Credo

CredoDPRP’s John O’Boyle talks with Credo’s
Mark Coulton & Mike Varty

Credo have just released their stunning third studio album titled Against Reason, an album that follows on from where Rhetoric left off.  Mark Colton and Mike Varty have taken time to muse on a series of questions posed to them by DPRP.   Find out why Mark feels like a kid locked in “Toys R Us”, about “Elvis on the Moon” and a few other open and honest surprises that the band shared. Intrigued…. you should be? 

JOHN: Hi Mark and Mike.  Thank you for taking time out of your busy schedule for an interview for DPRP, what with the imminent release of your third studio album “Against Reason” and rehearsals for your pending tour, which will see you playing at the IO Festival and also the Electric Gardens Festival.  How do you think Credo will be received after a few years from the world’s stage? 

MIKE: It doesn’t seem to me like we’ve been away really.  That could be because I’m usually doing something, or rather, something else, in the prog area, but it’s also because as a band we still play the odd gig in the UK, even if it’s not very frequent, so we’ve never really been away.  But, as for the world stage, we’re not as quick as some on album releases so I guess we’ve a bit of work to do to pick up from Rhetoric, but let’s hope that people love the new album and enjoy having us back.

MARK: Well, Mike makes some good points there, and it’s quite interesting in a lot of ways that RHETORIC has sold consistently since its launch as word has spread about the band, so for lots of people, hopefully they won’t feel like it has been that long!!!  The release of This Is What We Do a couple of years ago probably helped a bit too, but ultimately, it always feels a bit strange when you start doing a load of new songs in the set, it’s the first time we have ever released an album that we haven’t had the chance to “road test” and see if people like it, so, that’s the bit that worries me!  Bit like meeting a new girl friend’s parents for the first time.

JOHN: In 1994 you released your first album Field of Vision, 2005 saw the release of your stunning and defining album Rhetoric, 2009 the double live This is What We Do and in 2011 see’s the release of your latest opus Against Reason.  How come it took eleven years between Field of Vision and Rhetoric?

Credo - This Is What We Do DVD

MARK: Well there was all sorts of things going on after Field of Vision was released, first we lost Mick Stovold (Keys) about a year after the album came out and got very lucky when we found Mike Varty lol.  Then we lost Paul Clarke, and were drummer-less for about eighteen months, which was bloody painful, it was probably the closest we ever came to jacking it all in.  By the time we got Martin in we had pretty much written all of Rhetoric, so we did a gig for the CRS before going into the studio, and then my world fell apart when I became seriously ill and ended up having loads of surgery which has left me with a +45cm scar on my abdomen, and that sort of wiped out most of the first half of the decade for me, so for me, that’s probably the main reason, but I think we all had our big problems lol

MIKE: Ah, I find it’s a long and tortuous journey to release any album unless you’re privileged to be a full time musician…  None of us in Credo are full time so it’s always life and other important things like that that get in the way of the music.  We did take rather a long period away from everything musical at about that time, and I’d say it was like buses, at least 3 turned up at once, and then they just kept turning up for a number of years so we didn’t have time to get down to the music in the end.  Finally as I recall the catalyst was me losing my job which allowed me to put a lot more time towards Credo, and therefore drag everyone else into the recording studio for their bits!

JOHN: I guess that you are on a bit of a rollercoaster ride now having only taken two years between the live album This is What We Do and Against Reason? 

MIKE: I’ve certainly just had a rollercoaster doing this album, yep!  I’m really hoping I can get off now.  I’m taking 4 weeks holiday very soon and I’ll be doing odd jobs which I’ve had on hold for the best part of the year of Credo recording…  But I wouldn’t have it any other way because that’s what I enjoy, and I take great pride in the music which we’ve all created!

