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.

Ruth Bailey

Posted: April 22nd, 2010 under Australian Interview.
Comments: none

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

Whitley goes forth

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.

Ruth Bailey

Posted: December 31st, 2009 under ALBUMS, FESTIVALS.
Comments: 2

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

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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A Life of lies

Ask Harry McVeigh, lead singer of hit UK act White Lies, what he’d be doing if he weren’t playing in a widely successful indie-rock band, and his answer is likely to surprise.

“I’d be studying history of art and probably failing miserably.

“I’m quite a lazy person actually if I’m not doing something I really love, I’m not motivated at all.” He says earnestly.

Motivated is what he and his band mates, Charles Cave and Jack Brown will have to be if they’re to make it through the next few months. Spain’s Benacassim, B’est Fest in Bucharest, T in the Park, in Scotland, Roskilde in Denmark you name it they’ve managed to secure spots in all of the major European festivals. As well, the very recent announcement of their inclusion to this year’s Glastonbury line-up means life is looking pretty sweet for this newly turned 21 year-old London lad. But for all his youthfulness he’s not going to be rattled by the lure of stardom, claiming musicians are just people too.

“Through being in a band and meeting a lot of bands I’ve realised they’re people who you really like, whose job happens to be being a musician and playing music.

“I’ve got a lot of love for them (other bands) and have a lot of love for their music but they’re just normal guys really.”

Still there’s no denying this band have earned their own smidge of fame and glory. 2009 alone has already seen them do a small headline tour of the UK, they’ve toured in the United States with band counterparts Friendly Fires and soon enough they’ll be making their way down under.

Whilst in Oz, their travails will see them make a stop off in sunny Byron Bay for a spot of Splendour in the Grass, as well as a couple more dates in Sydney and Melbourne. But for Harry who assures there is beauty in every country Australia and indeed Splendour in the Grass holds the most appeal.

“I’ve heard that it’s an amazing festival and that it’s the thing to do when you go to Australia – I’m looking forward to the weather and I’m looking forward to meeting the Australian fans definitely.”

The band has made their mark with somber, maudlin undercurrents to lyrics overlayed on edgy, electro-rock. It’s easy to group them alongside bands like The Bravery, or even some might say Joy Division. Don’t let Harry hear you say this though, he’s more inclined to mention that the band reference Scott Walker and their all time favourite Secret Machines, not an ounce of Joy Division similarity aside from his vocal stylings in him.

Whatever it is that’s helped them arrive at the dark and brooding lyrics and melancholic musing that their latest album: To lose my life, weaves throughout, the crowds worldwide dig something about them.

Harry is adamant that the band themselves don’t possess one single ounce of depression instead they’ve tapped an emotional outlet to avoid this in their daily lives and that’s perhaps what the fans relate to, too.

“We just wanted to write music that we really felt the emotion and the power of and we found it very easy to write songs about that side of life.” Harry says.

“These are very powerful emotions the more darker emotions in life and they connect with a lot of people just in the same way I think they connect with us,” he adds.

Come July when they hit our shores I’ve no doubt it will be their song ‘Death’ that will mesmerise crowds and that funnily enough is Harry’s favourite song to
play in the set.

“The reaction that it gets all over the world, in the UK it wasn’t like a huge hit single or anything it’s just a song that everyone seems to know.

“It’s like the hit single that never was, it’s really cool – it’s really great to play that song live and the reaction that we get is just sort of amazing,” he marvels.

Until then though time for the band will be spent either on a festival tour bus or perhaps as guests at various UK awards gigs.

Nominated against some tough competition in the form of School of Seven Bells and Glasvegas for ‘Best Breakthrough Act’ at this year’s Mojo Awards, according
to Harry the lads have a fair but not huge chance to take line honours. However it’s an award show that they’re really looking forward to, but not so they can live up to a post-punk persona.

“Well you know we’ll have a few drinks, we enjoy having a few drinks but I’m sure we’re not going to get horrendously drunk and go out and make fools of ourselves, cos that’s not the
type of people we are.”

