Emerging from the basements of Edinburgh in the early ’80s, Fini Tribe were a band driven by art, experimentation and defiance. Blending post-punk, industrial and electronic elements long before it was fashionable, they built a world entirely their own. With the release of “The Sheer Action of Fini Tribe: 1982–1987”, their raw beginnings are finally celebrated. In this exclusive interview, founding members Chris Connelly (vocals) and Davie Miller (guitar, vocals, noise) look back on those restless, creative years — the chaos, the laughter and the uncompromising DIY spirit that made Fini Tribe one of Scotland’s true originals.
by Dimitris Zacharopoulos
With “The Sheer Action of Fini Tribe: 1982–1987” anthology about to be released, how do you feel about it?
(Chris Connelly) We worked hard on it-both then AND now, there were not many releases back then, so it feels good to have that early material out there for the first time.
(Davie Miller) It’s been great having everyone from the band involved in some capacity. Our sense of humour has remained intact. When Chris was over from Chicago for the launch events in Edinburgh and Glasgow we had a wonderful time together. I am very proud of the album. It’s an amazing document of our time together.
How did it feel to revisit your early material, while putting together “The Sheer Action of Fini Tribe: 1982–1987”?
(Chris Connelly) It was a revelation! Although, over the years I have listened to it, there are some things on the album I have not heard since then, I am very proud of our work.
(Davie Miller) As Chris says, there were a few things I hadn’t listened to in a very long time. In fact, once and album is released I very rarely listen to it ever again. There are at two tracks on the record which id never heard before as I hadn’t joined at that point. It was great to hear how tight we were playing those songs. We used to rehearse almost every day.
What was the biggest challenge in curating and remastering this anthology after so many years?
(Chris Connelly) The biggest challenge is hunting down material from reliable audio sources, finding visual material, but I would hardly call it a challenge, it was a lot of fun!
(Davie Miller) No challenge, it was a joy to work on. Chris arranged the mastering with someone he trusted implicitly.
Can you share a memory from those early Niddry Street or Blair Street rehearsal days that captures the spirit of the band?
(Chris Connelly) We shared our space with another band and once they left the electric heater on all night which cost a fortune! So we smashed the fuck out of it! Don’t mess with the FINI TRIBE!
(Davie Miller) We all used to wear long overcoats and as much as it was a style choice of sorts it was also to keep warm because we smashed the heater up and didn’t replace it. The rehearsal rooms were in the sub basements of old town tenements and very damp and cold. It was good for us. Toughened us up.
Fini Tribe’s music blended industrial, post-punk and experimental dance before that became fashionable. Did you feel like outsiders or part of something bigger?
(Chris Connelly) We didn’t think we were blending anything, we were just being us, and yes, we were outsiders, we had little in common with anyone else, but we were so busy, it did not matter, it was all about the creative work.
(Davie Miller) We were most certainly outsiders and very happy to be so. We have never felt part of any scene . As soon as you become part of a scene you are fucked . Don’t do it kids.
How did the band’s shift from guitars and noise to sampling and electronic textures come about?
(Chris Connelly) Basically because we got an affordable sampler, and that opened up our horizons considerably, everything was still played live, but we could just invite so many new sounds into what we were doing.
The John Peel Session from 1985 is legendary. What do you remember about recording it, and how did Peel’s support affect the band?
(Chris Connelly) I remember being nervous and playing really fast! It was an amazing opportunity for us, and both PEEL and his producer JOHN WALTERS were incredibly kind to us.
(Davie Miller) We had played a couple of Peel’s roadshow gigs so we had met him and we got on and he seemed to like us. The invitation to play a session was a huge honour. Dale Griffin, Mott the Hoople’s drummer produced it and was mightily impressed with Simon’s drumming. I remember the BBC canteen was great. Everyone was amazing to us . It was an incredible experience.
Your performances were often described as chaotic and art-driven. How much of that was planned and how much spontaneous?
(Chris Connelly) We planned and choreographed it all, we were determined to bring a multimedia format when that kind of thing onstage was in it’s infancy, groups like the BLUE MAN GROUP years later became popular, we were doing that kind of thing years before.
(Davie Miller) It became a much more interesting way to work. There is only so much you can do with a standard guitar, bass and drums outfit. We were all inspired by art and artists , writers and film makers so in a way it made complete sense. It was intense and hard work but worth every bit of it. We all retain the magic and scars of those performances.
“Detestimony” remains a cult classic. What inspired that track and its distinctive church-bell sound?
(Chris Connelly) There are a couple of stories, but I feel like I remember a friend giving us a reel of tape with bells on it, Myself, John Vick & Philip Pinsky were messing about with our new sampler and sampled the bells and came up with the melody.
Signing to WaxTrax! was a major step. How did that connection come about, and what was your impression of the American industrial scene at the time?