MARK: Yeah, it seems like we are on a roller coaster at the moment, it’s not just the performance and recording that takes time, Mike as the Producer of the album absolutely worked his socks off and spent forever listening to the recordings and getting excellent performances out of us all.  It would be lovely to be able to just be able to do the music, and leave the gig getting, web site, T Shirt design, cover art work, mailing lists to other people, but we are a bit like a cottage industry, and we have to do all those things too!

JOHN: Did you feel it was ambitious to release a live album after having just released two studio albums?

MIKE: We discussed these sort of issues as a band, and Mark had been in contact with Metal Mind a few times.  Maybe on the back of me doing a DVD with Landmarq plus the popularity of Rhetoric they finally offered us the opportunity and we just couldn’t really refuse.  Metal Mind’s DVD products speak for themselves in terms of quality, and the sheer convenience for the band is unparalleled anywhere else in the industry.

MARK: Ambitious – yes absolutely, but then again, as we had eleven years to write Rhetoric there wasn’t a bad track or “filler” on there, everywhere we gig people want us to play their favourite song, and all of the songs have a sizable following, it nearly caused a riot when we last played in Holland and didn’t play The Letter!!!  MetalMind approached us following the press we received following our 2008 RoSFEST show, RoSFEST wanted us to play the whole of Rhetoric live, which meant we had to do a set of gigs in the UK to warm up for it, and then MetalMind wanted the same set, so a nice problem, but also meant more gigs to warm up for that show, and, an additional delay in the new album – but hey, like Mike says, it’s a great company to work for, and the quality is amazing.

JOHN: Why did you choose Poland as the venue?  It seemed at one state that quite a few prog bands were releasing live DVD’s from this region?

MIKE: As said above, there just aren’t any other companies who are actively willing to give bands the chance to record a DVD in the way Metal Mind does.  We could have branched out on our own to make a DVD but it’s a very expensive business.  The Metal Mind approach is that of a record label, and they pretty much hand pick the bands they like to work with and then they provide virtually everything to make it a great product and a simple process.  Having said all that, here’s a piece of secret info – don’t tell anyone! – we recently videoed our headline at the IO Pages festival in Holland, so we might be releasing a brand new DVD towards the end of the year.  No promises though, this is Credo after all J

MARK: Mike, I thought that recording was a secret!!!  But yes, it’s amazingly expensive to do it yourself in the UK.  At the risk of sounding catty, there are a number of bands that, and fair play to them, have gone down the home produced approach, and, to me at least, it shows.  As Mike says, Poland chose us really.  The Polish fans have always been good to CREDO and it was very special to be able to go out and play there for the first time, on the last date of the RHETORIC tour, play the whole of the album one last time, and get a DVD like that out of it.

JOHN: It must have been quite a blow for the band having to wait so long to release Rhetoric, an album of powerful music and lyrical content, as from memory Field of Vision created a bit of a stir on its initial release.  How different are the original working tracks you started with, to the end product that was released?

Credo - Rhetoric

MIKE: From my point of view, not that much different because when I hear something I always tend to expand its arrangement in my head to put it into place on an album or within a live performance.  So, I’m actively thinking about how it might sound right at the end.  They say that if a song is good then you can perform it in its simplest form and that’s my yardstick, if it sounds good simple then it is good.  When we first record something I quickly start to add some rough production to it just to convince myself that it’s going to work, and from then on it’s usually a case of tidying up or improving the sounds.  But then again, I just love the unexpected off the wall bits that people pop in as we go because they provide the icing on the cake!

MARK: We played The Letter, Turn The Gun and Skintrade live before Mike had joined the band, but compared to what they sounded like on Rhetoric there is little comparison.  I remember Mike’s audition and he played the skintrade signature riff, that wasn’t off the original version, within the first twenty seconds, and I knew then we had our man!  I also remember the day Mike played me the demo of the song that became Too Late, and it blew my mind.  I guess, if you listen to the demo’s from RHETORIC which we did in 1999 you would absolutely recognise the songs, but the “sparkle” that Mike sprinkles during recording and production are what sets that album apart.  He is right, a good song works on an acoustic guitar or piano with the voice, but you get the confidence to really let the song grow when Mr V gets you thinking about what is possible

JOHN: Are there any unreleased tracks from these sessions that may eventually see the light of day?

