T
he founding bassist of Talk Talk,
Paul Webb formed experimental
duo .O.rang with Talk Talk’s
drummer Lee Harris after the band
broke up in 1991, later making
cult classic Out Of Season as Beth
Gibbons And Rustin Man with
Portishead’s singer. Since that
album in 2002, Paul has stayed
silent. He’s fi nally back with debut solo
album Drift Code, again as Rustin Man.
We spoke to Paul shortly before the death
was announced of his Talk Talk bandmate,
Mark Hollis...Does it feel like 17 years since
Out Of Season?
It’s funny, it doesn’t. I’ve been bringing up
a family and working fi ve days a week on
music in a very regimented way. I got so
into how to approach getting my voice onto
these songs, the time just fl ew by.When did you decide to sing these
songs yourself?
After Out Of Season, I became very
interested in building a recording studio.
I got really into old microphones and how
you captured those sounds. I was interested
in how my voice sounds in that spirit.
I got into music from the 40s and 50s.
Cab Calloway and The Mills Brothers sing
in such an innocent way about life. I love
that, it’s quite surreal.What had you learned working
with great singers like Beth
Gibbons and Mark Hollis?
Mark was a very confi dent singer. He knew
what he was doing and he was closed
about it: he came, did it and left. Beth
wears her heart on her sleeve and singing
doesn’t come easy for her. The key has
to be right, so does the backing track, all
those fl avours. I took the mental attitude it
takes to make it right for Beth when singing
these songs. How Beth does it was very
empowering for me.The songs on Drift Code are like
short stories, sung by characters.
I tried singing in a more personal way, but
it felt claustrophobic. I thought, “Why am
I laying my trip on people?” Putting a mask
on, it became more playful. Once I put
myself in other people’s shoes, it clicked.
After Out Of Season, I knew the Rustin Man
mask would come in handy again.What’s the barn in Essex like where
you live and made the album?
Me and my wife Sam fell in love
with it, because it’s got such a lovely
atmosphere. We’ve got two kids, and it’d
be a nightmare bringing up a family in a
recording studio. I’ve used all the barn’s
rooms to make this album, but we’ve
disguised the recording gear with all kinds
of bric-a-brac: stuffed fl amingos, a big
genie, stuffed blackbirds, pinball machines
broken down and repainted...Why record everything yourself
rather than get musicians to help?
The barn is in the middle of nowhere, so it’simpossible to get musician friends here for a
few hours. I also liked the idea of illusions,
of sounding like lots of people were playing
in the room. I recorded each instrument with
six different mics around the room and built
up libraries of takes; some sparser, some
busier. I’d build the illusion up from those.How did Talk Talk and .O.rang’s Lee
Harris come to be the only guest?
I’ve never got past Lee for drummers, as
I love his unique style. He’s a childhood
friend and we’ve been a rhythm section for
decades. Everything I try is rooted down in
Lee assisting me.Since Spirit Of Eden, none of Talk
Talk have exactly been prolifi c.
Spirit Of Eden was a gamechanger. It was
totally nothing to do with current music,
so much of itself. That was great, but it
set a standard. I’ve always felt since that
everything I do has to take someone to a
place they’ve never been before. You’re
competing with yourself to do that, and it
gets harder and harder as time goes by.What would you say if Mark
emailed and said, “Fancy making
a record”?
We’re not in touch, and I just can’t see it
happening. It was a good time, but it’s
done. I’m glad Mark has never asked
us to tour again, as that could only be
disappointing. I love that Talk Talk has kept
its mystery. Everything else is so obtainable,
but Talk Talk has stayed pure. A lot of bands
regurgitate songs from 50 years ago, which
to me is ridiculous.Will it be another 17 years before
your next album?
I promise it won’t be. I’ve got another
10 songs ready for my next album. Drift
Code is part one of the story. It’s a good
introduction to my voice, and these next
songs take the idea of my voice further.
John EarlsGODFATHERS
of
PAUL WEBB AKA RUSTIN MAN
© Lawrence Watson●Drift Code is out now on Domino. Classic Pop’s review was printed in issue 49 (February 2019).