{"id":84226,"date":"2023-09-25T19:46:44","date_gmt":"2023-09-25T17:46:44","guid":{"rendered":"https:\/\/essentiallypop.com\/epop\/?p=84226"},"modified":"2023-09-29T08:58:01","modified_gmt":"2023-09-29T06:58:01","slug":"inca-babies-harry-stafford-and-co-writer-marco-butcher-on-new-album-we-are-the-perilous-men","status":"publish","type":"post","link":"https:\/\/essentiallypop.com\/epop\/2023\/09\/inca-babies-harry-stafford-and-co-writer-marco-butcher-on-new-album-we-are-the-perilous-men\/","title":{"rendered":"GIMME DANGER – Inca Babies’ Harry Stafford & Co-Writer Marco Butcher On Music, Movies And New Album ‘We Are The Perilous Men’"},"content":{"rendered":"\n

It’s 1983 and spiky new Manchester death-rockers Inca Babies are unleashing their first single on an unsuspecting public via their own Black Lagoon Records<\/strong>.<\/h4>\n\n\n\n

Nearly 6,000 miles away in Sao Paulo, a teenage musician is hitting the underground clubs, looking for the type of music you just don’t hear on mainstream radio.<\/h4>\n\n\n\n

Fast forward 40 years and with the world in the grip of the COVID pandemic, an email drops into the inbox of Incas’ mainman Harry Stafford<\/strong>.<\/h4>\n\n\n\n

The sender is multi-instrumentalist and Inca fan Marco Butcher, the aforementioned Brazilian-born rocker – now relocated to North Carolina. <\/h4>\n\n\n\n

He proposes a file-sharing musical collaboration and, just like that, a new transatlantic songwriting partnership is born.<\/h4>\n\n\n\n

Matt Catchpole meets the pair to mark the release of their second album We Are The Perilous Men<\/em>.<\/h4>\n\n\n\n

In a wide-ranging chat they talk movies, music, Manchester and the small matter of the heart attack which put paid to their tour plans – at least temporarily. <\/h4>\n\n\n\n

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We Are The Perilous Men album cover art<\/figcaption><\/figure>\n\n\n\n

They’ve yet to be in the same room together, but within minutes of meeting them it’s clear Harry Stafford and Marco Butcher are united by a shared vision.<\/p>\n\n\n\n

Lovers of the kind of scuzzy, swamp rock purveyed by the likes of Nick Cave<\/strong>‘s The Birthday Party<\/strong>, The<\/strong> Gun Club<\/strong><\/a> <\/strong>and The Cramps<\/strong> – they’ve quickly carved out their own peculiar niche. <\/p>\n\n\n\n

“The Gun Club and The Birthday Party, they are just like delinquents. They’re dangerous. And this is what rock ‘n’ roll is supposed to be,” says Marco. “It has nothing to do with your playing ability, or how you dress. It’s that thing, that energy, that fits the mythology of what rock ‘n’ roll really means to young kids. It’s rebellion, it’s danger! It’s ‘Don’t let your daughter go out with them!”. And that for me. That’s very good!”<\/p>\n\n\n\n

Setting out their store on debut album Bone Architecture<\/a><\/em><\/strong>, <\/strong>the duo create a world populated by the glamorous, the decadent and the dangerous. Degenerates’ degenerates if you will.<\/p>\n\n\n\n

Cinematic influences abound, from film noir thrillers to Hammer Horror, all laced with lashings of atmosphere and dark humour.<\/p>\n\n\n\n

We Are The Perilous Men<\/em> (WATPM) picks up from where its predecessor left off, but if anything is even more wildly experimental.<\/p>\n\n\n\n

Genres: rockabilly, jazz, post-punk and dirty blues are mixed, mashed, ripped up and re-invented.<\/p>\n\n\n\n

“For me, it’s more of a rock album to a certain extent,” Harry says of WATPM<\/em>. “We’ve actually drawn further into a field of sort of bluesy, jazzy sort of sounds. <\/p>\n\n\n\n

“Marco did more of the instrumentation. So there’s that lovely kind of a warm glow he brings to the backing tracks. So, when I put my vocals and the occasional instruments on it. I’ve got a real sort of foundation to work with.”<\/p>\n\n\n\n

“The big big difference is first of all, we had experience of making the first one, so we knew each other better,” Marco chips in. “We knew where we could go with the music,  which I guess gave me more room to be a little bit more experimental.”<\/p>\n\n\n\n

“Because we did the songs over a period of time, I think we had a kind of ‘house style’ if you like,” Harry continues. “I was just reading a review which said it all feels as though it was done in the same session, which I actually quite liked, because I think some of my favourite albums were done in the same session and they have this real sense of time and place.”<\/p>\n\n\n\n

When I mention that many of the songs feel like soundtracks to movies that don’t yet exist, Marco nods animatedly.<\/p>\n\n\n\n

“Nailed it!” he exclaims. “I think that’s our entire point. I can’t express enough how important it is to me to get some some sense of an image or a scene or a scenario out of the music.<\/p>\n\n\n\n

“I’m glad you noticed that because when I’m thinking about music, if a song doesn’t create any type of imaginary film or video in your head. There’s probably something wrong with that song.<\/p>\n\n\n\n

“The idea is always trying to create some sort of different world, so we can escape from this one for at least 35 minutes.”<\/p>\n\n\n\n

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