Concrete Playground Meets Cut Copy
Dan Whitford chats about the band's newest tunes, success and why dance music isn't going around in circles.
Cut Copy burst onto the scene, and into our hearts, with their chart-topping album In Ghost Colours all the way back in 2007. Six years later, they're dropping their newest offering, Free Your Mind, on November 1.
Ahead of the group's international tour, we met up with Dan Whitford, the man behind the mic, to chat about the band's newest tunes, his feelings about success and why dance music isn't going around in circles.
Free Your Mind is thematically stronger than the previous two albums. You've said that you never intended to make a concept album, but it has kind of come out that way. Did the concept evolve as a natural progression from the writing?
Initially, it was an effort to get started, and we were hoping to have a few gems that we could work up into contenders for a record, but there's only so long you can go without considering that they all have to fit together on a record at some point. There was probably a point where we went, "Okay, how do these songs relate, and what are we doing?" We started out with a very open-ended plan, like, "Don't overthink anything, if you have an idea, try it," and that was sort of what we tried to do through most of our recording. But I think we then got to a point where we had a few different directions with these tracks, we were asking, "What's the common thread?" So I think it just ended up feeling like there was this sort of slightly euphoric, kind of uplifting, but also kind of a loose psychedelic feeling to most of the tracks.
The sound of the record, as well as the theme, is retrospective as well as prospective. Are you looking to the music of the past to build your future music?
Yeah. I think that dance music, probably all music … has always done that. Each era, from disco onwards … even in the disco era, you'd be taking an old song, and doing the new version of that for this period in time, and then the same with the 1990 version of a disco song, and now there's the 2001 version of the 1990s song. I think dance music naturally looks forward because it's a fairly fickle thing. Stylistically, it's always looking to evolve, but it's also very retrospective.
I think that's something that Daft Punk, for instance, have done more than any other … artists in the past, and that's being so diversely influenced by not just dance music history, but pop music history like Beach Boys and KISS, some of these things that are glam rock. These are things that don't normally fit into dance music, but they pulled in for the hell of it, and created something new. I think we're nostalgic about some of these periods of music with this record, and I think the combination of things that we pull in hopefully ends up being something that people haven't heard.
You've never actually trained to play any musical instruments. How do you think that this lack of training affects the way you write music?
It's good because you don't have any preconception about what you're doing. My training was listening to records. My record collection … taught me how to play music and make music, so you're assimilating all these influences and creating your own thing from there.
I think it's good not to have too many rules about what art should be, because I think you're inevitably limited by that. I know music is a popular art form, so I know that if you're making, say, a Lady Gaga song, then there are probably a few rules … if you want to get played on the radio, but I think that in a general sense, having fewer rules makes more interesting music because the possibilities are more endless, more infinite. So I feel there's a benefit to never really knowing what I was doing.
In Ghost Colour and Zonoscope were both hugely successful. Is that something you think about when writing now?
I think it's a trick having all … these artificial pressures on what you're doing creatively, and I think the best stuff, for me, is created amongst the band when we're just doing the stuff that we like. I guess you've just got to trust your own creative instinct and aesthetic to hopefully be something that's good.
Ghost Colours went number one, but we never thought in our wildest dreams that it was even going to be in the charts, let alone in the top ten or number one, that was just ridiculous. We did that without thinking about it, so sometimes the best thing is to really not even consider it. I guess there is some pressure there, but I guess that, at the end of the day, we just come back to making the music that we like, and if there are ever points where we get confused, usually we just come back to, "What do we like?" And that's the best guide, and probably what the right choice is.
Cut Copy's new album, Free Your Mind, is out November 1 through Modular.
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