Greta Mob‘s full frontal rock n’ roll is about to spawn a debut album, ‘Let The Sunburnt Country Burn‘ will be available from November 29 (pre-order). The Sydney-based band produce a visceral mix of blues, rock and punk that’s already turned plenty of heads since starting out barely twelve months ago. To get better acquainted, I had a chat with frontman Rhyece O’Neill to learn about Greta Mob’s inception, their future and how they ended up recording in a Mudgee shearing shed.
Greta Mob – ‘The Petite Bourgeois Blues’
For those new to Greta Mob – how did the band first come together?
Greta Mob was born in Berlin in the Summer (European) of 2011. My old mate from Wangaratta Luke Millar and I were both in town and we hooked up for a few beers and a game of pool. We decided that afternoon that we were to form a band. Initially it was to be a noise/experimental project but it soon developed into more traditional song structures. We began rehearsing the following week and were in the studio a month after our initial meeting.
I returned to Australia and formed the live band, Luke by this stage had returned to Melbourne. I convinced him that the weather was better in Sydney and that he should move up here immediately to which he did. I then recruited Tim Korn our genius “Tone man” lead guitarist and pedal specialist. I then found the best punk bassplayer in Sydney in Adam Kennedy and after a few gigs convinced Shane Fahey from Scattered Order to come to a rehearsal one night with his 67′ VCS3 Synth and now we can’t get rid of the old bastard.
Greta Mob’s sound is distinctly Australian with a strong blues influence. What music / musicians inspired your sound?
We are heavily influenced by Australian punk and post punk bands from the 80′s like Scattered Order, The Cosmic Psycho’s, The Powder Monkeys, God, The Deadly Hume, The Bad Seeds, The Sacred Cowboys, The Scientists, Beasts of Bourbon, The Birthday Party, Roland S Howard and Spencer P Jones.
We also look to The Gun Club, Lydia Lunch, Einsturzende Neubauten, PJ Harvey, Nina Simone, Patti Smith and the old bluesmen like Lightnin’ Hopkins, John Lee Hooker & Howlin Wolf.
Should I go on? Noise and experimental artists like Ben Frost, Tim Hecker, Sofie Loizou, Flippo and even bass music artists like Mala Digital Mystikz, Mark Pritchard, 2562 and Shed to name a few.
We cover a lot of ground, the lads could add a whole heap more of their own influences but that’s just a few of mine that I share with them.
Since delivering the debut single ‘The Petite Bourgeois Blues’ you’ve toured with Swervedriver, Beasts Of Bourbon, Hanni El Khatib and more. It seems you’ve been welcomed with open arms since hitting the live circuit. What’s the experience been like?
Amazing. Henry our manager and I have worked very hard at getting the band some decent gigs this year. There was a bit of luck involved in some of them. Our shows are like a rock & roll white line fever. Anything’s fair game when we hit the stage. I think it rubbed off. The highlight for me this year was supporting the Beasts of Bourbon. They are our heroes. It was a great honour to play with them and the Beasts really liked our show, as did their punters. We sold a shitload of merch at the shows which was really nice. A close second was being asked to headline the Tote for our 6th gig. The Tote is the home of punk in Australia. It’s been a dream of mine since I lived in Collingwood to play there. It’s a great honour for any band to play the Tote especially a band from Sydney.
The debut album is provocatively titled ‘Let The Sunburnt Country Burn’ (obviously not in reference to recent bush fires). So what is the story behind the title and how do your social views impact your songwriting?
I named the album over 12 months ago after re-reading the Dorothea Mackellar poem “My Country” with my Auntie on Christmas day 2011. We were discussing the merit of the poem and its importance to Australian identity and nationalism. To me it’s a confused work which oscillates between jingoistic nationalism and genuine lament for the white colonial settler state we inhabit. It’s the “Sunburnt Country” that Dorothea so loves that we are referring to and yes, it has nothing to do with the recent bushfires in NSW. It’s quite ridiculous that people would take it literally. It was a case of bad timing. A lot of it is a distraction from talking about the real issues, issues of racism, genocide and war; the barbarism of the Australian state and our psychopathic Prime Minister are what we are referring to. Not the tragic bushfires that are made worse by the fact that our government refuses to implement sustainable bush management practice used by the black fellas for thousands of years. These fires are so catastrophic because there are no profits to be made in paying CFA volunteers and implementing bush management systems and sustainable planning. To the reactionaries seeking to link our album title with the recent bushfires I say this: We grew up in North-East Victoria one of the most fire prone places on earth, don’t talk to us about fucking bushfires.
