Martin, as one of the founding members of Attrition, how do you feel the band's sound has evolved since its inception in 1980, and what inspires the direction of your music today?
Well we started life messing around on guitar, bass drums and vocals... and played our first 4 shows as an anarchist post punk band in 1980/81... we soon discovered synths and electronics and disappeared for a while to learn how to use this new technology... we came back in 1982 with our own small studio with synths and drum machines... that was the birth of ATTRITION proper... we released a very experimental first few albums in This Death House (82) and The Attrition of Reason (84)... gradually taking in newer digital technology, and then bringing in guest instruments as we progressed... guitar (again) and Violin, Cello, Piano from time to time... I was inspired by some of the new electronic music... techno, drum and bass etc... so we incorporated some of that as much as we incorporated more classical music influences along the way... today it remains the same... I love to collaborate with external sources...people and machines. I cant see that ever changing.
Julia, as a classically trained pianist and violinist, how does your background influence Attrition's unique blend of dark ambient and neoclassical music?
Sadly, I can’t take credit for the wonderful piano and violin/viola pieces as I’m not classically trained. Martin has some wonderful guest artists that take the music to new heights. I can play keyboards and bass guitar a little, and read music, but it’s all mainly by ear. I have recently been studying music theory and have found it both interesting and helpful.
Attrition has been described as integral to the original UK industrial and post-punk music scenes. How do you see the band's role in shaping these genres, and what sets Attrition apart from other bands of that era?
When we started we didn't have a genre to fit into really... as much as we were influenced, first by punk, and then by the early electronic music of bands like the early Human league, Cabaret Voltaire and what is now called post punk (Magazine, Siouxsie and The Banshees, Wire etc)
The term Darkwave is often used to describe ATTRITION now, although it didn't exist when we started...i wouldn't claim anything at all but i think we may have had a hand in it's creation.
I think the difference in ATTRITION is the male/female aspect of the band, i've always felt that was very important...and I think there are a range of influences. We use anything we want to.
Martin, Attrition has played early shows with iconic bands like Coil, The Legendary Pink Dots, and In the Nursery. How did these experiences influence the band's musical journey and sound?
When we first began there was no scene at all for the kind of music we did... it was hard to play anywhere, so as other more experimental bands emerged it was so good to meet them and to play with them... I think we all learned from each other back then...it felt like we were all exploring the same musical frontiers, in our own unique ways.
Julia, your lyrics often explore themes of darkness, psychology, and the human condition. What inspires your songwriting, and how do you approach weaving these themes into Attrition's music?
I’ve always been interested in psychology and various belief systems that explore how we as humans deal with finding a meaning and purpose in life. Sometimes lyrics come on their own often triggered by life experiences, but at other times they are inspired by pieces of music or they wrap around lyrics that Martin has already written. I have a deep respect for the profound lyrics that Martin produces as they are so unique. One tactic I sometimes employ when generating lyrics is to think of using another language rather than English, which can avoid clichés or sometimes they just fit better with the overall feel of a song. Regarding weaving the lyrics into a song, the dark and deep lyrics always seem to fit well with the minor keys and atmospheric rhythms that make up the music.
Martin, Attrition has released music through various international underground labels over the years. How has the band navigated the ever-changing landscape of the music industry, and what advice would you give to aspiring musicians?
Well its definitely been a learning curve! I started out running a music fanzine here in Coventry in 1979 (until 1981) and that did create some inroads into the industry... contacts in particular...i released a couple of cassettes as well so I started to get the idea. We did a lot of recordings in our small 4 track studio in the early 80's and appeared on a lot of cassette compilations.. and then vinyl compilations... and I would send out demo tapes every week to labels, gig promoters and magazines/fanzines... eventually we were offered our first record deal (With UK based Third Mind Records)...the debut album came out on vinyl in 1984. It went from there ?I think the best advice is to always be involved with the industry networking and promotion and work as hard as you can... to this day I spend hours most days still doing that... if you can afford a team of people to help out thats great... but there is no-one better than yourself.
