Ash - London, UK, Spring 2004
By: Samantha Hall
The closed-down-then-reopened Filthy McNasties is a place of rock stars. A wall-to-wall vintage posters/rare import beer only/culty art-industry clientele exclusively kinda place.
Yes, it may be stupidly early in the morning, but even now it's as decadent as a diamond-encrusted hipflask - the cigarette-smoke is so engrained into the rouge wallpaper that you can taste its tar now even the morning after (and despite not having been within a vague proximity to a lighted Marlboro in hours).
Yet, fresh-faced, healthy and budding we lie to ourselves that we are, and as the somehow flawless spring rays stream through the grubby window-pain, they frame the worn leather-clad shoulders of, well, a real rock star.
And you may not associate Ash generally with the heaviest, grimiest rock antics of the shady music-world. Tim Wheeler and pals haven't been sprawled across the centre-pages of the tabloids for their raucous antics or even dirty past, no, but Ash are perhaps one of the longest-living legends of the '90s-bred indie era; baby Wheeler and Irish chummies Mark Hamilton (bass) and Rick McMurray (drums), plus latter-recruit Charlotte Hatherley were pumping out the tunes even when the seemingly more experienced 'cheeky art student geezers' Blur popped out 'Parklife'. And, like Blur, Ash have developed, grown and generally evolved so that their shelf-life, record-sales and general mass worldwide popularity have kept spinach-strong over a decade.
Yet they are seemingly the Peter Pan of rock. With each new success, Ash change, but not seemingly in a provoked, thought-out or even natural evolution. They progress and change, yes - but develop?
Brand-new, pinned in and tucked up, the talc still powdery on their chubby thighs, they surged into the top slot with '1977'. The follow-up, although heavier and respectably more true to their original, influential roots in the format of 'Nu-Clear Sounds' gained only a lukewarm reception. So back-peddling, although outwardly non-regrettably, they tromped back to the publicly loved and fool-proof indie-pop formatting for the number-one 'Free All Angels', again creating worldwide hype, income and *jazz-hands* fame.
So, they've got it - they have it all: chart-smashes on every continent, a sickly obsessive, tight fanbase, and, as individuals, great clothes (note - Ms Hatherley's ultra-fly cowboy boots... by Lord, we're jealous). So, why now do reports hit back that this new album of theirs - the top-five trouncing 'Meltdown' - is the heaviest rock work Ash have ever yet offered the worldwide public? Are Ash really trying to be the band they've aspired to be since their teens - that of a dusty Thin Lizzy-cum-Undertones rock-merchant camp - and what has taken them this long to finally reach this ideal and musical sanctity?
'We started out as a grunge group; we were really into Nirvana, Mudhoney, and stuff. We weren't as skilled as those guys, but now I think we're getting there after ten years on the road.' Tim's eyes glisten.
'Yeah it was just the right time,' continues Charlotte, 'We're now capable of pulling it off. Touring different countries constantly, seeing cool, original bands again, and performing to people who don't know us... you know, we have something to prove every night onstage, so we really go for it.'
Tim concludes: 'There's still that melodic side of Ash, it's just heavier; there's still the accessible melodies, people will recognise enough of old Ash to get into it. Just there's lot of confidence to it...' He assures us once more. 'Yeah, they'll latch onto it.'
Intriguing to note that, as three-way conversations go, Tim and Charlotte are remarkably in sync. They follow off each other's sentences and flow in response so slickly, so well-timed it's like they're ancient, wrinkly lovers, but we suppose this is in fact from years of interviews and touring-life, rather than our more romanticised, pensioner fantasies. Oh well.
So the faltering point (at least career-wise, if not creatively) of 'Nu-Clear Sounds' has been sourced out and although the band themselves don't look back at the project with distain or regret, the media-portrayal of this offering was defiantly quite unfair. So, self-admittedly, 'Nu Clear' was self-conscious and lacking in the technical-skills that only time, experience and, well, practice can tighten.
