when we think of “royals” from the united kingdom, naturally we think of AMOR DE DÍAS, featuring alasdair maclean (frontman of the papillon-obsessed lite psych combo THE CLIENTELE from fleet) and lupe núñez-fernández (one half of the slapdash & adorable pop duo PIPAS). we could not be more excited about seeing them play at chickfactor 22 at the bell house on thursday, march 20, along with withered hand (whose live band will feature pam berry of black tambourine and kenny anderson of king creosote), lilys and jim ruiz set (and mc gaylord fields of wfmu)!

interview by the legendary jim ruiz & photograph by shoko ishikawa

1 distance running
2 love life
3 the live experience
4 where do you most want to live/retire?
5 your meeting gail stories
6 borrowing your name
7 gearhead question

chickfactor: considering the dominance of the UK in middle and long distance running in the past; sir roger bannister’s four-minute mile, sebastian coe and steve ovett’s amazing rivalry on the track, and the astonishing world record of paula radcliffe at the marathon, it was really not a very big surprise to see that you are specializing in the 10k. tell us a little about your training and how you feel it’s going. any tips for those of us who want to start running? what’s your PR (optional)?
alasdair: we have no expertise in running, or specialisms in the 10k. we both ran the new forest half marathon last year and counted ourselves lucky to be alive by the end. the only tip for a 10k run I could offer is don’t sprint the first 3k, the next 7k will not thank you.
lupe: it’s handy for catching the last tube back home after a gig, or the train to the next city on tour. that’s definitely our specialty distance.

charlotte and emily want to know if you are a couple. I assured them I would ask you.
lupe: buy our records and find out! there are hidden messages if you play the vinyl backwards.

emily and I were at an amor de días gig at the triple rock in minneapolis about 3 years ago. that gig was an introduction to your music, it made a big impression on me and I made it a goal to play with you someday. in fact, whenever we visit our friend’s house there is a poster from that gig framed on their wall. do you think that touring is worth it because you never know what impact it has, even if the audience might be small on a given night? or do you think that touring has had its day?
alasdair: what a nice thing to say! I suppose in my career the model of the small gig with a strong connection to the audience has been mostly how it’s happened, and when when that connection really works it’s amazing, nothing can beat it. opening for much bigger bands has taught me that my songs work better in a small space, chamber music rather than a nuremberg rally or a mass singalong.
lupe: touring is usually when you might get to play in front of strangers who’ve never heard your music, and see a sincere reaction. it’s probably very self-indulgent but there’s something to be said for that, whether it’s a good one or not.

living in the middle of a vast continent as we do, without any real possibility of moving anywhere exotic, we are in awe of your EU passports and your seeming ability to move anywhere you please on the continent. do you plan to stay in the UK forever? do you ever miss the sun?
alasdair: come on, minneapolis is about as exotic as it gets! prince lives there! I was born in scotland so have never known the sun. It would be nice to be an internationalist rather than stuck in the UK. I’ll have to work on it.
lupe: when we were in minneapolis a couple of years ago we talked about moving there. I’m not kidding!

tell me how you first met gail….
alasdair: outside NYU in the freezing cold. I think we had eaten polish food for the first time and were semi-comatose.
lupe: I was aware of this cool chick with retro glasses and blond braids at all the shows at fez I went to in the ’90s but I didn’t know her name (or that she’d curated the shows, and put out chickfactor). years later we met in london through our friends pam berry and mark powell—the heat broke at the place where she was staying and I told her she could squat at ours. instant family.

last year the aislers set seemed to take no offense when we changed our name to jim ruiz set. how would you feel about our recording under the name amor de ruiz `rE- ahs?
feel free. it has a classy ring to it.

the classical guitar scares the hell out of me, yet you make it sound so easy. are you self-taught players or do you have years of pumping nylon behind you at some music conservatory? who first inspired you to play classical? who do you listen to for your inspiration?
alasdair: I learnt classical guitar as a kid, my parents put me in for lessons, but I gave up around age 11, and lost a lot of my technique. the first guitarist in the clientele,innes phillips, had the same teacher as me, so we both grew up playing adagios and tangos and only came to playing pop music later—the way for instance george harrison played was a total mystery to us. ¶ my favourite guitarists: toquinho. argentinian folkloric guitarist atahualpa yupanqui. In the flamenco world, nino ricardo. rock guitarists stacey sutherland (13th floor elevators) ron morgan (west coast pop art experimental band), vini reilly (durutti column), maurice deebank (felt) and tom verlaine/richard lloyd. I also really rate ignacio aguilo (hacia dos veranos) and archer prewitt.

lupe: haha definitely self-taught and very limited in my knowledge. I bought a classical guitar for 27 pounds in hackney in 1999, with no previous musical experience or knowledge of what a chord was, etc. I really wanted a bass, or drums, but the guitar was much cheaper, portable. it’s handy as a way of noting a song down, but I definitely don’t consider myself ‘a guitarist’, I just write songs, and make it up as I go along. I think I’m actually a lot better at percussion; my dream is to tour the jazz circuit as a jazz drummer, maybe by the time I’m in my 70s. ¶ my favorite guitarists: probably alasdair, linton from the aislers set, sam prekop and my brother víctor, who taught me that crucial first bass line that started it all (it was “bela lugosi’s dead”).