The Males are a young band making with a big buzz. Alys, Charli, Helen and Daisy are 4 girls from Cambridge who look set to wow the world with their mix of energetic guitar powered melodic punky pop, with a keyboard twist. When The Males play, heads turn - now it's your turn...
The Males who, what and why?
I was kicked out of a ska band for being a girl so decided to take revenge by forming my own band. Originally it was just my best friend Charli and my sister Helen but we decided to add Daisy on keys to fill out the sound.
Can you describe your sound to a brain-dead Burberry wearing alien?
No, not really. I would say youd have to come and see us. Strong songs in the hormonal indie persuasion with a sharp edge?
What was the last song you heard that you just HAD to play to other people straight away?
Happy as Annie Larrikin Love
Tell us a bit about the song on your website, Slit Wrist Teen Queen?
Its about drama queens who wear depression as a badge of honour and take great pleasure from telling people how awful their life is, when they are probably very comfortable. The title was inspired by our good friend Michael.
Who are your hero(ine)es, musical, artistic, political, etc?
There are so many but off the top of my head, David Bowie, Poly Styrene, Jarvis Cocker, McCartney and Lennon, Debbie Harry, Marc Bolan, Johnny Marr, James Dean Bradfield, Mick Jagger, Prince, Brett Anderson, Doherty and Barat, Kate Bush, Mick Jones, Charlis granddad
Being 4 girls, The Males make a refreshing change from the usual run of skinny indie boy with guitar type bands; why do you think theres a shortage of female powered bands?
I guess because the skinny indie girls are busy with the boys in bands. Im not really sure, I dont think there is a lack of them it's just a lot harder to be taken seriously unless you're four males with long hair and drainpipe jeans.
Do you think that the Internet and downloading spells the end of CDs / vinyls?
No, at least I hope not! Long live the music geek who still collects CDs and vinyls.
What was the last book / film you looked at that made an impression on you?
I dont watch that many films but The Hours really moved me and gave me quite a lot of inspiration, Amelie is my favourite and never fails to restore my faith in romance. Charli likes films that fill her with anger such as Scarface, Snatch, Sin City, Pulp fiction and Trainspotting. Spinal Tap is a band favourite. As for books, I can recommend To The Lighthouse, Sophies World, High Fidelity and High Society.
What do you listen to when soldering (I normally ask when hoovering but dont want to make sexist assumptions!).
Well I cant do either but whilst feeding my goldfish I like to listen to Suede , The Kooks, Le Tigre, Mystery Jets and Test Icicles (however this can sometimes scare the fish).
How can our readers get hold of your music? Why should they bother?
You can hear our next single on our website www.themales.co.uk or come and see us live and we may have a demo to give you if you are nice to us. People should bother if theyre bored of life and want to be saved.
What are your plans for world domination? Where do you hope to be (as a band) by the end of 2006?
In bed with some groupies.
Whats best, chips or cream buns?
Cream buns on chips (as long as they have mayonnaise)
Slit Your Wrists, Teen Queens, about this interview
on our message boards here
Lucy: 'Taxidermy' and 'Drink Me' are quite drastically different in their
styles, so what kind of sound can we expect from the 3rd album?
KJG: We don't know yet. We're playing a lot of new material tonight so you'll be able to judge that for yourself. When I'm this close up to it, it's really difficult to tell. I'm on a bit of a negative slant today, but usually with our music I can only hear the bits that have gone wrong rather
than anything that went right. When you reflect back on something it's very difficult to give an objective opinion, and I don't believe in objectivity anyway, I think everything's subjective. I just throw a deck of cards and
wherever they land, that's where she finds herself. I'm not really the one to explain my part in it, you must do that as the observer really, and of course that will reflect your part in the grand scheme of things.
Lucy: Do you enjoy playing live more than the creative process in the studio?
KJG: (Laughs) I don't enjoy any of it. It comes and it goes, ok? There's nothing like when you're writing and you manage to catch something by its
tail; when you're looking for those things underground that are skittering out of sight just when you're about to catch them. And when you catch them it is worth it, but it's a momentary pleasure. I've got so much noise upstairs, and I can hear things in my head that to me are absolutely devastatingly beautiful. I'm always trying to download them and get them
here, but they never get here in the right state, they're always very disabled and they don't even begin to imitate what I can hear in my head.
It's a frustrating process in the main.
Lucy: Your lyrics are simultaneously emotionally expressive and cryptic. Are you looking to be understood by your audience?
