Interview With The Answering Machine
A FURIOUS HAZE OF BUZZ, FIZZ, BLISTERS, BLISS, FUSS AND BLUSTER
Manchester art-rock quartet The Answering Machine were born into a furious haze of buzz and bluster in 2008. After disappearing underground to build on the handful of songs that received such initial fanfare, the melody-heavy fizz of their debut album (Another City, Another Sorry) dropped in 2009, receiving due attention across the FM dial.
Whilst the gigs got bigger and The Answering Machine jetted off to California where every party with a pulse had them booked as the house-band, Twitter was awash with Americans hyperbolising about Britain’s latest buzzing guitar exports, and after weeks of sweat and excitement, the band returned to the UK to work on their second album (Lifelines). Older and wiser – as most second albums claim to be – but losing none of their insatiable desire for a hook and a melody (ditto), the album was recorded and produced alone with old analogue equipment found in a skip outside their rehearsal studios. That same space inadvertently became a makeshift recording studio (sandwiched between noisy dance rehearsals and a shabby metal band) where the band toiled and reinvented their new songs of isolation and optimism. As Manchester finds stride again – with Negative Narrative favourites Everything Everything and Dutch Uncles pulling in the plaudits – The Answering Machine have dusted themselves down, basked in the glory of their own American odyssey, and knuckled down to continue their laudable trajectory.
The audio download accompanying these snaps (Animals) is the first taster of Lifelines, which is out in early 2011. Until then they’ll be busying themselves supporting Tokyo Police Club on a European jaunt and trotting out their own UK dates. If you’re lucky you’ll hear them subtly crow-barring an Orange Organics cover into their set.