This article was originally featured in Issue
three of Shindig magazine,
(still available, e-mail :
firstname.lastname@example.org for information). I felt I had to cover
this wonderful new trio, which with The Nuthins I had shared the same stage
and been amazed by their perfomances. Boasting an Ex-Head
& The Hares and member of The Mystreated their musical CV pointed
that The Embrooks would be the business. The interview was
written over a year ago, since two singles have been released and the band
have performed throughout Europe. A full length LP will be out soon showing
the many moods of The Embrooks. This page will be updated at
regular intervals with information about the band.
Jon 'Mojo' Mills,SHINDIG Oct.'98
SD: What was the idea in doing an off-shott garage band with Mole
from the Mystreated?
Lois: An off-shit garage-band?
Mole: Off-Shoot! No thatís not the idea, itís not an off-shoot
garage band for me. The band was going before it was anything to do with
me. There was The Hellcats and then there was The Lyds and it evolved from
that. IT was Lois and her mate Wendy who got the band together a couple
of years ago.
Lois: We got together, then we played a bit, we worked really
hared and then decided that we hated each other and split up.
M: Certain people dropped out because they werenít serious about
it and didnít want to keep it going. We wanted to keep it going so we did
and we drafted in Alex.
SD: How did Allessandro come to be the new guitar player?
L: A dirty weekend in Belgium ended with Alex being forced into
it. (Mojo: This was at a garage night where The Nuthins played and Alex
guested with his old fellow Romans, Head & The Hares.)
AL: I was going to see The Lyds a lot as they were one of my
favorite bands. Itís as simple as that. (Laughter all round)
SD: For those who donít know Allessandro could you please explain
his laugh? Has this laugh been an addition or a hindrance to your musical
M: A real hindrance! It gets on my nerves!
M: Heís talking about your laugh.
A: My laugh? (Lois reads out the question to him again) Explain!?
(Bursts out into maniacal laughter-hearing is believing.)
M: Itís a stupid question! IT doesnít get in the way of anything
itíS like dynamite comedy, know what I mean?
A: Yeah, we should put some in the recordÖ
L: Yeah, on the run out grooove. Ha, ha, ha,Ö
A: A lead break would be better!
M: (laughts) A lung break!
SD: How would you describe the sound of The Embrooks?
M: Pretty nifty really.
M: Well itís like sorta crude garage really, I sípose. Weíve
constantly avoided the fuzz thing. Weíre going for a pre-fuzz, teen-blast.
SD: You do a fair few covers. I likeíem, difinitely to my taste.Who
A:We all chooseíem.
M: What did you come up with? You came up with Natasha and Love
Is A Beatutiful Thing?
M: We already had songs going down from when Merv was in the
band before. I wanted to do You Take Me For Rides.
L: And all the covers I suggested to do have been ousted.
M: Yeah, completely slated. It was to do with Ben that we did
Fight Fire, Kind of, a he said thedrumming sounded like The Fantastic Dee-Jays.
So we Thought ĎWell, fuck it! We might as do their track and do it justiceí-which
A: And I havenít got round any songsÖ
M: No, we just havenít got round to doing themÖ
A: The only reason is that you havenít got the records. You
should listen more and buy more records!
M: Well, if I had more money Iíd do that!
SD: The boring but usual-and for me impossible to answer question.
Who are your favorite bands?
L: So why ask it,eh?
M: I could go on for years. You know Iím really into The Gestures
at the moment, and I like The Knickerbockers a lot, and The Left Banke.
L: Yeah, yeah The Knickerbodkers!
M: The Left Banke are dynamite. The Podts. Fucking hell. I dunno
where do you begin and where do you end?
L: The Dutch scene.
M: Yeah Iím really hot for Seeing Her by James Mean, but thatís
just like one track. The Majority, Tony& The Bandits are fucking brilliantÖ
L: And The RamonesÖ
A: No. The Saints.
