Camera Obscura by Aline Lemos

In an interview at their recent Nottingham date with Lee Thomson and Gavin Dunbar, respectively the band's drummer and bassist, a step towards change and wholeness is outspoken.
They reveal their contempt concerning the new album, development as musicians, comparisons to Belle and Sebastian, among other topics.

How has the band changed since 'biggest bluest hi-fi'?
(Gavin) - Well, a lot. Some people changed, left the band; we got a new record label. We became a lot more confident about recording, we are just really excited, to go back and try a few things as we did on the record. It's like a step forward for us.
(Lee) - As Gavin said, I think we are more confident with each other, we are better with our line up and we're a bit faster and it's become more fun, maybe because we sound better, you know. We know what we are doing this time, which is great and is working better.

Listening to your new album it's inevitable to try to describe it using several adjectives, such as mellow, delicate, sad, happy. You get very sad songs (and I don't mean that in a bad way), such as 'your picture' and very joyful songs like 'let me go home', which reminds you of 50's music. Would you say that is intentional? What can you say about the composition of the album?
(Gavin)- It was pretty much like the first album; John wrote the basic songs. Carey as well, and when the band rehearses everyone brings ideas, we all work towards making them sound like Camera Obscura. To be able to start we record some lyrics and basic melodies and everyone works hard to sounds quite simple and authentic.
(Lee) - The 50's resemblance is quite true with the single, 'Teenager'. I mean, it's not like people are writing songs trying to rip anyone off but there is generally a feeling that they reckon what they like and they would like their own songs to sound in the vein of. Generally a lot of us listen to a lot of old stuff, so it might sounds like the fifties. So you got that because we got a bit more studio wise and we know what we can do in a studio. We've been working quite well with Geoff, who knows pretty much what we want; he's been helping us to achieve this. It's pretty fun to make it sound quite fifties or whatever.

You are talking about rip off and stuff. I don't know if you get this all the time but how do you feel about being compared to Belle and Sebastian?
(Lee) I think it used to annoy people more in the beginning. When we played in Spain, especially with 'Biggest Bluest Hi-Fi', lots of people would bring the B&S thing. I think now it's being less mentioned! It just seems to me that the Spanish press and a lot of people who listen to music actually just listen to a record 'per se' and don't have this kind of thing that we got in Britain. It may apply especially in British based journalism, which is pure lazy and it's easy just to lump people in together. I think now that we don't get it so much is quite nice, we've made a record that has its own merits, but it's still annoying. Most people I know don't see the connection at all. It may be an aesthetics thing, maybe the seven of us, same instruments; I can see certain aspects of it but it sounds completely different.
(Gavin) I feel pretty much similar to that. We do have a lot of similar influences, of same bands in the past and obviously that has an effect on how it sounds but when we first started we were always compared to B&S.

In your songs, do the lyrics relate to your personal lives/realities?
(Lee) - They are pretty much grounded to it; Traceyanne's lyrics especially, are very personal.
(Gavin) - Yes, I think it's a consequence on the way you live life, for the most part I think. John's lyrics are different, maybe more general, they talk about drinking and broken hearts.
(Lee) - That's life!

And the 'NPL'.
(Gavin) - Yeah, when you have a good night out you write a song about it!

For the band, how important is it to tour and play live?
(Lee) - I think it's become more important now. Some bands don't play so often and they still sell records. Through playing in Spain we became more encouraged and started to feel more comfortable.
(Gavin) - Right now since we gathered more stability we enjoy playing live more, while before it was probably too much of an ordeal for us. It's good to play live, especially when you see people enjoying themselves, cause it makes you enjoy it more.

Sometimes playing live can sound quite different from the studio recordings, because, for instance, you can't have the same sound effects. Does this affect Camera Obscura playing live?
(Lee) - I think they are generally quite good. We never play a song because it's easier to be played or anything like that which means that playing can be quite hard for us. We try to incorporate everything that's in it, in one way or another we try to make a melody the same. Maybe it'd have to be played in another instrument, we get Nigel to play lots of different instruments!

Would you say there is a 'Glasgow scene'?
(Gavin) - I think it goes in cycles. Maybe sort of mid nineties it could have happened, with all the bands like Belle and Sebastian, Arab Strap, Mogwai, The Delgados that appeared at the same time. I don't if it's partly because at that time there were really good places to play in Glasgow and people got to know each other and all. then it got quiet for a while and now it's getting interesting because bands have started to awaken. It's not like a scene where all the bands sound similar; they sound quite different but they are all quite good.
(Lee) - Glasgow has always been like that, it's a guitar city! It's a really good place for live music.

So, one last question: are you pleased with the new album?
(Lee and Gavin) - Yes, definitely.
(Lee) - I think it's a lot stronger, better.