Archive of ‘Interviews’ category

Interview with Eliza Hull

25459bc9-e037-4a68-acde-e085241a4621Melbourne’s Eliza Hull has just offered us Caught, a more up tempo affair than previous tracks whilst showcasing super strong vocals, which was a given, and creating an intricate wall of sound.

Caught is just a teaser of Eliza’s debut album The Bones Of Us due out early next year. She has been tinkering with it in the studio with Hayden Calnin, after finishing up tours of Europe and the US, as well as supporting her previously mentioned producer and SAFIA to name a few. Cameron Warner caught up with Eliza, and found out what makes her tick.

 So Eliza lets get to know you, if you could only ever listen to AQUA or Rebecca Black for the next two years, which would you choose?

AQUA. I would always choose AQUA. There is nothing wrong with a bit of Barbie Girl to get you excited for the weekend!

Christian Bale movies or Leonardo DiCaprio movies?

Leonardo DiCaprio. Wow I am really showing my personality now. Ha ha. Titanic is still one of my favourite films (as embarrassing as that might be)

Touring Europe and the US must have been a dream come true, what was it like?

It was absolutely amazing! It felt very surreal. Especially when I was asked to perform at the London Natural History Museum, my friend got me to enter a competition and I had no idea that I would win, when I was just about to board my plane and leave London I got a phone call saying that I had won, and that night I performed in front of five hundred guests for opening night. It was amazing performing in such a cathedral like setting with giant dinosaurs all around me!

You’re on the lineup for NYE on the hill in Victoria alongside Jackie Onassis, The Delta Riggs and a lot of other quality acts, excited? And do you usually go to a lot of effort for New Years?

I am really excited! NYE on the Hill is a brilliant festival and I love the line up this year.  I also just love that there is one stage only so you get to see and support every artist. NYE can be so hit or miss depending. I have had some amazing nights and some not so great nights. I think this year will be one of the most memorable.

You and Hayden Calnin seem like a pretty perfect musical match, what was more enjoyable, the tour with him, or the production of The Bones Of Us?

The recent tour with him was a lot of fun! But I would have to say making the album with Hayden was more enjoyable. It is fun hanging out at his house, having a cup of tea, bouncing ideas off each other and then getting started on the record. It was a fairly quick process and I am really happy with the result. He understands me musically.

The beat in your single Caught seems a little more upbeat than the tracks on The Ghosts You Never Catch, can we expect more of the same from the album?

I definitely wanted to push my sound a little. The album still has down-tempo ethereal tracks that follow the same sound as the previous EP, but then there are a couple of tracks that are slightly faster. I love the new mix.

This is your first album, are you more excited or nervous?

Excited! I don’t think I will ever go back to EP’s. Album enables more scope to explore different feels/sounds. It creates more of a journey for the listener.

Will we see you on an East Coast or national tour when the album is released?

Yes absolutely. Hopefully March/April next year. I can’t wait to take these songs on the road.

 

Interview with Davey Lane

Davey LaneDavey Lane found fame and success as the lead guitarist in You Am I, but late last year he stepped out as a solo artist with his 22 minute EP The Good Borne of Bad Tymes. The EP was lauded and lead single You’re The Cops and I’m The Crime earned a lot of triple j airtime. Now Davey is back with a full length record, Atonally Young, and a trippy new film clip for lead single Komarov, chronicling the ride of a doomed Russian space voyage. Cam Warner caught up with Davey ahead of the release of Atonally Young.

As part of your Pozible crowd funding campaign you offered to make a fan a hand made guitar, did that pan out?

No nobody opted for that particular prize. I’m slightly relieved actually because I’ve built a couple of guitars before and it really is three months solid work.

How did you learn how to build guitars?

Well I’m a big fan of Brian May the guitar player from Queen, and his guitar the Red Special he built for himself when he was 15. So a few years ago I thought, I’ve been playing guitar forever but I have no idea what goes into making one. So me and a friend got together and built a copy of the Brian May guitar, it was a lot of work but well worth it. I got a pretty good guitar out of it.

Did you see Queen when they were out recently with Adam Lambert?

