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The Jesus and Mary Chain  

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The Jesus and Mary Chain (formed in 1983) are an alternative rock band, from East Kilbride in Scotland. The band is mostly orientated around the brothers Jim and William Reid.

They became well known in their early days as a duo for the violence that started at their live shows and their short sets.

The brothers wanted to start a band after being inspired from groups such as the "Sex Pistols" and in the early 1980's they finally formed their own.

In 1985 the group played a gig at the North London Polytechnic in front of one of their largest crowds to date. This was a big example of the violence that followed their performances, after making the audience wait for over an hour and playing for less than 20 minutes, members of the crowd starting smashing up equipment on the stage.

The brothers went on to buy their own recording studio in 1991 in London, where they made their first new studio single "Reverence", giving them their first biggest hit single in five years.

In 2006 the band decided to split after a lot of tension between the brothers. After that William Reid went solo and released his first EP.

But in 2007 the group confirmed their reunion at a performance for Coachella. And then in 2012 the band went back on tour throughout North America.

For the groups 30th anniversary it was revealed that a discography vinyl box set would be released for them. And in March 2014 the band signed to Alan McGee for the second time.

Live reviews

There are murmurs of expectation in the air around the streets just yards from the Troxy. It's Psychocandy. Yes, Psychocandy. The album that filled so many student bedrooms with its beautifully dripping mix of sweetness and aggression. The band who, under the gaze of Alan McGee, created such a rumpus with an attitude that kicked and punched the 80's out of its self important fug. For me, they were a huge influence at the time and for years to come. They still are. And, on tonight's performance, they are at a level of perfection that's difficult to match. But first it's the Amazing Snakeheads. I saw them headlining at the Electric Ballroom a few weeks ago. It's going to be too easy to list their influences. It's enough to say that they play some of the finest new rock n roll around. It's snarling, bluesy, raw, coiled and aggressive. Their followers adore them with an intense passion and they repay them with some slicing riffs and super tight rhythm section and a frontman lesson in screaming intensity from Dale Barclay. I love him. One small issue is that I do prefer them in a smaller venue, though. You need to feel the intensity and that's what the venue loses for them. But that's just me. Small venues. So the anticipation rises. Again. And then it's time. They're back. The band meander on with no fuss. William Reid, still with his wonderfully chaotic fuzz top, hooks his Gibson over his shoulder and gives us a downstroke. Jim Reid, I in his laid back, slightly shy drawl, tells the crowd that it would be presumptuous for them to assume that the crowd would want them back for an encore, so they're gonna do it first. And so it's April Skies. For me, it's full of nostalgia. The first song after Psychocandy and I heard it in the Hacienda on my birthday in 87. And tonight, the tears are there. It's beautiful. It's crystal clear and it's just a perfect opener. Head On, similarly is such a wonderfully executed song. Some Candytalking glistens and shimmers with such beauty. Upside Down is a bleeding fuzz of distortion and 60's melodies, and then it's Psychocandy the song to finally knifedge the crowd into a glimmer of what they are about to receive. They play Psychocandy in order. No frills. From the opening drumbeat and cascading distortion of Just Like Honey, the main set opens. William is hunched over his guitar, side on to the crowd and close to his Peavey carving out chord after beautiful chord of controlled sonic chaos and distorted melody. He creates such beauty with such ease. Jim redefined the nonchalance and cool of the frontman. But he also delivered in a way that laid bare his shyness and nerves at being the one who got the attention. Why me, almost? He still has that. The Mary Chain always played with a swagger. Still do. A beautiful swagger which was made even more beautiful by Jim's shyness upfront. I love his vocals but if there's one complaint, they are too low in the mix. But I can sing a long anyway so I'm not going to lose much sleep over it. The lightshow is a visual maelstrom with intensely rapid strobing all the way. It's about the Mary Chain tonight. And it's a like an avalanche. A bleeding avalanche of beauty delivered with that nonchalance and shyness that defined the band. But it's an avalanche in which you take solace. It's comforting. Psychocandy defined an era. A sound that defined how bands like My Bloody Valentine used aural assault to provide their fans with salvation. Without the Mary Chain, music would have had a hugely different soul. The Mary Chain are majestic tonight.

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On Friday, May 1st, 2015, I attended the Jesus and Mary Chain 30th Anniversary of Psychocandy concert at The Phoenix Concert Theater in Toronto, Ontario. The sound was crystal clear and no matter where you stood, you were never more than 100 feet from Jim Reid. The Phoenix is one of the best venues to see live bands in the city.

I met two men from Montreal who were seeing JMC for the third time. The first time they saw them was decades ago and the crowd was full of leather and metal clad punkers thrashing about. Jesus and Mary Chain played for about 5 minutes before walking off the stage. They saw them again last year, I believe, at the Osheaga Festival in Montreal. That time, the event organizers told them that they had to play 20 minutes at least in order to get paid. So Jim, William, and the band played for about 18 minutes and then set down the instruments, let the sound fade and then walked off the stage at the 20 minute mark. I knew that Jesus and Mary Chain hate playing live so this did not come as a huge shock. I was just hoping they would play at least that long this time as it would likely be the last tour they ever do and my last chance to see them.

