Dai Lo Interview

So, it was just about at the begining of the year that Dailo came into my life. By chance. I took some copies of Yaz 8 I think it was into Select-a-disc as Way Ahead were basically refusing to take copies any more. So I took some in. A couple of days later there was a note pushed through the door. Jonn, the bassist with Dailo, had picked up a copy, liked it, and got in touch. We talked and he passed on a copy some of the bands demo recordings. I didnít know what to expect. But as Twist The Knife emerged from the speakers, I didnít care. Because this was my sort of music. I mustíve played those four tracks at least 10 times on the trot that evening. More than 6 months later as I type this, I still have those tracks playing on a compilation tape most mornings and evenings as I drive to and from work. Itís one of the happy coincidences of life that you can tumble across something like that. Better still that they are based locally to me and I can hopefully follow the fortunes as the band develops. One of those developments is that they had the track Junkmail included on the Org Radio 6 CD. Another was that they allowed me to use Twist The Knife on the Yazcore CD, and now weíre sat in drummer Simonís living room doing this interview malarky. It goes all over the place to be perfectly honest with you. I put it down to me having a really shitty cold at the moment and having spent the last 2 days putting as many Beechams powders, nasal sprays and whatever else into my body to try and get over it. Nothing to do with me being crap at this stuff and sometimes just steering interviews all over the place. Oh no. Nothing to do with that. So, anyway, weíve got the band sat around waiting to do this thing. So, to my right we have, no, let them do it for themselves...

 

Simon Russ

Shaun Jonn

"My nameís Simon and I play the drums". "My names Jonn and Iím the bass player. Who are you" he turns to Russ. "Iím Russ and I play guitar" he confirms somewhat reservedly. "Itís alright, people are only going to read it, theyíre not going to see your face or anything" assures Jonn, somewhat incorrectly youíll find if you cast your gaze to the pictures of the faces just above. Though there was a point where I suggested maybe using other peoples faces, so who would he be? "Matt Dillon" comes the reply before he corrects himself, "no, David Hasselhoff." Finally we reach the last person "Shaun, singer. God I sound terrible on the tape, even worse than I normally do. Sorry, intros over, itís time for a brief history of the bands.

 

"Probably 1994 it was when we first started" Jonn starts things on a positive note. "No, 1995. It was, spring Ď95" Simon throws the spanner in. "No 1994, I remember it well" "Some point between 1994 and 95, we canít remember exactly." Shaun plays safe. "Well Iíll tell you exactly. Spring Ď95 cos Iíd just got back from Germany" protests Simon. And this sets the tone! Unfortunately about 20 minutes later, weíre still going. Ok, 20 minutes is an exaggeration, but you know, artistic license. We could quite possibly be soon on to the dietry habits of pets belonging to former members of former bands, such is the detail. So stop, some kind of sanity is called for, come on, a BRIEF historical journey please!

 

"Simon came back from Germany, and what we did was find his name on a noticeboard. Me and Shaun were jamming in a band called Wiretribe, Russ was doing acoustic sort of stand up Bob Dylan." "As if I would". "Well, he would do sort of acoustic stuff in the Running Horse, heís not denying it so weíll take that as a yes." "Basically, all of us were trying to do something. Me and him (Jonn) had been together in a different band and played with Dex who plays in 3rd Stone." This has taken us back to Ď92 / 93 now! Up to date stuff please!!! "Anyway, we were in this band put together by Dan our manager" who Iím going to use my mystical and mythical powers to predict will turn up later in the interview, "with the guitarist from Catfish, Olly the saxophonist from Catfish. And then he became out saxophonist when we started Mangacide, which is where we all started off" and is finally where I was hoping they were going to start when I asked the question! Shaun then goes on to rave about the stuff they did in Wiretribe, and how "ordered" it was. "Some of itís still dicey in the way it was rejected and how it was labelled. But the actual idea! But I think the thing is, we had a real good idea of what it was we wanted to do. He was just all out balls out drumming, which is what we needed, whereas he tends to go out on little journey all on his own. Then we got Olly to do guitar and saxophone. Played on a few tracks live and got the rock star poses and liking the feel. Slowly start out the saxophone." "Of course youíve missed out Bob, Bob was classically trained. " Itís pointed out that theyíve probably used their first page by now. "You did ask us to rant" protests Jonn. That may well be true, indeed it is, but I was kind of hoping that it would come at the appropriate point, not during the history lesson. Anyway, letís save some more time. Bob ended up back in Guernsey and is doing some alleged stuff. Olly then got married and ended up in New York "nice". "And weíd done about 16 songs by this time, and realised it was time to form ourselves into something else, so we changed the name, became a four piece. Scrapped the songs." "Not all of them. Weíve kept some pieces that turn up. And the songwriting process with only four people has got so much easier."