Yes I did and actually through making that guitar I met a friend who about 15 years ago restored the original Red Special. He’s a friend of Brian and when they played in Melbourne I was lucky enough to go backstage and spend about half an hour with Brian. As a guitar nerd it was probably the greatest night of my life. He was such a lovely bloke, they say don’t meet your heroes but Brian’s an exception to the rule I think.

When you started with You Am I gaining funding for an album would have been very different, this record is literally funded by the fans, how does that feel as an old school musician?

Well I was kind of weighing up my options before I jumped into the Pozible thing, one half of me thought that artists like myself are doing it by ourselves now and there are no record companies that will throw some money at you to go into a studio and make a record, so it is a great way to have people who like your music directly involved in the process. The other half of me kind of thought is it a little too presumptuous to think that people are going to give me money, they have no idea what the record sounds like. It might’ve ended up being a pile of shit for all they knew, but obviously I was going to try to make a record that wasn’t shit. The Pozible thing did turn out really well though and I was really happy, considering I don’t really have a fan base so to speak. Well you must have some sort of fan base if you got thousands of dollars to make a record. I think I’ve just got a lot of generous family and friends.

You’ve been doing this solo thing for about a year now, does it become easier with time or were you comfortable with it from the get go?

It’s something I’m into, I’ve still always had You Am I in my life and obviously that’s a completely different kettle of fish entirely. And I fronted another band The Pictures too, who were kind of a democratic band and another thing entirely again, so I am enjoying being able to spread my wings stylistically in that I’m not tied down to one group’s genre. There’s no expectation as to what a record with my name on it should sound like and that comes with a lot of freedom.

Komarov the first single off your forthcoming album is a dark, spacey, psychedelic affair, is the whole album in that vein or did it just aid the subject matter of the song?

I’m sure the subject matter lent to it, that song was always going to be like that. I was really into the Soviet Space project as a kid and the doomed mission of Komarov, I kind of had tunnel vision when it came to everything so I never went half hearted at anything. The record is a real mixed bag of styles though. There are a couple of other songs rooted in that psychedelic space-rock genre, then there’s one track that’s almost late ‘70s early ‘80s Talking Heads kind of stuff or Grand Master Flash. It was nice to dip our toe into a range of different styles to see what we could come up with.

The film clip to Komarov was done with Danny Wild of Zonk Vision who has done awesome work with King Gizzard and the Lizard Wizard and The Murlocs, is he as free thinking as his film clips lead me to believe?

I think so, I spent a bit of time with him and he just seems like a really switched on young guy. Aesthetically I love all the stuff that Zonk do, and I thought the song really fits it well with what those guys do.

You launched your solo career at Bigsound last year, what do you think of the festival?

To be honest anything that’s too industry focused it is not for me, I’m happy to live in my little bubble where I just make and listen to records. It’s a necessary evil, sometimes you do have to know the ins and outs of, I hate to use the word, industry. It’s fine, to me there are just too many record company dudes walking around with lanyons, it’s too business oriented and I don’t have a brain for that kind of thing. Last time I was there I got to catch up with some friends who were playing and that was fun. But I don’t put too much emphasis on it. If your music has a big sound scope it can be hard to translate when you’ve only got five minutes to set up. The sets are so short that by the time the sound guy is on top of everything and you get into a rhythm it’s probably your last song. But at the same time I like that pressure, it has its’ pros and its’ cons.

So when can we see you live?

I think I’ll be doing some East Coast shows late October early November, unfortunately gone are the days where you can get in the Tarago and tour for a month especially if you’re funding it yourself. We’d like to get over to Perth but we’ll see how the East Coast shows go. Atonally Young is due out October 3rd and you can expect Davey to announce a string of East Coast dates real soon.

In the meantime check out Komarov’s awesome film clip.

Interview with Young Franco

Young FrancoIn a seemingly endless wave of young Australian DJ’s and producers flooding our airwaves, Brisbane product Young Franco stands out as one to watch. This Civil Engineering student is producing some of the more mature sounding piano house tracks this side of the equator has heard, and following a mammoth tour with Alison Wonderland and Wave Racer, and a few hectic Splendour in the Grass days, Franco has been announced on the Stereosonic lineup, and following the release of two-track EP Close 2 U he’s been jetting off around the country spreading the Franco love. Cam Warner had a chat with him and found out a few things, like what it’s like to party with Alison Wonderland, and how his name has nothing to do with looking a whole lot like a young James Franco.

