Charissa: When did you get started?

Glenn: During lockdown. Two years ago.

Lauren: Started playing in 2021. About 2 years, we initially started jamming together.

C: How do you have such great chemistry for only playing together for 2 years?

G: We are enemies. We hate each other and decided that’s the best way to start a band, with tension.

L: Glenn posted that he was looking for a rehearsal space, and I just saw it, beginning of lockdown, I’d just moved and needed a place to play. We started messaging and ended up getting two different rehearsal spaces in the same building, since the original space fell through. We were in the same spaces a lot of the time. I started posting videos on Youtube and he asked if I needed drums for it, since he was only 2 floors down. From there we started playing together.

C: How did you come up with the name Tremours? Not from the movie?

G: I would like to do merch with Kevin Bacon.

L: I like the movie but the name sounded how the music sounded, shaky. Tremolo. And with tremors in general, with anxiety. It was during Covid so everything felt unstable, hence the name.

C: What is the genre called?

G: Not shoegaze.

L: We have very different influences. I’m influenced by shoegaze, pop, psych rock, and droney. Glenn comes from a different world.

G: I’m influenced by Andy Weatherall, British Sea Power, Archie Bronson Outfit. Stuff that’s more upbeat.

L: He’s very into driving on top of everything, pushing it while I’m more lazy.

G: Lauren does dreamy, half-time nonsense. I come in and say ‘that’s bollocks, what would Keith Moon do over that?’

C: Your differing styles seem to compliment each other, balance each other out.

L: We do our own thing. I don’t ask him to play anything specific on drums and he doesn’t ask me to play anything specific on guitar. It works.

G: Lauren is floating in a meadow, while I’m on a train saying let’s fucking go.

L: We do different types of drugs if you can’t tell.

C: I heard you don’t have an album coming out, but you do have an EP?

L: We have an EP out that we did last summer, but we are working on our album and it should be out by early next year. [We] released a few singles as well on Little Cloud Records: 2 songs, singles, 7-inches, vinyl.

C: Do you have one show after this or continuing on with the tour?

L: We have one more show in Phoenix and then we’re coming back home.

G: Then we have a tour in October. The east coast and then a couple of shows in Canada.

C: Are you headlining that tour?

L: The east coast run is a co-headlining tour with our labelmate Ceremony. We did the same co-headlining tour with them last year on the west coast. They’re from New York. We’re gonna play in their world this time.

C: How are you guys doing since the car-jacking in Colorado?

G: I don’t drive so it was a good way to learn how to drive, by hanging out of the door. We were loading out from a show, our car wasn’t in the secure car park, no broken glass, hadn’t been towed, so someone nicked it. That was the first day of the tour, our clothes, drum equipment and Lauren’s computer were in there. Lauren called the police. We had a Kia SUV. I saw it drive past and I walked out to the front of the venue and saw our car to the right, idling. I walked up to it, had a stain on the back door from where we hid it at Union Station, something dripped on it. This car had a stain.

C: He drove it back past where he stole it. Flaunting?

G: I think he was just an idiot. If I stole a car I’d never drive it back past where I stole it. He had the passenger door open, hotwired, all of our stuff spread around the car. I come from the headquarters of the British Navy, called Pompey, so Pompey Glenn came out…and [he] doesn’t usually. He overflowed. I stepped in the passenger door saying “get the fuck out of my car.” The guy said it’s his car, and he paid $100 for it. The guy then started to drive off with me on the pavement. It was all Bruce Willis. I was hanging out of the car while he went fast. I was either going to die or get in. I grabbed his seatbelt, punched him in the face and he drove into the venue. I pulled the steering wheels, swerving for 3 blocks, crashed into the pavement. I said “get the fuck out or I’ll kill you.” The man then said “let me at least get my stuff out the car.” He ran out the car and left everything. The police came, dusted for everything, there were loads of drugs inside, needles. Loads of his DNA. I just got a few scratches and a bruise on my heart…but now that will be a song lyric.

C: So you mentioned you were in the Navy?

G: I’m from Portsmouth. It’s the headquarters of the Royal Navy. My whole family was in the Navy, but not me. I just got the tattoos and the attitude. I’m usually quite quiet but I don’t like people taking the piss. Then here comes Pompey Glenn.

C: Are you guys where you want to be, career-wise, what’s the dream?

G: I just want to keep playing, not struggling. I don’t want to be rich or famous. I’m not bothered. I do need to keep getting my visa, which would help. I want to make enough money to keep doing this. We’re actually nearly there and don’t even have an album out. I’ve been playing drums for years and I’ve paid my dues. We’ve both got endorsement deals with companies. We’re not fucking about.

C: Is there a question you wish more people would ask in an interview, and if so, what?

G: I wish more would talk about my cymbals. They’re Paiste cymbals. I love them and have been an endorser since 2004. All I’ve ever played. They’re Swiss. In comparison to Zildjian, they’re brighter. Estonian for “sunlight” or “sunrise” [actually: “shine”]. Best in the world.

L: I walk away for a second and you’re talking about cymbals…

G: She’d probably talk about shoes.

L: No, I’d probably talk about cats. I like all animals.

G: I’m allergic to cats and she loves cats.

L: Everything in our band is opposites. We have one black shirt with a ghost and one white shirt with a cat. The ghost is his and the cat is mine. I honestly like to mess around with gear. I would like to be asked specific questions about that. We never have gear nerd conversations.

C: I have noticed while photographing concerts the different pedal setups. No one board is the same. How do you create your own pedal board?

L: Everyone has their own sounds they like. I have sounds on my boards I’ve had for years and never changed them. Some are really old, vintage pedals. Even if everyone has the same pedals, they can put them in different order so it’ll sound different. I love when people are up in the front looking at your pedals [while performing].

C: How did you get into guitar, rather than other instruments?

L: It’s just something I picked up when I was younger, I’m self taught. My dad played as a teen, but that’s about it. I don’t play anything complicated. To me it’s all about soundscapes and building on them. I have more fun playing with the gear. If you can make one note sound interesting throughout the whole song then to me that’s impressive. I gravitate towards dynamic and sound changing than I do technicality of

playing. It’s cool to see people shredding but my soul loves to see someone play only three notes with a lot of feeling and making beautiful sounds.

C: There’s complexity in simplicity.

L: If you can keep people interested that long in one or two notes then you’re captivating. I like simple songs that are really hard to get the sound and feelings right.