 

And finally I can get on with some of the questions. So, apart from the songwriting getting easier, how would you say the sound has changed?

"I think before we knew the emotion and what we wanted to put into it, but it was a bit too regimented. And I think between the four of us, because youíve got less people to deal with the less filters for the idea to get through to the top. So the feel of itís going to be a lot more natural. But if youíve got a song that youíre going to put it through six peoples opinions compared to four, I just think it now comes out so much more natural. Straight to the point of what it is weíre trying to do with the song, instead of showing that we can do this and this and this."

 

Well what Iíve heard from you as Dai Lo compared to Managacide, there sounds like thereís different musical influences in there as well.

 

"Well, we had Bob and Olly before, and Bob was classically trained total jazz head. And the stuff heíd write was real good, but" "The stuff youíre hearing again is just like the stuff recorded in the studio. Weíve only done one demo that gets us as we are. See us playing live, even now getting that on tape is super stressed. If you imagine thatís how we sounded all the time, it was loads harder, and live! But when we recorded it, youíd add a keyboard on top of it" "Cheese on". "We got called an acid jazz band at one point." "We also got compared to Gong, the Levellers, Iron Maiden." "Itís like, people go round, Ďwhat band are you in?í, ah Dai Lo, Ďwhat music do you play?í rock, and then someone writes a review about you and you get called Acid Jazz!" "Who said that? It wasnít Organ was it? Iíve got a funny feeling it was. This is where Dan would be useful, heíd just go Ďoh that was xí."

 

Shaun continues, as at the moment it appears that Simon and Mr Hasselhoff are content to sit back and let Jonn and Shaun talk. Or maybe they just canít get a word in. Just a thought. Anyway, Shaunís still going.

 

"Thatís the thing there was loads of mixed up ideas about what it was and in reviews it was different in every one, which is good in a way but as far as getting any attention, if someone is looking for one style of band and they find reviews of a band that does a bit of everything, youíd think it would be ideal, but it works the opposite way. Ah, I do believe Russ, sorry, Matt, is about to say something! "Everyone pigeon holes constantly so that their advertising department knows how to deal with it." Even Simonís going to get in now. "Itís a thin line between staying back and doing what you want to do and trying to be different and a bit of conformance. The motive for Dai Lo has always been totally open to all ideas and influences, but I think what weíve done is to also be able to harness that and focus it more." "Youíre going to come across well focussed" And heís the drummer! "Yeah, destroying all myths". "The thing is, as Dai Lo we never ever ever take the piss out of each other!" Hmmm. "Weíre totally honest with each other, we never lie to each other." "We just totally respect each other" Shaun is almost convincing until the laughter starts within the room.

 

As for the name, am I missing something obvious with itís meaning?

 

 

 

"We made the stickers just because people were going to get the name wrong eventually" states Simon in reference to some of the stickers within the room. Within the band logo style, thereís Dildo and Die Low stickers amongst others. But the meaning? Jonn explains. "Dai Lo is Cantonese triad slang for Big Brother. And it sounded nice. We got a lot of Welsh references about it" Yeah, and Iím Welsh myself and did wonder. "Itís not like a deep rooted hatred for the Welsh." Thatís ok, remember the rugby this year. Hey, Iím going to live on that one until we beat England again, so thatíll be another 10 years or so of references to that game. Get used to it now. "But yeah, it literally means Big Brother. And why did we call ourselves Big Brother? Because the original name we were going to call ourselves was Big Sister." "The Big Brother thing is a bit obvious, and I like the idea and the way of presenting it like this. Itís a bit less obvious." "But I mean, the name Dai Lo, what kind of images does that conjure up of the music? To me itís Death Metal ... Daiii Looooooooo" death grunts Jonn.

 

Iíve fallen off my bike is the voice of Dan, manager of the band, who has just proven my ability to forsee the future by turning up as uncannily predicted earlier in the interview. And the numbers for the next lottery will be and my fucking knees killing me Dan interrupts just as the numbers were emerging. Sorry about that. Anyway, time for a band show of sympathy? Oh yeah right, theyíll just fucking laugh at me. A tea would sort me out nicely though Simon."Yeah, well weíre fucking doing an interview" is the perfect reply for a situation like this courtesy of Simon.

