Poster Paints are the Glasgow duo Simon Liddell (Frightened Rabbit, Olympic Swimmers) and Carla J Easton (TeenCanteen) a collaboration between two beloved figures in the Scottish music scene that happened by chance. Making the best of a bad situation they worked on songs remotely through the pandemic. They released the infectious jangle of their debut single ‘Number 1’ last year, fusing together two burning talents who met initially through Carla’s work with The Vaselines.
“The project started as an accident before the pandemic kicked off” says Carla, “Si had sent me an instrumental for a piece he had scored for a short film and asked if I could put some vocals on it. I completely misunderstood what he was asking me to do and wrote an entire song to the piece of music and emailed it back to him. When harsh lockdowns kicked in, we both decided we would try and do some more songs like this – it was a way to keep collaborating when you couldn’t even go for a walk outside with someone from another household never mind be in a rehearsal room with someone.”
Poster Paints followed it with the slowly unfolding majesty of ‘Never Saw It Coming’ via Olive Grove Record. It possessed a deft wistful, melodic earworm quality that gradually envelopes you. Carla J Easton’s enraptured and lovelorn melodies tumble forth and pierce holding you transfixed, swirling with memories of The Sundays or Camera Obscura. It’s framed Simon Liddell’s shimmering guitar work, stuttering Motown-esque drums and elegant instrumentation. It’s a understated gem.
This year they’ve released a string of wonderful singles including gorgeous lead single ‘Falling Hard’ alongside a visual directed by Austin Temby. Marrying spiralling guitars of Simon Liddell with the husky, swooning vocal melodies of Carla J Easton, relentless and irresistible ‘Falling Hard’ chased dreams all summer, in a soaring lovelorn pop song.
Plus the wistfully enveloping ‘Circus Moving On’ each song taking us on a journey through bittersweet sorrow of parting and loss, juxtaposed with the joy of love. Culminating in the release of their self-today debut album which arrives today, wrapped with these themes and burnished by the sound of collaboration and Liddel’s distinctive guitars, it reflects a kind of sadness and darkness tinged with a hopeful flickering light that things will work out. We caught up with Easton and Liddel to find out more!
Hey, how are you both today?
Both: Good thanks.
You worked together in ernest during lockdown is Poster Paints proof that good can come out of bad situations?
Carla: I’d say we did our best to adapt to the situation we were living in and keep going.
I read that Simon you would initially send the music to Carla to write songs to. Has it become more collaborative as lockdown has eased and now you have a full band? How many songs were completed in the studio and how many remotely?
Si: The whole record was recorded remotely, aside from some of the later vocal takes. But although I’d be sending the original instrumentals, it was still very much a joint effort – Carla would feedback on changes to structure / instrumentation etc. Getting into the rehearsal room and figuring out how to play them live definitely brought it into a more collaborative space – also meant the other live band members could put more of a stamp on how the songs are performed.
Carla: I’d describe the whole process as collaborative from start to finish. Co-writing can take on many forms. Sometimes it can start with lyrics and a composition can follow, sometimes both lyrics and composition can be co-written. In our case, compositions existed and then lyrics and vocal melodies came next which would inform whether the shape of a composition would change. Anyone who joined in on the recording process, once the songs had been written, was given creative freedom to explore and remotely record their parts – drums, strings, bass, additional vocals etc – which allowed us to decide what we would take through to the final mix. We had all the paints to use for the final canvas, so to speak. There always was a full band, but for ‘live’ it’s different members bringing the recorded parts into a physical space which is exciting.
How would you describe the Poster Paints sound in five words?
Si: Bargain bin Spector rip off
Carla: Dark memories burst with light
The first track we heard was ‘Number One’ with a Motown influence was that the intention or just how it emerged?
Carla: It’s interesting you say that – whilst we were writing songs, we would label some of them with working titles based on sound or bands they sounded similar to. For months ‘Number One’ was called ‘Jangly’.
Carla your vocals are wonderful on this album do you feel that you have learnt what works from previous experiences in TeenCanteen and working solo?
Carla: Thank you! The voice is like any instrument. The more you use it, the more you practice, the better you understand it and how you can use it and achieve different sounds from it. You need to take care of it and look after it. You have to learn it like any other instrument. You can’t change the strings if they rust. TeenCanteen was the first time I sang songs I had written. Prior to that I’d been told I couldn’t sing. I’ve been lucky, throughout my career – whether in bands or working as a solo artist – to have had mentors or producers that have helped me ‘unlock’ what was there underneath the complete lack of confidence I’ve carried around for years. I never used to consider myself a singer, I’d always describe myself as a songwriter. I’m comfortable with both labels now. I guess my voice is an instrument that is unique to me.
I get the sense the themes of the record are about love and parting, is that true or does it vary song to song?
Carla: I’d say so. I don’t like to tell people how they should feel or what they should think about when they listen to a song. Songs can be interpreted in any way a listener chooses to interpret them. I’d say it’s a very reflective record and loss is a big part of that. And perhaps to experience loss you need the full throttle rollercoaster ride of falling in love – whether that be in friendship or romance. So there are highs and lows as that journey unfolds across the songs.
What are your five favourite songs on your playlist right now?
Si: Colorado Girl – Townes Van Zandt
Unsmart Lady – Dry Cleaning
Shinbone Soap – This is The Kit
Destroy Us – Beachy Head
Jim Jones All Stars – It’s Your Voodoo Working
Carla : Don’t Let Go (12” version) – Pink Industry
You Are Not my First Love – Judy Henske
Subtraction – Zaida La Rose
Skateboarding By The Lake – Charlotte Cornfield
If I Were A Willow – Natalie Jane Hill
You’ve supported the likes of Teenage Fanclub and Belle and Sebastian, is there anyone else you would like to play with?!
Si: My Bloody Valentine would be top of my wish list. Not sure we’re loud enough though.
There’s a lot of talk about how costly it is to tour lately, what’s your experience?
Si: At our level, most gigs are going to leave us out of pocket. But that’s been the reality for years. Bands have it tighter than ever now, with the combination of rising costs, lower fees and crowds having less disposable income for gig tickets / merch. Throw into the mix the post-Brexit costs of touring in the EU, it’s all pretty depressing.
I saw you received funding from Creative Scotland, how important are organisations like this in a musical environment?
Si: Crucial. This album would sound vastly different if we hadn’t received funding. It allowed us to pay everyone who played on it (at a time that most musicians were unable to tour due to the pandemic), and to enlist David Simpson, who did a great job mixing it.
Carla: Creative Scotland gave us the support to have the time to develop. There was no pressure to release the results of our co-writing and recording. It’s so important for anyone working in the arts to have time and space to research and develop their ideas – whether that be in music, visual arts, theatre, literature – the list is endless. Without that financial support from funding bodies like Creative Scotland, only those who can afford to make art will make art. Creative Scotland also allowed us to have complete creative freedom – we weren’t locked in to ‘having to sound a certain way’. I think that’s really important for any artist.
What are your future plans is there a UK tour on the cards?
Si: Hopefully have a run of UK shows in the New Year (if we can afford it!)
Thank you good luck, really love the album!
Both: Thank-you very much.
