The Invisible

Midway through a UK stint with Doves, The Invisible's Dave Okumu talks Ragged Words through one of the most inventive and original albums of the year, working with Matthew Herbert and those damned TV On The Radio comparisons

How is the tour going with Doves?

The Doves tour has been an amazing experience. It's been an enormous privilege to play to their audience who strike me as incredibly attentive. As a support band we might have easily found ourselves playing to half-empty, disinterested rooms across the UK. Instead the venues have always been, and remained, full from the moment we get on stage. We really appreciate people taking the time to check out something new. It's also been a learning curve for us, an opportunity to progress and develop. And, to top it all off, they're probably the loveliest people on the planet.

Some people mightn’t think of Doves as direct contemporaries but that’s probably because most have struggled to get past the TV On The Radio comparisons. Sick, yet, of being called the ‘UK’s answer to TVOTR’?

Superficially our music is pretty different to Doves but at the heart of it is something we all really identify with. I think their music has real heart and soul. It seems to be coming from a place of real creative integrity and that's something we always aspire to. They also strike me as musically very open-minded. There are many elements to the language they've established. I love the textured nature of the music and the melodies and progressions are warm and beautiful. It was also very telling to hear Jimmy play the bassline from 7th Heaven during soundcheck. I love anyone who can drop that bassline.

As far as the TVOTR comparisons go, I'll be honest- it is getting slightly absurd. Comparisons walk a tight rope between a useful point of reference for the uninitiated listener and pure complacency on behalf of the journalist. It's flattering to be compared to a band who are clearly creative and well-respected but, having bought Dear Science a few days ago, my initial response is that we don't really sound like them. I'm not sure that anyone could. Which is a good thing in my book. Perhaps the comparison has something to do with the fact that we are both inspired by a broad range of music. I've chosen to stick to the belief that people aren't simply making the comparison because I'm black. That would be really depressing and unenlightened.

I suppose it’s nice in a way to stump critics looking for direct comparisons with other bands and you’ve called “thinking in stylistic terms” dangerous. Is that the real key to making a record as original as ’The Invisible’?

I think the most original thing you can do is be yourself. It's very difficult to be yourself if you're absorbed in the process of emulating someone/something else. That's never been of great interest to me. When I think of everything that's ever really inspired me it's always come from a sense of someone genuinely expressing themselves. Inspiration feels like being given license to be myself. If I can make other people feel that way, I'd be thrilled.

Having been part of a number of other projects in the past (Jade Fox, Polar Bear, Gramme, Zongamin etc), how does it feel to now be exposed as a band with your own songs?

It's an extraordinary feeling. It's impossible not to feel vulnerable and exposed. But, in a way, that's my barometer for gauging whether something is a worthwhile enterprise or not. I think it's important to wear your humanity on your sleeve. That way you can remain connected to yourself and relate to others in a meaningful way. Whatever happens, I'm also really proud that we've managed to make something that begins to represent who we are as people. Captured on that little black disc is something quite profound. No other combination of people could have made that sound. That's what I love about records. Ultimately it feels great to have made something of our own.

The Invisible was originally supposed to be just a side project for you, right? When did it cease to be this and become a fully-fledged band?

It did start out as a solo project but it was never going to be a side project. I'd reached a point where I really wanted to make my own musical statement. And I wanted to do that with Tom and Leo. I was always more interested in the dynamics and creative possibilities of a band. During the course of making the record it started to feel that we were beginning to encapsulate that dynamic of shared ownership, vision and creative input.

I’ve heard that some of the drums were recorded in a field and that lampshades were played in a bookshelf? Any more particularly memorable methods of recording that aren’t likely to turn up on the new Fratellis album?

Working with Matthew (Herbert) will always give rise to some interesting recording processes! It's a manifestation of his creativity, his way of safe-guarding against forms of complacency, a concerted effort to facilitate the creation of something utterly personal. The way he uses technology is incredibly inspiring, replete with invention and possibility. Not everything works but each idea is infused with an infectious, joyous commitment. Ask Leo about recording drums in a hot air balloon or in the sea for Matt's album 'Scale'.

During the making of our record there was an openness towards found sounds and personal sounds. We recorded the sound of leaves being crushed under foot in Suffolk, the sound of a door that contained a laugh in the way it creaked, an out of tune piano and bass from a practice room in my old school, a hunting horn found in the cottage we were staying in whilst recording. Matt would also make synths out of my voice or a click track from my habitual finger-tapping. There's all sorts going on on this record. I'm sure the Fratellis did all this stuff years ago but we're just starting out.

Where exactly was the album recorded?

Rhythm tracks were recorded at a medieval cottage in Suffolk which belongs to our good friend and incredible engineer Dillip Harris. He let us take it over for a week or so. We recorded a great deal of music over this period. Matt took away the raw materials and we added vocals and other textures and worked in post-production for a while. Most of this happened at Matt's studio by the sea in Whitstable, some in his studio when it was in London, some vocals at Dan Carey's. Wherever really.

And how did you first get together with Matthew?

Leo introduced me to Matthew. They had been touring Plat Du Jour together. I'd just witnessed Leo playing knives at The Barbican. Then Matt asked me to play and sing on his album Scale. We toured for a large part of 2006 and became good friends.

Two albums that have recently renewed Ragged Words faith in UK music have been yours and fellow Accidental graduates Micachu & The Shapes (so so good) - I daren’t use the word scene but anyone else of that ilk that you’d recommend?

There are so many great things out there that deserve the full attention of the world. Micachu is amazing. There's also We Fell To Earth, Alice and the Cool Dudes, The Golden Silvers, Anna Calvi, Olivia Chaney, Serafina Steer, Down I Go, Room of Katinas, Big Dave, The Final Terror, Fulborn Teversham to name a few... And then there's Eska. Don't even get me started on Eska.

‘Stain’ is a song you’ve played live and in session for the Guardian but wasn’t on the record, does this mean you’re writing new stuff all the time? What therefore is the plan for the next few months?

I love writing music so I try and do it as often as possible. As a band it feels very healthy to be in a continual process so we try to keep feeding in new ideas. There's always lots of stuff in progress. When you come to make a record, it should be an opportunity to capture a moment within that process. I'm really looking forward to seeing what comes up next time round. Apart from the recording side of things, it looks like we'll be gigging as much as possible. We're really keen to get out there and connect with audiences. After Doves, we will be doing some more gigs with Foals then we head off to Europe. We will be playing festivals during the summer.

Before we let you go and to go kind of back where we started - you’ve a couple of dates with Foals coming up in April - are they more likeminded folks? And friends too? I hear they were up front and centre at the album launch.

Foals have been fantastically supportive. They heard our record and invited us to tour with them in Europe last year. We were unable to make it work due to other commitments, but ended up playing their homecoming show in Oxford. We had a great time together and we're really looking forward to doing more stuff with them. They strike me as a creative force who are in it for the right reasons and that is really heartening to witness. I look forward to seeing how they develop as a band. I believe they are here to stay and will make an important contribution to music.