INTERVIEW: ALEXANDER BIGGS AND THE FEELINGS BEHIND ‘HIT OR MISS’
Melbourne creative Alexander Biggs released his debut album 'I've Been Holding Onto You For Way Too Long' earlier this month and our girl Kayla chatted to him all things Biggs.
Melbourne creative Alexander Biggs has released his debut album ‘Hit or Miss'. The album is about hanging onto the idea of someone after they’ve left the room like you’re hanging onto their ghost or a husk like a cicada—all the insides gone, taken off, old here and new somewhere else—like an outline of dust in a roadrunner cartoon. Our girl Kayla chatted to him all things Biggs.
You’re quite well known for these incredibly distinct, almost poignant emotive songs - ones of which resonate deeply with many people. How do you find that your musics ability to touch so many people has influenced the manifestation of the themes present within your songs?
I try not to think too much about anyone else’s perception of my music. I remember a time when I was like, 19, playing the first kind of iteration of my project, like the very raw, beginner phase of figuring out what you’re going to sound like, and how to write songs, and someone telling me I reminded them of Death Cab, and I didn’t know any of their music, except that one song, so I looked it and then found myself emulating them, and I don’t even think I was the biggest fan at the time. I’m not saying I’d do that now, but I know that feeling now, and I know how you can take your own agency away when you worry about what others think about you, well-meaning or not.
Do you find you often write to appeal to the emotions of your listeners or are these songs truly written on the basis of your own experiences and emotive forethought?
I write solely to explore what I want to explore and to channel what I want to channel. I think there is a desire to connect with people, maybe offer a feeling of our shared experience, but I don’t let that come first, that comes after the fact. I write the songs because I’m compelled to, and they resonate second. I can only write from that experience.
In a 2018 interview - you’re quoted as saying “Melbourne is an inspiring place to live” have you taken inspiration for your new album release from any local talent, locations or occurrences that your listeners mightn’t have caught in your album’s musings?
Nah, I don’t look out at people like that. I appreciate Melbourne artists, any artists, for the unique things they bring to the table, their voices. I think Melbourne is imprinted heavily in my songs, but maybe more in just a personal sense. Songs translate to many locations, but in my mind I see where I was, or where I’m singing about. The new stuff I’m writing has a lot more of a city feel to it with a hint of northern suburbs. The stuff on Hit or Miss feels 90 percent northern suburbs, 10 percent NYC.
You have been a support act for some incredibly talented artists like Stella Donnelly and Julien Baker. If you could pick anyone in the industry to support (past artists included) who would absolutely make your lifetime if they asked you to support them?
I’m really hoping Ruby Gill takes me touring the world with her when she gets famous.
Your discography has a really consistent sound and tone - often as listeners we assume that your album release has direct connotations to your emotional state at the time of writing and it definitely has an almost cathartic feel to it - talk us through the process and feelings behind ‘Hit or Miss’.
The process was a whole bunch of recording, a whole bunch of feeling things, and a whole bunch of stressing about it.
How does it make you feel as a musician to know that people all over the world are listening to your music?
It’s neat to think people around the world are listening to my music. It’s a privilege, but one I don’t think about too much.
If you could think of any scenario or location in which you think your album is best listened to what would that look like? (for example I could definitely see myself crying into a tub of ice cream listening to ‘mostly i feel nothing’ haha)
I think it’s a headphone-walk kind of album. Walk around your neighbourhood at dusk. That’s the mood.
What can we expect from you in future? Are you ever tempted to produce collaborations or experiment with new genres?
Ummmm, I’m really interested in synths and euclidean rhythms but I’m not sure how much they’ll feature in the next stuff. Still exploring. Well, synths are involved a little, but I’m not going full radiohead or anything. They have such distinct characters and feelings, which I feel helped a lot when used sparingly in the last stuff. I’d like to turn it up a notch maybe.
Writing an album can be quite the process - did the songs on ‘Hit or Miss’ come to you over a length of time or did you smash it out and work on the production side of things more?
Hit or Miss was an ever-evolving process. It had so many different iterations, and a lot of songs got bumped out for others. I think it took a lot of time because it hadn’t yet arrived, and then one day it did, and it felt right.
Do you fear being pigeonholed to one type of genre or do you feel as though your current releases are the most authentic reflection of your past, present, and future self?
Yeah, I mean, most artists in my experience don’t like that. The amount times I get put in some, surf chill coffee strum playlist is a little annoying but I’m also grateful, and at the end of the day, you can’t choose who listens to you. I think any of the people I look up to or that my ego would want to be validated by would think my record was trash or trite or something haha
Music often provokes a feeling of nostalgia or provokes emotion tied to events in one’s life. Do you find that performing songs consistently stops this from occurring for you, or if anything does it make you remember events, feelings etc more vividly?
Maybe at first. I get tired of songs sometimes, but I’d say the feeling just develops and evolves into something else. It’s like looking at old photos—they still do something to you, but it’s not the same as being there. Probably for the best.
How has the response to your new album been so far? Is this what you expected or has it exceeded your expectations?
It’s been nice. I didn’t really know what to expect so I just take it day by day.
Congratulations on a super great album it’ll definitely be getting a ton of listens from me!
Thanks :)
'Hit or Miss' is OUT NOW
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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
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.
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.
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
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