Since we last met, Delays have played sold-out U.S tours, recorded, ‘Stardust’ style, in a chateux in Spain, and found themselves a new home. “The last couple of years have been the biggest rollercoaster ride you’ve ever seen“ smiles Aaron Gilbert (electronics wizard and brother of Greg). “It’s been sad and beautiful all at once. I’ve been rushed back from tour with nervous exhaustion, the works. But I wouldn’t change a minute of it.” “Put it this way” smiles brother Greg. “We’ve come a long way from playing songs in a garage, dressed like The Sweet!“ Delays have long been British rock’s best kept secret. A heady concoction of angelic harmonies, beat-group hauteur and groove-based hedonism, they belong to British pop’s most regal bloodline: (early) Floyd, The Smiths, The Stone Roses. Hitch a lift with them to North America, however, and you’ll see their euphoric ballroom blitz send fans into a frenzy. Head south of the border and it’s a full on teenage rampage. “We played a sold-out stadium gig at this bullring in Mexico” says Aaron. “We got a limo to the gig and they were selling bootleg Delay’s t-shirts on the streets outside the arena. Not bad considering we haven’t even released a record there.” Sometimes a delay can be a good thing. Had a brisk north-easterly not slowed the progress of the Armada when it was bound for the South Coast in in 1588, you’d probably be reading this in Spanish. Equally, having formed a decade ago in Southampton as glam-rock reprobates Corky –recruiting Aaron en route- the band have forged a bond which trumps faddishness hands down. Aaron: “We’ve known each other from school. Because of that, we’ve got a really deep connection, which comes through in the music. We’re a proper gang, we grew up together, we just do what we feel is right.” Such togetherness has brought with it a keen sense of purpose, as well as a pan-generic psychedelic know-how covering all bases from Oz to Prince to the Aphex Twin. Having signed to Rough Trade in 2004, they released their debut album Faded Seaside Glamour the same year. A riot of page-boy haircuts, nifty riffs and celestial harmonies, it boasted top Twenty hits ‘Long Time Coming’ and ‘Nearer Than Heaven’ and prompted the Guardian to describe them as “the first guitar band in a decade to lay claim to the melodic guitar pop throne invented by The Byrds and the Hollies.” Follow up You See Colours (2006) saw their psych-pop blueprint delivered with added BPM. A brooding mix of “Voulez Vous’ and ‘The La’s’, it spawned alpha-pop hits ‘Valentine’ (NME Track Of The Week) and ‘Hideaway’ and brought both an army of new admirers and a mutually agreed split from Rough Trade. “It was a weird situation to be in” explains bassist Colin Fox. “We’d be playing to huge crowds at Glastonbury and T In the Park, all the while aware that we didn’t know who was going to put the next record out.” ”In a strange way it galvanised us” adds drummer Rowly. “We did a self-financed tour with the last of our money, and those were best shows we’ve ever done.The last date was at the Guildhall in Southampton, and the cherry on the cake was that we signed the new deal that night.” “It’s a cliché to say it,” laughs Greg, “but after all the hassles, signing with Fiction was like that bit in the Wizard Of Oz where it goes from black and white to colour.” For a band so absorbed by pop’s kaleidoscopic past -a quick straw poll of current faves reveals a love of doo-wop, The Flaming Lips and Mogwai- it makes sense that their new circumstances should be seen as as an awakening into technicolour. But their journey from darkness into light has also given Delays a hard won perspective on the pop process. Greg: “In the last year I’ve come out of one really long relationship, met someone new and signed a new deal. Inevitably, that’s all going to end up in the music.” All of which brings us to Everything’s The Rush. Recorded over twenty days in Spain with producer Youth (Primal Scream/Verve/Paul McCartney), it is the sound of Delays striding confidently into the big league. The tunes are brighter, the choruses are bigger, the need for emotional rescue greater than ever. If the urgency can be put down to a desire to make up for lost time, the super-charged guitar sounds and soaring synths owe something to psycho-geography. “We recorded at Youth’s chateux in Grenada, which is high up in the mountains” explains Aaron. “The live room has got a huge window with panoramic views over the Sierra Nevada range. When you’re staring at a mountain in a room full of amps, you want to make a sound that’s as big as the sky.” From foot-to-the-floor opener ‘Girl’s On Fire’ -think The La’s at Red Rocks- to neurotic space disco “Friends Are False” to sky-scraping strings-assisted stomp ‘Touchdown’ (key lyric: “I’ll be calling on your radio!”) Everything’s A Rush is final proof that Delays have the melodic nouse to slug it out in Stadiumsville. The music may be the musical equivalent of a huge gulp of alpine air, but listen closer and the lyrics reveal a darker aftertaste. “One third of the album relates to the detritus of us getting out of Rough Trade and our private situations, and the other two thirds are about the joy of discovering new things and the beauty of making music again” explains Greg. “We’re almost back to the point we were at before we had a deal. We decided to throw it all in there - take the soul of what we do and explode it. ” With Aaron providing vocals and an acerbic lyrical wit on four tracks (not least on idlers anthem ‘One More Lie-In’), it’s the sound of a band scaling new peaks, tackling their personal demons along the way. “A song like ‘Hooray’ sounds really uplifting, but it’s actually about me having O.C.D laughs Greg. “It seemed too easy to write a maudlin song. For me, music is at it’s best when it’s fragile and human; people crave that connection.” Aaron: “For us, melody is king. We want to make music which sends a shiver down your spine.” It’s been worth the wait. Turn up the speakers; join the rush. Paul Moody London, Jan 2008