Martin Rossiter, Interview, 2003

인터뷰 구경 포인트

1. 빡빡이는 참 도발적이야~~~
2.우리는 London Band도, British Band도 아니예요. 난 날 스스로 유러피안이라고 생각해요 (일송정)

Liverpool Lomax와 London ULU의 공연 백스테이지에서, 마틴 로시터가 Gene의 기나긴 족적과 굴곡에 대해 말한다.

Gene의 아주 초기 역사에 대해서 말해줄 수 있어요? SP!N에는 후기에 합류했다고 하던데.

MR: 음 짧은 얘기를 더 간단하게 해보자면, SP!N은 잘 굴러가지 않았고 그건 누가 봐도 명확했어요. Kev와 내가 스핀에 있는 그 컨셉은, 음 간단히 말하자면, 뭔가 완벽하지 않았어요.

우린 곧 우리가 다른 아이덴티티를 가지고 있고, 다른 voice를 가지고 있다는 걸 깨달았어요. 우린 다른 어떤 존재였고, 그래서 그냥 인정하기로 결정을 했죠. 음 좀 쉬어보자. 너무 혁신을 일으킬 필요는 없고, 그냥 우리가 누군지, 뭘 할 수 있는지 찾아보기로. 우린 그렇게 했고 새로운 이름을 달게 되었죠.

 

어떻게 당신이 오리지널 싱어였던 Lee Clarke를 대체하게 된거죠? 자동차 사고가 있다고 들었어요.

MR: 네, 아주, 아주 끔찍한 밴 추돌 사고가 있었어요. 그 전에는 난 멤버들과는 아무하고도 알지 못하는 사이였어요. 공연이 끝나고 돌아오는 길에 밴과 40톤 트럭의 추돌사고가 있었고, Steve의 형인 John이 코마상태에 빠졌죠. 베이스였는데. 지금 Gene의 soundman은 그때 등이 부러졌어요. 아무도 죽지 않았다는 게 기적이예요. 그 사고 때문에 밴드가 분해됐죠.. 그럴만해요.

Julian Wilson (Gene의 키보드 세션, 현재는 Grand Drive의 멤버) 과 얘기해봤었는데, 그가 말하길, Gene은 어디에도 속하지 않는다고. 브릿팝이 뜨면서 당신을 이끌었을 뿐만 아니라 당신이 스스로의 길을 닦도록 도왔다네요. 어때요, 말이 되는 말이예요? (I spoke to Julian Wilson (ex Gene keyboard player, now full time in Grand Drive) and he told me, not that Gene were any part of it, but that Britpop came along and not only carried you, but helped you on your way. Would you say that that was a fair statement ?)

MR: 음 꽤 말이 된다고 생각해요. 다른 많은 밴드들한테도 적용되는 얘기구요.

 

하지만 당신은 여전히 여기 남아있잖아요.

MR: 그렇죠, 우린 살아남았고 난 다 팬들 덕이라고 생각해요. hard 하지 않은 Menswear 뒤에서 뭘 좀 할 수 있게 해 준 사람들이죠.

 

‘Drawn to the Deep End’ 와 ‘Revelations은 아마 당신들의 가장 유명한 음반이겠죠.

MR: 하나 녹음하고 한달 뒤에 다음 걸 녹음했죠. (MR : We recorded that latter album in a month. )

문제가 좀 있었겠어요. 녹음 끝내고 나면 스튜디오 한동안 가기 싫었을텐데요. (You were supposed to go into the studio long before you did.)

MR: 네, 삶이란 게 뭐, 여기있거나 저기있거나 둘 중 하나잖아요. 그냥 연주했어요. 그 음반에는 정말 좋은 음악들이 몇 개 있어요. 눈물짓게 하는 순간들도 있지만, 우린 그 음반 녹음할 때 정말 많이 웃었었어요.

 

Royal Albert Hall 공연은 어땠어요? Gene의 커리어 중에서 가장 큰 헤드라인이었잖아요.

