WHITE frontman Leo Condie leads a guided tour through the band's debut album

WHITE frontman Leo Condie leads a guided tour through the band's debut album

Singer dissects One Night Stand Forever: 'It is our shot at pure disco-ball hedonism'

The kind of noise WHITE come out with can often be surprising. Their first album, One Night Stand Forever, is one of those much-anticipated jobs: after a run of solid singles and successful tours, it's a pure relief that their debut is packed with substance, shade and sublimity. Their disco punk is still out in force: 'Fight the Feeling' is a textbook example of scrunchy danceability, but there's balance here. 'This is Not a Love Song' oozes decadence, a bluesy farewell to a lover that wouldn't sound out of place in the wee hours of a smoldering Parisian jazz joint. 'You got it all wrong,' beseeches frontman Leo Condie in 'BLUSH' as the band marry pouting pomp with vulnerability a-go-go. Meanwhile, shade is thrown and tea sipped in the anthemic 'I Liked You Better When You Needed Me'.

But don't just take our word for it. For more on what was going through their dizzy disco minds when putting together One Night Stand Forever, Condie takes us on a track-by-track tour:

LIVING FICTION
The first song we released, and one of the first we wrote together. We wanted a big, odd, mad way to land on planet earth, and hammering out a spiky, atonal guitar intro seemed perfect. When we wrote the chorus it never occurred to me that I would get to hear 1,000 people shouting it back at me a couple of years later.

FIGHT THE FEELING

We debuted this track in one of our most surreal experiences to date, sandwiched in between a debate on Turkish politics and a review of Beyonce's Lemonade on the Dutch TV equivalent of The Daily Show, De Wereld Draait Door. In Dutch, obviously. It was great fun.

FUTURE PLEASURES

This is the song that always gets crowds dancing. It is our shot at pure disco-ball hedonism and losing yourself. Don't try to find yourself, lose yourself. It's much more fun. This song got used in Guitar Hero which means we can watch people play plastic guitars very, very well to our music, and utterly fail to replicate their button-bashing skills ourselves.

BLUSH

'Blush' is another angle to losing yourself, when regrets and a life lived in public lead you to do anything to forget who you are. This hasn't happened to us … yet.

THIS IS NOT A LOVE SONG
This is a love song. No, wait, the other thing. It's not a love song. We wrote this during a two-day songwriting frenzy with Baby Daddy from Scissor Sisters, who came up to visit, listen to crazy 80s synth-pop, watch Limmy videos with us and write songs. This is our torch song ballad where I get to indulge my Scott Walker fantasies.

BE THE UNKNOWN
This song originally had a frankly ridiculous two guitar solos packed into its slender three-minute frame. It's great for opening shows and blasting people's ears off, though now that it's missing one of the guitar solos I have less time to indulge in knee-slides and splits.

I LIKED YOU BETTER WHEN YOU NEEDED ME

This is either a song about two people drifting apart or a song about a dictator losing their grip on the people and finding themselves utterly unloved. It depends what resonates with you more, I guess.

ONE NIGHT STAND FOREVER

This is the first single from the album. In the video, our photographer friend Martin D Barker slaps us and pushes us over. We liked it. The title is inspired by an Ed Ruscha painting. I love his art, the way it lovingly skewers American pop culture, and his big text-based works are great for lyrical ideas and jumping-off points. Something about seeing short, surreal phrases rendered in in glorious, technicolour oil paint imbues them with a weird gravity. The sloganeering songwriter approves.

SWEAT
The last song we wrote for the album, 'Sweat' is the inevitable result of our obsession with electro. Our songwriting has evolved through live gigs and this one was written with the 2am, floor-shaking, smokey-room-in-Amsterdam-Paradiso crowd in mind. We first played there in 2015 and it made us want to quadruple the amount of sub-bass in every one of our songs.

HOW CAN YOU GET LOVE SO WRONG?
I wrote this in 2014 when Scotland was under a constant barrage of 'lovebombs' from the British government, in that peculiarly sado-masochistic manner so beloved, apparently, of the Conservatives. Tough love, I guess. I was fascinated by their ineptness so this is, in part, for them. With all my love.

HIT HIT HIT
This is all on getting that hit of adrenaline, that rush that pushes you on even when 'you look ridiculous'. Obviously, I can't sympathise, with a sober wardrobe of pink roll-necks and sequined jackets. It's about people pushing on, never stopping to analyse, battering through life without looking back.

PRIVATE LIVES

I'm fascinated by the tension between public and private that almost everyone experiences these days, when your social media is literally asking you what you want to 'make public'. The way it digs into your brain and forces you to filter everything you do through the question of whether it is for public consumption. 'Private Lives' is that voyeurism writ large, explored with the help of skewiff, haywire guitar lines.

One Night Stand Forever is released on Fri 21 Apr via Gentlemen Recordings / Kobalt

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