With some images used by Nick Padmore
How professional of me to create a to-do-list of outstanding subjects for articles, but then spoil said professionalism by dithering to the Daydream Runaways boys about the nineties rave-indie divide and becoming a grandad. The sensible members of the band promptly left the group chat, save guitarist Cameron Bianchi who stayed to endure my inane waffling up as far as the Madchester scene.
Prior to this though we had a great heart-to-heart early in the week, but if the title of this article is misleading, I should add the subject of Sir Isaac Newton never came up, rather Gravity is their latest single, hot off the streaming sites yesterday. It’s quality, as expected, going on their three previous releases, blinding reviews and an appearance on BBC Wiltshire.
It does indeed, as the press release states, “deliver on their brand of retro-modern indie rock,” but while maintaining an emerging signature panache, it pushes firmer towards a heavy rock division. A hasty grinding atmospheric intro with a pause, then the spiralling sonic guitar takes no prisoners. If the last tune, Closing the Line bore topical sentiment with a theme of the town’s Honda Plant closing, Gravity is perhaps more general, but even more powerful. This imminent Swindon-Devizes four-piece really have dug into an emotional slant with Gravity.
The combination of Ben Heathcote’s idiosyncratic vocals, said sonic guitars and class production value, this belts across as a rock anthem to not only scare The Darkness but fight a Foo. They say it comes from “a time of turbulence and explores the burden of life’s toughest decisions.” If I predicted the air of gloom surrounding the era would produce some intensely expressive songs, here is the all the proof you need, if indeed it’s a product of the pandemic. I’m going to find out.
So, I’m wondering, if the recording was done at a distance, or prior to the lockdown. Drummer, Brad Kinsey informed, “it was done in February, in Swindon, with an engineer from Westbury.”
I explained my reasoning, “it sounds heavy, rather darker than usual. So, I wondered if it was a result of the lockdown. Is there a drive to take it that route, I mean slightly darker and heavier, or is just the mood of this particular track?”
Cameron replied “I think it was just the mood of the track. Everything kind of centres around the experience Ben’s lyrics are speaking about. In fact, Ben’s probably the best person to about the story behind the song. But we definitely made a conscious effort to push ourselves on this on to do the song justice.”
It certainly does. “It doesn’t hang around,” I pointed out, “and the vocals are more powerful than before. Seems like a natural progression, a maturity. Not that I’m calling you immature, you understand?!”
Bradley responded, “nah, I get that. I think we gained confidence and are more unified about this sound.”
Cameron interjected, “I think it’s important to all of us to keep pushing ourselves with each release and not churn out the same number. I’m not saying we’re the Beatles or anything, but you know give it some time. We’re still young!”
Bradley bantered, “are you, Cam?!”
Cameron added, “well, some of us are still young…” Laughing emojis are added, but I’m getting paranoid.
“Okay,” I opposed, “spring chickens; don’t rub it in!” But even with any such change, such as the edgier component of Gravity, there’s a distinct signature maintained in all their tunes and this, I feel, sets them apart from many a local band. I could have guessed it was them before knowing it. “Is that important,” I questioned, “to be instantly recognisable?”
Cameron said, “I think it helps that Ben has got a very distinctive and powerful voice. I suppose we’re starting to find our sound as well. Ben & Nath wanted to go a bit heavier with this track but I’m not a massive fan of heavy guitar. So, I opted for a more chimney yet overdriven guitar style that suits me, but also packs a punch. Plus, I got to flex my inner Graham Coxon/Jonny Greenwood with the effects heavy solo part!”
Brad covered this shot too, “I would say so, yeah. It’s good to build a sonic trademark, all the greats have that! It’s a good thing when people can still recognise you, even when you change things. Shows that you’re using that style but without losing the integrity of what you are.”
At this early stage, Daydream Runaways call a good compromise between them, witnessed when they tuned for our Waiblingen Way Fire fundraiser. “There’s always going to be differing opinions,” I pondered, “Bit like marriage!”
Cameron replied, “no relationship comes without some disagreements, a band included. But we’re all good at finding a compromise, which is good!”
Throughout the interview I’m concerned if I should bring the idea of a possible album up, as when we did the fundraiser I asked, and it met with varying opinions between them. However, with the topic running on compromise, it’s now or never! “I wasn’t sure, though wanting to ask, if I should bring it up again!”
Cameron delegated, “Bradley…over to you on the album talk!”
I interjected with the proposal before he did, “I think you should, but accept I’m not thinking about current climate in the music industry, rather an old fashioned ideal.”
Bradley answered, “there was a plan. However, the coronavirus has impacted that. Not going to say it’s completely gone but we’ll wait and see what happens. You can’t really make any plans at the moment.”
Cameron expressed, “it’s not a matter of if but a matter of when is probably all we’ll say for now!”
Brad added, “I’d say doing an album is all dependent on what genre you’re doing. Rock music fans are still very defiant and keeping the album alive. So maybe with this Gravity sound we’ll go down that route.”
It did bring us onto these strange times, and my deliberations on what’s the best approach for artists on how to continue, continues. “What’s best for musicians,” I asked them for their tuppence, “the live stream is simply not the same as a gig, and while charging for it is a bit cheeky, it’s difficult to know where to go to get some revenue for the work you put it. In short, must be a bitch. Let’s not say the word again!”