MR: 맞아요 그렇죠.

공연 내내 발생해야 했던 모든 문제들은 half hour period에 일어났고, 공연이 끝나고 나서 엄마와 얘기했던게 기억나네요. 어머니는 “아, 나 그 소음 싫더라” 라고 하셨고, 난 그게 우리 잘못이 아니라고 설명하느라 진땀 흘렸었어요. 우리가 어떻게 할 수 없는 문제였어요.

아직도 가끔, “그래, 내가 했었지!” 하면서 그 순간을 되돌아보곤해요. 택시기사에게 아직도 자랑할 수 있어요. 택시를 타면 늘 “직업이 뭐예요?” 라는 질문을 받곤하죠. 그럼 “밴드합니다.”하고 대답하고, 연이어서 “밴드 명이 뭔데요?”, 그럼 다시, “Gene이요.” 하면, “어, 시작한 지 얼마 안됐죠, 그쵸?”하는 대답이 오곤 하죠. 가끔 그럼 좀 불쾌해져서 젠체하면서 말하곤 하죠: “사실 우린 이것도 했고, 이것도 했고, 이것도 했다구요.”

 

‘Revelations’ 이후에는 Polydor에서 나왔죠(dropped from), 폴리도어와 서로 상호 합의하에 결정된 일인가요? (wast that a mutual thing?)

MR: ‘mutual’한 것이라고 거짓말을 하고 싶지만, 우리가 쫓겨난 걸까요? 쫓겨났다고 할 수 있겠네요. 우리를 내보낼거란 걸 알고 있었어요, 그래서 우리는 “할거면 지금 빨리 해” 같은 제스처를 취했었죠—코뿔소가 자살하겠다고, 벽에 자기 머리를 열 두 시간 동안 찧어대는 그런 류의 제스처요. 총에 맞는 대신에 말이예요. 그리고 그들은 행복하게 여러 방을 쏴줬죠.

ㅋㅋㅋㅋㅋㅋㅋㅋㅋㅋㅋㅋㅋㅋㅋㅋㅋㅋㅋㅋㅋㅋㅋㅋㅋㅋㅋㅋㅋㅋㅋㅋㅋㅋㅋㅋㅋ큐ㅠㅠㅠㅠㅠㅠㅠㅠㅠㅠㅠ

 

그리고 그들이 당신 이름 철자를 틀린 채 인쇄된 ‘Best of’ 앨범을 발매 했죠.

MR: 네! 알고 있었어요. 와, 충격적이지 않나요? 난 Bitter man은 절대 아니예요. 사실 거짓말이예요. 난 정말 어마무시한 Bitter man이죠. 하지만, 음반에 이름을 잘못 적는 건 일종의 어필이잖아요.

 

그렇죠, 특히 그 전 음반들에는 이름 철자를 틀리지 않은 사람들이었다면 말이죠.

MR: 네, 그건 마치 난장판이 따로 없이 쓸어 모아둔 그런 컴필레이션이예요.( . It’s a shambles, a put together compilation.) 솔직히 난, 그걸 원하지 않았어요.

그리고 그 다음에는 라이브 CD인 ‘Rising for Sunset’을 냈죠.

MR: 네!

L.A의 Troubadour에서 한 라이브 공연.

MR : Los Anglinguise. 그건 꽤 좋은 음반이예요.

저 그거 좋아해요.

MR: 처음에는 약간 의심스러웠어요. 당신은 괜찮거나 안 괜찮거나 언제나 ‘흐으음. 라이브 앨범.’ 이라고 하잖아요. 그 앨범에 ‘London can you wait?’ 이 실려있죠, 그쵸?

네!