So you’ve been on your own tour since August, before that you did Splendour and before that a tour with Alison Wonderland, are you freakin’ exhausted?

Yeah, you know what I had a nap today. It depends, sometimes it’s fly in fly out stuff and that’s okay. When you’re on the road it can be pretty full on though. I’m studying at the moment too so it can be tricky to fit everything in.

How has the tour been?

It’s been really good man, a really good response and it seems like people are really starting to get up on Franco. I’ve gotten quite a few people who know the songs, really good turnouts, and it seems like people are actually there to see Franco rather than just get drunk. I mean hopefully, you never really know why someone’s there.

Tell me about the Alison Wonderland tour were the warehouse parties pretty wild?

They were really wild, they were just huge. Everything just tied in together really well. Wavey killed it, Alison killed it, and the crowds were really responsive. It kind of fit well because I was playing housey disco stuff then Wavey came in and played his kind of glittery future shit and then Alison came on and smashed it with more heavy stuff. It was just a really good fit of artists I think. So the whole night built from my more chilled out piano based house into Alison’s heavy stuff.

Did you, Wave Racer, and Alison Wonderland run amok? Any shenanigans you can tell us about?

The first few shows were pretty intense, Melbourne, Perth and Brisbane were over three days and the flights were at 7 a.m so it was pretty full on. But that last Sydney show was pretty loose, we had a week to prepare for it and it was at the end of the week so yeah, things got loose.

Tell me about Splendour, how did it compare to last year and did people take a bit more notice of you this year?

It was pretty good, it was stretched over those few days. People came in and I was able to build it from midday and just play songs that I like, because they were long sets. So you’ve got to prepare yourself for that. When people were into it, it made it easier. As a spectator the natural amphitheater was great. You didn’t have to be behind a thousand people you could actually see really clearly, especially for things like Outkast. DJ’s and Producers have a dynamic between themselves that no other genre really has.

When one guy comes out with something good a whole lot of other people will remix it and put their own spin on it. Is it thrilling to get your stuff remixed by Benson and Luke Million etc?

Yeah it’s really cool, you listen to a song in a particular way for so long, so then somebody else’s interpretation of it is awesome. It’s someone else’s style on your song. The songs came out really nice too.

Have you ever heard a remix of one of your songs and thought, shit, that’s better than my track?

Like, every single time. I think when you’ve heard a song so many time you can be like oh man not this again. When someone puts their spin on it it’s just exciting and new. But I think you still like your own song better because of all the work that went into it. There’s all these little things that people put to the forefront that you forgot about that and they make you think oh cool, I forgot about that.

Do you think EDM in Australia is in a pretty good place right now?

Mate, it’s been great. There are just so many cool people coming out with really original stuff. It’s really exciting to hear people you know putting out really cool stuff, it’s refreshing. It’s very exciting times.

Who are you into at the moment?

I have been listening to a lot of albums lately. Vic Mensa, I love Childish Gambino, I listen to a lot of rappers. I’ve been slowly getting into Drake and there’s some really cool shit. I just like albums and respect when people create a body of work that can last for years and years.

Is that one of your goals to create a bigger body of work, an album?

Not necessarily, I think it’s a different thing for someone like me. It’s probably more applicable for me to just release EP’s and Single’s. Like Flight Facilities, they’re releasing an album now but before that they just put out a bunch of awesome singles and then sort of worked them into EP’s.

So you look quite a lot like a young James Franco, is that where the name comes from?

No my middle name is actually Francis, so that’s where it comes from.

If you’re still in this game at age 45 will you simply be known as Franco?

Maybe middle aged Franco, go get a real job Franco, something like that.

The Close 2 U tour officially kicked off in August but you can still catch Young Franco at any of these dates.

