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Flyying Colours Talk New Album, Shoegaze & Bowie


Early in 2013 we got our first taste of Flyying Colours with the single ‘Wavygravy’. A precursor to the tone bending, whammy riding rock to come! Fans of Ride, Pale Saints, MBV or Swervedriver are already all over this band. The four piece come from a growing Melbourne psych/shoegaze scene, that includes contemporaries Miniatures, Lunaire, White Caves, Luna Ghost, Sunbeam Sound Machine and Lowtide. Fresh from the release of their debut EP, Flyying Colours chat to SBWR about and their beginnings, influences and future album plans.


Just last month your debut EP was released in the UK and US on Club AC30 / Shelflife – congrats! What’s the response been like so far?

It has been great! Our disc isn’t available O/S so it’s been fantastic for the EP to be available for everyone who has been asking for it. A lot of people have also been asking about a vinyl release here in Australia so it will be great to have it available here too.


What went into creating the EP? Had these songs been floating about for awhile or was it a quick studio visit?

The EP was our first release so the whole idea had been around for a little while. The songs have existed in various forms for a few years and we had several demo versions of most of the tracks before heading in to the studio.


Sydney has created a “Live Music Taskforce” to try and save the dwindling live scene. How’s the Melbourne live circuit? A little healthier?

Some days it feels like everyone I meet is in a band, which is great. The scene here in Melbourne is very strong and I can only see it getting stronger.


How important has it been to get local radio airplay? Triple J for example, as opposed to looking internationally?

I could probably count the number of times we have been played on JJJ on my fingers and toes, whereas in the UK we are being played on BBC6 quite a bit, so I have no idea! We love indie radio so it has been so great to be well received there.


How did Flyying Colours first form?

At the end of 2011 we had our first jams with this band in mind. We have all known each other most of our lives now, and have been playing together since high school so it was just a matter of us all being in Melbourne at the same time and being able to get it together.



Most new bands are quick to stream their music online but other than ‘Wavygravy’ you’ve opted against that. Has that been a conscious decision?

Not so much conscious, it has just happened that way. Wavygravy was our first single so naturally we uploaded that straight away. The EP is now available in so many ways (CD, vinyl, download, YouTube) we haven’t thought too much more about it.


Speaking of ‘Wavygravy’ – what’s the song about? I’m guessing it’s more of a love song than a reference to the activist Hugh (Wavy Gravy) Romney?

It isn’t a love song, and it is more of a reference to character than the individual I guess.


How do you feel about the ‘shoegaze’ tag? Some bands actively avoid it, in fear that it attaches a negative stigma.

That is essentially what we are, and many other things as well. I will never shy away from it because as a song writer that’s what I identify with. Or at least that’s what happens I think.


A number of reviewers compared Flyying Colours to Swervedriver, Ride, MBV – do you think that’s accurate?

When we started Flyying Colours we called ourselves a shoegaze band so I guess its great to be compared to such amazing bands.


Given that there aren’t an abundance of psych/shoegaze bands (especially in Australia) do you think that makes you stand out?

Well, in our scene in Melbourne there is no shortage of psych/shoegaze bands! We certainly don’t stare at our shoes when we play, maybe that’s it.


What are some of your biggest musical influences?

All of us literally listen to anything and everything. Our influences are listed as MBV and Fleetwood Mac, and that really says it. Everything within, without and in-between. The biggest for me are probably Nirvana, Sonic Youth and MBV.


In terms of amps, pedals and guitars – what’s your favourite bits of kit!?

Fender guitars and amplifiers, and I use an overdrive made by Australian dudes Aphek that I can never imagine life without.


How does the song writing process come about? Is it a collaboration or a dictatorship!?

Its a very natural collaboration, we just play through our songs and everything comes together.


What are you listening to at the moment? Do you have any recommendations for SBWR readers?

Everyone should check out our friends in Melbourne Warmth Crashes In, Villainettes and Strangers From Now On, they are all unbelievable and all have new music coming out.


What are your debut album plans? Will it be an extension of the EP or a new direction for the band? P.S. please don’t make it sound like Tame Impala (not that there’s anything wrong with that).

We are definitely looking to extend on the EP. We were very happy with the way it came out and the way we recorded it so we would definitely like to go back and make a full length album with Woody.


How have you prepared for hitting the studio? Are all of the songs already written?

Everything for the album is essentially written, we have been doing some pre-production on some new tracks that haven’t been played live which has been exciting. I find when it comes to recording though that everything is subject to change.


When can we expect the album to be released?

