One for the Road
Interview by Charlene Chan
Photographs courtesy of 65daysofstatic
65daysofstatic is a band with varied interests. Following their last show in Singapore in 2011, they’ve gone on to take up a diverse range of projects, including creating a new soundtrack to the film Silent Running, and more recently the music for the video game No Man’s Sky. Having played together since 2001, the group of four from Sheffield, England—Paul Wolinski, Joe Shrewsbury, Rob Jones and Simon Wright—have toured relentlessly, making no secret of their fondness for live performances.
Perhaps their reluctance to be categorised has contributed to their longevity: with no way of knowing what to expect from each new album, 65days has freed us of the inevitable disappointment that comes with expectation, allowing us to immerse fully in their music. In anticipation of their upcoming stop in Singapore this November, we caught up with Paul to check in on how the band has been.
It’s been a while since we’ve had you here in Singapore. What’s the best part about going back to a city you’ve played at before?
The last time we were there was the first time and we were lucky enough to play two back to back sold out shows. It was a bit full on, but the crowds were great. So mostly just looking forward to seeing all of them again. If they remember who we are.
Congrats on No Man’s Sky—can you tell us about how you ended up working on it?
Thanks. Hello Games, the team behind No Man’s Sky, were fans of 65. They asked us if they could use an older song of ours for their launch trailer. After we saw how good what they were making looked, we asked if they had anybody onboard for the soundtrack. They didn’t. We pretty unsubtly suggested that we should do it. It was just immediately clear to us from the concept art and their passion about the project that this would be an exciting thing to be involved with. We were not wrong.
You also re-soundtracked Silent Running. Writing for a game seems very different from writing for a film or album. Did you have to take some time to ‘learn’ how to score a game?
It is different, but then re-scoring an already-made film is different to scoring a new film. We’ve also made site-specific music, and played with generative music before, so we understood that scoring a game would be different in all sorts of new ways. We became aware of the various techniques generally used when scoring video games, but we kind of ignored a lot of them and tried to do it our own way.
Read more in The U Press N˚13 (Singapore edition).