A recent fan myself, it seems that Mush takes every opportunity to claim that they’re just another white dude guitar band with a boilerplate story. While sure, they formed through mutual friends and are in fact white dudes with guitars, and while the music could be grouped into a bunch of current bands going for the Devo effect… they’re still not just a bunch of white dudes with guitars. Their debut album 3D Routine is calculatedly manic and approachably sophisticated – but not so much that it’d box anyone out. The band would probably deny that though. They are “rough around the edges,” as they proclaim themselves, but that bit serves as more of a filter on a lens that’s actually very cleverly and sharply focused.
This record is distinct in sound and personality, and I wanted to know more about what was important to these four dudes from Leeds (Dan Hyndman on vocals, Nick Grant on bass, Tyson on guitar, and Phil Porter on drums) when making music.
Let’s play a game.
How important is it to make music that’s fun? Why?
Mush: You want to be engaged yourselves. Otherwise it’s unlikely anyone else is coming on board. Bit of humour and throwing some weird sounds over things is good on a record, refocuses the listener even if it’s just for the sake of it.
How important is it to make music that’s political? Why?
M: Depends what’s happening at the time. I don’t feel a responsibility as such, I write about what’s on my mind at the time. In the current climate sadly politics occupies a larger place in my mind than I would like. Nothing wrong with a little abstraction from time to time either. Not managed to do a love song yet, maybe next record.
How important is it to make music that’s accessible? Why?
M: I’m not that bothered about this. Generally our songs have some pop sensibility amongst the noise, that’s a reflection of taste rather than design.
How important is it to make music that’s new and different? Why?
M: I’m more interested in making music that is convincing in it’s intent. Most things can be reduced to their influences these days. What sets things apart is probably authenticity and sincerity.
How important is it to make music that’s loud? Why?
M: Pretty important. It takes quite a lot of sensory stimulation to capture my attention. It’s nice to tap into that physical/mental space that loud music operates in.
How important is it to make music that’s kinda crazy? Why?
M: Pretty important. Art is a space where you can sort of operate, at least in part, outside of the financial constraints and realities of life. If you ain’t gonna wig out what’s the point?
How important is it to make music that’s meaningful? Why?
M: The music is meaningful to me because it’s an outlet first and foremost. It’s how I enjoy spending my time. It’s rewarding when people come on board too. But the production in itself is meaningful.
How important is it to make music that’s nostalgic? Why?
M: Our music I think is pretty nostalgic to some guys. We are essentially another white dude male guitar band so we are basically dinosaurs. I personally don’t give a shit about the nostalgia side of things.
How important is it to make music with friends? Why?
M: It’s definitely a bonus. Think it helps foster the kind of fun/unrefined weirdness. I could probably do it myself, maybe it would feel more contrived. Could be good to make some music with enemies, probably not though.
How important is it to make music for someone else? Why?
M: Not Very Important.
How important is it to make music for yourself? Why?
M: It makes things feel a little less pointless. It’s also something you can create for free which is rare.
How important is it to make music that’s better live? Why?
M: In this climate all the money comes from live, not that we make any. Our stuff is all recorded live so it’s actually pretty similar to be honest. I love being in the studio and would love to spend more time experimenting. In general i think the importance of gigging to bands survival has probably led to a bit of a drop off in quality of records. I think next time we will fuck with the formula a bit more in the studio, strip stuff back add stuff on etc.
How important is it to make music that’s timeless? Why?
M: Only time will tell.
How important is it to make music that’s cool? Why?
M: Ha. Probably pretty important if I’m honest, of course it’s subjective. Comes back round to ethos.
Ok, good game! I’ll keep the rest short. It took some time to find the final iteration of the band. What about the group of you now makes it work perfectly? What’s the dynamic like between you?
M: It’s more concise, roles better defined. The songs are better written. When we originated it was all about experimentation, no defined roles, lots of noise. That’s fine but it’s not really where we are at right now. We know each other well and we’ve locked into our sound now, whereas before we were just starting off.
I love that Yves Klein blue in the artwork. What’s the artwork mean to you? How does it relate to the music? What do the colors, including the orange of the LP itself, evoke in each of you?
M: I think this record has come out on every colour under the sun. I particularly like the orange one because it’s my favourite colour. I don’t know that it evokes anything in particular but it looks pretty. The sleeve is down to Raissa, I wanted like a minimal shape thing, but a bit wonky and not too geometric. Makes sense for the 3D routine concept.
Could you explain to someone from Brooklyn what the music scene in Leeds is like?
Pretty varied. Insane amount of bands packed into one postcode in LS6. Really good venues in Brudenell and Wharf Chambers. It’s a pretty affordable place to live which means it’s a decent place to be situated as an artist. We’re kind of outsiders really as people so we are not massively in one particular scene. But there is some great stuff going around for sure. Good post-punk, lots of kind of goth punk stuff which I’m not too bothered by and some good jazz and electronics. Loads of tedious math rock 🙁
Haha tedious! While I’d agree, I wonder what to you specifically makes it tedious? There’s definitely mathy bits to 3D routine. How do you take the tediousness out of more complicated rhythms?
Ha. Our drummer Phil is kind of into that stuff so maybe he’s slipped it by me. I think it’s the technicality that is troubling. When the rhythms go weird for us it’s more groove or like an extremely amateuristic jazz kinda thing. So it’s probably more about the intent then the design. I’m sure this would be contested but all those bands kinda sound the same to me, I like a groove. It’s too considered.
You’ve played with Shame and Girl Band and a whole bunch of other very cool bands. Do you have a favorite experience so far? Who would you want to open for you in the future?
M: Stereolab was really cool. British Sea Power was fun too. Be good to open for Patti Smith, dinosaur jr, Breeders, Cate le Bon maybe.
You’re compared to bands like Pottery and Omni. I also hear a bit of Squid in there. What about those bands do you love to be compared to and what do you think sets you apart?
M: I can’t say I love direct comparison really, but they are cool bands and we’ve played with a few of them. Think we are probably a bit more of a looser outfit, less refined, maybe a bit rougher around the edges. Haven’t heard Pottery so will check out.
What’s next? What are you most looking forward to?
M: Looking forward to the record store day release. We did a 7” micro e.p of 5 short songs. Back in France in April, I’m off to play Rough Trade in an hour or so so that should be fun.
Mush are Going on a European tour this spring. We’ll keep our ears to the ground for American dates. Follow them here and listen to them here.
