Electric Soft Parade: Radio 2 August 6th + Noel Gallagher support

Electric Soft Parade will be the support for Noel Gallagher’s High Flying Birds on their debut UK tour!! Edinburgh and London confirmed so far – more to come. The first run of shows have already sold out, but we’ll keep you posted as and when others get booked: Electric Soft Parade Facebook

Electric Soft Parade on Radio 2: Interview Transcript below.

INTERVIEW + SESSION INCLUDING LILY + IF I CAN DREAM ACOUSTIC (24 MB)

The original broadcast (above) was the best recording for the interview. The session tracks from the listen again sound OK though: LILY ACOUSTICIF I CAN DREAM ACOUSTIC

We are joined by Thomas and Alex aka Electric Soft Parade, hello guys.

A: Hello, how you doing. T: Good morning.

Good morning? Might be to you musicians, yeah. The time you roll out of bed, god knows.

T: How you doin’ Shaun? A: We camped here last night, just so we were here in the morning.

Just nipped off across the road for a livener?

A: Oh yes. Little glass of orange juice in the afternoon. T: Lady petrol.

Is that what they call it? That’s what musicians do I suppose isn’t it. It’s the afternoon, the sun’s over the yard arm. Badly Drawn Boy slipped over for a light livener as well.

A: Well it’s that thing of, you don’t do anything all day, you do stuff in the evening but you sort of prepare it at 4 O’Clock or something, you soundcheck and you’ve just got to fill the time.

Pubs are lovely places to hang out.

T: We were lucky we walked in to the particular one we did because Mr Timothy Spall was in there. A: Just hanging out. T: Just in there… random. Amazing.

That made your afternoon didn’t it? T: It absolutely did.

You’re on Radio 2, you’re speaking to a Sony Award Nominee. T: Yeah we heard that, Scott Matthews is a very lucky man.

Before we forget, we must mention why we played A. That song (Elton’s Lucy In The Sky With Diamonds) and B. The Eastenders drum fill at the end. A: It’s a classic fill.

Now from what information I’ve been given… T: I think I can guess this, I think I know this one.

You guys have a bit of form with those particular pieces of music because when you were young boys isn’t it true that one of you picked out the Eastenders theme tune on a piano. T: That was Alex.

A: I did yeah… well it’s the eternal question for me because I have perfect pitch (DJ: I’ve got good relative pitch but not perfect) A: Probably more useful actually because I can’t turn it off. I can be drunk in a club hearing some track and go “the DJ is playing it a bit too quick” or something, I can just hear that detail in it tonally.

But it’s that eternal question, basically my parents heard me playing this tune; working it out and going “that’s a wrong note, oh no I’ve got it, there you go”, working it out when I was about 3, so they say. But my question is, would I have developed as a musician the same way if they’d just gone, “shut up, we’re watching Eastenders”. Would I have developed the same way – I don’t know.

It’s an interesting philosophical point but then of course, Tom, you being the typical younger brother, you got a little bit competitive at this point. T: Yeah I got all jealous.

DJ: “He’s getting loads of attention for that so I need to pick up a Ukelele or something”. T: Or a tiny Martin guitar. DJ: It IS tiny, it’s almost Ukelele sized, the guitar that Tom is playing today. But also, that version of Elton John, Lucy In The Sky With Diamonds; that was something that was played, was it, when you were very young?

A: We had The Best Of Elton John – I’m sorry – The VERY Best Of Elton John with the blue cover. T: Ah! With him with the sunglasses and the weird hat. A: And he does that song that you just played. All the rest of it he sings his standard Hollywood thing then he does this weird sort of nasal voice, it sounds like an impression. My Dad was like, “well that’s John Lennon, he’s doing John Lennon, it’s a John Lennon song” and we were like “who’s John Lennon?”.

My Dad went “right, this is ridiculous” and went and bought the Sgt Pepper tape and brought it back that night from work and we sat as a family and he just went “you’re listening to this record now!”. We just listened to it that day. I was probably about seven or eight.

DJ: It’s one of those things, it’s the ultimate indoctrination isn’t it, The Beatles especially if you’ve got a child with any musical bent whatsoever; hit ’em with The Beatles and it’s like… T: It’s just a whole world. DJ: A portal, isn’t it. With my little boy, when he was 18 months, I got so sick to death of showing him these Baby Einstein DVD’s that I just popped on the Elvis ’68 Comeback Special just on the offchance that he might like it and he was transfixed.

