Miaoux Miaoux interview

My aims ..... to try and write catchy songs that don't have traditional structures or do things that you're not expecting. How far can you push 'pop' song structure with it still working?

Julian Corrie (Miaoux Miaoux) 

Long term readers of this blog will know how fond I am of the artist Miaoux Miaoux, AKA Julian Corrie.

Julian produced a string of sublime self releases that led to a deal with Chemikal Underground and the 2012 release of the album Light of the North. Julian's ear for sound and melody is exceptional, his ability to create beats and layer sonic soundscapes is joyful. Oh and he has a beautiful voice as well!

This clearly evident talent has led to (increasingly) strong support of Miaoux Miaoux in Scotland from bloggers, publications like The List and The Skinny, bookers, Chemikal and fellow artists - ranging from the DIY scene up to Chvrches and Belle and Sebastian, as well as music fans of all ages and backgrounds.

A positive response to It's The Quick, the lead single from the forthcoming album School of Velocity, and also Unbeatable Slow Machine, by 6Music bodes well. This could be the album that pushes Miaoux Miaoux on to a new level and it would be richly deserved and celebrated by his loyal fanbase.

I caught up with Julian to see how he is getting on ahead of what could be an extremely busy second half of 2015.

1. Light of the North was your first album released via Chemikal Underground. What were the main differences you noticed from a self release?

Well, it was great to get a vinyl release haha! All of the physical product was much better obviously, I wasn't designing and sorting the printing out myself. They're also really supportive guys, great to phone up if you need help with something or just want to rant. As I'm basically a solo artist it helps to have that support there.

2. The album gathered some incredible reviews; 3-years since release, what are your favourite moments from the album?

I think 'Stop The Clocks' is probably my favourite moment, although I'm proud of the whole thing. But, you know, I probably haven't listened to it for three years. Once something's done, I tend to put it behind me and move on, although those tracks that I made really fast and seem to be accidentally great (my Chvrches remix for example) I can come back to. But it seems weird to listen to stuff once you've made it. Maybe I'll give it another 3 years.

Stop the Clocks

3. Since then you’ve commandeered a band for live shows- were they involved in the writing/recording? What do the band bring to the live shows?

The band make the live shows so much better. Everything is lifted, and it's great to have the dynamic between people - even though we're working with a lot of playback, there still feels like there's some flexibility. I'm not on my jimmy lonesome frantically pressing buttons. Drummer Liam recorded some drums for the album, which sound great. Writing-wise, they don't contribute, although there's always scope for that.

4. You recorded a lot of Light of the North in your own little studio that you owned at the time. Where did you write and record School of Velocity?

An even smaller studio, haha. Both were rented, actually, although the old one was in a trendy location and was getting expensive, so I moved to a rundown building north of the city centre, where my friend and collaborator James Houston was working at the time. It's great to have your own space but the move was definitely a little disruptive and contributed to the gap between records! I'll be staying there for at least another year I think.

5. Who/what influenced the sound of the album?

This is such a difficult question. I listen to a whole load of stuff, but I'd say my aims are pretty similar to Light of the North - to try and write catchy songs that don't have traditional structures or do things that you're not expecting. How far can you push 'pop' song structure with it still working? Actually I think other people do this a lot better than I do. Sound wise, I borrowed some great analogue synths from a friend at work, Michael Hines, who is forever in my debt, and that's something I ended up using a lot of.

6. Have you favoured any particular synths, effects or gadgets for School of Velocity?

I bought a Juno 106 after borrowing one for a while and that's all over the record. Also I've got a little battery powered synth that's great for spacey noises and sound effects, I have to stop myself using it too much.

7. The teaser that you have released is very impressive. Are there any songs you are particularly proud of?

I guess 'Luxury Discovery', the first song on the video, because it was written really really fast (the bassline is pretty much the first take and I could never play it better), the original demo sounded great, and then it became an absolute bitch to mix and master the final version. That's often the case if the demo is too good. Jamie Savage and I pushed through and I think it turned out really well.

