The Cellophane Flowers are the masters of driving, quirky pop. Their songs reflect an eclectic array of influences from tribal drumming to West Coast alt-rock to the dark tinge of 80’s pop. Though bustling with ideas, the band leaves the sublime vocals of singer Francesca Corradini with the room to bring their songs to life – there are no superfluous special effects, the organic feel of the music would be perfectly suited to vinyl, a fact that hasn’t escaped the band who always give their CD artwork an LP look and feel.

Ian: “This one has become a real live favourite, starting off quite simple and poppy, then getting very very loud and raucous by the end. On the album, it’s more of a steady builder, so we reckoned it was a good way to start the album. The lyrics are quite psychedelic and fantastical, it’s probably the one we like playing live the most.”

The Promise
Ian: “This is the only track we’ve ever taken into a recording studio incomplete. We had the song, but had no idea what to do with it. Dave’s influence was biggest here – he added the sequencer keyboard part and the rest just fell in to place. There was a lot of space to play around with, so we had a lot of fun with it. It was originally going to be called Pokerhead until someone pointed out the Lady Gaga track.”

Pendulum Eyes
Ian: “We went for something quite 60s here, a sound like ‘Needles & Pins’ is what I had in mind. It turned into something different but still has a bit of a 60s feel. I’m not sure if it’s deliberate, but when we write a song the darker the lyrics the lighter the mood. This track is the diametric opposite of ‘Rock’n’Roll’.

Forever Lost

Francesca: This is the track we often use to epically end our live gigs. We love the way it builds and goes into a complete musical frenzy towards the end. The only song with Ian on slide too, which adds to the melancholic feeling of the track. I am particularly in love with the bass line; it’s magical. One track to listen to over a whisky or two.

Tears Of A Clown
Ian: “With ‘In a Hole’, this is probably the most mellow track we’ve done. Of all our tracks, this is my favourite and it’s the most personal lyrically. It’s about covering up for the fact you’re feeling down when the world is going mad around you.”

Ian: “The drums were recorded in a massive, disused NHS hospital kitchen, not once but three times. The triple-tracked beats transformed what was originally meant to be a light hearted 50s-style tribute to innocent lust and fumblings, into a darker, angsty shoegaze-on-Red Bull tale of frustration.”

Francesca: “One of the most upbeat tracks in the album, but the story behind the track is not as happy. We love playing with contrast! When Belinda unexpectedly passes away she is highly missed amongst her friends. So they meet at her funeral and they share memories of the old days…”

Ian: “Like Voices, this one has a slightly fantastical theme. We wanted an epic feel to match the theme and worked like buggers to get there, it was a hard song to get right. But as they say - if in doubt, go spaghetti western!”

Lucky Day
Francesca: This track means a lot to us, it is the oldest (and longest) track in the album. I remember us playing this track at the very beginning of our journey! It’s a real dreamy track, perfect for driving at night.

In A Hole
Francesca: Initially written on a ukulele, this was always meant to be a sweet interlude track. It’s just another song about a girl who is trying to find her place in this world. Who this girl is, I don’t know.

AuthorJordan Mohler