Western star

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.”

Way out West play Future Music dates throughout March visit: www.futureentertainment.com.au for details.

Ruth Bailey

Posted: March 15th, 2010 under FESTIVALS, INTERVIEWS, international.
Comments: 2

No offence intended

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.

Ruth Bailey

Posted: March 15th, 2010 under INTERVIEWS, international.
Comments: 1

Song sung blue

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.

Ruth Bailey

Posted: March 14th, 2010 under Australian Interview, INTERVIEWS.
Comments: none

Some stuff I’ve done lately for Time-off and or other local street press.

street-press_reviews-etc-2009

Posted: December 31st, 2009 under INTERVIEWS, LIVE GIGS.
Comments: none

Oh, Danny boy

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.

Ruth Bailey

Posted: December 29th, 2009 under FESTIVALS, INTERVIEWS.
Comments: none

Powderfinger embrace ‘golden rules’ for success

A five year hiatus from performing at sell-out festivals could make some bands nervous, unless of course you’re phenomenally successful Australian band Powderfinger. Jon Coghill (long-serving drummer to the five -piece) is excited about the prospect of the band being back on the road where they will join the stellar line-up for next year’s Big Day Out national tour. Even if, the excitement is fuelled by their desire to create better memories this year. The last time Jon and his band mates joined the Big Day Out bandwagon they found themselves as Jon recalls a little out of their element.

“We were playing with all these heavy metal bands and it was a horrible atmosphere, back stage with all these unfriendly people. So when this line-up was announced we were like ‘ooh yeh’ we’ll be able to get along with them.”

2010’s Big Day Out tour happens to time perfectly for Powderfinger (who comprise, Bernard Fanning, Ian Haug, Darren Middleton and John Collins and Coghill) because they’ll be touring with brand new fodder for their fans.

A seventh studio album – Golden Rule has been released to national acclaim and whilst it’s written everywhere about the ‘Finger’s’ many achievements over their illustrious twenty year journey, numerous Aria Awards now collect dust at the band’s studio space (located somewhere in industrial Albion, Brisbane) and it’s here again the magic for this latest album mesmerised.

According to Jon the stand out differences between this album and that of 2007’s Dream Days at the Hotel Existence are that this time around he and the lad’s were less focused on achieving perfection and more on just getting along and having fun. He also attributes a positive difference to their decision in welcoming back a trusted friend in Nick DiDia who truly grasps what the band is about.

“We let Nick take control of what was happening, and it took away the whole negotiating between each other how we should be doing stuff and usually five sort of opinions turns into something that is not very productive.

“We wrote the songs but the whole idea of the way the album sort of flowed and the sentiment, feeling underneath it was very much Nick’s doing.”

Not shy in admitting Hotel Existence’s producer didn’t quite gel with the band’s own vision for making music, ‘he was all about creating the perfect pop song’ he credits instead, Nick with the foresight and ability to shape a fantastic album.

“He’s got a really similar philosophy with music as we do it’s not as much about as selling as albums as trying to write the perfect pop song, it’s about making something aurally stimulating.

“It’s sort of like I don’t know you try not to get into that sell-out territory and you just sort of let the music speak for itself. “ Jon says.

And speak it shall, released in mid November the album has already enjoyed unprecedented sales (debuting at number one in the Aria Charts for a fifth consecutive time) possibly this is because the band decided to harness the online momentum generated by social media sites such as Twitter and Facebook. A forward thinking move, from them, which has been exceedingly well embraced by their management.

“The internet is evolving and the way that you market on the internet is evolving so quickly and I think people are always looking for the next thing so it’s probably a lot of opportunity out there and there is a lot of scope provided by the internet but you have to be wary of it…” Jon warns.

A specific element to the social media strategy employed was for the band to perform and trial their new material on the sometimes unsuspecting public (busking outside the Beach Hotel in Byron Bay) and again under their band moniker – Adult Baby. The anonymity attached to performing this way, gives, Jon believes, the band a chance to perform without expectation.

“It’s pretty good actually, it frees you up, it’s good in different aspects when we did adult baby we just played the album from start to finish and we hear about four or five old songs that we don’t usually do  so with playing under Adult baby there is no expectations of what you’re going to play so you can play whatever you want.

Where as with Powderfinger, sometimes there are a few songs that people like you to play where as you also like to get the crowd into it, it changes your set pretty much.”

Powderfinger play the Sold out Big Day Out Festival tour nationally in January. For more information visit bigdayout.com. Their album Golden Rule is available via getmusic.com.au and powderfinger.com.

