The return of We Take Polaroids

New Single out now on Bandcamp: https://wetakepolaroids.bandcamp.com/releases

We Take Polaroids are back and they took out some time to chat with LSM

It’s been a while since the last release, where have you been?

Yea 2018. Well I’ve been really active writing songs, finishing material and because of lockdown I decided I wanted to take the rare extra-time opportunity to write within a genre I’ve always wanted to explore. I guess the catalyst was the release of Hyperspace by Beck but hasten to add, certainly wasn’t my blue print.

While I was a teen, most of my days were taken up by listening to Japan, The Chameleons, Talk Talk, Joy Division, and all things generally Nu wave and post punk. But I was also living a double life, listening to people as diverse as Pat Metheny, Gap Mangione, Grover Washington, Santana and Ronnie Laws.

To say I stifle those influences in my writing of late, would be nothing but evident. Burn The Negative was No place to drop a sax solo or deep jazz lined chords and structures. It was about the Nu wave fire. A fire that still does burn bright for me. But I love deep chords and unexpected key changes, warm vocal harmonies and the groove. Yea, the groove was my aim to bring a vibe I’d never experimented with as a writer but always played or experimented with in between writing other songs. They’d never see the light of day essentially. So it was time to allow myself a palette of ideas to come to fruition. I really wanted to experiment with it. So what became one track developed to a two track single potential. Then an EP. Then I extended the ideas to an album. Rather than a 12 track album which I seem to head for I wanted an accessible album length. In an out as though it were on vinyl. 8 tracks felt nice.

The style of music has moved into a huge directional change with great effect. How so?

I guess the catalyst was the release of Hyperspace by Beck but hasten to add, certainly wasn’t my blue print. I just liked how he’d accessed that genre with a simplicity. Primarily via the powers of Pharell. But his vocal tone worked incredibly well. It just made me feel like it was possible or at least gave me confidence to push my ideas forward.

In retrospect, as a teen, most of my days were taken up by listening to Japan, The Chameleons, Talk Talk, Joy Division, and all things generally Nu wave and post punk. But I was also living a double life, listening to people as diverse as Pat Metheny, Gap Mangione, Grover Washington, Santana and Ronnie Laws.

To say I stifle those influences in my writing of late, would be nothing but evident. Burn The Negative (2007-2010) was no place to drop a sax solo or deep jazz chords and structures. It was about the Nu wave fire. A fire that still does burn bright for me.

I love deep emotive, warm chords structures and unexpected key changes, tight multiple vocal harmonies and the groove. Yea, the groove was my aim, to bring a vibe I’d never experimented with as a writer, but always played or experimented with in-between writing other songs. They’d never see the light of day essentially.

So it was time to allow myself a palette of ideas to come to fruition. I really wanted to experiment within it. So what became one track developed to a two track single potential. Then an EP. Then I extended the ideas to an album. Rather than a 12 track album which I seem to head for. I wanted an accessible album length. In an out as though it were on vinyl. 8 tracks felt nice. Instant.

How long did it take to satisfy your new found output.


The album was written, arranged, produced and mixed within 8 weeks. A time scale I’m not familiar with. It was like sitting back after the a rollercoaster ride. I’d kind of scratched an itch. I’m so really happy with it. It kind of feels like a painting. So I can sit back and take it in almost with fresh eyes and ears. Sometimes the songs can take a long time to craft. These fell together easily for me. So enjoyable.

Will you endeavour to explore this genre.

I’d like to think so. I already have ideas about what I’d have done with them now. I guess that’s how you grow as an artist. You see something in your own work and it almost causes an expansion in your imagination. Whether it’ll have the same flavour? Who knows?

So this new release will be worlds apart from your last EP, ‘Illumination’, how will any followers grasp your move.

I don’t think they will or even have to. I think if they appreciate it then great. But the ones who got involved on the Illumination Ep will probably be looking for connections to that EP. There are none, so they’ll get a surprise. I’m so pleased I put that EP together and I’ve seen a few artists later on go a similar route. Totally Enormous Extinct Dinosaurs put an ambient EP together during Lockdown and Jon Hopkins to name a few. I don’t expect them to tread that path again immediately.

Other projects on the boil?

Well I’ve been busy writing and producing the debut NOVABLOOD album which has just been signed to a new London based label called Atlantic Traxx. I’ve currently no details, time lines or plans for that releases at present.


Of course my Mark Zowie house music output is a constant. The latest single Saved feat Dixie Daye is out now on Ki Creighton’s UNDER PRESSURE label.

Jula Music have had a limited run of 50 postcards printed, featuring the latest artwork for WHAT U DO. Anyone who purchases the song on BANDCAMP (79p or more if you wish) they will personally send a postcard for free to their home address*. Pay £1.50 and you get a Jula Music badge in there too.

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