 

And while tea is being made, itís time to continue with possibly some of the questions Iíve written down. Primarily first, the music ones. Youíve got a track on the Organ Radio 6 CD. How did that come about and do you want to say anything about it?

 

"Iíd love to say something about how it happened, but I donít really know that much to be honest" is the start from Shaun to the amusement of the others. So Jonn has a crack instead. "As far as I know, Dan our manager knew and worked with Sean who does Organ. As Mangacide weíd appeared in there a few times. Hey Dan, was it Sean who said we were Acid Jazz?" he asks the still injured manager. At one point yeahcomes the reply, thus bringing to a close that part of the interview. Instead we can now concentrate solely on Dai Lo. Probably. "So we got on that through Dan as far as Iím concerned and because heíd heared us before, so we sent the demo, he did like it." "He kinda been there with us. The reviews previously had said that he could see there was something there, but there was too much beating about the bush. Iím not so sure about the sound quality of it in comparison on the CD, but I think if I see a CD with a demo on there, then it must be because theyíre pretty fucking special."

 

Indeed, and Dai Lo are pretty fucking special. Iím not sure that so far weíve really got a good sense of what the bands about and sound like. Maybe theyíre too close to the music to say. So Iíll give my perspective. Which is probably doing them a disservice to an extent. But take some of the heavier moments of Faith No More and to an extent Incubus, and youíre getting there. The ability to throw in a series of incredibly catchy, yet at times subtle choruses and youíre getting there. Itís also highly muscial, which in these days is becoming quite rare in amongst all the seeming dependancy on just how many guitar effects you can get. And currently they probably are just begining to scratch the surface, which is why as I said, that kind of restrictive comparison is maybe a disservice. I think thereís plenty more to come out of the band. But enough of what I think once more, time to return to that there interview.

 

Youíve also got some studio time lined up with Tony Platt?

 

"Tonyís the guy who did the last Bosstones album I think, and heís worked with Led Zeppelin, Bob Marley, Motorhead and various other things. And heís got a million stories that if he sat down with you, like us heíd just rant and fill up the tape.

 

So has he had any impact on the sound. You said how youíre all perfectionists and are always going, "letís change this". So has he had an impact on telling you what to do?

 

"Well we had a meeting with him where he came along and we just set up and played. It wasnít a whole set, just 5 songs or so. And we played so shit, weíd rehearsed and it was crisp, and then we got there and it was just .... Itís weird when youíve got just one dude there listening, you donít know him at all, but heís just going to stand there and take you apart. But all the stuff he said was totally obvious stuff." "Totally analysed". "It was like, he came in and we played one song, and he goes Ďnow what you need to do with the guitar is this brrrrrrmp did it. And he came up with ideas that weíd all thought, but in the places where we were holding back and didnít go mad because we thought we werenít going to get away with it, this guy was just going Ďdo it madí". "We needed someone from the outside to come in, and when someone says theyíre from a record company, everything automatically just goes Ďright, he must know everythingí. And itís a really easy trap to fall into. I mean, I was really suspicious, and I felt a bit uncomfortable with it, because he was justing standing there going Ďthatís bad, thatís good, get rid of that, this needs sorting out, bring that back iní And youíre just standing there thinking "what the fuck you doing to us?" "We wonít be needing those" Russ mimes the throwing away of instruments of musical creation "fucking shattered us. But everything he said was right, and it needed that person from outside to come in and say it."

 

So when are we likely to hear the fruits of this?

"Since we spoke to him weíve written a couple of songs where I think you can really tell the difference and before we used to rehearse like 3 nights a week, but now we just do a double one and then have an evening here just playing guitars and crap drum machines." Whereas before we just used to get in there, plug in and go bleurgyeeeeaaahhyeah Dan lets go with a sound thatís more like a wounded animal than musical pleasure, and that would be it. Thatís the song and everythingís cool. But now weíre actually thinking about the structure. Itís blown me away he finishes as Iím still trying to figure how the manager manages to discuss the bands creation of music with the magical word "we". Ah well, just me. "I think before we were just trying too hard to do something different. Even the best rock music is pop music really, and there are structures there that you adhere to for it to function and do itís thing. But we were going," he puts on an accent like on of those old 50s TV presenters, "make the middle 8 24 bars long and cut the verse down to 2 bars and then weíll have this little jam thing and wander off." Mike Patton amongst others might disagree with the structure theory.

