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Grand Theft Audio

Fresh from releasing their debut album, Cork noisemakers Time Is A Thief are ready to make their mark. Bassist Michael Murphy talks studio, stage and why nu-metal wasn’t so bad after all.

Dave Hanratty, 31 May 2012

Interestingly, it’s Carroll’s vocals that arguably benefitted the most from the album’s production, with the frontman’s presence intensely front and centre throughout, but never once overbearing. Murphy is quick to praise O’Shea’s influence, the producer working closely with Carroll on every aspect of his voice, perfectly tuning a versatile instrument and reining things in where appropriate. That approach is mirrored in the overall sound, with TIAT keen not to overload things, mindful of recreating as much as possible in a live setting.

“Once people hear you, they expect a certain thing when they come to see you live, so we try to keep things simple, if we can,” says Murphy. “I’ve had the same bass guitar for years now, a Fender Jazz. It’s my trusty go-to instrument and it cost me an arm and a leg, as most things do. I run it through an EBS Fafner head and I use a couple of effects pedals, one for distortion and a Dunlop CryBaby Wah. As you might expect, we use delay and distortion but we don’t like to go effects-mad because you can run sounds through x amount of pedals and they’re still going to end up sucking away the actual tone of your guitar, so we try to keep it as slim as possible. You see bands like And So I Watch You From Afar and Adebisi Shank dancing around on one foot switching pedals while playing, and while they might be damn good at it, it’s not really for us!”

We’re Not Strangers is out now.

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