Sat 13 Sep // Smirnoff Snowdome – THREDBO
Sat 20 Sep // The Factory – SUNSHINE COAST
Sun 21 Sep // Stranded – STRADBROKE ISLAND Wed 24 Sep // The Wall – SYDNEY
Thur 25 Sep // Baker St – GOSFORD
Fri 26 Sep // The Small Ballroom – NEWCASTLE
Sat 27 Sep // Carmens – MIRANDA
Sat 4 Oct // Anyway – MELBOURNE
Sat 11 Oct // Zhivago – ADELAIDE

Interview with Andy Bull

Andy BullIndie sweet hear Andy Bull kept us waiting a very long four years before releasing his much anticipated second LP Sea Of Approval. Hit tracks Keep On Running and Baby I Am Nobody Now did the rounds late last year and built a lot of hype around the record, earning him the title of ‘most blogged about musician in the world.’

Now the falsetto voiced synth wizard has proudly released Sea Of Approval, which has been met with world wide acclaim, and he’s sporting a national tour in celebration. We caught up with Andy ahead of the tour that kicks off in September at the Brisbane Festival.

You kicked off the Baby I am nobody now tour in October last year and played a few tracks off Sea Of Approval then, although the official album tour starts in September do you feel like unofficially you’ve been touring this album for a while?

Some of the songs we tried out last year, at one stage there were maybe four songs that we played live so that’s almost half the record I guess. But it feels like a new tour, I just feel like we’ll be comfortable playing these songs live. It definitely feels like an album tour, the venues are bigger which is kind of novel. I didn’t expect last year to be playing the Metro last year, so that kind of stuff makes it feel way more like an album tour.

The album has been very well received, do you feel like you are in fact swimming in a sea of approval?

It’s funny, you never ever do. It’s kind of what I was predicting when I called the record that because you never feel that way. It’s kind of complex, when you finish a project you automatically start thinking about how you’re going to do the next project so I don’t feel as if you reach a point where the work is done and you can just tick the box. And in terms of getting audience support, some people like what you do, some people don’t like what you do, some people hate what you do. Some people like what you do then they don’t, some people don’t like it then they come around, it’s not a very solid thing to pin yourself to. So it’s really nice when you get some praise, but there’s definitely an anxiety that comes if you start paying too much attention to what people think. So the sea of approval is something you should never really pursue. But first and foremost it’s nice to have a record finished. I did the best I could, there are elements of it that I’m really proud of, it’s not perfect but nothing ever will be, and the process of making it wasn’t perfect but I’m on the right path and I’m doing what I’m meant to be doing.

 Speaking of the process of making the album, is there a lot of trial and error creating an album that’s so densely layered?

Yeah for me there was a lot of trial and error, some of the songs I did many versions of. There were some other songs that I also trialed and trialed and trialed that didn’t make the record. That’s one way of making a record, there are instances where you work really quickly, some parts of songs and some key ideas arrive really quickly. But being on your own means that you have to do everything layer by layer, so you don’t always have the context of other players knowing if something works. In a band you can feel when something clicks because everybody is doing something and it just works. On your own the pace of that first discovery is different, because you’re doing it piece by piece. So for about 80% of this record there was a lot of trial and error, there were many versions.

So why did you keep us waiting so long (almost five years) for another full length release?

Over the course of the four five years I was really busy, I toured a lot. I actually recorded heaps of music in those four years, trying different things. I recorded a few EP’s but decided not to release them too.

 Why not?

I just didn’t feel like it was right, it wasn’t the right time, the ideas and songs didn’t work for me. I’m not sure I just didn’t feel right about it so I didn’t do it. But this record only took a year to work on, I sat down and said I’m actually going to start working, see if I can do a record for public consumption and once I decided to do that it took about twelve months from start to finish. So it’s not like I spent four or five years trying to come up with these ten songs, but over the twelve months I recorded maybe thirty or fourty songs and these were the ten I liked best.

 So I guess you’ve got a lot of songs in the song book for release down the track then?

Yeah because a lot of ideas in songs are good, the ideas are good but the song itself doesn’t work for some reason. But a good idea can last I think, if you try to put an idea into a song and it doesn’t work it might find a home next year.