 

So are there plans to get this new material out, the next few months or year.

 

"I donít know. That falls under the category of organisation and planning. At the moment weíre just concentrating on writing material" and the faces turn towards Dan. He responds to this cue. We need to get all the songs comfortable, hardened down on what weíve got. Stop writing new songs and work really hard on the material weíve got. Weíve got option on studio time for September, and thatís what weíre looking at. Any plans on how it would be released. Thereís a few options turning up, a few people to push it at. We need to get a blistering recording. There will be a release before October. Responses to this statement range from "fuck" to "ah, weíd better get something done then" to "whaaaaaah" as the band themselves try to recover from the statement. Youíve got two months. The law has been laid down.

 

Time to move then to one of my favourite targets, the whole industry thing and support of bands.Do you think UK gets the support to create an impact, and what it deserves.

 

Unfortunately the majority of the people that buy records in the UK are pop fans. And unless youíre 5ive or whatever, youíre not going to get in there. "I still think that you can do it, you can still get in there."

 

But within the context of rock music, unless youíre on a specific label at the moment, then the press wonít pick up on it at all. I think thereís loads of great bands in the UK at the moment, but no-one gets to hear it outside of those few people that go and see small bands.

 

"The Internet is the helping hand." "Weíve had no interest, nothing from Kerrang! or anyone like that." "The only people that have shown an interest in us as those people that have come to gigs, our mates obviously and actually fanzines. Big companies like Kerrang! are going to push bands that they are told to push. And that missed gap is where the Internet and fanzines come into it." Which is something Iím getting at. They should be taking an interest, but it takes more than one page per year on a UK band to make the impact on peopleís minds. It does take a prolonged effort, and it seems that the only bands that get that effort, are on certain record labels. From my point of view, there is no reason why Kerrang! Metal Hammer, whoever puts out the "free" CDs on their covers couldnít actually do 10 name bands, from the labels that "sponsor" them, and then 5 unsigned or demo bands, and actually let the readers decide whether they want this, rather than deciding for them. Irrespective of the fact, or alleged fact, that bands are paying to get on to these CDs, the actual cost of pressing them, combined with the resources and advertising that these magazines have means that they could afford to do it. If they wanted. Itís ok them saying that theyíre a business etc, but they DO have the opportunity and influence to make an impact. They simply choose not to.

 

"Kerrang! is turning into Smash Hits at the end of the day." Do you think that people could actually convince them to do it though, or are people to entrenched in the current way of thinking and acceptance. "The magazines are going to be bought by the same people irrescpective of whether thereís a CD on the front cover or not. So you might say that these people have a responsibility to promote new music, but unfortunately you very rarely see it. Unless everybody who bought the magazines actually wrote a letter to them saying, Ďright, Iím going to boycott this magazine until." And could you honestly see that going to happen?"

 

Heís right of course, it isnít going to happen. Unfortunately. But hey, as Bill Hicks used to say, "Iím just trying to plant those seeds". "In the end, the magazines are not run by people who love music. The editors do, but the people who pay their money donít. Itís business. So theyíre getting x amount from record labels to put their advertising in. Yeah, they should be supporting it, but unfortunately weíre not seeing anything. Could the readers do anything about it? Yeah, but only if everyone shouts. At least now with the Internet, if you want to find the information, then you can get."

 

How far can a band go and expect to survive without support?

 

Depends if you want to do a part time job doesnít it.

 

So, can for example a band survive selling out venues like the Vic in Derby. The Vic holds what, say 250 people, and American punk bands can come over, again, if theyíre on certain labels, and sell the place out. You wonder how they can manage to afford to tour the UK playing the same venues as many UK bands, yet the UK is totally apathetic to itís own. There must be something going on here.

