11:17 21st May 2004

Gomez ArtworkWith over two million records sold world-wide, Gomez follow up 2002’s critically acclaimed "In our Gun" with their fourth album "Split the Difference". The album is already out and Olly Peacock, drummer of the band, is here to answer a few questions about their comeback!

G: Would you suggest that I should move to Portslade?
Olly: No. Its a shithole!

G: You have described the new album as a resolution of a series of identity crises you've had through the past couple of years. Not just musical identity, but personal identity. Do you think that the best pieces of art derive from negative or positive feelings?
Olly: Musically speaking the best tunes come from negative experiences. When a musician or band are in a state of depression, misery, loneliness or whatever, all attention becomes focussed on the emotions. These feelings can consume someone for great lengths of time and become the over-riding form of expression. People easily relate to vulnerability and it creates a strong sense of empathy.

G: Would you say that this album dismisses any kind of previous experimentation and goes back to a more pure rock 'n' roll sound?
Olly: We played around with music and sounds as much as ever but the songs that felt good together leaned towards the live songs. The studio we built becomes a sweat box in the summer and a freezer in winter. Along with our short attention spans it meant we recorded real fast. We didn't want to spend time pissing around with machines and it felt very refreshing to be able to perform as a band.

G: What music was on your cd player while you were recording it?
Olly: I can't speak for everyone but personally Smog, Kraftwerk, Eels, Rufus Wainwright and Kings of Leon

Gomez ArtworkG: How come you recruited a producer (Tchad Blake) to help on the fourth album when you have been doing the production so far on your own?
Olly: We recorded everything ourselves and brought Mr Blake in to get some more perspective. We re-recorded a couple of songs and then let him sprinkle his dirty black magic over the top of what we'd done. The end of a record is always tied up in a studio with an engineer and since hearing how he mutated tunes by the likes of The Latin Playboys we thought 'we could do with a bit of that'.

G: You've spent most of the last couple of years on the road and especially around US. Would you say that this made you see live performance from a different perspective?
Olly: Since we've been touring more and more in the US, we understand the differences between audiences. Fundamentally, in the States they have no hang-ups of who you are or how you look. As long as you're playing good music thats all they care about.

Audiences in the US are warmer too, and let you do your own thing whereas in the UK theres a sense that people turn up intending to be impressed.

G: How would you consider your relationship with the British press? Do you think they have been fair to you?
Olly: The British press don't seem to be fair to many bands - all concerns are based on their perceptions and egos. If they can build you up they just love shooting you down.
Presently, pre-conceptions and fashions have become more important than the music itself. They need to lose their fickle attitudes and just listen to the fuckin' music!

G: You are touring UK in the end of the month. Any message to the fans?
Olly: Be prepared to have a fuckin' good time!