School of Velocity teaser

8. You've remixed Chvrches and Belle and Sebastian (among others)- how do you tackle a remix?

Those were both very different processes - the Chvrches remix, I may have said this before, but I didn't actually listen to the original before I started. Which was a good thing, because I ended up writing very different chords to Lauren's vocal, then when I heard the original I was like 'ooh, this is weird'. And it let me put my own stamp on the song without being intimidated. The Belle and Sebastian one - they were very specifically looking for an update on an existing song. So it wasn't so much a 'remix' as a 'reproduction'. I beefed up the drums and added some arpeggiators but the song itself stayed the same.

Chvrches remix

9. The Cairn String Quartet feature on the new album - are there any other Scottish artists you would like to work with in the future?

We'll see! I enjoyed producing last years' Body Parts single, so I'm interested in doing some production work with other artists. I'm in the process of starting work with someone just now.

10. What music are you enjoying at present?

In preparation for the next album I'm listening to a lot of Afrobeat and related / influenced stuff. So Fela Kuti, Talking Heads' Remain In Light album, Floating Points - beats that trip over themselves a little, that sound like water, are fluid. I've got a strong idea about what I want the new stuff to sound like. Also revisiting Matthew Dear's output - he's an absolute genius, and one of those people who's doing what I want to do so much better!

Miaoux Miaoux play a number of shows and festivals over the summer to promote the album including Stereo on May 27th. Give him a like on Facebook to get details of all the shows planned.

Chvrches - The Bones Of What You Believe

Chvrches have had a rather incredible 15-months since they exploded on to the scene with a show at the Art School in Glasgow in July last year (read my review here).

I imagine that the band must be almost relieved that their debut album 'The Bones Of What You Believe' is finally out.

'The Bones Of What You Believe' is a fascinating album, extremely polished pop on the surface, often with darker, menacing undertones. The production is crystal clear, staying clear of the trap that many modern acts fall into - that of over-production. The songs have space to breath, there are hooks galore with synths (lots of them) beats and bass combining in a glorious manner and Lauren Mayberry's vocals are delicious; sweet at times, capable of anger, revenge, hurt and heartfelt emotion at others.

The opening song 'The Mother We Share' is a song that anyone with a remote interest in the band will be familiar with. The 'go-oh-oh-oh-oh-oh' hook in the verses is pure pop, the chorus soars. A truly brilliant start.

'We Sink' is even better (in my opinion). I listened to this 5-times in a row before going on to the next song! Bass-y synths kick things off and the beats come in. There is a menace to Mayberry's vocals;

Bleed out, what the fuck were you thinking?

This is a love song with a difference, the vocal melody is simple, effective and catchy, the lyrics cut like a knife yet also offer hope at the end.

I'll be a thorn in your side

Til you die

I'll be a thorn in your side

For always

If we sink

We lift our love

'Gun' is an exceptional and intelligent modern pop song, changing pace cleverly throughout. Mayberry is on fire with the lyrics and her delivery, this is a girl not to be messed with.

You had better run from me

With everything you own

Cause i am gonna come for you

With all that I have

'Tether' slows things down and if we didn't get the hint from the previous songs then this song is clear proof that 'The Bones Of What We Believe' is a break-up album. There is a stunning break down 2 minutes 9 -seconds in when Mayberry sings;

I'm feeling capable of

Seeing the end

I'm feeling capable of

Saying it's over

Her voice is fragile, sounding sad that things are over. The music then lifts to an all out EDM dance-floor filler, Mayberry repeats the phrase over-and-over as if to convince herself that she can end it. Stunning.

'Lies' is the song that Chvrches (then known as Churches) chose to launch themselves into the world with. The synths are not as pure pop as those in some of the previous songs (think Gary Numan's 'Cars'), they are darker, as are the lyrics.

'Under The Tide' features lead vocals by Martin Doherty. If our heroine has been under some pressure in a relationship and going through a break up, then this is a friend coming to her aid, letting her know she has someone to turn to.

Head up, head up

And stay strong

Holding your head up, head up

Keep holding, holding

'Recover' was released as a single in early 2013, a little teaser after the band were named in the influential BBC Sound of 2013 top 5.

Synths are all over this song yet there is plenty of room for the song to breath. Mayberry, yet again, sings superbly, the lyrics and their delivery fit in perfectly with the music - rising superbly in the section;

I'll give you one more chance

To say we can change or part ways

And you take what you need

And you don't need me

'Night Sky' starts slowly but the chorus instantly reminded me of Ladyhawke - catchy pop.

'Science/Vision' is darker and also more experimental.

