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Lisburn trio Mojo Fury present an exclusive guide to their spanking debut album. Pull up a chair and read on...
Colin Carberry, 27 Apr 2011
Visiting Hours Of A Travelling Circus, the soon-to-be-released debut album from Lisburn three-piece Mojo Fury, is a dense, layered conundrum – full of big choruses and blood red emotion. No place for the faint-hearted – Mike, James and Ciaran have agreed to take you by the hand and guide you safely through the record’s plunges, detours and hair-pin corners.
‘The Mann’: (James) “This was a result of a late night in a dingy basement spent making electronic beats with (the programme) Reason 2.5, and then recording live drums, distorted guitars, bass and screaming over the top of it all. It originally sounded like a soundtrack to a nightmare... one of Gary Numan’s! But when we played it live it became a more traditional straight-ahead rock song. For the album, we tried to balance the two, so it was the perfect opening track.”
‘Deep Fish Tank’: (James) “It’s a song that basically came from us standing in someone’s garage in the middle of winter playing fast riffs to fend off the cold. The track was full of energy and fun to play. On the record we added a few Moog lines and some samba percussion, but overall it remains one of our rawest tracks, and the one where you really see our three-piece roots shine through.”
‘Lemon Marine’: (James) “There are sections of this song that have been around for almost as long as we have. In our writing process we will tend to work on something for a while, lose interest, move on to a new idea and then come back to the original one. This was one of them. It really took on a new life when tracking in the studio. We added synth to the chorus and gave it a more electro, dance feel and then we asked Linley Hamilton to play trumpet on the outro – giving the song a real burst of energy to finish.”
‘Electric Sea’: (Ciaran) “This started in one of our bedrooms. We were 17/18 at the time and had yet to flee the nest, so our only option was to stay in and write a song. It was just with an acoustic guitar and bass at the start, but it has evolved over the years. We ditched the acoustic and added lots more guitar noise and really built the song up with the drums. The name comes from one of the amps we were using. It was a beaten up 15 watt bass amp. It was pretty crap.”