MIKE: Most musicians will be constantly doodling, the same as graphical artists, so there’s always many clips and snippets of music – Credo is no different, we’ve got 30-40 song doodles from Against Reason.  But we generally know which doodles will work and which won’t fairly quickly.  Any that don’t work aren’t really developed very far, and quickly fall off the radar.  Those that are developed will 100% make it to the album.  Having said that though, we didn’t put Round And Round onto the album because it didn’t fit, but it will be released as part of the Against Reason suite as a download track very soon, so it won’t be unreleased for long.

MARK: Yeah, lots of clips, but Round And Round aside there is very little that hasn’t been released.  I have lots of live recordings of the band, including the very first gig in Aldershot in 1992, and we have live multi track recordings of some of the biggest and best performance the band have ever done, so, you never know!  Actually, thinking about it, I have an unreleased version of The Letter, A song that became Turn The Gun Around, but had different lyrics and the Alex Harvey track, Faith Healer, so like I say, you never know!

JOHN: As previously mentioned on Rhetoric the band seemed unafraid to broach some challenging topics such as pornography, assassination, the horrors and suffering of World War 1.  It goes with saying that, with Against Reason you again haven’t been afraid to challenge the listener with the likes of global warming, the insanity of how mankind treats each other and social comments about society.  Obviously lyrical content is a very important factor to your musical structure.  Is the writing of the lyrics a democratic process or are they just presented?  Where do you find your inspiration?

MARK: I think the lyrics on RHETORIC are totally me, from memory, but we have had input from Mike, Tim and Jim on this album, I sort of felt I had lost me song writing mojo for a bit, I think my ill health had left me wanting, or needing to write a song called – “Oh My God, I’ve Nearly Died And I Have Big Scars And It All Still Hurts” and suppressing that made it difficult for me.  I have always written from a very personal perspective, and my world has changed so much since RHETORIC, so it transpired my mojo was just holidaying and with the very significant input of Jim, Tim & Mike I found it again and we crafted some amazingly powerful songs that I am very proud of.

MIKE: I don’t get terribly involved in the lyric writing although I was present at a fair few sessions for this album.  From my point of view, that of the producer, I’ll make suggestions and changes to the lyrics more in line with the ‘finishing’ of the product.  You might say that I look towards their flow in terms of sounds, effects, impact and emotions in this role, so I would suggest tweaking individual words or lines to fit the flow or mood of the music as much as fitting the flow of the music to the lyrics.

JOHN: With Against Reason you seemed to have revisited some of the past themes from Rhetoric, almost like updating the listener on the initial story.  Was this intentional?

MIKE: Mark will answer that one mostly, but I think it’s a yes, and it’s a good thing to do because it creates a long term life story across albums.  I’m not sure whether other bands do this, are we the first or is that wishful thinking?

MARK: Yes absolutely, That was very much the intention with Intimate Strangers, and lots of people desperately want to know what happened to the couple from “Cradle To The Grave”, so that will probably run and run! “Insane” is a lyric I have had for years, and have used sections of in previous bands and was keen to finally get to the music that the lyric demanded, and I’m sure you will agree that the music fits the song perfectly!

JOHN: Would you like to talk us through each track?

[Mike – from a musical and producer perspective mostly]

Credo - Against Reason

:: Staring At The Sun ::

MIKE: Hit them between the eyes, it’s a good album opener, it’s up-tempo, it’s punchy, it’s concise, and it’s very fun to play too!

MARK: Yes, its a bit like herpes, irritating and catchy!  Great fun to do live, and very much Tim’s ode to Global Warming.

