Concrete examples of cohesion in Australian band culture today aren’t as common as you’d first consider. Gyroscope however is one band who fit the category perfectly. Together 12 years, they found their beginnings as 17 year old school mates. Hailing from the Eastern Suburbs of Perth in West Australia they’ve worked harder than most to establish themselves alongside heavyweight Oz rock acts such as Wolfmother and Grinspoon. Today, they remain as the original outfit (minus one), something the latter bands cannot boast. A gradual ascendancy over this period has afforded them a significant following; particularly among the valuable Triple J live music listener and the pub-rock patrons. This appeal has allowed them the grace to evolve and experiment with their sound. They themselves are critical of their variety-filled career, conceding that 2008’s offering Breed Obsession could have been from a variety of their previous work, the result fragmented direction.
According to Zoc (Zoran Trivic), the guitarist in the band, the lads were so comfortable with the idea of cohesion, especially as being representative of both their performance side and personal lives, they decided to adopt it as the title for their upcoming fourth album.
“Cohesion was with the song writing between the four members of the band and our lives in general,” says Zoc.
“I just got married, Dan’s married, Rob’s got his girlfriend and we’ve all got friends and family back in Perth and to take off three months at a time, to the UK or US, you’ve got these extra stresses. We’re not 17 anymore, so cohesion was about making sure everything in your life - the music and everything – was working together,” he continues.
Seated and enjoying a well-earned afternoon Corona on the deck of their Brisbane-home (The Point Apartments, Kangaroo Point), Brad Campbell (bassist)and Zoc aren’t showing signs of fatigue. This is despite day one of the five day, fly-by-night promo tour (taking in Adelaide, Melbourne, Sydney, Alice Springs, Brisbane and Perth probably should have left them bleary-eyed from lack of sleep. Take the freak storm which left them grounded on the tarmac at home for three hours to their less welcoming delayed arrival into Brisbane at three in the morning – no cabs at the closed airport, aswell a day spent trekking across town and to the Gold Coast for commercial radio promo and other press engagements, the two present as remarkably composed creatures.
Laid back, these instantly likeable guys, settle quickly into a very ‘cohesive’ conversation style, bouncing from one to the other with ease, at times it’s as if they’re one person in speak-sync. Clearly no novices to the game they play, both are image-aware, while remarkably individual in their looks. Zoc as the immaculately dressed, beret to the side and sunglass affixed, contrasted alongside the wild and wiry (Sideshow bob-like) mopped Brad whose piercing blue eyes are intent on maintaining eye contact there is never any question that these two aren’t sure who they are or what they’re about.
The intensity and passion the close like brother musos emanate serves them well both in their on-stage and off- personas. Visibly upbeat and excited to tell the journey behind this album, their pride for it is immediately evident. And why shouldn’t it be - their personal sentiment is it’s the best thing they’ve produced yet. Fortunately this time around the four were lucky enough to be offered a salary by their newest label recruit, so the pair admit the ride is one they are completely appreciative to be on.
“People go you know we’ve seen you on tele and on the radios and you’ve got a couple of successful records, you guys must be raking it in, but well the story of Australian music is you’ve got to work so hard for so long for so little return. You’ve just got to love the music you know and we’re not rich or famous or anything but to be able to make music for a living is all we’ve ever wanted to do,” Zoc says sincerely.
The group, who share studio quarters with Perth all-stars, Karnivool, and End of Fashion, were disciplined in their approach. Seeing their reprieve from their ‘boring’ day jobs as time to get serious and treat the making of their music like a ‘real job.’
“We were fairly strict on ourselves, which is good, because otherwise it’s pretty easy to get lazy and drink beers every day, but if you treat it like a job it was worth it you know,” says Brad.
Amidst the long hours spent writing and demo-ing in the studio – a flurry of chicken feathers escaping through the window of the nearby chicken factory - the band produced at least 30 quality tracks which gave them as Brad suggested room for b-sides if they needed them.