Ruth Bailey

Posted: December 29th, 2009 under FESTIVALS, INTERVIEWS.
Comments: none

All fun - and hard work - for the Fair

For Ben Riley and Jordan Wilson it’s always been part of life to share days together. Natives of Sydney’s Northern Beaches (Newport), friendship blossomed over the usual teenage boy obsessions, surfing and music. Together they started to write and perform. A few years on, now both 21, they’re still as close as ever, in fact if not closer. Able to share in the other’s success for it’s their own; together they sit poised on the cusp of achieving significant recognition as two years of solid gigging have led to the release of their first self-titled EP under the name Georgia Fair. For Ben Riley it’s a dream come true and just rewards for all their hard work.
 
“It feels really cool – I guess it’s really great because we’ve been playing for so long together and sussing it out for the last couple of years and to finally have a product that we can show everyone what we’ve been doing, and something that will get us out on the road (which we love) we’re kind of really excited for each other, it’s a really nice thing to be able to share with someone – especially your best mate. “
 
Whether they’re their own generation’s answer to The Beautiful Girls remains to be seen - just yet, but what a fast ride it has been for the duo. Observed fortuitously by Sony’s A & R rep talent scouting at one of their gigs in inner Sydney, it was straight into the studio to produce their debut ep. Combine its release last month with an East Coast tour, as well, festival spots to look forward to over summer, Riley considers it’s not luck but a big chance at achieving success.

 
“I think we had to kind of see it as a really big opportunity because it is (as you said) one of the biggest labels (Sony) so it does it makes you really kind of take stock and see it as a really big opportunity, so that’s how we’re kind of treating it.,” he reflects.
 
Being signed to a major label does at times feel a little daunting but for this self-assured young musician he’s convinced its all part of the journey. 
 
“You do get a bit stressed about it and stuff at the end of the day you think: it’s great to be really busy in this industry, doing shows and working for (with) a label it’s a really big opportunity. “ Riley says.
 
In fact perhaps the most surprising aspect to their ride so far has been the support they’ve encountered.
 
“Yeh that is probably one of the weirdest things about (especially with the label) all of a sudden you’ve got so many people working for you, and it becomes a really weird feeling and it becomes a really surreal feeling suddenly all working towards the same goal your outlook definitely does change especially after that kind of process going on.”
 
Down to earth (as they appear both in person and performing) these two Aussie lads, are undoubtedly talented at their craft. Some might suggest it is the beach exposure that make’s them so chilled out in their approach, whether it’s dealing with journalists, writing music or deciding their tour schedule they are relaxed in their demeanour.
 
 “We don’t draw inspiration from it , we’re just a lot more relaxed and free of our mind it really does make it a lot more of a nicer environment to write songs and rehearse and stuff like that and if you’ve got writers block or you want to rehearse it’s just like a nice vibe about it and a few waves can clear your mind.”
 
Georgia Fair’s self-titled EP is available for download via bandit.fm.

Ruth Bailey

Posted: December 29th, 2009 under INTERVIEWS.
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Riding out of the dark and into the light

Conventionally speaking, a band’s evolution is characterized by their forming, writing of quality songs, shaping these songs, showcasing them live, taking the show on the road and building a fan base from each gig played - that’s the general rule. The Black Ryder of Sydney, on the other hand, isn’t about to start subscribing to any conventionality. If in fact they had not been presented with an opportunity to play alongside an internationally renowned act early last year, they may not have even contemplated leaving their studio.
 
“We never started the band with the intention that we’d be a live touring band. It started as a touring project and to be honest with you, the only reason we initially put a band together was because Black Rebel (Motorcycle Club) asked us to support and I think we only had three songs.”
 
So says one half of the duo, Scott Von Ryper who along with partner in music and life Aimee Nash is on a journey intent on making music for arts sake rather than popularity.
 
Adopting moods that oscillate between dark and brooding, shoegaze in its execution, smattered by reverb encased by eerie vocals (from Nash) and layered instrumentation which sometimes results in a country feel, at the time of our interview Von Ryper is preparing to preview the latest works from The Black Ryder, Buy the Ticket, Take the Ride.

The preview will take place in the slightly unusual setting, of Monster Children magazine’s art gallery HQ in Surry Hills. It’s no surprise to learn that it’s not just any old record launch, no as with everything the band does it’s planned to be executed a little left of centre.

 
“They [Monster Children] approached us to see if we’d like to do a listening party and as we spoke to them we developed the idea a bit more into a multimedia, so it will be a listening party but at the same time some photos will be on display that were taken on a film shoot that we did last weekend, we’re going to be premiering our new film clip.”

It’s an opportunity to celebrate the photography and the director from that shoot at the same time showcasing the work of the Black Ryder, “ Von Ryper continues.
 
As he recounts their weekend away filming (for the film-clip) it’s increasingly apparent that Von Ryper is only interested in dealing and co-creating with those who share in or enhance his vision - to make breathtaking, unusual and confronting artistic pieces.
 