:: Cardinal Sin ::

MIKE: Exceedingly dark in all ways, and the most proggy track on the album I think.  I went to town with the sound effects because it has that feeling of a dark horror movie, and it is intended to evoke many dark emotions including fear and loathing…

MARK: Christ on a bike, I love this song, I really didn’t get it for ages, but what Mike has done with it is amazing, the lyric touches on some amazingly dark topics, it’s not judgemental, just explains the impact on the lives of the innocent…

:: Intimate Strangers :: 

MIKE: This is mostly a soft fluffy track although it still packs quite a punch in places.  We had a lot of fun with the jazzy backing vocal harmonies and the harmony guitar solo at the end

MARK: An interesting and challenging song to sing because of the structure of the lyrics, and when we get the vibe going like we have when we recorded it, it shows what we are capable of.

:: Against Reason ::

MIKE: This was a doodle which we developed only very slightly from the initial demo, but specifically we didn’t develop it into a full song.  It was always just a short interlude before the insanity of Insane, so that’s how we kept it when we did the album

MARK: As the man says!

:: Insane ::

MIKE: The powerful initial riff just sparked the word ‘Insane’ and right from the first jamming of this song we knew it would be a loud hard hitting expression of how insane the world can become. 

MARK: I had these words, that needed a tune, and this came up!  It is so intense and powerful, and as Mike says, the chorus just flowed, and then we needed to give it the form with the light and shade that it has, so that’s that one!

:: Reason To Live ::

MIKE: Something slightly off the wall for us in that this is an ambient track which meanders through with no particular direction, and that I think is its beauty

MARK: Again, us doing something a bit different, and showing what we can do

:: Conspiracy ::

MIKE: Some would say that this is a very serious dig at those people who spread fear, uncertainty and doubt, but I would say that it also has a lot of humour attached and so from a musical perspective I was guided to keep it light-hearted, bouncy, and include a few odd alien sounds here and there.

MARK: I wanted to call this “Elvis on the Moon”, as Mike says it’s all about conspiracy theorists and how people manipulate others through fear and ignorance.

:: Ghosts Of Yesterday ::

MIKE: This is our anthem for the album.  It turned up last because nothing could follow it!  It’s pretty darn miserable in lyrical content but we’ve lightened it up with a few cheeky additions

MARK:  A great sing along anthem that everybody who has heard it loves, it touches on the experiences of a 40 something growing up in the UK in the last half a century!!!

JOHN: The musical approach of Rhetoric had a similar sound to Fish era Marillion, both musically and to some degree how the poetic lyrics were handle.  Where early Marillion an influence and did you find this connection a slight hindrance?

MIKE: I know that I play the early Marillion with Mick Pointer, but I really didn’t know any of the songs that well before then – I was in fact indoctrinated with Genesis by my girlfriend!!  But having said that, with hindsight I realise that I was actually writing prog music way before I knew what it was, and way before I joined Credo or even Shadowland (the first prog band I joined).  I think the influences from the radio at that time were seeping into my pores and being a keyboard player I latched onto anything with more keyboards in it.  Personally I don’t mind a label or a pigeonhole because it defines your market rather neatly – and I’m all for keeping marketing simple!

MARK:  Anyone who knows me will tell you, I am a massive early Marillion fan, and my voice is my voice and it sounds the way it is, so I guess yes, I see why people think it sounds like Fishy Marillion, and I guess as we are all about the same sort of age as the Marillion guys we all grew up listening to the same bands.  From what I know, Mike, Jim, Tim and Martin probably don’t have a Marillion album between them though, and as I can’t play a bloody note, I can put my hand on my heart and say it’s not intentional!!!

As for a hindrance, no, I don’t think so.  People seem to like having the handle to hang on a band, and it’s worked as much for us, as against us.

JOHN: Each album has sonically been a progression, Field of Vision was neo prog, and Rhetoric had more dynamics and rockier guitar work.  The new album Against Reason has moved the goalposts again.  Is this due to newer recording processes being available?