I have been a fan of Jesus and Mary Chain since 1986 when I was introduced to them by my punk friend in grade 10. I followed them from then on and had all their cassette tapes (so I could listen in my walkman). Seeing them was on my list of bands I had to pay homage to live for a long time. They are who set me on the path to the goth and alternative lifestyles I enjoy and participate in to this day.

Jesus and Mary Chain played two sets at The Phoenix and performed for a welcoming and appreciative audience for about 40 minutes, which from what I heard must be a record!! The first set consisted of music from Automatic and Darklands and the second was the Psychocandy album in its entirety. I claimed a spot in the fourth row for the first half of the show, all the while scoping out a spot in front because that is where I like to be. I was 15 feet from Jim and William Reid at all times and it was amazing! Eventually, I squirmed may way in to second row just off center and was a mere 5 feet from Jim Reid and the band. I had a blast dancing, singing with the crowd, celebrating, and paying homage to the band that started it all for me.

We traveled from Prescott, AZ to Denver, CO to see the boys at the intimate Paramount Theater and had fine seats just a few rows back from the stage. I had not seen them since they played in Los Angeles a few years ago (at the Wiltern, I believe). That L.A. concert was phenomenal with superb acoustics and lot's of that trademark J&MC distortion and feedback, which enhanced the energy and impact and made for most memorable evening. I have to admit, the crowd energy was mostly there at The Paramount on October 23, but I didn't think the acoustics were very good and both Reid brothers seemed a lot more subdued - perhaps they are just a bit bored these days or age is catching up to them after so many years. Jim's vocals were mostly fine and especially soulful on "Darklands", but he seemed (and looked like) more of a proper Scottish businessman than I expected. And William also seemed a bit more laid-back as well, and, as mentioned, I would have appreciated a bit more feedback and guitar distortion from him where he played from mostly towards the back of the stage . The final song they played during the encore, "Reverence" was their best on this evening - full of passion and drive and at least left me mostly satisfied. I was glad to see them again and certainly hope to again; but a more studio-like high voltage pace would be welcome. Overall, I'd give this show a "C+" or maybe a"B", as opposed to that L.A. show a few years ago which was definitely an "A". But glad your're back, boys! Cheers and all the best for your future, Jim and William.

While studying at LCP I went to the nearby Ambulance Station to see hotly tipped Scottish noise merchants Jesus and Mary Chain. It was my Free Trade Hall experience, 23 minutes of pure unbridled noise and attitude. As a result, I went to see JaMC another 7 times in the following 15 years. Through their Krautrock-y Automatic period, and their Stones-ey and Dethrone-sy period. They never disappointed. So I was disappointed by the 16 year layoff that followed their disappointing 1998 album Munki.

in 2007, I was delighted to hear they were (like everyone else) reforming, and I went to the Roundhouse to see one of the most disappointing gigs of my life. As a result, I didn't bother getting tickets for the late 2014 concerts. But the reviews were uniformly excellent, so I went to see their early 2015 Psychocandy anniversary concert. All I can say is that they are back - slightly friendlier and less attitude than when they were young, but no less excellent. 90 minutes of searing, feedback drenched rock and roll. Awesome.

I've bought a ticket now for Levitation in Austin in May. JaMC and Primal Scream on the same bill, reckon Bobby will guest on a couple of tracks?

Getting to see The Jesus and Mary Chain perform live recently was such an incredible experience. Although some of the controversy that they were met with when they first came out has certainly died down and seems a little tamer in this day and age, I think that their passion for performing still comes through on stage crystal clear.

Jim and William Reid's lyrics are just as incredible as they were before the band broke up, and The Jesus and Mary Chain made sure to play newer material as well as some of their old hits when performing at the Festival Cultura Inglesa when in Sao Paulo, Brazil.

Their sound did seem a little out of place with some of the flashing strobes and fog, at least on some of their mellower songs, but it didn't dampen the experience of getting to see The Jesus and Mary Chain performing in the flesh at all.

I was especially grateful that they played two of my favorite songs, "Happy When it Rains" and, of course, "Just Like Honey." Jim Reid's vocals were every bit as powerful live as they were when I first heard the band back in the late 1980s, and it was great to get to see him and hear him putting his lyrics to life on stage.

Die Reid Brüder aus dem letzten Loch Schottlands waren Mitte der 80er auf der Insel der "hottest shit". Und das obwohl sie eigentlich weder gut Gitarre spielen, noch richtig singen konnten. Dafür waren sie (Ray Ban bebrillt) unheimlich cool. Keiner ließ den Hass gegeneinander und gegen den Rest der Welt so offensichtlich raushängen.

30 Jahre später gaben sie am 20. April den Auftakt zu einer kurzen Deutschlandtournee in der Centralstation Darmstadt. Darmstadt? Das letzte Loch Deutschlands? Na klar, wo auch sonst!

