Actually, I won’t!” She stops herself: no moaning allowed. “It was a lonely experience, touring that… and I had a horrible record company. Lipslide was portrayed in the press as an attempt to ditch Bob and Pete, which it definitely wasn’t, she says. She looks back at her solo past wryly: that first, pre-Saint Etienne single was a “cottage industry affair… which I find horribly embarrassing”, its cover designed by a friend of her mum’s, but she still likes the song. “I like a lot of songs that people write about themselves, but for me, it just doesn’t sit right. “I don’t really like being autobiographical,” she explains. Folk duo the Rails and Manic Street Preachers’ Nicky Wire also pop by.Ĭracknell likes creating filmic worlds in music, she says, and it’s no surprise to learn that her late father Derek was Stanley Kubrick’s first assistant director (his credits include 2001: A Space Odyssey, A Clockwork Orange and Aliens). Their reference points included Ennio Morricone, Joe Meek and Marianne Faithfull, and the results show it : On the Swings glistens like a soundtrack to lost 60s cult cinema, while Hearts Are for Breaking is a swinging piece of melancholic pop. Cracknell shares Ellis’s interest in unusual musical instruments and they wrote together in her house around her Wurlitzer Butterfly Grand. Red Kite was made with Colorama’s Carwyn Ellis, a Royal Academy-trained multi-instrumentalist, and Seb Lewsley, who both collaborate often with Edwyn Collins. Sarah Cracknell ft Nicky Wire - Nothing Left to Talk About (teaser edit).
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