The progression then from demo to recording presented an unbelievable (even to the group) opportunity, one which they dreamed of as school boys when first starting their band. Gil Noughton, producer to bands including Queen, The Pixies, Coldplay, Oasis and idols to Gyroscope the Foo Fighters, had agreed to take on the boys and their project.
“He’s been on our list since we started, to get him on this record was pretty special,” says Brad. “He’s the one producer ever since we were kids (Foo Fighters: Colour and the shape) favourite records, so one day if we can make a record with this guy, “ Zoran adds.
Absolutely over the moon with their new producer, the boys hopped a plane (at Gil’s request) to Wales and found themselves entering the renowned Rockford Studios, a music museum for any avid music fan, none of it’s memorabilia and heritage was lost on a zealous Zoc. “It was cool. We’d be working away and someone would go, ‘Oh yeh, you know that tree out there, that’s where Coldplay came up with Yellow on their album Parachutes. And that wall over there is where Liam used to sit and write his lyrics and we call it the ‘wonder wall’ because that’s where he came up with Wonder Wall.’ You know there was just so much history.”
The pinnacle of this nostalgic studio for Zoc was in fact playing keys for a couple of the songs on the same piano Freddy Mercury had done for Bohemian Rhapsody. A solid eight or nine weeks in the studio (with the exception of one night out to London to be Gil’s wingman to the touring Pixies who’d requested Gil to attend their show) and the band’s dedication to the record was beginning to pay dividends. Praise from the taskmaster and ‘dad figure’ Gil unexpectedly delivered the lads to top two bands to work with.
“He did tell us that we were the most hardworking band, most prepared band that he’d ever work with and we were like, are you serious – actually second most, equal first with Dave Grohl.”
As the cloak is lifted on Cohesion the album the lads remain firm that they’re committed to Australia because their Australian fanbase is established it doesn’t make sense to leave that all behind. Besides it adds to the overall sense of cohesion of the band is shooting for
“That’s the whole idea of the album, feels like everything is working properly now, everyone knows their role sort of better at what they’re doing and I don’t know everything just sort of seems right at the moment.”
Gyroscope’s fourth release: Cohesion is available through Universal, www.getmusic.com.au
Sid O’Neil is as typical Gen Y, as they come. Creative, artistic and entrepreneurial he’s also susceptible to losing motivation and struggles to pay attention to the things that don’t matter to him. As the front man to original Melbourne-based trio The Vasco Era he’s currently erring on the side of stimulated, but it’s not because of the music he and his band mate’s brother Ted O’Neil and Michael Fitzgerald recently produced. Rather it’s the shift in perspective he’s undergone while waiting for their latest album to be released.
At just age 23 Sid claims to have undergone a quarter-life crisis attributable he believes to the sophomore album (recorded almost a year ago) being delayed for release. Too much time spent wondering how it would pan out prompted him to make some radical life decisions. Those choices have proved to have profound implications on his day-to-day to living.
“I thought maybe I should quit being a musician and do something meaningful with my life and I just took a plane to Queensland the next day stayed on people’s couches and stuff, then I ended up with a girlfriend and I’m studying social work now, by correspondence from a uni just near Byron so I’m a bit more balanced these days,” he said.
It’s obvious as he speaks in a dopey, freshly woken voice he’s recently enjoyed either an afternoon kip or a ‘morning’ wake-up call mid afternoon. Sid oscillates between excited and apathetic when he’s asked about The Vasco Era’s latest record Lucille. “We recorded it like a year ago, so it’s a weird thing, our excitement about it isn’t so relevant anymore.
“All of the responses we’ve had and the reviews about it so far have been really good, so it’s kind of exciting to get that, to get some credit, cos our last one didn’t review nearly as well.
Sid is fairly impatient for the release to occur so he and the lads can get on and start a new project.
A brief history lesson for those unfamiliar with The Vasco Era’s catalogue, they released a debut LP : Oh we do like to be beside the seaside (no doubt referencing their Apollo Bay roots) back in 2007 and then have not really been heard of since, reasons for which Sid is matter-of-fact in explaining. Basically his creativity was being compromised.
