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"Perfect Side" An interview with Craig Rennie by John Loengard John Loengard:- Firstly Craig, I would like to get a bit of background on you. Like a lot of creative people, I understand music is not your only artistic skill, exemplified by the fact that I noticed you painted and designed all your own cover art. What is your artistic background and what would you say was your first love as an artist. Music or..? Craig Rennie:- Well, despite not ever making it into Tony Hart's gallery (still bitter about that), I drew constantly for about 18 years after developing the ability to grip a crayon. Visual art was definitely my first love, and all I ever wanted to do. Everything else at school was a chore, except English - there was no plan B. Until the art schools told me to stop bothering them that was! I was never much good at drawing naked people and refused to work in anything other than coloured pencils, so I think that went against me in the end. I did go and study illustration for a year, but eventually took off for University where I studied a bit of everything, finally settling on history of art and film studies, which allowed me to create an in depth multi-media presentation displaying how Tony Hart was actually a career wrecking old halibut. John Loengard:- Is it true that music and songwriting came relatively late? When did you first learn an instrument and how soon were you writing songs? Craig Rennie:- I didn't pick up a guitar until I was about 19 or 20. Despite always being desperate to play something, I had been conditioned to believe I did not have a musical bone in my body - both by myself and others. A deep voice from an early age, a disaster at a recorder workshop and a knock-back for the part of a rat in my primary school's production of the Pied Piper all seemed to confirm I was never, ever, meant to perform. But with time to kill at university my flatmate Jonny and I decided we'd learn to play the guitar together. I'm glad we both took it up at the same time, because whenever I would think about giving it up, he would play a new chord that I couldn't, and I would spend the rest of the day making sure I could do it too. We spurred each other on at the start, but a few years on I still consider myself to be very much a learner. Writing songs was something I actually did long before I could play music, so from the moment I could bang out even the most basic accompaniment, I was adding words. I had no interest in playing background music, I wanted to add words straight away. John Loengard:- So you have a cd out in January on Moojuice Records, your debut, a 7 track ep or mini album called ‘Under’. How does that feel? Craig Rennie:- It all feels a bit like the dream where you turn up at school wearing nothing but deodorant. You don't know how it happened, if anyone has noticed or what the repercussions will be. Any kind of debut is potentially daunting, because you're going to be judged quickly and ruthlessly in most quarters. But the critical point is when you decide all your fears about saying, "this is pretty much what I've got to offer artistically", are less important than your desire to just put something out there and see what happens. John Loengard:- I believe it was a long time in genesis. How long exactly? Craig Rennie:- The songs on ‘Under’ were written over a period of about 3 years, and although the recording process has spanned almost 2 years, I never set out with a definite intention of releasing any of it. It was more like a diary process. I wanted to get the songs off my chest so I could sit down and start new ones. But after a while, and a little bit of prompting from the Moojuice boys, it was agreed that the songs should take their chances in the world. John Loengard:- 2 years…Was there ever a time you wondered if it wouldn’t come out. What were the hold ups? Craig Rennie:- The main hold up has been life in general - trying to borrow a car to go to the Moojuice recording studios, coping with the many facets of unemployment, entering further (further) education, finally starting work, getting lost in Dunfermline and writing hate mail to Tony Hart. John Loengard:- Where and how was Under recorded? What was that process like? Craig Rennie:- It was recorded in bedrooms and living rooms around central Dunfermline, under the watchful eyes of Al and Neil at Moojuice. Because the recording process spanned such a long time, the methods of recording were constantly changing depending on what mic, set up or prevalent philosophy were flavour of the month. Some songs are performed live, others saw me placed under a bed, wrapped in two dust sheets, singing into a seven mic set up whilst petting a sedated family of ferrets. It has been totally experimental, and I think the variety of approaches not only taught us a lot, but also added something quite unique to the final product. John Loengard:- Tell me more about recording Under. Had you much experience of recording before you did this? Was it difficult? Do you enjoy the recording process? Craig Rennie:- My experience of recording was pretty minimal, and at first that, as well as my general approach to playing music, was pretty problematic. I can't play in time to click tracks, and apparently change the rhythm, vocal, and anything else I can think of every time I play a song. It was frustrating