Tell me a little about the recording process. How did you end up in a shearing shed!?
We began the album in Berlin in the now defunct Freeborn Studios in Kruetzberg. With myself on bass and Luke on drums. We rehearsed solidly for a month and then went in and did the whole album in a day and a half. I brought the sessions back to Sydney and did most of the rest of the instrumentation with the help of some good muso mates from Sydney and Melbourne.
Sofie Loizou (Anomie) and my best mate Bill Skermer from the Folk Rhythm & Life festival went to our friends permaculture farm near Mudgee called Milkwood. I was out there helping them do some building work and part of the deal was that I got to use the shearing shed to record in.
We did all the acoustic guitars, a lot of the bass and junk percussion in the shed. I found all the junk in an abandoned timber yard in Kandos. This place is like a ghost town where this one guy owns the two pubs, most of the property and this old timber yard. We paid him a small fee to extract a heap of hardwood timber from his yard and I found these old railway bolts and bits of steel that we used as junk percussion in the shearing shed. A heap of recording was done in the fire escape hallway next to our studio in St Peters. The recording and mixing process was stretched over a year but I wouldn’t have spent more than a month all up recording and mixing it. I did the whole thing for under two grand (if you don’t include booze and other lubricants conducive to managing late night recording sessions and early starts on building sites).
The opening track ‘Yorta Yorta’ is a bloody tale of Indigenous struggle. Where does your passion for Indigenous Australians come from?
That track was written a number of years ago. It documents my experience of growing up on the Murray River and coming to terms with the fact that everything around me was built on the dispossession and genocide of the Yorta Yorta nation. It gave me vicious nightmares that I still have to this day. I’m not speaking for black fellas in this song. This is my story of realisation. The realisation that everything I was brought up to believe in school was bullshit and that we live in an apartheid state that seeks to wipe out the culture, language and history of the indigenous people of this land. All in the name of profit.
What’s next for Greta Mob? Is it true a follow up record is already underway?
It is true. We have recorded a second album as a band of five all in the one room. This time its produced by Shane Fahey and myself. We have a new EP coming out in January which includes radically new versions of ‘Yorta Yorta’ and ‘Gypsy Town’ featuring Spencer P Jones on lead guitar. Spencer plays on a number of tracks on the second album also. We are hoping to get Greg Perano from the Deadly Hume into the studio in the next few weeks. He recently asked me to work on the soundtrack to his new feature film so that will be exciting. We are about to head to Melbourne for our album launch and we are heading to Tassie after that. We are working towards getting back to Europe next summer. We plan to do a big album launch in Sydney in January with our mates the Hollow Bones. We have also started writing the 3rd album and hope to record this in Europe next year.
Visit Greta Mob @ www.gretamob.com @ Bandcamp @ Facebook.
Portland’s Soft Shadows have dropped their debut LP ‘Reverb Is For Lovers‘ – take a listen to the title track below. The trio has been busy creating a concoction of hazy, catchy goodness since we last spoke in February. Influenced by shoegaze, surf pop, dream pop and everything in between, Soft Shadows combine hushed vocals with electronic beats and punchy guitars. Album cut ‘Whatever You Say‘ remains one of my favourites but ‘Reverb Is For Lovers’ has a playfulness that’s likely to snare new fans. Stream the whole record here.
Soft Shadows – ‘Reverb Is For Lovers’
Delay Trees make a welcome return with their latest single ‘Perfect Heartache’ (free download). The Finnish quartet have paired with Soliti Music to announce the delivery of their third album ‘Readymade’ in January. Most often labelled as dream pop, Delay Trees opt for some overdriven guitars on ‘Perfect Heartache’. The infectious melody and downcast lyrics move into an extended outro that leaves you wishing this tune ran for a few extra minutes.
