The general consensus among the team at Lonesome Highway is that London-based five-piece band The Hanging Stars is one of the most impressive and intoxicating bands to come out of the UK in recent years. With a distinctive sound that marries cosmic and psychedelic folk, West Coast 60s country rock, and classic 60s Brit-pop, they have steadily established themselves as one of the most exciting acts both in the studio and on stage. That progression has yielded four studio albums while they continue to hone their live act with numerous festival appearances both in the U.K. and Europe. Their two sold out shows at the recent Kilkenny Roots Festival were hailed as highlights of the festival weekend by many who were wowed by their vocal harmonies, masterly musicianship, and overall panache. That’s not to mention the quality of the material performed, mostly taken from their recently released recording, HOLLOW HEART, their debut album on the Loose Music label. We spoke with the band’s frontman Richard Olson about their steady onward movement and the recording of that latest album.
Tell us about the formation of The Hanging Stars?
The Hanging Stars were born from a band called The See See. In my humble opinion a brilliantly ramshackle but completely out of time and fashion jangle rock band who sadly regularly ended up in some pretty dysfunctional situations. When I found myself being the only original member of the group left, tired and weary after some general bad luck and too much indulgence, I felt it was time for a new start. Paulie Cobra and Sam Ferman had been members of The See See for a few years and felt the same as I did. It was time to turn the volume down and start looking forwards and inwards. At the time we were hanging out a lot with some good friends from LA who were regularly in London and Europe, playing in the Brian Jonestown Massacre. Especially, our good friend the Los Angeles musician and producer Rob Campanella, who was always incredibly supportive and encouraging. He really meant a lot to the formation of The Hanging Stars. However, we needed a clear break between the two bands, especially after one gig at the Shacklewell Arms in East London, where we ended up playing one show as The See See and another show as The Hanging Stars because the headliner cancelled at the last minute. Strange times. Over the years Rob Campanella had offered to let us use his studio in Lake Hollywood many a time and one day after an ok PRS pay-out we decided to take him up on it. So, the main part of the first record and the first show we ever did was in Los Angeles. This, of course, coincided with a long-lived passion for folky, psychedelic, harmonious West Coast sounds, so it all fit like an air-conditioned desert dream for us. Me, Paulie and Sam really found the seed for what The Hanging Stars could achieve around then. Pardon the rambling.
There are lots of late 60s and early 70s in your sound, both British and American. Were there particular bands or albums that steered you down that road?
I could go on here about all the obvious names that we all know and love but I’ve always felt that The Hanging Stars are always more influenced by particular songs and vibes as opposed to albums, bands and styles. The playlists that we share and listen to are pretty diverse. Cliche perhaps, but I’ve always felt that we’re looking for a feeling and a vibe more than a particular sound. But if you want names, I could go on forever. Fairport Convention is always a big one for me. I’ve always felt like they’re chasing the same notion as say, The Byrds around Notorious Byrd Brothers, Beau Brummels around Bradley’s Barn or Love’s Forever Changes. But honestly, I find the same feeling listening to Don Carlos Balearic classic Alone - Paradise as I do listening to If I Could Only Remember My Name by David Crosby, The Velvet Underground’s 3rd or Roy Orbison. Fragility, warmth and wistfulness. Oh, and Iain Matthews and the Woods Brothers forever, of course.
You’ve been making steady progress in the recent past and honing your sound with four albums in six years. That’s a fairly prolific output: is it your intention to attempt to release an album every two years?
Not really no, however, we’re pretty driven, I write constantly and we’re a working band so it just happened like that. Then the obvious happened. But yeah, it’d be nice to keep that up but the days are getting shorter and shorter somehow!
Did the pandemic and the resulting lockdowns have a radical effect on both the writing and recording of your recent release HOLLOW HEART?
In hindsight, absolutely none whatsoever, except for the odd lyric dealing with isolation and hopeful deliverance then. We would’ve made this album in whatever times I think. I mean, of course, we were caught in it just like everybody else but it didn’t mean anything when it all came to pass. The Hanging Stars would’ve made Hollow Heart regardless, I think.
How did you end up in Edwyn Collins’ Clashnarrow Studio in Scotland for the recording?
