Morlock | Interview | Andrew Prestidge | New Album, ‘The Outcasts’
Morlock is the moniker of London based drummer and synth player Andrew Prestidge. The project was formed in 2019 and soon followed the release of ‘Ancient Paths.’ Prestidge recently released the second Morlock album.
Morlock’s sophomore album, ‘The Outcasts’, consist of cosmic explorations, sounds of post-punk and electro-pop, Moog drones and Italian prog soundtracks. Blending melody and experimentation into a shifting patchwork of retro-futuristic splendour, these seemingly contradictory elements battle it out in a dream landscape of the ancient and the alien.
Roland Scriver – guitar
Al C. Mitchell – synths
Andrew Prestidge – drums, synth
Misha Hering – synth
Chris Fullard – FX guitar
“Morlock has the freedom to do many things – ambient, prog, psych, post punk, drone et cetera”
You have been active in music for several years now. Would you like to talk about your background? How did you first get interested in drums?
Andrew Prestidge: My introduction to drumming was through my father, who was the original drummer in the UK mod legends, Geno Washington & the Ram Jam Band. I think he originally gave me a ride cymbal and snare drum when I was seven years old. Other formative inspirations on my drumming were punk and new wave bands of the late 70’s early 80’s, especially the ones that had an emphasis on heavy tom led tribal drumming such as Killing Joke and Adam and the Ants.
One of the early bands you were part of were called Kane. The band eventually renamed itself to Cortizone and released an album. Tell us more about it.
With regards to Kane and Cortizone, you have to go much further back to a band called Mint 400, which was my first experience of being in a band signed to a major label as a professional drummer. The music was a mix of psychedelia and shoegaze, which at the time was labelled as “alternative” or “indie-rock,” the music had atmospheric sections with slide guitar, think Pink Floyd’s, ‘Obscured by Clouds’, mixed with the album ‘Faith’ by the Cure, but also with heavier elements of bands like, The Pixies and Jane’s Addiction. Kane which became Cortizone on the other hand was much more of a post hardcore inspired sound, (Quicksand and Helmet). The band got lumped in the brit rock, nu metal scene, a lot of what was very original sounding with Mint 400 for want of a better description was dumbed down by Cortizone.
Tell us how Suns Of The Tundra come about? Are you still active?
The Suns of Tundra originally formed in 2002 as a re-formation of its previous band ‘Peach,’ original members Simon Oakes (guitar/vocals) and Rob Havis (drums), who switched to bass guitar. To-date the band has released four studio albums. We are currently putting the finishing touches to our new studio album called ‘The Only Equation.’
Several years ago we interviewed Matt Thompson, of Zoltan. Would you like to discuss your work within the band and how you see the releases now, thinking back.
I am very proud of the two studio albums I recorded with Zoltan, ‘First Stage Zoltan’ and ‘Sixty Minute Zoom’. Myself, Matt and Andy Thompson decided to go on a hiatus in 2015, we were all collectively into 70’s progressive rock, sci-fi films and literature, horror soundtracks and vintage synths.
Do you see it as a predecessor to what you are currently doing in Morlock?
Both Zoltan and the Osiris Club are precursors to Morlock, what I wanted to do initially with Morlock was to simplify the drumming, hence the simple electronic drums on ‘Ancient Paths.’ ‘The Outcasts’ is more of a departure going back to the rock band format and being collaborative as opposed to solo, (‘Ancient Paths’).
You’re a man of different styles and you also played drums for Angel Witch?
Yes, I was part of Angel Witch from late 2008 to early 2015, prior to that I was in a band called Winters, on Rise Above Records. At some point Lee Dorian had a conversation with Kevin Heybourne about putting together a new version of Angel Witch, which was closer in sound to the 1980 debut album. In 2012, I played drums on their comeback album, ‘As Above so Below,’ and a live album ‘Burn the White Witch.’
What about your work with The Oath and Lucifer?
With the Oath, I met Linnea and Johanna at an Angel Witch show in Berlin, where they told me about their new band, and that they needed a touring/recording drummer, so that seed was sown in my mind. I contacted them a few months later to offer my services and I spent a good deal of time in Berlin in 2013 – 14, rehearsing, then recording the Oath album in Stockholm.
After the Oath disbanded, I stayed on for the Lucifer project for another year, recording the debut album with Gaz Jennings, (Cathedral, Death Penalty) I eventually left in 2016 with Gaz.
One of the most interesting project in your discography is definitely the Osiris Club, would you like to take a moment and talk about this interesting band that has several releases under their belt.