MIKE: Hmm, that’s an interesting speculation…  I’d say, sitting on the fence, that it’s a combination of all things.  But, how about this, I have a full studio in my house and although some bits of equipment have changed since Rhetoric it’s not changed that much!!  So, maybe it’s us that have changed, yep definitely.  Also If I may say, it’s me that has changed too because since Rhetoric I’ve been involved in many other projects with other bands and that all adds up to much more knowledge and more experience.  With that added experience, the opportunities afforded by modern technology and then a bunch of fine musicians too, there’s a great deal more that can be done.  I like to push the envelope with each album that I’m involved in, as do all of the Credo band

MARK: Yeah, interesting, I would say Mike was a lot more demanding this time, and knew EXACTLY what he wanted!  And that was due to his experiences and knowledge, yet I think we are all a lot more confident in our ability this time, and hopefully that will continue to grow into the next album.

JOHN: Since the recording of you debut, technology has moved along.  I guess there was a lot of time spent in the studio, which isn’t a cost effect method.  Does the advancement in technology make the process any easier / cheaper?  I guess that multi-tracking etc is far easier now?  Against Reason is a highly layered album, which one would assume was not recorded live per se, but more by each individual adding their contributions?  Does this process make life easier during recording phase?

MIKE: Technology has certainly moved on, and this is one of the ways that all bands keep the costs down, by recording themselves.  However, for Credo, although we did record ourselves, most of the album was recorded in my studio, Gargoyle Studio, which is fully equipped with the usual recording gear.  To keep the costs down it was pretty much free, which always helps.  And what we didn’t have we borrowed, and many thanks to those who lent!! 

MARK: I actually don’t like recording, and am much more a creature of the stage rather than the sound room and revel in the spontaneity and chaos of a live scenario.  The fact we had the access to Mikes studio 24 – 7 really helped all of us relax a lot more.  The vocals on Field Of Vision were done in total in 4 hours lol, and that was never going to happen with this album!

JOHN: Do you guys prefer to record this way?  One gets the impression that you all kind of bounce off each other feeding off the creative process?

MIKE: All of our songs start of as jamming pretty much, so we do indeed bounce off each other when writing.  It’s not really until we’ve got some concrete ideas that we push them into a PC and start twiddling them about.  And then we might take them back out again to a rehearsal to check the live feel.  I find that it’s a pendulum that swings one way then the other.  Sometimes we’re in the mood for live jamming or writing, sometimes we’re in the mood for chopping up in the studio, then we’d be back to live again.

MARK: Yeah – there doesn’t seem to be a definitive way that we write, and certain songs benefit from different, or even both approaches

JOHN: Does this affect the ambience and approach of the album?

MIKE: Yes, it’s bound to, but it’s difficult to say how much or even how…  I always have in the back of my mind that fact that we have to perform the music, so we all try not to move too far away from the core instruments that make up the band even when we’ve got piles of software noise-makers at our disposal for the album.

MARK: I mean, like Mike says we still have to play it live, and to date, we don’t use sequencers live unlike a great number of our peers.  That’s not a dig at others, and I’m not even sure if there is a reason we don’t, it’s just the way it is.  I think our songs work because they are heartfelt, almost living things, emotional and personal to us.  I doubt we could ever really produce album after album year in year out as it is the feeling that our songs have that makes them work

JOHN: I believe it took about 2 ½ years to record the new album, a bit of a record for you guy!   How much do the final tracks differ from the initial versions?

MIKE: As said earlier, not that much.  We’re constantly doodling and twiddling, but I kind of try to keep in mind the final product, so it’s a well-defined journey from say one strumming section towards the final song.  Invariably the original hook or riff is always still the basis for the song even in the final version, so apart from the production ‘icing’ I think you’d hear the main core of the song in the demos

MARK: I would agree, if we played you the demos you would doubtlessly recognise the songs

JOHN: Was it difficult to call the final edit on the production?  Was that a group decision?