“I was homeless in Melbourne, trying to write songs, getting really pissed and taking lots of drugs and those things don’t go together cos you’re not that creative when you’re taking heaps of ecstacy unless you’re the Happy Mondays.
“I have spent a lot of time not making anything good up, so that’s why it took so long really.”
Lucille (as an album) takes a narrative approach, following the lives of two central characters, Lucille and Sam. The idea for this record he claims was generated by a chance visit to a town in Northern NSW at again a time when he was struggling to come up with ideas for songs.
“I went there for a party for two days, cos it’s like a place I wouldn’t usually go and it was something different, and I met this couple.
“She’s a stripper, and I don’t know if he was like religious or priest dude and he was acting fairly jealous and he didn’t act like he liked what she was doing but he liked her and that’s where the idea sort of came from.”
The fruits of his findings are cleverly expressed via a bluesy baseline and rockabilly sensibility. Despite Sid’s noticeably laconic nature, he’s assured of his ability to make good music. Though he will admit the ability is spread evenly amongst the three members. “Ted’s [older brother] got better general knowledge and he’s probably academically a little bit more talented but musically I’m more creative than him.
“If you ask him any question about anything he’ll know the answer but … I’m better at making up songs,” he laughs.
Whereas, Michael, he’s completely different, he’s technical, he went to the conservatorium in Melbourne, to learn about the f…cking xylophone and I don’t know, triangle or whatever you do in the orchestra, symphony and stuff. “He’s obviously talented in a whole other way, the technical kind of way so it works pretty good the three of us, cos I’m not technical by any means.”
When broached with the concept he’s talented, Sid pauses and after some protesting awkwardly accepts the compliment. Choosing instead to reference musical genius, John Lennon’s belief that there is no such thing as talent you just do things for a long time and you end up pretty good at it. “I was good at drums when I was a kid but I didn’t think I’d be a good guitarist which is what I do in this band, it’s more just that keeping on doing it, for ages.”
As the trio prepare to tour their record, he’s at peace with fame as a concept, and reveals he’s not so much interested in being recognised, but that he’s keen to be recognised for his music and has adjusted his expectations for his musical career trajectory. “I’m not so reliant on what people say or how the music goes really, which is a better balance especially in Australia to try and be a musician for a living, it doesn’t work, unless you want to make music to deliberately sell records, like deliberately cap your music which I really don’t want to do.
“Unless you’re one of those that makes music by compromising what you want to say and I couldn’t live with myself if that happened, so I’m going to be a social worker and help other people that take drugs.”
The Vasco Era take their new album, Lucille on the road throughout April /May. Visit www.myspace.com/thevascoera for dates and purchase their album via Universal’s www.getmusic.com.au.
The saying: ‘life’s a beach’ easily applies to Nick Warren DJ producer of one of the UK’s top progressive music acts – Way Out West. He’s lucky enough to have enjoyed longevity in a musical landscape which changes it’s allegiance like people change their hairstyles.
He’s probably best known for his early career-makings as tour-dj to the seminal trip-hopsters (from the early 90s) Massive Attack. He has since carved his niche as a producer/dj under the guise of Way Out West. Along with his buddy in producing Jody Wisternoff they are now enjoying their sixteenth year of success which he attributes to the nature of their relationship.
“We don’t see that much of each other outside of the studio, so we don’t sort of go to the pub together or have nights out together and wake up feeling like shit, so it works really well. We’ve lasted longer than most marriages, he laughs.
“People have asked me before if I’d like to work with someone else it’s kind of like asking me if I’d like to sleep with someone else if I was with my wife, you don’t do that do you? So no, I’m more than happy with Jody, so while it works well we’ll stay together. “
On the eve of their imminent tour to Australia (where they’ll play as headliners for the Future Music Festival) Warren is mindful that a resurgence in progressive – house and trance is well and truly underway and thinks it’s got everything to do with the fact they play their own music live but also the crowds are more discerning these days.