Delay Trees – ‘Perfect Heartache’
Visit Delay Trees @ www.delaytrees.com @ Soliti Music @ Facebook.
Tennis System‘s buzz saw guitar riffs are ready to rip your face off! Take a listen to the new tune ‘The Summer After’, where the vocal hooks are interrupted by some almighty guitar drops. It’s taken from the forthcoming EP ‘Part Time Punk Sessions’ which you can pick up from November 19 through Papercup Music. If that’s not enough, there’s another track from the EP called ‘Call It Home’ streaming on Soundcloud. There’s so much energy in these songs, its bleeding out the speakers! Tennis System is the work of L.A’s Matty Taylor, who we last heard from in May with the single ‘Technicolour Blind‘.
Tennis System – ‘The Summer After’
Visit Tennis System @ Papercup Music @ Facebook.
I may be wrong but I’m guessing that Weekend‘s latest LP ‘Jinx’ is on plenty of people’s best albums of 2013 list. The San Franciscans unveiled a new video this week for the album cut ‘Rosaries’. Head over to Slumberland for more info.
Weekend – ‘Rosaries’ [VIDEO]
Visit Weekend @ Slumberland Records @ Facebook.
During the SBWR break, Emerald & Doreen Recordings announced the new Ummagma single ‘Rotation / Live And Let Die‘ (available from December 9). The Canadian-Ukrainian dream pop duo (Alexander Kretov and Shauna McLarnon) have been weaving a mix of electronica, pop and shoegaze since forming in Moscow a decade ago. In 2012 the duo delivered two full lengths (‘Antigravity‘ and ‘Ummagma‘) as well as a split EP. Their latest tune ‘Rotation’ blends pitch bending synths and distorted guitars with poppy hooks! This is just a precursor to more Ummagma releases slated for early 2014.
Ummagma – ‘Rotation’
Fresh fuzz pop from Major Leagues! The Brisbane-based four piece have announced their debut EP ‘Weird Season’ will be out on December 6. ‘Silver Tides’ is a sunny tune with bendy guitars and a garage meets surf pop sound. They’re influenced by Dinosaur Jr, The Breeders and MBV – so expect more catchy melodies (and noise) when the EP lands. Major Leagues will be playing a string of local dates this month following their support slots with Wild Nothing, Beach Fossils and The Preatures.
Major Leagues – ‘Silver Tides’
Visit Major Leagues @ Soundcloud @ Tumblr @ Facebook.
Whoa, listening to ‘Cosmic Love Affair’ is like taking a hot bath on mushrooms. Not that I’ve ever tried it, but y’know, poetic license and all that. The single comes courtesy of Melbourne muso Nick Sowersby (aka Sunbeam Sound Machine) who has signed up with Dot Dash/Remote Control. Pick up this psych popper on his forthcoming double EP (available from November 29).
Sunbeam Sound Machine – ‘Cosmic Love Affair’
Visit Sunbeam Sound Machine @ Remote Control @ Bandcamp @ Facebook.
Canadian doomgazers No Joy released their last LP ‘Wait To Pleasure’ in April but we’ve already got more music! The trio have announced a new EP ‘Pastel And Pass Out’ for release on November 19 featuring ‘Second Spine’. Known for their noise pop and shoegaze origins, No Joy’s latest is a catchy pop tune with a layer of haze. Pick up the 12inch via Mexican Summer.
No Joy – ‘Second Spine’
Visit No Joy online @ Mexican Summer @ Facebook.
Today Cheatahs finally announced the details of their debut album, as expected, we’ve got to wait til next year. ‘Cheatahs’ will be available from February 10 through Wichita Recordings (USA on the 11th). The London shoegazers first whet appetites in March, when they posted the early album cut ‘Fall’. This was followed by last month’s double a-side release ‘Cut The Grass / Kenworth‘. Needless to say, these tracks indicate a solid album is on its way! Early fan fave ‘The Swan’ has made the tracklist too. Next month Cheatahs are set to tour Europe and the UK with Metz (see dates).
Cheatahs – ‘Cut The Grass / Kenworth’ [VIDEO]