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An Interview with Malcolm Middleton

by Outline

You’ve been in a band, worked in a collective, collaborated with numerous artists and this month sees you come to Norwich with your solo acoustic tour, ‘Long Dark Night’ - with just you on the bill, can it be a lonely period?

No, I quite enjoy it; I’m really looking forward to getting in my car and traveling up and down the country. I’ve got Sat Nav, so I won’t get lost and I’ll play my music really loud in the car. It might turn out to be quite lonely; you’d have to ask me at the end of the tour…

Looking back, you embarked upon your solo career four years before Arab Strap split up, so what message were you trying to get across that you couldn’t say within the band?

Well, I was just the instrumentalist in Arab Strap really; I just played the guitar and Aidan was the frontman, y’know, he was the one writing the lyrics and I thought, ‘I have to get this out’, because I wasn’t expressing myself fully in the band.

I’ve read that you said hearing those songs back is like “hearing an old friend who was severely depressed, desperate and unhappy”, so without meaning to sound like Oprah Winfrey, what was the turning point for you?

Erm, I think at the time, the turning point was writing the songs; I managed to laugh myself out of the situation I was in which was quite negative. Because it was so negative, I wrote about how negative it was and it made me laugh, ‘cause the songs are written sort of tongue-in-cheek and they’re meant to have a laugh at themselves, so it made me realize how pathetic the situation was – that itself was a turning point.

Obviously your songwriting is a real form of catharsis for you, and from that, it seems like your personal journey is well documented because you exorcise your demons quite publicly, but with ‘A Brighter Beat’, it was quite a landmark moment – does it signify a happier chapter?

Erm, it’s weird because it’s definitely more emotionally stable than the previous two records, I mean, I don’t normally write about relationships, but I’ve been in a happy, stable relationship for about the last six or seven years and I think most of the stuff I write about now is just lack of contentment, maybe, with my place in life, or figuring out what I should be doing, or that I’m doing the best I can with what I’ve got or that I’m trying to figure out the answers.

Songs like ‘Stay Close Sit Tight’ and ‘Death Love Depression Love Death’ are maybe signatories of the darker times – is that to keep some cohesion with the earlier material, or are they still matters you need to get off your chest?

No, it’s more like – especially with the album ‘A Brighter Beat’ – I was quite happy at the time, but that album was more about the lulls of depression, like you get the mundane things on a Tuesday morning… I don’t mean now, even though it’s Tuesday morning! It was more about the mid-week afternoon types of depression, rather than being floored by something bigger. Since then, I do only tend to write when I’m feeling a certain way, so it tends to come across as seriously quite negative, but I just write about how I feel at that moment and hopefully someone else can relate to it at a certain point.

When it comes to writing your songs, do you write the lyrics first and then the music, as the words and melody often seem to juxtapose each other?

It’s done in a number of different ways; sometimes it’s me and my guitar trying to sing along with the music, or I’ll have a line and I’ll try and get music to go along with it, but most of the time, I’ll have a guitar part worked out and I’ll wait to see what lyrics shape up. I’ve got a program on my computer that I can put the music on and then work out the lyrics next.

Is a lot done electronically? Your upcoming acoustic tour seems a world away from that, but does the process usually involve computers?

It has been for a few years, I mean, with the last album, I think maybe half the songs were written on the computer and I’m not sure, it’s not like my goal or anything to have the music done electronically, but I just kinda wait and see, I mean, some of them obviously don’t work that way.

So if someone’s first introduction to you was the song ‘Red Travellin’ Socks’, which has that juxtaposition I was talking about, they might not appreciate the weight of feeling you’re famous for, as it’s a little more light-hearted; is this an indication of a direction you’re hoping to go in?

Erm, no! I don’t know what direction I’m going in next, but ‘Red Travellin’ Socks’ is the result of being away on tour quite a lot, singing quite depressing songs; I came home and just wanted to write something quite stupid, so I started singing about socks and while the song isn’t just about socks – there’s quite a bit more to it – I’m not sure it’s the best introduction to what I’m doing, because I’m not even sure what that would be.

It’s been well reported that you want to sort of split up from yourself and stop recording as Malcolm Middleton and start doing something else, but how far into that idea have you got?

I’m not entirely sure, I mean, the way I’m seeing it is that once I’ve finished doing this acoustic tour in November and December, I’m gonna stop for a bit, but I’m not actually gonna stop, like stop breathing, or stop working or stop trying stuff. I do want to do something different, but in a way, I do like what I’ve done under my own name and I’m proud of it – especially this year – but for the last few albums I think I have been quite unenthusiastic and quite cynical about it. I feel quite bad about that, because I don’t think it’s fair to berate your own style of music, but I definitely think I need to change my way of thinking about it, like, what I’m doing, otherwise there’ll just be another stupid press release of negativity! I do want to step outside my own shoes for a bit and not do these kind of songs. I’m not sure… the first week in January I’ll probably be just staring at the walls for a long time, thinking ‘what the hell am I going to do now?’ It’s quite exciting, I mean, I’m quite excited about doing stuff, but I’m also quite excited about doing something maybe 2 or 3 years down the line with a blank notebook, maybe trying to express a different part of my character.

I really appreciate the self-deprecating reviews section on your website, where you’ve edited and shortened the reviews so they look almost negative, but do reviews actually mean anything to you, or do you treat them all with blithe humour?