(Chris Connelly) WaxTrax! had an office in London and I went to visit with a demo of ours, the people at the label were so welcoming and finally we had met someone who wasn’t a complete snob and was keen on taking a chance on us, Al Jourgensen was there at the time and loved it and was determined to get us on the label. I did not know there was an American industrial scene, I thought most of it had evolved from Brussels, I was surprised to find out Al was American!!
(Davie Miller) When Chis went to visit Southern Studios, Home to Lee Perry, Adrian Sherwood etc. a whole new world opened up to us. Not one record company arsehole had ever been interested in us. I think we have some of the many rejection letters in the archive. Southern were keen, interested and we started to learn about the business end and we fitted in surprise surprise. They were great. I met Iain MacKaye from Minor threat there one weekend. It was so good to meet and hang out with him.
Chris Connelly’s later work with The Revolting Cocks and Ministry took Chris deep into the Chicago scene. How did that experience influence Chris’ perspective on what Fini Tribe had created?
(Chris Connelly) Fini tribe was very different to that, I think Adrian Sherwood was a common link in that he was making sounds at that time that were really HUGE, the drums and bass especially, and the use of sampling were important to us.
The anthology includes essays from Shirley Manson and Alastair McKay. How did their contributions shape the narrative of the release?
(Chris Connelly) They were always so supportive of us, and they continue to be! We were honored that they wrote what they did.
(Davie Miller) We have had so much incredible support from our friends, writers and journalists we knew at the time. Shirley has always had our back and Alistair is fine writer. It really helped build the momentum and excitement for the release.
The sleeve design and packaging are clearly made with love. What was it like to collaborate visually after so many years?
(Chris Connelly) Well, that’s Andy McGregor, he was always the man for the visuals in the band, however, we ALL were visual artists, and Andy found some of our own Fini related work for the cover, so he managed to make it this timeless collaboration of us all, he is an amazing artist.
(Davie Miller) I have nothing to add to that. Chris is spot on.
There’s a strong DIY ethic throughout your story. How important was that independence to the band’s identity?
(Chris Connelly) It didn’t occur to us to be anything else, it was our sound and our vision, we didn’t need or want any help, it grew organically out of us, and we started young, 14/15, and at that time it was a lot more common to find yourself against the grain, we didn’t want to be pop stars, that stuff got in the way, we were having a brilliant adventure, obviously, there were bands we looked up to, but all of them did it by themselves, and it was amazing to witness how rapidly we changed, any proper record company would have freaked out. We grew out of a time when the DIY ethic was strong, you could borrow gear and play a gig, or record and release a cassette if you wanted.
Listening back now, which song best represents who Fini Tribe were during those formative years?
(Chris Connelly) Great question! But there is no one track, 5 years is both a small time and an expanse of time, we couldn’t sit still and we worked so hard at our craft, I think the overarching take away I have is how uniquely US it is, no one else could have done it, and we were not being contrarian in that respect, we just focussed inwards when we created, and this is what came out!
(Davie Miller) Again, I think Chris has answered those two questions completely and I cannot identify one track. They all do.
Were there any tracks or recordings that surprised you when revisiting them for this compilation?
(Davie Miller) “Restless” is utterly bonkers fast but wonderful.
The Edinburgh art and music scene was intertwined back then — did visual art or film directly influence your music?
(Chris Connelly) Certainly, growing up in Edinburgh was an absolute privilege in terms of being exposed to incredible culture all the time, not just the festival, although that was just brilliant too, So we spent a lot of time walking around galleries and soaking up modern film, I have known Andy since we were 5 and we used to just take off on Saturdays and go to the art galleries, it was free! And it changed us, it’s a habit that is still with us today of course.
(Davie Miller) Edinburgh is still the home to the Edinburgh Festival and International festival which I believe are known to be the biggest art festivals in the world. We are very lucky and privileged to have many galleries and to know artists who work here. It was something we all did and took part in. We have all made visual art at points in our lives, but we were extra lucky to have Andy in the band who was studying at Glasgow School of Art.
How do you think today’s audiences will perceive this material, especially those discovering Fini Tribe for the first time?
(Chris Connelly) I have no idea, there is a thing that happens with your own creation, I am so proud of our work, but we created it, I do not have any detachment or objectivity because I love it so much. I hope that people get something from the spirit of our creativity!!
(Davie Miller) I will be utterly delighted if they find it and take anything from it. Hopefully it would something that made them pick up and object and find out what sound it made.
Looking forward, do you see this project as closure, a celebration or perhaps the start of a new
chapter for Fini Tribe?
(Chris Connelly) I think it’s time to do something, I mean, we will not reform and play live, but who’s to say there won’t be more visual art or music? I would love that
(Davie Miller) I don’t think it is something you can close. An idea will appear and I’m sure we will do it.
Send your special message to our readers please!
(Chris Connelly) If you have any desire to create, do it! Drawing, writing or playing music, I am so lucky that I was a part of this colossal thing called Fini Tribe, I have never stopped creating because of it.
(Davie Miller) Ditto. Thank you.
