fbpx
FLOODHOUNDS

RGM INTRODUCING – WE INTERVIEW SHEFFIELD BAND FLOODHOUNDS

Hi folks hows things, lets get going, Introduce us to all the members and your musical history?

I’m Jack, I’m guitar and vocals. On bass we’ve got Anna, and on drums we’ve got Lauren.

Tell us something about each member that you think people would be surprised about? 

Lauren is equally at home at a drum n bass rave as she is in a rock n roll mosh pit. Anna nearly became a video game designer. Jack regularly gets his head kicked in at his local Muay Thai Kick Boxing gym. 

Two truths and a lie

Our single Take it too Far is the theme tune for an online drama series in Japan.

I accidentally became the owner of one of Richard Hawley’s iconic leather jackets, courtesy of The Yellow Arch Warehouse.

Lauren’s dog Diesel, the 4th FloodHound, is trained to deliver cold beers from the fridge to the band.

Sadly the dog beer delivery system is the lie, and has yet to be perfected.

What was life like for you before music?

I can barely remember what life was like before music. The amount time we spend on it now, it takes up every spare second of the day, so before music came along, we must have been very bored. 

What made you decide that music is a thing for you?

It’s been there for all of us since we were kids. I know I was obsessed with guitars and finally got an electric when I was about 13 and it blew my tiny mind. Plugging it into an amp and hearing it roar back at you was the most exciting thing ever. And then it was all about starting a band as soon as possible. It’s the same story for Loz and Anna.

You folks have been going quite a while now, how you finding life in the music industry?

It’s a grind. But I think that experience has taught us how to spot things that are too good to be true and how to avoid getting ripped off. What I also find interesting is how rapidly the industry changes. You could release an EP, and a year later when you’re planning to release the next one, the “release strategy” advice of the pros has completely flipped. Or a whole new social media platform appears and you have to learn how to re-purpose what you do to suit it.

Whats the current music scene like in Sheffield?

It’s pretty good. I think venues like Sidney and Matilda and The Washington are just smashing it in terms of the quality of small gigs with incredible atmosphere. Jarred Up and Yellow Arch are doing great things as well. The whole Leadmill takeover situation is a bit tense, I would be devasted if they lose their fight, but I’m hoping they can pull through one way or another.

What was the first song you heard that steered you into a music path?

It was a Nirvana best of CD. And what is crazy is that when I first heard it, I didn’t get it at all. But all of a sudden it clicked and it was the best thing ever and from that day forward I was all about rock music. 

I hear you have a new single, what can you tell us about it.

Our current single is Quicksand, which we’ve described as “a darkly melodic, menacing tune, brimming with bombastic riffs.” When I wrote it, I thought it would be fun if it was like a sound track to a badass bit of cinematic slow mo walking so I tried to make a riff so simple yet so heavy, there’s only three notes to the main riff but it’s got so much oomph to it. It’s stuffed with jangling psychedelic guitar, blended with big riffs and sinister melodies and an army of guitars hits you in a big riff-heavy chorus.

Lyrically, ‘Quicksand’ is all about how life rarely moves in a straight line every time we take two steps forwards, we end up taking a step backwards as well and then it feels like we are losing control and sinking. That’s how we got the title in the end. 

What was the recording process like?

Really fun, the second of three tracks we’ve done at Magic Garden Studios, who have produced Kid Kapichi, The Blinders and Stone, and each one gets better than the last. Gavin likes to push us and see what unexpected flavours and weird quirks we can sneak into the songs like sinister synth parts, or chaotic electronic samples.

Where do you feel you currently sit within the music industry?

That’s a hard question to answer. We always feel like we’re not doing enough, and then someone will say “oh you guys have been smashing it lately”. I think we’re at a position now where we’re able to do a lot of things ourselves, and thrive as a DIY band, but I would really benefit from having a bit more of a team to help us manage it all and avoid spreading ourselves too thin.

Whats the biggest thing you have learned from someone else in the industry?

Work hard. Practice. And keep your eyes and ears open for opportunities. And most importantly just try and make the music you want to listen to and then when all is said and done, you know you’ve made your art exactly the way you wanted it. No point trying to chase trends because by the time your version comes out it’ll be too late.

A lot of the leaps forward you will make thanks to talking to somebody in person. It’s hard to connect over emails and applications, so get out and about and talk to people, often they are happy to help you out once they know you.

What made you decide that music is a thing for you?

I’ve always been noodling around writing songs since day 1 of learning guitar. And there’s nothing more frustrating than writing a mosh pit ready rock song that never leaves your bedroom. So getting a band together to hear your little idea take it’s full form was an immediate priority as soon as I started writing, and I don’t think that’ll ever stop being the case.

Do you sign up to any conspiracy theories? If no why not?

Well this used to be a theory but now we’re all agreeing that our phones are listening to us right, just so we can get the perfect ads? That’s freaky. A nicer conspiracy theory I’d love is if Elvis faked his own death and is just seeing out his days in peace and quiet in the middle of nowhere. 

What was the worst experience on stage?

Nothing too dramatic, the main anxieties are about pedal’s failing or tuning nightmares. But one time a well meaning but absolutely hammered guy climbed on stage, mid song, to sneak up to our then bass player to give an appreciative, but bone crushing bear hug, before decking it and falling off the stage with a crash. I had to stop the song, but thankfully he was OK. 

What makes you stand out as a band/artist?

We work hard at making the set run seamlessly. I don’t want the audience to have to sit through awkward pauses, or listen to us ramble on about nothing in particular. I’m quite proud of the fact that although there’s only three of us, we can produce a really hefty live sound which is greater than the sum of it’s parts. Plus we love adding little extras, bonus breakdowns and enhanced versions of the riffs compared to the studio versions, which you’ll only hear if you come see us live. 

What was the biggest learning curve in writing the new tunes?

Trying to trim the fat. I love a long intro when it’s justified, but in Quicksand, it worked so much better to just get to the point. It makes a track really punchy and full of intent when there is no slowing down and it’s full speed ahead.

Would you change anything now its finished?

If it was up to me, I would be tinkering with every record until the end of time. But you just have to let it go once your studio time is up. I was actually really ill recording this song, and managed to get my vocals out just in time before losing my voice. Luckily I think we got away with it. I find after a while, once you get used to the final mix you can’t imagine it any other way.

Is there anything else you would like to share with the world?

We’ve already recorded the next single, which we will announce in the new year, and the next couple of gigs for us are at Yellow Arch 2nd Feb and in Derby Hairy Dog 4th Feb and a few more will appear soon after. It was a real boost to be picked out of 1.5k bands for BBC Introducing-curated stage at official Tramlines Festival this summer and for Amplead’s Lakefest after playing the semi finals at Liverpools Cavern Club.

If you could wish for one thing to aid your career, what would it be?

I wish more promoters would take a chance on an out of town band. I know you’ve got to sell tickets, to cover costs, but how do you know how many you can sell until somebody gives you a chance to prove yourself? I’ve noticed it got a lot harder to play shows further from home since the pandemic, which makes sense, margins got a lot tighter, so less risks are getting taken. But I think playing shows is where you make lasting impact with people, but you need somebody to take a risk on you first. It’s not impossible to pull off, but it’s definitely harder than it once was.

FOLLOW ON FACEBOOK //  X  // INSTAGRAM // WEBSITE

MORE RGM INTERVIEWS HERE

THE RGM PODCAST