at first, and just added to my underlying suspicions that music and I were never meant to get along. But instead of pulling the plug on it all, Al and Neil suggested that it was these things that made the songs work. Being gullible, I pressed on, smashing a metronome every day for good measure. I think the bigger problem was re-visiting songs I'd written months or even years before and trying to drag out the emotions I'd felt when I wrote them. Trying to get a vocal sounding right is a pointless exercise if you can't remember what it's about. Fortunately Al had the ability to gauge when I'd stuck a balance between making a decent noise and capturing the original essence of the song. Otherwise it could have been a painful experience, but I suppose I could have written a song about it. John Loengard:- When I listen to Under I hear a number of influences: Springsteen’s ‘Nebraska’, Martyn Joseph, Dylan, Johnny Cash. Who would you say influenced you and influences your songwriting out there in the world of music? Craig Rennie:- I love music that has a kind of cinematic quality. From a very young age, no matter what I was listening to, I used music as a backdrop to fuel my imagination. When a lot of people my age were arguing over the merits of Blur and Oasis, I was listening to John Farnham's ‘You're the Voice’ over and over in the dark! I was an insane Springsteen fan when I was about 10, and kind of re-discovered him years later when ‘Philidelphia’ came out, so to speak. He's an unbelievable story teller, and just like the other artists you mentioned, has the ability to deliver a one liner that just punches you right in the eye. One of my other influences, I suppose, would include some of the old Presbyterian hymns, which include moments of incredible poetry. I'm a sucker for good hip-hop too. John Loengard:- Your songs have tremendous lyrics but they don’t seem forced, or overly self-conscious. They seem almost conversational, intense but with a lyrical integrity that leads you to a cast of characters and their situations, feelings, struggles, hopes and joys. Tell me, what comes first: the music or the words. What is the process you go through when you write a song? Where does it start? What is the kernel, the inspiration for a song usually? Craig Rennie:- Crikey. I just start at the start really, which usually involves me draped over the guitar, wondering why the day is dragging its heels. Punctuating a black mood with a single note or chord is an amazing force of nature! I just build up from there really, with words and music coming together. I do play guitar when I'm feeling upbeat, but I do find it much more easy and more satisfying to start a song from the bottom of a rut. It often makes me think the music is really selfish in a sense, but then maybe people in other ruts can relate. My inspiration comes from lots of things, but mainly the knowledge that however frustrating situations may become, there's always hope. John Loengard:- Another aspect of your artistry is the live show! If you don’t mind me saying, I think you have an audience entranced by your presence and intensity. Are you secretly bricking it? Craig Rennie:- Is a brick always a solid? If not, definitely not. But I am terrified. John Loengard:- You’re on an indie label, tell me about Moojuice Records? Craig Rennie:- It's early days for Moojuice in lots of ways, and it's sort of grown alongside Under. The most important thing about it for me is that it's home to lots of like minded people, but still produces musical diversity. It's a collective of friends, but thankfully that doesn't mean there's a lack of honesty about each other's work. Moojuice has its feet on the ground but its head in the clouds, and that's a good place to start, I say. John Loengard:- Scotland’s indie music scene seems to be buzzing at the moment and Moojuice are based in Fife aren’t they home of current faves the Fence Collective and KT Tunstall etc. Why all this good music? Who do you like of your fellow countrymen? Craig Rennie:- I think Scotland has always been home to an incredible amount of creative people in every field. Maybe, like everywhere else, our musicians are just benefiting from how much the internet and home recording has opened things up for artists. A movement has started that hopefully can't go into reverse now, and Scotland is a big part of it. I admire a multitude of Scottish acts. The last two I went to see were the Trashcan Sinatras and Sons and Daughters, both of whom blew me away doing totally different things. Need to know First record bought: I really can't recall. I borrowed more than I bought, and the first records I got on permanent loan (can't remember what order) were Born in the USA and Bad. Did a lot of pogoing that year. Favourite film: I want to say Paris, Texas but Rocky III brings me most joy. Record to grab in an emergency: If the emergency occurred today it would be Illinois by Sufjan Stevens. Inspiration: My circa 1970s office environment and The Last of the Summer Wine. Recent discovery: A badger is only said to be 'live' when it is crossing a road. How tragic. Check out the artist's website: http://www.moojuicerecords.com/artist.php?id=1 Track List: 1. I'm Tired 2. Under 3. Walking 4. Don't Even Try 5. Nothing New 6. Perfect Side 7. January Suggested CDs:Other Genres:
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