 

I think the organisation needs to be sound. Itís totally possible, because you look at the US bands that come over, do 20 dates, in the toilet venues as theyíre called. 200 capacity, though you may get some bigger places, like say downstairs at Rock City. But youíve got to have a really solid grass roots fan base that youíre in contact with and is highly scene driven. You see bands like all the Nitro bands, and the Revelation and Dischord bands, and youíre lucky if they can pull in anyone really because nobodies heard of them, but theyíve got really good grass roots support, they work well with fanzines, they get their little editorial slot, 30 words in Kerrang! or Metal Hammer. The Americans are coming over with a certain attitude, and the English bands are just trying to emulate the Americans in their approach. I think thereís still this idea that there are actually huge deals out there. Itís difficult, how can you get to that point. If youíve got your own record label, you own all your own publishing, youíre not giving anyone else your material, it still makes it very difficult, because youíve still got to go out there and do the hard work, do the 2 men and a dog shows and all the shit and nail it down, and youíre not getting that initial push that someone else can bring. Itís like that 10 or 15 grand that could really set you on your way. And then you can stand back, release your own material and once youíve gained a certain amount of profile, go out and arrange your own tours, do your own merchandise, release your own records. That would be a lot better, but itís getting that initial buzz in the first place and itís very difficult in the UK market.

It has to be said, that at this point in the interview, things are totally unorganised and unstructured. Donít look at me like that, itís been well structure until now. Anyway, the reason for this is totally my fault. Iím drive this thing round in circles but eventually it dawns on me what Iím actually trying to get at. And so, to spare you some repetition of the same crap on my behalf, Iíll try to summarise things. The point is that music is more a part of the culture of society than some people realise. Until now, itís always been "oh, heíll grow out of it", but I think nowís the time to realise that some people donít. Itís a part of culture. It needs a solid grassroots foundation and support that allows music to flourish and allows for bands to survive without having hit singles and gold records. The successful bands generate enormous income and revenue for this country, and itís time to use some of that to support the lesser known. Just because something doesnít sell, doesnít mean it has no value or meaning. Quality should not be judged on sales figures.

 

There are levels. Thereís the upper level. Some will say thereís the underground level that exists to make extreme music, or to play in squats, and people who donít want that to change. Thatís ok, it wonít. Itíll always exist. But thereís a middle level that is ignored. And itís the level that should be coming under the microscope. Much like in sport, people should be able to make a living and devote their lifes and time and energy to it even if theyíre not international class. It becomes even more important if you consider the arguments about whatís happening socially in the world. We apparently have to plan for more leisure time in the years to come as jobs become increasingly more automated. Itís an idea thatís floated around for years. So maybe then some long term fundamental structures need being put in place.

 

Venues should exist for the purpose of putting on events, be it music or poetry or some kind of performance art, not for how much they pull in at the bar. Secure the audience on a regular basis, and youíll secure youíre revenue. Rehersal space and studios. Hell, Iíd love to be able to survive doing this, promoting bands and putting out CDs and the like. Not be a millionaire. Just be able to do this and make enough money to live on rather than holding down some other full time job. Whereís the point in saying to people "you have to get a job, you canít do music." Why not? The only reason you canít do it, is because the infrastructure isnít there to allow it. It ultimately requires government support and a solid long term vision. But we have lottery money being generated. Isnít there a cultural department or something within the government? It may actually go some way to solving some problems that exist within society. We are changing, and these changes need to be acknowledged and absorbed into our culture.

 

I hope Dai Lo "make it", but if not, is there any reason why they or so many other bands shouldnít be able to survive? Oh, you mean itís much more beneficial to this country if instead of being supported to make music, theyíre pulling pints in a pub somewhere, or on the dole as many in bands are, or are asked to do some menial job instead. Ah yes, thatís forward looking. Ok, that may seem off the beaten track and irrelevent within this interview, but itís something to think about. Because it isnít going to happen. If anything is to happen, then it needs for people to start things. Of course itís not that easy. There are loads of issues to be detailed and ironed out and itís most definitely a long term project. But why shouldnít it happen.

 

Right, thatís me trying to crystallise some of what I was getting at as we wandered around in circles. And Iíve ranted enough. Time to turn it over to the band to rant about anything they want, doesnít have to be related to music. Shaun takes up the baton.

 

"Work. I got a good 20 years in before I even had to think about work. And now itís dragging me down." "Nothing really, weíre all quite mellow at the moment." Well, apart from Jonn. "Football fans. The reason I hate fucking football fans is that whenever thereís an important football match, Simon and Shaun are never at rehersals." Simon retaliates. "Well I hate the way he grinds his teeth" he points at Jonn. "Theyíre wearing shorts man, and itís fucking winter" Jonn continues against football. "Itís passion man, surely you understand passion". "Yeah I do, just not football. Thereís so many better things in life. Fine art, opera, fine wines. Tight fitting slippers, donít get me started on them".

