Remember when the Strokes debut arrived fully formed;
sounding like it just fell out of Julian Casablancas’ head in one
natural pouring motion?
Well, if you don’t, it was like the sensation you’ll get when you hear this: so effortless and well-rounded is this record it’s difficult to believe it’s a
‘…And the Hazy Sea’ kicks off veering wildly between cataclysmic guitar blowout and Rhodes-driven eye-of-the-storm calm, Eat
like a kind of post-rock Pavement, offering an early indication to the sheer number of ideas floating around here.
The changes in direction then continu apace, taking in tightly coiled postpunk,
shoegaze and horn-driven indie pop, before a tepid and overlong closing number slightly spoils the fun. It’s a minor blip,
as WTAM is a natural-sounding, sophisticated record that seriously
repays repeated listening.
I was chuffed! But what do you do? You don’t go and produce a Mystery Jets album after that, you get a manager and you set up a massive tour around the world for the next 18 months… I went and made a Mystery Jets album.
That’s me though, that was fun! They’d ask me what it was like to be the
‘Best DJ in the World’, and I’m playing the acoustic guitar trying to work out a part! All my favourite people haven’t done just one thing.
The people who I look up to as DJ’s, someone like Andy Weatherall; I love the fact he’s going out playing rock’n’roll records to 50 people in the back room of some place – it’s inspiring.
We’re slaves to the music we love. There’s always that element where people are standing there waiting for you to do something – I’ve come from a background of indie clubs,
where now you’d be lucky to get out of there without getting beaten up for not playing a certain request! One of the driving forces behind Eat
Trash was for people to accept alternative clubbing in the same vein as they did in the dance clubs.
Back then when you looked through the pages of the NME you looked at the club guide and it was all dance clubs,
but Trash was embracing all different kinds of music, and being something that encouraged people to treat Monday night like a Saturday night.”
Once again, Erol has ignored what’s expected of him. Before, he chose producing Mystery Jets over living up to his DJ award, now, after his third album as producer
(on Late of the Pier’s brilliant ‘Fantasy Black Channel’), he is apparently reluctant to take on another.
Was there a feeling of not being able to top that record?
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