Obviously the biggest news of the past few weeks was the passing of Robin Williams which is raising a lot of awareness of depression and anxiety, your lyrics suggest you may have had similar issues, do you think there’s enough support for artists and performers battling these issues?

There’s an understanding of what it is on a general level because a lot of artists and performers have a kind of vulnerability to them, so a lot of artists without stereotyping them can be a little bit up and down. So in the arts it’s not such a foreign concept that someone is anxious or depressed. But on a person by person level there’s not always a great deal of knowledge as to how to manage those aspects of a persons life, that’s a cultural thing I’d say rather than an industry thing, but I feel like it’s changing, it’s becoming more legitimate to speak openly about emotional states however there’s obviously a long long way to go.

This may be controversial but I would suspect that more people suffer from depression than statistics suggest, I don’t know the numbers but I’d say it would be closer to 1 in 4 men suffering from anxiety. I think in our society people aren’t very good at dealing with those aspects of their personality and it can come out in the form of anti social behaviour. In that regard there’s a lot of space for cultural understanding in our society, not just for anxiety and depression but just people’s emotional states in general. Everyone’s born with a mind that goes in every direction, and everyone has to learn to live with that mind.

 I know you’ve played on a few tracks with Bluejuice, were you sad to hear about them calling it quits?

Well Jake and Stav are close friends of mine I met them through music but they became close friends of mine outside of music. I met them when Bluejuice first started, it’s sad to see that party end but I have been watching them for ten years and people have to move on as well. I totally understand if they want to move on to the next chapter in their lives. They love the music, they’ve always loved the music and you can tell because there’s so much energy in their records and live shows, they give absolutely everything they have to it. I really admire them for that. But I suspect they just wanted to move on to the next chapter of their life and I totally understand.

Catch Andy at any of these gigs nationwide

SUN 07 SEP | THE SPIEGELTENT @ BRISBANE FESTIVAL, BRISBANE QLD

THU 11 SEP | TRANSIT BAR, CANBERRA ACT

FRI 12 SEP | THE CAMBRIDGE, NEWCASTLE NSW

SAT 13 SEP | THE METRO THEATRE, SYDNEY NSW

18 SEP | JIVE, ADELAIDE SA

FRI 19 SEP | THE BAKERY, PERTH WA

SAT 20 SEP | ROTTOFEST, ROTTNEST ISLAND WA

FRI 26 SEP | THE WARATAH HOTEL, HOBART TAS

27 SEP | THE CORNER HOTEL, MELBOURNE VIC ** SOLD OUT **

SUN 28 SEP | The CORNER HOTEL, MELBOURNE VIC

Interview with Andy Bull

Andy Bull

Indie sweet hear Andy Bull kept us waiting a very long four years before releasing his much anticipated second LP Sea Of Approval. Hit tracks Keep On Running and Baby I Am Nobody Now did the rounds late last year and built a lot of hype around the record, earning him the title of ‘most blogged about musician in the world.’

Now the falsetto voiced synth wizard has proudly released Sea Of Approval, which has been met with world wide acclaim, and he’s sporting a national tour in celebration. We caught up with Andy ahead of the tour that kicks off in September at the Brisbane Festival.

 You kicked off the Baby I am nobody now tour in October last year and played a few tracks off Sea Of Approval then, although the official album tour starts in September do you feel like unofficially you’ve been touring this album for a while?

Some of the songs we tried out last year, at one stage there were maybe four songs that we played live so that’s almost half the record I guess. But it feels like a new tour, I just feel like we’ll be comfortable playing these songs live. It definitely feels like an album tour, the venues are bigger which is kind of novel. I didn’t expect last year to be playing the Metro last year, so that kind of stuff makes it feel way more like an album tour.

The album has been very well received, do you feel like you are in fact swimming in a sea of approval?

It’s funny, you never ever do. It’s kind of what I was predicting when I called the record that because you never feel that way. It’s kind of complex, when you finish a project you automatically start thinking about how you’re going to do the next project so I don’t feel as if you reach a point where the work is done and you can just tick the box. And in terms of getting audience support, some people like what you do, some people don’t like what you do, some people hate what you do. Some people like what you do then they don’t, some people don’t like it then they come around, it’s not a very solid thing to pin yourself to. So it’s really nice when you get some praise, but there’s definitely an anxiety that comes if you start paying too much attention to what people think. So the sea of approval is something you should never really pursue. But first and foremost it’s nice to have a record finished. I did the best I could, there are elements of it that I’m really proud of, it’s not perfect but nothing ever will be, and the process of making it wasn’t perfect but I’m on the right path and I’m doing what I’m meant to be doing.

