Stolen Babies arose out of a group called the Fratellis. What were they like?
We were basically cartoon music. We were a theatrical group that had a lot of incidental music, which is music for stage. Dominique, that was her brainchild—the theatrical side of the group. The more instrumental stuff I started writing, she was like, “Let’s put some theatrical stuff to this.” She went from there and created little skits. The music evolved, and it became more complex, and the compositions become longer. It was along the lines of Raymond Scott, Carl Stalling, a lot of slasher cartoon music influence, [with] Oingo Boingo mixed in. The delivery and the performances were all very reminiscent of Betty Boop cartoons. The band’s sound doesn’t fit neatly into any box. Was it hard to find a record deal? I wouldn’t say it was hard because we weren’t really looking. When you first start out, everybody has dreams of getting signed to a major label and living the whole rock star life. But once we started to take the craft more seriously and be really confident with what we were doi