The album which is due for release this month was self-produced by himself and Nash, and is the collective resonance of their styles.
 
“In the end we just realised what we were creating, the scope needed to be much bigger and it was ok to have tracks that were melodically different to others. 

“So there are tracks on there that are quite epic and wall of sound and then there is lonely more, country songs as well.

“Quite a large gap exists between some of the tracks on there, and in the end I think that was to our benefit,” Von Ryper reflects.  

Boasting a number of special guests including stable-mate Ricky Maymi of the Brian Jones Town Massacre (who camped on the sofa of Scott and Amy’s house throughout recording) as well as Peter Hayes from The Black Rebel Motorcycle Club
the pair feel they’ve been blessed by the outcomes of many a chance encounter shared whilst traveling.
 
“All of the connections [with bands] have come about in a kind of different way I guess,” says Von Ryper.

“Amy and I connected with some of these bands during our travels of the previous band, being on tour with them in the States with them meeting them through our own music.”

Whatever synchronicity emulated throughout recording, all paths have led to The Black Ryder retaining ownership of their debut. An ideal situation arose which enabled them to negotiate signing to a large label for distribution, (EMI) but their own newly formed label: The Anti Machine Machine is the signatory. Von Ryper takes a big breath, almost a sigh of a relief, as he recalls the twists and turns that made it possible for The Black Ryder to complete their record ready for sale.
 
It didn’t come about that easy it was a long journey to get from there to having being in the situation we ended up with.

“We couldn’t have dreamed of anything better, It took a long time to get there.”
 
The Black Ryder’s debut album, Buy the Ticket, Take the Ride is available through EMI distribution. They play one show only in November: The Tote Hotel (Vic) November 19.

Ruth Bailey

Posted: November 16th, 2009 under Australian Interview, INTERVIEWS.
Comments: none

The art of Art vs Science

If you are frequenting the festival scene at the moment you’d be hard pressed not to notice one universal act - Art Vs Science. Their music fits within both the rock spectrum and electro gamut, hence their appeal to any festival promoter. Dan Mac (keyboardist and guitarist and vox player) to the Sydney trio considers it wasn’t all that long ago he was a fan on the other side of the festival fence. In fact the transition from punter to performer has been somewhat surreal.

“It is interesting seeing all the machinery behind the dream factory you might be able to call it.

“When you see everyone on stage it looks like some sort of amazing, magic thing sometimes, when they do it right, but then you get back stage when you see all the generators behind it all but it’s kind of not all that different I suppose, I don’t know though there is a serious side behind it all and that there is hard work involved.” He said.

Along with band mates Dan W and Jim Finn the 25 year old has journeyed further than many aspiring school-band musicians ever dream to and the comet’s tail attached to Art Vs Science continues to gain momentum and shine brightly. A recent Aria nomination for ‘Best Breakthrough act’ in the bag as well as a swag of festival dates still to come this year and into next, the band are quite unbelievably still to even produce a first album.

Together since high school the three lads were like any other muso kids. Spending their youth as part of garage rock bands and performing at friend’s patio parties. The discovery of an old keyboard and a desire to coin a track reminiscent of their fave electro artists proved the accidental impetus for Art Vs Science being borne.

“We decided to plug in this keyboard we found from Dan W’s house, into one of our guitar amplifiers and see if we could play like a Justice kind of song, or Daft Punk and we booked a gig later when the normal band wasn’t available.

“We booked this new gig with Art Vs Science and we didn’t actually have any songs written when we booked it and so we had a bout a week to write our set and so we wrote a set’s worth of material in about two days including Flippers and Hollywood,” recalls Dan.

Despite the constant touring and growing popularity the life of a rock-star has so far proven fairly unglamorous. Dan is circumspect when he retells some of the trials and tribulations encountered thus far (usual for many bands) and laughs when he admits to still eating bake beans (on occasion) and two-minute noodles because they’re content to save all their touring dosh to prepare for studio time. Mac who comes across as remarkably grounded in his demeanour, still spends time working the gardens of the Northern Western Sydney suburbs of his adolescence and chatting to his pet galah when he’s out that way, is reluctant to predict what lies ahead for his band.

“I’m not sure to be honest it’s something I haven’t really, I haven’t been peering too far down the track just because I don’t know.

“I think we’ve been pretty lucky up to this point and we try to remember that it’s a lot of good luck and good timing and that sort of thing I don’t want to jinx it, by trying to predict it either way.”

While they’ll take their time to determine which label is right for them, the upcoming festival circuit has Dan excited for the next few months as long as the promoters heed his pleas for later timeslots in the festivals, he feels whilst it’s an honour to play the early 2pm timeslot they’ve paid their dues and as well the rush of playing the early evening is what he’s chasing.

“One movement festival - Perth, we actually got to play at night time, I think it’s one of the first times we’ve ever done an outdoor stage at night.

