GOOD GRIEF HAVE ‘BEEN HERE BEFORE’- NEW EP, UPCOMING REMIX’S, WORKING WITH MICKEY KOJACK, & BEING IN NORTH QUEENSLAND

The electrifying duo hailing from Magnetic Island, Yunbenun, and Townsville's Gurrambilbarra, known as Good Grief, have set the music scene abuzz with the announcement of their much-anticipated debut EP, "Been Here Before,". 

This EP not only serves as a cornerstone in their budding discography but also lays down a marker for their future musical endeavors.

The lead track of the EP, "NOMO," emerged from an intense writing session on Magnetic Island, where the duo immersed themselves in a makeshift studio for a week. This track not only guided the thematic direction of the EP but also set the tone stylistically, blending dark house elements with euphoric synth waves. Felix, one half of Good Grief, describes "NOMO" as a journey through dark times, finding solace in reflection, and ultimately moving forward.

"Been Here Before" is a testament to Good Grief's artistic journey, touching upon profound ideologies like growth and resilience. While the EP occasionally delves into darker themes, there's always a glimmer of hope that shines through, showcasing the duo's ability to navigate through contrasting emotions working with Producer, and Mixer ‘Mickey Kojack’ 

Jake, the other half of Good Grief, reflects on the EP's creative process, highlighting the contrast between their older and newer tracks. He emphasizes how this journey has not only shaped their sound but also allowed them to explore new musical territories, marking a significant evolution for the duo.

Drawing inspiration from a diverse range of influences spanning from Dilla to Chic, Good Grief seamlessly fuses their distinct musical backgrounds with a shared passion for modern dance music. Their debut single, "Sun," garnered immediate attention, earning them accolades like a premiere on Triple J Unearthed and features in prominent indie playlists.

Both Felix and Jake bring a wealth of experience to the table, with Felix having performed as a professional dancer to sold-out audiences globally, while Jake has honed his production skills playing at festivals and clubs across Australia and New Zealand. Their recent sold-out New Year's Eve show in Townsville is a testament to their growing popularity and magnetic stage presence.

Good Grief's music defies categorization, blending various styles and moods effortlessly. With their debut EP on the horizon and a remix of "SUN" in the works, the future looks incredibly promising for this dynamic duo. Keep a close watch on their socials for updates and immerse yourself in the electrifying world of Good Grief.

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How are you Jake & Felix? 

J - lovely thanks! 

F- Really good thanks!

How’s the weather up north at the moment?

J - The weather is very tropical at the moment, its either very hot or raining. I love this time of year because we’re coming out of the full summer heat and everything starts to green up. 

Give our readers an insight into Good Grief, and how you and Felix came together?

J - Felix and I had been friends since about 2018 and immediately clicked as friends, we had heaps in common. Around 2019 I started working at a local live music venue / night club and Felix learnt how to DJ and he became a regular playing shows with us. Eventually Felix picked up the guitar again and started doing cover gigs and writing original songs. One thing kinda lead to another and we started working together.

During that period i was focusing on a different project called “Hood Rich” which was house music focused and with covid taking our clubs for so long my writing shifted from club music to basically anything i felt like. Was pretty good timing that felix was getting into music as i was shifting focus i guess!

F - Exactly what Jake said haha! When we met we really clicked on a bunch of different levels, but I was also really inspired by Jake as an artist/creator. He’s so passionate about music and he introduced me to so many new genres/artists I'd never heard of - particularly in the Electronic Dance Music world. Jake has always had incredibly strong visions for his sound (whether that be when he creates or when he would throw festivals/parties) and I was always so inspired by his depth of knowledge and attention to detail over these parts of his process.

Also Jake pretty much taught me how to produce music/DJ which is pretty rad! 

What has influenced the sounds of Good Grief? I see you’ve listed Dilla and Chic; anyone else that you pull inspo from for writing music?

J - Artist influences constantly change for me but there’s a bunch of producers that have always inspired me - people like Philippe Zdar (rip) Tim Goldsworthy, Danger Mouse, Paul Epworth, James Murphy, Joseph Mount, Mf Doom, Kevin Parker, Nile Rodgers, so many more but i dont wanna keep rambling. 

F - Yeah such a mix for good grief! And like Jake said, it changes a lot. I remember when we were writing the first ep we were both loving Durand Jones and the Indicators, LCD Soundsystem and Sault to name a few. But I’d say our newer stuff has a Tame Impala/Talking heads vibe to it.

Are you playing live instruments on this new ‘EP’, or are you pulling samples more than anything?

J - Basically everything is recorded live besides the drums which I spend a lot of time trying to make the samples feel unique to our music. All the effects are done with keyboards then manipulated in ableton as well. We try to avoid using melodic or instrument samples as much as possible to try to create something new. 

How was it working with Mickey Kojack on this EP? Any good stories?

J - Mickey did  the mix downs on this EP after we’d recorded and produced everything but he just came up to Townsville recently to work with me on the follow up EP. I don't think there’s any stories that are good one liners but I’ve worked with Mickey for years and it's always a blast, the guys a legend, an amazing musician/producer and we always have a lot of fun. 

F - Yeah he’s awesome! I did a vocal session with him in Sydney and he was just so welcoming and supportive. At that time I was semi-new to recording/music production and he was the best hype man haha!

Can you give us some insight into putting together ‘Sun’ and ‘Have It All’ the two lead singles of the Record?

J - both are pretty different processes. 

For Sun we were on Magnetic Island recording a bunch of demos and our friend Raymond was over there at the time and he helped us write Sun. Felix wrote the main synth line and originally we were planning the track to be a slower jam then I decided to swap the BPM and drums up to a more dance driven track and the rest of the instruments and vocals kinda wrote themselves. I think that track was almost fully wrote in a few hours.

Have It All; I’d been in New Caledonia on holidays for a couple weeks and each day i’d write a new beat idea and this track was in the pile once i returned. I showed Felix everything id worked on over there and this track jumped out to him. Again i think we wrote all the main parts and a basic structure in an hour. It’s always fun when tracks come together that fast, its an amazing feeling!

Do you have plans to play live? Or are you primarily sticking to Dj sets?

J - We played live twice last year opening for Donny Benet and The Delta Riggs. We’re hoping to plan a run of dates along the east coast for sometime this year. I think after every live show we will likely try find a place to DJ afterwards as well. Felix and I have DJ’d for years and its great to play a set that represents our sound in the club.  

What are your go-to records for listening when you have downtime?

J - I like listening to a lot of lowrider oldies and newer soul stuff to chill out but 5 classic comfort albums for me would be:

since i left you - avalanches

bright like neon love - cut copy

anything 1999 to 2006 by MF Doom and his various alias’

On the green again - tiger & woods

Nights out - metronomy 

F - Run it Back - Homebrew 

It’s all a bit fuzzy - Neil Frances

Young Heart - Benny sngs

Heaps of Daryl Hall and John Oates.

Silk degrees - Boz Scaggs

What’s it like being based in North Queensland? What is the music community like up there?

J - the community is pretty tight and strong. We have a great bunch of local musicians across a lot of different genres but because the city is so small it feels like a lot of people support each other regardless of genre differences.

F - I love the lifestyle here. It’s so spacious and really allows me to be so creative with my time. And yeah, the community up here is so tight/supportive. 

I personally pull alot of Justice, Jungle, LCD Soundsystem out of your music, that’s my personal take, but how would you describe your music to a new listener

J - yeah they’re definitely big influences. We don't intentionally aim for this when writing and recording but i think we sound like chill out music you can party too. 

What’s next for Good Grief, I hear a few remixes?

J - currently working on a remix for Mickey Kojaks new single. We have a remix of Sun coming out heaps soon - I wanted to make a remix we could play in our DJ sets that wasn’t the original and also kept the club sound system in mind. 

We’re currently hard at work on our second EP so hopefully we’ll have a single coming out in the next few months, and hoping to be on the road at some point soon too!

Where can we catch you?

Check us out on spotify and instagram!
https://www.instagram.com/goodgrief_band/
https://open.spotify.com/artist/44vTKdC4JwZej8SuMM7UgB?si=U1k7OYq8T8-nFbsLnmjawQ 

Any last words?

J - Thanks heaps for chatting with us, really appreciate the support! 

Everyone who reads this should go listen to the EP 10 times, tell you aunty and pop to do the same, let's get these numbers up baby!

F - Thanks for having us!

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COME OUR WAY FOR THIS WAY NORTH

We caught up with Renowned Duo ‘This Way North’ who released Debut Album 'Punching Underwater' 

Indie pop-rock duo This Way North, comprising Cat Jungalwalla and Leisha Leahy, is gearing up for the highly anticipated release of their debut album, 'Punching Underwater,' set to hit the shelves on February 8th, 2024. This musical endeavor is a collaborative masterpiece between the award-winning artist Ainslie Wills and accomplished engineer-producer Jono Steer, promising a blend of creativity and expertise that fans have eagerly awaited.