“I think it’s a Backlash to the whole minimal sound which appeared. I think people wanted some melodies, some bass-lines and some energy back into it without it being cheesy,” he concludes.
Currently reaping the rewards of their latest offering, We love Machine (Warren believes has been received really well and is reflected in sales) the duo have decided to get the whole album remixed which promises some surprises in itself.
“I think we’ve got something like 15 remixes coming out in either March or April, as well our track The Gift – Sony is re-releasing that I think in April so there is some new mixes, some new dub-step mixes, Logistics (producers) have done an amazing drum and bass remix.”
Warren eludes to more studio time once the European summer is behind them because there’s no point waiting another three years in his mind if you’re inspired right this minute.
“I think we’ll make some singles, which will take like two tracks and much less time to do, we’re going to do some movie stuff, I’ve got some best-ever solo material this year to release and, Jodie’s got some solo stuff coming out also.”
Returning to the opening statement ‘life’s a beach’ if you’re perplexed because Warren appears too busy to be relaxing beach side, fear not he’s found the best blend of both worlds.
He’s recently completed a deep-sea fishing expedition (his other love) at the base of Argentina (near Antarctica) but manages to combine this r and r with work, hardly hard work, a show in Buenos Aires on his way home and he’s not in any hurry to give up his current lifestyle.
“Music has been my career for so long, I think I’m a better dj now than I was ten years ago.
“So while I’m still enjoying, while I think I’m on top of my game, I’ll keep going. I think that’s when I realise that my interest is waning that I’ll stop but I still love it at the moment.”
Dan Coop and his best friend James Rushent are two stalwart members to five piece British electro-rock outfit Does it Offend You, Yeah? They found their beginnings uploading bedroom produced songs, from their Reading home, via Myspace. The group whose name was borne from scribbling on the table after being signed to their current label, never even contemplated the idea of being successful and playing as part of a band seemed, distant.
“We just thought we were a couple of guys messing around when we got signed we wrote that on the studio table saying we could go anywhere from this, we could become really famous or we could fade into obscurity or we could be doing what we’re doing now, we could hover somewhere in the top middle echelons – playing festivals. We’re not exactly headlining yet, but hopefully we’ll sort of step up,” says Coop from his base in London.
And step it up they have. They’ve been chosen not only to play as part of the Future Music Festival line-up but they’re well chuffed with their choice to support other main headliners – The Prodigy on their round of sideshows nationally.
“James did some production on their last album, he did Omen and Raiders must die and we’ve done about five gigs with them so far – they’re all really nice guys so we’re kind of looking forward to spending a lot more time with them, when we’re in Australia we’ve got about 12 gigs and we’re really looking forward to it cos we’re massive fans.”
Drawing inspiration from The Prodigy’s own style of music, edgy rock, with synthesisers and electronic drums Does it Offend You, Yeah? are as Dan speaks putting the finishing touches on their own second album, aptly titled: You don’t know what you’re getting yourself in for.
“We’re a very electronic band, if we didn’t have synthesisers we’d sound quite grungy I suppose, especially on this new album, I mean synths and electronic drums, make up a whole lot of our sound really.
“We just love dance music, then we gradually faded into doing band stuff as well without the synthesiser we wouldn’t have really existed really,” he ponders.
The band are friends Matt, Chloe, James Rob and of course Dan and according to Coop they’ve always been dance music fiends. In fact he places touring partners The Prodigy as top of mind for their influence in shaping their sound because of the act’s tendency towards cross-over tracks rave tracks. Heavy electronic rock and a full-blown band grew out of their ideas around what would work well live.
“When we got the chance we thought well we might as well make a sort of whole band, just having two guys in front of laptops on stage, can be a bit stale unless you’ve got like amazing visuals and million dollar light show, which we can’t afford we thought we’d just go down the band route, just ah have fun that way and people have latched on, so all the better really.”