MR: 그리고 난 그 곡이 실려있다는 사실 하나만으로도 그게 가치 있는 음반이라고 생각해요. 그 곡은 우리가 쓴 곡 중에 제일 좋은 노래 중 하나고, 우리가 녹음한 것 중 가장 안 좋은 레코딩이거든요. ‘Olympian’ 버전은 정말 좋지 않아요..그때도 우린 여전히 어렸고 우아함을 이끌어내지 못했거든요. ‘’Rising for Sunset’에 실려있는 ‘London’ 버전을 정말 좋아해요. 훨씬 느리고, 실제 노래와 더 잘 들어맞죠.

공격력을...보강하라... 이 말 듣고 라이징포더선셋 버전의 

미국 관중들이 더 Gene의 진가를 알아보는 것 같다고 느끼나요? 이 곳 사람들보다 말이예요.

MR: 미국인들이 좀 더 열정적으로 보이긴 해요, 그리고 그들의 성향 자체가 그런 것 같구요. 멋지죠. 그리고 기분에 좀 덜 취하는 경향이 있죠.
좀 더 열광적인걸까요? 비슷해보여요.. 그리고 신발이 더 끔찍하죠! (웃음)

말 되네요!

MR: 하지만 난 남잔 핑크색과 분홍색 트레이너를 신어야한다고 말하는 신발 파시스트예요!

ㅋㅋㅋㅋㅋㅋㅋㅋㅋㅋㅋㅋㅋㅋㅋㅋㅋㅋㅋㅋㅋ

‘Rising for sunset’은 당신과 Jerry Smith(Gene의 매니저)가 만든 레이블인, Contra에서 발매되었죠. 어떻게 된 건가요?

MR: 음, 솔직히 말하자면 아무도 그 음반을 원하지 않았거든요. 우린 고집 센 멍청이들이예요(stubborn bastards), 우리 중 상당수가요.
굉장히 힘든 시절들을 많이 지나쳐왔죠. 하지만 계속해야하는 이유가 몇가지 있어요.

당신이 지금도 Gene을 하는걸 사랑하기 때문이죠?

MR: 네!

Day job을 가질 생각은 없나요?

MR: 음, 우린 그래야 해요. 우리 대부분은 다 day job을 갖고 있어요. 하지만 난 실업수당을 받고있구요. 재밌죠 . Top of the Pops에 나오고 인생이 괜찮던 시절이 있었는데, 다 지나간 일들이예요.

모리씨는 Sanctuary랑 계약했잖아요, 완전 끔찍한 레이블.

MR: 아마 계좌에 돈이 꽤 있을텐데. 음, 내 기억에, Tofu였나요, 뭐라고 불렸더라. 그 러시아 소녀들…

T.A.T.U.요.

MR: Tofu가 낫네요. ‘How Soon is Now’ 커버로 모리씨한테 오십만 파운드는 벌어줬잖아요.

 

그리고 당신들의 다음 작업이었던 ‘Is It Over’ 싱글과 ‘Libertine’ 의 방향은 이전까지와는 전혀 다르죠.

MR: 방향이 전혀 달라요?

어젯밤에 다시 들어봤는데, Gene처럼 들리지만, Gene에서 기대하는 사운드와는 달랐어요.

MR: 아니에요, 음, 좋아요. 난 그 음반 정말 좋아해요. 그건 우리가 만든 음반중에 최고에요, 다른것들보다 훨씬요.

음 내가 좀 거부감을 느꼈던건요, 거부감까진 아니구요, 음반이 문제라기보다는, 어디에나 다 재고가 있는 라이브 CD는 12파운드인데, ‘Libertine’은 17파운드예요. 사람들 대부분이 이런 이유로 구매하지 않을 거예요.

MR: 불행하게도 우리는 음반을 할인 할 수 있는 처지가 아니예요. 난 정말로 그러고 싶은데 그런 만큼 더욱 그럴 수가 없어요. 충격적이긴 하죠.

하지만 메이저 레이블에 있지 않은 꽤 많은 뮤지션들이 직접 자금을 대고 있는 걸로 알고있어요.