Mittlerweile ohne Brillen aber immer noch cool, ist der Auftritt etwas milder geworden als die oft in einer Massenschlägerei endenden frühen Auftritte. Auch wenn die Musik heute nicht mehr denselben Stellenwert wie damals hat, haben die Brüder gezeigt, dass sie nicht nur die alten Hits drauf haben, sondern durchaus in der Lage sind noch gutes neues Material zu liefern.

Die Reid Brüder boten in der vollen aber nicht ausverkauften (Darmstadt!) Centralstation ein Gesamtkunstwerk dar, welches sicher nicht nur alte Fans (dafür war der Altersdurchschnitt des Publikums zu gering) begeistert hat.

Opening with an opener from their most recent album, JAMC proved that they weren't exclusively tourists in their own past. A great set with songs spanning their entire discography, excluding Stoned and Dethroned and Munki. Each instrument occupied its own niche and were discernable, despite the shrill and often ear-piercing walls of sound that steamrolled out of the speakers. One example was during the performance of Reverence, during the droning E chord englufed with layers of reverb, modulation effects and distortion. Jim Reid's repetition of the line "I wanna die" was a clear as an April Sky (yes I also cringed at my own pun).The encore of course many classics from their debut, "Taste of Cindy", "You Trip Me Up" and one of my personal favourites, "The Living End". Jim was also overly critical of his vocal performance of "Cherry Came Too", which I and the audience in general thought was as good and melodic as it had ever sounded.

I would definitely recommend ear protection if you are prone to tinnitus; a great gig and band to see live especially if you're a noise pop/ shoegaze enthusiast :)

Once upon a time (1984), in a land far away (Plymouth) I saw a group of lads from East Kilbride play for twenty noisy, eventful minutes. Not quite so long ago (1992) they were part of a quartet of bands who played in what is probably the greatest gig night I've ever seen. They headlined a night with Blur (unexpectedly excellent), dinosaur Jnr and MBV. They were outstanding, in pretty amazing company. So, I went on Wednesday night with pretty high expectations. Great to see they can still rock with the best of them (if it wasn't for the pixies I'd say they were the best bunch ever to strap on an electric guitar...) and just as good to see those big strobes flashing behind them, as if they worked out what worked a long time ago, and have no need to change. The noise is amazing, the lyrics dark and beautiful, and the enthusiasm still as keen as ever. go and see them if you getr a chance.....

Saw JAMC at the Warfield in May 2015 on the Psychocandy tour - I also saw them in DC in Dec 1985 when they played the 9:30 club. At that time all the material they had was the Psychocandy songs. So for me, it was also a 30 year anniversary. Psychocandy is one of my favorite albums. So I was excited.

The sold-out Warfield shows (2700) were amazing, every song they played I considered a hit single, and the group played them immaculately. The tracks were a tad different than found on the album, but this is not a bad thing, they just enhanced the songs - more feedback layers, nice deep bass with Jim’s vocals ( I could understand every word he sung) made this one of the best shows I have ever seen. Don’t miss out – I think they are touring the East Coast in September and October 2015. On the West Coast, they sold out every venue, so buy your tickets early.

The show was, in a word, inspirational. First, the performance was incredible. The venue was the Variety Playhouse in Atlanta. It's a small, fairly intimate venue, and sadly the show was not nearly sold out. It would have been the perfect opportunity for the band to just "phone it in"; instead, like consummate professionals, they brought the noise. The set was tight and focused, and the distortion-and-feedback buttressed sonic wall still demonstrates (30 years later) why this band laid the groundwork for the shoegaze genre. Second, I'm in my early 50s, so the Reid brothers are about my age; I listened to their debut album, Psychocandy, in 1985 when I was just starting college. So to see these two guys still on stage and still making such powerful music, with such fidelity to the roots of their original sound, almost made me weep with appreciation.

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jesus mary chain australia tour

The Jesus And Mary Chain announce March 2019 Australian Tour

  THE JESUS AND MARY CHAIN bring their trademark searing, feedback drenched rock and roll back down under Brothers William and Jim Reid led THE JESUS AND MARY CHAIN to become pioneers of the post-punk […]

The Jesus & Mary Chain share single ‘jamcod’ and tell us about new album ‘Glasgow Eyes’

Check out the new single and details of a massive 2024 UK and European tour, as Jim Reid tells NME about new material, their raucous past, and burying the hatchet

The Jesus & Mary Chain have announced new album ‘Glasgow Eyes’ and shared new single ‘jamcod’. Check out the video first on NME below, along with details of their 2024 UK and European tour and our interview with Jim Reid.

Marking 40 years since the release of their debut single ‘Upside Down’, 2024 will see the hugely influential band – whose debut album ‘Psychocandy’ is considered a pivotal work in the development of alt-rock, noise pop and shoegaze – release their eighth studio album, an autobiography and a documentary, and also begin a world tour.

The 12-track new album was recorded at Mogwai ’s Castle Of Doom studio in Glasgow, and finds the band working with electronics and textures that seem to play on the band’s place in a lineage taking in The Velvet Underground and Suicide . However, Reid told NME that this wasn’t an intentional move.

“You go into the studio and you just feel your way around,” he said. “I guess what you’ve been listening to most lately has some sort of impact on the production values – writing, it’s always the same old deal really. I suppose that we were thinking it would be quite good to muck around with some synths and maybe just tweak the sound a bit.”