A: Another interesting reference there because we might be dipping into a little excerpt from that particular show at some point in the next few minutes. T: Is that where he debued that song? A: It was written specifically for that performance.

T: You’re tying up all these loose ends. A: It’s beautiful. DJ: I can’t believe I was only nominated for a Sony and didn’t win one. A: Nominated, what do they know? I’ll have a word, don’t worry.

Let’s cut the chat for a minute; we’ve let the cat out of the bag but we are going to play something from Elvis a bit later on. I say we, I’m not. Do you mind if I just put in a little vocal in the background? A: Whistle?

What are you going to play for us first boys?

T: We’re going to do a track called Lily off an EP we put out last month (watch the video)

DJ: This is Electric Soft Parade with Lily.

LILY Acoustic

DJ: Big chord finish, yes! What you’ve experienced there listeners was two kinds of ESP, The Electric Soft Parade but also the ESP between two brothers. A: Oh yes, ESP. We don’t look, we don’t need to. DJ: Extra Sensory Perception. That’s gorgeous. A: Thankyou. T: Thankyou Sir.

DJ: From the new EP, which is out now. A: Out now – A Quick One EP – named after the label that released it, very kindly. T: And a little nudge at The Who. DJ: That’s what I thought, are they doing something off A Quick One… T: While He’s Away.

More info on A Quick One at the ESP Myspace Please post any messages on the ESP Facebook

DJ: There’s going to be another EP out before the end of the year, is that right? A: Yes indeed. While we’re here and people have noticed we did one so we thought we’ll do another one. Might as well do it if people are up for it. We’re doing a kind of Rock EP next. DJ: Are you? A: ROCK! T: It’s kind of ridiculous, it sounds like 30 Seconds To Mars crossed with Big Star.

DJ: Is that Jared Leto? I became emphysemic then just thinking about Jared Leto… A: It’s pretty painful isn’t it. DJ: He makes me breathless for all the wrong reasons. T: It’s all just about tuning your snare drum as high as it’ll go and screaming.

DJ: But Alex is it actually sometimes painful then to be a musician if you’ve got perfect pitch, if one person has got just a slight… do you feel like walking up to somebody’s bass? T: You understand it better than most people, that’s exactly what it’s like; soundchecks and guitar tunings, any frequency that is slightly out of whack.

A: I don’t have it so bad, I can adjust, I can try and ignore it I guess because you don’t have a choice a lot of the time. There’s Opera singers that are tuned in to absolute pitch as they call it. They can’t sing if it’s slightly out, they can’t sing in tune. DJ: The whole Orchestra; “That’s it! Scrap this!”

Ben noticed this when we were listening to the EP downstairs; he maintains that it sounds a little bit like Jim’ll Fix It, the theme tune, the beginning of the song sounds like the beginning of the theme tune to Jim’ll Fix It.

T: Have you guys got it there, can we hear a little snippet? (“we haven’t got it actually”) A: Come on, BBC, you should have it, it should be on archive, what’s up with you?

DJ: I can do a vague impression of Jimmy Savile which is a different thing. I would’ve said that you’re a little bit too young for Jim’ll Fix It. A: Do you know what, I wrote a letter to Jim’ll Fix It, this is a world exclusive, I’ve never told anybody this. I wrote a letter to Jim’ll Fix It when I was about eight. I was obsessed with the News, I don’t know why. I was obsessed with Nicholas Witchell. T: Make of that what you will. A: No not in any weird way I just loved the way he read the news. He’s now some Royal Correspondent but he was my man, he was the news guy for me.

I wrote to Jimmy Savile: “Please fix it for me because I want to read the news with Nicholas Witchell” and I genuinely believed that if I just wrote him a letter he’d probably go “yeah we can do that”.

DJ: (impersonating Jimmy Savile) “We’ve got a letter here from Alex who’s in The Electric Soft Parade and he says that he wants to read the news with Nicholas Witchell” (A: Imagine if I’d been in Electric Soft Parade, 8 year old: “this is our new single”) A: So that never happened but one day… DJ: Those dreams were dashed.

