After a four-year hiatus that involved playing as fictional '70s punk band 'The Nasty Bits' in Martin Scorsese's sadly short-lived Vinyl, Beach Fossils returned with Somersault, a more mature and orchestral record that still retains the hazy summer vibe of their two previous albums Clash The Truth and the self-titled Beach Fossils.

Somersault, self-released on leader Dustin Payseur and his wife Katie Garcia's label Bayonet Records, meant pressure from working to tight deadlines was lifted. The album is also the band's most inclusive album, whilst the two previous records were mostly written by Dustin on his own in a room, Somersault is the result of messing around on tour during sound checks and saw Jack Doyle Smith, and Tommy Davidson becoming more involved in the writing process.

We sat down with Dustin, Jack, and Tommy to talk surviving tour life, Somersault and Karaoke with Slowdive.

Hi guys, how are you?

Tommy: Hanging in there.

Dustin: Pretty toasted.

You're currently on a pretty intense European tour how's it been going?

D: It's hit or miss and you never know what you're going to get sometimes. Some nights you have people going crazy and other nights it's pretty stiff. But I think that's more about how different people show appreciation, different cultures.

Your press agent told me you guys are running on 3 hours sleep, do you have any tips for staying healthy whilst touring?

T: Apparently not! I've been in bad shape all week.

J: We've all been keen on our beds for the last week.

D: I've tried to take more preventative measures this tour ahead of time. I got this electrolyte stuff to put in my water to help balance the alcohol every night. I've been trying to drink less and I'd say a sleep mask is very crucial for getting to sleep.

T: Also any water you have in your green room, just take it to the hotel and take it with you in your bag.

J: Don't skimp on the toiletries when you come over.

D: That's true, you've got to treat yourself.

J: Anything that keeps you feeling like you're at home is essential.

D: This is key though! Bring your own pillow. It's the most important part of your bed. Even if you get a shitty bed you still have your own pillow.

It's been 4 years between Clash the Truth and Somersault, what have you guys been up to in that time?

D: We were touring a lot on and off throughout the four years. We were growing more as a live band. These two joined, Tommy and Jack joined right when that Clash the Truth record came out so we were touring and gelling a lot during the sound checks or practice spaces. We would never play our own songs, we would just fuck around and before you know it we had a bunch of songs that we were working on. It just grew and changed.

This is the first time all three of you wrote for the album?

D: Yeah it was just me before.

That came out of the gelling together?

T: Like Dustin said, it really happened on tour when we sound checking. We were just messing around with a riff and someone else would write something to it and we just felt like we had good chemistry.

How does it feel for you giving up more of the responsibility?

D: I like it, I never thought Beach Fossils would become a collaborative thing but I also never really thought that it couldn't. I was always open to it. In the past, I wrote a few of the songs with other members but I like collaborating because it brings things out in your own writing that you would never do yourself. They both have really different styles of working and I think I have a pretty different style as well.

During that time you guys also played as The Nasty Bits in Martin Scorsese's Vinyl, did your time portraying a '70s punk band influence Somersault at all?

J: It pushed the date back.

T: A little sabbatical.

Did it get some of that angst out that might otherwise have gone into the album?

D: I put out a few albums under different side projects between those albums. One was an industrial project and one was a punk band. I definitely got some stuff out on another outlet. Then I would come back to Beach Fossils afresh.

I read one of the big references for the album was early Wu-Tang and DJ Shadow drums?

D: Those are just the best sounding drums of all time.

T: It's what we were listening to. We definitely wanted to incorporate more of it into our music.

D: Obviously those drums on those tracks are mostly sampled from funk and soul records. The drums were originally recorded all analog and then when it's sampled they're normally coming from the vinyl and being reprocessed. So it goes through all these crazy processes and I was like how can we run the drums through a bunch of different processes to make them sound like that. So we ran stuff through the tape machine, sampling parts and chopping it up and even sampled little loops.

T: We ended up putting it back into Logic and chopping it up and keeping them more electronic sounding I guess.

When did you decide to bring in more instruments and go more orchestral on this record?

D: That was something I've always wanted to do but never had the time or even the knowledge. I didn't know how to get these people to play on the record or how to find people. We took a lot of time figuring it out, I had a list of instruments I wanted on the album and I sat with it for a while adding to it.

We had pretty much recorded the songs and were thinking of places to put stuff and noting it, so it was like add flute to this one, add strings to this part. We would then straight up call people and be like can you come into the studio like tomorrow.

T: Really short notice, we were asking friends of friends.

Was there a particular performance when these guys that came in which really blew you away?

D: Every single time.

T: Every time we had someone else add something to the album it changed the outcome completely.

D: When we had the strings on it I was literally tearing up and the guy on the pedal steel.

T: He was at the end. We had pretty much got the album ready at that point. He did this beautiful part.

D: As soon as he left I mixed it in five minutes and we knew it had to be the last song.

How did you guys come to work with Rachel Goswell of Slowdive?

D: Through my wife, she works for a record label that does their music and she put me in touch. I sent the song to Rachel and she was super cool and liked the song a lot and said she was happy to sing on it.

Did you meet in person?

D: Not at the time, I hadn't met her yet. After that, we've hung out a bunch of times. We played some festivals together.

J: We did karaoke together.

I have to ask what you guys sang at karaoke?

D: Man it was so funny, it was the first time I ever met her in person, we were doing karaoke at the end of one of their shows in New York. I got really drunk, took my shirt off and like tied it around my head, Tommy joined me and we did 'The Thong Song'. I was like alright, I hope I'm not freaking her out. She was taking photos and videos of it and putting it on her Instagram, so I guess it was ok.

T: It was a cool, that they had a great sense of humour.

D: They're super funny! I didn't know what to expect whether they were going to be serious or not. Thankfully they're hilarious.

Was there more pressure releasing on your label Bayonet?

D: I guess with anything there's more internal pressure than anything else. It's hard to make a great record that you're really proud of whilst also having a crazy deadline. It's hard to focus when I have something like that going on. Not having the deadline was nice because I could take as long as I wanted but then I did start to freak myself out because I was like fuck it's been a really long time since we've put out a record, we need to finish this thing. So I was putting some pressure on myself at the end to finish it off.

How is it having your own label?

D: It's crazy, it's such a crazy thing that I'm still learning from it but I've been a little more hands-off with it because when we were finishing writing the album it was just so intense and we were in our studio for twelve to fourteen hours a day. Then after that doing press stuff and starting to tour I'm really bad with emails and I've taken a back seat with the label recently.

More work for Katie?

D: That's what she does, she works in the music industry and is so good at it. I'm not good at that stuff. I was horrible at school and when I do that stuff I almost feel like I'm back in school being in front of a computer emailing people all day. I'm like I don't want to do this, I love running a label otherwise and now I'm basically just A&R.