Julia, Attrition's music seamlessly combines elements of dark ambient, neoclassical, and dark industrial music. How do you approach blending these different styles to create a cohesive sound?
Much of the credit must go to Martin who is an expert at production and mastering in The Cage studio. He has a great ear for detail, and an expansive knowledge of music software and analogue synths. But, I think you need to take a germ of an idea, whoever that comes from, and let it breathe in the mix whilst still adding other layers around it that compliment it. I have fairly eclectic and broad tastes in music but I definitely have favourite genres that I never tire of, especially interesting electronic music. It can take quite a bit of experimentation to develop the different textures and sounds until you find something that fits and this can apply to the vocals as well.
Attrition's music has been described as ranging "from dream to dancefloor." How do you balance the atmospheric, introspective elements of your music with its more danceable, energetic aspects?
It’s always been like that... as originally an art student I always draw? music...i still do... and I love working on more abstract soundtrack pieces as much as I do songs... We've written music for some short films over the years and had songs included in a lot of films... but I also love songs and performing them on stage is an important part of what I do. The albums often balance the two sides of ATTRITION's work. I like it like that.
Martin, as Attrition continues to evolve and create, what are some of the key influences shaping the band's music today?
The biggest influence is always my and our life. From everyday things to world events that shape us. The reflections and personal exploration and expression of that is what doing music has always been about for me. Technically I have my studio here (The Cage) and the technology has improved so much over the years, as our skills in using them have. I work with other bands too in production/mixing/mastering so I pick up things along the way.
The next record is always the most exciting adventure...
Finally, for both Martin and Julia: Attrition has toured the world extensively. What have been some of the most memorable moments from your tours, and how does performing live influence the band's creative process?
Julia: I tend to remember visual and/or audio snippets from across the years, such as long endless drives across the German autobahn with Kraftwerk playing on an 8-track in my parents car that we had borrowed with my brother driving. Sometimes touring can feel like yo are living in an alternate reality where days and places do blur into one, so it can be difficult to pick out distinct events and the tour tends to have an overall atmosphere of its own with its inevitable highs and low. There are also funny moments such as when you are trying to guide a rather drunk keyboard player with his gear to the flight home, and hoping he appears more sober than he is so we do make the flight! I do remember moments when everything comes together on stage, the sound is great and up with a slightly different version to the recorded version. It can be like you are almost hearing the song afresh for the first time and it gives you ideas for different arrangements. Before the live performance you also go over the song repeatedly, sometimes more than when it was recorded or if it’s an older song that you are bringing into the set. There are often a lot of discussion in rehearsals about what does and doesn’t work, and so that process helps us to learn how to work together creatively and build on each other our strengths.
Martin: We have played all over the world...i counted 5 continents... and i'm happy about that.... of course live performance and the adventure of travel and new experiences will always influence what we do. Its weird whenever people ask about tour stories I tend to go blank... I think its not knowing where to start... when I do start you need to shut me up .
Everything has been wonderful... even the horror shows have some silver linings.
In 2018 we performed a horror film score we wrote for a US film... at a festival in the mountains of Transylvania. I wish I could have gone back and told the 14 year old Martin that was reading Bram Stoker's Dracula that I was going to do that... he would have been pleased!
Thank you for the interview!
If people would like to check out more of ATTRITION please look up out various websites...
Martin and Julia. Coventry. England. April 2024
Links :
https://www.facebook.com/ATTRITIONMUSIC
https://attritionuk.bandcamp.com/
https://www.youtube.com/user/attrition
https://www.instagram.com/attrition_uk/
https://open.spotify.com/artist/5yAtVvdaWrTxW4GPC18643?si=SkEggxVuQu2C6mhHd5yfjw
https://www.thecagestudios.co.uk/
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