The journey leading to 'Punching Underwater' has been a fascinating one for This Way North. Having traversed various landscapes across Australia and beyond, the duo found themselves amid the serene Dhudhuroa country in north-east Victoria during the pandemic. Here, amidst ancient trees and high-country valleys, they exchanged the nomadic lifestyle for a temporary home, allowing a pause that became a haven for creative expression, shaping the essence of their forthcoming album.

This Way North has steadily climbed the ladder of recognition, previously honored as Music Victoria's Best Regional Act. Their repertoire includes three EPs, and they've gained prominence not just in Australia but also in New Zealand and Canada, sharing stages with notable artists like Vika and Linda Bull, Ash Grunwald, and Kate Ceberano.

The debut single from 'Punching Underwater,' titled 'My Love,' made its debut in October 2023. Featuring the mesmerizing sounds of Christine Tootoo's Inuit throat singing from Iqaluit, Arctic Canada, the single quickly gained national rotation on Double J and secured a top-5 position on the AMRAP charts, resonating deeply with their dedicated fan base and setting high expectations for the album's release.

In 'Punching Underwater,' This Way North showcases their peak songwriting and performance abilities, weaving together musical and lyrical elements that highlight their creative prowess. With Ainslie Wills stepping into the role of producer for the first time and collaborating with long-time creative partner Jono Steer, the album reflects a synergy that allowed Cat and Leisha to delve deeper into each song, refining them to showcase their exceptional talents.

Recorded across studios in Melbourne and Romsey, central Victoria, each track on the album radiates lush, dynamic sounds, standing out both individually and collectively. Cat Leahy's vibrant, powerful drumming and Leisha Jungalwalla's intricate guitar tones and slide guitar chops are meticulously crafted, forming the backbone of the album's sonic landscape. Additionally, guest vocals from Xani, Little Wise, Tuckshop Ladies, and Ainslie Wills, along with contributions from Jono Steer and guest bassist Brett Langsford, add layers of depth and richness to the musical tapestry.

'Punching Underwater' delves into introspective themes, addressing insecurities, imposter syndrome, and self-doubt while also celebrating the journey of self-discovery and personal growth. From the struggle to avoid falling in love to the highs of building confidence and contentment, the album encapsulates the myriad emotions of a woman's evolution. Ultimately, it leaves listeners on a positive note, embracing the highs and lows of life's journey with resilience and grace.

With compelling harmonies, robust melodies, and a profound exploration of the human experience, 'Punching Underwater' is poised to be a standout debut album for This Way North, solidifying their place in the indie music scene and captivating audiences worldwide. Fans can look forward to a musical journey that is introspective, uplifting, and undeniably authentic.

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INTERVIEW:

Can you tell our readers about your new Album 'Punching Underwater', and a little bit about who you are?

Hello! We are a band called This Way North, I'm Leisha, I play guitar and sing and there's Cat on drums and vocals. We are based in Yackandandah (yes, it's a real place!), in the high country in North East Victoria. We are a drums and guitar duo who often get mistaken for a full 5-piece band, we love blending indie rock, pop, blues, roots and folk with a little bit of psychedelica thrown in! 

We've just released our debut album 'Punching Underwater'! 

Who did you work with for this single, and what does the name of the album mean?

We worked with Ainslie Wills and Jono Steer as co-producers on the whole album and the lead single 'Punching Underwater'. The name is about how when you try to punch under the water everything is slow moving there is a lot of resistance. There were a lot of challenges for us to get this album and the songs together and out into the world, the song is about how you can be too hard on yourself and make yourself so slow by not believing in what you're capable of. We co-wrote this song with Bobby Alu.

How do you put music together, or do you work with a Producer, if so who?

We write all of our own songs by either writing them separately and bringing them to each other to finish or writing them completely together. We then worked with Ainslie Wills on each song in pre-production. She really brought them out to be the best they could be with her incredible ear and song writing sensibilities. We learnt so much from her and how she crafts her songs. 

Who's on your greater team?

We have our awesome booking agents Abby and Bec from Onya Soapbox, our album team was Ainslie Wills, Jono Steer (Co-producers plus some keys and vocals), Brett Langsford (bass), our publicists Stuart and Jonny. But the rest is all us! We're an independent band and work bloody hard to make sure we hustle and create opportunities for ourselves. Oh and our dog Messy.

What are some of your go-to records to listen to, when you're either chilling or working on new music?

We both love Bahamas, Khruangbin, Tami Neilson, Bonobo but there's too many to list! 

Anything exciting coming up over the next few months?

Yes! We have the next leg of our album tour throughout South Australia, Queensland, Victoria and New South Wales! 

What other artists and or creatives are from your community, and who should our readers get across?

We're super lucky to live in a very creative area! There's amazing artists from all mediums: sculptors (check out Ben Gilberts creations), visual artists (Kirrily Anderson), black smiths (Toadhall forge) and of course musicians!

Check out Sal Kimber, Liv Cartledge and DJ Jane Doe. 

We also have amazing whiskey distilleries (Backwoods Distillery), recycled wool and leather workers (Stonehill View), furniture makers (Indigo Woodworks). It's a really inspiring place to live with lots of amazing people doing cool and inspiring things! 

What do you like to do, outside of writing, recording and playing music?

We both love being out in nature, camping in our van with our dog Messy! Cat is a hatter, so she spends a lot of time in her shop making glorious hats (check ou Feather & Drum Hat Co.). I love surfing when I can get to the coast. 

Do you have any shows coming up?

Catch us here:

Sun April 28th supporting Ash Grunwald at Star Hotel Yackandandah

Sat June 15th Melbourne Album Launch Show w East Bound Buzz, Liv Cartledge and DJ Jane Doe at Stay Gold, Brunswick

Fri June 21st Brisbane Album Launch Show at the Cave Inn with special guests TBA

Sat June 22nd Full Moon Party, Verrierdale Sunshine Coast QLD

Sat August 3rd The Stone Pony, w Parvyn Willunga, SA

Sun August 4th Adelaide Album Launch Show at Trinity Sessions w Parvyn Adelaide SA

Fri August 23rd Wauchope Arts, Wauchope NSW

Sat August 24th Sydney Album Launch Show at The Great Club with Monstress and Juanita Tippins Marrickville NSW

Sun August 25th The Fun Haus, Gosford NSW

 Any last words?

We can't wait to hear what you think of the album, don't forget to check out the film clips for the first two singles 'My Love' featuring Inuit Throat Singer Christine Tootoo, shot up in Arctic Canada and 'Punching Underwater' filmed at the Old Beechworth Gaol in an empty 100 year old pool! 

INTERVIEW: SKYWAY TALK COME BACKS AND MACHINE GUN KELLY

After quite a few years out of the scene Gold Coast pop punk outfit Skyway are back. I missed these guys first time around but that will be changing this time! I caught up with Daniel last week to talk about the new single, making a come back during a pandemic and Machine Gun Kelly…..

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So after all these years you guys have chosen to release a new song during a pandemic!!

Yeah, they say there’s no better time right! It’s been a crazy year. A lot of things have happened, and people have had a bit of a hard time. We recorded this last year with no indication that this was what 2020 was going to involve. But it’s here and rather than wait and bide our time we just got excited. We want to put it out and we want to start playing. We want people to hear it so here we are.

I missed you guys the first time around; I was off being a mum. Is it still the same line-up? Yeah it’s still the same line-up. We are still hanging, making music and keen to play shows. Have you guys still been making music together for the last 8 or so years?

No not really. Individually we have done a few different things musically. A few different projects here and there but nothing together. Last year was kind of the first time we all came together. I mean we have shot across a few ideas here and there and had a few little jams over the years. Last year was when we got serious about actually doing something substantial and recording to release something.

There was a reason for that, or you all just decided now was the right time?

Over the years we have entertained the thought, going back and forward with we should do this and that. One thing or another always stopped that. Last year we had a few jams, and we were like this stuff is sounding really cool we should record it. Commit to it and stick with it and see how we go. And here we are. Nothing is really planned; I think it is what it is. Something things just happen, and some things don’t, and it just happened for us last year. We are excited to be here.

I saw all these posts pop up of social media and I had no clue who you were, so I’ve been jamming your old stuff to catchup!

It’s been awhile so I can’t blame you there. Obviously it’s been awhile between making music. 8 years is a long time in the music world to kind of stop and start. I’m sure there are a lot of people exactly like you that haven’t really heard about us.

You better give us a quick rundown of who Skyway are then.

We’re a pop punk/punk rock band from the Gold Coast. We are releasing a new EP on 20th November. It’s there, it’s raw and it has a bit of energy which is what we are all about. We are looking forward to putting it out. If you’re keen have a listen.

You’ve obviously got a few people keen because your Spotify for the single is sitting on 7.5K.