MR: 그게 지금 우리가 해오고 있는 거예요. 음반을 만들기 위해 우리 돈을 들였죠. 우린 다 빈털털이고, Justin Timberlake discounts를 제공할만한 자원이 없어요. 부끄럽지만, 단순하고 오래된 현실이예요.

 

리버틴 투어에서 Club Libertine의 아이디어를 제기한 건 누구인가요?

MR: 어떤 멍청이!

좀 이상했어요.

MR: 종이에 써있을때는 그럴 듯 한 아이디어였어요. 우리가 시도했다는 것에 대해서는 나름 기뻐요. 우리가 조직구성이 번듯했거나 그걸 잘 굴릴만한 돈이 있었다고 생각하진 않아요. 하지만 컨셉 자체는 괜찮았어요.

영화 상영도 했었죠?

MR: 괜찮은 중소 회사들이 있었고 사람들이 시 낭송을 하게 하는것도 괜찮았어요. 음, 내가 공연을 보러 왔으면 이목을 끌 만 하다고 생각했어요. I think if I went to see it I would have applauded the intention and given it 9 out of 10 for that and 6 out of 10 for execution, which I think is fair to be honest.

얼마나 많은 곡들을 waste했어요? 미래에 당신들이 해체하고 나면, unreleased되었던 곡들의 box set이 발매될까요?

MR: 아뇨, 만든 곡들은 다 녹음됐어요.

그리고 사용됐구요?

MR: 그리고 사용됐죠, 네. 우린 곡이 잘 안되는 것 같으면 그냥 바로 버리는 경향이 있어요. 녹음되고 다 쓰기 전에요. 뭔가 딱 안 안되는 것 같으면, 그게 아니라고 판단이 되는거죠.

The only song I can think of that got completed-I don’t think it got recorded but it got demoed that never made it-was a song called “The Restaurantier’ which was just plain silly. I can’t remember the lyrics to it, but that never made the grade. Virtually eveything else has.

 

요새 밴드들이 꽤 많이 재결합하고 있잖아요.

MR: Culture club이요, 네.

Jam이 재결합한다고 하면 어떨 것 같아요?

MR: 음, 별 신경 안 쓰여요. 난 Jam 듣기에는 항상 어렸거든요. 난 Adam and the Ants 에 빠져있었죠.

그럼 그들이 재결합한다면?

MR: 음, 친하게 지내고 싶은데, 좀 변장하구요. 안 어울리기는 힘들거예요. Chris Hughes가 Drawn to the Deep End의 프로듀서였고, Adam은 여러 번 만났었거든요. 우리는 크리스마스 카드도 교환했어요. Macro Pirroni는 꽤 많이 만났고 그 사람 참 나이스해요.

당신들이 커버곡 불렀던 밴드 중에서, 실제로 Gene이 한 커버를 들어본 밴드들이 있나요?

MR: 사실 잘 모르겠는데요. Paul Weller는 우리가 불렀던 The Jam 곡들을 들어봤을 거라고 생각해요. 우리가 다른 커버곡을 부른게 더 있나요?

REM의 ‘Nightswimming’.

MR : 네, 들었대요.

들어봤대요?

MR: 네, 그들이 들은 걸 알고 있어요. 우리는 미국 소속사가 같아요, 그래서 그들이 들었다는 걸 알 수 있었죠. 사실 미국 소속사를 추천한 것도 그들이었어요. 아…이름이 기억이 안나는데. Berry, Bill Berry. 그가 ‘Olymian’ 음반을 갖고 있죠. 그가 맞는 것 같아요. 틀렸을 수도 있는데. 멋지죠. 난 REM 팬인 적이 한번도 없었는데.

Gene을 런던 밴드, English 밴드, 아니면 그냥 message를 전달하는 밴드 중 어떤 밴드라고 생각해요?

MR: 확실히, 난 우리를 런던 밴드라고 생각하지 않아요. 우리 중에 두 명만 런던에 살거든요. English 밴드라고 생각하지도 않아요. 나는 Welsh거든요.

