Emerging from the sleepy suburbs of Portland, Oregon, The Dandy Warhols brought something new to a generation always hunting for the next cool band. Their music, (much like their San Francisco counterparts The Brian Jonestown Massacre), borrowed all the essential sounds from the past, and combined them with everything that was cool about the music of the period. It was raw, it was fun, and it was real rock n’ roll.
Capitol Records were able to pick up on this, and handpicked them to join their roster, leading them up (and down) a forever-winding road, which would later become infamous in the movie DiG!. Having come a long way since then, The Dandy’s sound has morphed and changed over the years since their debut album Dandys Rule OK, but if there’s one thing that’s for certain, it’s that they definitely still know how to write a damn good record.
Enigmatic front man Courtney Taylor-Taylor is no doubt a poster boy for the ultimate cool 90’s artsy rockstar, and talking to him can be somewhat intimidating; Tone Deaf’s Ella Jackson was up for the difficult job though, and had a chat to him in the lead up to The Dandy Warhols’ Australian tour, talking their upcoming record, his side project, and his relationship with Anton Newcombe.
Having been dropping hints about the new LP on their website for quite some time now, the first and most obvious question one might ask Courtney, is “when the hell can we hear this new album!?”, and “what might it sound like?”. Courtney remains aloof about the subject, not giving too much away as to when it will be released, though he puts to rest the self-started rumours that it would be a spaghetti western themed record. It will, however, be a very guitar-based album, putting a hold on their previously synth-heavy sound.
“Suddenly I just got really tired every time I heard synthesizers—they made my feet hurt … so I just kind of wanted to hear all guitars again, or almost all guitars.”
Zia will be getting her usual synth track though, he assures us.
“We always have the synth piece that Zia plays … there’ll always be something with that almost non-organic kind of tone and structure in everything we do.”