Micko Westmoreland (Micko & The Mellotronics) Discusses “The Trinity” Album, His Journey & Life In General

Ahead of Micko and the Mellotronics new album, The Trinity, dropping on 12th June, we grabbed the main man and asked him some probing questions about the album, his journey and life in general as he sees it.

The new album is called The Trinity, suggesting a natural conclusion to a cycle of three albums. Do you see the three individual albums as elements of one extended piece, or do they bear no relation to each other?

“I think there’s a connection in an unfolding writing style based on social commentary and observation. But I didn’t set out to make a set; there was no intentional conceptual arc. I’m a father now, so I can’t think much further than what’s for tea! The Trinity title came from the front cover art of Sooty and the two Deities, painted by my old art tutor, Garry Barker from Leeds. It chimed with me in relation to the backdrop of caring for my mother, who has Alzheimer’s. I play Sooty in this set-up.”

Do you have a favourite of the three?

“They always say that “my most recent work is my best and the most important”. Ha!”

In the Mellotronics, you have a tried-and-tested unit. Does that make delivering your musical vision easier?

“I wouldn’t say so, as the songs and arrangements dictate the players. On ‘When I’m Dead’, a track on the new album, it’s just me and an orchestral arrangement (by Arnulf Lindner). Paul Cuddeford (The Boomtown Rats) helped me a lot with his excellent skill set on lead guitar, E-Bow and arranging. Budge Magraw and Jan Noble are a superb rhythm section. Along with Chris Kimsey’s involvement (Rolling Stones producer), a great team worked on the album.”

You write in the tradition of the great observational English songwriters. What was your songwriting journey?

“My writing wasn’t very good for ages, but I’m a worker and look to polish things up. I’m always fiddling and changing bits to get the tone right. A vocal can have different wording right up to the last minute. Equally, I try to record properly so you can always drop the good bits in as needed, collaging a series of edited mistakes sometimes.”

Do you have a favourite songwriter?

“Probably an amalgam of Bob Dylan, Howard Devoto, Ray Davies, and Pete Shelley.”

Your lyrics are eloquent and rich with detail. Is there a pleasure in fitting a narrative to a tune?

“Thank you. It’s only way down the line that I can reflect on what’s worked. I often scratch my head, though, as I often can’t quite work out how I did it!”

Do you enjoy people-watching?

“A good book on body language is a must for any home library. It’s often how people display their true intentions.”

Which comes first, lyric or music? Or do the songs arrive fully formed in your mind?

“I wish — they often percolate over years. ‘Would You Believe It’, on the album, came from an expression my dad gave whilst in hospital. I had to wait four years for the rest of the song to turn up. Same with ‘Guilty’, about Ruth Ellis (the last woman to be hanged in Britain) — I had to reduce a complex story. ‘All At Sea’, in the main, came from a voice note, though. So it happens in different ways, but mostly it’s about building it over time. It used to be words first, but now it’s more of a blend.”

Have you dabbled in any other narrative forms? Is there a novel in you?

“My reading and writing were bad at school. Not sure I could take on long-form; I work best with tight constraints. My brother, Wash Westmoreland, is the potential novelist. He made the films, Still Alice and Colette.”

What’s the landscape like for independent artists these days?

“It’s always been very random; things show up, then they don’t. It’s a bit of a lottery. ‘Proper Job’ speaks of a time when the dole provided some time to get your act together. When it all becomes frightfully middle-class, it’s of great concern.”

Do you prefer autonomy, or would you prefer the comfort of being a major-label artist, with all the creative constraints that might bring?

“There’s big politics when lots of cash gets involved, and I really don’t wish to be interfered with. I’m not looking to find my audience; I have super fans, to whom I’m eternally indebted. Plus, you can get great quality recording from home, you don’t need big bucks to get a big sound.”

Your social media is very engaging. Are you a naturally gregarious chap?

“I wasn’t aware of that! I’m not looking to contrive it all in a self-conscious way. I just put up there what I find interesting and what I’m up to. I’m prepared to throw the odd flan every now and then. What the heck…”

Do you have any observations or wisdom to share on the creeping menace of AI in music?

“I’m quite happy for AI to assist me on the technical/production side. But if you don’t have a good idea, it’s like watching a sci-fi film with no story — outlandish special effects wear thin quickly. If you have a plan for a 1950s street scene and no budget for a video, AI can help. Build around an idea — don’t let the technology dictate to you; you dictate to it. I think people can tell the difference with AI music made by bots, certain regulation does need to be applied however to protect writers and in the bigger scheme verify information. “

What advice, if any, would you offer the young Micko?

“Listen to ‘Enjoy Yourself (It’s later than you think)’ by The Specials regularly.”

Do you have a favourite instrument?

“The Omnichord by Suzuki.”

What was the first song you remember that was more than just a transient listening pleasure?

“‘Monster Mash’ by Bobby Pickett.”

Is there a song by another artist you wish you had written?

“Without mentioning names, every time I hear a great record, I think that. I’m hoping that down the line some kid will think the same of one of mine, so on it goes. I love great melodies; I find them timeless, which is why Kraftwerk are one of my favourites. They can have a mention.”

Finally, what’s next for Micko Westmoreland

“I’m working on mixes for the vinyl album for the veteran charity band that I run — The Spammed, on behalf of the Teenage Cancer Trust. New material for The Mellotronics, and I’m looking forward to the release of a track that’s being used on Heartstopper Forever movie on Netflix on 17th July. Get dem kids into it. Stranger things can happen.”

The Trinity by Micko and the Mellotronics is out on 12th June on Landline Records and the band will be appearing at London’s Aces & Eights on the 17th July.