It’s nearly 10 years now since you guys first burst onto the scene. T: It’s more than 10 years since our first single. It’s 10 years next February since our first record. DJ: Because I remember playing Silent To The Dark, which must’ve been the end of 2001, start of 2002. A sort of hackneyed and obvious question but a lot happened at once didn’t it. You got a Mercury nomination, World tour, you were on Jools Holland and all this biz. Is that just “great, it’s happened, thank god we’ve had that experience” or is it difficult for a very young band to have that experience so young because you think “I’ve got to replicate that, I’ve got to try and reach those heights again”.

A: I think different people handle it differently. Some people just go mental and can’t deal with it. It’s such a mill, isn’t it, such a weird sort of experience; being in that world at that age. I wouldn’t change any of it really to be honest. It’s brilliant. There’s been ups and downs but we’re still here. We’ve got no money and no support really from anyone at the moment compared with back in the day. We had this big record label and a team of 50 people working and just money… just endless funds to do things. Now it’s kind of a bit more homespun. But people remember that thing if you’re a big band in their heads and they sort of take you a bit more seriously.

I know a lot of musicians in Brighton, friends who’ve never had a deal, they’re twice as good as we are but they’re just not respected in that way. We’ll always have that. DJ: It’s a benchmark. A: We don’t trade on it, every band says that, but I think this is our best stuff now, I think we’re at our best, we’ve got the live band really good, we’re really comfortable doing what we do.

DJ: Do you think as well with what’s happened to the music industry in the last 5 or 6 years, it’s kind of been decimated by a lot of different things. A: The whole thing’s changed. DJ: In a sense it means that musicians coming into it now, have in a good way, less expectations. It’s just nice to be able to play music for a living rather than maybe when I was a kid it was like, “yeah, we’re gonna get signed and then we’re going to be multi-millionaires”.

T: The whole formula’s disappeared, it’s not the same. A: I think it’s good because when we started out you get signed and there was this team of people laid on to do all the work basically and you just sort of turn up and say hello, that’s about it. Whereas now bands are a lot more savvy to the social network aspect of everything and all the rest of it. They’re a bit more clued up about the industry – having to do things yourself and not rely on publicists and whoever it is to do stuff for you. I think that’s a good thing really because it puts the power back and the workload back on the band.

T: All the stuff that a label would spend the first year of a band’s career doing, a band can now do before they even get signed, for nothing. A: Absolutely.

DJ: On’t T’Internet. T: Did you say T’Internet? DJ: You should try it people. You type WWW (dot) and then you put just about anything in there and there’s a page comes up. It’s weird and brilliant. A: Like a book page? DJ: You can read it or you can click on things, sometimes a video comes up. It’s mad, you should try it.

T: Has anyone ever worked out how big the internet is? All I’ve got to go on, I think it’s on Brass Eye where someone described an area of internet the size of Ireland and I’ve never heard anyone other than that refer to the actual physical size of the internet.

A: Have you seen the map of the internet? T: It looks like the universe.

DJ: I printed it off once, it was a lot of pages. You couldn’t cancel it, it just kept coming. But just to go back briefly, we were talking about the very start; Eastenders, Elton John, The Beatles. What other music informs your playing, what other touchstones are there for you.

A: From the very start, personally, again it was Jimmy Somerville. I’m not joking. I was obsessed with the song Read My Lips (TW: He was great, he’s still great) there was a single out in the early 90’s. I was so obsessed with him, my Dad took me to see Jimmy Somerville. He (Thomas) was too young to go. I was ten. My first ever gig I went to at The Brighton Dome. He was a big gay icon, there were all these 40 year old gay guys just kinda like: “why is a 10 year old kid here”, what’s going on? And me like “why are all these people looking at me, I love Jimmy Somerville”, shutup.

DJ: I did enjoy Don’t Leave Me This Way (A: Communards yeah) T: You Make Me Feel Mighty Real. A: They’re all covers though aren’t they.

They talk about seeing cast members of Aufwiedersehen Pet. T: It’s kinda weird because I watched that film, Still Crazy, I watched that the other day, he’s fantastic… A: He’s great in that. DJ: I interviewed Guy Pratt the other day in the back of a taxi, the bass player for Pink Floyd and people like that. Now he’s a stand up comedian. He let slip that he actually wrote Ain’t No Doubt with Jimmy Nail. T: PRS rollin in.