It’s going pretty well. It’s always hard to try and predict anything in this industry, especially after having so much time off. I’m really happy with where it is at and how it has been received and everything else is a bonus. If I can make one person get a little bit of joy out of it then that is a massive bonus. The number one thing for us was that we were happy with it.

Pop punk seems to be making a bit of a resurgence lately.

It’s weird. It seems like a lot of different genres of music always come around full circle. It dies off for a bit and then there will be some popularity again. Have you heard Machine Gun Kelly’s pop punk album?

I have! I didn’t ever think I would listen to MGK let alone be singing along to it but here I am!!!

I know. I think that has done a massive for that kind of music because he is getting a lot of ears on it that haven’t really listened to that and that is only good for it. It’s back in the mainstream. I think his album was number one on the Billboard Charts which is frigging huge. It’s majorly dominated by hip hop stuff so for that kind of music to break through again and get the number one spot is massive. I think you are going to start seeing some more of it around. Some more new bands pop up and stuff like that. I think there are sub genres of it now. It seems like back in the day pop punk was Blink 182 or New Found Glory. It was encapsulated I that sound. But now you have more kind of emo pop punk or the more punk rock pop punk. It’s so broad now.

It’s becoming harder to put a lot of bands in a specific genre full stop. Especially across metalcore.

I think that is the way of the future of music really. It’s just the way things happen; things evolve and if genres get melded together that means you are experimenting with different stuff and I think that is great. That’s what it is all about.

I do too. I’m not a fan of genres. I think bands are playing for themselves again, not so much for the audience. This is seeing some amazing songs get released.

That’s it. That is what it should be all about, it shouldn’t be about pleasing anyone besides what you are doing and that’s exactly what we have done. We made the EP we wanted to make. I think these days you have more freedom.

People can do the entire thing themselves now and get it up onto all the platforms. You don’t actually need a label to get your music out there.

Yeah that’s right. You don’t have the outside pressure of people telling you what you should be and what you should do. It’s so much easier these days to get your music out there and not have to rely on any other outside sources.

I know Spotify isn’t the best place to put your music with the return that you get but when you are a new band starting out and you think what you have to outlay to produce a cd or record, then tour it and all the other added extras…

It’s hard to make a dollar on the streams with the way it is set up. I think that is only a matter of time before that changes. I think that there is going to be an uproar, a revolution or something like that amongst musicians. It is what it is and that is the landscape that we are in at the moment. In regard to getting your music out there we are in a much better position now than we were 10 years ago. Obviously there are still issues to iron out. Hopefully that happens. I think the freedom the musicians have these days to be able to get your music out there is amazing.

Definitely. So tell me about ‘Cut the Ties’

This is the first one that we decided to release. It’s a faster song, a bit more punchy. There are a few themes. It’s a song about disconnecting, whether it be anything in your life I suppose that you consider not healthy. That can range from a few different things; alcohol, substance abuse, abusive relationships. Anything in your life that you think is not good for you or not contributing in a positive way and you are cutting yourself away from that. That is what the song entails. There’s a few personal themes in there for me. I’m just coming up on two years sober now, I decided two years ago not to drink anymore or do anything like that. So there was a bit of personal input there for me. It’s just my lifestyle now and that’s the way I wanted to change. I’m happy with how everything went and with my life. I mean it works for me. I’m not one of those people that go out there and try and preach to people to be sober and do this and that. If someone is happy doing whatever then I’m happy. It’s just what worked for me. That’s my interpretation of it, people obviously have their own interpretations, and this is just one of the themes that added to the song.

What about the title of the EP ‘Hope floats, Love Sinks’

It was a lyric off ‘Cut The Ties’ in the bridge. I just think that it really fit with all the kind of lyrical and musical themes on the EP. I mean it speaks for itself really, especially with the goings on of 2020. I think everyone could use some hope and to remember that there is always something to hope for. Sometimes the love can sink but if you keep the hope hopefully you can resuscitate it. I just thought it was a good little hook and it explains and summarises the EP.

You shared the stage with some pretty impressive bands last time around.

We played quite a few shows back in the day in our short time. In terms of our lifespan we kind of went pretty hard out the gate. We played with some amazing bands, a lot of amazing local bands too. We were really lucky to be able to share those experiences.

Hopefully it won’t be long before you can jump back on the stage.

That’s the thing isn’t it. Live music has taken a hit this year but hopefully 2021 can bring it back on track and we can get the scene thriving again.

I think the scene is still thriving but just in a different way at the moment. Fan bases have gone up, bands are interacting more on the socials with fans. Music is still being released and people are looking into bands a bit deeper.

That’s definitely something that has been happening. Obviously people are online a lot, I mean what else is there to do. Being locked down and listening to music, checking out your favourite bands. But I am sure that there are a lot of people out there that just want to hear some live music again too. I mean people love live music; I do. There is nothing better than going to a show where a band that you really enjoy is playing. I’m really hoping it’s not too far away before they lift some of these restrictions, like the seated restrictions. Obviously it’s good that there is still the ability to have a live show even with those restrictions, but nothing beats a mosh pit! Especially for the heavier music.

Any last words?

‘Hope Floats, Love Sinks’ is out on 20 th Nov. We appreciate everyone that is checking out the new single ‘Cut The Ties’. The people that have sent messages, or like stuff we have put online. We really appreciate it, and we can’t wait to play our new stuff live. Hopefully we will get to Adelaide when everything is back to normal. Until then the EP will be out online, and people can check it out via Spotify, Apple Music those usual outlets. Also thanks for having me.

SKYWAY ARE:
Daniel McMaster – Vocals
Rohan Chant – Guitar
Daniel Hawkins - Vocals & Guitar
Rupert Muir – Bass
Ben Hallett - Drums.

Roll on normality and gigs because these guys will be on my list of bands to see. Check out Skyway’s new single below and hit up their socials.

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INTERVIEW: PSYCHEDELIC PORN CRUMPETS TALK TALLY HO AND THE CREATIVE PROCESS, AND A LOT OF OTHER MUSICAL ARTISTS AND THEIR BEST BITS

Fair warning: it’s a long one. Dan chatted to Jack from Psychedelic Porn Crumpets, for an in-depth convo about the creative process, their latest release ‘Tally Ho’, visual art inspo, and a lot of other musical artists and their best (and worst) bits. We’re talking The Beatles, Oasis, Queen, Ariel Pink, King Gizz, the lot.

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Dan: Let’s talk about the single first. I read that Tally Ho is a song that springs from Pseudo-ground-breaking late-night conversations, ideas that seem great in the heat of the moment but aren’t quite that solid later. On that note, what's the most 'Tally-Ho' idea you've had on a night out?

Jack: Man we’re always coming up with them. We had one the other day wanted to create a football fantasy league for bands. Went into like the whole thing how it could be paired with Spotify streams and get Taylor swift up front, Kanye in defence or something. Then we were like, but people would be competing on music and we were like should we make music competitive? We passed on that one. We wanted a voting app idea, so every morning you wake up, rather than having parliament, which is like fifty people to do it, whatever goes through parliament that day you’d have to basically say yes or no to which bill you’d want to go through. You can’t start work without doing like five…I reckon that one would work.

D: To me the song sounds like a hybrid between the vulnerability of 'high visceral' and the classic rock and roll of 'whatchamacallit'. What influenced the song from a sonic perspective?

J: We listened to a lot of t rex on the road, a lot of Creedence as well. It started off kind of cheesy and then we just started getting hell into it. We put together all these playlists, after a while we listened to all of the albums of Yousef Gamal, Flying Lotus, and we couldn’t show each other any new music so we were like what old school bangers have we got? And then it just went full zeppelin, t rex, kinks. So that kind of chuggy beat, the triplets, we listened to that for a while, so as soon as we got home that was just drilled into my head about writing an old school rock record but adding some modern elements to it, getting kind of glitzy with it on Ableton, get those guitars sounding strange enough so it doesn’t kind of relate to those bluesy records.

D: What inspired the digitally abstract cover for Tally Ho?

J: This guy was called Sergeant Slaughter Melon. He’d done some stuff with Sam and Matt designs as well, they’re really cool. They look new age; it’s almost got this style that feels contemporary. You watch it on sports now, all the players will come on and do their pose and it’s almost mainstream? It’s hell weird. I was playing around in Ableton and sort of randomly ran the guitars through the DJ patches at the bottom. You can transpose it up a few octaves, but you leave it in beats rather than keep it in complex. I just ran with that and made an album of it. Rather than be like that sounds bad I thought let’s use that as sort of the main instruments, like the guitar tone. It sounds like spaceships a lot of the time, almost like a Mario kind of style. Had a real arcadey vibe to it, going back to old school games like Atari and stuff, the eight-bit kind of tone. Got really carried away with that probably more than I should of.

D: who are some visual artists that you enjoy?