The album comes previewed by launch single ‘jamcod’, which Reid said came from “remembering painful past issues”.

“It was about the break-up of the band,” he explained. “It was actually about the night in the House of Blues when the band broke up [in 1999]. There’s another song, ‘Chemical Animal’, which is similar but different in as much as I was thinking back to the drug days and what it was like.

“When you get that deep into that whole shit, it’s like everything’s acting on instinct and you become like an animal and it’s all about drugs. It’s your driving force, the thing that gets you from a to b is whether you can score. It was a horrible way to live and I’m glad I don’t do that anymore.”

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Check out our interview with Reid below as he tells us about the making of ‘Glasgow Eyes’, their 40th anniversary, and the drug, alcohol and interpersonal issues which dogged the band before their nine-year hiatus of the early 2000s.

NME: Hello, Jim. Listening to the album, the song ‘American Born’ suggests you feel an affinity to US culture. Why is that?

Reid:  “William [Reid, brother and bandmate] lives in America so that’s probably got a lot to do with that. When the band started we liked a lot of 20th Century American culture, but by the time that we were talking about it, those very things had gone. When we first went to America it was both wonderfully exciting and hugely disappointing all at once. Just because you were retracing footsteps and going to places where great things had once taken place, but now it was all little guys with backwards baseball caps and shorts on and all that, ‘whooo! Hey man!’. It was like, ‘Fuck, this is not the kind of America that we that we were into’.”

How does it feel for The Jesus & Mary Chain to hit 40?

“It’s a bit surreal really. When you think back to when the band started, just the idea that we would still be making records still be touring the world 40 years later, would have just been unthinkable. But it’s happened and, shit, I’m enjoying it. There’s been a lot of highs and there’s been a lot of lows so it’s good to still be here.”

Considering your legendarily fractious relationship with William, have you learned to live with each other over that time?

“We’ve kinda had to. We’re brothers, and family brings you back together. Also, if we want to be in a band we have to learn how to not wind each other up. In the ‘90s, when the band broke up for that period, we would go out of our way to annoy the fuck out of each other and it isn’t healthy. It wasn’t that simple. It’s not like that’s why the band broke up. There was a lot more to it than that. But we had nine years in the wilderness, broke up for nine years, we got back together and by that time, we’d kinda patched up our relationship.

“But I knew the claustrophobic environment of being in the band together again, it would have to be different from the way it was back in the ‘90s. There are certain things, like he’d say something and if I respond in this way it will cause an explosion and I’m sure that he kind of addressed those issues in a similar way to me. If you want the train to keep on rolling you know what to do what not to do, and that’s where we’re at.”

It’s been six years since the last record ‘ Damage & Joy ‘, and that was the first one in 17 years – how do you decide it’s time to make a new record now?

“When it kinda feels right. The big gap between ‘Munki’ [1998] and ‘Damage & Joy’ was probably largely to do with me. When the band got back together I thought, ‘Well, this is OK, it’s working’ – but everybody kept saying, ‘Make a record’.  I wasn’t totally against it, but I just kept thinking about how horrific it was, the studio environment for the making of ‘Munki’. I kinda thought, ‘We’re getting on OK now but what happens when we go back into a studio?’ You’re right up against each other then and there are actually things to argue about. It’s not a normal situation.

“I was worried that we were going to go back to that, and it was going to be the breakdown again. Then eventually, years went by and I thought, ‘Well, we’re in this band, do we want to be travelling around just playing old tunes?’ What do bands do? They go out on the road, but they also make records. I thought fuck it, let’s find out. We went and made ‘Damage & Joy’ and as it turns out there were no screaming rows. There were no hatchets being buried in the backs of heads. We got on with making our record and it made us realise that that can be done now.

“As to why it took so long to make another one, I mean, we’re lazy. These days, everything’s on our terms. We tour when we want to ,we make records when we want to, so unfortunately somebody has to get a cattle prod to get us into action.”

Do you look around and see your influence everywhere in music?

“I like to hear other people say it really. It’s not like I sit there checking out new bands going, ‘They’ve been listening to us’. It’s nice when you get name-checked, it’s always nice, it always has been. That was the point of the Mary Chain at the beginning. OK, ‘Psychocandy’, it’s a 1985 record, but we didn’t see it that way at all. At that time, we were listening to things like The Stooges and Suicide and we thought, ‘Wouldn’t it be great if like 10, 15, 20 years later, people are still listening to ‘Psychocandy’. That was the idea.

“It wasn’t a record for the time it was made in, it was kind of a blueprint for what was achievable, really. We kinda thought it’d be great if little malcontents were sitting in their bedrooms in 30 years with that as their starting point and thinking ‘let’s shake things up a bit’.”

Beyond ‘Psychocandy’, are there moments along the way you’re particularly proud of?

“All of the records, I think, speak for themselves. ‘Psychocandy’ gets talked about a lot so we tend to do it. I don’t mind that people want to talk about ‘Psychcocandy’, I’m still very proud of that record. But I think ‘Munki’ was as good a record as ‘Psychocandy’ but people don’t talk about ‘Munki’ so much. All of the records, to me, still stand up. They still say what they said at the time. They’re still doing it.”