DJ: Speaking of PRS, someone who needs a little bit of PRS is Elvis Presley. No longer with us, that’s the sad truth. But we touched on it before, the Elvis ’68 Comeback Special. Obviously big fans of the man.

A: We worked with a friend of mine, Sam Devereux years ago. I was in the scouts and he was a bit older than me. He was quite obsessed with Elvis and kinda wanted to be him and he worked out that I could listen to records (the perfect pitch thing) listen to things and appropriate the arrangement pretty quick. So he’d play me these things with 50-piece Orchestras and just go “play that on the piano” and I’d have to get all the parts in on the piano. It was a really good education actually.

So I got into Elvis through that, just kind of never looked back. Amazing. He’s so overlooked as a performer and as a singer. Just a classic individual.

DJ: You’re right. He’s culturally everywhere but musically, what he did, he’s sometimes overlooked. A: I’m sure it’s been talked about a lot but the Winehouse thing, it’s exactly that. She has this aura of stuff around her and actually, she’s a really good singer. Let’s not forget that. It sounds really obvious but let’s go and listen to the records and respect that because that’s actually the point. Not the drugs, not the tabloid aspect of it. It’s about the tracks and she can do it. DJ: It’s about the music.

DJ: Well you boys are about to play one of my favourite Elvis tracks. It’s from the ’68 Comeback Special, it was written especially for the ’68 Comeback Special. Who’s going to be Elvis here?

A: I’m afraid it’s me. T: ALVIS! A: I usually don a pair of shades… DJ: It’s a shame you’ll never get to hear my verson of it but there you go. A: Oh come on. T: Can we have a little snippet? DJ: (sings) I’m more of a “pub Elvis”. A: That’s pretty good. I kind of just do it as me. You have to imagine the Elvis bit I guess.

DJ: So here we are, this is Thomas and Alex, Electric Soft Parade’s version of If I Can Dream by Elvis Presley (watch the video)

IF I CAN DREAM Acoustic

DJ: (as Elvis) Thankyou very much. You did him justice man. You did him justice guys. T: Cheers Shaun. DJ: We’ve got him in mind now, the black background, the red letters, the white suit. A: That’s it. T: That’s the one. DJ: The great story behind that is they wrote that about 2 days before the live broadcast – The ’68 Comeback Special. A: It was rush written exactly for it but it was a reaction if you do the maths, the dates, Martin Luther King was shot very recently before and certain bits were verbatim quotes from the I Have A Dream speech (watch the original)

DJ: Beautifully done, Thomas and Alex of The Electric Soft Parade. The single Lily and the EP A Quick One are out now. There’ll be more from the boys. Keep your eye and ear out later on in the year. Apparently, you’re playing at The Pure Festival at The Garage on the 24th of September.

T: We did actually have some remarkably good news for us. We are allowed to talk about this, a world exclusive. We have the incredible honour – we’ve basically been chosen to support Noel Gallagher at the first run of shows he’s doing with his High Flying Birds. We’re confirmed for Edinburgh and London so far. They’re all sold out (please check the ESP Facebook for further show announcements)

DJ: Well listen, enjoy and thanks very much for coming, Thomas and Alex. A: Thankyou very much for having us, cheers man, appreciate it. DJ: Thanks guys.

Thomas White Video + Audio, March 2010

Guildford Boileroom, 31st March by mattytheduke – Scroll down for recent radio show audio.

Dermot O’Leary, 20th March – Shaun Keaveny stands in: Fan recordings of the songs Thomas covered and the interview: Transcript here

Warren Zevon’s Accidentally Like A MartyrMark Linkous of Sparklehorse, Maria’s Little Elbows

Interview Part OneInterview Part TwoInterview Part Three

XFM Xposure with John Kennedy, 17th March: Fan recordings of just the songs Thomas covered, not the interview (the sound was distorted) Transcript here

Mark Linkous of Sparklehorse, Maria’s Little ElbowsGuided by Voices, Game Of Pricks

I’ll See You In My Dreams, from the twenties hit parade

Thomas White and The Boys on Radio 2 transcript

Thomas White on Dermot O’Leary, 20th March – Shaun Keaveny stands in.

Here’s fan recordings of the songs Thomas covered and the interview.