J: I watched that Van Gogh documentary, Loving Vincent? That things so sick.  I really liked Scanner darkly and Richard Linklater when he did Waking life. But actual artists? oh man diving deep, jean Michael Basquiat has his old head crashing’s on art and stuff, but also like Alfonso Mucha, I think he’s French? He had all those old women on cigarette tins, has that cool style that flows really well…I follow those Instagram pages that are like abstract (@minute6) so many people on there that are doing weird stuff. It’s gone back to paintbrush strokes which I suppose is the same idea as what a guitar distortion is. Rather than having one paintbrush it’s like let’s add this to it or that, it’s like a pedal I suppose. Also the collage art, Winston hacking, I think he did Andy Shauf the magician and I think he did one for flying lotus as well. So that kind of vibe.

D: Did you record the entirety of the upcoming album in iso? If so, what effect did doing that have on the overall project?

Allows us to develop on it more. There was a point basically were we had to hand over all the finished stems and get the mixing and mastering done by either April or May. And the album at that time, I don’t think one song that is on that record now was on it…. We had all this heavy music. I was listening to loads of Korn and slipknot, and there was so much Nine-inch nails. There were all these heavy guitars and fucked up sounds. But then there was also like Mr prism, so I had to go back and sort of find what the album was about and run with it that way. It’s almost worked out now that I’ve got a couple of different projects on the go. Rather than working on it for one record, it’s like I put it onto this bank, rather than make the one album sound so all over the shop, it needs that flow, it needs that sort of theme.

D: As artists it’s what we leave out as much as what we put in. Hardest lesson I‘ve ever had to learn.

J: Still trying to learn that. You’ll hear all these guitars fighting for places and I’m like why did I leave them in?

D: What's the best place you've played, and if you’re feeling it, the worst?

J: Oh man…All the ones we had in Melbourne were really cool. The early shows seemed to be really good, when we were just sort of coming up and getting our name out there. Over in England we did one at electric ballroom, 1200 people which was so sick…Japan was so sick. We got told they don’t clap or cheer or anything and then as soon as we went there the fans were like, mate, it looked like an apocalypse zombie movie. They were crowd surfing, just a wall of people, and no one would of heard of us there and it was like eight thousand people in this huge stadium.  The worst? We played a gig in phoenix were we were all sick and it had taken us 20 hours of driving to sort of make it to the middle of America and we rocked up to this pub and we were so dead. All of us were on antibiotics and we got there about six hours too early for load in, so we were like fuck it let’s have one beer which turned into the messiest we’ve ever been. All of us on antibiotics. All of us so drunk. I couldn’t even remember a word or how to play my guitar and it turned into one of those Jim Morrison sort-of moments. It was bad and I felt really bad for the 30 people in the room. Frankie and the witch fingers probably played the best set of their tour and then we went on after them so it was just like, oh god…yeah I still have cringe moments about it aye.

D: It’s always either when someone’s sick or when you’re playing to like three grandmas in the back isn’t it…do you find that playing a show is just as exciting as when you started or has that feeling changed?

J: Definitely...we just played a run of shows here. Did Badlands bar. It’s a 400-cap room and I think the last time we played there was like three years ago. It almost felt like being a band again (this has been the longest time we’ve ever had without touring or playing). When we came to it we were so keen. The nerves came back…even though we sold it out we were still nervous no one would show up and it was just some elaborate prank that our parents were pulling, that it’d get to there we get to the point where they really think they’ve made it and they’d be like ‘surprise, you’re actually shit’.

D: You guys just keep getting bigger and bigger. Is there a pressure to put out a certain kind of sound?

J: I thought that for ages. There was sort of a moment when I was writing whatchamacallit where I was like do you chase what people wanted and I was like nup. I record the music and then we learn it as a band so sometimes there’s a strange sort of mix over part when we’re like shit this doesn’t sound as good when we play it. Cause recording you can go so many different ways of being like just basically drums fill the room but when you’re jamming they don’t at all…now I just really want to focus on the heavy music side again rather than writing slower stuff and getting into that kind of mode. Even though I do like writing those kinds of pieces I still don’t feel I’ve cracked really good psych rock yet. Rather than being like I’ll change now I might give it five years to find that perfect riff and then we can go off. I feel like we’ve got more to explore in that genre before we move on.

D: What made you become a musician in the first place?

J: I always remember playing guitar. There’s not really a memory I have without playing music. Even at year five at school in England we had a band, and I was playing bass. My parents would go to the pub and then their friends would have kids my age that I would go to school with…and we were pretty good for like nine years old. Did a song called Peterphilia. It was a riff man, it was a big riff, at the best of our abilities on one string. But it was about this paedophile that was chasing kids and we had this thing where we were like “you gotta ruuuun” and it was so hectic. I’ve listened to it sometimes and I’m like what the fuck was going through our ten-year-old brains.

D: Have you ever thought about doing a cover of that song?

J: oh man...it’s a definitely a positive song?

D: What would you do if you weren’t a musician?

J: I did graphic design at uni, so something art based, I think. But even then, I was working on a building site as well, so doing all sorts. Bit of carpentry. My brothers a sparky, we were just basically doing the groundworks for a lot of stuff. I managed to make a surveying degree from my graphic design course to get myself a surveying job. Then I was like from there...I dunno, I was working at a bar. I think something with beer would be good, maybe starting a brewery.

D: A lot of celebrities do that. Matthew McConaughey has a bourbon.

J: He’s always on the whiskey, isn’t he? I have no idea. I would always do music though. It was a hobby; it’s always been my sort of escapism. Now it’s almost ironic that that escape is almost becoming a job, well it is a job I suppose, but I don’t think about it that way cause it’ll just lose its fun.

D: Was there a point specifically where you said okay, now, I can sort of not work bar or carpentry, and when was that?

J: It kind of coincided with me getting fired from indie bar

D: Generally does…

J: It was kind of serendipitous. Yeah, I basically got kicked out of an open mic night for trying to trying to sing Queen, Bohemian Rhapsody and they just turned the mic off and I was like fuck no! I was so sloshed. You know when you wake up in the morning just like fingers in eye sockets…I had that and I was like well I’m not going to look for another job I’m going to really try and do music now. I just gave myself the time to sort of write. Doing that I was like sweet this is what I’m going to try to attempt to do at least.

D: Would you recommend that to other aspiring musicians? Maybe not with Queen?

J: I was pretty poor for a long time. Yeah if you really wanna do it though then you’ve gotta give yourself a chance. That’s what someone said it’s like there’s no point taking a safe option and failing at that so you might as well take the hard option and fail at that and then go back to whatever.

D: A lot of people are focused on a sense of security but even now with Coronavirus and how it’s affected the workforce that security is less than it ever was before. If there ever was a time to be creative, it’s now.

J: The bar I worked at everyone was at uni there was like lawyers and whatever and we were like we’re all working at a bar, what’s going on with the world?

D: Do you think that as a musician you have a certain responsibility on how you influence your audience?

J: I dunno I think on one hand if you think about what you’re saying or what you’re doing or what you’re writing it’s almost not worth saying? If you’re thinking about it too much. It’s way better I think just being like here’s the song and then think about it, that sort of train of consciousness or stream of attacking a song will sort of lose its grasp and you’re always thinking in the back of your head about how people will perceive it before you’ve finished it. Muse is a great example. What a solid band doing music for the first two or three albums, but they’re kind of going back through their catalogue going like ‘that works’ and re using this and this and this…It’s cheap, it’s not honest. Me and Sam (the guy at tone city) we were talking about honesty in music and it’s something like maybe if you’re like ten you can’t hear it but as soon as you start getting older and you listen to a lot of music you can really hear how honesty kind of comes through. As soon as we had that it all made sense it was one of those opening moments where I was like that’s it that’s exactly what I need to do, just write honest music.

D: I was writing my own stuff and thinking well I need to shred this way or rap that way or do a certain thing, but what sort of came down to what a good song really was, at the end of the day, was honesty. If someone’s being sincere or being themselves even if they’re wacky, it works. Plenty of artists are weird and strange until they become commercial.

J: It’s like when everyone heard Conan Moccasins first record and it was honestly strange. There’s so many Conan Moccasin rip off bands where it’s like you’re doing it cause you heard Conan.

D: Same with Ariel Pink, some songs you never would have expected it to become commercial.

J: I don’t think anyone expected psych rock to become mainstream. We started making it six years ago when we were recording at home, and it was almost because it was the underground thing not many people were doing it, I think there was like Oh sees, tame impala, king gizzard was sort of getting into it but even before then it was like Wolfmother was the last rock band. It was a weird time where rock music had hit a strange stagnant wall. And it really was almost like Kevin parker that was like ‘and here’s this ep and here’s this record’ and it opened the door for really honest rock again, even though now what he might be making is the complete opposite to what he first did. And from that you’ve got the entire L.A psych scene with Wand, fuzz, Frankie and the witch fingers, levitation room, Vinyl Williams, Morgan Dealt. Even here king gizzard have their little group, but then was babe rainbow and orb, bits and pieces. I suppose Melbourne had a lot of bands coming up. Now (in Perth) it’s gone back to jazz and hip hop.