 

Dan is sent from the room for another brew. Iíd heard rumours about computer games being a pet hate of Shauns."For me. These two are just totally into them." "What you saying" asks Russ. "Iíd just like to say that Iíve just discovered the world of computer games" "Woo hoo, welcome to the 21st century. Shaun basically is a technophobe and thatís what it comes down to. He loves Mario Super Cars" He defends himself, "thereís just some games that you canít help but get into, but as rule just waking up and immediately thinking of going to a computer game" "aww, itís so good though." "Your staring at a screen when you turn the TV on, but it doesnít involve interaction" "thatís why itís interesting" is Russ defence of the games. But Shaun is still not convinced. "You put the TV on and itís there, but you can do other things. I think people play computer games believing that they exorcise demons. People that are seriously angry play a serious shooting game and are then going to be less angry when they finish playing. Like walking out of Rocky, youíre not just going to go and punch someone."

 

The tea and coffeeís arrived. You say about relieving the tension via games, with all these shootings going on in the States then at the moment, what do you think is the solution to that, ban guns or politicians?

 

"Banning politicians, if politicians were actually proper politicians that had no stances any other way. If you eliminated them, obviously thereíd be chaos" deadpans Jonn to much amusement in the room. Maybe you had to be there. "At the moment, weíve got politicians and weíve got guns, and thereís absolute chaos." Yeah, but at least before the chaos youíd have a massive party. "Totally, but then the chaos would kick in. Weíd not get out computer games anymore, Iíd plug in my bass guitar, thereís chaos and I wouldnít have any electricity and Iím fucked. Weíre all going acoustic. That could be a really good stance for us. We all go acoustic and weíre ready for the apocalypse, we can just carry on playing. Banning guns. What do you reckon? Should we ban guns?" he asks the rest of the band "yeah" "uh, ok then. Russ reckons we should ban guns, I donít." "Well itís not the actual gun, itís the people that use them. What about people like Charlton Heston who claims you should ban the gun, you should ban the trench coat because you can hide the gun in it. Do you think thereís any kind of logic to something like that? "Heís obviously senile." Itís still the bullet that puts the hole in the head. "Ban the bullets. We can just have the guns. We can stand there and pose with our guns and our glasses and we donít have the bullets in it."

 

Talking of poses then, any temptation to do some gangsta rap poses.

 

"Yeah" is the admission amongst the laughter. "Considered it. Hair nets, vests." "Oh yeah. Hair nets, string vests, white shirt done up at the top, trousers up here. Weíd like to do that, but purely in jest. The last set of pictures that we did were done in very strange sort of cowboy look. White, around a pool room, weíre all playing pool and throwing loads of money around. Thatís about as cliched as it comes. If we do some pictures of us just standing there, itís just going to be a picture of four blokes standing there" is the impeccable logic. "Having a bit of something to it, I just look at some pictures and think Ďhow cheap is that?í and I like it for that. One of the shots is basically Shaun knocking the 8 ball, and thereís loads of cash on the table, and weíre all just standing around with sunglasses on, Simon being very very pissed. And basically the 8 balls going up and itís right in the middle of the shot, and it looks like itís been Photoshopped on, but itís not I swear. Shaun did it. Daddy Mack at pool.

 

And the tape ends. We turn over. Talking about the photographs then and gangsta poses, do you think musicís more trend driven these days than itís ever been? Yet everyone claims itís just them being "who I am", which is the trend in itself.

 

"Itís street isnít it. Youth culture. Put them in their what is it, their army combats and skate board t-shirt and they all fit in. But we all dress like this because weíre comfortable in it" "Gone are the days, thereís no room for fantasy any more. I mean weíre not just like pixie goblin" says Shaun, and Iím still trying to figure that bit out. "I like the idea that just seeing a photo in a magazine and it says good stuff, then theyíll go and see it.

 

But doesnít it all mean that some people will then just dismiss some kind of music based purely on that, and on the image not fitting that of their scene. I mean, hardcore is a great example, with the harder stuff, the NOFX stuff, the emo-style. All based on one fundamental style yet attracting completely different audiences.

 

"Back to the magazines again though, itís unfortunately what they sell. In every Metal Hammer and Kerrang! theyíd sell t-shirtís with band names on. Now theyíve got in to advertising t-shirts without band names on, itís an image t-shirt."