음 그렇다면, British?

MR: 아니요, British라고 생각하지도 않아요. 개인적으로 난 나를 유러피안이라고 생각해요. 확실히, 우리가 메시지를 전달하는 밴드라고 생각하지도 않아요. 난 우리가 heart를 가진 밴드라고 생각해요. (I see us a band with heart.)

Mat은 Mower의 매니저로 일하고 있고, 아까 멤버들 모두가 day job을 갖고 있다고 했죠. 다른 밴드로 활동한적도 있어요?

MR: 음, Steve는 우리의 첫번째 밴드의 매니저예요. 오늘 밤에요. Silvertongue. (who had something of an early U2/early Radiohead and Muse vibe going on-AS) 그리고 Kev는 Northern Bingo caller 2002에서 입상했구요. 나는 크루즈선에서 창부로 일해요.

돈 좀 돼요?

MR: 아뇨, 끔찍해요.

새 앨범 작업할 계획인가요? US 버전처럼 extra tracks이 추가된 ‘Libertine’ 새 버전이 나올거라고 들었거든요.

MR: 아직 안 끝난 긴긴 애기가 있죠..

그럴수도 있고, 아닐 수도 있고..

MR: 그렇게 하고 싶어요.

Trabadour gig DVD에 토크도 있다구요?

MR: 음, 같이 실려있어요. 보지는 않았어요. Matt는 봤어요. Matt가 말하길, DVD에 그 클립을 실으려면 아주 까다롭다고 하더라구요. 메뉴 버튼을 따로 만들어야한다고.

그럼 아마?

MR: 꽤 멋질거예요.

더 추가하고 싶은 것도 있나요? 우리가 Gene의 라이브를 더 볼 수 있을까요?

MR: 희망하는 바예요. 물론 불행하고 재미없는 오랜 얘기가 있죠.. ‘상황이 허락해준다면’!

인터넷 어떻게 봐요?

MR: 컴퓨터로요. 하 하!

밴드에 좋은 일인가요? Trabadour 엄청 다운로드 받았다고 알고있어요.

MR: 네, 나도 들었는데, 그런데 다운로드가 뭔지 모르겠어요. 모르겠다는게 간단한 답이예요. 인터넷을 해보긴 하는데, 즐기지는 않아요. 차라리 기뻐요. 끔찍하게 중독되잖아요. 포르노를 보는데 시간을 다 소비하지 않는다면 꽤 쓸모있다고 생각해요. 그런데 대부분의 사람들이 다 그렇잖아요. 당신이 Tofu/T.A.T.U 엉덩이 보려고 하는 것처럼.

뭐, 그렇죠. 감사합니다.

MR: ass라는 단어로 끝내서 기뻐요. 난 모든 말들을 ass라는 단어로 끝내길 좋아하죠.

 

Part of this interview originally appeared in Anthony Strutt's previous fanzine,
'Independent Underground Sound' 

Gene features Martin Rossiter on vocals, Steve Mason on guitar, Kev Miles on bass and Matt James on drums.

Gene was born in 1992 out of the ashes of an indie guitar London-based group, Spin, which was originally Steve and Matt's band, and which Martin and Kev joined latterly, after a horrific motorway accident left the original line-up of Spin unable to continue as a group.

By 1994 they had changed direction. While they maintained their own charm and wit ,they emerged as the natural successors to the Smiths with Martin's wry tales of bedsit angst, alienation and despair.

In 1995, they released their debut album,'Olympian', on the small indie label, Costermonger. They followed this a year later with 'To See the Lights', which featured singles, live tracks and lost gems including a demo of their first single, For the Dead'.

Gene's career was helped along by the rise of the Britpop movement. In 1997 they released their first album on the major label, Polydor, 'Drawn to the Deep End', which saw them sell out the London Albert Hall and play with an orchestra. Two years later they released their second Polydor album, 'Revelations".

In 2000 they left Polydor, who the following year released 'As Good as It Gets', a badly put together retrospective of the band's work.