“It was something else again, it was a different kind of energy it was really intense, really cool hard to describe, it was good though.”

Regardless of their timeslots over summer, one thing is for certain, Dan and his bandmates will be giving it their all on stage.

“It depends on the crowd the vibe they’re creating each set we try to do a different cover from time to time boom shake the room by the Fresh Prince and we played where’s your head at by Basement Jaxx for the Parklife shows – just things like that and just having fun with the crowd really is what’s going to distinguish one show from another, it’s the same as one conversation from another, different people, at least there’s a different kind of show, so it’s quite fun in that respect.”

Art Vs Science play:
The Falls Festival: Marion Bay (Tas) and Lorne: (Vic)
Sunset Sounds: (Brisbane QLD)
Southbound: (Perth WA).
They’ve also been named in the Good Vibrations line-ups nationally this February.

Ruth Bailey

Posted: November 16th, 2009 under FESTIVALS, INTERVIEWS.
Comments: none

Getting into the Gin club

When Gin Wigmore’s late father was gifted with a deck chair and electric guitar, he could not have known then that his inability to master the instrument would result in one of his daughter’s developing the skill instead.

Underage open mic performances at age 14 were just the beginning for this talented miss, providing a fun outlet and something to talk about school, but thanks to her early accolades for songwriting, it’s been a path she’s followed, perhaps not entirely wholeheartedly at times but for Gin it’s chosen her.

“I wanted to be a primary school teacher, so that was kind of interrupting my dream, so no music wasn’t always in the forefront but then it’s always been there.

“I’ll do one thing but then bang I’ll get offers from a major label saying: hey Gin as you’re doing nothing right now why don’t you sign to us, make music and here’s a really good deal, so things like that just keep getting kind of pushed on my plate and so I’ve finally had to run with it,” she says somewhat astonished by herself.

Now 23, Gin Wigmore is an accomplished singer/songwriter/player from New Zealand, living in Sydney and this down-to-earth, blonde beauty is riding the wave of success afforded her for the release of her debut album – Holy Smoke.

A force du-jour in musical circles, her first big break came at just 16 when she won the prestigious International Songwriting competition (US based) for her song Hallelullah, and with industry abuzz with her talent and what to do with it, she was signed to Australian music label Island Records. From here she’s been gigging, writing and developing as a talented performer, who remains self -taught.

She’s grown akin to finding support wherever she dares to walk, least of all with her support band – the Cardinals, of notable musical marriages prior Ryan Adams and the Cardinals fame now on board.

It was what could be described as yet another fortuitous moment for her, her A&R guy Michael Taylor’s former neighbour in Manhattan, Jon Graboff (guitarist for the Cardinals) opened the door to supporting Gin.

“Mike sort of new through the grapevine that Ryan and The Cardinals were splitting up and he said just on the sly – do you want to be Gin’s support band?”

“All of sudden I was walking into Capitol studios (LA) and the Cardinals were playing my songs – that’s f**king mental.

Gin couldn’t be more stoked with herself for the opportunity to work with the guys (who are planned to tour with her November) as this partnership means ahead of clout and credibility, top musicians are playing her tunes.

“I think they are phenomenal musicians and they will bring such life and justice to my songs, with great players playing them, which is my dream.”

The recent announcement of an upcoming tour support slot with Josh Pyke, as well as a swag of solo shows has this dynamo excited, but she remains humbled by the chance for constant learning and affirmation from those within the industry – a rarity in someone so accomplished perhaps?

“I’m very open to the people in this industry giving me a hand, she says.

“All these people I can learn so much from – so the fact their door is open for me to hear what they have to say and spend their time talking to me and teaching me is so valuable.” she continues.

Gin describes her album in her own words as a ‘pretty punchy record’ and it hasn’t been all her doing. Mike Elizondo (credited with the likes of Regina Spektor and Fiona Apple albums prior) has taken the reigns on production and introduced Gin to accept help along her path.

“Part of the record was actually co-written with a few writers from the UK and America and so that was a good experience, pairing up with a few brains kind of was a new learning curve for me on this record,” she reflects.

She remains mindful that her integrity must be maintained in her music making. “I think the thing with partnering up is that my vision has got to be strong so that it doesn’t sort of get compromised, I’m open minded to how this happens, “ she says, matter-of-factly.

For now though the lure of living in LA is propelling Gin forward and recently turned single, she’s like any girl nursing a broken heart, struggling, but she’s looking forward to being on the road and knows there’s always one guiding force egging her on.

“It feels like dad’s kind of got a big hand in making sure this is the path I stay on.”

Gin Wigmore’s album: Holy Smoke is out through Universal; visit www.getmusic.com.au for details.

Ruth Bailey

Posted: October 4th, 2009 under INTERVIEWS.
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