I’m not sure if I’m capable of giving an honest answer, but I’ll try my best! I just mean that I’m not sure myself whether I really like them or not; I get sent them, like clippings from my press agent and I do read them, but I don’t really get upset. I mean, I’ve been lucky, because I’ve never had a really bad review, but usually it’s more the case that people have misunderstood what you’re trying to say, or the main thing, which I’ve been used to since Arab Strap is the key words like “depressing”, “miserablist”, or “melancholy”, which doesn’t really bother me, because what do I expect if I’m only putting out a certain aspect of my personality? I can’t really complain and say “oh, they’ve misunderstood me”. The biggest thing that affects me, which is one of the reasons why I need a break, is my perception of what I think other people might actually be thinking, which is not going to be correct as it’s only my perception, but I think it sometimes stops me working, which is a problem; it’s like this song I’ve just written, that there’s a danger of me becoming a caricature of what I’m known for, and that can often stop your creativity and distract you. That’s one of the things that I’m finding now, so I just need to get away from what I think I’m perceived as by other people, or not.

You mentioned on MySpace your variable relationship with Twitter – are you still on there?

Yeah I am, but I hate it. You know, I usually put something up, then delete it. I don’t know, it’s funny; it’s strange enough doing newsletter mailouts and MySpace  blogs, because you feel like you have to keep in touch with people who might want to know what you’re doing, and to then have to Twitter about every moment of your day… I’m not sure – I don’t really like it that much. I wonder what’s going to be next? Last year it was Facebook, this year it’s Twitter… maybe there’ll be something where you just have to put one word up.

Colin Murray famously championed your track, ‘We’re All Going to Die’ in the hope it would beat the hits from the X Factor pop factory to the Christmas Number One, but what are your own thoughts on pop dominance and the reality TV machine?

Erm, I like it; I’m not sure what’s in the charts at the moment, but I’ve always liked the idea of pop music. I like the melodies and the one-hit wonders and producers just producing, like, one song. X Factor and stuff like that is pretty appalling, but it’s television and it’s entertaining, so from where I’m sitting, as long as it stays in its own area so that you can still have the underground scene existing in its own right, then it’s alright – there’s room for everything.

There seems to be a resurgence in the Scottish indie scene at the moment; off the top of my head I can think of The Twilight Sad, Frightened Rabbit, Glasvegas of course, We Were Promised Jetpacks, Sons & Daughters as well as so many others – do you keep an eye on the Scottish music scene and what do you the resurgence is owing to if you do?

I’m not sure and it’s good that you’re thinking that way as you do, I mean, being as old as I am now, Arab Strap started and when we brought out our first record in 1996, there was attention then and it always seems to come back every few years and at the moment, people are kind of looking up and taking notice of us. Living here, it seems like it’s always been the same, like, it’s not like there’s peaks and troughs in the music, it’s just about who’s looking up here.

You were involved in the Scottish music collective fronted by Snow Patrol’s Gary Lightbody, The Reindeer Section – what did it mean to you being involved in that?

I’m not going to lie to you, I only played guitar in two songs and it was just because the guy from Mogwai who worked on the first album didn’t want to take part in the second album! I kinda got draughted in and I think I even played live with them once; it was fine, I mean, it wasn’t a bad thing.

I was reminded very recently again when I saw the soundtrack to (500) Days of Summer on which the Belle and Sebastian album ‘The Boy with the Arab Strap’ was mentioned and featured, that at the time, you or Aidan weren’t very chuffed that they’d used their name in the title… Is that true, or just speculation?

I can’t remember, but basically years later I kinda found out the truth… Basically the album came out and Aidan was moaning about it, he wasn’t very happy because he said he they’d basically used our name in the title and apparently the song as well; if you look at the lyrics in the album notes, the last verse is obviously about Aidan, but the music fades out before you here the voice sing the verse. So this is all quite heated, but then I found out later when Aidan confessed that he basically remembered Stuart Murdoch had actually asked him in a pub if it’d be OK to use the name and Aidan said “of course”, but Aidan forgot that for a bit and forgot that he’d actually given permission. I didn’t find that out ‘til maybe three years after the album came out. He was really bashful when he confessed he’d given them full permission.

I’m glad that all these years later we can clear that up…

Yeah, but the thing that still annoys us about it though is that people still ask us if we named ourselves after the record – we get that quite a lot!

You’ve played Norwich before – do you have any memories of our fine city?

Yeah, I’ve played that Centre about five or six times now actually. I always have a good time there; we never get to see much outside of the street that the little Centre’s on, but I had a fun time when I played there about a year and a half ago in a bar that’s across the road from the venue –

The Ten Bells pub…

Yeah, that was quite a nice pub and I remember upsetting one of the barmaids because she was talking about how she was looking forward to seeing Malcolm Middleton tonight, but she’d been mixed up and she actually thought Aidan was me! She was expecting this big guy with a big beard and black guy, so she was quite upset that I wasn’t him! I might get a fake beard and fake wig and walk in there again this time…

 

Emma Roberts

Malcolm Middleton brings his acoustic tour, ‘Long Dark Night’ to the Norwich Arts Centre on November 26th. For tickets, go to www.norwichartscentre.co.uk To read the uncut version of this interview, go to Outlineonline.co.uk

 

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