R: So how did you guys get together and start out?
Morgan Q: Plugs came about out of conversations me and David chin had at university. We were both studying electronic music; looking at people like Pierre Schaeffer and Boulez, and thinking about applying to MIT or Ircam. In the last year of studying we decided to form a punk band so that we’d have a break from sound synthesis and sampling. We just kinda wanted to play as hard and fast as possible. Boomer joined us on drums (he was a friend of David’s) and we just played lots of small clubs for about a year, doing shows where we’d smash equipment and hurl ourselves into the drum kit. The music we made then was never meant to be released, only played live. After doing that for a year we decided to bring some electronics back into the mix. That’s when we came up with ‘That Number’ and released our first EP.
R: How does it feel to be in a successful band like Does It Offend You? Yeah, and then to be caught up in the ‘next big thing’ buzz with Plugs?
M: I’m not really sure how to answer that. I guess it all feels good.
R: Do you thing being in a band that is hyped and talked about so much is a good thing for a fledgling band, or do you think that It can put undue pressure on for you to keep up with the buzz?
M: You know I don’t know that we have received enough hype for it to be a strain of any kind. I think pressure from hype only really applies to the records labels, blogs and magazines that are generating it. If you look at a band like the Klaxons it was really in the records companies interest and magazines like the NME’s interests, to make sure that the hype rang true and that people were running around talking about how amazing a band they were. I mean for a moment people were actually buying copies of the NME, and a shedload of revenue was generated for the label. So bands really are under zero pressure when hype is involved, because the jobs of the marketing teams behind them depend on their success.
People might think it sounds a little jaded, but I’m not saying this to be negative, its just the way things are. I remember a friend of mine from a band who became really successful telling me a story about his label once. He said that one time he asked:
‘What happens if nobody buys my records? What happens if it doesn’t work’
to which the record exec said ‘Oh don’t worry about that. People will buy your records, because we’ll make sure your on their minds as soon as they step into a record shop or think about purchasing some music’
I think that’s pretty impressive don’t you.
R: How do you go about writing songs? Whats your guy’s process?
M: The writing process usually starts with me bringing an idea into the rehearsal room and everybody playing around with it for about four hours. Sometimes this’ll start with beats on a computer, or a bassline: sometimes a random riff will get played in rehearsal and we kind of pick up on that and develop a song around it.
R: If you could remix anyone who would it be? And if you could have anyone to remix one of you guys’ tracks, who would you pick?
M: I think if I could remix anyone it would probably be someone with incredible beats because when I got their stems through I’d nick all the amazing drum samples. So probably Diplo.
To remix us I’d probably just upload the files to a server and let the public do it.