MIKE: Well, it’s slightly difficult sometimes, and there’s still a fair few things that I’d like to add to the album – same as for the others I guess.  Mostly due to time constraints it’d be down to me being the producer to decide when the song is ‘complete’.  I just keep going until I’m happy with what we’ve got, and all the comments from the others have been sorted.  My general rule being that if it’s still good the next day then it’s time to move on.

MARK: I think Mike does a good job saying that’s it done, I have a saying IVIT – In Varty I Trust!

MIKE: LOL!

JOHN: Talk us briefly through the process of how you go about your recording.

MIKE: As said earlier, the writing process is a pendulum approach, maybe even two pronged, we either jam live and record it or we record doodles in the studio and send MP3s round.  I take a recorder to every rehearsal because we usually jam for the first 15 mins or so, and this is always a excellent source of new material.  Eventually if it’s a promising riff or part of a song then we’ll record it and turn it into a demo in the studio.  The demo will usually have the key production ideas, e.g. some riffs, some solos, some breaks, some lyrics, maybe even the live jamming session – just enough for us to believe in the song really.  When we’ve got enough songs for the album, and all of those songs are 90% arranged in demo form then we’re ready to record the drums.  Once the drums are down then the rest of the instruments are recorded – bass, guitar rhythm, keys, vocals, BVs, etc.  It’s really just leg work from then on, as the demos usually point the direction to go in.  Some things can change even at the last minute though and those are usually the best bits I find…

JOHN: Having met you guys, humour seems to be a big part of your process, are there any interesting anecdotes you’d like to share with you listener’s about the recording process?

MIKE: The laughing in the middle of Ghosts Of Yesterday is real laughter that I collected together from out-takes during the recording process.  So, indeed we try to have a good laugh doing things, of course there’s always some tense times and it’s very hard work but we enjoy it all.  Lunch in my garden in the sunshine always cheers us up!

MARK: The lyric writing is always funny, I have a low attention threshold and get bored quickly, you would be amazed who many of our songs I could end with rhyming rude words when writing.  As for anecdotes, how about doing the vocal for “staring at the sun” on the hottest days of the year in a room with no ventilation!  Or the talky bit in SATS is Tim, from his original guide vocal, and that started as a bit of a laugh and then became part of the song!  Lunch at Mikes is always good – apart from the eel soup!!!!

JOHN: You are about to go on tour which isn’t cheap.  How do you decide where’s best to play to try and maximise your exposure?

MARK: We have a tricky process as with most of us working full time touring becomes even more difficult, but lots of people want to catch the band live which is nice.

MIKE: I count myself lucky to know a fair few people in the prog scene, it’s like a large family, people are very friendly and usually very happy to help with information and practical advice for getting exposure.  The key is to keep your ears open and take all that in, then put together a suitable package which will provide what’s needed.  It’s the hard-nosed marketing approach once the music is done but I generally defer to Mark and Jill (our new PR person!) who’re both naturals at that sort of stuff…  On the money side, I’d say that Credo along with most other people in prog put much, much more into it than they take out, and we’re happy to do that because we get the opportunity to play our own music and see the appreciation of the fans.

JOHN: What can your fans expect from you guys on this tour?

MIKE: We’re a friendly bunch of people and although we take the music seriously, we don’t take everything else too seriously, so I hope that when people see us live then they can see that we’re doing it for the pleasure of making the music the best we can, the pleasure of meeting people, and the pleasure of having a good time too.

MARK: Yeah, I think from my perspective, I feel like a kid locked in Toys R Us for a weekend, and I get to meet loads of my heroes, I always take stuff to be signed, which is a bit sappy I suppose, and I love meeting the people who come to see us and hearing their stories, so come and say hi anytime, we feel honoured that you will travel to see us.

JOHN: You are playing with some very good acts on your tour, which will be a bonus for the fans.  How excited are you guys to be out on the road again after what seems like an age?

