Tag Archives: Maurice Deebank

Lawrence Q&A, Part 3: Felt

A bit of a longer post to finish up the Felt section of this Q&A. Hope it’s not too tiring.

This is what led you to titles like Crumbling The Antiseptic Beauty?

Lawrence: John Peel called it “the worst album title ever”. I thought, wow, he doesn’t like my stuff. It’s good in a way, because it meant I was doing something. I wanted him so much to like it, because I knew how important he was. But I felt the words were different to anyone. I wasn’t hiding, I was willing to stand up and be counted for it. I was proud of them.

I wasn’t copying my heroes, I was doing what I was told to do when I read their interviews, like: ‘absorb us, learn from us, and do something different.’ I wanted to add to that rich tapestry, and if you were going to copy someone, you’re never going to be counted, like the people you loved. I hate copying people. At school, I wouldn’t want to have the same shoes as everyone else.

Lawrence shows me an exercise book in which he has transcribed a sweet and clever poem about a tortoise that he wrote when he was a child. I say to him that he’s got very neat handwriting, to which he replies something like, “If you think this is neat, you should see my best…” As with the Scooby Doo play he wrote when he was 8, mentioned in Paul Kelly’s film, you get the impression Lawrence is still pleased with, or maybe even consoled by the idea of having been a promising child.

In this book is the first poem I ever wrote when I was 9. We never used it in the film.

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Lawrence Q&A, Part 2: Felt

Can we talk about the beginning of Felt?

Lawrence: Maurice Deebank used to come round my house in 1978, and I used to think “I could do a band with this guy” but he wasn’t ready. I’d known him since I was 7. Then I’d think “I’ve got to do a band, but I can’t do it with this guy. I’m gonna make a record. I’m not good enough to write songs. I want it to be the best record ever, but I’m not capable of that yet. So what can I do?” It was the time of the DIY revolution – the one period when making a record in your bedroom was good, Thomas Leer with “Private Plane” and Robert Rental. I thought “I’m gonna make one of them…” I thought it’d cut out all the rubbish, having a van, putting a band together, rehearsing, getting some attention. I’ll make a record.

But I couldn’t make a great record, because I’d be doing it in my bedroom. I thought, “I’m going to make the most outlandish thing possible, it can’t be ignored. But it can’t be about music. It’s got to be a massive statement, like “I’m here. Waving the flag” “So I did “Index” in my bedroom, I tried to do something unclassifiable. It was neither good nor bad. It was just there. It just existed. I was trying to conceive ways of doing it, being famous. I wouldn’t have wanted to do a local group, and build myself up. I wanted to do a group that signed to EMI. I thought if I detour round this for a while, I can get myself known. I fit into that DIY thing perfectly – I was a fan of noise, I’d come of age, I was post-punk, though that wasn’t a word then. I loved unusual music, Fripp and Eno. I understood music wasn’t just about songs, but about many, many other things. I could introduce myself.

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