You have an autobiography on the way – what can we expect from that?

“It’s just us talking to Ben Thompson. We just told him our story and he’s editing it all together. It’s just us jabbering on about us as usual. There are a few amusing anecdotes, I guess. If you’re interested in the Mary Chain I’m sure it’ll make good reading.”

And there’s a documentary coming as well?

“That’s very early stages. I’m not really sure how that’s gonna go. We’ve not really filmed anything too much. But again that’s us just working with Ben Unwin who made some of our videos back in the ‘90s. He’s pulling that thing together.”

You’re planning a tour in March and April 2024. Do you enjoy the experience now?

“I do more now, strangely enough, than I ever did. Just because everything seems easier now. Everything’s decided by us, we only tour if we want to, there’s nobody really putting any pressure on us. That makes it much more enjoyable. It’s weird – I’ve been doing it for nearly 40 years and I still get utterly terrified before every gig. That ruins it a bit for me because I tend to get more and more nervous the closer it gets to the show. It doesn’t matter what size the venue is – in fact, I almost get more nervous in smaller clubs than I do in bigger venues. But now the shows seem a lot more in control.

“In the ‘80s and ‘90s I didn’t do a single sober gig, and never had done, because I found the whole experience utterly terrifying. I’m a naturally shy person so the idea of being the frontman in a rock’n’roll band, looking at an audience, I just couldn’t deal with it. The only way I could cope was to get fucked up and I never did a sober gig. The first sober gig I did with the Mary Chain was at Coachella in 2007, and that was terrifying, but once I realised that I could do it sober I started to think, ‘Well, not only can I, but I prefer it’. If you go out there and you’re sober and something goes wrong, instantly you know what it is and you know how to fix it.

“In the old days, you’d be standing there in the middle of the stage totally fucking wasted, you’d hear that something wasn’t right, then you’d be going ‘I don’t know what it is, I don’t know how to fix that, oh fuck’, and then you’d just start smashing things up to cover up for someone’s mistake. Sometimes you can do these things better when you’re thinking clearly.”

‘Glasgow Eyes’ is out March 8, 2024, via Fuzz Club and can be pre-ordered here . Check out the tracklist below.

‘Venal Joy’ ‘American Born’ ‘Mediterranean X Film’ ‘jamcod’ ‘Discotheque’ ‘Pure Poor’ ‘The Eagles and The Beatles’ ‘Silver Strings’ ‘Chemical Animal ‘Second of June’ ‘Girl 71’ ‘Hey Lou Reid’

The band will also be hitting the road from March 2024. Fans who pre-order the album before 10am on Friday 1 December will receive priority access to tour tickets. Tickets will be available here .

MARCH 22 – UK, Manchester, Albert Hall 25 – Ireland, Dublin, Olympia 26 – UK, Belfast, Limelight 1 27 – UK, Edinburgh, Usher Hall 30 – UK, London, Roundhouse

APRIL 2 – Denmark, Copenhagen, Amager Bio 3 – Sweden, Gothenburg, Pustervik 5 – Norway, Oslo, Rockefeller 6 – Sweden, Stockholm, Munich Brewery 7 – Sweden, Malmo, Plan B 9 – Germany, Hamburg, Markthalle 11 – Germany, Berlin, Huxleys 12 – Germany, Cologne, Live Music Hall 13 – France, Paris, Elysée Montmartre 15 – Switzerland, Geneva, L’Usine 16 – Switzerland, Winterthur, Salzhaus 17 – Italy, Milan, Alcatraz 19 – Austria, Krems, Donaufestival 20 – Germany, Heidelberg, Halle O2 21 – Netherlands, Tilburg, Roadburn Festival 23 – Belgium, Brussels, AB 24 – Netherlands, The Hague, Paard

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• March 12, 2019 Setlist

The Jesus and Mary Chain Setlist at Forum Theatre, Melbourne, Australia

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• Amputation Play Video
• April Skies Play Video
• Head On Play Video
• Far Gone and Out Play Video
• Some Candy Talking Play Video
• Teenage Lust Play Video
• The Living End Play Video
• All Things Must Pass Play Video
• Between Planets Play Video
• Blues From a Gun Play Video
• Halfway to Crazy Play Video
• Taste of Cindy Play Video
• War on Peace Play Video
• Reverence Play Video
• Just Like Honey Play Video
• Cracking Up Play Video
• In a Hole Play Video
• I Hate Rock 'n' Roll Play Video

Edits and Comments

5 activities (last edit by dirkvandamme , 22 Mar 2020, 15:21 Etc/UTC )

Songs on Albums

• Between Planets
• Blues From a Gun
• Halfway to Crazy
• Just Like Honey
• Taste of Cindy
• The Living End
• Far Gone and Out
• Teenage Lust
• War on Peace
• Cracking Up
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• Mar 08 2019 The Tivoli Brisbane, Australia Add time Add time
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The Jesus and Mary Chain’s Jim Reid on the Making of Psychocandy

By Rebecca Bengal

Tonight outside L.A., nearly 30 years after the release of their influential album Psychocandy , brothers Jim Reid and William Reid of the Jesus and Mary Chain kick off a U.S. tour in which they’ll perform that record in full. Psychocandy was bristling shoegaze malaise: classic sixties girl group drumming and pop melodies awash in a blitz of guitar feedback—the sonic equivalent of the sight of an industrial needle being dragged over a sequined dress, or “as if the Shangri-Las were backed up by a noise band,” as frontman-by-default Jim told me recently. If the Velvet Underground gave the Jesus and Mary Chain dark, distorted hope, their Scottish summer noir left the door open for bands like My Bloody Valentine.