Hopefully before the end of the year!


Is Melbourne going to remain home base for Flyying Colours? Do you have any plans for international domination!?

We are definitely getting ready to tour overseas, I can’t say we would be moving away from Australia though.


Lastly, if you could work with one musician/producer (living or dead) who would it be and why?

Bowie. I don’t know how, what or why, but it would have to be Bowie.


ED* Nice choice.


Thanks for the interview Flyying Colours – Pick up the EP @ iTunes (AUS) @ Club AC30 (UK) @ Shelflife (US).

Ringo Deathstarr On ‘Gods Dream’


Austin trio Ringo Deathstarr are in the midst of delivering their latest mini album ‘Gods Dream’. It follows two studio records and the numerous EPs they’ve produced since forming in 2005. Much loved for their high powered fuzz and ultra catchy noise pop, ‘Gods Dream’ is one of their most inventive works to date. I threw some questions at founder Elliott Frazier this week before Ringo Deathstarr head off on tour…

How did the ‘Gods Dream’ EP all come together? Was it a collaborative song writing process or did you individually pen the tracks?

We started working separately, then we had like 5 or six songs and a lot of ideas, went into the studio and had 16 songs 3 days later. We didn’t know what to expect, but we decided to save some songs for later and just hurry up and put out some now!

Ringo Deathstarr – ‘Flower Power’

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Lead single ‘Flower Power’ is one of the most explosive Ringo Deathstarr tunes yet. How did you approach the arrangement? There’s blistering guitars up against a dreamy mid section, how much work goes into fitting those changes into a 4 minute song?

Well, they were just two different song ideas, and I took inspiration from Brian Wilson’s methods on ‘Smile’, by just recording sections of songs and putting them together later. We did that with maybe 3 more songs during the session. So anyway, I came up with the fast bit and Alex came up with the slow bit, and I had listened to ‘Some Velvet Morning’ and just thought they should go together.

Do you write new songs with a view to how they will be received on tour?

No, just tried to write something a little weirder. We had a lot of inspiration from classic rock sounds on this one.

Any idea why Japan is so in love with Ringo Deathstarr? I believe you’ve even had a song used for the Japanese anime show ‘Mawaru Penguindrum’?

No idea, but we are thankful that we get to go back for a 7th time!

How did you find using crowd funding for your last LP ‘Mauve’? Will you be using Pledge Music or similar in the future?

Well, it was the only way we were gonna get a record out….now we don’t need to use that way again.


What are you listening to at the moment – any hot tips for SBWR readers?

My ear is only to the local music in Austin at the moment. We have great ones like Gal Pals, BLXPLTN, Znth, Holy Wave and 2.

What are your favorite bits of kit? Pedals, amps etc?

Univox Super Fuzz, Death By Audio Harmonic Transformer, Marshall Blues Breaker, Amp1.

What’s next for Ringo Deathstarr? Any final details of a February ‘Gods Dream’ release for the USA? And is there a new album already planned?

This will be coming out in the next week or so but we are going to have the vinyl at the gigs on our tour, and the official release will be a little later. Gotta make sure there are enuff to get to the stores in time for record store day and what not. But instead of some pre-order thing, you can just come to our gig and buy them all up. The ones at the gig will be coke bottle green, the ones for official release – who knows, maybe the color of George Hamilton’s face!

**For more tour info and the Ringo Deathstarr shop – click me**

Ringo Deathstarr Tour Dates…


13th – Austin, TX @ Hotel Vegas***
14th – Fort Worth, TX @ Lola’s ***
15th – El Paso, TX @ Tricky Falls ***
17th – Tucson, AZ @ Plush ***
18th – Tempe, AZ @ Yucca Tap Room ***
19th – San Diego, CA @ Soda Bar ***
20th – Los Angeles, CA @ The Church on York ***
21st – San Francisco, CA @ Hotel Utah ***
22nd – Portland, OR @ Ash St. Saloon ***
23rd – Seattle, WA @ El Corazon ***
25th – Denver, CO @ High Dive ***
26th – Lawrence, KS @ Replay Lounge ***
27th – Minneapolis, MN @ 7th Street Entry ***
28th – Duluth, MN @ Pizza Luce ***


1st – Milwaukee, WI @ Mad Planet ***
2nd – Chicago, IL @ Beat Kitchen ***
3rd – Toronto, ON @ The Silver Dollar ***
4th – New York, NY @ Mercury Lounge ***
5th – New Haven, CT @ BAR ***
6th – Boston/Allston, MA @ Great Scott ***
7th – Philadelphia, PA @ Kung Fu Necktie ***
8th – Baltimore, MD @ Metro Gallery ***
11th – Beaumont, TX @ The Gig ***
12th – 16th SXSW @ Austin TX
20th – Nagoya, Japan @ Tight Rope
21st – Osaka, Japan @ Knave
22nd – Kofu, Japan @ Bodega East
23rd – Sapporo, Japan @ Spiritual Lounge
25th – Yokohama, Japan @ Galaxy
26th – Tokyo, Japan @ Tsutaya O-Nest

Visit Ringo Deathstarr online @ Vinyl Junkie Recordings @ Facebook.