Coop believes Australian fans will dance harder than they ever have with Does it Offend You Yeah before.
“A lot harder than they’re used to, cos we’ve just sort of stepped up everything especially as we’re playing a dance music festival, going to play more of the dance-y type stuff so get a really full on type of assault, quite a lot of loud music, especially cos the new album has a few heavier dance tracks on there so we’re going to be playing quite a few of those as well.
In fact the dynamic duo James and Dan even decided to split the preparation of both the live show and the album release.
“I was in the studio today, in London and James was in the studio in Reading. I was with a guy laying out the samples of what we’ll use in the live show and laying out all the live tracks and stuff and James was in the studio finishing off final bits of the album and doing mixes and stuff like that and making sure everything is ok before the record goes to mastering next week. “
Whilst Dan gives the impression this gig is everything he’s dreamed of and more, there is one thing he thinks could improve his rock-star image: crazed fans.
“Two or three crazy fans, we’ve kind of sort of had to avoid them, but we don’t live in places where people can really recognise us, no one is really that sort of insane to recognise us that much, everyone seems pretty friendly but I wouldn’t mind having a couple of stalkers to be honest. Laughing…”
Does It Offend You, Yeah?’s latest album: Don’t say we didn’t warn you is available through EMI Music.
Brisbane band, Yves Klein Blue have been around for a little longer than most people realise but following their win in an MTV Kickstart competition (which recognised their greatness by injecting them with cashflow to the tune of twenty thousand big ones) they got smart and decided to record a debut EP – and in name and practice they worked out how they could draw attention to themselves.
That was some time ago (2008 in fact) and since then they’ve enjoyed opportunities afforded through the signing to label – Dew Process, which have included tours with big name acts, the likes of which include, Reverend and the Makers in the UK.
“We were playing big venues too. It was so weird we were in Bristol and playing to like 2000 people, we were like what is this, we’re on the other side of the world playing to more people than at home. It was pretty awesome,” says bassist Sean.
The frenetic and fiery (three of the four members are red heads) lads: Charles, Michael, Chris, and funny-man Sean give the sense together their apt to mischief. For Sean the lure of playing their own first headline gigs (off the success of their current album: Ragged and Ecstatic) is amusing and exciting and well worth paying money for.
“Our own tour, it should be interesting, being the last band on hopefully people will enjoy it, do a few things make it fun, experience for people make it worth people coming out and making worth whatever ticket price we’ve probably set.”
Sean speaking from his childhood home in the semi-rural reaches of Brisbane’s outer western suburbs allows himself time to reflect on his and his band-mates ascendency but with plain irony he concluded that perhaps not all that much is different.
“Feels like everything around us has changed, we feel like we’re just doing the same thing, but now all these other people are kind of looking over our shoulder. The Management, they’re all awesome people, but they weren’t there at the start and now they are,” he muses.
As well as their own tour, the Yves Klein blue lads have also been named alongside big name act La Roux, as jumping aboard the Bacardi Express which means travelling down the East coast of Australia aboard one mean locomotive. The train, joy-ride kicks off its tour from hometown Brisbane in late March. The idea of which is quite enticing to Sean.
“I wouldn’t say that we’re train enthusiasts, we’re not quite, we don’t have trains set up, I think maybe Charles and I have trains but they’re not set up but um we like trains and we’re all pretty excited about travelling on one.”
To this savvy twenty something the fact that the Bacardi Express is (as its name indicates) likely to deliver them free alcohol whilst aboard (always a benefit to a struggling rock musician) it is not the only reason Sean can think of for why this experience is set to be awesome.
“It will be a dangerous two days I think. It’s like a really old train and it full of musicians, who will sleep there, eat there, jam there, there’s a jam room there and there is also like three or four bars serving an abundance of alcohol.
Catch the raucousness of Yves Klein Blue when they headline their own tour visit: www.myspace.com/yveskleinblue for tour dates. Their album Ragged and Ecstatic is available through Universal Music; www.getmusic.com.au.
