A brief recap of Pale Saints:

Indie band formed in Leeds, Yorkshire, England, in 1989 by Ian Masters (b. January 4, 1964, Potters Bar, Hertfordshire, England; bass/vocals), Chris Cooper (b. November 17, 1966, Portsmouth, England; drums) and Graeme Naysmith (b. February 9, 1967, Edinburgh, Scotland; guitar), in response to an advertisement in a music paper. Aided by occasional guitarist Ashley Horner, who eventually concentrated on his other band, Edsel Auctioneer, on a full-time basis, the Pale Saints spent a year playing local venues and perfecting an idiosyncratic array of material that relied heavily on textures and effects rather than traditional arrangements or blatantly commercial choruses. That was not to say that they were unattractive - their first ever London gig in the spring of 1989 brought them a recording contract with 4AD Records. They were signed at the same time as Lush, a band who mined a similar sonic vein but who ultimately enjoyed greater commercial success. The Pale Saints' debut EP, "Barging Into The Presence Of God", and the subsequent alvum "The Comforts Of Madness", earned the band much critical appreciation and a UK Top 40 placing for the album. Canadian emigrate Meriel Barham (b. October 15, 1964, Yorkshire, England) joined as a permanent guitarist and vocalist soon after. The band continued their decidedly obtuse - if not downright perverse - path into the new decade with tours of Europe and Japan and an elegant cover version of Nancy Sinatra 's "Kinky Love", which reached number 72 in the UK charts. The subsequent "In Ribbons" housed a non-charting single in "Throwing Back The Apple", while Hugh Jones' crisp production gave new impetus to the band's familiar grandeur. Masters departed in 1993, and went on to record two albums as Spoonfed Hybrid with Chris Trout (ex-A.C. Temple) and work with His Name Is Alive auteur Warren Defever. He was replaced by Colleen Browne (ex-Heart Throbs), leaving Barham in charge of lyric writing and vocals on the 1994 album "Slow Buildings". The band split-up in 1996, with Browne going on to play with Rialto and Warm Jets.

Did you come across music as a young man?

Well, that's difficult to say... The first records I bought were "Ballroom Blitz" by glam-rockers The Sweet and the theme music to "Dr. Who" by the BBC Radiophonic Workshop, which I played on a very old portable record player. I can still vivdly remember its smell and the shape of the wire mesh covering the speaker.

Where did the name Pale Saints originate?

A song title of the band Eyeless in Gaza.

How did you get signed to 4AD?

In true mythical fashion. We sent a tape.

How did you meet the other members in the band and how did it all come together?

Through an ad in a record shop, which I put up. Graeme and Chris contacted me and we met near their rehearsal room which was at a farm. I remember arriving with an autoharp the first time. The following time I took a bass guitar and we started making large amounts of noise out of which our songs eventually appeared.

I heard you were reluctant to release a single off "The Comforts Of Madness". Do you generally feel albums should stand on their own without a single to elevate a certain song?

My reluctance was to put "Sight of You" on the album as it had already been released before. Ivo persuaded us to include a re-recorded version.

Where did the idea come from to create segues between all the songs on "Comforts"?

I think it was pretty much a natural process but I had heard "The Parable of the Arable Land" by The Red Crayola and been very impressed. It also meant that we didn't have to worry about the lack of applause at early shows. I would have been happy to carry on that way and develop the idea but our manager put pressure on us to stop doing it. He said it alienated the audience. I thought that was an insult to the intelligence of any audience.

Since you are more willing to explore uncharted musical boundaries, how did you feel when Meriel's more pop-driven style progressed into the band?

I was quite happy with Meriel's song-writing style and now, some of the songs which she instigated are the ones I can still listen to. I love pop.

Generally, how much material did Pale Saints record for each record and did any get cut and still remain unreleased to this day? If so, does 4AD still have this in their vaults?

There was generally not that much in the way of unused material. Anything that exists in the vaults will not be worth hearing.

Where did the idea to record "Kinky Love" come from?

I had heard Nancy Sinatra's version and loved it and suggested we do a version of it. I didn't think Meriel would agree to sing it, so I presumed I would sing it, but in the end she agreed to sing it.

What five Pale Saints songs do you think are the best?

The five that spring to mind at this time are: "Hunted", "Throwing Back The Apple", "Babymaker", "Thread of Light", "Reflections From A Watery World", but I don't particularly have favourites.

What kind of deal did 4AD offer the band? Just a one album deal or a several album contract?

Five album contract with options to renew after the first album.

Was there any pressure to come up with more commercial oriented music when 4AD struck the US Warner deal? Was there any Warner control aspects that affected the group good or bad in terms of success in the US?

