摄影埃莉诺·简（Eleanor Jane）
乐队在自己的职业生涯中找到自己的创意十字路口并不罕见。节制运动也不例外。随着两张专辑后，周围的嗡嗡声开始增长，他们发现自己在美国摇滚市场上航行，并通过相互冲突的音乐义务朝着不同的方向发展。
是2017年1月，现在是时候开始写第三张专辑了。吉他手卢克·波什尼克（Luke Potashnick）和鼓手达蒙·威尔逊（Damon Wilson）于前一年离开了乐队，但以长期朋友马特·怀特（Matt White）的形式很快找到了替代者，会议吉他手和西蒙·莉亚（Simon Lea）。不过，阵容的变化并不是阻碍进步的原因。以一种吸引他们新的美国粉丝的方式写作的压力越来越大。
“The feeling of being unsure of what direction to go in wasn’t so much about the other guys leaving,” explains lead guitarist Paul Sayer. “We were touring in America a lot and we had a lot of options available to us, there was a lot of information going in and it wasn’t helping us make a decision about what to do next.
Getting radio play on different types of radio stations in America can lead you down a bit of a rabbit hole of thinking that you have to write songs for that kind of format, which didn’t sit very well with us. But at the time we were surrounded by a lot of people who were telling us that was the sensible thing to do. It wasn’t malicious, it wasn’t a cigar smoking executive, that was their job. It made us stagnate a bit because it didn’t feel natural.”
马特（Matt）和西蒙（Simon）任命后不久，乐队决定忠于他们的根源。保罗说：“这是我们意识到我们需要制作一张我们想要制作的专辑，就像一开始就做的一样。”“这就是乐队的建立。一旦我们意识到它确实很快就很容易发生。”
Their epiphany led to the band parting ways with the execs trying to push them down a more commercial route. “We fired them all!” laughs Paul. “Now we’re on the same label everywhere excluding America. We had a specific record deal there and we’ve moved on from that – we’ve changed management as well.”
更深的阴影
这是一种回报的策略；2月份发行时，在英国专辑排行榜上排名第六，这一较深的剪裁在第六位，这对于一个摇滚乐队来说，这并不是一个以流行音乐和电子声音为主导的摇滚乐队的壮举。
Writing with a commercial audience in mind wouldn’t have worked for The Temperance Movement anyway; their writing methods sound almost slapdash when Matt describes how they began fleshing out ideas for A Deeper Cut.
“每首歌都是不同的，有时只是菲尔在钢琴上写作，有时保罗带来了一个完整的想法，或者有时我们中的一群人会去格拉斯哥并锤打。或者人们坐在自己的海上在家中，并在彩排中向小组展示。这一切都以不同的形式发生。”他说。
保罗补充说：“我居住的地方附近有一个小小的排练室，我喜欢用吉他和放大器去那里。”“我预订了四个小时，我只是玩。有时，我会拿一点装备，这些装备我使用的时间不多，我可能会在创作专辑时购买一些东西，因为他们可能会激发我的灵感。我可能会随身携带一个我从未使用过的踏板，只是搞砸了几个小时，看看它是否会从首先从声音的地方开始写东西。”
当保罗使用他感到舒适的设备时，灵感会最好流动，而不是仅根据声音或他的一位英雄设法选择吉他。他说：“我在购买我最喜欢的吉他演奏者拥有的东西多年来所学到的东西，听起来像他们一样，这并不是什么。”“有很多我喜欢他们的人：布雷克·米尔斯，乔伊·兰德雷斯，尼尔斯·克莱恩。但是，除非您以与您最喜欢的吉他手相同的速度达到弦，否则您不会听起来像他们。马特和我使用相同的放大器，我们听起来完全不同，因为我们以不同的方式击中了吉他。
“It’s finding a guitar that you have a relationship with; you’ll be at your most creative if you’re really comfortable. I feel like when I’m playing, the last thing I should be thinking about is the guitar. It’s when I’m really noticing the instrument that I know it’s not right for me. Ideally you want to forget about it and just make music.”
切一些地毯
制片人山姆·米勒（Sam Miller）在首次同名的首次亮相，第二张唱片（2016年的白熊）重新掌握了更深的速度。做出从他们心中写作的决定也使工作室时间在蒙诺谷（Monnow Valley）（拥有欧洲最大的现场房间之一）中，非常简单；他们的工作室钻机旨在反映现场设置，这意味着他们在路上很容易复制了声音。
“We don’t want it to sound like we’re all in separate rooms switching sounds every section of a song, we want it to sound very organic so our live rig and studio rig are very closely related,” says Paul.
