Neil Halstead on playing solo without a setlist and being able to react to the audience

Neil Halstead was one of the guitarists and singers in pioneering shoegaze and ambient band Slowdive in the late '80s and early '90s. Taking guitar sounds and often blurring the sonic signature with synths through creative use of delay pedals and loops, Slowdive was more of a dream-pop band through its 1993 album, Souvlaki. Two years later, Pygmalion came out and probably confused everyone high on a wave of "Cool Britannia." Influenced heavily by more experimental music and electronica than the rock and roll of the day, Pygmalion is an enduring, haunting landmark of ambient rock.

See also: - Neil Halstead at eTown Hall, 10/16/12 - Neil Halstead at the Walnut Room, 10/17/12

Slowdive was soon dropped from its label, and the band dissolved shortly after, with Halstead, Rachel Goswell and Ian McCutcheon going on to form Mojave 3, a more organic, acoustic band that sounded like it was created in the middle of a desert, as the name certainly suggests. For over a decade, the band released a string of noteworthy albums and continues to do one-off shows these days.

In the last ten years, Halstead has earned a reputation for himself as a talented singer-songwriter apart from his more high-profile older projects. Drawing comparisons to Nick Drake for his sparse melodies and emotive vocal delivery, Halstead has achieved critical acclaim on the considerable merit of his solo material. Currently touring in support of his latest album, Palindrome Hunches, we recently spoke with Halstead about Slowdive, Mojave 3 and the new record.

Westword: What kind of music did you grow up hearing and seeing before you started forming your own bands?

Neil Halstead: I was pretty young when I started my first band. I was probably like fourteen. One of my favorite bands was Jesus and Mary Chain and that kind of stuff. One of my friends' brothers was into the Smiths.

When did you start playing guitar, and was it electric or acoustic?

My dad was an electrician, but he used to teach piano. He was quite a good piano player, and he would teach some of the local kids. I learned piano when I was young, and I started playing guitar when I was ten or eleven.

You had a band before Slowdive, right?

Yeah. The Pumpkin Fairies, with Rachel Goswell. That was like our school band.

How would you characterize the kind of music you did at that time?

At that point, I don't know. We did cover versions. We did "Stephanie Says," by the Velvet Underground. We did some Cult songs, like "She Sells Sanctuary" and "Rain." I think we did a Primitives song, "Thru the Flowers." That was the kind of stuff we were into, really.

How did you get interested in manipulating guitar sounds with pedals in the various ways you did in Slowdive?

Just because all the bands I liked were noisy, and that was the sort of music they were doing, too. I'd save up and try and buy distortion pedals and delays and stuff.

How did you find out about what they were using?

Just from seeing other bands play and stuff and seeing what kind of equipment they used.

What did having two Roland JC-120 amps, as you did during at least the Souvlaki period on, enable you to do that maybe one amp did not?

For me, it was the stereo thing. I'd set up a little delay between the two amps so you get that sound that bounces around the room a little bit. A band called the Chameleons used to use two amps. I remember seeing them. Billy Duffy from the Cult did as well.

You also used two Boss DD-3's for delay as well. Why two delays of the same model?

Just so you could layer another delay on top of the delay you already had, basically. It makes a more spaced-out sound. A lot of it you just experiment with and find your own sound. Terry Bickers from the House of Love used to use delay a lot, which was great. Of course Cocteau Twins.

Pygmalion is one of the classic albums of the last couple of decades, at least certainly within the realm of ambient and experimental music. When you were working on that, what kinds of electronic and other experimental music were you listening to at the time you were coming up with the material for that album?

We were listening to a lot of drum-and-bass, lots of techno, lots of early Warp stuff like LFO and Aphex Twin. There was a club in south London that used to have nights month to month. A friend of mine used to run it and they used to play ambient and experimental music. I was going there all the time and getting immersed in Steve Reich, Stockhausen and lots of other experimental music. Also the Talk Talk albums Laughingstock and Spirit of Eden were big influences. Mostly it was created out of loops and samples made from guitar, really, and it was the first time I really got into using sequencers and samplers and stuff.

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Tom Murphy is a writer, visual artist and musician from Aurora, Colorado. He was a prolific music writer for Westword and a documenter of the Denver music scene.

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