D: Sort of like we’re going back to the eighties now in 2020; everything goes in cycles.

J: It does go in cycles.

D: I guess if you’re thinking about the audience…I guess it’s about putting that aside and giving them something pure otherwise you might not release it. 

There’s so many tracks we’ve recorded where there’s like one tiny bar phrase of word of a four minute track and it’s so good until this one little shit part but you can’t change it because it’s almost like you enjoy that change. Music’s weird. if you keep it to you, like you’re saying, if you keep it sincere and honest then it’s gonna work. We sound like Hemmingway talking about it.

D: Good.

J: I saw him on what do you call it? Midnight in Paris.

D: Do you think those small intimate and vulnerable parts, that leaving them is essential despite you thinking okay it needs to sound perfect? That leaving them in is what gives you character, right?
J: Yeah for sure. I think that now it’s funny. If it wasn’t the fact the record has been pressed to vinyl and it’s sitting there waiting to go I’d just keep working on it man. There’s bits I just wanna do this and this and this, but I don’t know if that’s because I’m at a point where I wanna make it perfect and you just almost have to…I remember there was a time where we finished it and I was like that’s it. And I probably didn’t listen to it for a week or two. When I bought different pairs of headphones, I’d been switching around my headphones, so the left pan was in the right ear and I was like this oh god this is so different now! That’s why I was like maybe we should release these really bad headphones with all the vinyl so I could be like listen to it! It sounds good through these headphones!

D: Have you ever achieved perfection? Now I’m wondering have you ever sat down, given it a week or two and then said; ‘I wouldn’t change a thing?’

J: I don’t think that’s ever happened.

D:  That’s a very comforting thing for our readers to find out, I think.

J: The closest I got to that was when we had about three months to mix, we spent a month and a half working on Mr Prism to the point where I wanted to re-record all the drums again and Danny was like well you two are going mad, it’s fine, it’s absolutely fine. And now I can’t listen to it anymore. It was 99% there. I’d get home and listen to it and be like alright that’s the song that’s it and in the morning we’d be like no we’ve got to put cymbals in, oh god, we gotta change it all around. It almost got to the point where I didn’t wanna record guitar anymore…I think that’s with everyone. Sometimes I feel you get a happy medium. Ty Segall I always go back to. He’s brilliant. But do you think he realized he was aiming for lofi or do you think he happily wandered in there and that’s the way the song sounded good and that’s his first attempt at recording it?

D: Yeah well, it’s garage. There’s a whole different set of ‘rules’ that go into making that kind of music.

J: It’s almost better to find something that you’re good at doing. Some people are aiming for Rick Ruben-esque production on everything and you’re not going to get that. You might as well be like I want my record to sound like Ty Segall because you probably can do that in your bedroom cause he did it in his bedroom.

D: I realized recently with my band and our budget that we needed to look at bands like GIzz and the way they did 12 bar-bruise among other low budget recordings. That really helped us.

J: It would just be so cheap. I’d say he gets someone to mix it but then they’d probably just be like nah chuck it all back through like, the master’s an iPhone.

D: Garage sounding records are back in fashion.

J: I think it’s always been there. Lofi just got swept under the rug for ages. There’s always been like Fugazi or whatever. Even modest mouse’s first couple of records, all kind of diy stuff and it sounds great. Every band finds their sounds through that but then they go back through or get better. If you’re not learning or trying to progress, then it is going to be more difficult. It’s probably why bands first records are the best they just didn’t think about it and they were like ‘sweet that’s what I can do.’

D: Those bands as well probably think fuck, if they can’t listen to their fifth record they certainly can’t listen to their first.

J: I was listening to Deerhunter talking about how they can’t listen to micro castle. And I was like that’s one of the best albums ever, start to finish it’s amazing.

D: Just goes to show how different our perception is to our audiences’ perception.

J: Exactly. I don’t know what you can do. There’s nothing you can do

D: Release whatever? Do something I suppose…What's your view on the current state of music?

J: Man, it’s the best it’s ever been to be honest. Every festival we go to there’s always ten bands I wanna watch, usually not on the main stage. We went to desert daze when we played there in 2019 and every single band was a bucket list band, it was insane. Stereo lab, wand, flying lotus, black angels, temples…krrum played, so many bands that I’ve wanted to see forever playing on two stages and I was like, maybe it’s cause I grew up recently with that kind of style of music like tame Umo king gizz or whatever but this is like for me this is the best music’s ever been cause they’re taking on an older artist and making it contemporary.

D: It’s a resurgence.

J: Exactly. And even If I had the choice of watching king gizz or grateful dead or something I’d go watch king Gizz. Pink Floyd are obviously brilliant but because everyone’s sort of ripped of their sound over the years it’s almost like that twelve minute extended jam thing they do you’re almost just like come on boys…It’s not dated well. But there’s bands like Beatles and shit…that music doesn’t age, it’s so weird. There’s nothing else like it’s horrible. The Beatles are like what the Simpsons are to all other animators.  

D: Yeah except The Beatles didn’t suck towards the end.

J: Exactly they got better.

D: Who’s your favourite Beatle?

J: All of them combined apart from Ringo..

D: Do you ever watch someone on stage and find it affects your recording because you start to compare yourself to someone else?

J: I definitely find people inspiring. When I watched tool recently, I was like oh man…it just made me want to go back, drop d again and get back into all that sort of heavy music. Probably more so when I was younger like now, I have the opposite where I watch someone and I’m like oh god I hope I don’t look like that. Even though that’s probably a bad way to go about it but you kinda get cringed out sometimes. People doing something that you know doesn’t work. Even if they’re not whole heartedly into it, it’s gone kind of gimmicky when they’ve got a four year old bass player, do you know what I mean?

D: It can sort of bleed into your own work

J: Just a really misplaced band that are there for the wrong reasons. Not that there’s anything wrong with that if they’re getting together and playing live but they’re always like ‘we’re the best band in the world’.

D: Are you a fan of Oasis…

J: Dude…I  never used to be. I sort of went back into it. It came almost from nostalgia cause it wase everywhere in England. They are absolute dicks but I dunno I love them for it. I reckon Noel Gallagher would be a great night out.

D: I loved the Claymation in Mr Prism. What are some of your favourite animations, and can we expect to see more of this?

J: Yeah man we just got the trailer for the new one from Ollie, so that’s coming with tally ho. It’s like a movie. It’s literally like Wallace and Gromit ins pace. Wallace and Gromit meets star wars. It’s fucking nuts! Claymation is something you don’t see a lot of people doing, one it’s kind of time consuming but also I had a point ages ago where I kind of wanted music videos to be scrapped altogether, like unless they’ve got a sort of budget or whatever, telling a band, especially when they’re up and coming it’s like sweet, you’ve got this really great song then no money to put together a music video and then everyone judges you your shit music video. Why is a music video still a thing? It shouldn’t be. It should be once you have a thought or something and you want to release a music video-cause there’s no such thing as MTV anymore or V where you used to go and watch great videos…When we first started out I was like don’t need do a music video, and then obviously everyone’s like you have to. It’s a thing; you’re literally throwing five grand at something. But then as soon as we got a bit bigger and there was budget for it we could afford to be like sweet we have this idea to do this animation or something that then it became more interesting.  We can actually afford to do Claymation or pay like Mike who did the cornflake video and it’s just like fuck that’s actually movie worthy. It’s sick. Now we’re at that fun stage where we can create what we want whereas before it was budget oriented and a bit annoying. I’m not really a fan of bands in the music videos. When they’re like playing guitar and strumming.

D: Well I can already hear the song and I know what you look like…

J: Exactly. It’s almost like a chance to put a movie together or something.

D: Do you write the script or a bunch of ideas and give it to the Claymation guy?

J: We usually have a skype or a zoom and throw together ideas. The last one with prism me and Ollie we were back and forth about how it should go, It’s a lot easier when working with someone that creative to let them go to town on it. If he’s got an idea and he’s really excited we rarely say no. When someone is in that mode it’s gonna be a lot easier for them to work till eleven/twelve at night when they know it’s their idea rather than being like oh now I’ve gotta do whatever jack wants and all these changes…you’re gonna pretty quickly give up because you’re not enthusiastic anymore. It’s much better if you work with people to let them do what you know they do and you just stick to being like ‘sweet’ and when it comes back in the end say it’s shit! Nah…

D: Yeah if there’s too many cooks in the kitchen it can cause issues. What’s your fave animation? (besides Wallace and Gromit)

J: Tim burton was kind of cool…He had a style going. Now animations got to the point where it’s fucking nuts like Pixar or whatever the studios creating it. There are some really cool independent stuff on YouTube. I really don’t like the cartoony side of it. There was a Claymation one where it’s the Simpsons and they’re at home and they get hacked up by the bullies, have you seen it?

