Rock collective Eades are unusual in the modern age in the fact that they are just that... a collective. Made up of songwriters, producers and session musicians, they offer direct and bright modern twists on retro aesthetics, from Garage-Rock to Post-Punk. Having 4 songwriters in their ranks results in a fresh blend of influences and thus a sound that can be hard to pin down. Yet, their music is always driven by thick riffs that simultaneously carry the warm surfer vibes of the American West coast and the cutting harshness of British Punk-Rock. We caught up with guitarist Harry Jordan to talk about their fantastic debut album 'Delusion Spree'.
Where does the title ‘Delusion Spree’ come from?
"It’s the title of one of our favourite tracks on the album. It was a bit of a turning point when we were writing the record. When I finished writing it I knew it perfectly summed up what we wanted to say on the album and the themes within it. It also has one of my favourite lines I’ve ever written in it in the last verse".
What inspires most of the content lyrically and what kind of story does the new record tell?
"Most of the album is about real life experiences and emotions we all felt in our early/mid twenties. It's quite raw lyrically, tackling subjects that we’d definitely find hard to speak about had they not been in song form. I kind of cringe at the idea of people I know reading or listening to the lyrics but at the same time I am really proud about the fact we kept the lyrics authentic to ourselves".
"Some examples of these topics would be: A close friend's drug addictions, escaping from societal norms, bad habits, health anxiety, social anxieties, love and loss as well as the pettier sides of life".
What’s your favourite lyric across the whole album and would you say you are more concerned with the sonic impact or the lyrical message of your music?
"I think it’s when the two come together that make for the songs you're most proud of, so we try to do that as much as possible. A lot of our music is pretty upbeat and extroverted but our lyrics are often more introverted and looking inwards. I find it quite therapeutic writing like this as I’m not the best at talking about what’s going on in my head, but music has always been my escape mechanism and safe space to say what I often struggle to otherwise".
"My favourite line in the album “Moving out of a draconian age / disillusioned by the modern medical way / I hope the change in direction had shown that I meant it / yeh, I wish I meant it”.
What kind of film could the new album soundtrack?
"Loads of my mates and family have said they thought ‘Saying Forever’ would be great on 70s cop show. I like the sound of that".
Or maybe something like 'End Of The F***ing World'. I always loved the scene at the end of 'Place Beyond the Pines' when ‘The Wolves’ by Bon Iver plays. I’d love to write a song that's as powerful and moving as that for a film one day".
How does having so many songwriters impact your sound/Writing process? Can it become cluttered or does it offer a bigger range of fresh ideas into the mix?
"It’s only Tom and I doing the bulk of the writing. Then we bring the demos made together to the rest of the band to flesh out further with the instrumentation. This system seems to work pretty well for us as Tom and I are very close so we are really good at criticizing each other’s work without being offended by what the other person has to say. We also have a good understanding of what each other are going for or want to achieve".
"We wrote about 40/50 songs together for the first album and we’ve already finished writing the second album. We’re pretty good at churning them out because when one person gets stuck the other finishes. We always try to make sure we finish everything we start writing as well. You have to strip away your ego a lot but it’s the best thing you can do".
"Our old bass player, Dave, wrote most of 'Backseat Politic' but the rest of the time it’s been mostly done this way with the two of us starting the foundations. We also demo as we write so the instrumentation is a big part of it. Then we can re-write until we find the vibe that we like best for the song".
This blend of songwriters and artistic input is perhaps best heard in the single, 'Ever Changing'. The track expresses a more Art-Rock sound with a rhythm that never stagnates, beginning with a Post-Punk, Shame esc punch but quickly opening up into a brighter and more intricate instrumental landscape. The range of influence can be felt constantly, with the verses offering a vocal drawl and the chorus evoking memories of care free mid 00s ladish Indie perfect for dirty dancefloors and uni parties. This audible variance in style yet consistent quality among the collective is what makes their album constantly rewarding from start to finish.
Do you feel more at home recording/writing or playing live? And how much are you looking forward to playing this record live?
Dan Clifford-Smith (Drums / Production): "More excited than Harry and Tom get for a Greggs (that’s huge). We’re all buzzing for our April headline tour, as well as our support tour with Langkamer in March. It’s the reason all of us love and are committed to the band, as we love playing live – especially now we have our debut album tunes in the set. I think everyone would agree that we love both, but definitely prefer an absolute ripper of a live show. We spend a lot of time in practice rooms together so that when we perform live we can focus on the enjoyment/entertainment side of things, instead of worrying about parts".
Harry: "They are two very different things and both provide a completely different kind of fulfillment. There’s a buzz you get from creating something from nothing when you are writing and recording music. I also love the puzzle solving side to it working out what layers are necessary or how to mix them etc.
But playing live is a completely different buzz. It can sometimes feel like you're on drugs when you come on stage and your body is full of adrenaline. Especially if the crowd is giving back the same energy as you put out. The live side is much more raw, free and visceral where as the recording side is far more therapeutic and mathematical".
When is the perfect moment for listening to your new album?
"I think driving in the car. It’s always been my favourite place to listen music and whenever I’ve listened to the album back in the car I’ve got the biggest rush from it. If not in a car then just loud!".
'Reno', is instantly infectious. The Garage Rock riff has a swagger to it and cuts through the marching drum pattern. However, it is the vocals that lead the charge. The layered vocals deliver a power that is feels purpose built for an underground sweaty basement gig with the whole room bouncing and chanting back in unison. The first half of the track is nothing too unique but it captures the essence of a catchy Garage track and pours it out in a suitably fuzzy dosage. Yet, halfway through the song drops down as we are greeted by a more subtle and intriguing female vocal before it changes tempo and opens up into a messy sonic ball pit. The vocals ramble over a crisp guitar line whilst the drums ramp up the energy for a moshworthy experience. The original tempo then returns but maintains this newfound energy and finishes in a thick rumbling wall of sound and that super catchy chorus.
Who are your favourite artists right now?
Harry: "Honey Guide, Big Thief, Wunderhorse and Laundromat are just a few artists doing great things atm".
Dan: I’ve been really enjoying Squid recently, I saw them live at Motion in Bristol and they put on a ridiculous show – it was inspiring. Also a big FEET fan, saw them play Live at Leeds in Brudenell and they had the room shaking, one of the best bands I’ve seen live.
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