Patrick Ralla, our guitar and keys player, is a phenomenal musician who goes way back with Edwyn ever since Edwyn gave his blessing to young Patrick’s family beat combo The Kinbeats. Pat regularly plays in Edwyn’s band and one day Edwyn said that The Hanging Stars were welcome in Scotland anytime. I felt pretty blessed then too. I mean, like, it’s Edwyn Collins. And of course, his incredible wife Grace Maxwell also helped a bunch to make it happen. I feel incredibly grateful to that pair for letting us in. And producer Sean Read, I can’t talk about Hollow Heart without mentioning that man. So, we set off in two cars for the 13-hour journey only to find ourselves in even more isolation. But with a rising sun over the bay in our eyes every morning and a heather covered mountain to go stargazing at after our, shall we say, myopically enhanced dinner.
Edwyn contributes backing vocals on the album. Did the recordings get the seal of approval from him?
If tweeting “The Hanging Stars album is the dog’s bollocks, FACT” counts then yeah. I think he liked it.
How did the recording process differ from working in Echozoo Studio in Eastbourne on your last album A NEW KIND OF SKY?
Two very different processes. ANKOS was made as a tight touring live band who’d honed the songs on the road so to speak, while Hollow Heart was much more theoretical and natural. Echozoo down in Eastbourne is an incredible place and Dave Lynch is an incredible guy, he’s a very busy man and the studio is like a finely built Swiss watch. Everything works and he knows every single nut and bolt. Clashnarrow is more like an unexplored world, like an audiophiles Jules Verne book. And of course, being in a North East Scottish town with a population of 203 took the tempo down quite a bit. All for the better.
As with A NEW KIND OF SKY, the songwriting duties are shared on HOLLOW HEART. How do you manage this with four contributors and have you a particular template for developing the songs?
We decided a while back that if we wanted to last, we needed to make sure everyone got their dues. Everyone has an input on the songwriting, even if I may be the one bringing most of the tunes to the table. I’m not precious about songs as I believe that they are not necessarily mine once I feel I’ve done what I can with them. It’d be foolish not to let the input of these four incredible musicians in on the writing and arrangements of my songs. I mean, why would I play with Sam Ferman, Joe Harvey - Whyte, Paulie Cobra and Patrick Ralla if I didn’t let their outstanding ideas and musicianship influence the songs?
You’ve only recently had the opportunity to tour the new album. Your sell-out shows at The Kilkenny Roots Festival were a blast. Has it been difficult to get live shows this year with most bands and artists scrambling to fill their calendars?
Thank you very much for the kind words. Yes and no. We acquired a great booking agent (Sedate) just before lockdown so in a way, it’s been easier than before.
Do you feel you get sufficient exposure from the British press? I expect that if HOLLOW HEART was recorded by a band from California, it would probably be featured in a three-page spread in the popular music press in the U.K.
Ha-ha, I will take that as a rather wise but backhanded compliment from you, and I appreciate the sentiment. I really don’t know and I’m not so sure I care either. But you’re right, though. The British press tends to have a problem seeing the wood for the trees. I mean, of course I think that we deserve endless press as I wouldn’t be doing this if I didn’t think we were a great band who make great records. But the press is so decentralized nowadays, as well as very exciting. Take a publication like yourself for example or Shindig! Magazine who’ve been very supportive, Raven Sings The Blues, Twitter. I guess I also naively believe that it’s about the connection to the music and the people. Supporting Teenage Fanclub or The Long Ryders at an amazing London venue is awesome but even better is a tiny pub packed to the rafters in Hastings on a Sunday night. But rest assured. Our day is coming.
Signing with Tom Bridgewater’s Loose label appears to be a marriage in heaven and further steady progress for your career. Are you hopeful of making ripples outside the U.K. with the support of Loose?
It’s been nothing but a pleasure to work with Tom and Conor (Cleere). Tom has got a vision, a passion, and an experience which is exactly what we needed at this time. The album is only young still, and there are some very exciting things on the horizon. You’ll have to watch this space though.
If that exposure should translate into recognition across the pond, would you foresee you re-releasing your earlier albums if that transpires?
I love your questions here; you’re diving deep into the pond and I like it. One thing I’m immensely proud of is our back catalogue and the quality of it. But yeah, you’re right. They’re running out and that’s not right. Especially ‘Over The Silvery Lake’ which is long out of print and fetches silly prices online. We’re open to ideas.
I get the impression of a group of players highly focused and professional. Have you a specific game plan worked out?
Why thank you. We try our best. And yes, we have somewhat of a plan as a matter of fact but there’s a lot to be confirmed, so you simply have to buy the records in the meantime, keep an eye out and we shall deliver.
Interview by Declan Culliton