D: Can’t say I have…

J: that’s where we got the idea for prism. The Simpsons are like Claymation cows and I think like moonlight sonata is playing in the background and it’s hella dark. All the bullies are there in Halloween masks and machetes. They literally hack off homers hands and marge ends up with a rifle and just scalped...it’s so gnarly

D: Very happy tree friends.
J: Yeah all that cartoon gore. it was terrifying but funny as fuck. So we were like we gotta try do that with prism…but now It’s with almost like with dog the bounty hunter. But he’s old now and he’s got this beer belly hanging out, so that’s the new video.

D: What hobbies do you have outside of music?

I literally do everything. I love sport, like football, soccer. We were able to watch the local league here cause that was the first thing to come back up and they do beers and they got a stand. I was like why does no one go and watch the local teams anymore? It’s brilliant. The level of football is pretty good the beers are exactly like they are in the pub but they’re cheaper. You go and sit in at three o’clock and you can go out afterwards. Going to play golf tomorrow, enjoy playing a game of golf.

D: Yeah it’s back up. I’m trying to get a golf membership just to have something to do.

J: Golfs sick. It’s like the most annoying sport.  And then I kept thinking about it too much I’m going to get really good at golf and the only thing I could potentially do is get to the point where I’m like good enough to beat someone else? I can’t be professional anymore…I have this thing where if I can’t get to the stage at being the best at it then sometimes I don’t try, but I play it as a hobby?

D: Have you heard of John Daly?

J: Yeah. He is good. I mean it’s funny watching all the old 80s opens and they’re all drinking and smoking. But yeah I like all sorts of things, also movies, beers…

D: Finally, what’s something u can tell us about the next record that you haven't told anyone else?

J: The whole idea of it was it to the be the same time as a line of coke. It starts slow, gets to the point where it’s like aaaah! and then it comes down again just at the end. It was supposed to be Shyga the sunlight mound, but the album cover was just a giant mound you know like with jack black when he’s in tropic thunder? We had the other labels like you probably shouldn’t do that and we were like alright…. It’s a Coke and alcohol record where it’s just gonna be fast paced and kinda back down. I really like the intro track cause I haven’t wrote anything like that before and it’s fucked up. I don’t know if I should have put it at the start. It’s almost like a weird nursery rhyme with a really scary guitar tone

D: Well people who have never heard of you guys before are in for a treat

J: I love how they’re gonna put it on and it’s just gonna be this weird like…There’s a Russian simpsons with that song at the start, it’s like all these weird soviet sounds, it’s nuts. So if everyone can get past the intro track and onto Tally Ho then sweet, we’re away.

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KEV CARMODY: OUR PILLAR OF SOCIETY

Pictured: Kev Carmody holds tradition dear with the 2020 edition of Cannot Buy My Soul Image: Supplied

It could not be a more appropriate time for the re-release of Kev Carmody’s 2007 album, Cannot Buy My Soul. Produced by Sian Darling, Cannot Buy My Soul encapsulates the essence of Kev Carmody and more, as the tribute album is adorned with Australian artists such as Paul Kelly, Bernard Fanning, Missy Higgins, Alice Skye, Electric Fields, Courtney Barnett, and Mo’Ju. 

In June 2020 the world saw the rise of the Black Lives Matter (BLM) movement following 46-year-old African-American man, George Floyd’s death, serving for us as a reminder of our very own black history. 

Whilst the BLM movement may have been no surprise to Carmody, the re-release of Cannot Buy My Soul still stirred within him passion and purpose to fight a seemingly familiar battle. 

Talking to Kev Carmody is like chatting with a long-lost friend: despite us only meeting for the first time, it’s as if we’d picked up where we’d left off the last time we spoke, possibly due to Carmody’s incredibly friendly nature.

“Crikey, I reckon it involves us all, Selin, it’s global now!” he said. 

“The thing is it’s connected with Black Lives Matter, because musically we’ve been talking about this for 40-50 flaming years, and it’s still relevant, like 438 deaths in custody, [and] nobody’s been charged in Australia, it’s a hidden tragedy.”

Since the 1991 report of the Royal Commission of Aboriginal Deaths in Custody, over 430 Indigenous deaths in custody have taken place. 

First Nations people account for just over three per cent of Australia’s population, however Indigenous children are, on a national average, 17 times more likely to be imprisoned than non-Indigenous youth, a study released by the Sentencing Advisory Council of Victoria found. 

It’s this passion which Carmody hopes to pass on to future generations through the notion of storytelling, with young First Nations artists such as Alice Skye, Electric Fields, and Mo’Ju, all performing unique renditions of his tracks on Cannot Buy My Soul.

“And that’s what I love, Selin, the old Indigenous tradition of oral storytelling,” he said. “Passing it on to the next generation, and the generation after that, as we’ve done it for thousands and thousands of years.” 

A track which encapsulates Carmody’s remarkable storytelling abilities is one which he wrote with fellow Australian musician, Paul Kelly, From Little Things Big Things Grow, which tells the story of the fight for land rights by the Gurindji people in the Northern Territory, led by Vincent Lingiari. 

First Nations indie-electronic duo Electric Fields re-interpreted From Little Things Big Things Grow, incorporating excerpts of Lingiari’s voice throughout, with the duo also singing in language. 

Excited, Carmody expressed his appreciation for the glimmering rendition performed by Electric Fields. 

“It’s blown me away because it’s all globally connected now… the transformation and evolution that’s happened with the genre of music, as an example, Electric Fields, goodness me, hearing that old mans – they got permission too off the Gurindji people – they got permission to use that old man's voice,” he said.

“And it’s like his spirit is re-lived, he’s become alive again, in that video. To hear that, it just floored me.” 

Electric Fields:

Another track which Carmody holds dear is one he wrote when he was only 22, called I’ve Been Moved. The year before he wrote this song, First Nations people had only just won the right to be counted in the National Census, with 94 per cent of Australians voting “yes” in the 1967 referendum. 

“Young Dan Kelly did a beautiful version of it – Paul’s nephew. That was done in 1968, and it’s the only song really that I’ve ever done the lyrics first,” he said.

“What moved my spirit outside the things which were happening around me, I tore off some cardboard off a cereal packet, wrote it down… I’ve been moved, by the crying of a newborn, because our son, our eldest son Paul was just born in 1967, and he’s in the second verse.”

“It’s just that whole concept of energy is born, that I thought was precious.” 

Carmody’s 1988 powerful debut protest album, Pillars of Society, gained critical acclaim with Rollingstone Magazine describing it as, “The best album ever released by an Aboriginal musician and arguably the best protest album ever made in Australia.” 

Since, Carmody has had a remarkable career with accolades to show. 

In 2007, Cannot Buy My Soul won the Deadly for Best Album. 

In 2008, he was awarded an honorary doctorate by the University of Southern Queensland (formerly the Darling Downs Institute of Advanced Education) where he studied. 

Shortly after, in 2009, he was inducted into the ARIA’s Hall of Fame. 

And, despite it all, Carmody manages to maintain his love for songwriting and storytelling, with his infectious optimism felt throughout the re-imagining of Cannot Buy My Soul. 

“Let’s hope the music is going to be uplifting, let’s hope we can be optimistic my friends.”

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FEATURE: EVIE CHATS TO BEC SYKES ON EDITHVALE AND GIVES US HER RUNDOWN ON THE SINGLE

Every so often you hear a song that completely transports you to somewhere else. It is engulfing, wholesome, and wounding all at the same time. It is that final puzzle piece that makes the end of a relationship make so much sense. It is a memory.

Yet Bec Syke’s debut single, whilst seemingly relatable in so many ways, captures a time unique to the beholder. Through the simplistic beauty of stripped-back melodic vocals, Melbourne based singer-songwriter shares Edithvale, a story about the end to a relationship realised by the torching of a car.

“My ex-boyfriend [and I] used to drive down to Edithvale beach in summer,” Bec says. “My ex’s car got stolen and set on fire just after we broke up, so I was thinking about how much of our relationship took place in his car. The car being set on fire was like a symbol of our relationship going up in flames.”

Symbolic to its core, Bec explains the how writing process came to her organically.
“I wrote the song on my family’s upright piano and the chords, melody and first few lines poured out of me so naturally. It was quite cathartic to write.”

The sombre piano chords Bec describes initially set the tone for the song, but it is her opening vocals which induce multiple emotions, many of which I was not prepared for…

I want to be in love again. I don’t want to be friends

It is that line – honest and raw – which takes the listener on a journey told from the front seat of a car in a hot summer’s night. Whilst the song resonates with the pain of a relationship’s end, it doesn’t simply park in the heartbreak, instead it reflects the complex emotions of happier times.

Bec’s vocals are flawless, her storytelling abilities showcased as she draws her listener in to glimpse a memory with intimate closeness. This song doesn’t include all the flashy bells and whistles- nor does it need to, with vocals as mesmerising as hers.

