The music industry is abuzz with the arrival of Fleet Foxes. Keyboardist Casey Wescott speaks to Garrett Bithell.

I was thrilled about securing an interview with Casey Wescott, keyboardist for seminal Seattle five piece Fleet Foxes – arguably one of the most exciting new bands around. Their debut self-titled long player was released in June, and the music industry, even its most hard-to-please players, is falling over itself in admiration.

“I’m kind of relieved,” Wescott tells AXN from a tour bus on route to Idaho, where Fleet Foxes are supporting Chicago rockers Wilco. “Making the album was such a long, drawn-out process and you never think you’re going to get it done. We worked really hard trying to come up with as much material as possible, and then from that material picking out what we wanted the album to be – canvassing our starting point for what we want to do together.”

They certainly did get it done, and reviewers have been heaping praise on the indie-rock, folk-pop outfit. The notoriously critical Pitchfork gave the album a nine out of ten, and Rolling Stone magazine proffered four stars.

“Reviews aren’t a source of musical validation,” Wescott says. “At the end of the day, you’re going to have creative processes and the band’s going to have creative processes that are completely independent of anything outside.

“On the other hand, it’s always nice when people like your music! But it doesn’t do anything to reduce existential stress – so it’s not important on a personal level.”

Fleet Foxes have already been compared to such luminaries such as Beach Boys, Band of Horse and Animal Collective. How does a young band deal with the weight of such comparisons?

“I don’t have much of a response other than I like those bands,” Wescott laughs, who lists Joy Division, New Order, Pet Shop Boys, and punk and hardcore as among his influences. “One would be a fool to try and reproduce them. I think what’s great about them is that their sound is so specific to them, and that’s definitely something to aspire to.

“Some people compare our harmonies, but really our harmonies are so different. It’s bizarre for me as a musician because harmonically and contrapuntally we’re very different.”

Regardless, Wescott is wallowing happily and confidently in the band’s electric chemistry. “We work together much better now,” he says. “The chemistry is really strong and between everyone there are no creative constraints – it’s just people inspiring each other. I could use a sports team analogy, but I’ll spare you! There’s the synergy that comes with people that know how to work with each other and respect each other.”

Fleet Foxes’ home town, Seattle, as become a locus for great alterative music for nearly two decades. Is there something in the water?

“Growing up, being in a band definitely felt like an option,” Wescott remembers. “You know, playing music as opposed to being on a sports team or something like that – it actually felt like an option.

“But at the same time, Seattle is quite isolated – and isolation can breed a desire to do something creative.”

Perhaps akin to Sydney at the moment, Seattle’s live music scene is struggling. “It’s pretty bad right now,” Wescott admits. “There are only a couple of clubs to play – it’s rough. And Seattle is getting more expensive so it’s hard for musicians to survive out there. People are fleeing to Portland for a more music-friendly atmosphere.”

While Wescott is keen to hit Australia, there are no immediate plans. “I really want to but we’re booked until the end of the year, and after that we’re going to work on a record,” he tells. “But I want to go down there really bad – I’ve talked to a few folks down there and it would be really awesome.

“We’ve been going non-stop since February, and I would hate for you guys to receive us in a ragged state!”

Fleet Foxes’ self-titled debut album is out now. For more information, check out myspace.com/fleetfoxes