And to make sure they don't make the same 'mistakes' or have re-trodden learning-curves again? To be in line with this 'true, revealed' sound, who to work with? Producer, Nick Rasulincez as guide and shepherd in the real rock desert-land proved to be their choice. His flocks, excuse us, artists, have included such hairy beasts as Foo Fighters and System of a Down.
'Yeah, he really shaped the record. We're really the most pop thing he has done; he definitely comes from heavy rock roots, but at the same time, he's really into Kiss and The Beatles... but he can pick and choose. He was really rallying into it. We had the tunes, but we weren't utterly sure of what we were doing - he really brought out the power of our music more,' enthuses the stubbly Wheeler.
Rock-power. Metal-horns are thrown up simultaneously. Ah, the Irish chuckle is a hearty one.
And of 'true rock power', throughout the banter, both Wheeler and Hatherley have shown a profound passion and admiration for the States; is this geographical admiration purely a subconscious appreciation of associative hero worship linked to such greats as Cobain and crew, or are there more technical, practical justifications of love?
'Yeah, lots of our heroes are American, but if you look at American groups, they're f**king good. The recordings, all of them. The engineers and producers: they're all really competitive out there. There's a really big sound. Especially if you listen to American radio, all bands, sonically. The songs (may) sound exactly the same, and - mostly - are quite shit, but in respect of their sound, they sound great. European songwriting is a bit more intelligent,' Tim affirms.
So this quartet can even convert the real metal musos over to Ash's way of thinking; is there anyone this band can't win over? However impeccably charming Tim and Charlotte are however, there is in fact a great deal of planned, and business-like procession involved in their decisions. Although, honestly, having a very immediate, personal and intense relationship with their fans, carefully structured tours and single-releases have meant that Ash won't economically falter a second time.
'Yeah, you have to build things up. You can't just come straight back with a big single, you have to get things going again - guess that was a learning point of 'Nu-Clear',' concludes Tim.
On a present UK tour, they're playing so comprehensively that even remote and off-the-track venues (Truro, anyone?) are on the cards; a cunning gimmick, so that both label and relentless media don't tear apart their comeback campaign? Or sincere attempt at catering to fans' specific wants as would be repetitive of their request-only February club-tour.
'Live, see, people far out are grateful that anyone would go anywhere near them, and that means they also tend to be quite wild crowds,' states Charlotte.
'Where we grew up, Belfast,' starts Tim, 'hardly any bands would come, so we really would appreciate them; I can relate to that. We're from a very provisional place.'
He elaborates, leaning and half-resting across the grainy pub-table, schoolboy-like. Tim is notably youthful in his delivery - although the commentary itself is similar to that of a weathered and grizzled tour-veteran, the Peter Pan vibe pulsates more and more.
'We released 'Clones' over the 'net because to release a single properly is very important, regarding its chart-position. There's so much pressure, but 'Clones' was a good track to introduce the new, heavy sound.'
'Not very gently, though,' mutters Charlotte, before Tim snorts and, conceding, finishes:
''Clones' wouldn't be a top-ten hit. But it's a great intro of the (new direction) to the fans.'
Yes, the Internet's been a big role in Ash's world, especially after re-establishing themselves with 'Free All Angels'. All four of the group are very active in the site, specifically the message-forums. As such, there comes across a real, truthful, honest appreciation for their fans that is often misplaced when bands become the size that Ash are.
'It is amazing to have an immediate contact with all our international fans,' they nod. 'It's like a huge worldwide fanzine. And to be able to bypass all the press: to have this immediate relationship.'
And this, ultimately, is the key to Ash - they want, need this immediate contact. It is this relationship that they fuel themselves on. Their desire to be this big rock n' roll band. To play the big shows, to make their big loud rock record and to have this loving, mutually appreciative fan-relationship. Ash set out to play 'rock star' and, by God, they've succeeded. And judging by the reception to 'Meltdown', Peter, Tinkerbell and the Lost Boys (well, seeing as Mark and Rick aren't anywhere in sight) will be playing for many more years yet.
Artists in this article: Ash