A baby-face like that which belongs to Lawrence Greenwood (Whitley) surely isn’t capable of delivering music so deeply detailed by themes of existentialism, is it? This implies an aged, musician created it. Managing to turn the archetypal ‘soul’ musician mould on its head and replace it with his own self, there is a rare maturity demonstrated to this man’s music.
His second album Go Forth, Find Mammoth lives as testament to understanding why Whitley looks set to endure as a successful artist even perhaps beyond his years.
Emotive lyricism applied to beautifully crafted instrumentation is probably what achieves this mantle for him. He’s blessed with an uncanny ability to write poetic, esoteric song lyrics and shape these around a musicality that only the most seasoned musicians manage to achieve.
‘Head First Down’ is the single being played non-stop on radio and aptly it sets the tone for an album which poignantly delves into the notion of life – we’re born and then we die. Through the collection of songs on this album Whitley dares to ponder the aspects in between the life cycle, those which enrich our souls and contribute to our personal tapestries.
Whitley illustrates his ideas around this perplexing paradigm via a lovely meandering album which ebbs and flows much like life itself tends to.Tied together in the album notes as dedicated to Jonathon Livingstone Seagull, a philosopher of great influence it appears to Lawrence’s ability as a songwriter.
Adding to the richness of this album are those whose help he’s enlisted. Band-mates and friends Washington, lend their services on tracks including the blissful female overtones of Hazel Brown - on Killer. Even nature itself gave a helping hand, with ‘The piece you took from me’ enhanced by the real rolling thunder clouds of a storm going on overhead.
If possible Whitley is already a master at his craft his latest album demonstrating he’s not only evolving in sound but his ability to write breathtaking songs is astounding.
Summer festival season has arrived once again, but not soon enough it seems for avid music fans. There is a smorgasboard of summer flavours to entice any palette and if live music is your bag then you’re bound to be sultrily seduced by what’s on offer through the next few months.
First up is the usual dance floor phenomena which accompanies the Summadayze festival and Summa Field Dayze on the Gold Coast. Two Many Djs, Major Lazer and Danny Howells provide a mixed-bag of musical treats which fit the electronica bent. For ticket and venue info visit: fuzzy.com.au.
If dirty electro is not your cup of tea then thanks to those who bring you the fantastic Falls Festival in Marion Bay and Lorne the touring road show is being taken to the Northern States. Sunset Sounds touches down in Brisbane on January 6 and will play host to Moby, The Temper Trap, Lyrics Born and Art Vs Science, not to mention the larger than life Yeah Yeah Yeahs. For ticket info visit: sunsetsounds.com.au.
No sooner than you’ll be saying au revoir to your New Year’s celebrations but the Big Day Out Festival will kick off once more, this year with another super line-up. The Mars Volta, Passion Pit, Powderfinger, Muse as well as Lily Allen make this a variety filled day out for music fans. Visit bigdayout.com.au for further artist info.
But if it’s getting too big for you then why not throw your attention to a smaller scale festival, Laneway – smaller for it’s laneway restrictions but large in its band repertoire.
Taking place in lanes all over the country: Adelaide, Perth, Melbourne, Sydney and Brisbane; Laneway will showcase international folk sensation Mumford and Sons, as well Florence & the Machine, Whitely and Sarah Blasko. Visit lanewayfestival.com.au.
Further to this will be February’s dressing down of the urban flava when Salt n Peppa, Busta Rhymes and the Uk’s Friendly Fires all make an appearance as part of the Good Vibrations Festival happening again nationally. Visit jammusic.com.au for further info.
You’d think you’ll be tuckered out though whe n no sooner does this festival wrap up but we’ll be hit up by the likes of Prodigy, Above and beyond and Franz Ferdinand when Future Music Festival touch down hitting all major cities with their delectable dance-crazed addicted artists. Go to futureentertainment.com.au.