KJG: I'm always trying to understand myself, but it's like there's a point in the centre of the room, and there's a hundred windows to look at the same point from. All I can do is give you different angles on the same thing. God, you know, if I could find one conclusive thing in anything I would probably have something to put an anchor down on. But I cant, and I haven't met anyone that can. You can pick out anything you like in my lyrics, I don't seek to be cryptic. I love words for the sake of words, for me they're kind of free standing, and they don't really need to be explained. I think every word has its own character and colour and picture and the result you get with lyrics just depends how you put them together. You could just do it in a William Burroughs esque way, or throw the deck of cards, and you'd probably still find something that our tiny little minds would latch on to in order to gain some kind of emotional understanding. I don't think there's a constant, the only constant that there is for me is that there is no constant. I use myself as my canvas, I gut myself and fillet myself the whole fucking time, I'm always hooking myself out of the water, I'm always cutting my own head off and disembowelling myself, and as you can probably tell I'm quite angry about it at the moment. I'm very tired of it all, of my
process and how I find life, because it always seems to be about living and dying all in one breath. I'm getting pretty fucking tired of that.
Lucy: Do you think drugs stimulate or hinder creativity?
KJG: Well that depends on the drug, because I think most things arrive in the form of a drug really. I know in myself that if anything I am, much to my greater expense, an adrenalin junkie. My synapses don't work well enough to put pills in my mouth, I can't do that, despite popular opinion. I don't need any help breaking down, put it that way. There's not much holding it
together. If there was a drug that could put aline between two polar opposites and make them in to one thing I'm sure I would have it
intravenous, but I haven't found it. I think drugscan be a bit of a lazy way for creativity anyway, you're better off in the cold light of day in the mirror.
Lucy: As a band, you are distinguished by the extreme physicality of your
live performances. Do you consciously make an effort to put on a show or do
your performances just naturally come to you, and whatever happens, happens?
KJG: It's a bit of both, because you see, I think taking the stage is one of the most unnatural things anyone can do. In a way, just walking on stage actually creates an altered state - its not right, no one's meant to do that, unless you're a priest or a magician, or something like that. To put somebody who's very incapable in many ways in to that position creates a combustion reaction inside me. I know that, and I take the stage knowing that. Obviously there's all the usual things that affect my performance; if I'm on my 45th day of a tour I'm probably gonna be pretty fucking tired, so I'll be dictated by that. If I'm doing new material like tonight I don't
know what's going to happen, because we haven't built the train tracks yet. The beauty of playing live is when my drummer goes in to 5th gear or in to 10th gear, and for some reason there's something that hits me in the base of the spine and I'm gone, and that's Halleluiah for me. During the last few months a lot of strange things have been happening onstage, I think the process is changing. I don't know what's going to happen tonight, I've been having quite a tough time on stage, I feel like something's pulling me under, as if something's got me.
Lucy: So does the crowd influence your performances on stage?
KJG: Yes they do. I'm unkind enough to be pretty impersonal about how I do it, so I use them for me to kick against in effect, or to surf on, (I don't
mean physically surf). If you're in an empty roomand there's a couple of people at the back, it doesn't necessarily mean you'll have a bad show -
they might get the show of their lives. And then again when something's really heaving and going off, I get quite a distorted view of it, because I
can feel quite overwhelmed lose my sense of place in the situation. I lose control of myself. I don't know, I probably wasn't meant to do this, I
wasn't built for this. It wasn't a career option, I didn't start there and go there, I didn't pick up the things on the way. I've sort of gone round
Lucy: As the lead singer of the band, most media interest is focused on you.
Do you feel pressurised by your position or do you enjoy being the centre
KJG: I've been here on this wheel long enough,(and I say this with a little bit of trepidation because I think you have to be really careful with this kind of thing, because the motivation to do it in itself I think is usually pretty corrupt) I'm not doing it for anyone else, I need a cheque through the door like anybody else does, you have to keep eating, you have to keep living. I'm looking for some sense of going home on my own terms, and people's critique of me is not relevant, whether it's positive of negative.
I do need a cheque through the door though, otherwise I'll have to go and be a butcher or something.
Lucy: What is the religious meaning behind the song "For I am the way"?
KJG: If you use the word religion in its truest sense, all it means is communion, it hasn't got any of the attachments to any written word. My
understanding of the word communion is loss of the sense. Another way of looking at it is you've got to get in to get out, and the only thing that I
know to be true is me, is this tiny little dot in the centre of the universe. It's the only thing that I know feels pain; I can see other people's pain and I can feel it in an emotional way, but not in a physical way. I find myself in the unfortunate position of feeling like I am the
centre of the universe and that everything is a projection, made by me - i.e. you two don't exist, you're something that I created. I don't wish that
sense upon anybody because it's not a good one. Through 'For I am the way' I'm saying that you've got to get in, because the only thing one knows to be true is oneself. And on a good day, if you stand on top of a mountain or go to the desert or stand in the ocean, and become completely inconsequential, linear time stops and you become everything and nothing. That for me is
communion, that's how I define religion. I thinkthere's a line in there which goes "Today the only bridge I have I burn" which sums it up really, because it is about cutting all lines of communication in order to really truly commune.
Lucy: Do you think that in the future your creativity will move from the sphere of music in to literature for example?
KJG: It's real hard to say. In a way, that sounds like a much easier life. But for all I know I'm deluding myself. I'm looking for someone to help me frame something at the moment, and someone is actually, someone's being really good to me. I would love to write, but I don't know if I'm good
enough to do it.