In this interview feature, we get to know the most radicalist up and coming stars on the planet.

This time we spoke with London's psych-fusion explorers Flamingods.  

Formed back in 2010 around songwriter and multi-instrumentalist Kamal Rasool, a lot has changed since we discussed Flamingods' 2016 breakthrough album Majesty. From a relentless touring schedule, which brought their unique blend of global psychedelia to the masses, to their truly epic reworking of their 2014 track 'Hyperborea', which was released via legendary producer Dan Carey's Speedy Wunderground label last year, the now 4-piece are gearing up for the release of their new album Levitation. Incorporating new influences from to disco to krautrock, as well overcoming visa issues, which have limited them in the past, Levitation is set to be the band's most exciting effort yet. Arriving on the 3rd of May via Moshi Moshi, you can catch an early glimpse of Levitation at London's Village Underground this Wednesday the 1st of May, before they head out on tour on the 4th.

With all of that in mind, we figured it was about time for a catch up. 

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TMR: It's hard to believe that it's been nearly 3 years since we caught up with you to discuss your kaleidoscopic 2016 album Majesty. Do you think there have there been any major changes in your sound or influences since then?

Definitely. Since then we finally sorted out Kamal’s visa related issues so it meant that we could finally write an album together in a room, having that freedom definitely affected the songs as we were really able to bounce ideas off each other again and try and capture that live sound we’re known for. Influence-wise we were listening to a lot of disco, funk, krautrock and psychedelia this time around.

TMR: The production sounds a lot cleaner on your brilliant new singles 'Paradise Drive' and 'Marigold'. Was this a conscious decision and if so, what prompted the change?

We’re a very maximalist band and so often, most of our songs have endless stems and layers running through them making it a nightmare to mix. In the past it could sometimes be a struggle to get everything heard so we made a conscious effort this time around to try and capture it all, Kristian (Capitol K) put a lot of time into nailing that.

TMR: How did the recording process for Levitation differ from that of Majesty?

Majesty’s recording process was very fragmented, we were still living on different continents and so parts were being written and recorded in different locations. We also started recording the LP at Lightship 95 but moved to Total Refreshment Centre Studios halfway through due to logistics, so it was all over the place. Levitation on the contrary was a lot more structured and organised, we wrote it all together during sessions spanning a year-and-a-half and recorded it all in full at TRC. We spent a lot more time on pre-production too, making sure all the drums, vocals etc. were just as we wanted them.

TMR: Your songs nearly always have the potential to spiral off into an epic jam. Is this often how the tracks begin?

Yeah pretty much! Usually a member has a melody and brings it to the group and we jam it from there, sometimes (or most times) for hours. It’s always important to us to make the most of a riff and that mixed with our love for repetition and krautrock always gravitates us towards endless jams.



TMR: Levitation will be your first release with indie mainstays Moshi Moshi. What has it been like working with them?

It’s been great! Stephen who runs the label is a real dude and really helped us out during the writing process by letting us write in his Prah Studios in Margate. We started the writing sessions here and stayed at his pad, some of the albums tracks like ‘Marigold’, ‘Mantra East’ and ‘Olympia’ came from these sessions.

TMR: Your live set up is probably one of the most interesting/complicated we've seen. (Definitely not saying you should, but) have you ever been tempted to cheat and use a backing track for some of the trickier elements?

Yeah, it’s a real blessing and curse! We’ve got so much stuff and we’re often given super short sound checks as well as it being quite the ordeal travelling with it all. Like I said, we’re maximalists so we just wouldn’t have it any other way but it is hard work!

TMR: On the occasions that we have caught you live, you've usually had some pretty trippy visuals accompanying your set. Do you think visuals have a significant effect on our overall enjoyment of music? 

It’s hard to say. We’ve had a real mixture throughout our career of having visuals and whilst also not having them. I think it can be a real game changer but you’ve also got to be wary not to overload and distract from the music. We’ve been lucky to work with some real talented visual artists over the years!



TMR: Last year's Speedy Wunderground release 'Hyperborea (Part 1 & 2)' was one wild trip. Can you tell us more about the process behind it and how you managed to record a 13 minute-plus banger in just a day?

We met Dan Carey at Glastonbury the year prior after our Crows Nest gig and a few months later he mentioned wanting to hook up to record a song for the label. At that time we were deep in the process of writing the new album and so didn’t have any new songs ready to record but came up with the idea of re-recording our set closer ‘Hyperborea’. It was a song from our second album which had morphed from a 7-minute song to a 13-minute song through various new parts and rhythms we created over the years of playing it. We had played the song to death on tour so that definitely made the process a little easier. That said, it’s a pretty intricate song and we were recording to tape so a lot of focus was needed!

TMR: You mentioned this was a reimagined version of your 2014 track of the same name. Do you think it's important to breathe new life into older tracks as you evolve as a band or was this a track that you weren't particularly happy with before?

Definitely! We often evolve our songs for our live sets and pretty much always breathe new life into old songs when we bring them back. It keeps things sonically interesting for us but also gets them in line with our current sound (as that’s always evolving too).

TMR: The last time we asked you guys about your favourite new acts you offered us some total gems including new TMR faves Snapped Ankles and Vanishing Twin. We'd love to know which emerging artists you've been digging recently? 

The new Yama Warashi and Rozi Plain albums are really super and really digging on the Mauskovic Dance Band and Alabaster dePlume at the minute.

TMR: Finally, Levitation is due out on the 3rd of May, and we're chomping at the bit to hear it, but what does the rest of the year look like for Flamingods?

Lots of touring!! We’ve got a new live member in the form of Serra from Los Bitchos too so expect a pretty massive set!



Levitation is out May 3^rd via Moshi Moshi Records.

-Holly Mullineaux