No chatter, just music | Lisa Micallef-Grimaud

Why did you go for the name 'Silent Noise'?

Silent Noise is a performance of consonance and dissonance. Noise in itself has become a genre. It's noise due to it being a plateau of psychedelic electric layers, as it is a fusion of percussion, abrasive feedback contrasted with vocals that double as an effect pedal and dreamy walls of sound, delay, screams, wails and soft coos.

The silent part, is the part that goes on inside your mind. There shouldn't be incessant yapping going on, no other thoughts while watching the show, except for a total focus and appreciation of the music. We'll also be playing a few of our less upbeat pieces, so it's a bit of a different set. This is what you can expect on the night. That, and a few surprises!

St James Cavalier is not a typical venue for an Areola Treat concert. What was the main reason you chose the venue?

St James and The Areolas wouldn't usually gel together for many reasons, such as our environment calls for a rather seedy environment and our piercing sounds should be grating through speakers in a smoke-filled punk club, but we've grown rather weary of playing in mainstream or more commercial places where crowds don't really come to watch the show, but rather to catch up on chit-chat and gossip and mundane things really.

There are no real venues remaining for the kind of music we make on the island, yet there seems to be plenty of room left for everyone that doesn't care for music too much, the music the clubs play jars greatly against ours. That's tremendously depressing and we're in desperate need of great locations and venues to play, and to attract people who want to come see a live show simply because they love it, and not because they need to 'be marked as present'.

That's the general feeling we get from local alternative crowds. They're far too fidgety and disrespectful to music in general, not just to live acts. There isn't that generated interest because there's nothing that truly inspires people anymore.

How would you say you've developed as a band over the years?

This being the case, St James Theatre is an area, where for once, our audience would be able to enjoy our music fully, without disturbances from disinterested party-goers whose only interests lie in socialising and not talking music before or after a gig. The theatre is a place that will always welcome artists, musicians and experimentation so it's never out of bounds when it comes to what bands like ours are doing. There's a point where a band that respects it own music, must put their foot down for the sake of their artistic merit or dignity, or perhaps just a for a little peace.

People need to learn to value things more closely in this country, whether it be the visual or performing arts, and not just say we love those things. There are too many folks out there that'll say they love the arts and be great at name-dropping a few artists, sure! But can they really listen without sitting tight and itching to tell their friends about last night's plastered night out during a performance? It'd be great just to see many more genuine music lovers at shows. That's who we hope will come to the show.

How has your sound evolved over the years?

When we first started, we'd say we were verging towards the punk, to post punk due to our general influences from 70s New York punk rock, you could hear echoes of Poly Styrene of X-Ray Spex. I'd idolised the woman for years before The Areola Treat. She was the first real female in punk music albeit having been forgotten by the pop manufacturing industry, until the day she passed away. We were and still are a garage rock band. Nowadays, we are influenced by everything and our sound's developed.

You'll notice a certain attention to technique in our latest stuff, which we'd never particularly cared too much for previously. One thing that hasn't changed  is our constant changing of song names in live shows - great way to confuse journalists that come unprepared!

What can we expect from the new album?

We can only tell for sure once the mixing and mastering's been done, but overall, we're expecting the bass lines to be oftentimes more poignant and prominent and hearty in the forthcoming album Walk Into Nothing. There is an overall sense of heavy conditioning to the drums and guitars, more resonance and delay on all of the instruments as a whole and layering. A bit more of a dampened sound to it, we're hoping. Do not expect anything too upbeat, although there are a couple of strong, punchy tracks.

We've not gone all post-rock on you or anything, though it contains some traces too. Expect a little Sonic Youth, a little Robert Smith, and lots of Lydia Lunch echoed throughout. On this album, we were more focused on music with which to feed the mind, rather than dancy tunes. There will always be a need for that element of a certain catchiness to a song, but it's how you manipulate sound that makes the difference.