A Quick Chat with Luluc

First word that comes to mind when you think of ‘Sweet Thief’?

Perhaps contradiction, inner tension. The title comes from a Shakespeare line a sonnet. “That I an accessory needs must be, to that sweet thief which sourly robs from me. Those two words “Sweet Thief” rang out - because to me, I could relate that to some of what we explore in the record. How certain ideas or objects attract us, give us a sense of genuine wonder and beauty or a sense of meaning and connection. Then at the same time forces can utilize that attraction to try to garner our attention. And then, in getting our attention, do they offer anything of substance or meaning - or do they attempt to play on us for dubious, empty, or even nefarious reasons? These contradictory forces can make you feel complicit, torn and maybe even disempowered. Being robbed of something, but maybe it feels good?

The album feels intimate but quietly political at times — did those themes emerge naturally while writing?

Yes I think our work has undercurrents and reflections that could be deemed a bit political, though that word can be too loaded and evoke a sense of commentary, which is not really our gambit. I think it’s more of a zeitgeist-y thing as it’s impossible not to reflect on all aspects of your world and environs. Inevitably the pressures that you, people around you or your community are grappling with, come into the songs.

Which song on the record arrived the fastest?

Probably ‘Rewarding Melody’. The lyric came very quickly, and would not take any messing. The music likewise came relatively quickly, one or two sessions, for the composition. Production-wise was a whole other journey. Multiple renderings, and then an Xmas day session with J Mascis on drums, that was when we really started to find it’s best sonic suit. Steve’s layered harmonies, multiple bass guitars, his keys and guitar parts, all came together. That was not a quick process, but we absolutely knew when we got it. Fun! - when you get to that point.

‘Sweet Thief’ feels beautiful but slightly uneasy at times — was that balance intentional?

Yes. And that goes back to the first answer. Beauty, sweet things, wonder - there is so much that is worthy of our awe and gaze. Nature, human struggle and generosity are a few more. Yet - just as apparent - there are sweet things that play with or deliberately manipulate our desires, creating desires and actions we don’t even consciously “have”; Like ‘how did I end up on my phone again’?? etc. Much modern tech has been deliberately designed - to make things addictive, to profit from outrage, playing with good people - to the point where, as Aldous Huxley predicted - we could ‘willingly’ choose our own demise, through consumption and entertainment, distraction. That we could come to love our “servitude” (as he put it) to the engagement and those manipulating forces. Of course it doesn’t need to be this way, it is in the design. The tech teams studied poker machines as their starting point, we’ve all heard this yes? So these tensions come into the songs, and lyrics. Majestic mountain-scapes alongside dystopian mechanical cowboys. I highly recommend Aldous Huxley essays and interviews, there’s one on YT with Mike Wallace in 1958 which is great.

Did making this album change the way you see modern life at all?

I guess so. The exploration of of some of these ideas has made me more determined to protect and even promote the idea of a deep inner life, of individual growth. Just recognizing the importance of it, for all of us.

Which ‘Sweet Thief’ track changed the most from demo to final version?

Well they all went on a journey! They all usually start with just guitar and voice, and that part doesn’t tend to change so much as get built on, and out, into the full vision that Steve and I develop in the production. But ‘A Better Truth’ actually did change - melody included. The original version was put through the production ringer, many times over. Steve was so determined, and he created so many awesome musical worlds around the song, but it didn’t ever sit quite right. Eventually, after months, I said, “it’s the melody, it’s not right” (sorry Steve!). So we sat together and reworked the melody. And we found it in one session. After all that struggle and the song was recorded and completely finished 48 hours later. But again, we knew absolutely when we had it. That song is inspired by the work a very dear friend does helping people who are at risk of committing harm to others or to themselves. Very important and difficult work. So the challenge of getting this song right was not one we would let go.

Be honest — who’s more likely to say “let’s do one more take” in the studio?

Hmm, well maybe Steve, tight race though. We do have a three take rule which helps though. Three takes usually provides enough coverage. But sometimes the first couple might be a warm up, and we let them go through to the keeper, so to speak.

What’s one non-musical thing that unexpectedly inspired this record?

Fun - there are so many. One is the dance I do every day, with an online group called Kukuwa (an example of good tech connectedness!) - they are in Africa. Movement has become an integral part, non-negotiable even, to my song writing and creative practice. For us both actually. So every day I shake it, and that sense of embodiment and movement of my whole being, keeps me happily at my desk and doing this work. It’s helps keep my perspective and outlook fresh and alert, and avoid getting too caught up in the mind/head. It’s such an important part of living well, and I wish it was more embedded in our culture. It’s so healing too. I heard an interview once with a man who was a solider (at 18) and had survived WWI, but of course he saw so much bloodshed, loss of friends, waste of life, the insane horror of war that he was contemplating not living. But instead he decided to learn how to dance and sing. To waltz and harmonize in a choir. And he was a very elderly and happy old man in the interview, and honoured those lost in finding that joy.

What do you hope listeners take away from ‘Sweet Thief’ after sitting with it for a while?

Well there is definitely no prescription - it is open. But I guess Steve and I hope people can enjoy the spaces we’ve created in these songs, maybe some calm, comfort of sorts. Some reflections that speak to shared struggles and joys. And I hope it’s ultimately fun to listen and return to. We really want the music to be a fun space to be in, even if occasionally dealing in tricky terrain. I don’t mean a tizzy sugar-high, but a space you can enjoy being in and that lingers rewardingly, either internally or in the ether.