马特补充说：“无论如何，我们总是记录为现场乐队。”“显然，我没有参与前两张专辑，但据我了解，我们总是唱片作为现场乐队，甚至菲尔（Phil）同时发声（作为乐器）。这些事情对我们来说并不是很分开，这条线确实模糊了。”
主要区别是保罗偏爱他在工作室的59阶段，而他更喜欢在舞台上使用’69电视广播员。“I’ve found I’d rather have the consistency of one instrument for the gig, I’d rather sacrifice the differences in sounds between guitars and manipulate what I’ve got that than try and change guitars during the show,” he says. “I’ve got a couple of old Strats on tour because I used them in the studio.
On the album I end up using the Strat a lot, and I brought it away to work out whether I wanted to work it into the live show, but I’ve kind of gone back to my Tele. I like to try and keep it as simple as I can with the pedalboard as well, I’ve got an AnalogMan Sun Lion, which is a fuzz and a boost in one pedal, I’ve got a delay pedal for one song, a Leslie simulator for the other song, and a reverb pedal for another, and they’re fixed sounds. I like the challenge of less stuff.”
Leslie Simulator在那里满足了Paul对Leslie扬声器的热爱，在贝斯手Nick Fyffe开始与另一个工作室中的一个工作室“搞砸”之后，最终在赛道上使用了比太阳更高的赛道。
“由于我们制作了这张专辑，所以我想开始巡回演出，但他们不会让我！”保罗笑了。虽然莱斯利（Leslie）的繁琐本质意味着这不是一个很棒的旅游伴侣，但他们确实在现场复制的工作室技巧是直接的吉他声音。马特（Matt）的乐队笑话“在他的手和膝盖上度过了前四天”，因为他的踏板设置更加复杂，但他至少设法找到了一种现场重现声音的方式。
Space Invader
As well as his rig of two Lazy J 20 amps – which Paul also uses – a ’63 Jazzmaster, his custom Probett Rocket and a Hahn 228 T-type, Matt also has a switching system which makes it easy for him to bounce between a traditional set-up and sending sounds direct to the desk.
“我不想在专辑中使用的音调上妥协，但我不想让事情复杂化，因此我将其制成了一个切换系统，该系统非常易于使用，听起来比上一组更好。这是两全其美的最好的。我也想操纵DI声音 - 我们在专辑中使用了一个名为A [JHS]颜色盒的踏板，所以我通过切换系统将其发送到房屋的前面。这是一个启示，但确实很容易使声音几种不同的颜色。
Of course, certain atmospheric effects need to be tailored to the cavernous nature of a live room, and it’s the same with amp levels. “Live, you need to be aware of the space and what you can bring on the road, but also, in the studio it doesn’t matter if one amp is twice the volume of another one,” says Paul. “You just correct it in the mix, but you can’t do that live, there needs to be some level of consistency.”
Funnily enough, it was also venues – or rather, the fact that “it’s not like we can’t get 20 people to a big show”, as Paul puts it, that made the band realise that creating a sound true to them was a better option than trying to create music designed for a commercial audience. He’s right; their recent tour has seen them playing mid-level venues such as London’s 2,300-capacity Forum in Kentish Town, and Paul thinks the cliche that rock is dead or being relegated to history’s box of the uncool alongside leg warmers and flares ignores the fact that rock gigs don’t struggle to pull in fans.
“We’re playing great big gigs and we had a really good chart result with the album, so in amongst all that pressure we were feeling to change the music and make it bigger was the realisation that we need to appreciate what we had,” Paul admits. “We had to realise how good things are for the band, making the music that we do make. We were at risk of pulling it all apart in the process of trying to find something else. We had to sit and think, ‘actually what’s the problem?’”
Top Of The Tree
在写作时，2018年3月中旬，只有八位摇滚艺术家今年获得了十大专辑 - 秋天的男孩，乔·波纳马萨，简单的头脑，唐·布罗科，沃克斯特，弗朗兹·费迪南德，恩布拉斯和育种者。其中一些具有怀旧的吸引力，而另一些则是流行音乐和电子声音的调情。
从表面上看，节制运动是不应该绘制的乐队。它们是相对较新的（它们成立于2011年），并制作了复古的蓝调摇滚，它拥抱并忠于其影响力，而不是与更现代和主流的声音调情。如果以前的前品牌团队有自己的方式，他们本可以成为乐队，但是作为保罗（Paul）和第六榜单的位置 - 指出，他们目前的公式一直在运作。
“We’ve talked about this a lot since we released the album,” Paul muses. “The mainstream music media is telling you that people making this kind of music are unfashionable, so you can’t be successful making that music, but there are a thousand people every night in a room telling you the opposite. It’s not that the music is unfashionable and nobody wants to hear it or see it, it’s just getting to those people without the help of the industry. Look at the 90s when you had Nirvana and Pearl Jam and Oasis and all those bands.
Those people haven’t been wiped off the face of the planet because Radio 2 has suddenly decided that type of music is uncool. They’re all there, it’s just maybe more difficult to find them. We don’t get passive audiences at shows who’ve been told to be a radio station or newspaper. We get the thousands of people who want to be there.”