I couldn’t argue with Brad’s comment, “some bands I follow have rejected the idea and directed people to supporting more pressing causes.”
Meanwhile, Cam elucidated his feelings about the lockdown. “Whilst you really miss that immediate response from a crowd, and the fact you’re in a room where you can play loud and really get into it, they’re still fun to do! We were lucky enough to do one right before the lockdown was enforced. Probably one of the first bands to do it, then Chris Martin came along after with his solidarity sessions. We still haven’t forgiven him for that!”
“Springsteen did one! But not before you!” I supplemented.
Bradley was proud to say, “we were the first UK band to do a self-isolation livestream. There, I said it; Let the feud with Chris Martin begin!”
The topic continued for a while, this dilemma between fan etiquette and revenue for artists. But I wanted to notify how much I enjoyed theirs, “yeah, good it was too. Saw that! Right now, I guess, it’s all we have. That’s the point I cleared with Kieran at Sheer. It’s never going to be the best plan. I think it’s time to get down and write some killer songs, agree?”
Cameron agreed with a feel-good quote, “definitely, but now is also the time to look out for each other, even though we’re all apart. If we can reach out to people with our music or it helps them get through their day, then that’s amazing.”
Bradley approved too, “yeah, and there’s never been a better time to write. Technology’s made it so accessible now to bounce ideas. Who knows, we could even release a song in lockdown without even meeting up.”
It always amazed a younger me, that Paul Simon could collaborate with the South African musicians on Graceland, back in the late eighties, and it sounded like they were playing in harmony in the same studio. It is possible to edit parts and stitch together. Must bugger up the flow of it though, make it sound mechanical or manufactured.”
Bradley replied, “well, if the band records the parts individually themselves and lays off the editing it’s possible to get that organic feel. I wouldn’t be surprise if we start seeing artists jump on this idea and release original tracks.”
It was at this point Ben Heathcote joined us. “It seems like the boys have covered the questions quite well! As Cam said, Gravity comes from a place of uncertainty and pain from circumstances and the decisions triggered from them. A crossroad of the mind. And yeah, lockdown wise we’re hoping it makes people see the value in their freedom before and hopefully will bring out further support when pubs, clubs and entertainment reopen.”
I see Ben’s clarification reflected in the cover art too. With a kind of “stairway to heaven concept,” an impressionist character is looking lost, pondering which road to take. It’s apt for the song.”
Ben welcomed this, “you got it. And again, the artwork is something were really proud of. Provided by ezra.mae.art. We also enjoyed working with Reloopaudio on the production, a friend who we will be working with again. We love this song and we’ve loved the whole creation, writing and everything about it. It’s nice to have developed it from the live sound too.”
For Ben’s benefit, we found ourselves back on the subject of Gravity’s edgier side, “I think it will please the hardcore indie fans, and those which come from a heavy rock side, which is good, there’s a majority of them locally.”
Ben replied, “as you mentioned earlier, with the style sounding fresh, but still us. This is something I’ve always been hot on since the band formed. I’ve never wanted us to be doing the same thing every time. The aim was, and continues to be; to write and produce fresh sounds with hints of varying styles that is still recognisable as us, allowing it to not be boring or repetitive; kind of inspired by many of our favourite artists who keep developing their sound.”
I take off my hat to this, “I might come across pop or soul-ish but I had my day, and do still listen to bands like Zeppelin and Floyd etc. I think Gravity will be boss with that crowd.” With which I asked for their influences, and if they mutual.
Ben reacted, “I’d say our choices are not miles apart, but to pin a group favourite would be impossible as we all have our firm favourite influences.”
Cam agreed, “yeah, I don’t think there was a particular band or artist that inspired the track as such but we all agreed what the sound was we were aiming for. Making sure that each of us brought our own thing to it.”
Laughing emojis made a reappearance, when I teased, “Ed Sheeran it is then!”
Keen to take it back, Brad nods at my sixties psychedelic citations, “Floyd and Zeppelin are timeless though. Prefect example of bands that pushed themselves overtime.” And the Daydream Runaways can relate to that with this progressive new release.
Ben said, “I think before we produced the track, we all knew in our head how it should sound.” It’s definitely a belter. I thank them for their time, with one last question before we headed into our tangent about the rave-indie divide of the nineties! Where do the Daydreamers see themselves in five years?
Ben suggested in five years’ time he would like them to have a steady schedule, “playing to crowds who know our words, filling sold out venues as well as intimate gigs, which we can always remember.”
Cameron felt they’d have “an album or two under our belt, playing to crowds in our favourite venues. Having a slot on The John Peel Stage at Glastonbury is a bit of a dream of mine!” Ah, there’s the source of my waffling, started with seeing Oasis at Glasto but, unbeknown to me at the time, I paid them little attention.
Daydream Runaways though, worthy of your attention, here’s the Spotify link to Gravity, like them up on the book of face, and cross your fingers and toes we’ll be seeing them live soon, if not the John Peel Stage at Glastonbury!
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