By Jason Barnard
After a hiatus spanning over thirty years, The Jack Rubies have emerged with their original lineup intact, delivering a new album titled “Clocks Are Out Of Time.” In this interview, we delve into the group’s story with lead vocalist and guitarist Ian Wright. It’s a tale of rekindled inspiration and the magic that happens when a band falls back into sync.
After over thirty years, how does it feel to be back together and how did it impact the creative process for the new album?
It really does feel like we somehow fell through a portal into a parallel world!
I may have occasionally fantasized about us doing this, but never seriously in the intervening years thought it could actually come to pass. For one thing, as the main writer, I had not picked up a guitar or considered song-writing in years. Some of the others had remained more active, but I had very much drawn a line in the sand. So, it feels fabulous!
The motivation really stemmed from us wanting to regain control of the back catalog (which was long out of print for the most part), and address our sorry lack of presence on social media etc. There was a general feeling that we had slipped out of ‘history’ and we wanted to try and rectify that, while we’re all still here!
So initially this was a campaign aimed at restoring our back pages, not to work on new stuff. The band’s drummer and studio whizzkid Peter “Max” Maxted was the main cheerleader for doing something new, and he tried some gentle arm twisting (I was firmly in the skeptic camp) but it wasn’t until SD Ineson (who had quit the band back in the day to pursue his own stuff, and who I assumed would not be interested in a reunion) suggested we make some new music remotely, during lockdown with no pressure, just a fun project, that it germinated.
It evolved from there – for me, the challenge of shaking off the rust was a huge factor, in that in sort of relearning to play and write for the first time in years, I became very excited and motivated.The floodgates opened.
The title “Clocks Are Out Of Time” suggests a sense of urgency. Can you share the inspiration behind the album title and how it reflects the themes explored in the songs?
It’s part of the chorus lyric to the first single “Poltergeist”, which is a song reflecting on pandemic concerns primarily and a general sense of the uneasiness of modern life. It was actually the first new song I wrote and led the way thematically to some of the other tracks – the nature of time which can go slowly or ridiculously fast, and will of course run out on a personal level. Since we have been sleeping off the ‘90s for thirty years, it perhaps seems to us that our timing is very out of whack, or perfect!
“I’ll Give You More” is described as a gorgeous, soaring closer to the album. Can you share the inspiration behind this track and how it complements the overall narrative arc of the album, particularly in relation to the opening track, “Hark”?
“Hark” is a rallying cry – we’re back! After being locked up with the unclaimed items in a haunted lost and found office. It’s nervy and edgy. We’re setting out our stall.
By the time we reach the close of the record, we’re feeling vindicated and cautiously positive. On a basic level, “I’ll Give You More” is a poignant memory of a relationship that couldn’t last, but was worth every moment. I was trying to evoke a lived-in, somewhat world-weary sense of hope for whatever the future brings.
In contrast too, to the other ‘love’ songs that crop up mid album like “Corrupted” or “Terrible Crime” which are in the comically bleak vein!
With tracks like “Heaven Shook Me,” “Corrupted,” and “Shark Attack,” the album seems to offer a mix of gripping but darkly humorous tunes. Can you delve into the creative process behind these specific tracks and their significance in the overall narrative of the album?
I think a sense of humor has always been part of my lyric writing style – I enjoy the wordplay and absurdist tendencies of lyricists like Mark E. Smith, Nick Cave or Smiths era Morrissey – all of whom at first glance might appear to be somewhat gloomy, whereas they are in fact frequently hilarious. “Heaven Shook Me” and “Corrupted” are both tongue in cheek takes on the pursuit of whatever floats yer boat. In the case of HSM I wanted a pretty lively rock song, and the picked chorus riff was what got the song going initially – believe it or not I was reminded of Blue Oyster Cult.
“Corrupted” is a simple progression played with real sting – I love the Will Sergeant style whammy bar licks, played by Max the drummer actually, and my favorite three seconds of the whole album are when my guitar in the bridge goes ‘Crangg!’ after every line!
To some degree, both these tracks are some lighter relief from the dystopian vibes of a song like “Shark Attack”, which is concerned with post lockdown foreboding; when is the next weirdness coming round the corner? The starting point for this was to try and find a Stonesy, doomy groove to hang the words on. Coming as this does towards the end of the album, I think it sets things up nicely for the run in to “Heaven” and the closer “..More”, where there’s light at the end of the tunnel.
The Jack Rubies’ sound has an angular quality. How did you maintain the band’s distinctive sound from the ’80s while infusing a contemporary feel into “Clocks Are Out Of Time”?
We’re the same people cooking with the same ingredients – it’s just the way it comes out when we collaborate, we don’t actually know what’s in the secret sauce! Outside of production veneer, our music from the ‘80s/ ‘90s sits easily with the new material. Although it’s interesting to note that back then songs were first thrashed out in rehearsal studios or at sound checks, and gradually refined through performance. Since “Clocks..” was created in large part remotely, it was more like assembling a collage, and perhaps that informs the sound. It feels like a modern take on the vintage band, without us in any way trying to manufacture that.
The Jack Rubies have been associated with the C86/postpunk scene. How do you see the band’s contribution to that era?
These labels are tricky because at the time, when you’re there, you’re not concerned with being in a ‘club’ – far from it. But we were energized by the groundswell of the London indie scene in ‘86, releasing our debut (mini LP “Witch-Hunt in Lotusland”) and playing all the little clubs with all the bands now associated with the scene. The actual NME C86 cassette after which the ‘genre’ is named, actually includes our bassist Steve Brockway on one track, then also a member of The Shrubs!
Having toured with bands like They Might Be Giants and Modern English in the late ’80s, how do you perceive the evolution of your music and its reception in the current indie scene compared to the past?
Well I think the late ‘80s is certainly having a moment, and has been for a while which is certainly a factor in our relevance. Not so long ago the ‘80s were frequently chastised as a shit decade for music which of course was never true. Podcasts like the C86 Show and various bios and docs have helped to elevate and reframe that time. Certainly when we dipped our toe back in the water with a self released track or two, before signing to Big Stir, we were delighted that our new music was welcomed. Ten years ago, when we were quite decidedly almost forgotten, it might have been a different story – although I like to believe that the good will always come out in the end, it just needs a little push sometimes.
Given the group’s history, how do you perceive the current state of the indie music scene, and what advice would you give to emerging artists navigating the industry today?
The main difference between now and then for a new artist to emerge is that now anyone can make and release music – which is great although there is a lot more traffic to deal with, if you want to get noticed! When we started you really needed the patronage of a label or publisher to afford studio fees and have the machinery in place to get your music out there.
You needed talent, luck and timing to get spotted at all, and could expect to lose artistic control, copyright etc., in return. New artists today should and can retain as much of their DNA, rights and control as they wish, work independently, or with a scrupulous label who will work as hard promoting your music as you do creating it.
Further information
The Jack Rubies: Clock Are Out Of Time is released on 16 February: Pre-Order CD/Digital or Pre-Save
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