Interview: Chris Maitland

While better known for his time as Porcupine Tree’s drummer from 1993 to 2001, Chris Maitland’s first work with Steven Wilson was the 1993 No-Man tour.
Chris was kind enough to answer several of my questions about both the tour and the sessions for Flowermouth.

How did you first hear about the band?

In an advert for a drummer at the back of the Melody Maker weekly music paper.

Previously I’d become practiced at London auditions resulting from answering ‘MM’ ads which often were from worse bands than I’d been accustomed to playing with even at sixth form colleges in my hometown of Cambridge.

Very disconcerting as I aspired to greater things in London.

I started to only answer the bigger ‘box’ ads as these were more likely to have been afforded by bands with management or record company involvement.

It worked, as the previous year I’d successfully auditioned to be the drummer for Miles Copeland’s managed band ‘Middleman’ (another band with ‘man’ in their name!) and been properly retained by ‘One Fifteen’ management.

When that year’s contract ceased I returned to answering ad’s and was back auditioning at the rehearsal studios near Shepherd’s Bush then called the ‘Nomis Complex’.

What was the audition process like for the live band?

This has been answered in the clips within No-man’s ‘Mixtaped’ DVD (the relevant clip is also within ‘videos’ at my website). You’re welcome to quote from it if you like.

Any particular memorable shows from the 1993 live tour?

All of the shows I enjoyed playing very much.

One that was memorable for me was at the Kentish Town Forum supporting the band ‘Magazine’.

I’d invited along some musicians, who had not long since played with The Who & Eric Clapton, to see me play at a well known London venue. As I kicked into the power of the opening number, fully expecting in synchronization with the music going from nothing to everything that the stage would go from pitch black to fully lit, to my horror we stayed in darkness!|

How disappointing that the lights didn’t work just on that special occasion I thought. Little did I know that Tim had invited someone to do slide projections who’d killed the lights so that they wouldn’t wash out and detract attention from these.
Horrible for a performer who believed his remit was to be an important and integral part of the visual interest and was looking forward to being ‘seen’ doing so!

Do you have any pictures from the tour? It seems to be the only one I can’t find any photos from

I don’t think so – I think I would’ve been aware of any by now.

There has been mention of a professional recording of the final gig of the tour. Do you have any information about that? 

No, not aware of that.

When during the Flowermouth recording sessions were your drum tracks laid down?

I don’t know the answer to this but i’m sure Steven would know.

You are credited with percussion on Animal Ghosts. How much of what we hear is you and how much is that of drum machines and the like?

Having just listened again to this I believe i’m playing solely bongos which are not really obvious until a breakdown in the track at 3:14. Then it’s possible to hear how they as real percussion differ from the other electronic drums & percussion previously heard.

Were there any songs that you did drums for during the Flowermouth sessions that didn’t make the album?

I don’t think so though i’m not sure. Again Steven would be the one to ask.

When did Steven ask you to join Porcupine Tree? Was it during the recording sessions for Flowermouth?

I think it was later but while I was packing up my kit after the Flowermouth sessions there was some new ‘Floyd’-like music playing in the studio which caught my ear. I didn’t know it was Steve who’d put it on and also didn’t know it was actually Voyage 34! I guess he was seeing if I’d show an interest in it which of course I did.

I also asked Chris a few questions about his time with Porcupine Tree and beyond

Both Steven and Colin have posted about having full copies of the very first Porcupine Tree show on cassette. Do you have one as well?

I don’t think so – I’ll have to look in the loft!

How did your involvement with I.E.M. (Incredible Expanding Mindfuck) come about?

Simply by Steve making music under a different banner & asking me to do the drumming. As he was working under a different name I decided to use a pseudonym. I’d previously made up the name Jennis Clivack so used that!

Were you influenced by the work of Talk Talk’s Lee Harris for Stop Swimming?

Not at all – but I do love Talk Talk’s music. Does one of their tracks have a similar pattern?

How did your involvement with the Blackfield TV gig at the end of 2003 come about?

Having recorded tracks previously for Steve’s project with Aviv which later were released on Blackfield’s eponymous first album, Aviv rang and asked me. I was very pleased and particularly to have the opportunity to work with Steve again.

Are you still in contact with Steven, Tim and the rest of Porcupine Tree?

Steve & I are mostly only in ‘business’ contact – I never get to see him socially- he’s too busy apart from anything else!

I’ve lost touch with Tim & Colin.

I still meet up with Richard Barbieri about once a year.

And finally, will we be seeing you back behind the kit in the studio or on tour with any progressive rock bands in the near future?

That would be nice but I don’t hold out much hope of being asked and i’ve never got very far with putting my own project together. I love performing live and have lots of musical ideas that i’d love to be included in the creative process but these days my energies are consumed learning West End chair holders’ drum parts.