Taking us right up to Easter and out of summer will be the 21st Blues and Roots festival happening again in Byron. This line-up promises a mad-hatters cup of Crowded House (reformed for this festival only) as well as blues musician Buddy Guy and amazing dance elicitors the Buena Vista Social Club. The festival unveiled late in November gun entertainer and crowd stealer – Jack Johnson as well. Visit bluesfest.com.au for ticket and date information.
Danny Howells’ name is one synonymous with the London DJ scene, specifically the house genre, and has been for many years, almost twenty in fact. Ask him then what he’d choose to do as a career and a lifetime in nursing was what he’d have told you. However a fortuitous discovery of decks at a birthday party celebrating Prince in 1990 helped him to unleash his hidden talent.
“I’d never actually mixed before but we hired in decks, and from that first night (I actually played on these decks which were really old, belt drive, or even six speed maybe didn’t have controls in them) I found that I was able to mix and I think that was from doing mix tapes when I was a kid, doing the pause button bar structures and I was able to mix, pretty much straight away.
“I knew then that I wanted this to be my hobby that I wanted to have decks at home, that I wanted to be spending all of my spare time doing mix-tapes for my friends and stuff, but never actually at any stage did I say this is what I want to do.
“I just sort of kept hacking away at it and things sort of really fell into place for me.” He says modestly.
As 2009 comes to a close and 2010 (another decade opens) Howells has seemingly never looked back. His non-acceptance into his chosen career way back when and an uncanny ability for mixing music today see him as a master at his craft.
He’s made a healthy career out of laying down danceable progressive house tunes the inspiration for which can strike at the most ordinary of moments.
I remember I was in the kitchen at home making dinner one night, I was struggling to get the bass-line (for In Black his latest single) and then it hit me, I rushed upstairs and layed it down.”
Howells believes there is no specific formula he follows to arriving at his anthems.
“I’ve found with certain tracks, that you have an idea for a sample or a bass-line, or chords or whatever suddenly you can be just fiddling around on your computer using different sounds and you realize you’ve got a certain track there and where did that come from?
That one came together really quickly actually I was really pleased in the space of one evening, I got the bulk of it together and I was very happy with it. Other times you’ve got one and you find yourself labouring over it for so long you end up destroying any sort of spontaneity any sort of like, you once had, you sort of have to go straight in there and whack it out and um… hope for the best.“
Despite this casual approach he can sometimes adopt, he’s very much about pushing boundaries. So much so, bored by continually creating sets that spanned 45 or 90 minutes for festivals and club gigs he pioneered a new concept in gig times - introducing crowds with stamina, to mammoth 12 hour sets. These days the key he feels to maintaining his interest is variety in what you’re doing.
“I just got back from the States – fifteen dates in over two weeks, and I did a real a mixture, I played tiny events, I played one room in San Francisco which held maybe max 180 people mind-blowing and then doing a festival on the same day which was like a love parade kind of thing and then doing short set here and doing a really long set in Montreal in Canada which was 12 hours, keeping it all sort of mixed up for me gets me really excited.
“Not doing the same thing two times in a row,” he muses.
His Australian fan base will have an opportunity to share in this variety when he joins the other top heavyweights of house, at Fuzzy’s Field Day, and SummaFieldDayze as well as a couple of club gigs, for good measure.
“I don’t really think you go into festivals thinking oh you know I’m going to create a 12 hour sonic sound-scape you’ve got a lot of different artists on at the same time and then you really give it your best for sort of like 90 mins or two hours but then you’ve got the bonus, you finish your set, you can go listen to sound-system or you can go listen to Carl Cox hang out with the crowd. Or you can go and get a burger joint, or whatever, it’s just a different sort of thing.
“When you’ve got a sort of tour like this, when you’ve got a lot of guys doing the festival together you hopefully get that sort of comradery together you have a great time getting sort of too and from the gigs. “
Catch Danny Howells when he plays at, Field Day in Sydney and SummaFieldDayze at the Gold Coast. Visit fuzzy.com.au for ticket and event info.