Warren Zevon’s Accidentally Like A MartyrMark Linkous of Sparklehorse, Maria’s Little Elbows

Interview Part OneInterview Part TwoInterview Part Three

SK: Next in the studio, it seems rude to say a man because it’s not one man, it’s 4 men. It’s one man who has played with more musicians than Kate Moss; ex of The Electric Soft Parade, as they’re better known of course, ESP, he has struck out bravely and alone into the tundra of the musical landscape. He is here with us to play some new songs. It’s Tom White; good afternoon Tom.

TW: Good afternoon, how’s it going.

SK: Very good to see you guys but I must, first of all scan from left to right. It isn’t just Tom of course. It’s your brother Alex on keys, also ex of The Electric Soft Parade.

TW: STILL of The Electric Soft Parade.

SK: Ex sounds so final, doesn’t it.

TW: We still rehearse every Friday, 7pm.

SK: You really do? That’s fantastic… Andrew with the beard here on guitar and Damo of course. You’re a mysterious figure to my right. What are you going to be contributing – vocals?

D: Just a little harmony here and there.

SK: Lovely, there’s a nice understatement to your presence and I like that.

D: It’s quite rare as well.

SK: So it’s a new project, we’ve got the new album of course, The Maximalist. First of all can you describe to the listeners what’s happening on the front cover, what’s the inspiration behind it.

TW: I’m really chuffed because pretty much every interview we’ve done, people talk about the sleeve and I think that’s great. It’s a photograph that a good friend of ours, a guy called Keith Boadwee, who’s an American artist and lecturer, he lives in San Francisco. And it’s a piece of his called Berries which is essentially him squashing blackberries into his eyes. And it looks kind of quite disarming and a little bit scary at first but it’s just fruit. It’s nothing untoward happening really.

SK: It looks a little bit like a stigmata Christ pose. It looks like tears running down somebody’s face – like a mask of red tears.

TW: It’s just a really striking image I think. I saw it on his website, infact he followed ESP around when we played in California. He’s a big fan of ours and we kind of got to know him. I kind of saw it as a modern day In The Court Of The Crimson King (info)

SK: Very striking and arresting image, isn’t it. You were just talking about Electric Soft Parade. So you’re still a going concern?

TW: Yeah, we haven’t put a record out for a couple of years but… we will, we will.

SK: And it’s clear to all that this is not a Gallagher-esque sibling relationship? You seem to be quite at peace with eachother…

TW: You should have seen us parking outside a minute ago. It got pretty heated.

AW: We’re civil on radio.

SK: Actually, I must admit, off air it did get a little blue. It’s fair to say, I remember playing the first Electric Soft Parade singles about seven or eight years ago now.

AW: Thanks by the way, cheers.

TW: And you got the year right. A lot of people say “you guys came out in the late 90’s” – I was thirteen in the late 90’s!

SK: It was 2002 I think, wasn’t it?

TW: That’s the first record.

SK: Silent To The Dark was a big hit and you were Mercury nominated. So, is it a good thing or a bad thing for a young man’s psyche to have quite a lot of success quite young. Are you happy that’s happened, or would you have preferred it the other way around?

TW: I think we had to do a lot of back tracking, it kind of happened so fast; pretty much career in reverse if you like. We did all that on our first record and then we did all the evolving afterwards if you like. Most bands start on a little indie and work up and then 3rd or 4th record they’re breaking through… and it was so quick. We did have to do a bit of back-tracking and we did a lot of thinking.

SK: That you didn’t have the chance to do before…

AW: It’s frustrating to think we’re much better now, as a group, as players and people and everything. We know what we’re doing. We’ve got our craft honed. We didn’t really know what we were doing. To think we might have played shows to thousands of people and it was just a bit like a bunch of kids in a garage really, it was about that good. And yet we were given this world stage whereas now we’re much tighter… and we’re playing to 20 people back in the same garage.

SK: But you’re building it up, aren’t you. Isn’t that the problem with the record industry in a nutshell, that these days they give a lot straight upfront and it’s difficult for people to sustain that. Perhaps in the seventies and eighties, it was more likely…

AW: I was just about to say, sounds of the 70’s surely is bands getting 4 albums in and suddenly having a hit and labels believing in them that far; that’s gone.

SK: It has totally gone hasn’t it. What are the upsides and downsides of the current music culture for you as musicians would you say.

