Gareth Liddiard must be an interviewer's dream. A musician who - in cliched footballer parlance - always gives 110 per cent when in proximity to a microphone, even when suffering a post-video shoot hangover.
Speaking to the Quietus' Patrick Clarke in advance of the release of Tropical Fuck Storm's third LP Deep States, he mentions "musician friends who self-censor because they don't want to get into that minefield where you could be singled out, taken out of context and destroyed". He, meanwhile, couldn't self-censor even if he tried: "I'm not saying any mad, evil shit, I just write what I think! And everyone can fuck off because I don't care! I just never have!" Give a fuck fatigue indeed.
Over the course of their chat, Liddiard thinks out aloud about how he finds it easier to "absorb the shock and the shame [of a bollocking] a lot better when it comes from women"; rants righteously about social media tycoons; recalls the creatively deadening experience of lockdown; claims that "the best songs are like bad dreams, if you cover all the exits and don't let the ideas escape"; and talks candidly about the painful personal trauma that surfaces in the Deep States track 'Legal Ghosts', a song that's waited years to find a space on a record.
Perhaps the most memorable comment comes from his partner and bandmate Fiona Kitschin, though: "There's a joy in the humanity of the heaviness." That's true of Tropical Fuck Storm's music, and that of so many more.
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