One of 2005’s unexpected successes, We Are Scientists had the unusual luxury of almost three years to write and record the follow up to their debut, the acclaimed Love And Squalor.
“On the first record, we were writing quite randomly and actually had full-time jobs,” recounts lead vocalist/guitarist Keith Murray. “This time we were vagabonds. We had nothing to ponder but writing a new record.”

For an act who spent their pre-major label days plugging away thanklessly on the self-financed independent circuit, the experience must have made a welcome change.
“It wasn’t pleasurable at all, it was a nightmare,” Murray insists.
“He’s just saying that because he doesn’t like having his nose held to the grindstone by me,” interjects bandmate Chris Cain.
So the duo haven’t perfected a democratic working relationship within the studio?
“It’s more like a master/slave relationship. He’s the goose that lays the golden eggs… I gotta keep him laying those eggs,” Cain states.
That the bassist’s tongue is lodged firmly within cheek throughout this series of exchanges will come as no surprise to those familiar with We Are Scientists’ trademark brand of playfulness. The double-act specialise in humour of the driest variety imaginable. For a taster, just visit the band’s website. It features an interview with a groundhog, an advice column and a series of reviews on random subjects such as ‘Gas Station Marketing’ and ‘Paperclips’.
Hot Press senses an entertaining anecdote behind the name of their latest long-player, Brain Thrust Mastery.
“There’s no story behind the title - in fact we very carefully chose one that meant nothing,” admits Cain. “Although we readily admit it’s meaningless, it’s funny, because it looks and sounds better than anyone else’s album title. Especially the more meaningful ones.”
The most striking thing about the record beyond the brilliance of its moniker is the immediacy of its contents. Is the move toward a more ‘pop’ oriented sound imagined?
“No, there are moments that are more poppy, not in the sense of how melodic it is but in terms of the genre of pop versus the genre of indie rock. It’s not post-punk indie dancefloor… or whatever they were calling the last one.”
Though not yet enjoying the level of ubiquity reached by close friends Arctic Monkeys or musical kinfolk The Killers, this hook-laden, 1980s-hued collection may just change all that. Recent single ‘After Hours’, all sparkly dynamics and jackknife rhythms, is the sort of breakthrough hit required to make such a leap feasible. With lyrics concerning the nocturnal lifestyle favoured by gregarious young folk “soaking up the hours that everyone else throws away” it’s already an indie-disco staple. Was it an obvious choice for lead single?
“It was sort of an obvious first single because it’s definitely one of the hookier songs on the record, but there were others that we thought would be good singles too,” Cain muses.
Of those, surely the penultimate track ‘Dinosaurs’, a tightly controlled post-punk beast of a tune, was in contention?
“Nobody was really talking about ‘Dinosaurs’,” declares Murray.
“I was talking about ‘Dinosaurs!’…Alex Turner was talking about ‘Dinosaurs!” Cain forcefully reminds him.
For a moment it seems like the conversation may take a rare turn towards solemnity. That is, until the singer senses another sardonic punchline.
“Alex Turner?” he retorts, before breaking into a wry grin. “That guy wouldn’t know a hit single if it bit him in the ass!”

Brain Thrust Mastery gets a live airing at the Ambassador, Dublin (April 7); Roisin Dubh, Galway (8); Mandela Hall, Belfast (9); and Nerve Centre, Derry (10).