Speaking of the process of making the album, is there a lot of trial and error creating an album that’s so densely layered?

Yeah for me there was a lot of trial and error, some of the songs I did many versions of. There were some other songs that I also trialed and trialed and trialed that didn’t make the record. That’s one way of making a record, there are instances where you work really quickly, some parts of songs and some key ideas arrive really quickly. But being on your own means that you have to do everything layer by layer, so you don’t always have the context of other players knowing if something works. In a band you can feel when something clicks because everybody is doing something and it just works. On your own the pace of that first discovery is different, because you’re doing it piece by piece. So for about 80% of this record there was a lot of trial and error, there were many versions.

So why did you keep us waiting so long (almost five years) for another full length release?

Over the course of the four five years I was really busy, I toured a lot. I actually recorded heaps of music in those four years, trying different things. I recorded a few EP’s but decided not to release them too.

Why not?

I just didn’t feel like it was right, it wasn’t the right time, the ideas and songs didn’t work for me. I’m not sure I just didn’t feel right about it so I didn’t do it. But this record only took a year to work on, I sat down and said I’m actually going to start working, see if I can do a record for public consumption and once I decided to do that it took about twelve months from start to finish. So it’s not like I spent four or five years trying to come up with these ten songs, but over the twelve months I recorded maybe thirty or fourty songs and these were the ten I liked best.

So I guess you’ve got a lot of songs in the song book for release down the track then?

Yeah because a lot of ideas in songs are good, the ideas are good but the song itself doesn’t work for some reason. But a good idea can last I think, if you try to put an idea into a song and it doesn’t work it might find a home next year.

Obviously the biggest news of the past few weeks was the passing of Robin Williams which is raising a lot of awareness of depression and anxiety, your lyrics suggest you may have had similar issues, do you think there’s enough support for artists and performers battling these issues?

There’s an understanding of what it is on a general level because a lot of artists and performers have a kind of vulnerability to them, so a lot of artists without stereotyping them can be a little bit up and down. So in the arts it’s not such a foreign concept that someone is anxious or depressed. But on a person by person level there’s not always a great deal of knowledge as to how to manage those aspects of a persons life, that’s a cultural thing I’d say rather than an industry thing, but I feel like it’s changing, it’s becoming more legitimate to speak openly about emotional states however there’s obviously a long long way to go.

This may be controversial but I would suspect that more people suffer from depression than statistics suggest, I don’t know the numbers but I’d say it would be closer to 1 in 4 men suffering from anxiety. I think in our society people aren’t very good at dealing with those aspects of their personality and it can come out in the form of anti social behaviour. In that regard there’s a lot of space for cultural understanding in our society, not just for anxiety and depression but just people’s emotional states in general. Everyone’s born with a mind that goes in every direction, and everyone has to learn to live with that mind.

I know you’ve played on a few tracks with Bluejuice, were you sad to hear about them calling it quits?

Well Jake and Stav are close friends of mine I met them through music but they became close friends of mine outside of music. I met them when Bluejuice first started, it’s sad to see that party end but I have been watching them for ten years and people have to move on as well. I totally understand if they want to move on to the next chapter in their lives. They love the music, they’ve always loved the music and you can tell because there’s so much energy in their records and live shows, they give absolutely everything they have to it. I really admire them for that. But I suspect they just wanted to move on to the next chapter of their life and I totally understand.

