If you’re a fan of psych rock, chances are you’re already in love with Lorelle Meets The Obsolete! Since releasing their debut LP ‘On Welfare’ back in 2011, the duo have produced an incredible catalog of unique rock gems. Most recently with ‘Chambers’, their third album in just four years. The duo is Lorelle (singer-guitarist Lorena Quintanilla) and partner Alberto Gonzalez (drums, guitars, vocals and drones). The Mexican-natives recently returned home from an extensive tour, taking some time out to talk ‘Chambers’, the shows and their fantasy band line-up… What was the experience of recording ‘Chambers’ with Cooper Crain like? Did he bring new ideas to the table for your third record? Alberto: It was very intense. We spent three days with him in the studio and he mixed all the songs on the go. He mastered our previous record and the ‘Ghost Archives’ seven inch so I guess he already had a specific idea about what he wanted to do with our sound. During the sessions we just tried to let him be and welcome every opinion he had. We would love to work with him again. Tell us a little about the single ‘What’s Holding You’. It’s got extended passages of wandering guitar noise (not a traditional choice for the lead single). What set this track apart? Alberto: I think it really sums up the way ‘Chambers’ sounds. It’s a very straightforward song. There’s not a lot going on in it in terms of instrumentation just like in the rest of the songs. Also Ben from Captcha and Nat from Sonic Cathedral agreed on it being a good introduction to the record. Since releasing your debut, there’s been a steady stream of new material – when do you sleep!? How do you maintain the work ethic and remain creative? Alberto: We recorded ‘On Welfare’, ‘Corruptible Faces’ and ‘Chambers’ while we were still living in Guadalajara and Mexico City. It was the time when we had day jobs that we didn’t like so playing music was kind of a relief from our routine. Now that we live in Ensenada the band has been getting busier and we haven’t had the chance to record new material but we always find the time to keep making new music. How do you approach personal themes in the lyrics when you’re a husband and wife team? Is it hard writing an angry song or a love song about your partner when they’re next to you in the studio? Lorena: It was weird for me at first. I tried to pretend that Beto didn’t realize what I was talking about. Now I feel more confident because we respect each other’s private space and in the end it’s not like our songs really talk about us as a couple. Most of our songs approach other themes. How has Mexico influenced your sound? Did the move to the Baja California coast make an impact on your art? Alberto: I think our sound comes from everything we’ve experienced from growing up and living in México. Lorena: We’ve toured a lot since we moved to Baja California and I think this fact has had a huge impact in our music. Did you have any preconceived ideas for ‘Chambers’? Was there a conscious decision to build on, or explore new territory than the ‘Corruptible Faces’ LP? Lorena: I do remember that we wanted to give more importance to the bass guitar lines. The rest was pretty much the same process. Is it tough working creatively as a duo? Do you ever feel like you need to call in an umpire or third party to adjudicate!? Alberto: We do argue a lot but most of the time it flows smoothly. Sometimes is just refreshing to have someone outside our environment giving a different point of view. Like Cooper on ‘Chambers’ or our friend Chivo who recorded some drums in ‘Corruptible Faces’. In the past three years you’ve grown tremendously and are now reaching a much bigger audience, if you had to do it all over again, what would you do differently? Lorena: I would turn down playing some shows that we played on the early days. You’ve worked with several drummers and bass guitarists on tour, how do you manage this? Is translating the record to the stage a challenge? Alberto: One of the reasons we keep having new people playing with us is that we can’t afford traveling with the same band every time we tour. It has its pros and cons but above all it keeps the songs fresh. We usually rehearse a couple of days before the tour starts and let things settle on the go. Did any particular music or artists influence the new album? Lorena: Syd Barrett’s ‘The Madcap Laughs’. You’re just back from a tour – what’s been your most memorable show? Alberto: Touring is the best! Last year’s show in Richmond, Virginia remains as one of our favorite. This year’s show at the Dalston Victoria in London was amazing and the LA show at the Smell was super emotive. How did you approach the creative process for ‘Chambers’? Do you collaborate from the start or work alone? Lorena: This record was very collaborative. We had some ideas on our own but we developed them all together. Most of the time we were just sitting down jamming these raw ideas. Beto would keep playing some guitar figure until some vocal melody came up and so on. We enjoyed it a lot. What are your most treasured pieces of gear? Alberto: Before leaving on tour this year, our friend Bolo from Testing Electronics gave me a triple fuzz he built and I love everything about it. Also my Musicman 112rp100 guitar amp is a nice piece of equipment. Lorena: My Testing Electronics overdrive and my Shin-ei fuzz wah. Is you could assemble a fantasy band (of musicians living or dead), who would be in it? Nico on vocals, Geoff Barrow on drums, Kim Gordon on bass guitar, Dean Wareham on guitar, Daryl Hooper on keys and Tim Presley handling the other guitar duties. Have you got any future plans beyond the tour? Is there another record on the horizon? Lorena: There are some releases coming out, we just started working on another album and we’ll possibly tour again towards the end of the year. **’CHAMBERS IS AVAILABLE NOW @ SONIC CATHEDRAL (UK) @ CAPTCHA (USA) @ BANDCAMP (DIGITAL)** Visit Lorelle Meets The Obsolete @ Sonic Cathedral @ Captcha @ Bandcamp @ Facebook.