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Ok, so first off I must iterate the fact that this particular run down is in no particular order, nor is it a definitive list of the best British record labels of all time (as if such a breakdown could ever be truly quantified). It is simply a list of some personal favourites within the British...MORE>>

Noah & the Whale burst onto the British Alt. Folk scene last year with the ever-present summer smash 5 years time, an understatedly charming foray into relational expectations; it’s instantly recognisable melody & undeniably catchy juxtaposition of ukulele & whistling meant unprecedented appreciation to follow. But this summer has seen Charlie Fink & Co. shed some of the predeterminations towards the band, steering away from minimalist arrangements of the first album in favour of far more expansive orchestrations; definitely the sound of a band finding a firm footing on the ladder of musical maturity.

With the band doing the rounds on the British festival circuit, preparations for the release of The First Days of Spring, and an imminent European tour alongside Phoenix these seem to be tumultuous times for Noah & the Whale; I recently caught up with Charlie to discuss directors, visuals & the band’s ever maturing sound.

With the Release of The First Days of Spring, a double CD/DVD visual & aural experimentation, the band has proved to be an extremely visually inventive band.

I made the film myself, I’ve always liked aesthetics, and it has always been as influential an aspect as music itself. The CD and the DVD accompany each other quite well. It wasn’t a contrived thing though, we

never thought ‘Oh lets make a soundtrack to this film’, it just sort of happened that both worked quite well together.

With Noah and the Whale investing so much time in visual side of the release, and the obvious filmic reference within the name itself (It’s from The Squid & the Whale by Wes Anderson in case you were wondering), it’s become apparent that Fink & Co. are channelling as much in the way of filmic influences as they are musical influences.

It’s always been there, in the background, much like music, but you only really get it when you start to take it in. I really like the epic nature of films, the epicness they can convey. Like Paul Thomas Andersons’ ‘There will be blood’, It’s such a huge thing.

I also love the honesty of Herzog, especially his documentaries. It’s scary how far he’ll go to capture his subject in their most honest form, it seems there’s nothing he wouldn’t do for his art and that’s so inspiring. Just like Fitzcarraldo he’d push a boat over a mountain if he had to.

Noah & the Whale’s festival performances this year saw a favourable proportion of set time devoted to their newer, cinematic sound, choosing material from Day’s of Spring as opposed to last year’s festival anthems.

It just sort of developed that way. We wanted to get the new material out on the road. It seemed a lot more suited to the bigger stages, the bigger environments. We never consciously decided on much, just let things happen. Like a million little steps.

Along with the obligatory music club tour, Charlie will be touring certain privileged cinema’s premiering the filmic element of the release. A long time away from home.

With such a long time on the road ahead, I think I’m just going to up-sticks and live on the road, I’m kinda looking forward to the freedom of not being tied down to anywhere. Sell all my stuff and just live on the road.

With the release of the double CD/DVD, it seems Noah & the Whale are taking full advantage of having decent capitol behind them; their sonic developments have seemingly not been enough to satisfy their frantic artistic needs. The only reservation met is that one hopes they don’t separate the two elements too greatly, for it is on-stage marriage of their quirky Folk-Pop & intriguing visuals that gave Noah & the Whale their initial & undeniable charm.