Stephen EvEns Talks New Album, Recording Sessions And More

Piecemeal. It’s kind of the way it has to be done. Things have to fit in where there is time so something that should take a week or two suddenly gets drawn out. It’s not too bad because it gives the songs time to develop and sit in your head. You learn to love them a bit more, nurture them and I think that this particular album is better as a result. 

Most of this album is from the original Employee Of The Month sessions, which was possibly going to be a double album, but as it went on it seemed like they fit into two separate camps, all but two of these songs were from that session. A Tree and A Bee were added later, as I thought they’d make neat singles and then I could also have the current Stephen EvEn’s band playing together on the record. 

Where did you record the album and who produced it?  

The album was mostly recorded at Brixton Hill Studios with a brief sojourn to Edwyn Collin’s studio Clashnarrow, in Scotland. It was produced by me, it’s always produced by me. It’s my favourite part of the process being in the studio, so I try to be in charge at all points from tracking to mixing. I love making records. Tape machines, microphones, instruments… what’s not to love? 

 Who plays on the album with you? 

Many people. Shall I list them? It’s quite a lot. Let’s see, off the top of my head. 

Caroline Gilchrist – Vocals 

Jen Macro – Vocals 

Gabi Garbutt – Vocals 

Elizabeth Calfe – Cello 

Kate Arnold – Violin 

Elish McCracken – Violin 

Jon Clayton – Keyboards 

Jen Macro – Guitar 

William D. Drake – Keyboards 

Fiona Harrison – Classical Guitar 

Nick Howiantz – Bass, Guitar and Keyboards 

Jimi Scandal – Guitar & Bass 

Josh Perl – Keyboards and Sax 

Debbie Smith – Bass & Guitar 

Crompton Wesp – Drums 

Jon Clayton – Keyboards 

Bob Leith – Drums 

Mark Reynolds – Sax 

Nicola Baigent – Sax 

Graham Wright – Trumpet 

Kate Arnold – Vocals 

Andrew Perry Vocals 

Anna Dodridge – Vocals 

I think that’s everyone. Imagine cramming them all into one small booth? 

You have also released the lead track ‘A Tree’ from the album. What was the story/inspiration behind the track? 

It’s a simple story of a boy watching his dog bounding through the woods and enjoying his little life. You can’t feel blue or angry watching those little legs bounding through the undergrowth, tongue flapping about in the wind. That’s the dog, not me obviously. I mention A.C. Newman (from The New Pornographers) in that song. At the time I used to listen to his album The Slow Wonder on a daily basis, it’s my favourite dog walking album. 

 Who are some of your musical influences? 

I used to think that was an easy one to answer, pick a few bands or artists that make you sound interesting. It’s a difficult thing to pinpoint, especially if you are a music fan. The other day my friend Nick and I stuck on ‘Fantasia On A Theme’ by Thomas Tallis by Vaughan Williams and that made me want to write an epic sinister & pastoral piece of music but then the other day I rediscovered the long lost EAT album ‘Sell Me A God’ which made me want to make a Swamptrash-eque racket. I did nether of those things of course. 

 You are given the opportunity to write the score for a film adaptation of a novel that you enjoy. Which novel is it and why? 

I have not read a fictionalised book in years. I only read biographical or practical things regarding, or how to record stuff better (geek!). But I have just started reading ‘Hokkaido Highway Blues,’ a travelogue about hitchhiking across Japan, a book Chris Fox from The Charmlamagnes got me for my birthday (it’s his son Griff who’s on the front of the record). Maybe I’d like to write a score for that? I’d make it like a compilation tape.  

 Do you have any favoured stage instruments, effects, pedals, microphones etc? 

I have a blue Jazzmaster style guitar made for me by TP Customs who our guitarist Jimi Scandal endorses which I am currently trying to eke out a tune on. It has pickups based on my Epiphone Coronet and a neck based on my 70s Telecaster. It’s as near as made for my ham fists as one could imagine. Plus it looks like it’s been knocking around in the back of Thurston Moore’s truck. Tom who makes these guitars makes them for the likes of Queens Of The Stoneage and Eagles Of Death Metal so I feel quite honoured to be allowed to muck about on it. 

I also got bought a Broadcast pedal for my birthday. It’s a circuit based on an old broadcast console channel. It has a nice bright boost kind of sound that makes the strings sound like they’ve been sharpened on a whetstone. 

 Where is your hometown and could you please describe it in five words?  

Do you mean Brixton or where I am actually from? I have five words to describe my actual hometown, but my folks still live there and I want to visit them without being mugged by the local parish council so… 

 Do you have any interesting, funny or memorable stories from the album recording sessions? 

The tape machine I had at the time broke down a lot. What was particularly memorable was going all the way to Scotland to record and it blowing–up. Fortunately, it was after we’d done most of the tracking. Still, we had a lovely view of the sea.  

Do you have any plans for live shows in Europe/UK in 2024?  

At the moment, just the London show on 31st March @ The Lexington in London and 11th May at The Prince Albert in Brighton. Even if there were offers for Europe it’s almost entirely not viable currently and touring in general costs a lot of money. I’m quite happy to slog around the globe on my own, but putting my wonderful pop group through that when we don’t make any money is not something I feel I can do to people I care about. 

Somebody commented on our London show post on our socials the other day “There are places other than north of London you know.” I had half a mind to say to them “it would be cheaper for me to pay for your travel and accommodation than it would be to bring the band to your local venue” but why be antagonistic? I understand their frustration, but I am equally frustrated that I have to raise a few hundred quid before the van leaves the rehearsal room. Don’t get me wrong. If I had a stupid amount of disposable income I’d spend it on taking the band around the world…. urghh, this doesn’t come over well does it?  

Let’s start again…we are playing The Lexington on the 31st March and The Prince Albert on 11th May. 

 Which of your new album tracks hear you at your a) happiest, b) angriest and c) most reflective? 

Hmmmm, a) Happy New Year, b) I guess 7 Bells, but it’s more about fear and survival than anger and c) Lazy Eyes. 
 

 Was it a difficult album to write?  

Not at all. I think that’s mainly because of the piecemeal fashion I was talking about earlier.  I get so little time to do all this stuff that there is a huge backlog of stuff.  

 How do you look after your voice?  

Wine. Unorthodox but tasty. 

 What two pieces of advice do you have for a novice drummer?  

Don’t forget your sticks. (Thanks, Tim). 

When the “talent” says, “that went a bit fast that time, didn’t it?” Just smile and say ok despite the fact the f***ing guitarist started the song. 

 What makes Stephen EvEns happy and what makes you unhappy?  

I’m sat here with my pal Dunkie and my beloved Cheshie eating cheese and drinking…well, wine surprisingly. That makes me happy. 

What makes me unhappy? We’re almost out of wine.