Although a relative newcomer to the music biz, Bec’s talent scored her the chance to work in the studio with Tom Iansek (Big Scary and #1 Dads) which led to the creation of Edithvale. Recently presented with the Josh Pyke Partnership – a yearly grant whose previous winners include Angie McMahon and Gordi – it is safe to say this artist is making headway in the world of music. Bec Sykes is clearly a name to remember, and I cannot wait to hear what is next in store for her.

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PREMIERE: Thea Fitzgerald CLOSES OUT THE BUILDING BLOCKS ERA WITH TWO FRESH VIDEOS

Thea FitzGerald closes out the Building Blocks era with two fresh videos, and we’re pumped to be bringing them to you here first! Better late than never, 23 year old Melbourne singer-songwriter Thea FitzGerald has two brand new videos to round out her debut body of work - Building Blocks.

Adding to the stunningly vibrant visuals previously released for ‘Stuck’ and ‘Holding Your Hand’, the killer team at Thick Heart Productions have worked with Thea to add to the collection with videos for ‘Breathe’ and ‘Higher Ground’. With a huge focus on colour to build the emotional narrative of each story, these new videos are absolute eye-candy.

The new videos add aesthetic and emotional symmetry to the body of work - the upbeat playfulness of ‘Higher Ground’ bears resemblance to the somewhat chaotic mix of cheek an pain in ‘Holding Your Hand’, whilst the solitary power of ‘Stuck’ is mirrored in the confined discomfort of ‘Breathe’. There’s a stellar cast involved too - Stephanie Wall, Ed McCullough and Sarah FitzGerald beautifully execute the story of Higher Ground, and Tamara Bailey nails her performance in Holding Your Hand.

WATCH THE NEW MUSIC VIDEOS HERE!

If you haven’t yet sussed the Building Blocks EP, you’re bound to love something in there – it’s a catchy fusion of pop, indie and R&B with infectious hooks, and will not disappoint! These new videos are the perfect ending to the Building Blocks chapter, making way for the release of Thea’s highly anticipated second EP later this year!

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INTERVIEW: KYLE FROM BABIRUSA TALKS ‘HUMANOID’, DREAM LINEUPS, AND ALL-AUSSIE FAVES

On the back of their first three releases Brisbane Deathcore outfit Babirusa (or Pigdeer as they may now be known!!) are about to release their debut album Humanoid. A concept album that follows the journey of 343, vocalist Kyle Williams sat down with me to talk about the band and the album.

Hey Kyle thanks for dropping by for a chat.  Who are Babirusa?

So originally the band was started by Dean and Tate about 6 years ago.  Roughly 2 years ago Dean moved in with Rangi and I’d always go round there and hang out. Dean had recently started up the band again after about a 4-year break so Rangi and I jumped on and started doing some stuff. Checking out what they had written previously. Reece came around and he and I started writing lyrics and trying to see what we could come up with. It was decided that Reece would join the band too. It all just fell into place. Basically we were all just hanging out and it happened!

Your album Humanoid is out on the 28th August.

Yes the album. Originally there was just an EP written about 6 years back, but we added on to it and just decided to go with the full album. The whole album concept is based around a character known as 343 as he’s being ripped between reality and a cybernetic world run by a sinister artificial intelligence.

“Upon re-entry 343 quickly finds that he should not have chosen to return to the Cybernetic world as he is captured and held against his will. Told by a disembodies voice that he is akin to this technological entity, a mirror of sorts, and that he should be willing to cast aside his body if only to elevate himself to a higher form and plane of existence. The voice eerily telling him that it is time to become a part of all things… Unable to understand exactly what was meant he begins to panic, wanting desperately to wake up and be rid of this nightmare. In a catatonic state, his mind races as he feels more fear than he ever imagined possible, questioning the very essence of his being and the reason for the existence of all humanity if he is to be turned into something unknown against his will”

You guys all collaborate on the writing process?

Dean and Tate usually write their thing and Rangi adds his drums. Reece and I then sit down and write the lyrics together. We’ll change the song up a bit if needed, sometimes we will add a bit to the instrumental side too. It’s a step process, it’s pretty cool though and it works well. A little conveyor belt to get the song ready.

Did you guys have any gigs lined up for the release?

No, we were hoping to tour off the album, but nothing is confirmed yet. With restrictions we aren’t sure what we are allowed to do gig wise or what’s even available. We will just keep pushing our presence online. Making a post and having people share it really gets the reach out further, especially at the moment.

What bands do you guys draw your inspiration from?

We’re all very different. Tate listens to a lot of Volumes, The World Alive, Issues etc. Dean and I are more into bands like Within Destruction and Vulvodynia. Reece is an old school boy, his would be As Blood Runs Black and that era of Deathcore and Rangi listens to bands like Meshuggah, and Animals as Leaders. He’s also in a punk band called Pandemic so he listens to that kind of indie rock stuff as well.

What would be your dream line up to tour with?

Signs of the Swarm, Slaughter to Prevail, Within Destruction and especially Vulvodynia.

What about an all Australian line up?

Inhibitor, The Gloom in the Corner (they’re the sort of band you can get up on Spotify, hit shuffle and the content is always good) and Thy Art is Murder.

If you’re a fan of Deathcore then you don’t want to sleep on these guys. What they have released so far has been damn good and I’m keen to listen to this album from start to finish.

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Babirusa’s album Humanoid is out on all platforms on the 28th August.

Hit the link to pre-order the album HERE

Babirusa is:

Rheese Peters – Vocals

Kyle Williams - Vocals

Tate Senhenn - Guitar

Dean White - Guitar

Rangi Barnes – Drums

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INTERVIEW: GRACE FARRIS - ‘ALL THE PEOPLE’. GRACE TALKS HER WRITING PROCESS, GROWING UP WITH FAMOUS FAMILY, AND THE STATE OF THE WORLD

What inspired you to write ‘All the People’? 

‘All The People’ was one of those songs that came to me so fast that I even and often asked myself or the universe where did this come from? It came through within an hour and then I had a full song. Including the feel, the groove, the bass, melody and lyrics, the arrangement followed soon after. I feel though that I was tuning into the worldly events happening at the time that really affected me in one way or another and ‘All The People’ came through as almost a song of reassurance for me and for my greater community being the people of the world. We all have our darkness and our lightness to face every day and I feel ‘All The People’ is such a beautiful and very much a uniting song of strength and love. When I wrote my song ‘All The People’ it was one of those rare songs I knew was meant for others to hear and not just for me. Some songs and art is just for myself and some songs I know is for other people to listen to and to share. 

Was the idea of the track a slow process or was it something that came to you quickly?

I did not have an idea before writing ‘All The People’ which is unique for me. Some songs I have a feeling about what I am going to write about or a certain emotion I honour while I am writing. Although ‘All The People’ came into my life and through me like a beautiful gust of wind. I wrote it so quickly that the minutes felt like hours and seconds felt like minutes. It is still to this day one of the most awe inspiring songs I have ever written and I still wonder where the understanding for exactly how it wanted to be came to me so quickly. Around an hour to be exact and then the arrangement followed soon afterward.

In light of the recent world events it seems that the notion of coming together is incredibly important right now. What message are you hoping to reach your audience through the lyrics?

My biggest message in my lyrics and music is to come back to yourself and who you truly are and what is your own path in life is as a person as well as coming back to how I can serve within my own community. This is my biggest message that I feel shines through in ‘All The People’. This is usually the place I come from when I am writing. I never write music because someone wants to hear something in particular. I write from the heart with the intention that it will help me find solace in processing these emotions as well as help others in finding and feeling the same emotion and feelings I felt or feel. Which is something that happens naturally because It comes through very naturally. Which is such a beautiful feeling. ‘All The People’ is all about uniting and coming together to do the best we can and to be the best we can for our family, friends and others we meet along the way. I knew it was a very grand song when it came through and I knew where it needed to go as soon as it came to me. The music and the feeling is the most important component to me when writing a song. This came through very strongly for my song ‘All The People’.  

The track is incredibly funky, it has effortless amounts of groove brought forth by the combination of drums and the sax. Has the track changed considerably from its conception? What was the recording process like with Tony Buchan?

I knew as soon as I wrote ‘All The People’ that it would be a heavily funky, groove based song. I felt its power and its heart the minute it came out. I had the song two years before I went to record ‘All The People’ so I knew it better that I thought anybody ever could. So when I approached Tony and I was wondering for a long time who to choose as a conscience and producer. I decided Tony could grasp what was going on in my head the most after all of these years. Tony was amazing and his musicianship and knowledge is so incredibly wide. I knew exactly what I wanted for all of my songs and compositions as well as the arrangements on my album ‘Grace’ so to have someone that understood this was a very important and a wonderful feeling. ‘All The People’ was one of my songs I spent the most time on in terms of sound and feels, especially the bass throughout and the way it felt was so important to me. I spent hours and hours and hours getting the bass just right and one day I finally heard it. I would be up all night long figuring out all of the layers, vocals, bass. I wanted to work on ‘All The People’ in the studio as long as possible until I heard in the studio what I could hear in my mind. I was so strict and so focused and firm on creating what was in my head for so long for each of my songs on my album ‘Grace’. I am very much so happy and proud with how each of my songs and compositions turned out. My song ‘All The People’ is one of my greatest songs and I am so proud and so glad it is now there for the world to listen to it.

