FAUX FAUX AMIS
Chris Gleeson (drummer extraordinaire for The Missing Lincolns) and I have started a band with Davey Fuzzsucker.
We’re working up an initial set of 9 songs – all but two I wrote in the last month. With songs, I generally write in clumps – a lot very quickly and then not much at all. This time, I can pinpoint what opened the floodgates.
I dig the song, but it was something about the effortless, tossed-off nature of the performance that got my juices flowing. Babyfreeze and Shine Tarts had shied away from a guitar-centric sound – seeing this made me want to play loud and fast again. I grabbed my guitar and sketched out a couple of songs that morning. I’ve returned to the video several times and its lost none of its power.
I also recently watched Sid And Nancy, and it rekindled my love of The Sex Pistols – their energy and insouciance is something we definitely want to capture.
These days, I mostly write music and lyrics separately. In this case, I imagined a meeting between two versions of myself – the snot that banged out the obnoxious punk of Lulu & The Tantrums (the free-est and quickest I’ve ever written songs), and the big-hearted classicist that co-wrote The Bluffhearts discography. What if they wrote songs together? I’m excited about sharing the results.
This’ll be the fifth incarnation Chris and I have played in together – we started together when we were 17. After that band (Littlefoot), we played in The Missing Lincolns (the only ongoing concern), Antman Vs. Keffletron (a home recording project including Chris’ sister Kerri), and The Michael Jackson Pollock Experience (a one-off gig and still my favourite band name).
Continuing my recent Francophilia, the band name is Faux Faux Amis (we also have a song in French). I’ve got some ideas about making performances more of a happening as well (a “punk mass” as Suicide called their shows) – aesthetically, I want to pitch us somewhere between Godard and Blank Generation. Once the rest of the line-up falls into place, we’ll get to gigging.
Lick Nuke 