Marmaduke Dando interview

Marmaduke Dando has made one of the more beautiful albums of 2010 with his debut

"Heathcliffian Surly", which I've already presented here.

I urge you to listen to it (and then buy it for only 7 pounds), if you haven't already: it is one of those albums that will stay with you for a while, trust me.

Marmaduke was kind enough to answer some questions, so put on the music and and read on, beloved readers.

I believe that, in harsh times like the ones we are living, people will turn to art (and music) that is either more raw (like punk) or more dreamlike (like the pre-Raphaelites). Your album is filled with songs that could be read as dreamlike stories. Is life a dream?

It is certainly subjective, and in that sense, it may well be a dream. There's no way of proving it isn't. It is a romantic way of looking at a recession, and perhaps optimistic too. Whether it's the case or not, I'm not sure anyone can produce empirical evidence to suggest that austere times produce better art, as art isn't measurable in those terms. There is something slightly alluring about the status quo being ruffled though. Anything that get's people to engage, protest, think, can only be a good thing.

In your blog, you talk about Dostoevsky. What is it about him, a doomed-by-his-passions man with extreme talent, that draws you to his art?

I find him utterly hilarious at times, that is the main draw. The man was clearly writing for his next advance, and his verbose style is testament to this. I've never quite been able to work out Dostoevsky's philosophy, in fact I'm not sure he ever had one. He mocks everything and everyone with these strange and mysterious characters, perhaps there's a touch of nihilism in him, and perhaps there's a touch in me also. I'm sure some would draw that conclusion. Aside from the humour, the iniquitous settings of 19th century Russia populated with louche and mysterious characters, are really very exotic to me.

You also write about your ambitions regarding your music. If you could have a wish granted regarding your album, what would it be?

I've thought long and hard recently about what it is exactly I want from this music, and I've concluded that it is simply for as many people to hear it as possible. That's not because I think I've anything particularly original to say when compared with history, I am a shameless plagiarist after all. However, as difficult as it is to be objective about ones own art, I feel like there is something jarring about what I do. It's in no way normal, though it may follow familiar patterns, and that is important. If I can put my own propaganda out there, and turn a few heads from the common stream of consciousness, then I'll be happy with that. I'm under no illusion that any of that will happen though, you understand.

"Heathcliffian Surly" seems to good to be a debut album. It sounds like the popular saying for many bands, that "we make our first album all our life". I guess it took a long time to make, right? Tell me all about the process.

Yes I'd agree that you have your whole life to make your first album. Some of the songs on 'Heathcliffian Surly' are 5 years old ('Odessa' and 'This I Ask of You'). I used to play them in my old band, Big Sur, we broke up, I kept the best of what I wrote, and continued to add to that. There were plenty of other songs that I could potentially have put on this album, and they were often played most live/ However, when it came to deciding tracklisting, the inclination was for what flowed, rather than what was old, or more representative. Whatever sounded best in my mind next to eachother, and as a whole, went on to it. Now for the dreaded second album...

When the album got finished, how did it feel to let go of the songs after so long?

It's a huge relief of course. I've been eyeing up a new sound for quite some time now, and it's been impossible to dedicate any real time to because of the lead up to the album. So releasing this document means I can finally move forward with new ideas, at least within myself, though I'm sure we'll be playing live the songs from 'Heathcliffian Surly' for quite some time now.

There are various styles of music in the LP. How do you write your songs? Lyrics first?Do you decide to do a "fun" song, a "vaudeville" song or what?

I always write lyrics and music separately. Without the lyrics, there is no song, so for me it is essential to be happy with these. I generally try to come up with a musical image in my head of what I want a song to sound like, and then try to recreate it in real life, with guitar or piano, and the voice. I naturally write slow songs, I think perhaps for me it's easier, though I've no idea why. Perhaps that's just my maudlin disposition. Some people can only write fast songs, who knows why that is. I do make a conscious effort to write outside of my comfort zone though, more so after this album.

From all Bowie's songs, why did you choose "As The World Falls Down" to cover?

A close friend of mine was in love with the song, though probably more Bowie in the film really, and always said she'd love to see me play it in the band. So for her 30th birthday I learned the song on the guitar and performed it for her at her party. Afterwards I thought perhaps it would go down well with band and at shows, and it does seem to be well received. I think it's because everyone of a certain age vaguely knows the song, has fond memories of the film, and it's the last thing they're expecting to hear on a night out.

How have the live shows been? Any out of the ordinary incidents?

People tend to be either completely disinterested, or stare wide eyed, as if to say "What the hell is this?". The only extraordinary thing I can think of recently was someone coming up to me with a large print out photograph of my face that they'd taken, and then being asked to sign it. Disconcerting.

As 2010 is ending, and the 00s with it, name some artists that really affected you in 2010 and in the 00s.

Not being into this mania for new things, I'm not that well versed in New Music. But, some new artists I've been obsessed with at some point in the last couple of years would be, Bat For Lashes, Friendly Fires, Interpol, La Roux, Late of the Pier, Ellie Goulding, and most recently, Beach House.

What do you expect from 2011?

More protest over the reduction of comfort in people's lives.

Talk about your "Power Down" project.

This was a project of mine when I once had hope that the behaviour of the masses could be changed for the better. It was about raising awareness ofclimate change and peak oil by creating a night of music in a romantic space, and using only the natural acoustics of that space, candles to light space were made from recycled oil and wax, and the drinks were either locally produced or organic. We had many people play Power Down, from the likes of The Hoosiers, to the Portico Quartet, Liam Bailey to Ahuman, and many more relatively unknown artists. They were some great times, and the artists really put a lot of effort into these performances because it wasn't a normal gig for them. They really proved their talent playing unamplified, and I was pleased to see it, for their sake, and just for the joy of experiencing something so unique up close. But, people became tired of it all, the threat of climate change and peak oil is over now, we can all go back to sleep and back to our Carling venues. It's fine, I ran out of steam anyway.

I ask everybody this questions: Name one thing in life that isn't negotiable.

The circumstances into which you were born.