Matt Sutton of Tayne answers some questions from Soundsphere’s Dom Smith about the band’s new album, ‘Love’, collaborations and the importance of MNRK Heavy.
Been a while! How are you guys?
All good, man. Yeah, it’s been a minute but on the cusp of dropping a new album so it’s all exciting, and nerve racking at the moment.
Why call the album ‘Love’ – what does that mean to you?
We should’ve called the album “conflict” because that’s really the focus point of the record, it just didn’t seem to have the same ring as much as “love” does. Love is such an impact word. The album concept views “love” as conflict or finding conflict in love. That idea came from really grieving love and feeling defeated by it, or that it wasn’t something attainable in my life. It’s maybe a bit pessimistic and raw but it’s exploring an honest view point of conflicts, sacrifices and compromises with one’s self and others. It’s a truthful and vulnerable take, and the opposite of what people usually want to talk about when we are dealing with “LOVE”. It’s trying to show a more raw stance on it and poke at the notion that it’s not so love isn’t so cut and clean.
There are a number if collaborations on the record, including ‘Fear’ with James Spence – talk us through working on that one?
Yeah, we got James from Rolo Tomassi on Fear which was such a trip. We are big fans of Rolo Tomassi from way back when they first began. I’ve know Nathan (bassist) for a bit and so when the label connection came through, Rolo were very giving and helpful with label stuff and info. So, when we signed to MNRK Heavy, we had the track ready and I think everyone knew “Fear” was the big honker, and so we extended the offer to James to colab and thankfully he was up for it. So I guess it kinda came in from the label side being on the same label.
In This Trend is a banger as well – what direct experiences inspired that?
In this trend is probably my personal favourite at the moment, of the Tayne back-catalog. It is always the one that goes off live. I’ve a tendency to re sample bits from other tracks of ours, especially when building an album. This started off as a segway song and was probably the last song to be recorded, it came together quick but it almost didn’t make the album. It’s kind of post-punk.
Every payoff was another massive climb. The chorus is almost an anti-chorus; it’s angular and grinding. Thematically, it’s a nauseating comparison to having an out-of-body experience watching yourself on a never-ending loop, feeling hopeless and sick. Kind of self-deprecating, and always pushing that self-destruct button.
Do you mind the HEALTH comparisons that you get?
Not at all, I mean we played with those guys within the first two years of being a band, they were so cool and giving to us. It was so awesome to see them and how they do it, an eye-opening experience. For me, the Death Magic-era was the closest thing to what Tayne is pushing, it was a lot more pop. I’m not sure if that’s what they where going for, but I certainly seems like they’re going against that now and more metal-inspired. I think our vision for Tayne, is to poke that beast of “POP” music and see how far we can push that with the music we create.
On that note, is industrial music having a resurgence? A lot of artists are now using industrial elements in their sound, even in pop music?
Yeah, big time. I think Trent [Reznor] probably has a big hand in that, I may be wrong, but I guess movies have way bigger reach in terms of audiences, and with his super-status in Hollywood having scored so many movies and collected so many Grammys for his work, a lot more people are in tune with him and paying attention. NIN nerds always thought he was a genius, but now the world is paying attention. Just an opinion, not fact.
Are there any major challenges to bringing this to the live arena?
Not massively, there are a lot of synths, electronics, programmed drums etc on the record that we physically can’t play live. I guess if we had the resources it would be cool to have a lot more live players on the stage doing all the synths and triggering stuff, but we’ve stripped it back to the trio formation live that seems to work pretty well. Drums, guitar, bass and vocals are all live at the shows. Live instruments is massively important so we’d never compromise on that, but the synths etc we’ve just programmed to run as tracks live.
What would you say your ultimate goals are with Love?
With releasing music you just want people to engage with and hopefully take something from it, the band started on a principle of trying to be honest, and create music that is honest, and so that’s what we strive to do. Hopefully, that resonates with someone. I’ve never been interested in the status and fame side of being in bands. Existing with your contemporaries and being relevant in the “scene”, is probably the most I strive for.
Talk to us about MNRK Heavy’s support, and what that’s meant for you?
Man, the label is sick, their involvement has been insane. It’s something I never really thought would’ve been attainable with us so it’s still kind of catches me how awesome they’ve been. Having a team of awesome people championing you on, and understanding the music and what you’re trying to accomplish has been great. There has been no compromise to the sound and they’ve given us complete freedom to do whatever we want musically.
Is there a message you have for your supporters across the UK and beyond?
Make art because you want to make art, be true and honest with it. Don’t compromise what you are trying to achieve, if you have a vision see it through and let it represent who you are. I’ve been extremely lucky to have my whole life enthralled in creating art and I’ve meet exceptional people through the process and it’s taken me to places I’ve never thought possible. Don’t be afraid of trying shit or saying no. Work within your means, I’ve been an underdog down and out my whole life and I’m still going. Make Art working class.