 

People claim to be more open minded because they listen to techno-rock, but they only tend to listen to techno-rock.

 

"Yeah, but people have always wanted to listen to music and be able to say Ďitís all mineí." "Yeah, Iíd agree, but unless you start up a fanzine, or get in on the inside to be able to corrupt it, what are you going to do? Go round smashing peopleís heads together until they listen?" Mmmmmmmmmmmmmmm, sounds good to me! "Iíd love to. The number of people I might that are narrow minded on any sort of music, ĎI like house music and thatís all I listen to and I see no emotional value or anything in any other type of musicí. Whatís the point, theyíre just cutting themselves off." "People just donít seem to be creating sceneís any more, supporting their local talent and getting behind them."

 

Do you think that the computer games mentioned earlier have had an impact on that, in terms of people playing them and that at the moment thereís just more things competing for peopleís attention?

 

"Yeah, I mean kids the used to go out with their money and buy records are buying a Playstation game now." "But a lot of itís the record companies as well, theyíre not signing the bands."

But couldnít they use this as well, add the music to the game CDs. "Yeah, thereís loads of ways music could be pushed on people, advertising, getting your music on an ad, or on a TV slot, theme tune to a TV programme."

 

Time to turn away from the music. When I arrived, there was talk about missing the James Bond film thatís on TV at the moment, so, whoís the best James Bond?

 

"I was" offers Russ, who has now transformed from Matt Dillon, to David Hasselhoff and finally into James Bond. He plays a pretty good guitar Ďnall. "We did a gig that was a James Bond theme gig. Silencer at the time, who are now Houdini turned up all as the Voodoo Priest and we turned up suited and booted as James Bond." "Who is the best James Bond Shaun?" Roger Moore is offered up by Simon, and backed by Jonn. What? "This is where the argument will begin. He was spot on." Roger Moore is just a chair in a suit. He really is. "At the moment Iíd say Pierce Brosnon is the best" "Has to be Sean Connery" and the argument continues.

 

Any Star Wars fans? "yes" and have you seen "yes" the new film. Is it "yes" a pile of crap? "No. Look at it as another Star Wars film and youíll just love it to bits. I do. Darth Maul isnít in it enough." "By the way, we donít know what Jonn is talking about." "If youíre a Star Wars fan youíre going to love it anyway, if you love action movies then youíre probably going to love it. The cinematography is great, the THX supersurround, which has only been introduced this year, is fucking awesome. The pod racing where the cliffs are going past is like phhhhhwhhhh phhhhhh wow. Can you spell that for me. Heís a little enthusiastic about it. "When the opening credits came in, the yellow title went up, the original Star Wars, shed a tear. Iíve waited so long, oh it was great. Annakin Skywalker is the comedy. Some of his lines are dire. But Darth Maul is bad, much better than Darth Vader. Heís got a double ended light sabre! "Heís flipping out" laughs Simon at the enthusiasm that is surging from Jonn at the moment. "This is the question you want to be asking, Darth Maul or Darth Vader". "Darth Maul is scarier than Darth Vader? Get out of here." "No no, scarier to look at, but obviously that ..." the breathing that Iím not even going to attempt to spell "was very very scary. But seriously man, the fighting in it is wicked!" Matrix is better though. Another chair in a suit though in Matrix.

 

Letís face it, this has gone on a while. Actually, theyíve just dived forward and taken both One Minute Silence and Earth Crisis on the line for the longest interview on tape. So, letís bring it to an end. Millenium. Doing a gig in the Bahamas on New Years Eve?

 

"Iíd love to. I really want to do a gig on New Years Eve. But weíve got to receive mucho dollar and be guarranteed to be on early so that we can then go elsewhere. Preferrably in the Bahamas. Amsterdam would be good as well. Donít think the worldís going to end. Millenium bug could be a bit of a problem. Got to check my computer is clean." "Pouring bleach on the computer is not the way to do it" advises Russ.

 

Final words. Why should people listen to Dai Lo.

 

"If you like a nice tune youíll like us." "Itís very good and we like it" "Come and see us play".

There, done. Another one bites the dust. Probably one that shouldíve been videoed. I need to get a video zine together to bring the real affect. And save me typing. Though Iíll be blanked out obviously. Anyway, yeah, Dai Lo are pretty ace, you should do yourselves a favour and keep an eye out. Whether or not you read about them in Kerrang!, thereíll be more in here. Trust me on this one ok.

0