The Reid brothers didn’t wear sequins or chignons of course, they wore punked-out bedhead and deadpan expressions and all black; they played dramatic, practically atomic shows, often with their backs to the audience, that had a tendency to erupt in total chaos. They shot videos by the boardwalk that they claimed were inspired by the Monkees. They covered the Beach Boys, Bo Diddley, Howlin’ Wolf, the Cramps; their own songs were covered by the Pixies and Primal Scream. They were young and restless and like so many famous pairs of musician brothers from the Everlys to the Wilsons to the Gallaghers , they fought bitterly, having it out onstage and off, breaking up and getting back together again. The interviews they gave were hilariously droll, full of bravado or a total prank. The music went on ( Darklands , Automatic , and more), until sometime in the nineties when they broke up ostensibly for good. But theirs is a kind of music that keeps resurging again, whether rediscovered in your own record collection or revived by the wider world: a new generation was turned on to Psychocandy, for instance, when Sofia Coppola let “Just Like Honey” play after Bill Murray kisses Scarlett Johansson goodbye in Lost in Translation and rides off through a melancholic, gray-skied Tokyo .

“You look like the Jesus and Mary Chain at the beach,” still ranks as one of the best compliments I’ve personally received and I don’t even remember what I was wearing that day but even more so than what that said about my own clothes, it seemed to rather perfectly capture the anomaly at the heart of their music. Why should the members of a band whose sound depends on its innate sense of conflict, pop melody vs. freeform noise, ever get along, in fact? I was more than happy to call up Jim Reid in Scotland recently, where he’d just finished shuttling his kids to piano lessons, was about to shuttle himself the following weekend to join William (who now lives in the States) to play All Tomorrow’s Parties, and where he recounted the before and after of Psychocandy in his appealing bone-dry manner.

So, happy thirtieth Psychocandy anniversary! Traditionally you’re supposed to give, what, diamonds or pearls for major wedding anniversaries? I don’t know what you give a record. You give it a tour.

Touché. 1985, when the album came out, was a pretty bizarre year in music—you had “We Are the World” and Live Aid and Farm Aid, and Tipper Gore and the PMRC censors, but then also you had Judas Priest being blamed for teenage suicide. And then your had Psychocandy released. What did you think about the world that you were bringing that record into? Um, well, the eighties, I didn’t feel very comfortable in that decade. I mean everything about the eighties went totally against the grain of what we were into. We hated everything we heard on the radio and that’s why we made this record.

Yeah, you once said that the bands that “didn’t make us want to puke back then” were the Birthday Party and Echo and the Bunnymen. What else? We grew up in a little town called East Kilbride and there wasn’t a lot of live music, there was nothing to do. I mean it wasn’t the worst place on earth but it wasn’t that exciting. If you wanted to see a show you’d have to go all the way to Glasgow and then figure out how the hell to get home after. Also, we were quite poor so we were only going out when we had some work. For us it was more like buying records or borrowing records. We got into the Stooges and T. Rex and punk rock and then when it all kind of gelled, the moment of crystallization, was hearing the Velvet Underground.

But that’s the genius of the Velvets—they were essentially just a psychotic pop band after all. I mean what universe were they living in to think that “I’m Waiting for the Man” could be played on the radio? It’s such a subversive, deviant pop song.

And then came several years of writing songs and hashing out your sound. The way it worked was we decided to get a band together, and that got talked about for a long time and we thought, we’ve got to get up off our asses and actually do something. When we heard punk music we thought we could do this. But, us being lazy, that took quite a while.

We planned the whole record for years. Even before the songs existed, we’d just sit around talking about the music, the album. At the time we were listening to sixties pop and eighties noise—I’ve said this so many times but it’s true, we pretty much wanted to do a song with both Shangri-Las pop and the production values of Einstürzende Neubauten. Like if the Shangri-Las were backed up by a noise band.

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Production-wise, you were ultimately pretty much given free rein. We knew exactly what we wanted to do with the record but we didn’t know our way around a studio. We would do a few days, we’d argue with the so-called producers, eventually we were put in touch with engineer John Loder who had this old garage he’d converted into a recording studio. He basically set up the desk and said, You do it yourself, I’ll be upstairs if you need me. He had a distribution he ran for some record labels out of his house. It was great, but I mean no one else would have let us do that. God knows what would have happened if it hadn’t been for him.

