INTERVIEW FEATURE: JULIA STONE - YES, THAT JULIA STONE…
In between releasing another outstanding collaboration with her brother, Julia was working behind the scenes to develop her upcoming album, Sixty Summers. I had the privilege of meeting with Julia to talk about where Sixty Summers came from, her answer was bittersweet;
In what may be one of our biggest interviews to date - Tori spoke to Julia Stone on her upcoming album ‘Sixty Summers’ and it’s a ripper-
In my early teens I had begun the exploration into my own music taste. Dad introduced me to Sting, INXS, U2 and The Killers, while mum was more comfortable with the softer sound of Diana Krall and Nora Jones. One of the first songs that resonated, independent of anyone else’s influence was Mango Tree by Angus and Julia Stone. The sweet melody and lyrics were nothing like I had heard before, and so their music became a staple on my CD mixes and playlists.
It wasn’t long until everyone seemed to agree, as ‘Big Jet Plan’ let Angus and Julia Stone fly to the number one position in the 2010 Triple J Hottest 100. This cemented them as Aussie favourites for many years to come, even after parting ways to explore their own projects. Angus saw success with Dope Lemon while Julia released The Memory Machine (2010) and her second studio album, By The Horns in 2012.
In between releasing another outstanding collaboration with her brother, Angus in the form of their 2017 album Snow, Julia was working behind the scenes to develop her upcoming album, Sixty Summers. I had the privilege of meeting with Julia to talk about where Sixty Summers came from, her answer was bittersweet;
“this period of summer in my twenties when I would come back from London and spend summer in Australia…..this particular friend of mine, we’d spend those summers together and we go to parties and go the beach and it was just really a beautiful time and really memorable but, what I do remember about it was that it would just come so quickly all of a sudden it was summer again. I’d be back in Australia, and this whole year of touring and living in London had just gone by. On the third summer of this period of time we’re at a really fun party and were on the dance floor, we’re having this beautiful night, it was just one of those magical nights where it’s all flowing and you know, celebrating love and life and she turned to me in this moment of urgency and grabbed me by the shoulders and said can you believe we’ve only got 60 summers left. It struck me as not very long and I had this feeling of the urgency and immediacy of needing to leave the 60 summers in the best possible way….to actually make your 60 summers worthwhile and valuable”
The limited approaching summers, filled with friends and family was evident, but Julia wasn’t going to rush through things. Sixty Summers was constructed between 2015 and 2019, with one track dating back further,
“I am no one, I had that song for years and I always loved singing it, but I never had the right feel for it… it was nice, it was very folky, very fleet Fleetwood Mac, I guess in a way out of all of the tracks on the record it’s probably the one that is the most folk. A tip of the hat to that traditional singer songwriter acoustic guitar playing world that I’ve come from”.
Julia remains a folk artist at her core, she is pushing forward and breaking new ground with her talents, but she still has inspiration from her past;
“I grew up playing the trumpet from when I was five or so. I think my love of horn and wind instruments has always been there and I love it used in pop music. I think naturally as we were working, in writing that was something that I was gravitate to”.
The horns are strong in her title track, Sixty Summers and create contrast to her soft vocals. When recording vocals, the progression in music technology gave freedom to both the equipment and locations used to record the album;
“when we started making Snow, I realised that the recording vocals for me was getting a lot easier to do if I recorded myself. I felt like I had enough skills on Pro Tools and running a studio that I could do it myself, it wasn’t anything to do with engineers not being good enough, it was just that I knew what I wanted to get to. When I had control of the desk, I felt like it was a much easier process for everybody. During the recording of [Sixty Summers] I would take myself off with the microphone and my preamp and stuff and do a lot of writing and developing hooks. I try for lead vocals to do them through a really beautiful microphone in the nice studio Thomas [Producer, Thomas Bartlett aka Doveman] has got an amazing $20,000 microphone that sounds incredible but sometimes the vocals you do or the parts that you create at home, because of the relaxed nature of it I also think and sound really powerful. I’m a fan of whatever works, that sounds good - it is good”.
