“It sounds quite cheesy, but stuff like Destiny’s Child has proven just as important as The Beatles and Radiohead”
Although he expresses good-natured frustration at being lumped in with Mancunian bands such as Delphic and Hurts, as well as mentioning how the foursome are all too aware of the pitfalls of being placed on the infamous hype machine generator also known as the BBC Sound of 2010 poll, Spearman is quietly confident about the direction his band are taking. Having released their debut single on XL Recordings offshoot Salvia in 2008, it was widely expected that the band would stay – and perhaps be better suited – to an indie label for the album’s release. However, meetings with Geffen threw up the best deal for the quartet, and he claims that being on a major doesn’t necessarily equate to handing over your creative freedom.
“It was a very tricky time to get signed, I think it still is – there’s a lot of uncertainty,” he agrees. “And I think the big independents like XL and Rough Trade – we would’ve gone with them if they’d offered us something, but they weren’t really in a position to, with the timing, or whatever. With Geffen, we know that we’re priorities. Yeah, it’s a tricky balance to make sure that you’re getting your point across, and creatively, getting what you envisaged. But it can’t be totally about our vision and what we think, because at the end of the day, music is something that’s sold, it’s a product. If we make something that’s not marketable – make an album, or make a video that can’t be played on TV, or something – then we’ll shoot ourselves in the foot. So we’re learning all the time. It’s a really interesting and exciting time for us, and we’re just looking forward to what the rest of the year will bring.”
Fishing for compliments: Mike Spearman, Alex Niven, Jonathan Higgs and Jeremy Pritchard of Everything Everything