Catch Andy at any of these gigs nationwide

SUN 07 SEP | THE SPIEGELTENT @ BRISBANE FESTIVAL, BRISBANE QLD

THU 11 SEP | TRANSIT BAR, CANBERRA ACT

FRI 12 SEP | THE CAMBRIDGE, NEWCASTLE NSW

SAT 13 SEP | THE METRO THEATRE, SYDNEY NSW

18 SEP | JIVE, ADELAIDE SA

FRI 19 SEP | THE BAKERY, PERTH WA

SAT 20 SEP | ROTTOFEST, ROTTNEST ISLAND WA

FRI 26 SEP | THE WARATAH HOTEL, HOBART TAS

27 SEP | THE CORNER HOTEL, MELBOURNE VIC ** SOLD OUT **

SUN 28 SEP | The CORNER HOTEL, MELBOURNE VIC

Interview with Jonathon Boulet

JbouletAfter extensive tours of the UK and US that saw him play SXSW, and spending a year in Germany, critic darling Jonathan Boulet is back down under with a brand new album exploring new territory for the Sydney singer/songwriter.

Gubba is noticeably darker and heavier than it’s predecessors, with a fuzzy garage rock sound which compliments the film clip to the first single off the track Hold It Down, which sees a group of would be bikes trying their hardest to look cool.
Being the genuine top bloke that he is Jonathan was happy to answer a few of our questions about the album and his time overseas.

What did your year living in Germany consist of? Besides of course writing and producing Gubba.

Caught up on some much needed globe trotting. Saw some wonderful places and met some colourful people. Otherwise, we kicked back and cruised along in Berlin.

Speaking of Gubba it seems to be a lot faster and fuzzier than its predecessors, did you make a conscious decision to sound a little heavier in this record or did it just kind of happen?

It was conscious. I didn’t turn the guitar amp on one day to find it had been magically knocked up to 11. As the record leading up to this one was also a fair bit heavier than the last, this one was to take it up 1 more notch. Where to from here though? Another notch? But John, that surely is far too many notches! Yes sir, probably.

After spending a few years touring and writing overseas is it exciting or nerve wracking to be heading out again in Australia?

Not at all nerve racking. It’s heart warming. It’s soul quenching. It’s canned love, straight off the shelf. Very excited to catch up with friends and throw shrimps on the barbie.

What did you miss most about Australia?

The Mad Mex franchise. The dangerous UV levels. And the loveable Politicians.

What did you miss the least about Australia?

It’s proximity to Europe and the United Kingdom.

The guys in the Hold It Down film clips are sort of bikie versions of the guy in The Offspring’s Pretty Fly For A White Guy film clip, I heard the ring leader of that gang is related to you? Was it a fun shoot?

Yeah that’s my Dad. Me Pa. He used to ride. And he still does apparently.

I wasn’t there for the shoot as I was and still am overseas but apparently it was not fun to shoot. I think it may have started fun but there were storm clouds rolling in and started pissing down on everyone. Then there was the constant engine troubles. People kept breaking down and having to fix their bikes roadside so as to continue with the shoot. I’m very pleased that they didn’t give up though, I love that clip!

On your website you list a few things you’ve been called in the past, like a dick waving in the wind and a sexy motherfucker, did someone really call you a beluga whale because of your ‘roman’ nose? Who would say a thing like that?

Yes that one did actually happen. Scott from the John Steel Singers can vouch for that one. He was there, and the catch phrase of the night ended up being “do the beluga”. And I believe it was a drunk girl. Thats who.

Are you going to continue to produce your own records or do you think you’ll enlist some help somewhere down the track?

For my solo stuff, I will continue to DIY. It’s just too much fun. You can actually do whatever the fuck you want and no one can tell you it’s a bad idea or that it’s shit. At least until after you put it out, haha. But by that point exterior opinion might as well be a foreign language.

Your side project Parades called it a day a few years ago, will you be working on anything else on the side in the near future or just sticking to the solo stuff?

Yeah I got a couple things I’m working on at the moment. But you won’t know till their ready!!!!!

Thanks for taking the time to answer our questions Jonathan, we’re big fans of the album!

No worries thanks mates. And don’t forget to do the Beluga.

Catch Jonathan at one of these shows:
Friday, 15th August 2014
Northcote Social Club, Melbourne
Saturday, 16th August 2014
Pirie & Co Social Club, Adelaide
Thursday, 21st August 2014
Goodgod, Sydney
Thursday, 28th August 2014
Black Bear Lodge, Brisbane

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