The Hyptonic Eye
“When we get into the recording room we don’t speak about what direction we are pushing the music to. You just have to let it grow”
Last music revelation from South London, The Hypnotic Eye, are about to headline Lottarox’s new London night and locked themselves in the studio to finish recording their new album, “The optical sound of The Hypnotic Eye” (out in January). Before that, Silvia Suárez catches up with the band’s guitarist Lindsay Murray on creating their own musical genre, oneiric songs and having Mark Ronson as their first fan.
-Hey there, Lindsay. Are you excited to be the opening act of the Bad Girls launch party in London?
I’m very excited to be playing a show for Lottarox and I can’t wait to hear the other bands too.
-It’s also your last gig of the year, after your debut LP in May. What’s the balance of 2012?
It’s been an amazing year for us. We had a great first single launch, then headed back into the studio to record half of our second album. We’ve just got a cover on an advert in America and been discussing shows in Europe, so we bought a lot of interesting equipment: a 50s synth, a couple of farfisa organs, some 60s echos and a sitar!
-What does it feel to have big names like Mark Ronson complimenting your music?
He was mixing with our engineer Ben Baptie and was one of our very first fans. Lovely guy, a collector like us all, that truly helps out independent artists like ourselves.
-There’s a clear influence of the 60′s and 70′s in your music. What do you acknowledge as your main icons?
We’re all fans of Ornette Coleman and Saucerful of Secrets. For our first album I was very keen to recreate sounds I’d heard on other records, but that’s certainly changed and you can hear it quite vividly in the live set.
-So do you equally participate in the creation of the songs? Who writes the lyrics?
I tend to record the inception of the songs. Often, i’ll hear a song in my head when I’m in a park or from a dream. Then I have to capture that song with whatever means and instrumentation I have and find the lyrics to come in natural way.
-So it’s a bit of an artist’s process, really. How do you manage all that creativity as a band?
We don’t control it, it just happens that way. When we get into the recording room we don’t speak about what direction are pushing the music. I love throwing sounds at the band because collectively it grows into its own thing. Grace [Lightman, lead singer] is amazing at that, she can really extrapolate the guts of a song.
-You have a great single teaser on Youtube, with great imaginary and reference to retro. Is the title “Satisfaction” just a coincidence?
I think with our initial releases it was important to wear our influences on our sleeves. I’ve always been amused by the charm of those few teenage garage full LPs, which do exist being laden with the same covers. So it felt in keeping that our debut should have “Satisfaction” and “Hey Joe” on it, whether they were covers or not!
-Do you think part of the success of bands nowadays is based on their look as much as in their sound?
I wish it was. There’s too many ugly people creeping in.
-How did you decide to throw yourselves into such a highly competitive and saturated industry?
Our band is a collective of friends, we’ve all been playing instruments as long as we can remember.
-It’s called my attention that you define yourselves as a “flower-punk” band. What’s the concept behind it?
The name derived from a Frank Zappa song, and used to criticise a commercialised and manufactured psychedelic experience. I think it’s critical for each person who has bought one of our records to take it home and listen to it with their eyes closed. Then they can call us whatever they want; until then, a name of a genre can’t particularly help define a band.
-Does the British nationality, and particularly being a Londoner, play an important role when it comes to being that much into music?
My first musical love was John Coltrane. I think it’s far more important to start life with John Coltrane than where you come from.