The Osiris Club is a lot more personal than some of the groups mentioned above. The first album was a collaboration between myself and Chris Fullard (guitar). The demo’s for ‘Wine Dark Sea’ and the ‘Green Chapel,’ were written at home on my eight-track recorder, then Simon and Sean would work on the vocals separately adding their own melodies and extra instrumentation. The concepts were roughly mapped out prior to the recording process.
You recently played with Warning and 40 Watt Sun?
Yes, I currently play with 40 Watt Sun, as a live drummer, because of my association with the doom metal band, Warning. Touring from 2017 to mid 2018, playing their highly regarded and influential album, ‘Watching from a Distance.’
You recently have a very exciting thing going on with Morlock. What led to Morlock and is there a certain concept behind it?
Thank you, a lot of the music for Morlock was composed at the same time as writing material for ‘Osiris Club,’ the more keyboard dominant tracks seemed more suitable for ‘Ancient Paths’ and ‘Outcasts.’ Morlock has the freedom to do many things – ambient, prog, psych, post punk, drone et cetera.
Can you share some further details how your latest album ‘The Outcasts’ was recorded?
‘The Outcasts’ was tracked over 3 weekend sessions at Holy Mountain Studios and was much more collaborative than ‘Ancient Paths.’ Roland, Alastair, Chris and Misha all added their own parts to the writing process.
How would you compare it to ‘Ancient Paths’?
‘Ancient Paths,’ were recordings I made at home and were very lo-fi, but I am still extremely proud of that record.
Tell us about your electronics,…
I currently use: Micro Mellotron, Moog Grandmother, Korg. Mini-Korg 700, Dave Smith Mopho x 4, KorgMS20, Behringer VC340, Roland Juno 6A, Roland Handsonic and Roland TD20.
How do you usually approach music making?
Either an acoustic, or keyboard for working on melodics, or an arpeggiated synth line or a rhythm part on my drums.
What currently occupies your life?
Finishing the art for the new Tundra album, working on some drums for another project and my third proper Morlock album.
I recorded an album recently playing drums on an album by Memnon Sa, ‘Offworld Radiation Therapy.’ It’s a mix of ambient/new age electronics, Popol Vuh, Tangerine Dream with organic sax and drums in the mix, that will be out in January. Also I recorded some new songs for Bill Steer (Carcass, Napalm Death, Firebird).
Any plans for the future?
Moving to Gotland, Sweden in the next year or two.
How’s this last year under lockdown been for you? Have you found the isolation creatively challenging or freeing?
Lonely, isolating, but creatively productive.
Do you have any active side-projects going on at this point?
A recording project with a renowned death metal guitarist. Three songs for a yet untitled demo/new album and 40 Watt Sun material, a new Zoltan album and ‘The Only Equation’, 5th album by Suns Of The Tundra.
What are some of the most important players that influenced your own style and what in particular did they employ in their playing that you liked?
Neil Peart and Bill Bruford – for their endless creativity and thoughtful drum parts. John Bonham and Bill Ward – for their presence and feel. Rat Scabies and Paul Ferguson – for their energy and inspiration. Other inspirations, Jimmy Chamberlain, Mike Bordin, Matt Cameron.
Let’s end this interview with some of your favourite albums. Have you found something new lately you would like to recommend to our readers?
All top albums:
1) ‘Spiderland’ – Slint, 2) ‘Revolver’ – Beatles, 3) ‘Spirit of Eden’ – Talk Talk, 4) ‘On Land and in The Sea’ – Cardiacs, 5) ‘Permanent Waves’ – Rush, 6) ‘Vol. 4’ – Black Sabbath, 7) ‘Killing Joke’ – Killing Joke, 8) ‘Discipline’ – King Crimson, 9) ‘Machine Gun Etiquette,’ ‘The Black Album,’ and ‘Strawberries’ – The Damned.
A recent discovery, I love,
10) ‘Art Empire Industry’ – Bill Nelson’s Red Noise 11) ‘Second Coming’ – The Dickies, 12) ‘Selling England by the Pound’ – Genesis, 13) ‘Fragile’ – Yes, 14) ‘Dimension Hatross’ – Voivod, 15) ‘Roller’ – Goblin, 16) ‘Fresh Fruit for Rotting Vegetables’ – Dead Kennedy’s, 17) ‘Duty Now for the Future’ – Devo, 18) ‘Pleasure Principle’ – Gary Numan, 19) ‘Pawn Hearts’ – Van der Graaf Generator, 20) ‘Captain Beyond’ – Captain Beyond.
Klemen Breznikar
Headline photo: Tracking ‘The Outcasts’ by Morlock
Morlock Facebook / Instagram / Bandcamp
‘Flower Fiends’ by Morlock | New Album, ‘The Outcasts’
Zoltan | Interview | Matt Thompson
Zoltan – ‘Sixty Minute Zoom’ (2014)