TW: Well there’s just so much music around, which is a good thing. And labels are much more – as Cooking Vinyl have been with my record – they’re much more up for putting home-made records out and home-grown things. The whole notion of a label spending 50 hundred grand on a record has kind of gone out of the window. And there’s a lot more artists releasing their own music… which does mean it’s saturated more than ever but at the same time, the internet has allowed people to release records really cheaply; formats and laptop music and stuff is allowing people to make records for next to nothing in their bedrooms… and DJ’s and labels are taking that music now as seriously as other records.

SK: It is baffling though the array of stuff that’s available to your fingertips; you can just type something into a search engine and have it downloaded within seconds. That instant gratification leaves something to be desired sometimes. It was nice in the old days wasn’t it…

TW: I still buy records. I make sure I buy 2 or 3 records every month, physical releases. I’ll never tire of having a sleeve in my hand. That’s the passion…

AW: I think it’s amazing that given that this is the way things are now; that tracks are the thing, not albums. The fact we listened to the St. Vincent album, Actor, on the way up – amazing record, an album, a piece of work, fun as well. There’s a whole bunch of bands and Tom’s record – it’s a record that goes in sequence, it’s like a piece of work and I think it’s amazing that given how the land lies now, that there’s still bands/artists out there making bodies of work – that that still exists, the concept of an album.

TW: It’s almost if you’re into the idea of an album, all that stuff drives you to make even stronger pieces, rather than just tracks or singles.

SK: For me the most disappointing thing about the change in the record industry is that they don’t fly people like me out to New York for parties anymore for album launches and things.

AW: It’s all a bit “tighten our belts”.

SK: That’s over now. You’re lucky if you get taken to a pizza restaurant now. You’ve got to pay for your own beer when you get there.

AW: We got bought our lunch today, that’s all good. TW: Thankyou Cooking Vinyl. AW: There’s no such thing as a free lunch. SK: Exactly, you should know that by now.

SK: Well listen, what are you going to play for us first?

TW: We’re going to kick off with what I think is going to be the next single off the record, which is a cover of the late, great Warren Zevon’s Accidentally Like A Martyr, which one stupid reviewer called Almost Like A Martyr – which shows you how much journalists care about tracklistings. Anyway…

SK: Take it away boys.

TW: This is Almost, I mean, Accidentally Like A Martyr.

SK: That was absolutely beautiful, I can honestly say that. Accidentally Like A Martyr, Warren Zevon, performed by the boys here and Thomas White at the centre.

TW: You’ve just named my band. We didn’t have a name. It’s “Thomas White and The Boys”… The best we had so far was Travelodge. We were just trying to find the most mundane names. Or, The Travellers Cheques. AW: That is my favourite yeah. TW: Just utter rubbish.

SK: Tommy and The Travellers Cheques, what about that, that’s very early 60’s that. D: Texture never caught on did it. SK: You could have Gumtree if you want, my original band Mosque, we decided that Mosque was too contentious, so we changed it to Gumtree. D: Spore…

SK: If you want, you can have this; The Labradors Of Perception. That, in all honesty, is going to be my next band name but I haven’t got around to using it. If you want to run with it, you can have it.

AW: You just made me choke on my coffee there!

SK: It’s a little bit Huxley, a little bit Blue Peter.

TW: Well Alex is in a band called The Power Of Attourney which is a cracking name (band name taken from youtube)

SK: But beautiful 4-part harmonies coming together… It’s nice to hear, I don’t know if you agree with me, this Crosby, Stills, Nash and Young-esque 4-part vocals that are coming in. A lot more people seem to be influenced by it these days. I just think it’s a lovely thing to hear. You can’t go wrong with a few people singing close harmony.

AW: There’s a few Todd Rundgren fans in this band as well, well two.

SK: It all comes though in the music.

AW: Yeah, layered stuff is brilliant.

SK: It’s really beautiful. I hear that some of the boys in the band, especially you Tom, are quite into your cookery. Is this true?

TW: Yes I’m a fairly good cook, I like to think.

SK: So what would you do; you’re in Celebrity MasterChef and you’ve got this to cook with: shallots, capers, pork medallion, basmati rice, coconut and/or tamarind. What are you going to do with it?

TW: Sorry, say it again?