Not really, though there was pressure to put "Blue Flower" on "In Ribbons", mainly from Ivo, though that may have been filtered from Warners. I never even wanted it recorded and I'm not sure how it came to be recorded. I suggested we play it live at a time when we weren't writing many new songs. I insisted that it shouldn't go on the UK version, though it appeared on the US and Japanese releases. I think our version was a waste of time. Nice song though; I never heard the original but the Mazzy Star version is great.

What other labels had approached you other than 4AD and why did you eventually choose 4AD over the others?

Firstly a small Scottish label called Egg, who released some records by a great band called The Prayers (first single, "Sister Goodbye" is a classic) and we also met and talked to One Little Indian, but thought we'd be best off on 4AD. There were other labels sniffing around at that time as well. Once you get interest from one label, the ball rolls a lot faster.

Where did the inspiration for the Tintwhistle Brass Band 7" come from?

We had to have 2 tracks for the free 7" single that was given away with the vinyl copies of "In Ribbons" and as the father of a friend of mine was the conductor of a brass band, I got her to ask if the band would be interested in doing this. When we went to hear the brass band play their versions for the first time, I cried, the brass instruments sounded so good.

Will you have input into the forthcoming Pale Saints 'best of' CD that 4AD may release?

I hope so.

Are you consulted if a song is used in a movie or in commercials?

We were in the past. Didn't happen often enough.

Do you make a living from your music?

Not these days. I prefer it that way.

Were you asked to contribute to Ivo's This Mortal Coil project?

No.

Now that 4AD is under different management, would you ever do something new for 4AD were the opportunity present itself?

I only know one person involved with 4AD now, but he's a nice bloke so if the circumstances were right, I would consider it.

How old are you?

36.

Do you have your own home studio?

Because I recently moved to Japan I sold all my equipment except my laptop and my saw, which I have with me.

Do you still keep in touch with members of Pale Saints?

No.

Tell us about some of the music that's meant the most to you over the years?

I already mentioned The Sweet, 70's glamrockers, whose bass player I was under the impression was a woman for at least a year (I was only about 11 years old). After that it was Blondie (first gig I ever saw), Television, Patti Smith, Buzzcocks, Aztec Camera, Nuggets, Pebbles, Debussy, Tomita, 13th Floor Elevators, Electric Prunes, Severed Heads, David Axelrod (rightly being rediscovered recently - fantastic string arrangements with rock band playing), Screamin' Jay Hawkins (hooked after seeing Jarmusch's "Stranger then Paradise"), Pearls Before Swine, Throwing Muses, Michel Legrand, Antonio Carlos Jobim, Orbital, Krzysztof Komeda, Plug, Spring Heel Jack, Le Mystere des Voix Bulgares (hearing them live, absolutely mind-blowing), John Barry, Plaid, Spring, William Shatner, Mizuyo Komiya (minimalist koto), The Feminine Complex, Les Baxter, To Rococo Rot, The Birthday Party (saw their last gig ever), Sea Urchins, The Poppy Family, Antonio Carlos Jobim, Xavier Cugat, Baden Powell, Tim Buckley, Mouse on Mars, Armando Trovailoi, Jiang Jian-hua (ehru player), Nancy Sinatra & Lee Hazlewood, Tarnation (most underrated band on 4AD), Jeff Buckley, Takeo Yamashita, Scott Walker, Bertrand Burgalat, Bob Crewe Generation Orchestra, Circadian Rhythms, Jimmie Haskell & His Orchestra, Laura Nyro, Louis and Bebe Barron, Miles Davis, Red House Painters, Cal Tjader, Dead Can Dance, Ennio Morricone, Henry Mancini, Neil Young, Vasmalom (folk from Romania), Eden Ahbez (some of the mellowest, most beautiful spiritual music I've ever heard), Nicola Conte, Misterogers, Future Sound Of London, Squarepusher, Gustav Holst, Sons Of Silence, My Bloody Valentine, Françoise Hardy, Lalo Schifrin, Maurice Dalle, Michel Polnareff. There's too much to say about these wonderful musicians.

What new (or old) music are you listening to these days?

I came to Japan with about 120 albums on 12 CDs in mp3 format so I'm mainly listening to those. Bebel Gilberto - "Tanto Tempo"; Amon Tobin - "Supermodified"; Mizuyo Komiya - "Color"; Michel Legrand compilation - "Le Meillieur de Legrand"; Agua - "Fafa de Belem"; Krzysztof Komeda - "Matnia".

How did you and Chris Trout get together and when was Spoonfed Hybrid born?