Something’s Bound to Happen: Catching up with Chris Triggs of the LaLaLettes

It’s no secret that I’m a big fan of the LaLaLettes and the man behind their ultra-cool garage-rock sound, Chris Triggs. Back when I interviewed him the first time around, we cooked up the term “anti-pop” to describe his music, and the term still holds. In a world where over-polished, lifeless music leaks out of every department store PA system (not to mention the PA systems of a couple of airports I’ve been in lately — shouldn’t they have been playing Brian Eno?), Chris’s music is not just a breath of fresh air but a jolt of real life. And since it’s been a while since we last talked — at least in this forum — I figured it was about time to drop him a line!

What have you been up to?

Well, to be honest, a lot’s been happening, especially in my personal life, work, getting made unemployed twice, but since July last year, I’ve finally landed on my feet, and got a great admin job in Dental. But above all that, everything was centered around music. I decided to do everything on Bandlab, which has been a whole load of fun, getting to know that App, recording 3 albums in 2022 (Obsession, Union Utility Union and Ecto Plasmatic Oracle). Each album has a freedom where I can go from something like Elvis to Krautrock to Dylan, and take every avenue possible along the way.

You’re always the first person to share my interviews on Twitter—or X, as the case may be—which I really appreciate! Are there any indie bands or artists that you’re particularly enjoying at the moment?

Oh man, lot’s of bands you’ve showcased have all had something special to make my ears prick up. Unfortunately I’m terrible for remembering band names, lol.

Other than those you showcase, I’m loving ‘Impossible Mule’ at the moment, totally unique, they have a whole psychedelic vibe with incredible lyrics and melodies, and basically the guy sings and plays guitar with a whole load of Echo. Similar in vein to Skip Spence, but with a lot more oomph.

You released a song a while ago called “Tick Tock, Mr. Spock” that really stuck with me. What was the story behind that one?

Ha! I was just sat around at home, and I had an urge, to get my guitar and quickly write, record and release a quirky fun single.

For some reason I recorded it with my acoustic guitar, thinking it be like folk punk, then did the rest on Bandlab using virtual instruments (bass, drums etc).

Then after the backing track was done, I wrote the lyrics, HOW I got to the chorus of Tick Tock Mr Spock, I will never know. It was simply just a mad moment.

More recently, I found your album The Absence of War, to be very moving—especially the opening track, “Sambre-Oise Canal,” which refers to a battle that occurred toward the end of World War I. What drew you to that historical event? What makes that battle so compelling? 

To be honest, that song is all Keegan Wilson of Pop Cult Magazine, we’d done a couple of songs already and then simply it was the next song that came along. But with this track, he had the lyrics and the melody. It’s based on a poet Wilfred Owen who died at Sambre Oise Canal during WWI at the age of 25. I just rerecorded the whole thing, putting my stamp on it I guess. The haunting strings and the battle cries. It has a magnificence I think, I’m very proud of it.

How did that collaboration come about, and what was it like working with both Keegan Wilson and Paul Ockleford?

I’d just finished the 8.2 album in late March, and was looking forward to a rest, because I struggled to finish that album. Then within days Keegan contacted me, asking if I could put music to some lyrics. I’m never one to say no and I thought well, I don’t have to write lyrics, so I went for it. That first song remains unreleased, but the plough was in the field and we sought of both took off. 

Keegan Wilson also wrote lyrics for other tracks on the album as well. What do you think makes for a good collaborative relationship?

Basically, if two people are on the same wavelength it makes things a whole lot exciting. I can hear the magic happen with Fendahlene and The Star Crumbles of course. Two guys enjoying each others music and ideas. It’s not often things like that come along.

During that month we did Absence of War, i did something creative every day, getting Keegan’s lyrics was another opportunity to see which avenue I could explore. Overall he wrote 14 sets of lyrics in that period, from mid april to mid May. I really felt an amazing connection with his lyrics. I do regret only using 6 songs he supplied, but i guess i wanted to put my own thing on there, but really, i should’ve stuck with his words. 

I also love the title of that album: The Absence of War. What does that mean to you?

I really felt sad about things that were going on in Ukraine, and yet while that was and continues on, here we all are/were recording our music. I just wondered what I/We could contribute to the world in the absence of war. It’s our escape I guess from the real world.

Your new album is called Uber-God-Sex-Drugs (In That Order!) It’s another great title! I want to ask what the album is about, but I also suspect it might be somewhat self-explanatory. Can you say a little more, though? How would you describe the music?

After Absence I had a big rest. Well, 4 months. By September though, I was ready to really push boundaries. I had a rule of not writing in the week, but observed stuff around me, like news events, people, myself, and let things build up inside. I thought of myself like an Uber Taxi driver talking to his passengers, getting their thoughts and stories for my own use.

Every Saturday for two months, I never failed to have a song. Mainly starting with a jam. It was a great way to work. Originally it was to be a double album, but I got scared and dumped 5 tracks. I love how it is now. It rocks and rolls along nicely.

Are you collaborating with anyone on this one?

Kelly Kintner is involved, mixing tunes and performing guitar, you can’t fault Kelly, he’s so talented, he’s my go to if I’m stuck on something, bless him

And also a saxophonist ‘Richard Davies’ performed on the track ‘Home’, which is incredible, especially his end solo. I discovered him on Bandcamp, I wanted something Bowiesque, and luckily Richard loves Bowie, and I basically contacted him and he said yes. Absolute stunning musician, his albums are excellent to. All on Bandcamp.

The cover art is pretty wild. What are we looking at?

It’s a surfer, surfing through a wave. Of course I’ve tampered with the colours and stuff. I’ve always wanted a Surf LP cover.

Nice! Any plans yet for a follow-up?

Not as yet, though I can’t switch off at the moment, reading writing drawing, jamming, listening to different types of music new and old. Your show the tweetcore radio hour is of more contemporary interest than what is on offer in the charts. You hear Kelly Kintner playing Banjo and it’s like a god send, Utopia Breakdown diving into the future of music making things interesting beyond belief, Impossible Mule whacking every melody going into the middle of next year, and when that’s done, you’ve got Brian Lambert, Lunar Plexus, Voodoo Planet, Temporary Longterm Positions and others tabling music to a level of gobsmacking beauty ready to inspire, I keep believing ‘something’s bound to happen’.

Always a pleasure talking to you, Chris!