IO Pages - Holland

1. you were with Vulgar Unicorn before. How would you say PT and VU compare?

With VU, I was very much a guitarist who contributed to the song writing.  Neil Randall (the other half of VU) usually came up with original concepts and lyrics.  Come to think of it, I started TPT (easier to say TPT to avoid confusion!) because I had things I wanted to say that I couldn’t with VU.  In retrospect, I realise now I meant lyrically AND musically.  But yes,  the two bands are very different.  VU had a very ‘anything goes’ approach which usually worked but often sounded pretentious.  TPT started by focusing on the songs and forming a ‘sound’ which again didn’t always work in the early days.  But generally, the two bands still share the progressive ethos of releasing the shackles of the mainstream. 

1. is there a difference between the ways the bands develop(ed) (write, record, produce) albums?

Yes, totally.  In the early days, the VU stuff had to be recorded in commercial studios so preparation was key and we were constrained by the amount of money we had.   In many ways, it was a lot more fun in those days and we certainly couldn’t afford to spend 6 weeks on a tambourine track.    In 1998 we bought our own studio gear.  Then we started letting technology bogging the song writing down.  We really WERE spending six weeks on a tambourine track (well, more accurately, a break beat).  This hurt us.  Sadly, VU faded away and TPT took over for me.  Now, the technology never gets in the way of the creative process.  With 10 years of engineering experience in my own studio, the process is really smooth, which leads on nicely to….

1. you're quite productive as an artist. Are you a professional or do you still have other occupations?

Yes, I didn’t notice it happening but productivity is at it’s height at the moment.  Because I have a really nice studio and I know how to use it, I’m in a really lucky position of being able to translate my inspiration into music really quickly.  But sadly, I’m not yet professional and have to work the ‘day job’.  This has been a challenge.  I found myself waking up at 3AM with an idea swimming in my head, run to the studio, go to work, catch up on my sleep over lunch break and struggle through to carry on the session in the evening.  I remember, that’s how I wrote most of Tightly Unwound.  I have no idea how I made it!

1. What do you get your inspiration from?

In a word, life.  There is so much inspiration in life.  Having said that, I am conscious to keep an eye out for it.  All my music is personal and based on things I have experienced – I just don’t see how I could get passionate about a song if that wasn’t the case.  Lyrically, I like to keep things abstract – I know what I’m talking about but I want the listener to be intrigued and take away their own, personal meanings.  Well, that’s what I strive for.

1. how would you say tightly unwound compares to previous albums?

Personally, I think the song writing is by far the best of all the albums.  The engineering and production is superior too.  I just feel like I’m getting better at my trade with every album.  That’s not to say I don’t look back at my previous work with pride – it’s just that as an artist, it’s about the here and now.  That’s where the excitement is.

1. Do you have favourites albums, apart from the recent ones?

Do you mean my own albums?  That’s a good question!  I know ‘Variations’ is a big favourite with, how can I put it, the more ‘traditionally progressive’ crowd.  I’d have to put a compilation together I think.  And it would take some thought to fit it into 74 minutes…

1. How do you generally feel about your older work?

Funny, I listened to ‘Abducting’ for the first time in years recently.  I was struck by how clearly influenced I was by the Smashing Pumpkins, especially with the nasal tones of my voice (which I hate to listen to now).  I’m glad that soon disappeared.  But I still enjoyed the playfulness of the production and song writing.  The early stuff has a place in time, but personally I don’t rate it compared to the recent stuff.  I’d love to know how other people have answered this question!

1. What did you listen to as a kid?

I remember when I was 13 talking to a much older guy about my music tastes and he remarked ‘man, people thought I was weird when I listened to it as a kid!’.  Neil and I grew up together listening to all sorts from the 70s.  I remember Yes, Al Stewart, Floyd, early Alan Parsons, Anthony Philips, King Crimson, Led Zep, Camel, Supertramp.  Of the ‘contemporary’ stuff at the time, I remember listening to the big pops acts – Japan, Tears for Fears, Duran Duran.  Hmm, not a great time the late 80s….

1. What do you listen to now? Do you like the progressive scene?

Yeah, I love a lot of the modern progressive scene but I’m not a huge fan of the ‘neo’ prog lot.  I much prefer modern progressive artists who are trying to bridge modern influences with the best of the ‘old’.

1. How did you get into the music scene?

Well, it all started years ago when Neil and I were just finishing school.  Dave Robinson (who I think runs the F2 label now?) published a cassette ‘audio directory’ with a load of unknown progressive acts.  He put one of our early tracks on there.  Subsequently, Malcolm Parker (who had just started Cyclops) got in touch with us and the rest is history.  It was a slow boil though – each album I did seemed to garner more fans until by 2004 I was in quite a nice position.  I had a great little fan base to write and gig for.   But it wasn’t until Steve Wilson put me on to Kscope that our music really looks like getting ‘out there’.

1. What type of song do you feel fits you best, long vs short, or slow vs fast

Man, that’s a good question.  All of the above depending what mood I am in!  I bet if you asked that to our fans, you’d get a mixed response.  I like the long songs with slow AND fast bits in but the long songs need to be complimented by the short.   Am I allowed that as an answer?

1. How do you like the possibilities created by the mp3 era? And what about the drawbacks?

I think all artists need to embrace this era.  It isn’t going away.  Personally, I would like to see the quality of MP3s improve.  128kps (or even 256kps) is no where near good enough to match a CD.  And frankly, a CD is far from perfect.  But one thing I realise is how many people download all their music now.  Someone I know who works in teaching told me that no one in his class knew what a ‘cd cover was’.  I found this hard to believe, but then, it’s very easy to get out of touch with the younger generation.  I hate to say it, but soon CDs (or their modern replacement) will be reserved for the audiophiles, like vinyl is today.  It’s sad to lose the physical product.  Ah, who knows what will happen – I’m just going with the flow.