'Lungs' is somewhere in between, Mayberry's vocal melody is clever and catchy, somehow squeezing in the vocals to match. This time she's with another girls guy.

How long, 'til you leave her

You should know that

We're alone this time

'By The Throat' returns to theme of a love that is over. Glorious synths explode into action for the chorus

All that's golden is never old

And I won't play fair with you this time

All that's golden is never sold

And I'll be thankful when you let go

'You Caught The Light' brings the album to a close. An extended intro that would fit perfectly into Days of Thunder/Top Gun leaves you wondering if it is an instrumental on first listen. The synths fade to a stark male vocal.

And then it is over.

'The Bones Of What You Believe' is an excellent debut. The first half of the album is particularly strong, containing some sensational pop songs with real depth to them. After a number of listens I did find myself wanting a little more warmth to the production or some guitars, but as the review reads; this is definitely an album worth checking out.

I look forward to seeing Chvrches at the ABC in Glasgow in October to see how they translate live. With a heavy year of touring behind them, Chvrches should be in great form for what is sure to be a warm homecoming.

Churches, Art School, Glasgow, 5th July 2012

Last night I headed into town for what some were describing as 'the hottest gig in Glasgow since Franz Ferdinand'. It was certainly hot in the basement of the Art School - to sauna like proportions. The gig in question was the 'debut' gig by the band Churches.


There was a real sense of anticipation in the crowd in the build up to the band taking the stage at 9.30pm, quite incredible considering they have only made one song available online, they certainly have a lot more up their sleeves. You can check out 'Lies' via the bands soundcloud page. It has already amassed over 15,000 plays at the time of writing, largely thanks to being featured on The Guardian's New Band of the Day feature.

The band consist of Iain Cook, Martin Doherty and the pop pixie princess Lauren Mayberry. All have been in bands previously (Aerogramme, Twilight Sad and Blue Sky Archives) (or still are), quite how long they stay in them is another question all together.


Churches (brilliant name - why has no-one thought of that before) have clearly been hard at work in the studio and their management have clearly working contacts and a and r all over. The guestlist for the gig well outnumbered the amount of actual tickets on sale, this was a showcase.


Being a showcase, the band showed off their skills to the delight of the inquisitive crowd. The opening song was an absolute gem, total pop that Kylie would be delighted to snap up. The sound was crystal clear, the best I have heard in the Art School, the bands decision to hire the venue out the day before to perfect the sound certainly paid off. Lauren's vocals were excellent and she looked the part with glitter and facepaint down one side of her face, younger bloggers would probably say Marina and the Diamonds, I would say Ziggy Stardust.

Photo lifted from the Popcop's facebook page - thanks

I usually write a review after seeing a band. Truth be told that from the back of the crowd I could barely see a thing other than the bobbing of heads and the occasional glimpse of Lauren when she stepped up on to the monitors at the front.


The second song was also a belter, apologies for not knowing the names of them. The band, or Lauren, barely spoke on stage, communicating through their well crafted and polished pop. Lauren did thank everyone for coming and say 'we're not shit'. Which was a bit of an understatement. The lighting glimmered in time with the music, it wasn't just the music that was polished, it was the all round show and experience.

Influences - well pop music in all shapes and forms, from the pure pop of (modern) Kylie and her bank of songwriters and producers to the likes of Grimes and at times I heard a little bit of Liz Fraser and the Cocteau Twins in there.

pic lifted from twitter

I think I can safely say that I will be featuring Churches again on this blog and I am sure that you will hear a lot about them. 


5 things I like about Churches;

1. The name - conjuring up images of people coming together, singing together and in this case; rejoicing in pop
2. The sound - I love pop music in all shapes and forms. So do Churches. Last nights show highlighted that they have more than a few hit singles in the making. Soaring and epic synths and keyboards, this is pop made for the radio but with enough of a twist to appeal to the more left-field indie crowd as well. 
3. Lauren Mayberry - a pixie pop princess in the making, looking good, sounding good and sassy with it. 
4. The management - as a 'budding' manager myself I really admire the way the band and management have gone about this, building that sense of anticipation, keeping quite a bit back but releasing enough to gain interest and curiosity.
5. They confidence - They pulled it off last night. It isn't easy by any manner of means to get people up from London and the Scottish music crowd eating out of your hand. Churches did that and they didn't let them down.