Since leaving Polydor Gene has released two albums on its own Contra label, a live album 'Rising for Sunset'(2000), and a studio record 'Libertine' (2001).

The band's subsequent disastrous 'Club Libertine' British tour featured spoken word performances from authors such as Irvine Welsh, Howard Marks and Kevin Sampson , film screenings and DJ sets, with a different line-up every night.

The group has made a regular point throughout it career of recording songs by other artists. These covers have included the Jam's 'Wastelands' , REM's 'Nightswimming' and the Beatles 'Don't Let Me Down'

Martin Rossiter spoke backstage over the course of two evenings, one at the Liverpool Lomax and the other at the London ULU about Gene's long history, and some of its highs and lows.

 

 

 PB : Could you tell me about about the early history of Gene ? I believe that you were all in the latter line-up of Spin.

 

MR : To cut a short story even shorter, Spin wasn’t working and that was patently obvious. The whole concept of Kev and I being in Spin, however brief that was, was a flawed one.

 

The band soon realised that we had a different identity, we had a different voice, we were something else, so we took the conscious decision just to say okay, let’s lay that to rest, not reinvent ourselves so much, as to find out who we are and what we do. We did that and the new name came with it.

PB : How did you come to replace the original singer, Lee Clarke. I heard a story that there was a car crash.

 

MR : Yes, there was a very, very nasty van crash and this was before I knew any of them. The van broke down on the M40 coming back from a gig and they got hit a by a 40 ton truck and John, Steve’s brother, who was the bass player, was in a coma. Our usual soundman broke his back. It was a miracle that no one died and the band just disintegrated from that point really. Understandable really !

 

PB :I spoke to Julian Wilson (ex Gene keyboard player, now full time in Grand Drive) and he told me, not that Gene were any part of it, but that Britpop came along and not only carried you, but helped you on your way. Would you say that that was a fair statement ?

 

MR : Yeah, I would say that’s fairly fair. Yeah, I think it did it for a lot of bands.

 

PB : But you’re still here.

 

MR : Yeah, we have survived it and I think that’s a measure of the fans as much as anything, who I think realised that we did something a little bit beyond Menswear which wasn’t hard.

 

PB : 'Drawn to the Deep End' and 'Revelations' are perhaps your best-known albums.

 

MR : We recorded that latter album in a month.

 

PB : You had some problems with it though. You were supposed to go into the studio long before you did.

 

MR : Yeah, such is life, but that’s neither here or there really. We just played the songs really. There’s some good really tight pop songs on that record. There are some moments that bring a tear, but I think there are a lot of laughs on that record.

 

PB : How do you feel about the Royal Albert Hall gig, because that was the biggest headline thing you ever did ?

 

MR : It’s typical really. All the problems that should happen over a whole tour transpired to happen over a half hour period and I can remember talking to my Mum after the show and her saying “Oh, I didn’t like that noise”. I was trying to explain to her that it was completely out of our control. It was a technical hitch that we couldn’t cure.

 

I still look back and say “Yes, I did that”. I can still tell taxi drivers I have done that. They always say “What do you do ?” and I say “I’m in a band” and they say “What are you called ?” and I say “Gene” and they go “Oh, you are just starting out, are you ?” Occasionally I get on my high horse,and say “Actually we have done this, this and this and up your rear end”.

 

PB : You were dropped from Polydor after 'Revelations'. Was that a mutual thing ?

 

MR : I would love to lie and say that it was mutual, but did we get dropped ? We sort of got dropped. We knew they were going to drop us, so it we were like “Just do it now” like some rhino wanting to kill itself, battering its head against the wall for 12 hours, so instead we got them to shoot us and they happily fired many rounds.

 

PB : They then released a 'Best of’ and spelt your names wong.

 

MR : Yeah ! I know. That’s shocking, isn’t it ? I’m not a bitter man at all. Actually, that’s a lie. I’m an incredibly bitter man, but spelling your name wrong on your record is just appalling.

