Initially, we did have lots of theoretical reservations about working with (American accent) “the Scissor Sisters guy”, but the way he gave ‘ Regret’ – which was the first thing that he sent back to us – a tougher, harder-edged sound, sealed the deal. And he was so positive and energetic and also curiously devoid of ego. JP: Yeah, he worked through a lot of songs really, really quickly, because of the incredibly tireless, quick-witted way that he works. He was just amazingly adaptable when you think of what he’s done in the past. And then he came over for the last 10 days – all the way from LA to Ancoats – and raced through all the songs, and added about 50% to the record. We would send him demos via the internet for the vast majority of the time, and while we were asleep he would work on it in LA and then send it back. And you worked with producer Stuart Price, right? I wanted the record to be an absolute sledgehammer. (Laughs) It’s music that people can enjoy on a purely frivolous, surface-level, but then there’s an awful lot of depth there, should you choose to access it via the lyrics. JP: That is the creative process, actually just us talking Jon down three steps. Basically, I wanted the record to be an absolute sledgehammer, and put the most horrific we could find on the cover. We wanted to come back and make a much more lively, shorter, punchier album an 11-track record that was all killer no filler, without any real moments of sensitivity of any kind. In the past, we’ve dwelled too much on sad songs or grand ballads, and we’d all had enough of it. In the studio, we kept using words like “hard” and “fast”, and that coincided with the quite aggressive and violent themes I was writing about at the time. Did you purposely approach the creative process differently on Get To Heaven?
We wrote the last few records as a live band, but we didn’t really write that one in that way. Jeremy Pritchard: Which is typically perverse, because we didn’t really write it in that way. I think that more expressive feel translates perfectly live, simply because it’s less constrained. I think the whole record is very much geared towards a live environment: it’s high energy and there’s lots of actual playing – guitar solos and stuff like that – which is new territory for us. Get To Heaven Everything Everything From £7.99 Hi guys, how was Liverpool Sound City? Did the new material go down well?
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