Once you started playing out, it seemed you were also having a bit of fun with the idea of performance. How much of that sort of willfully destructive, playing-with-your-backs-to-the-crowd stuff was straightforward and how much was sort of a parody of the whole rock star thing? There was a bit of that, sure. You have to remember we’d never been in a band before. We didn’t know the rules. We didn’t know what we were supposed to do. Nobody gave a fuck about us. We’d never been on stage before. Half the time you don’t know what you’re doing and you get up there and you’re scared.

So then it all snowballed from there, that’s where the chaos began. We’d get rather tanked up and it was hard to keep things together on stage. I mean you could hardly stand up sometimes.

And how were you and William getting along during that period? We always bickered, as kids, but for the first couple of years before the band and in the first years of the band we seemed to get along all right. We seemed to discover the same music at the same time. It was the me-and-William-against-the-world attitude.

But bit by bit, it’s hard to describe exactly how, it just changed. I mean there’s only so much oxygen a band can produce and suddenly we were arguing all the time.

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The story goes that you became the frontman of the band by default: you lost a coin toss. I didn’t want to do it. I lost the toss and became the singer. We were both absolutely horrified at the very thought of it, the idea that you had to have someone standing in the middle of the stage singing. It was like, I don’t want to do it. And he was like, well I don’t want to do it.

I thought you had to be a certain way to be a frontman. I thought you had to be a cartoon character—I’m not putting him down, but I thought you had to be Iggy Pop. I didn’t think I could be that animated. So I’d drink or take drugs to do it. It took me a long, long time to realize you don’t have to do all that onstage. I struggled for years and years with the idea, and eventually I came around to just, well, fuck it, I do what I do. I struggle with drinking and so does my brother—for the time being I’m sober, but I’m sure there’s a moment where I’ll have a drink again. But it makes it so much easier playing shows without drinking. If anything goes wrong onstage, you can actually react to it and deal with it.

Does playing these songs again bring up anything for you? Do you ever slip back into the person you were then? There are quite a few songs on Psychocandy that we didn’t ever play live. I mean songs like “In a Hole” and “Just Like Honey” have been played so much but for some reason we would never play “Something’s Wrong” or “[My Little] Underground.” I don’t know why we didn’t back then but standing onstage, playing them now, I’ll suddenly get a flashback to standing with an acoustic guitar in my mom and dad’s living room in 1984 in East Kilbride. It’s weird.

What would you say now to that 30-years-ago self? Well, I used to say to people we want to be big. Quite seriously we’d say, we want to play Wembley Stadium. And how ludicrously naive that sounds now, in a way, that you could ever think of playing these songs there. But that’s what we believed; we wanted to take them to as many people as we could.

I mean it was kind of a depressed indie scene that was happening around that time, it seemed to be a celebration of failure. Everyone seemed perfectly happy to be playing some little pub to 20 of their friends. But we’d grown up watching Marc Bolan on Top of the Pops ; fuck, I mean why not do that ?

You’re continually getting “rediscovered” by later generations. Yeah, at the shows now there seem to be a good portion of kids who weren’t born when Psychocandy was made so it feels less about nostalgia, it’s not just people who’ve been listening all along. That’s great too but it’s sort of heartening, when you see kids now getting into it. Younger bands and things like Lost in Translation will name-check the Mary Chain and that gets them into discovering us.

What music do you listen to now? I stick to my record collection. I live in the middle of nowhere so I don’t go to see shows much. I mean, music is a cycle. If you tune in, you’ll kind of come round again. Essentially that’s what rock 'n' roll is, bits and pieces cycling through. Nothing is ever entirely original or new. I mean, I’d just rather listen to Joy Division than some new band that “sounds like” Joy Division. And I’m sure that there are people, who when the Mary Chain first came out would rather have listened to, say, the Velvet Underground than listen to us. But I’ve got thousands of records, I don’t really need any more.

Wait, but what about that one Belgian TV interview where you famously dis Joy Division? [Sighs heavily] I hate that clip. What it was, we were doing this show and beforehand someone says to us, well this guy’s a massive Joy Division fan so whatever you do, don’t say anything bad about Joy Division. Of course that was a red flag before a bull with us. I had no idea anyone would be watching it or that anyone would still be watching it now but they are, endlessly, it seems. It just so happens that Joy Division was and is one of my favorite bands.

I keep hearing rumors of a new Mary Chain album, is that happening? There’s been talk of a new album for like five years but as usual my brother and I are fighting over it—where to record, how to record it, that’s the contentious issue. I think now we’re in agreement as much as the two of us can ever be in agreement about anything, so we’ll see.

This interview has been condensed and edited.

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The Reid brothers, now 40 years into their music career, are releasing new album Glasgow Eyes in March

As fraternal band combos go, the Reid brothers are up there with the Gibbs, Gallaghers and Greenwoods: their group the Jesus and Mary Chain have been going on and off for 40 years, still riding a wave of gorgeous fuzz. As they release new album Glasgow Eyes, they’ll be answering your questions.

Living on the dole and recording demos on a four-track bought with their father’s redundancy money, Jim and William Reid emerged from dim prospects in East Kilbride, Scotland, to record a body of rock music that blended the sweetness of 60s girl-group pop with the noise and clamour of punk and the Velvet Underground.

