Monday, 25 October 2010


Still Corners are a multi-national psych-experience to simultaneously make you fall in love and push needles through your skin from the inside out. After finally getting back to putting out some truly epic tracks after too long of being trapped in their projection screen (or wherever they’ve been hiding), they’re playing a set of shows all over London in the next month to remind people what they’ve been missing/turn them on/creep them the hell out.

As they’re not (that) new anymore, and new band interviews kinda get everyone a little fatigued, we spoke to Leon and Greg from the quintet about their love of all things visual.

So, you guys spend a lot of time watching movies, right? How do they inform your sound?

Greg: I spend a lot of time watching movies. Basically, I just wanted to exaggerate horror films, and it has always been a giant impact visually, audiolly…audiolly’s not even a word! I mean, trying to get that atmosphere across the way that David Lynch and Argento did and stuff was a goal of ours, and that has inspired us with the music that we make.

Leon: All the sparse melodies, weird sort of other worldly sounds…I don’t know what they are, but they just sound amazing.

Quite strange because, although you would possible categorise your music as Pop, it’s definitely got that side of darkness to it that is recognisable from that sort of cinema…

Leon: Yeah, it’s kind of borrowing from that, but it’s all Pop.

Greg: We love Pop music. I think we were just trying to make Pop music, but that little bit stranger. Something that was a bit more interesting…to us.

Still on the subject of films, what are the best films that you have seen this year?

Greg: New films or just films we hadn’t seen before?

Pick any ones you like

Greg: I watched this amazing one the other day called Let’s Scare Jessica To Death.

Haha! Best name ever...

Greg: And Seven Women For Satan. I don’t know, they’re lots of really dodgy horror films. I could run through a million of them, but Let’s Scare Jessica To Death was a really good one. Let’s stick with that one…actually, there was this other one I watched. I was reading this review of really dodgy horror films and they said that this was the movie that inspired David Lynch to make Twin Peaks, and it was called Wrath Of Women or something like that. It was a psychedelic horror, but it truly was amazing. It has become probably one of my favourite films of all time.

Leon: The title’s not as good as Let’s Scare Jessica To Death, though.

What are your top 5 favourite film scores, if you were put on the spot to choose?

1. Rosemary’s Baby

2. Susperia

3. Twin Peaks

4. Mulholland Drive

5. The Trip

6. Manhattan

7. Beyond the Valley of the Dolls

8. The Bird With the Crystal Plumage

Greg: That’s 8, but we couldn’t cut it down.

Was there a film that made you want to start a band?

Leon: Rosemary’s Baby. Fucking hell, that was just awesome. I mean, we are more pop than that…that was Krzysztof Komeda, I think.

Greg: It was perfect. That whole movie was exactly how we want to make music as well. Just that weird, strange, “something else is going on, but everything seems normal” vibe.

Leon: Just those opening credits are really inspiring. I think it’s actually Mia Farrow singing it.

As you guys are so into films and they influence your sound so much, do you make you own?

Leon: We’re just massive movie fans. I mean, for me, I watch a few a week as something to do. It’s a massive love, but music is a bit more like my love and hate. Music I just want to make it a nice, pure enjoyment kind of thing. But, no, we just watch a lot of films…and talk about them too.

Wish from Still Corners on Vimeo.

Your video for “Wish” is really great. Who shot that?

Greg: That’s one of my friends from Australia, Lucy Dyson. She’s made a few films in Australia and she’d just moved to London. She really liked the track and wanted to do the video. She knew what we wanted, and just came up with the perfect idea for it. It was really easy, actually. It all just fell into place.

Leon: It was all shot on 16mm, slightly over-exposed, so it gave it a nice warm feeling, which went with the song really well.

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