L: And Sham 69.
M: Yeah right, I really like Squeeze!
SD: What kinda gigs are you playing and howís the reception?
Any exciting plans?
M: What a question. What does he mean, well it(s sorta like
a mid-afternoon matinee. Well weíre free for bar mitzvahs and weddings
and all that. Weíll play where anyone puts us on and thereís a decent gig.
A: Our aim is to basically play and make the other bands think
that they should stop playing.
M: Yeah, like The Disturbed did the other week. We played the
the other week at the Dirty Water club and The Disturbed went home Ďcos
they couldnít deal with it. It wasnít anything to do with people leaving
itís Ďdos we blew their ears off.
Unknown friend of the band: Paul said on Saturday it was to do with
his bad time keeping.
M: The first band did go on kinda late, but I reckon thatís
bollocks. They know that the headline slot is a bad slot,ícos the last
band goes on too late and people start to leave for thelast train by then.
But they knew thatÖ
L: Mole you shouldnít slate The Disturbed.
M: Iím not slating them, itís just not where itís at. They shouldnít
have done that. It was a mistake and unprofessional to do that shit. I
donít care, I thought it was quite funny really.
SD: ĎGarage musicí has many different connotations to todayís
listeners. Some say it has to be Ďfuzzyíothers Ďmoodyí,some preferred Ďscreamedíothersísungí.
How would the members of The Embrooks describe the perfect approach?
M: There isnít one.
A: For garage music?
L: Itís like Domi from The Sires.
M: No. You think of Why by The Dirty Wurds, thatís screamed.
M: Yeah fuckiní right it is!
A: Itís shite!
M: Shite. Shout. Shite. No shouted! I sípose that what he means
I donít know what heís talking about half of the time.ThereíS no one perfect
approach, all of thethings mentined are cool.
L:I guess itís raw energy thatís essential isnít it?
M: General attitude. The attitude to the way you play is very
important. ĎGargageícovers such a wide range of music itís like a very
SD: Weíre now in the middle of 1997.How do you think things
are going for the garage scene and contemporary music scene?
M: The contemporary music scene itself is quite ropey. Although
itís better than it has been.
L: I think itís quiet exciting myself. It has been so about
M: The music scene is like dictated to by the music press, and
itís such a short lived thing as when something new comes along what ever
was great before is releagated to the bottom of the pile. Like Kula Shaker
may not be a big thing anymore. I donít know itís difficult to tell. And
as for thegarage scene I donít know. Is there a garage scene anyore? People
are hanging on to one.
A: Yeah exactly. There are people playing the same stuff since
the last five years.
M: Ten, fifteen fucking years.
L: The only good scene Iíve seen has been in Germany. It was
ace. Youíve seen what itís like in Spain havenít you?
M: Like what Iíve seen of the Spanish scene has been more records,
and therecords are shit. But a couple of the Spanish bands Iíve seen have
been okay, they were pretty cool live, but their records really fucking
suck! Really poor, and thatís the same for Italian bands and German bands.
Peopleís vinyl output is so different to what they sound like on stage.
If you only get to hear a bandís records youíd think theíre shit and then
you go to seeíem live itís a totally different affair. I sípose there is
an intense scene here and there but what people are influenced by is more
like what was going on in the Ď80s than the Ď60s. Many bands now are influenced
by Ď80s garage not Ď60s garage. (Allesandro and Mole start arguing about
good Italian bands. Allesandro mentions The Others
being better than many London bands.)
SD: Do you like whatís going on in London. Explain reasons?
M: Like whatís going on in London?
L: Sometimes London surprises you and is really good like The
M] But itís such an isolated thing. (Mole and Lois-who are boyfriend/girlfriend-then
disagree over Londonís musical merits whilst Allesandro laughs insanely.
The interview the, peters outÖ)
To know more about them go to theirweb
Their web pages on
Head and Hares
The Before & After
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