Lying B*st*rds

WITH members from Broken Men, 69 Watts and Jimmy and The Revolvers - Lying B*st*rds is the latest project to arise from Liverpool, with music designed to make even the most subdued sinful.

A brash, self-prescribed 'lo-fi' sound has conjured up both punk and psych influences, almost wholly disregarding its huge congregation of alternate instrumental which makes this special ethereal body all the more a reality.

Kept closely under wraps, The Music Manual can now reveal that Lying B*st*rds are to become a part of '3', our third birthday event. Promising a set like no other, complimenting our headliners, Purple Heart Parade and local quintet, Food.

To celebrate this announcement, we're premièring the latest track, 'Lost My Mind, That's All', taken from Lying B*st*rds second EP, Brain Damaged, listen to the track below.




The Music Manual grabbed an interview with Lying B*st*rds head-honcho, Henry Pulp who will also be providing a wonderful DJ set to end our third birthday's festivities...

You are all involved in different projects around Liverpool, what makes Lying B*st*rds different?

I'm not sure, you’d have to tell me that. I suppose the spontaneity of the project, we’re a total mongrel band. What I’ve found is that we’re all itching to play music constantly so its a good coming together of players. Rules of attraction. If you’re meant to do something and there are others who feel the same, you gravitate towards each other almost unknowingly.

Will the other projects take a back-seat?

Not at all no, its not a band that’ll rehearse around the clock, more a case of as and when its needed, this sort of act doesn’t need to rehearse as we aim to keep shows nearing the point of impro. At the same time, personally, If someone asked me to go do a few tours as Lying B*st*rds, I wouldn’t say no. Why would you?  - Playing with other musicians excites and challenges you to up your game and that boost and extra experience can be taken back to our other projects. Also, I think if you’re a serious artist you need constantly create.

Do you think you've all brought different ideas to your sound?

I recorded the demo's as a rough guideline really. Once we got into a rehearsal the structures changed, the sounds changed, everything changed. Its all kept quite open, no real rules, just a little set of ideals. When its on a stage its a different affair. The lads bring an amazing vibe, its a pleasure and honour to have such musicians playing with me. John Dean (Lead Guitar) is a serious player who needs no direction, Fash (Bass) is as solid as they come and Ash is like a robot. As long as the music your playing is fun and the people you’re playing it with have the same enthusiasm, you’re onto a winner and sound creates itself.

How did the idea come about?

Someone described it as a ‘Happy Accident’ but it was more like a ‘Train Wreck’. I lied to my ex girlfriend. I shouldn't have. So i've branded myself in an effort to move on and show my remorse, that and the fact the record was written about the whole situation. Some tracks are about trying to win her over and others are about hating her guts. I classic love/hate story.  One of those experiences that has no other remedy but to sit down and write about it, this came after a huge creative dry spell too. The worst experiences in life produce your greatest work.

Do you hold the view that music today can never be ‘new’?

For me, Its about whether its good music. It doesn’t have to be new. It all comes from the same root.

What’s the starting point when recording?

In regards to this record the tracks are half written when I recorded the main riffs down then worked up from there, enabled me to sit and listen and structure as I went, which was a different approach than usual. With Broken Men i’d write the riff, then take it to the band etc,. the usual method. This gives you a little more freedom to experiment and fuck around. These are all recorded on the laptop with the built in mic and an acoustic then everything gets battered with effects. I live next to a through road and if you listen carefully you can here cars passing and people talking as they walk past my window.

Do you think it’s worth spending big-bucks on studio time?

It’ll always depend on what your doing, Its whatever is needed for that track or record. If you want to record in a cottage on a mountain because you feel you’ll get the best out of it then you’ve got to do it. If you want to spend mega money on high end studios, do it. We’ve done it with Broken Men and got some great tracks out of it, some not so great. Nothing stops you recording something over and over again in a million different ways until you get it right. When we get to record the Lying B*st*rds as a full band we’ll take the same 'lofi' approach but just take it up a notch. Who knows how it’ll turn out.

What is the dream venue you’d like to take Lying B*st*rds?

Probably my funeral in a social club on a hill. Be a laugh riot.


Get your tickets for '3' here www.skiddle.com/3
@milkpresentsuk

Words Lauren Jones

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lauren@themusicmanual.co.uk