Dave Chamberlain

Among the current throngs of rock `n' roll bands recently exported from the United Kingdom, with the likes of Franz Ferdinand and The Cooper Temple Clause being hailed as leaders of a new British invasion, McLusky stands head and shoulders over them all.

A traditional power trio that resides in the UK's far western speck of Wales, McLusky first hit the States hard three years ago when the band released "McLusky Do Dallas," an album which defined its sound: the choppy flow of indie-rock couched inside an abrasive edge. Earlier this year, the band released its much anticipated follow-up, "The Difference Between You and Me Is That I'm Not on Fire." Both records were recorded by local icon Steve Albini at his Electrical Audio Studio.

Speaking from his home in Cardiff, Wales, lead singer/guitarist Andy Falkous explains Chicago's place on his band's last two records. "I think, if you're familiar with the music, is that it just works," he says. "And the simplicity of Steve's recording process is something which suits the way we play. I mean, we're not reinventing anything in particular, we're just playing very simple rock music really. And I guess his strength is in just capturing bands simply playing rock music."

He underestimates his own band. Maybe McLusky doesn't reinvent rock music, but a current of creativity runs through the band's last two records that's seldom found in aggressive rock music. Unlike Franz Ferdinand, won't hear one bar that makes you recall The Strokes in McLusky's catalogue. On "The Difference... ," songs like "KKKitchens, What were You Thinking?" and "You Should Be Ashamed, Seamus," combine staggered tempo, shifting sonics and contrite songwriting to create a sound that smacks of a freshness that's all too often absent in loud rock.

Falkous, in diametrical contrast to the muscular eccentricity implied by song titles like "Lightsabre Cocksucking Blues," originally left his native Newcastle (in the northeast of England) for Cardiff to pursue a journalism degree. "It should have been called sociology with a vague reference to journalism," he quips. But it gives him a unique perspective on the music press all the same, and it's far from a rose-tinted view.

"As much as I righteously despite the music press in this country, `cause it really is full of shit--not even exciting shit--if you're going to tell a lie, at least make it funny. Just to illustrate: I accidentally stumbled across a copy of [New Music Express], and they had a picture of Kim Deal, and underneath it said `Kim Deal--Now She Really is Gigantic.' You know, I would expect more from someone who writes for fucking FHM, or Loaded. That's just piss. If you're going to try and engage yourself with the alternative culture on that level then you should just shoot yourself in the mouth."

Though he despises the music press in Britain, he sees plenty of ways his country is superior to the States. "For me, maybe I was just a little confused when I went to take a degree. In Britain, degrees are taken seriously, but not as seriously as the fucking five-year mortgage you have to work out in order to go to college in the States. I'm still paying off debts, but compared to the debts created your business models disguised as education establishments provide, it's not even on the same level of understanding."

When McLusky arrives in the U.S. this week, it will mark the fourth time since "Dallas" was released that the band has toured across the Atlantic. This time, however, marks an especially intensive tour. "It's a chance," explains Falkous, "to go to some godforsaken places that you wouldn't normally get a chance to go to. Swinging round the South and kind of flirting with French Canada--that sounds pretty fucking exciting to me. But I'm not suggesting I want to buy a log cabin and get all Canadian though."

Combined with extensive tours throughout the U.K. and Europe, Falkous has a handle on the differences between Stateside and European audiences. The most obvious, he says, is in the ages of the crowd, and the accompanying strict law enforcement. "Frankly," he says, "18 and over in Britain doesn't strictly mean 18 and over the way 21 and over means in America, where every single person in the bar--even guys topping their fifties with big ZZ Top beards--get ID'd on the way in."

Falkous pauses for a moment to breathe. "Whereas in Britain, unless you look like a recently aborted fetus, you're gonna get in to the show. As a result you get a less cynical, shall we say, more mobile audience."

McLusky plays October 10-11 at Schubas, 3159 North Southport, (773)525-2508.

(2004-10-06)

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