded the album over 2 years (seriously) we were only actually in the studio for about 8 days…in 2, 4, and 2 day chunks…there was lots of mixing and mastering and re mixing and re mastering over that time, but it spans a long period of time and also features 2 drummers, our initial drummer Dave and our current drummer, confusingly, David!

VP: You started off playing acoustic show  but your sound has evolved and there seems to be a lot more in the mix,  more aggression, more electric guitar and distorted violin. Was this a deliberate move, to avoid getting pigeon holed with the new folk army or was it a kind of natural progression reflecting how your influences had changed over time?

TOM : I think it was yes, we formed in 2007 when we were all into things like Johnny Flynn and Noah and The Whale, as well as Bob Dylan & The Band and Bruce Springsteen & The E-Street Band, but as we started to get more and more pigeon holed, I think I started to write songs that would make people listen in a small club or pub situation so the new stuff certainly became more abrasive. I think it’s good to have a wriggle and a writhe and force yourself into a new space.

VP: Would you say the album kind of provides a snapshot the way your sound has evolved from the slower numbers to the punchier more aggressive sound? Was it difficult to pick which tracks would go on and then work out the track listing?

TOM: Yes totally impossible…we needed to honour where we’d been (4 independently released EPs from 2007-2008) as well as where we were (the See My Evil EP) but also where we wanted to go…it was very difficult…it’s a relief to have people listening to it now that’ve been into it since the beginning and still digging it…success!

VP: What have been your personal highlights since you started making music, gigging etc

TOM: Glastonbury was incredible and big land mark for us last summer, recording a Maida Vale session for Huw Stephens on Radio 1 and doing live radio sessions for 6 music are always highlights…a lot of fun times.

VP: And what’s been the weirdest gig you’ve ever played?

TOM: Too many to mention…honestly…

VP: Who would you say have been your biggest musical inspirations?

TOM: I’d say for me it’s Bob Dylan, Bruce Springsteen and Neil Young, but as a band, and band that inspire us it’s everything from Pavement, Nick Cave & Tom Waits to Teenage Fan Club, Ride and Radiohead…

VP: Ok, so we’ve mentioned that some of your songs have an angry edge. What sort of things has made you angry in the last year?

TOM: It’s difficult for me to talk to in depth about this…I often make up stories as a starting point releasing a truth closer to home but I can’t think about it too much or I’ll ruin it! I heard Tom Petty talking about the same thing recently in a BBC doc and he summed it up very astutely saying, ‘you don’t want to look it in the eye’.

VP: In the past you’ve given your music away, but does there come a point when you can no longer do that? What’s your view on the current state of affairs of the industry?

TOM: It’s difficult, but for us it’s easy, we want people to hear the music first and foremost. We’ve given singles away for free and still are but so often if the materials strong enough they’ll come to gigs and buy Cds/ vinyl so it’s worked for us.

VP: The five words to describe your album would be ???

TOM: Demented, Noisy, Intimate, Revealing and Schizophrenic!


‘Too Slow’ is released on 21st February 2011


Website ( for album pre-order)


My Space

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‘See My Evil’By Tom Williams And The Boat

‘Concentrate’ By Tom Williams And The Boat