Try as I might, I can’t get Little Boots’ Victoria Hesketh to reveal her new album title. She’s keeping it a closely guarded secret, an all-encompassing title to fit a collection of songs she’s been working on for nearly 3 years, since debut album Hands. Likening the naming of an album to the naming of a baby, Little Boots wants to ensure that it’s entirely perfect before she reveals it to anyone, even her manager.
This meticulous attention to detail and fine-tuning process has become habit for Little Boots, who has spent the last 3 years quietly writing and sampling, as well as touring the world playing DJ sets and releasing mixtapes.
After her Record Store Day release, Every Night I Say A Prayer, Little Boots is finally ready to showcase her first single, and a taster of what’s to come with the new album.
What have you been up to since Hands?
I’ve been making the new record, which has been quite time consuming, I’ve been DJing lots and travelling around to work with people. I’ve definitely not been on an island sunbathing or anything, I promise you. I wish! I’ve released a few mixtapes. They were one of the first things I did, back in the day, and I’ve done three now over the last year or so.
What’s the appeal of DJing?
It’s like going to a party where you get to choose all of the music, and you get paid. It’s the most ridiculous job in the world. The more I treat it like a real musical job, instead of just a fun thing to do, the more I get out of it, and I’m really enjoying it now. It will never compete, or give me the same satisfaction as playing live, but it’s a great other side of what I can do.
Has any of the music you’ve been playing in your mixtapes influenced your new material?
Definitely. I’d always done it for fun, but it meant that after I’d stopped touring I could still find a way of getting out there and getting a reaction from the crowd. It’s the whole reaction from a crowd thing that I miss when I’m not on tour. I can see how people react to what I play, and old disco and new disco, old and new house have been going down really well, and you can definitely hear that on the new record.
You did a record store day release with Andy Butler from Hercules and Love Affair, how did that come about?
I’m a huge Hercules fan, I have been for a while, and I’ve asked about working with him before. I was playing in San Francisco and he came, and said we should work together. We hooked up in London and had a crazy time, and it was very productive. I love him, and he’s crazy and fun.
Do you think you’ll do any more vinyl releases with the new album?
I would love to, I love vinyl. I have a lot of vinyl at home, and I think if you’re going to get a physical thing, you might as well get a vinyl instead of a download code. The practicalities of it adding up are a problem. The last one we did had Gold embossing which was very expensive. The nicer it looks, which is the point of doing it, the more it’s going to cost.
How will the new album compare to Hands?
Because it’s me writing all of the songs, I think I have my own lyrical and melodical style, so that’s not going to change too much. It’s still going to be a synth record, but there isn’t so much of an 80s pop thing going on. I’ve tried to really strip things back a bit and make sure that the sounds that are there, are sounds that really needs to be there. Nowadays, anyone can download the latest synth software and make a synth album in their bedroom, so it’s made me take more care over the sounds.
You supported Scissor Sisters in London, how was that?
It was so much fun, they’re amazing. Their show is so big, and I’d love to get that stage where I can have ten dancers, ten lazers, ten backing singers. There’s loads of people on stage, it’s like having a party on stage, and it totally amazes you. We can’t afford to take ten people on the road, so it’s always limited.
Did their live show give you any ideas for your live show?
It felt like that show could work in any situation and be great. We have to work with what we’ve got, and even from day one when I had a crappy little mobile laser, and a crappy smoke machine, I’m never gonna stop thinking about other elements. It’s difficult to tour, because often you’ll have to get an easyjet flight, because it’s the only airline that flies to where you’re playing, and checking a laser harp into excess baggage on an easyjet flight is just not gonna happen.
Are you looking forward to getting back into full touring?
I can’t wait. We’ve got a few one off gigs, and I’m off each week either DJing or playing. It really is full on, but I’d love to do a proper tour of the UK and Europe. I want to get all the new music to people.
Did the tour give you a chance to preview some of the new material?
Yeah it really did, and it actually feels to me that the new songs go down better than the old ones. I don’t know if it’s just because you’re playing with new energy because they’re fresh, but they go down brilliantly. We played in Berlin, and I was worried it’d be super trendy and they wouldn’t be into it, but they loved it more than the old stuff.
What do you miss most about touring?
The continuousness of it. You’re on a bus every day, you become a little family anddo a show every night for your fans. You know that everyone there is gonna be there for you, which is different to festivals or support slots, where you don’t really get that buzz or that connection. I miss the bubble of being on tour, when it becomes your world.
Have you got a release date for the new album?
Autumn time, we don’t have an exact date. I’m not telling anyone the title, I’ve got one in my head, but I haven’t told anyone. I had a few different ones, and everytime I told someone, they thought it was wrong for the album, so I’m waiting until it’s finished to reveal my new one. It’s like naming a baby before you’ve seen it, so I’m waiting.