Fronted by Micko Westmoreland; a musician, actor and creative already well known for his solo releases under his own name and material as The Bowling Green; ‘½ dove – ½ pigeon’ is the first release in which he is joined by his impressive backing band: The Mellotronics.

Forming in 2017, the Mellotronics initially began playing out as a three-piece with founding member Nick Mackay (drums) and the enigmatic addition of Vicky Carroll (band “wicket keeper” and bass player). In 2018, the band were joined by revolutionary guitarist Jon Klein (Siouxsie & the Banshees/Specimen, and founder of the iconic Batcave club) who also adds his flare to their debut.

You will be surprised what a stunning art rock release ‘½ dove – ½ pigeon’ is; full of surprises and great musicianship. The album was released November 27, 2020 via Landline Records.

How are you doing? How are you coping with the current world situation?

Micko Westmoreland: It feels like we have turned a corner, Trump banished for the time being and a vaccine on the way. Of course these things are never quite that simple but nevertheless… nevertheless, what a wonderful world.

The band formed in 2017 as a three-piece with founding member Nick Mackay (drums) and Vicky Carroll (bass). In 2018 guitarist Jon Klein (Siouxsie & the Banshees/Specimen, and founder of the iconic Batcave club) joined. Would you like to talk a bit about your background?

I started playing guitar when I was 10, which came with some relief as I wasn’t academically gifted or good at sport. My Mum bought one from an auction for £17, it wasn’t very good, so I started a car wash round and mowed many lawns to raise funds eventually I bought a 1973 Fender Strat, they weren’t viewed as vintage back then, it was just an old guitar. I played obsessively during my teenage years and studied music theory too, then got solely into electronics during my 20s and released a lot of records under the name ‘The Bowling Green’, must have been all those grass clippings, then came back to guitar in my 30s.

It was hard to record properly as a bedroom musician, you had to sample everything. I had to borrow lots of gear to just get a guitar down, back in the day.

You had quite a lot of special guest musicians, including The Specials’ bassist Horace Panter, horn impresario Terry Edwards (PJ Harvey/Madness/Nick Cave) and alternative violinist in excelsis Dylan Bates (Waiting On Dwarfs/Penge Triangle), plus the late Monty Python/The Rutles/Bonzos great: Neil Innes. Early videos for featured singles ‘The Finger’ and ‘Noisy Neighbours’, have also seen the band working with actors Paul Putner (Little Britain) and Susy Kane (The I.T. Crowd, Gavin & Stacey). How was to work with all the musicians on the album? I’m guessing the energy was very good?!

It’s always a good rule of thumb to work with people who you know are really good in the first place, then you’re going to get something down. With someone like Terry Edwards, he turns up on time, has done his homework, is a tremendously nice guy and enormously talented, what’s not to like, Horace from the Specials is the same.

It was fantastic to develop a friendship with Neil Innes over the last seven years of his life and a big shock when he died. I wrote one of the songs on the album inspired by him called, ‘You Killed My Father’, and he agreed to come and play on it. Neil was utterly unique, after spending time with him, you’d think of things he’d said for many days. Jon and I played on his final session; a cover of Bolan’s ‘Get it On’ for the Teenage Cancer Trust with Tony Visconti producing. He went out on a high but he’ll be sorely missed.

The band shouldn’t be overlooked either, Vicky Carroll, Nick MacKay and Jon Klein (Specimen/Ex-Banshees) as the record was made by us all. Jon, band guitarist and co-producer made an enormous contribution to the record.

“If you get stuck draw a picture of all things revolving around the subject.”

How do you approach music making with Mellotronics?

Start with a good idea and from that add words, if you get stuck draw a picture of all things revolving around the subject. If needed search the back of your mind for critical and memorable hooks. Then it all gets re-evaluated by the band at rehearsal for playing live. For recording it’s usual for me to whack demos over to Jon, he runs with it and then we get together and distil, bring focus and draw out.

As previous mentioned Jon and I co-produced, arranged and mixed the record with usual meetings on Fridays. There we could bring together what we had both been working on independently and record together, which leads to your next question.

Can you share some further details how your latest album was recorded?

We recorded the drums at Soup Studios & Hermitage Works in London over two and a half days a good while apart. Drum and voice production always takes the longest to get sounding right, both are really important. Invariably you hear the drums throughout and the voice is what most like. We shared those responsibilities together, with Jon working mainly on the vocal sound

<a href="https://mickowestmoreland.bandcamp.com/album/1-2-dove-1-2-pigeon">1/2 dove – 1/2 pigeon by Micko & The Mellotronics</a>

How pleased were you with the sound of the album?

Very. The minor preferences which may of concerned you at a given point, wash out over time and you can see them for what they are and for that matter what the big picture is. We worked hard and it was considered but not overly so, the album feels direct whilst leaving room for contemplation, both are equally important.

How would you describe your sound?

That’s not really my job to do, I’m sure Psychedelic Baby could do it better

What are some future plans?

I used to release electronic music (under The Bowling Green), very different to the Mellotronics’ sound, there’s a digital album of material from way back that needs to surface. And of course more songs to write for a new record, when you run out of inspiration I feel you have lost the point somewhere down the line. I meditate a lot which I find a great cosmic recharge. Let go and watch the pieces take shape, they always do, funny that…