Her vocals and melodic flow lend themselves to remixes or covers in other genres. Previous songs like Big Jet Plane and Chateau have been mixed and born into new forms. Julia noted this was something loved and was keen on exploring in future;
“I really love remixes and I think where I’d like to go is to go even more dancey. I just loved getting sent dance tracks and padding right into it and so I’d like to make a whole record like that actually, use more stuff that I write as the foundation and then build them up with different DJs. I’m a huge fan of clubbing and I love dancing and so to go more down that road… who knows I mean, we’ll see, I would love that album”.
Me too.
“I’ll keep you posted it might be the next one!”
Julia, as with most musicians expressed her longing to return to tour life. She has been on the road most of her adult life, and clearly misses the connection with her fans. Like many of those in the arts and music industry, she expressed her disappointment at the government covid response;
“I think historically when it comes to government and politics, the arts are in general forgotten about and I’m not saying that’s across the board, there have been governments that have understood the intrinsic value of supporting the creative arts. I think all civilisations that thrive have a really well-supported out artistic industry. I think the fact that you know there’s been such disparity between things like sports and music and dance and all of that kind of being is it’s really disappointing. I definitely see the value in sports, I am a huge fan of sports and I think it really brings people together but in the same way that festivals, music and dance”.
Julia is working hard behind the scenes for her album tour to hit the road. COVID has made her cautious, waiting until they can be sure lockdowns or border closures won’t cause cancellations or the dreaded re-schedule.
While we are waiting to see Julia in person, you can enjoy her cover of The Partisan by Leonard Cohen that she recently recorded with Paul Kelly here. Julia was shocked to discover she and Paul share around the same monthly Spotify streams;
“oh wow I didn’t know that….he’s such an incredible musician and such a hard worker, that’s a huge compliment”.
Who are your most recent songs?
- All of the light, Kanye West
- The Partisan, Leonard Cohen
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A QUICK Q&A WITH FRASER HEARTLINE
Our gal Ashlee had a e-chat with Fraser from Heartline for q quick Q&A about their latest EP ‘i call for the sinking warmth’
Our gal Ashlee had a e-chat with Fraser from Heartline for q quick Q&A about their latest EP ‘i call for the sinking warmth’
Firstly, congratulations on the release of the EP! What was some of the inspiration behind ‘i call for the sinking warmth’?
Thank you! Most of the inspiration came from personal issues at the time, there was just so much frustration we wanted to release through music.
Can you walk me through the creative process that you went through to produce the EP?
So first our guitarist Fraser started working on the structures and textures throughout 2019 and 2020, and then our vocalist Luke was able to begin building the lyrical content.
This is probably a tough one…but what’s your personal favourite song off of the EP?
Personally, I (Fraser) think under the willow is my favourite overall, just because it sounds so unique and it’s such an important turning point on the EP.
You guys were added to the Adelaide show as one of the support act for Belle Haven’s ‘Nobody Likes A Hospital’ tour. How did it feel to play these new songs live?
Amazing! We’ve spent so much time creating a live show that does these songs justice and to see people really get into it was heart-warming.
I know it was only released a few days ago but how has the response been so far to ‘i call for the sinking warmth’?
So special. We’ve had so many messages and people really seem to like the whole thing. Knowing that it is connecting with people has made all the work worth it for sure.
Who are some of the Aussie acts you’ve been listening to right now?
Northlane, Thornhill, Void Of Vision and Windwaker are our favourites, but for a bit of a different vibe we can’t go past Up Late and Ecca Vandal, they’re crushing it.
What can we expect for the future of Heartline?
Lots of music, sooner than you think. We’ve been busy. And of course hopefully some tours before the year is out!
Check out Ashlee’s heartening review of the new EP HERE!
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