MARK: I can’t wait, I recently was made redundant so expect some angsty shows!

MIKE: Well, we’ve kept our hands in with the odd gig in UK, but it’s great to be back out on some larger stages with other prog bands.  Very exciting or course, and its nice to blow the cobwebs away by performing new music.  Credo is always honoured to play with any fellow bands, and we’ve always been active in collaborating to maximise the music for the audience.

JOHN: It must be an exciting time to be able to get out on the road and finally play your new songs to your fans?

MIKE: Booking up a tour is probably the most difficult thing for a band, after writing good music.  It’s a mine field of misunderstandings and missing opportunities, and it’s where a lot of bands ultimately fail because they get disillusioned with the uphill struggle to play live.  When I first joined Credo I was impressed with Mark’s ability to get gigs for the band, and I think it’s one of the reasons why the band has lasted given the slowness of albums.  So, when we go out we know we’ve got some good gigs to do and that feeling is fantastic!

MARK: Bless you Mike, it takes hours and hours, and for every good gig we get, we have probably pursued 20 others that for whatever reason have fallen through, so it is soul destroying some days. 

I have two pet hates really, one is bands that absolutely big themselves up to promoters, then don’t deliver on their promises, which in turn makes it harder for everybody, and causes hardship for promoters which in turn leads to it becoming even more difficult to convince a promoter to take a punt on a band that is new to them, and the other is, it is amazing how many of the bigger bands just won’t let us/others play with them. 

I guess ultimately it’s their gig, and that’s why we have an excellent reputation for behaving ourselves when we do play with other bands in the genre and being a great support band, but at some stage someone has given them that opportunity, yet they are reluctant to help others in return.  Sad!

JOHN: What can your long term fans and your newer audience expect live from Credo live?

MIKE: We’re pushing for much more these days.  We’ve got better music, better technology and much more experience.  I think as a band we’ve grown tremendously so far, and we’re still growing.  I’d like to think that new people will be impressed by our show, but also long term fans will notice that we’re upping our game significantly.

MARK: I would totally agree, and, they will also see me in a new shirt this tour J

JOHN: Mike has played and recorded with several bands, which has include Landmarq, Shadowland and Script for a Jester’s Tear.  What have the rest of the band been up to?

MIKE: Aaw, I don’t get to answer that one!!  Actually, may I plug Infinite Sunday – it’s a chillout band with Ian Salmon (Arena/Mick Pointer’s Script) and Sue McCreeth (Jazz singer), we’re releasing an album this year!  And, don’t forget the Landmarq album out very, very soon J

MARK: I also play in a band called Casual Affair, which was really my stab at being a rock god back in the day, we have been playing together on and off for 25 + years – It’s a bit like Credo, but rockier.  Martin plays in a very busy rock covers band, and Jim and Tim don’t do anything else but play in Credo.

JOHN: What are the long term plans for Credo? 

MIKE: We’ve already got a new song under the belt, or at least a good part of it.  We still have many doodle ideas in the pipeline from Against Reason, so I think we’ll be writing during this year and we’ll see how things progress from there.  Another album is always slightly difficult to contemplate straight after the last one, but these things creep up on you slowly, right now we’re doing all the tour stuff but when that dies down I’ll bet we’ll be itching to get back into the studio!

MARK: Unbeknown to Mike, Tim and I have just started writing the follow up album!

MIKE: Just like to say thanks to everyone who supports music in any way, it keeps it all alive, and it’s as simple as that!

MARK: Yeah, absolutely, and every one, please stay alive, buy the new album PLEASE and come and see us!

Interview for DPRP by John O’Boyle

Credo Promo Photograph by Miranda Bril

Links

http://www.credo.gb.com/
http://www.myspace.com/credogb
http://www.f2music.co.uk/
http://www.progrock.co.uk/
DPRP Review of Credo’s Against Reason
DPRP Review of Credo’s Rhetoric
DPRP Review of Credo’s This Is What We Do DVD