It’s downtown and it’s CMJ. Play the “A punch for a plaid shirt” game and you will look like you have been in Fight Club before too long. We are talking wall to wall band-a likes. So I venture towards Teany, Moby’s tea shop, as the last interviewer of a very tired band who have been doing this for ten hours and are going onstage at 1am for their gig, expecting the worst. Awaiting me is a band finishing food, always the worst time. But this is Sons and Daughters, and they are made of far sterner stuff than what goes into those teas.

Sons and Daughters from Scotland have had two records and already attract a rabid fan base for their pounding sound and lyrics of scorned love and murderous revenge. Their most recent tour is to generate interest for their latest release, The Gift. A different record it is indeed, though it still contains Adele Bethel’s sultry slicing vocals and Scott Paterson as her foil on vocals and guitar, but they have added new dimensions with the inclusion of different sounds such as rockabilly and even 50’s-style rock and roll.

The record sounds distinctively different from both Love The Cup and Repulsion Box at times, was that a conscious thing?
Scott: Aye well, those records are there, but if we were to come back with more of the same then we are wasting our time. We were given the luxury of time on this record so we used it, the first two combined took two and a half weeks, this time we had nine…
Adele: Yeah, I mean we wrote just loads more, we wrote about 30 songs this time and really looked for the 12 that were our best.

You brought in Bernard Butler (The Cribs, 1990s as producer) who had clearly his own ideas, how was this relationship?
Adele: We were fans of what he had done before, but we didn’t know him and when he came in it took a bit of adjustment to having someone come in and mess about with your songs and sounds with little regard, but that’s what we needed in the end. We didn’t want a fifth member but an outsider who saw a different picture than the one we saw.

It has an almost cinematic sound at times your music and your last two records had quite long slow aggressive burners on it. Why the switch?
Scott: Well, there are some of those on there but we wanted to make things shorter and sharper, we certainly used Blondie as a major influence to construct really powerful pop songs. The aggressiveness of the music, well, it just comes out, we don’t set out to write angry songs.

You recently did a major tour in support of Morrissey as well as Franz Ferdinand, how was that?
Scott: Well, you’re shitting yourself that you’re about to have all your preconceptions exploded, but Morrissey turned out to be a really nice guy and he is a someone whose music I really look up to.
Adele: With Franz Ferdinand, it was just a case of watching them every night and realizing that we had to get better, and how tight they were and how they wow a crowd. It was really good for us in order to raise our game.

Finally as only Sons and Daughters, if you could have a Mother and Father for the band, who would that be?
Scott: Fuck… BILL HICKS!
Adele: [quick as a flash] and SYLVIA PLATH… wow, what a family, that’s an awesome family.

So with that, I let them be for the hour or so they had before coming onstage and kicking the arse off a Bowery Ballroom crowd that was beer-soaked and had been standing around looking at their pointed shoes. “Sons and Daughters, love and laughter, tears of sadness and happiness” went the theme tune to a popular daytime show, and it’s all right there in the music. Bill and Sylvia must be looking down, smiling.

–Patrick Daly, Photos by Tear-n Tan