If you haven't ever heard of the UK band Tunng, you're seriously missing out. We got a chance to chat with Mike Lindsay, the band's multi-instrumentalist frontman, about the band, the release of 2010's fantastic ...And Then We Saw Land, their collaboration with desert legends Tinariwen, and more.
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IYS: How did all of you originally meet? How did the final lineup of members become what it is today?
Mike Lindsay: Well, we all met just because we live in London. I think when you live in a big city and you need to find certain people, they kind of present themselves without too much hassle. I met Sam [Genders] through a friend. He wanted to make a demo and I had a little studio. That turned into a collaboration studio project, then we got requests to play live so we needed a band. I worked with Becky [Jacobs] in a radio studio and knew she sang. Met Phil [Winter] out on a gig with just me and Sam in a club called Moon Palace. He saw the show (it was bad), and he offered to help with samples and beats. I knew Martin [Smith] through another friend and knew he played everything–all bands needs one of those. And Ash [Bates] was a friend of Phil’s who was looking for another band and a new adventure.
IYS: It has been said that Sam and Mike began their musical careers by composing music for soft-core pornography. Has that experience influenced and shaped Tunng's style in any particular way?
Actually, that was just me. It definitely helped with learning to fuse different genres of music together. But for that it was thrash metal and euro house.
IYS: You guys have been known to use rather interesting instruments, like sea shells, to create your sound and match the band's unique persona, both in the recording studio and on stage. Has this always been an integral component of your sound?
Yes. Since the first record there have been a lot of ambient organic sounds to complement the electronica and acoustic guitars. Live, we have Marty on one side with a wall of shells, bits of wood, toenails, teeth, pods, seeds, and keys, and Phil on the other with a laptop, vintage synths and a sampler; That kind of sums up the sound of Tunng at the time.
IYS: You guys have contributed to the soundtracks of various television shows, like The O.C. and Weeds. Is this something that you guys do often?
The tune on The O.C. was a cover of “Pioneers” by Bloc Party and it was a surprise indeed that it was on there. It’s a good thing for music to be seen in other media, and to get it to new audiences. Plus we need the money man, we don’t sell that many records.
IYS: Well, hopefully everyone buys ...And Then We Saw Land -- It’s an awesome record. Think you would ever consider doing the soundtrack or score for a television show or a movie??
I have produced and composed music for TV ads and Ash does that for his main job. Last year I scored my first feature film. It’s a French film called Ensemble Cest Trop. It was such a great experience producing a body of work that is entirely for a certain project. You can really explore different ways of writing. I want to do more, for sure!
IYS: Tunng has had a hand in some humanitarian work, particularly contributing to the soundtrack for an NSPCC (National Society for the Prevention of Cruelty to Children) in the United Kingdom. Has this kind of work– even just spreading awareness of such causes– always been on the band's agenda?
Well its always good if you can contribute something. It’s not the top of our agenda, but if opportunities come to us then we usually try to accommodate. There are certain festivals that are VERY green like Woodfest in Oxfordshire; even the stage was made out of wood and solar powered. Unfortunately, we don’t get that much sun in England.
IYS: Last year, you guys toured with Tinariwen throughout the UK and at Glastonbury, and have cited this experience as having a profound influence on their current work. Can you divulge what made the experience so moving?
It’s so rare to actually attempt something like this. I know there have been many cross-cultural collaborations in the past, but this really felt powerful and challenging– for us, for Tinariwen, and for the audiences. To create a two hour show of new music and genre blending songs in 4 days when neither band can communicate through speaking was mind-blowing. We loved Tinariwen before we met them. They were the soundtrack to some [of our] tours, and we saw them play a few times, so when we were asked to put together some kind of collab, we really wanted to do it with them. And they just said yes! Easy as that. I think it had an influence on us as people and bringing us back together as a band again. There are certain drum patterns that were inspired by them on this record, as well as the whole unison singing thing. But really, it was more of a state-of-mind kind of thing. I would really love to go out to the Sahara to do some recording with them. Hmm, I think I will.
IYS: You’ve said that putting Becky at the front with vocalist duties has impacted the band's evolution of sound, particularly recently. What is it about her that helps make Tunng really stand out?
Becky has always been a big part of Tunngs live sound and [she’s] the glue that binds us together, if you know what I mean. She balances that man-ness of it all. When Sam left, it just seemed such a natural process to bring her more out front on this record. She has a really honest voice that sucks you in...
IYS: Is Sam officially out of the current Tunng lineup?
Yes, he left about a year and a half ago, but I’m sure it won’t be the last you hear from SSAAMM GENDERS! [Evil laughter] Its all cool, we’re still very much friends, he just wanted to do something else.
IYS: Do you think that Sam's involvement with The Accidental has had any remaining influence on Tunng's current sound?
I don’t think so, no. It’s a very different project.
IYS: Your website's official bio states that incorporating Ben Bickerton's talent into the lyric-writing process has helped pull the sound together. Can you explain that a bit to us?
Ben is a long-term friend and basically part of Tunng. He has a great way with words and a knack for understanding what we’re trying to say. I think we needed an extra mind to help tie the record together and give the adventurous songs some direction. Its always good to bounce lyrics off somebody else with fresh ears.
IYS: We know that you have remixed for The Imagined Village and Dive Index in the past few years. Have you been involved with any remixing for other bands recently?
Yes. I love doing remixes. I did a remix for Paul Weller, which was an honor. For the new Ninja Tune compilation (20th anniversary), I did a mashup of Xen cuts. Did a remix for Jon Hopkins, who is a friend and a genius. Also, one for The Long Lost, which is Daedulus and his wife. I have a few in the pipeline.
IYS: There are a lot of guitar solos on your most recent album, something a little different from your prior work. Any reason why?
Its time. I used to be in a metal band when I was 15. The rest of the guys were in their late 20s. I loved it! I guess it’s a homage to the pass. Plus I love doing it live.
IYS: What's next for Tunng in 2010? Any plans to tour the United States this year or next?
YES! We are coming to do a two week tour in November. East Coast, a bit of Canada and a couple of shows on the West Coast. Really looking forward to it, so see you there!!