Start Listening To: Vehicle

Vehicle discuss cultural exhaustion, Americana as a haunting presence, and writing pop songs for people who feel completely knackered.

Leeds garage-pop quartet Vehicle have spent the past year quietly sharpening their sound, distilling the surreal sprawl of debut Widespread Vehicle into something leaner, stranger, and more direct. Their new single ‘You Are Not A Cowboy,’ released via Esco Romanesco Records, is a three-minute jolt of jangle and pop tension, shaped by 60s rock and a deep love of The Fall, and already sold out on 7-inch ahead of release. Ahead of their Independent Venue Week tour, we caught up with the band to talk about Americana as a haunting presence, humour in the face of collapse, the Leeds scene, creative solitude, and why they want your laptop more than your time.

For those unfamiliar with your music, can you tell us who you are, where you’re from and about the music you make?

We are Vehicle from Leeds. We make rock & roll music that you’re allowed to enjoy. Our sound lives somewhere in between evil jangle and hypnotic miserybeat.

How did the songwriting process for 'You Are Not A Cowboy' differ from your previous work on 'Widespread Vehicle'?

The album was written over the course of a year and is a subtle beast. You Are Not A Cowboy is an attempt at being straight to the point without sacrificing the depth and surrealism of previous releases, so in that I had to find a new way to subvert the ancient format of the 3 minute rock & roll song without using too many words.

Can you share any specific inspirations that shaped the sound and themes of your new single?

I became obsessed with a rolling stones rice krispies advert from 1964 and listened to it on repeat for days. I had the same thing with Container Drivers by The Fall. Somewhere in between back to back audio overdoses, this song was written.

How do you think your music reflects the cultural landscape of today, particularly in relation to Americana influences?

While we don’t set out to overtly document or comment on something, we automatically reflect our own orbits in our art whether we like it or not. This song is about believing that everything is shit. It’s an ode to the culturally exhausted. I liked the idea of writing from the viewpoint of someone knackered and out of touch pasted over music that demands your attention like a pop song on the radio does. The americana thing is more of a ghost within the song that is haunting and tormenting the character. In 2000 years it might make more sense when people look back and can’t understand why so many bands had the word ‘horse’ in their name.

What role does humour play in your lyrics, and how do you balance it with more serious themes or messages?

Life is absurd, art should have contrasts. Vehicle is someone on their deathbed laughing at a doctor falling over.

Can you describe how you prepared for your upcoming tour in celebration of Independent Venue Week?

Booking annual leave, falling into YouTube black holes (2001 weakest link, driving through Leeds in 1993, etc) and Danny has bought a fresh tub of brylcreme.

What does the sold-out vinyl run mean to you, and how does it impact your approach to future releases?

It’s a relief that people are into it and aren’t afraid of incredible things.

How do you engage with your local music community in Leeds, and what has that support meant for your growth?

The Leeds music scene is the best it’s been in years. Everyone is making something unique and consistent and everyone is really sound. Mabgate Bleach has been the beating heart of the underground scene for quite a few years now, it’s where a lot of bands rehearse, play gigs and make records. Those records often come out on labels operating as the scene overlords such as Esco Romanesco, Private Regcords and Shooting Tzars who are all doing god's work.

What’s one piece of advice you would give to emerging artists trying to navigate the indie music scene today?

Learn to stop worrying and love the bomb. Just make shit as much as you can. Always put the art first, there are already too many artists in the world so make whatever you want, everything will always be derivative but don’t be lazy. Don’t attempt to mindread an imaginary audience. If you love what you make, chances are that someone else will. Get off your phone and make something born out of proper solitude.

What do you love right now?

Cindy Lee, The Nick (documentary about Gipton Police Station, 1990) Alan Vega, The velux window in my house that I look out at the night sky every night , Joe Meek, concrete motorway service stations, interviews about vehicle, the leeds music scene, Esco Romanesco Records, Tim by The Replacements, early beatles, early vehicle

What do you hate right now?

The constant dread of impending societal collapse, Subway’s new logo, the chronically online, fry’s turkish delight and working all the time in particular Jack hates delivering fruit machines for a living

Name an album you’re still listening to from when you were younger and why it’s still important to you?

We all love Pet Sounds more than life itself.

When someone hears your music for the first time, what do you hope sticks with them?

I don’t want your time, I want your laptop.