(SK repeats it)

TW: You could do light curry with that – see that’s the bit I really freak out at, the bit of MasterChef where they give you the very limited ingredients and it’s like hang on, I’d be rubbish at that.

AW: Thai green curry with pork… I would just have to punch them if I was on it.

TW: What I love about them is the way they describe the food as they’re eating it: “I’m getting sweet ginger, I’m getting savoury”… it’s just brilliant.

SK: I don’t know if anybody saw it earlier in the week, my wife and I are completely obsessed with it, and a woman – the poor, poor lady, made a cheesecake. Gregg and John tasted it and their faces turned sort of green and orange, all contorted. And John went “I think you’ve put salt in there instead of sugar”. And she had, she’d done a cheesecake with salt. Which is nothing if not original.

TW: Salty cheesecake. AW: She should’ve just used the capers and the pork, sod it, stick it all in.

SK: I think as well accidentally, Tom’s come across the better name for the band; Salty Cheesecake. You can have that for nothing as well.

D: Anchovies Cake Like A Martyr. TW: Punning away there…

SK: Don’t go yet because we’ve got another performance here, I’m looking forward to some other layered vocals. What are you gonna play for us now?

TW: We’re gonna do another sadly late great artist, Mr Mark Linkous of Sparklehorse. We’re going to do a tune of his as a little tribute and it’s a song called Maria’s Little Elbows from his Good Morning Spider album.

SK: Right, fantastic, Ok. Well take it away boys.

SK: That was excellent, really, really beautiful. Thankyou very much indeed for that. TW: Thankyou Shaun.

SK: And what I also like, if I’m honest, is the fact that you’ve come in here, it’s Radio 2 and you’ve done a couple of other people’s songs. There’s a sort of a lack of ego to that I think.

TW: You’ve got to give people props haven’t you.

SK: You’ve got to give people props, that’s exactly the right thing. Tributes to some wonderful songwriters there. But, your own music here, in its entirety on The Maximalist, what can people expect when they rush out to buy it.

TW: It’s a fairly broad mix of various different influences. There was a review in Uncut magazine which kind of put it pretty well:

From the TW Myspace “The Maximalist opens the dam of ostensibly conflicting styles and releases the deluge in all its’ crazily self-confident, so-wrong-it’s-right glory. White fuses elements of The Who, Chicago, My Bloody Valentine, Queens Of The Stone Age, Badalamenti and Badfinger, which is not just a feat of cut-and-paste engineering, but also proof of his verve, vivid imagination and fervent love of music”

SK: If you don’t find something for you in the middle of that, there’s something wrong with YOU, not the music.

TW: Fair point.

SK: Before we let you go, guys, we had Professor Brian Cox in in the last hour.

TW: Sadly not the Dundonian Brian Cox, Andrew here’s a Dundonian, he was hoping to… SK: The actor Brian Cox. AW: I watched his programme the other day, not that one, the one you’re talking about. SK: The physicist. We have got a few leftover questions. By the way, Glen in Leeds suggests another band name, Discounts For Vicars. TW: Ah yes! SK: I think Salty Cheesecake myself. Here’s a question for you…

SK: Does dark energy exist Tom and if so, how can it be measured.

TW: At this point I’ll pass you over to the resident physicist in the band, Mr Damo Waters.

D: No. AW: You can’t see it, that’s the problem. D: It’s a mathematical construct, it hasn’t been proven to exist physically at all. It’s all speculation and everything is riding on all these people making these assumptions. And for all we know, it’s complete fabrication.

SK: Wow, well I’ve got one more for Damo. I thought dark energy emitted from Mariah Carey to be honest. What is the answer to the unification problem.

D: You’ve just got to get them in the mood, get them together down by the fire, it’ll all come together eventually.

SK: Well, I don’t know what to say, it’s been a wonderful pleasure to have you guys in. I wish we could just ride out the rest of the show like this but we can’t. The album is out in the shops now I think.

TW: It’s out now, as of the 15th.

SK: The Maximalist. We look forward to hearing ESP when they come back. Do you have ESP between you, extra-sensory perception?

AW: We have it. TW: We finish eachothers sentences, all the usual sibling stuff.

SK: Thomas White and The Boys, aka Salty Cheesecake. TW: Aka was it Discounts For Vicars… Travelodge!