Second album is collaration with former Monkeys bassist Andy Nicholson aka Gold Teeth

Good Cop Bad Cop’s Joe Carnell is a long-time darling of the Sheffield music scene, starting life in the band Milburn. Having initally teamed up with Arctic Monkeys drummer Matt Helders to form Good Cop Bad Cop and release an eponymous debut LP, this time he teamed up with former Monkeys bassist Andy Nicholson aka Gold Teeth, assembling a collection of playful edits and hip-hop leanings, setting Welcome To The Marble Zone apart from their previous works, and evolving the Good Cop Bad Cop sound. Working separately together, Carnall gave Gold Teeth free rein to be creative, whilst Joe played “everything that doesn’t involve sticks“.

This sophomore opus is a treasury of diary entries from a thirty-something father of three, who has gone from knowing everything to nothing at all, balancing the chaos, beauty, relentlessness and depression of the past three years – accepting what Carnall refers to as The Marble Zone.

“The Marble Zone is a place where I am at peace, where I can be creative and tap into what I most enjoy. Songwriting is cathartic and therapeutic, so the overarching theme is quite meta. There are references to the process I undertake when being creative, but I think the concept is universal; I invite others to find their own Marble Zone,” Carnall said.

“Over the past few years, I’ve been intrigued by the soundclash of guitars and electronic music, and found myself listening to a lot of New Order at the time of writing the record. Apart from the obvious ‘Hooky’ bass lines and 808-inspired drum sounds, I became obsessed with Bernard Sumner’s vocal melodies and delivery. There are many other influences in there; dig around and you’ll find Talking Heads, Gorillaz, Baxter Dury, LCD Soundsystem, Tame Impala and even a bit of Kraftwerk.”

That sounds like our kind of musical shopping list alright, so we asked Carnell to talk us through the album track-by-track…

Marble Zone:

I wanted ‘Marble Zone’ to open the record because it really sets the scene, and uses many of the sounds and styles that reappear throughout. The track is a real indication as to the palette of the second record. I wanted to do a really simple groove loop but push the electronic sounds as far as possible. There’s hardly any guitar on this track for that reason. Lyrically, it’s quite meta, and brutally honest, and explores the process of entering into the ‘Marble Zone’ – the place where self reflection leads to creativity and minutes become hours.

Running Away With The Circus:

‘Running Away With The Circus’ is a song about the relentless nature of being an adult in the twenty-first century. It underlines the necessity to step away from the world on a regular basis in order to preserve one’s sanity. Musically, the vocal delivers a Bernard Sumner inspired top line over a beat more akin to LCD Soundsystem.

Mr Misfit:

‘Mr Misfit’ started off as a New Order-style B-side. It leans heavily into the Peter Hook technique of using the bass as a lead instrument. Lyrically, it’s a song of frustration. It details someone trying to be both Batman and Robin and failing at both; a person who doesn’t really suit either costume.

Does It Get Any Easier?:

‘Does It Get Any Easier’ is arguably the most instant song on the album. It is a playful acceptance of life as a fully fledged grown up when, in all honesty, you still feel like Bart Simpson. Gomez meets Parliament.

I Cried For A Friend This Morning:

‘I Cried For A Friend This Morning’ is a love letter delivered too late, and easily the most difficult song I’ve ever written. A downside of getting older means losing people you love, something that never really occurs to you, if you’re lucky enough to avoid it, in your younger years. Musically, the overbearing sustain on the piano is a metaphor for grief.

M.E.X.I.C.O C.I.T.Y:

‘M.E.X.I.C.O. C.I.T.Y.’ is an apology hiding behind World In Motion. Famously an acronym used in letters from soldiers to their sweethearts [“May Every Kiss [X] I Can Offer Carry Itself To You”], it is about fucking up and paying penance. 

Far From Home:

Easily the most blissed out tune on the album, which aimed to steal some of the warmth and tranquility from the chorus of ‘Feel Good Inc.’ by Gorillaz. It is a song about the passage of time and how we only really live to create memories.

Houdini:

I’m not afraid to admit, the chorus line borrows heavily from the masterful melodies of Julian Casablancas. On ‘Houdini’, I aim to deliver both light and shade, and is about both the majesty and misery of parenthood. How does a 2 year old constantly outwit someone with a Masters level education? I’ll never know.

Madness In The Aftermath:

I have no doubts that ‘Madness In The Aftermath’ has the best opening line on the record. Who knew I’d manage to reference Hot Chocolate? Melodically, it is inspired by the sincerity and beauty of a Bahamas backing vocal. It is a reflective journey through the life and times of a not quite failing musician. The twist is that the lack of success is sometimes the most rewarding part. 

We’re Alright!:

This one is angry. Really angry. Think ‘Song 2’ but actually about something. By any metric, the last decade has been fucking disastrous – much of it self inflicted. It’s time for change. The voice is Neil Kinnock on the eve of a Labour victory that never came. Don’t drop the ball this time, eh?