 

PB : Especially when they have spelt your names correctly before.

 

MR : I know. It’s a shambles, a put together compilation. Quite frankly I wouldn’t want one.

 

PB : And the next thing you did was the live CD ‘Rising for Sunset’.

 

MR : Yeah !

 

PB : Live at the Troubadour in L.A.

 

MR : Los Anglinguise. It’s quite a good record actually.

 

PB : I like it.

 

MR : I was a bit doubtful because you’re always a bit like “Hmmm. Live album” and whether it has anything good. ‘London, Can You Wait ?’ is on it, isn’t it ?

 

PB : Yeah !

 

MR : And I think that it is worth it for that alone because it is one of the best songs we have written, and one of the worst recordings that we have ever done. The ‘Olympian’ version is really bad because we were still very young and we didn’t have the grace to pull it off. I really like the version of '"London' on ‘Rising for Sunset’ too. It’s a lot slower, just a lot more suited to the actual song.

 

PB : Do you feel that the American audience now is more appreciative of Gene than the audience over here ?

 

MR : Americans in general seems to be more up for it, and that’s just in their nature which can be a great thing and also very dull depending on what mood you are in. Are they more appreciative ? They are remarkably similar.. .they just have worse shoes (Laughs)

 

PB : Fair enough !

 

MR : But I’m a shoe fascist says the man wearing pink and yellow trainers.

 

PB : You put 'Rising for Sun' out on your and Jerry Smith’s (Gene’s manager-Ed) label, Contra. How did that come about ?

 

MR : Well, no one else wanted us frankly. We are stubborn bastards. The lot of us. Frankly we should have been put out of our misery years ago, but for some reason we keep on.

 

PB : Is that because you still love doing Gene ?

 

MR : Yeah !

 

PB : And you didn’t want to get a day job ?

 

MR : Well, we have to. We mostly have all day jobs, but I’m on the dole. It’s funny. The days of being on 'Top of the Pops' and being sorted for life are well and truly gone.

 

PB : Morrissey has just signed with Sanctuary, which is like the worst label.

 

MR : He’s got a few quid in the bank though. I think Tofu, those Russian girls or whatever they’re called...

 

PB : T.A.T.U.

 

MR : I prefer Tofu. They’ve made him half a million quid with their cover of “How Soon is Now’ ?

 

PB : And the next thing you did was the ‘Is It Over’ EP and ‘Libertine’ which is in a completely different direction.

 

MR : Is it in a completely different direction ?

 

PB : I listened to it again last night and it does sound like Gene, but it doesn’t sound like what you would expect from Gene.

 

MR : No, well, that’s a good thing. I really like it. I think it’s our best record by a long way.

 

PB : The one thing I found against it, not against it, although not as record, was the live CD was stocked everywhere for £12, but with ‘Libertine’ it was £17, and a lot of people didn’t buy it because of that.

 

MR : Unfortunately we’re not in a position where we can discount the records. It’s as simple as that. i would love to. I know that is shocking.

 

PB : But I know a lot of musicians who are not on a major label anymore and they put their own money behind it.

 

MR : That’s what we have been doing. We put all our money into making that record. We are all broke and we don’t have the resources to offer Justin Timberlake discounts which is a shame, but that’s just plain old reality.

 

PB : Who came up with the idea for Club Libertine for the Libertine tour ?

 

MR : Some fool !

 

PB : It was weird.

 

MR : It was one of those ideas that was good on paper, and I’m sort of glad that we tried it. i don’t think we really had the organisation or the money to pull it off, but the concept of doing it was a fine one.

 

PB : There were a few movies in between ?

 

MR : There were some good little films and it was nice having people reading poems. I think if I went to see it I would have applauded the intention and given it 9 out of 10 for that and 6 out of 10 for execution, which I think is fair to be honest.

 

PB : How many songs do you waste ? In the future when you split will we get a box set of unreleased material ?

