SPENDING TIME WITH CLOCK OPERA

Let’s start with the name – why Clock Opera?
There was once a composer who wrote a symphony for pocket watches. Nobody played it, so when I heard about it I thought we should. Haven’t quite got around to it yet.

How would you describe your music to someone who’s never heard it before?
That is your job isn’t it? (Guilty. – Ed) Recently we’ve been described as harp-ridden, bleep-ridden and sample-ridden. It’s always ridden with something, which I always associated with disease. So maybe we sound like disease.

And how do others tend to describe it?
We tend to be labelled chop pop. Not sure how accurate it is, but seeing as I coined the term I can’t really complain.

You have a somewhat unique approach to music-making in regards to chopping and sampling – could you briefly take our readers through what typically goes on in the Clock Opera studio?
All my secrets in one easily digestible paragraph? Certainly.

Do you ever worry that people might focus overly on the process of creation rather than the actual end-result?
No, I reckon that if people want to know more, it’s probably because they like the songs. We’re not just about the method, the songs are meant to affect you as a human being as well as analyst of technique. It’s just that we take a different route to make them than most.

You’ve had a few high-profile remixes over the last few months – does your approach to making a remix greatly differ from when you’re making an original track?
You get to break something at the start, which I like. It’s like a coconut shy where you smash up all the horrible plates and then make a tasty dinner on the ones you like.

You’ve been kind enough to let us put your PHB remix up as a free download and it’s been getting plenty of plays, not least at the S&D offices. How did the PHB remix come about originally?
Not entirely sure. Fell down the chimney I think.  I don’t know them or anything. I did see them at Cargo the other week though. Very much fun.

You’ll of course be playing Stag & Dagger this year – how does playing a festival compare to a regular gig?
There is even less chance of toilet roll. Che, our drummer, won’t go on stage unless he’s blown his nose, so this is quite a deal breaker.

How do you line up for a live show?
There are four of us playing and singing and hitting things and occasionally pressing up against one another suggestively.

A while back you mentioned that you wouldn’t mind incorporating a power drill into your live show – should we get our health & safety handbooks ready?
Yes, and a fire extinguisher.

And finally a few festival-themed Qs:

The best festival I’ve ever been to is… The League Of Imaginary Nations

My dream festival line-up would be… Leonard Cohen duetting with Billy Mackenzie, then Roy Orbison wailing over Scott Walker’s meat slap. Peaches and Shatner to headline.

What I’m looking forward to most at Stag & Dagger is… Seeing what Banjo or Freakout’s live show is like.

Clock Opera will be playing the Kill Em’ All stage at Stag & Dagger, London 2010.