You have been surrounded by music from a young age, having a father renowned for his songwriting talents with INXS. What was growing up like in such an artistic family?

I was raised in a very normal way. Although we were surrounded by beautiful artwork and beautiful architecture and went to some of the most amazing schools in the world. I think at the end of the day my experiences in nature are what grounded us as a family and me as a child. My father and mother made sure that our childhood was as protected as possible and that nature influenced us as much as possible. If we felt like making art we would. Although I enjoyed history and science and geography so much. I painted a lot growing up and started writing at a very young age. I thought most families were as creative as my family, although this was not always so. I was surrounded by nature everyday growing up. This is the foundation of life and I really honoured this as well as the innovative nature of mankind, which I had a huge appreciation for. I had written over 2000 songs by the age of 18 as well as poems and stories. This came to me so naturally and very much so by my own will and joy for writing. 

You seem to be extremely passionate about the environment, being an ambassador for both Sea Shepherd and the Jane Goodall Institute. What is it that inspires you to take environmental issues into your own hands?

I have always been surrounded by nature in its natural state and all at once I find mankind's ability to be creative and innovate equally fascinating. I have found many moments of solitude and some of the greatest moments up until now have been in nature in its natural state. I find you are able to listen to the real rhythms of the earth and your own self rather than others or other people's inventions. I feel that so many children grow up without being in the natural world and the beauty and peace it can bring to someone's life. Being the ambassador for “The Jane Goodall Institute” I am shining a light on her program “Roots and Shoots” which involves families and children and anyone who wants to be involved in growing their own plants and food and growing their awareness of being more connected to the natural world and its need for us to honour it. I believe that Jane Goodall’s work along with many other scientists and people of this nature provide information that is just so wonderful and so integral in the health of our amazing home. My awareness of the natural world has come from many different sources. I grew up around and surrounded by the traditional indengous Aboriginal people of Australia both up in Arnhem land and in Garma festival as well as in my home all of the time. Weaving baskets and learning about the knowledge of the Aborgininal elders and in particular about the plant  medicine in different parts of Australia that have influenced me greatly. I grew up on a working farm and near the ocean which brought a lot of solace and comfort to me when I felt I needed it, which also led me to become the ambassador for “The Sea Shepherd Conservation Society”. I garden and bush walk a lot and enjoy looking and being around trees for long periods of time. Listening to the birds and other creatures and the elements is the most uplifting and peaceful feeling to me. My own organisation “The Grace Earth Organisation” will be launched in November/December 2020. My organisation will be a place for people to come and find out more information on the many different ways to help us all to be much more mindful about our footprint and the health of our local environments. It will cover many different topics and areas and will have information from other institutes and organisations as well as there being events to help raise awareness about our connection to the natural world and our place and impact on our ever changing home. 

Your debut album, titled ‘Grace’, is set to release later this year. What can fans expect from the new music?

My album ‘Grace’ is one of the proudest moments in my life and I already had 6 of the songs for around 15 years and 4 of them around 2 years before I went on to record my full album ‘Grace’. When a song comes to me I can hear what it wants very clearly and quickly. I listen to the song and what I feel the song is asking to sound like once recorded. This is something I thought very long and hard about for each song I wrote. I consider myself a writer first and foremost and I write everything from the heart, including the arrangements and each layer for each song has its purpose and its place. I loved writing each and every song for my album ‘Grace’. It is one of the greatest achievements of my life and I am so looking forward to others being able to enjoy and listen to my music, dream and find a world of their own within the music. 

What are your favourite Aussie artists? What music inspires you?

I really enjoy Australian music. There is so much art and amazing music in Australia that I have so much respect for. I enjoy ACDC, INXS, The Seekers, Paul Kelly, Nick Cave, Slim Dusty, Yothu Yindi, Geoffrey Gurrumul Yunupingu. The music that inspires me the most and I always seem to come back to is classical and traditional indigenous music from all over the world. It feels so beautifully raw and so wonderfully uplifting to me. I have always gravitated towards this kind of music. Hymns and opera music inspires me greatly too and always has. Wolfgang Amadeus Mozart inspires me greatly. When I first heard ‘Clarinet Concerto in A major and A minor, K.622’ I felt it’s lightness, darkness, softness and suspense he carries throughout these entire pieces in particular. So many times these pieces of music have brought me great solace. It is so brilliant and has inspired me more than I can even say. I do not know how to not think of Mozart’s music when reflecting in particular on my own musical arrangements to bring my writings to an accompanied setting.

When I first heard ‘Four Seasons’ by Antonio Vivaldi I laughed and cried with happiness and all of the emotions one might have in each season going about their daily life. I could feel in his compositions the very essence of our natural world and how we change and turn to move with the beautiful season’s we all adjust to through every year. I love how the leaves on the tree’s turn red and yellow in the Autumn and bare in the winter, and how all of the animals and land gets quieter and much more silent, there is a median feeling in this section of ‘Four Season’s’ that is just so incredibly beautiful. Then in Summer and Spring everything feels bright and warm and passionate and so sensual. This very essence is found so deeply and so beautifully in ‘Four Seasons’. This Artist has inspired me so greatly. 

“Jules Massenet” When I first heard ‘Meditation From Thais’ for violin and piano. This artist has inspired me so much and I will forever be learning from and unveiling the incredible intricate writings and compositions of Jules Massenet. 

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A GENTLE REMINDER IN THE FORM OF MUSIC FROM PEAK PARK’S NEW SINGLE: PLEASE DON’T BE SO HARD ON YOURSELF

 Pictured: Callum Lausberg, Mitchell Summers, and Thomas Hoeft from indie-rock band Peak Park.
Image: Todd Riley

As July begins, 2020 is half way through and the winter months are in full-force. Winter, along with a second wave of COVID-19 in Victoria, presents a somewhat difficult time, especially for those who are confined to the safety of their own homes. Enter Melbourne three-piece project Peak Park, who have released their new single, Please Don’t Be So Hard On Yourself, and you’ve got yourself a seasonal remedy which is sure to provide a sense of comfort amidst the uncertainty.  

 Please Don’t Be So Hard On Yourself, released on 25 May, touches on feelings of shame surrounding mental health struggles, and is an attempt to bring relief in the form of a four-minute track.

Multi-instrumentalist, producer and mixer of Peak Park, Thomas Hoeft, spoke of the source of inspiration which led to Please Don’t Be So Hard On Yourself.

“The complete process of writing, recording, producing and releasing this song in and of itself ended up being an enlightening journey for us to realise how important song writing is for our own mental health,” he said.

“It wasn’t till we started recording and finishing the mixing process that we began to critically discuss what the song was about and why we’d written it.”

This process allowed the three-piece to really tap into vulnerable moments people may encounter when facing troubling thoughts.

 “The themes explored in the song can be quite intimidating and confronting but the challenge for us (or anyone for that matter) is to find your own way of expressing these emotions,” he said.

“You should also never feel ashamed for talking about them. It’s a nice notion to be reminded that sometimes you need to cut yourself some slack.”

Pictured: Peak Park helped each other with their mental health during isolation periods of COVID-19.
Image: Todd Riley 

Hoeft added that during COVID-19 the band collectively helped each other to maintain a healthy mindset. 

“We’ve been fortunate enough that through the band the three of us have become quite close and have created an open forum to discuss our emotions and to rely on one another,” he said. 

“Talking to friends and family and admitting when things are rough has really helped me get through iso, and working on music when I’m stressed is also a big thing for me.” 

The song itself encompasses a whirlpool of genres: the beginning starting as what seems to be a lofi-bedroom sound, which quickly transcends into a synth driven indie-electronic mood, and then eventually culminates in an alt-rock breakdown (my favourite kind!) reminiscent of English alt-rock band Foals.

All of these components blend and build upon one another, ultimately creating an incredibly unique sound for Peak Park.  

 Hoeft said if Please Don’t Be So Hard On Yourself reaches even one person, the band would be “incredibly stoked”. 

“The hope is this song speaks to at least one person and they feel a sense of comfort or reassurance through the music and lyrics,” he said. 

Please Don’t Be So Hard On Yourself is a gentle reminder from Peak Park to take it easy, and whilst doing so, absorb all of the swirling sounds they’ve so wonderfully produced. 

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If you, or someone you know needs help:

Lifeline on 13 11 14

Kids Helpline on 1800 551 800

Beyond Blue on 1300 224 636

Headspace on 1800 650 890

MensLine Australia on 1300 789 978

Aboriginal and Torres Strait Islander health services

LGBTIQA+ Support 

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