So here's the (pre) history of the band, the full, exclusive, warts and all drama that comprises Matinee.
It started at a Helen Love gig, of all places. Dragged along reluctantly by Duncan Steer of Pastel Collision (pictured above), Martin was introduced to Nick and told about the band. At that time, there was no name, no bass player, no underlying concept, particularly. Nick had just been writing songs and was asking his friends if they could help out. Duncan had already played a few of these acoustically with him at Bunjies, and now brought Martin into the fray, who wasn't notably musical but was at least keen.
The gig was atrocious, of course. Nick and Martin spent most of their time chatting about the English pop which they had in common. There was a shared sypathy for forgotten talents like Stephen Duffy, a common penchance for torch singers like Scott Walker, showmen like Edwyn Collins and Moz. Martin said he'd help out on bass. He had one lying around the house.
Nick already had a drummer in mind, from a French hardcore band, no less. And that night's support act, Rover 2000, supplied us with Michael Clampitt, our rhythm guitarist. A motley assortment, then, with little in common. But gradually we became first Laker, and then Matinee.
A songwriting session was convened at Nick's house in Crouch End. First impressions were that here was a chap completely in touch with his artistic side. He'd reckon nothing of strapping on a guitar and belting one out in the kitchen. Martin, holding his bass upside down, felt just a little intimidated.
That Sunday afternoon brought 'In My Life Of Crime' and Martin's major contribution was to add a Motown-esque bassline to 'Gooddbye Sue'. That was August 1996. The band then met every week at the sweaty Scout Hut of La Rocka studios in Hornsey and tried to fathom a sound.
The first gig, under the name Laker (possibly subconsciously chosen due to a sign above La Rocka) was at the Bull & Gate in January 1997. Playing first, Laker pulled in about fifty punters, including James Medd of Baby Birkin (now The Speed of Sound) who likened their sensitive pop to Sonic Youth of all things. Also in the audience was Dale Olivier, who immediately booked Laker to play at the Red Eye in Kings Cross. Capping a memorable night, two friends of the band played pool with Catherine Osborne of IMG managment, who asked them to send in a tape.
Of course, nothing much happened. Laker played two gigs at the Red Eye, then a pair of spectacularly ill-attended engagements at the Laurel Tree and Dublin Castle. The first tape was recorded at this time, at Pathway Studios in Islington, with Justin Underhill at the controls. It featured 'In My Life Of Crime', 'Goodbye Sue', 'All It Would Take' and 'Fahrenheit' - only the latter of which has survived the band's rigorous quality control mechanism.
First to quit was rhythm guitarist Michael Clampitt. He needed to decorate his house! Faced with a choice between Laker and soft furnishings, he opted for the latter. We thank him for his input (and hear that he's now in a band called The Persuasion, which is a great name if nothing else).
Martin and Nick advertised for a replacement in Melody Maker, auditioning one noisy effects pedal monger and interviewing a prospective soundscape constructor - each only eliciting shrugs from the duo. Eventually another Michael came forward (below, with Steve Milton, who crops up later). He liked the names Martin and Nick, found them 'dependable'. Furthermore, he proved at a rehearsal that he could play really well (with a tendency to slip into Gene songs and Bernard Butler riffs when they weren't looking).
One great advantage in Michael's favour was that he worked in a recording studio. OK, so it was more used to seeing Martin Clunes and Jane Horrocks in there recording voiceovers, but it afforded the band another opportunity to record; with 24 tracks to play with, no less. It was also around this time that the relentless process of drinking long into the night and trying to think of a new name began. 'Laker' was deemed to similar to 'Laika'. At one point, Martin was told by a critic at the Big Issue 'Oh yeah, Laker, I've seen you, you're really good' only for him to put the man right, 'nope, it definitely wan't us you saw!'
The name chosen was of course Matinee. For the record, The Halliwells came second. Occasionally the debate rasies its head again but believe us, you don't know how hard it is to name a band.
Two more gigs at the Red Eye followed, each saying goodbye to another member. First, longstanding collaborator Duncan Steer jumped ship (pressure of work, other commitments), then Matinee said au revoir to dependable French drummer, Francois (off to Brazil with his girlfriend). An old friend, Steve Milton was drafted in, first on guitar and then, after one more gig at the Acoustic Cafe, on drums. This line-up recorded the latest tape and would seem to be the strongest yet. It's certainly Matinee's busiest spell. In October, 'Scene Stealer' comes out on the 'Streamline' compilation. There's the launch party at the Bull & Gate and then a return to the Acoustic Cafe, W1 on November 5th.