 

MR : No, virtually everything gets recorded.

 

PB : And used ?

 

MR : And used, yeah, We tend if a song isn’t working to scrap it before it’s recorded and before it’s written. If it’s not working, you get a sense it’s not working.

 

The only song I can think of that got completed-I don’t think it got recorded but it got demoed that never made it-was a song called “The Restaurantier’ which was just plain silly. I can’t remember the lyrics to it, but that never made the grade. Virtually eveything else has.

 

PB : There’s been a lot of bands reforming over the last few years.

 

MR : Culture Club, yes.

 

PB : How would you feel if the Jam reformed ?

 

MR : Well, I’m not that bothered. I was always a bit too young. I was into Adam and the Ants.

 

PB : What if they reformed ?

 

MR : Yeah, I think I would go along, but in disguise. It would be difficult not to go along because Chris Hughes (Adam and the Ants drummer) produced ‘TDrawn to the Deep End’ and I have met Adam many times. We exchange Christmas cards . I have met Marco Pirroni many times as well and he is very nice.

 

PB : Have any of the bands you have done cover versions of actually heard them ?

 

MR : I don’t know actually. I think Paul Weller must have heard the Jam stuff we have done. What else have we done ?

 

PB : ‘Nightswimming’ by REM.

 

MR : Yeah, they have heard it.

 

PB : Have they ?

 

MR : Yeah, I know they have. We shared the same agent in America so I know they have heard it. In fact it was them that suggested us to their agent, so I think it was...I can’t remember his name. I think it was Berry, Bill Berry. He had ‘Olympian’. I think it’s him. I might be wrong. It’s always nice. I was never a great fan of REM.

 

PB : Do you consider Gene as a London band, an English band or just a band with a message ?

 

MR : I certainly don’t consider us as a London band because only two of live in London. I don’t consider us as English because I’m Welsh.

 

PB : Well, British ?

 

MR : No, I don’t consider us as British either. Personally I consider myself as European. I definitely see us as a band with a message though. I see us a band with heart.

 

PB : Mat manages Mower and you said you all have day jobs. Have any of you got any other bands ?

 

MR : Well, Steve is managing our first band on tonight, Silvertongue (who had something of an early U2/early Radiohead and Muse vibe going on-AS) and Kev has become a runner up in Northern Bingo caller 2002 and I’m working on cruise ships as a prostitute.

 

PB : And it’s good pay ?

 

MR : No, it’s terrible.

 

PB : Are you going to work on a new album because I heard there’s going to be a new version of ‘Libertine’ with extra tracks like the US version.

 

MR : That’s a long story which has yet to be finished...

 

PB : So maybe, maybe not...

 

MR : I hope so.

 

PB : There’s talk of a DVD of the Troubadour gig.

 

MR : Well, it’s been put together. I have’t seen it. Matt’s seen it. He says that a lot of effort has been put into putting it onto disc, so it has a menu and things tthat DVDs are meant to have.

 

PB : So maybe ?

 

MR : it would be quite nice.

 

PB : Anything else you would like to add ? Will we see more of Gene live again ?

 

MR : I hope so.Again it’s the unfortunate dull old story of if circumstances allow.

 

PB : How do you view the internet ?

 

MR : On a computer. Ha Ha !

 

PB : Has it been good for the band ? I know the Troubadour was a big download.

 

MR : Yeah, so I heard, but I don’t know what a download is. I don’t know is the simple answer. I have been on the internet, but I’m not on at the moment. I’m rather glad. It’s terribly addictive. I’m sure it’s useful if you don’t spend all your time looking at pornography, which is what I think most people. It’s like you get to see Tofu/T.A.T.U’s ass.

 

PB : Well, that’s it. Thank you.

 

MR : I’m glad I finished on the word ass. I like to finish everything on the word ass.

 

 

Part of this interview originally appeared in Anthony Strutt's previous fanzine, 'Independent Underground Sound'

 

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