This interview was first published in Private Ear, the newsletter of the Erasure Information Service, and is reproduced with their kind permission. For more details on the Erasure Information Service, email eis@eisinfo.demon.co.uk
Anyone who has followed the UK charts in recent months will be no stranger to Dubstar's work. Somewhere between The Human League and Electronic and inviting frequent (unfair?) comparisons to Saint Etienne, Dubstar present a combination of fragile, lilting vocals, Smiths-esque guitar and a backdrop of swirling synthesised strings and drums, together with lyrics so effortlessly poignant as to make Neil Tennant weep into his beer.
Dubstar are Sarah Blackwood (Vocals), Steve Hillier (Synths) and Chris Wilkie (Guitar) and have scored three top 20 singles - 'Stars', 'Not So Manic Now' and 'Elevator Song'. Their album 'Disgraceful', produced by Stephen Hague ('The Innocents', New Order, Pet Shop Boys) has recently gone Gold. The group have already completed two sell-out tours of their own, and will be supporting erasure at all the dates on the Tiny Tour (except London Shepherds Bush Empire).
Steve Hillier kindly agreed to answer some questions from the eis by e-mail:
Steve, how do Dubstar feel about supporting erasure?
We are very excited to be playing on this tour as not only are we all erasure fans, this is the first time we have ever played as an opening act on a tour so we can afford to relax a bit more than usual.
How long have you been fans of erasure?
From the very start. Personally, I have all the erasure albums and admire the songwriting style. I particularly enjoy Vince's advocation of analogue synths and technology; although I don't necessarily agree with him, I think his attitude has brought a very welcome input to electronic music in general and has highlighted a fundamental problem with technology - that progress cannot exist for its own sake.
What influence has erasure had on Dubstar's music?
That songs are more important than sounds. You only have to listen to A LITTLE RESPECT or STAY WITH ME to know that these songs could have been written at any time from 1940 to the present day and still work. Electronic instruments are only any good when you know what you want them to do; both erasure and Dubstar are all about soul songs (I don't mean R&B or Motown, but music that hits you in the heart) and we use modern technology to communicate our emotions. The fact that anyone can play meaningful music on synths owes a lot to erasure and a few other bands who approach machines as musical instruments - not as computers but as superior guitars!
Have you ever seen erasure in concert?
I saw erasure play at what I think was their first ever gig; at Heaven in London in 1985. The computer broke down on stage and Andy had to fill in with jokes whilst the problem was sorted out. He seemed a little phased at the situation but the crowd didn't mind - I'm sure I spotted Alison Moyet and Martin Gore in the audience. There weren't many people there, so I really felt I was watching something special, and when I saw the band at the Marquee a few months later it was completely sold out and rammed from the stage to the bar so I knew I had seen something unique.
Do you have any favourite erasure songs?
Our favourite erasure tunes are WHEN I NEEDED YOU and RIVER DEEP MOUNTAIN HIGH from the b-side of SHIP OF FOOLS, PHANTOM BRIDE and LAY ALL YOUR LOVE ON ME.
Which of your songs do you think would appeal most to erasure fans?
It's difficult to say, but maybe ANYWHERE or THE DAY I SEE YOU AGAIN.
Will you be performing any new material?
We will be playing a whole hotch potch of songs. We don't really think in terms of albums so our current set includes songs from DISGRACEFUL, b-sides and quite a few new songs. But anyone who wants to hear their favourites will not be disappointed.
And finally, what are Dubstar up to at the moment?
We are currently working on a new single, but we don't know what will happen with it just yet. In the best of all possible worlds, there will be new Dubstar material in the shops before the end of the year.
Steve Hillier, thank you.