By Jason Barnard
Novelty Island’s mastermind, Tom McConnell, reveals his new project, ‘Taped Over’ which showcases the influences of Brian Wilson and Kate Bush. The interview also covers Tom’s artistic development since we spoke a decade ago, as we go on a trip to the core of Novelty Island’s timeless songwriting.
Can you share the evolution of ‘Taped Over’ and how it intertwines with your other EP ‘Wallsend Weekend Television’?
Taped Over began in 2016 with a list of childhood memories. That list became titles and I composed music to match each title. It intertwines with Wallsend Weekend Television as it’s from the same big batch that I demoed in 2016/17 and took to Abbey Road Institute in 2018. Some of those songs found their way to Wallsend Weekend Television but this was always going to be a separate thing. The EP had many album-length permutations but that got very frustrating so I left it for a while. Last year I chopped it into this 22 minute piece and called it Taped Over.
How did the influence of SMiLE and Hounds of Love guide the creation of the EP’s atmosphere and medley structure?
The main inspiration from SMiLE / Hounds of Love / Abbey Road was their structures – how each song links into one big thing with recurring themes. In parts it shares a similar icy-synth thing with Hounds Of Love but those examples didn’t particularly influence the actual sound as that wouldn’t relate to a late 90s/early 2000s childhood. Boards Of Canada are a big musical influence on the EP. The warpy, nostalgic synths do something to my head…
The EP acts as a time capsule, preserving sounds from the late ’90s/early 2000s. How did you capture the essence of that era in terms of music?
I made my own versions of sounds I remembered from the time – television things, cassettes in cars and the motorways between Newcastle and Liverpool. So I made things like VHS idents, Playstation music, Friends scene change music and sampled those into the songs. They didn’t all make it in (the Who Wants To Be A Millionaire music got binned…) but it gives it the atmosphere of a hazy childhood memory.
Can you elaborate on how these diverse elements came together in the psychedelic soundscape of ‘Taped Over’?
It was like writing 2 batches at once – a batch of songy bits (choruses and verses etc.) and a batch of the sample bits (VHS idents and so on…). I made sure the BPMs and keys of the sample bits worked with the songy bits and combined them. The 2016 version had placeholder lyrics so I wrote new words last year. I liked writing them from a more removed place as like most people, I’m older than I was 8 years ago…
Looking back at our 2014 interview, how do you perceive your growth as an artist since then, and what key moments have defined you and Novelty Island?
I just had a read through and don’t remember ever being this enthusiastic in real life – I mention The Beatles more than myself! I don’t wear knock-off Pretty Green suits anymore or listen to Squeeze… I’ve developed my own little art world with Novelty Island. Big things like playing Glastonbury or releasing a debut album obviously define it but little memories equally do – conversations about song editing with my pal Dargz, different approaches to singing with Carlos at Abbey Road Institute, art galleries, memories of televisions – it all goes in…
Recording at Abbey Road Institute and Studios must have been a transformative experience. How did that period shape your approach?
It was an engineering and production course so I learned a lot about that. The importance of getting things finished is very apparent in a place like Abbey Road when you have limited time. I’ve also been really strict with editing since being there – so many songs are too long. We learned a lot about old gear naturally imparting colour on recordings, something Pro Tools or Logic doesn’t do. I think that stuff is crucial to making records sound good. You can get a plain, professional recording done in loads of places but I don’t think that’s enough. My next one won’t be done at Abbey Road but wherever it is needs an actual sound.
Are there any songs of yours that you would like to highlight?
VHS on Taped Over – The middle is my imaginary VHS opening ident. There’s rewinding tape sounds combined with random notes of sped up, reversed slide bass.
Sea Miner on Wallsend Weekend Television – I was allowed to record the piano on the Mrs Mills in Abbey Road Studio 2 on the condition that I got it in one take in a 5 minute coffee break.
Cowboy On A Bicycle on How Are You Coping With This Century? – One of my favourites. I think of songs like little buildings and this one has a few unexpected rooms with lyrics that are equally melancholy and surreal.
Since the debut album in 2021 and ‘Wallsend Weekend Television’ in 2023, how has the live band dynamic influenced your creative process?
That’s actually happening currently – we’re playing some songs live before they’ve been recorded for the first time so I can capture any live nuances and take them to the studio. I recorded the first 2 albums either in COVID or before meeting the live band and inevitably some live flourishes have happened to those tunes. They’re nice little moments that I’d like to get on tape this time round…
What role does the visual artistry and your music videos play in complementing the musical expression of Novelty Island?
A big, large and massive role… I love doing videos and artwork and I want Novelty Island to be a vehicle for that as well as my music. It builds a little universe for the songs to live in.
Looking ahead are there any upcoming projects you’d like to share?
I start recording my next record soon but that’s all I can say for now!
Further information
Novelty Island – Taped Over, 8-track EP released on 9X9 Records and Bandcamp
