Kitchen Lover Talks Fuzz, Fury, and ‘The Circus Sideshow Dream’
Bursting with chaotic charm, this trio’s debut, ‘The Circus Sideshow Dream,’ slams you with fuzzed-out riffs and manic energy.
From the desperate, soul-scorching screams of ‘There Goes My Brains’ to absurd little moments that make you laugh, wince, and think, this album is gloriously messy, hilariously human, and impossibly alive. Producer Erik Miles somehow bottles their spirit without taming it. Kitchen Lover’s ‘The Circus Sideshow Dream’ lands September 19. Be there!
“Desperation reeks through us all at times, and maybe that’s the truth in my songs.”
You described ‘There Goes My Brains’ as a song about a “desperate little boy, completely unaware of his feelings, who can only scream in despair and anger.” It’s a vivid picture of modern romance. How much of this character is based on real-life experience, and how do you find the line between playing a part and exposing a personal truth in your songwriting?
I mean, in an ideal world, I’d say that there were zero self truths behind this, but unfortunately desperation reeks through us all at times. I’m not sure there really is a line between personal truths and playing into a character. It all just merges into one. Who knows though, maybe they’re all personal truths I’m just yet to discover.
Critics have drawn comparisons to bands from Shame to The Black Keys, highlighting both your fuzzy grit and “polished sensibility.” How do you navigate that space between the energy of a live show and the more refined, controlled sound of a studio recording?
Well, it’s a tricky one because when we recorded the album we were still a two-piece and recorded it mostly all live. Our sound has evolved so much since then. Naturally, the music we’re releasing doesn’t quite represent our current live show as much as we’d like, but it documents a moment in time the Kitchen Lover cook book.
The album title, ‘The Circus Sideshow Dream,’ along with the single’s name, suggests a sense of theatricality and surrealism. How does this theme connect to the emotional core of your music, and what kind of “sideshow” do you feel you’re creating for your listeners?
Oh, I mean totally, yeah. It stems from trying to pursue and navigate this wild music world. Sometimes you’re Mick Jagger, sometimes you’re scrounging and stuffing your face with ice cream to make yourself feel better about “achieving nothing.” Our listeners are encouraged to make up their own sideshow experience, or not.
Erik Miles, your producer, is noted for his work with a diverse range of artists, from SOFT PLAY to Kate Nash. What was it like working with him, and how did his input shape the final sound of both the single and the upcoming album?
Erik is an absolute G. Not only a very good friend but amazingly talented, with a natural ear for good music. His input and opinion is valued as highly as a band member, which he kinda is. He does love a tea break though.
Your tour schedule this past year has been relentless, with almost 50 shows across the UK. How has that experience and opening for bands like Frankie And The Witch Fingers influenced the way you approach your songwriting and performance now that the album is complete?
Opening for Frankie & The Witch Fingers was wild. I almost shat myself and fainted when the message came through. Not sure if you’re allowed to swear, sorry about that. It was also slightly underwhelming, inspiring, and confusing at the same time. Many emotions.
To wrap up this interview on a different note, could you tell us the story of how the band originally came together? What were those first sparks that set everything in motion and brought you all into this creative orbit?
We actually all met on the same bill a long time ago, and I’ve gradually poached both Ed and George, purely based on their handsome looks. I mean, it’s not gonna be for their musicality, let’s face it.
Klemen Breznikar
Headline photo: Haydn Gwyn
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