In many ways, The July 26th Movement are among a new wave of young Toronto bands that embrace the post-rock ideality of 1980's England. In many other ways, they're not. While the world might be getting sick of the sort of post-post-rock that inspires The July 26th Movement, in many ways, they're not either. As Torontoist finds out in interview with the emerging GTA-bred band, the concepts of music, philosophy, life and love are not so straightforward.

Here's what Benjamin Spurr (vocals/guitar), Luke Melchiorre (base/bass) and Ian Fosbery (keyboards/guitar) had to say. (Drummer Jordan Melchiorre was at home tending to his newborn son). Check out their website and download their new song "All Farewells" while you're at it.

What inspired your band name?

Luke: I read a biography of Che Guevara by John Lee Anderson when I was 17. I liked the name, we were looking for names, and we went with it.

And what were some of your other names?

Ian: They were...horrible names. Not to be repeated here.

Okay. Since the July 26th Movement marked the beginning of the Cuban Revolution, do you consider yourselves a political band?

Luke: I think we are an apolitical band. Some of us are political people, but that doesn't come through in the music. So, no, we're not a political band.

Then I guess you don't believe Aristotle's contention that man is a political animal?

Luke: I don't believe you just asked that question.

How do you go about getting your music out?

Ben: I'd say we're a touring band. We'll play any where and any how; any small town, university, wherever we can.

How would you describe your live show?

Luke: The live show is something that we hope will continually get better. With most early bands, the live show comes first. With us, I think our tunes were there, but we are starting to get it together on stage now. When we play live, we want to present ourselves in the most honest way, while still having that arresting show.

Interesting that you use the word "arresting." Are you actually arresting?

Luke: I hope so. On a good day, I think we are arresting. It's weird because we try not to be too self conscious about that. It's a pretty intense show - but we don't jump off of anything or do kicks or anything. I'm of the opinion that a band never can know how they come off live. It's like asking a guy how good he is in bed. He's not going to know.

Unless...

Ian: He videotapes it.

Yes...or unless he takes some criticism to heart.

Luke: Well even if he listens to every person he's ever had sex with, it's still difficult to make changes from criticisms. It's hard to judge a spectacle when you are the spectacle.

So how does the spectacle improve then?

Luke: It's a difficult spot, because you want to listen to people's critiques, but you don't want to compromise your ideas. We're trying to get somewhere, so valid and not-so-valid criticisms are good to hear but you can't dwell on them. It's like someone telling you that he or she hates your favourite record, and he or she gives you a whole list of reasons why that record is bad. Does that ruin the record for you? It shouldn't. Music isn't supposed to be that rational.

Ben: We're more apt to listen to each other than we listen to people outside the band.

Luke: Are you going to ask any interesting questions? Like what records are we listening to right now or anything like that?

What records are you listening to right now?

Luke: At the moment I like the first Badly Drawn Boy album, The Hour of the Bewilderbeast.

Okay, how about this: If The July 26th Movement could be in any city in the world, at any point in history, where would you be?

Luke: I'm happy in Toronto. I actually don't think we fit anywhere exactly, because we have kind of a weird amalgamation of influences. Not that we're that obscure or anything, but I think a lot of cool stuff is happening in Toronto right now. There are always people checking out what's going on here. There's no place we'd rather be.