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Interview: Cut Copy

When we gave Cut Copy’s new album Zonoscope a spin on Notion’s Magical Music Machine we couldn’t help but love it.  Revival ’80s synth pop at its best, Cuty Copy could be sonic sons of Fleetwood Mac, cousins of Hurts, Hot Chip’s nephews… you get the drift.  We caught up with them to talk about their album and what they’ve been getting up to since its release.

PlanetNotion: How does it feel to have your third album Zonoscope completed? Can you begin to relax now? BEER TIME?

CutCopy: Its a great feeling to get the record out – there won’t be much chance to relax this year with our non-stop touring schedule, but there will definitely be beers involved.

PN: After the critical and commercial success of In Ghost Colours, did you feel the pressure to write something that would have a similar impact?

CC: The success of our last record meant that more people were anticipating our new record and we knew it would probably have more people’s attention on release than our last, which came to peoples attention over time.  We also figured that we could probably stick to a formula and make a fairly popular record, commercially it might have been sensible to make In Ghost Colours the Sequel, but we preferred to find a new way of working and wanted to make a record that sounded different for us.  I guess once that decision was made it was easy to avoid any pressure.

PN: How does the band find the right balance between live instrumentation and computerised elements?

CC: Our sound has always been about finding the balance between sounds – originally the band came together to make garage band style covers of the songs Dan was writing for what would become Bright Like Neon Love, and we tried to balance the raw live sounds with the more produced studio stuff Dan was making.

When making our records its about layering different sounds and rhythms until we get to what we’re aiming for – we don’t limit ourselves to using only our live instruments and we don’t play all of our live instruments on each track by default, so each song has its own mix of instrumentation.

PN: Zonoscope sounds like it covers a broader Cut Copy sound palette- how much have your various interests in music influenced this record?

CC: It was a conscious decision to approach this record differently – we wanted to create a space where we felt really comfortable to make the record, so we set up in a studio in warehouse our home town Melbourne, then we felt like we were able to experiment and make that process a feature of the record.  I think we were able to try out a lot of new ideas and explore a few sounds and influences that we’d only hinted at on previous records.

PN: Is it a sign of maturity in your music?

CC: To an extent I guess it is – particularly Dan and I having never played our instruments before joining the band we’ve had to learn to play, so part of the difference is in us becoming better able to sound the way we want to as a band.  The same is true for production, having more experience in production we decided to self produce this record.

PN: What was it like to work with Ben Allen?

CC: It was brilliant.  To find someone whose work we admired, who we worked with so well together and who we got along with amazingly was so cool – we were really lucky with how it turned out and he really brought out the best in the record.

PN: How much are you looking forward to touring Europe and the U.S. over the next couple of months?

CC: We can’t wait to get back on tour – we’ve got a nice mix of places we’re returning to and some new places we’ve never been (like Russia).  It will be great to play some of the new songs to some fans around the world.

PN: You turned down a tour with Lady Gaga????

CC: Yeah – its a weird thing to be asked about because I always worry it comes across like we’re gloating about turning down such a massive star, but really we just didn’t have the time to commit to such a long tour.

PN: Was it because she had a penis?

CC: Yikes.

Interview by ‘Pablo’ Moya Kettell



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