Leeds based duo The Horn The Hunt are back with a new single called 'Raptor'. It's taken from their second album Depressur Jolie, which is set for release in early 2011. Here we talk to Clare Carter about writing in perpetual darkness in Greenland, their artwork & gibberish for album names. How does it feel to produce a second album after signing to White Label Music? Fantastic! Like nothing else I’ve experienced. It’s amazing to have people working with you who believe in your music. Did you enjoy working with producer Dean Honer for the remixes of the forthcoming single Raptor? We didn’t really work with him as such... he made two remixes of our song and we were really excited to hear what he would come up with. The Death Cap remix is our favourite. A year has passed by since the release of your self-titled first album, how do you feel you've grown musically? The debut was not a pre-conceived album; we had spent 3 years travelling and exploring ourselves (me as a painter, Joe as musician) and then towards the end of that time something just clicked- we had written some songs together that we really liked. I hadn’t properly considered being a singer, in a band and making a debut album, so for me it has been a massive change, like coming out of the closet or something. And i’ve also discovered that writing songs is the most natural, exciting and rewarding artistic process i’ve come across. So I’ve only just started growing. As for Joe, who has always been involved with music, he’s grown loads too but in a very different way. His bass playing has become particularly lush and intuitive recently. Do you think writing in perpetual darkness in Greenland influenced a darker twist to your work? No, not really. We went there because we already had that darkness inside us and we needed to explore it, understand it and see it for ourselves. We wanted to experience living with the challenges of nature and the landscape, rather than only ever experiencing the challenges of people, society, oppression, money, etc. It’s the most beautiful and frightening place we’ve ever been to. And afterwards, we felt like we’d ‘seen something’, and now we see it in other people who’ve pushed themselves into those places- the darkness is always there but it’s all about getting familiar with it. For me that’s what makes interesting art. But I’d say being back in the UK has darkened my ideas and vision more than Greenland! And this is evident in the next album. You both tend to travel to write and almost hide away from the world, is this how you develop your muses for song writing and art? No, it’s just what’s happened so far. We could live anywhere and write music. Obviously it helps not to be distracted too much, to have the time and a place to concentrate and put things down. We travelled because we wanted to experience another way of life for a while and have time to make stuff, and learn how to protect that instinctual urge. But inspiration and ideas are everywhere so you just keep your eyes and hands open ready to feel and catch them. Who would you like to collaborate with in the future? Leonard Cohen. And I would like to make a soundtrack for a film. Where did the name Depressur Jolie stem from? A good friend of mine had taken a black & white photo of these palm trees bent over a windswept beach, really dark and grainy. And when I saw it I immediately said to myself Depressur Jolie. It’s gibberish, but if felt like it meant something important to me. How do you link your art to the CD and album covers? Do you draw first or choose after the track is prepared? I think of music pictorially so I’ve always got images associated with the songs. Sometimes it’s just colours or textures, other times there’s entire landscapes and characters. Imagery evolves as you go along making, ideas change, morph into others and when a deadline comes around whatever is working out best is used. Editing ideas is an artform in itself! You spent four years writing your first album and less than a year for your second, why was this? Most of the debut was written in the first 6 months of 2008- but Whale’s Belly was written in Greenland in winter 2006 and Porcelain was written in Leeds in 2009- and we thought they belonged to the same family as the other songs. We then released it independently as an album in 2009 because we just thought it made sense. Like I said before, we didn’t plan on the debut, it just came together when we decided to become a band. Then WLM released it in 2010. As for Depressur Jolie, I had a definite idea about how I wanted the next album to sound. When we came back to England I started writing loads of songs and felt like I wanted to make my ideal pop album. Joe has been producing these songs in our bedroom studio in Leeds, crafting the sounds and generating the other half of the music. So personally I feel like DJ is my debut album. What other extreme environments would you like to put yourselves into to create another album? We would like to spend some time in the desert for the 3rd album, which is going to be much more stripped down and full of space. We would like to go back to California, as we lived there for a while, so I think maybe the Eastern California countryside would be ideal. What has been your best musical experience so far? For me as a performer it has been supporting Zola Jesus in Leeds. But as a spectator I would say Daedelus, Fever Ray and Rammstein were the best shows I’ve seen recently. You can visit the band at http://www.myspace.com/thehornthehunt