The Netherlands is currently the host to one of the buzziest contemporary music scenes around, with last month’s The Great Escape festival in Brighton featuring the country as its official lead international partner. That weekend saw an unprecedented influx of Dutch acts making the trip to the South coast of England. It is there that we caught up with one of the standout bands on the scene, Canshaker Pi.

The Amsterdam four-piece recently released their second studio album, Naughty Naughty Violence, on Excelsior Records, the hotly anticipated follow-up to their breakthrough debut album from 2016, which featured production from Stephen Malkmus. The band’s live shows are semi-legendary, distilling the anger of a band like Parquet Courts into a series of short, bright, high-energy outbursts of garage punk.

We spoke to guitarist Boris de Klerk, bassist Ruben van Weegberg and drummer Nick Bolland about why they chose to seclude themselves on an island to record the new album, how British crowds compare to Dutch, their relationship with various members of the band Pavement and their surprising love of techno.

You’re halfway through your first experience at The Great Escape, how has the festival been so far?

Boris de Klerk: Yeah great, we love Brighton. We’ve played here before, once at the Green Door Store and the other at The Joker. There are a lot of good vibes here.

Ruben van Weegberg: The guy who organised our show yesterday was high-fiving someone because there were really long queues outside, so that’s a good thing.

Your new album came out a couple of weeks ago. How has the feedback been?

Nick Bolland: So far so good!

Ruben: Most Dutch newspapers and stuff have given us really good reviews.

What’s that feeling like when you let it into the world – nervous? Exciting?

Nick: You always have to wait a long time for it, so you get impatient with the build-up. And then it’s really nice to let it go.

Boris: I think it’s always pretty interesting to read reviews. I don’t really think they matter that much for the way that we perceive the record. But it’s fun to see what someone thought of it.

Ruben: It’s just nice to see opinions in general.

Do you see perspectives of your own music that you hadn’t thought about? And do you read things that are just plain wrong?

Ruben: Yeah, a lot.

Nick: Not really wrong but I just sometimes feel that they didn’t put enough time into it.

Boris: It should be open for interpretation, and if somebody has a totally different opinion on it, I think that’s quite fun to read. It’s kind of nice. I don’t get frustrated too much.

Do you get a lot of talk about how the new album is much different to the first?

Ruben: Yeah, actually. We’ve grown up, apparently. We’re adults now! We’ve always been described as kids, I guess. Young, naughty kids. And now we’re adult professional musicians!

Nick: I think it’s because we met in high school.

Boris: I do understand it, though.

Ruben: Yeah, I do too.

How would you explain the difference between the albums?

Ruben: The albums feel very different. The first was recorded in one session in a week in a studio, so it feels like a very complete, whole thing. And the second one was just smacked together, we had some different recordings that could’ve been demos, we just didn’t know yet. We ended up using different recordings that ended up working. It’s only been an album for six months or something. We just put everything together because we had enough material.

You worked with Stephen Malkmus as a producer for your first album. But it was different this time?

Boris: Yeah, we worked with three very cool Dutch engineers this time, and we sort of produced it ourselves. We didn’t really get anyone in there for a producer role.

Ruben: Half of it was recorded on an island. We isolated ourselves for a few weeks. Literally on an island! It was in the North West of Holland, where there is a tail of islands, and it was on one of them. We went to a festival there, Into The Great Wide Open, a really nice festival which is on one of those islands. Once we were done at the festival, we stayed there and we set up our gear and microphones and everything, and we recorded what we thought were demos, but half of the album is those tracks.

Boris: It was one of our favourite holidays ever, actually! The weather was great.

Ruben: And there was no-one on the island. Just one convenience store. It was pretty Bon Iver, with his cabin in the woods.

Was it a conscious effort to take more control over your recording?

Ruben: It was a conscious effort to work out some demos that Willem [the group’s singer/guitarist] had made on his computer, and that had just been lying around. And we made them!

Whose idea was it to bring in an outside producer for the first album?

Boris: Remko Schouten, our friend and engineer. He does live sound a lot, and he used to do sound with Pavement. He called us and asked if we’d thought about a producer, and we said not really, so he said, “Well, I was thinking about Stephen Malkmus”. “Errrr, yeah!”.

Ruben: We only had to pay for his flight, and he showed up.