From 1984 they built a formidable live reputation, playing short but deafeningly intense gigs, even prompting the Sun to report worriedly on them. Members came and went, including Primal Scream’s Bobby Gillespie as drummer, but they vaulted from Alan McGee’s nascent Creation Records to a subsidiary of major label WEA, which released debut album Psychocandy in 1985, topped with what has become their signature song, Just Like Honey . Their commercial success grew and they even hit the Top 10 of the singles chart in 1987 with April Skies, but they didn’t dilute their irreverent and often splenetic songwriting for a mainstream audience – the BBC twice banned their singles due to confrontational or drug-referencing lyrics.

In the 90s they undertook legendary tours such as the quadruple-headliner Rollercoaster with Blur, Dinosaur Jr and My Bloody Valentine and a stint in the US travelling festival Lollapalooza (“thousands of Beavises and Buttheads”, William complained of crowds at the latter), and by the end of the decade they had released six albums in all. They were also at the end of their tether – “after each tour we wanted to kill each other, and after the final tour we tried,” Jim later said. The band split up in 1999.

They re-formed in 2007 – Scarlett Johansson was a guest performer at their Coachella comeback gig – and began touring and gradually writing again, resulting in 2017’s Damage and Joy . They’re now following it up with Glasgow Eyes, informed by jazz – “but don’t expect ‘the Mary Chain goes jazz’”, Jim has said – as well as the pulses of Suicide and Kraftwerk.

Ahead of its release on 8 March, a European tour later that month and a memoir published by White Rabbit Books later in the year, the brothers will look back at their career through Guardian readers’ questions – post them in the comments below, and their answers will be published on 26 January.

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Tue 23 Apr 24

The jesus & mary chain, + deathcrash, the jesus and mary chain: 40 years.

The Jesus and Mary Chain , one of the most influential bands of their generation, will celebrate their 40th anniversary in 2024 with the release of a new album, 'Glasgow Eyes', the first single from which, 'jamcod', is already available. The Reid brothers will continue the celebrations with a tour that will bring them to the Ancienne Belgique on Tuesday 23 April. An unmissable event!

The Jesus and Mary Chain formed in 1984 and released 'Psychocandy' a year later, a debut album that simply changed the course of music history with its hypnotic melodies punctuated by haunting and disconcerting dark lyrics. With their screaming Velvet Underground guitars, trashy attitude and bad-boy looks, they're killing it with their over-the-top live performances. Scheduled for release on 8 March, 'Glasgow Eyes' follows 2017's Damage and Joy, the band's first studio album since they reformed in 2007 after a nine-year absence. Jim and William Reid recorded their new album at Castle Doom, Mogwai's Glasgow studio, with the same creative process but also with a calmer relationship than at the start of their career. 2024 promises to be an exceptional year for fans of The Jesus and Mary Chain: the brothers will also unveil an autobiography, a documentary and a world tour starting in March.

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The Jesus and Mary Chain have set the wheels in motion for a landmark year ahead as they announce the March 8th release of their new album Glasgow Eyes and single ‘jamcod’.

The duo - brothers jim and william reid - will further mark their 40th year in 2024 with an autobiography (published by orion/white rabbit), and a major european tour which comes to 3olympia theatre on monday  25th march 2024 ., with special guests aircooled. .

Tickets priced from €47.70 including booking fee & €1.50 restoration levy on sale now with Ticketmaster Ireland

Glasgow Eyes was recorded at Mogwai’s Castle of Doom studio in Glasgow, where Jim and William continued the creative process that resulted in their previous album, 2017’s Damage and Joy , becoming their highest charting album in over twenty years. What emerged is a record that finds one of the UK’s most influential groups embracing a productive second chapter, their maelstrom of melody, feedback and controlled chaos now informed more audibly by their love for Suicide and Kraftwerk  and a fresh appreciation of the less disciplined attitudes found in jazz.

Jim Reid says, “But don’t expect ‘the Mary Chain goes jazz.’ People should expect a Jesus and Mary Chain record, and that’s certainly what ‘Glasgow Eyes’ is. Our creative approach is remarkably the same as it was in 1984, just hit the studio and see what happens. We went in with a bunch of songs and let it take its course. There are no rules, you just do whatever it takes. And there’s a telepathy there - we are those weird not-quite twins that finish each other’s sentences.”

The album’s first single, ‘jamcod’, welds dark electronica with the immense guitar sound that can only be that of William Reid creating an instant Mary Chain classic that’s also undeniably fresh and radical.

‘jamcod’ and Glasgow Eyes not only extend The Jesus and Mary Chain story, but feel simultaneously like a return to roots. From the incendiary Psychocandy debut and its classic ‘Just Like Honey’ onwards, the Reid brothers steadily became the misfits who made good without compromise.

Approximate stage times as follows, doors open 7pm, Aircooled due on stage 8pm to 8.40pm, with The Jesus And Mary Chain due on about 9.10pm. We expect the show to be over around 10.45pm/11pm or so.

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