White Lies play the following dates:

Splendour in the Grass, Byron Bay – 25/26 July (SOLD OUT)

The Metro, Sydney - 28 July

Hi Fi Bar, Melbourne - 30 July

Visit www.myspace.com/whitelies or www.whitelies.com. Their album To Lose my Life is out through Universal Music www.getmusic.com

Ruth Bailey

Posted: June 1st, 2009 under FESTIVALS, INTERVIEWS, international.
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Sweet notes

They say home is where the heart is, and for Simon Leach guitarist for the little-heard-of-lately Little Birdy, that’s certainly true.

Nestled in the Yarra Valley in country Victoria, a quietly located rural homestead provides solace for this sometime-recluse while still allowing him to stay close to his family roots.

With his granddad and nana in close proximity so too his aunty and uncle near enough to be able to enjoy a home-cooked meal, the change of scenery was necessary for this over-toured musician who was also in need of recovery from an ended relationship - he’s happy here.

“I grew up here in Victoria and I moved to Perth and my mum, dad and my sisters sort of followed but my nan and granddad and my aunty and uncle live here so I get to hang out with the family I haven’t really seen for sort of 14 years.”

Not so surprisingly, band counterparts, front woman Katy Steele and drummer Matt Chequer followed suit and decided to pack up their base in Perth and now they call Melbourne home too.

The break from formal band duties and responsibilities was according to Simon par for the course in a band who had been touring for over six years.

“We kind of just needed it as all people do you need a holiday and it might seem like fun and everything but it’s really tiring especially for someone like me – touring just takes it out of me I’m a real home-body.”

The move to Victoria/Melbourne has however proven fruitful for songstress Steele providing fodder for a new era of song writing. What could have quite easily been her foray into solo performing quickly became a natural progression back into a performing - Little Birdy.

“Katy was thinking of doing a solo album in the time we were taking time off but we started hearing the songs and we just sort of said we’d like to keep that as Little Birdy and she was just like all for it,” says Simon.

“Me and Matty we do the musical side of the songs, we do the production and all that so she trusts with what we do, so we just decided to start working again,” he adds.

Their third album Confetti in store this month is a return to their original acoustic sound. A return it seems, to keeping it simple and not being influenced by the music fads of the day. Complete with a distinct country feel, a little bit of Burt Bacharach peppered by some Dusty Springfield overtones the songs are the culmination of experiences relevant to Katy’s life since last they were heard touring Hollywood. The time out, maturity and rejuvenation allowed through living independent lives is something Simon believes has given the band a renewed vitality and somewhat of a new-band feel again.

“I think it was good for Katy because with the first album a lot of those songs were sort of written from a bedroom and when we did Hollywood that was written from the road a lot, so this album has got that feel of us being a new band again.”

Rehearsals have begun for this their upcoming national tour and whilst preparing to tour again could perhaps prove daunting for Simon the self-confessed home-body he’s choosing to concentrate on the job at hand, learning the music and mastering the tracks the band have grown to love.

“’Into my arms’, that is one of my favourites.”

“Just when we play it has a real vibe to it and a real sort of emotion, I also like Hair do as well – it doesn’t even sound like Old Joe Cocker but it just reminds me of it.”

The tour will see the band take in some previously undiscovered spots like Maitland for Groovin the Moo and further on in the year the well visited Byron Bay will this time give the band their first-time billing on the Splendour in the Grass line-up, but there is one place on the itinerary which makes touring worth while for Simon.

“Probably will be good to get back to Perth, so I can go see my family, my mum and dad and all that and my brothers and sisters um that’s about it really I’ve got friends everywhere in every city so it’s kind of like every city has got a bonus to it.”

Catch Little Birdy when they play a swag of dates through May. Check out www.littlebirdy.net for show and album info.
Alternatively, if you are wanting to get your Splendour on: don’t forget ticket sales for Splendour in the Grass featuring Little Birdy commence Thursday 14 May via www.splendourinthegrass.com or www.oztix.com.au

Ruth Bailey

Posted: May 5th, 2009 under Australian Interview, INTERVIEWS.
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