John Fedowitz On Ceremony’s ‘Distance’


Ceremony is a melting pot of noise rock, psych, shoegaze and 60s pop! It’s raw, personal and explosive (all of the good things rock n’ roll should be)! It’s now the solo act of Fredericksburg’s John Fedowitz (who cut his teeth in the 90s band Skywave with Paul Baker and Oliver Ackermann of A Place To Bury Strangers). As Ceremony approaches a decade of music making, the new album ‘Distance‘ is about to be released via Moon Sounds Records. This week John kindly took some time out to answer questions about the album. So grab a cup and enjoy the tunes…

The new album ‘Distance’ is out December 17 – how do you feel about the album? Are you happy with the result?

Yes, I’m very happy with this album!!!! It takes me back to when I first started writing songs for Skywave and being apart of that band. This is the first Ceremony album with live drums. We always use drum computers and the recording process was very easy just focusing on guitars and vocals. With ‘Distance’ I had to learn how to record drums again. I even stopped recording stuff direct into my recording machine. I wanted it to sound kinda shitty and raw. I love the way ‘Distance’ sounds. And all the songs on the album are so close to my heart. I’m writing love songs again. Not just being pissed at the world – ‘she broke my heart’ songs.

Tell us a little about the recording process. How did it all come together with your collaborators like Candy and Paul Baker?

Recording with Paul was always a great time! I loved hanging out with him in my studio. Sometimes it was just a drinking party with not much to show for the next day. I could tell he wasn’t much into recording with me at the end. I had to start learning how to play lead guitar and even Chris Carr the bass player at the time played some lead on a song. I would always start to write a song in my room and think of it for sometime, then have it in my mind while I played the drums. Then I learned how to play it on the bass while I recorded it. That’s how the recording process is every time for me. On ‘Distance’ it was a lot of first takes. And with Candy, I heard her humming and I could tell she had a beautiful voice. So I asked her if she would want to record with me on the song “The Summer The Sun”, I sent the demo to her in an email and she said she would do it.. It was so relaxed recording with her.

Ceremony – ‘The Summer The Sun’

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‘I Want To Kiss’ and ‘Send Me Your Dreams’ cover a bunch of sonic territory – from shoegaze, to psych and noise. What inspired you?

As for ‘I Want To Kiss’, it was inspired by an oldies slow dance kinda song, I love the old girl groups like Phil Spector recorded. It would have been great if a song like that would have been played at my high school prom, and ‘Send Me Your Dreams’ yeah I was going for a shoegaze sounding song. I’ve never been good at channelling that shoegaze sound, I’m better at rock and roll, but at the time I wrote that song, almost two years ago I think… I remember Paul was doing a lot of different tunings on his guitar. You know, shoegazers always have different tunings *grin*. I wanted to try it out.. I tuned everything to E and B. Some strings were super loose and it sounded so cool!!! Then I came up with a drum pattern on the drum computer and I wrote it in one night.

Ceremony – ‘Send Me Your Dreams’

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Am I right in saying the work on ‘Distance’ is primarily your own (as a solo artist)? How has this effected the sound and song writing?

Yeah, I guess I’m solo now. I never thought I would say that because I love how a band works together. Well 40% of the time:-D I miss being on stage and looking over to my band mates and giving a nod or a smile after we played an awesome show as we are taking our gear down. But ‘Distance’ started as a four piece band, then Paul left after two songs were recorded, after that Ben and Chris left to. I finished the album with me on drums, bass and guitar for almost all of it.. It never effected me in the music part. I like how it is now. It’s easy going and if I have anyone to blame I should just look in the mirror.

What have you been listening to this year? Any recommendations for SBWR readers?

Gosh – I’m not good for this question. People at work listen to your blog on their phones and I’m always loving what I hear!! But I guess other than that I bought Chad Vangaalen ‘Diaper Island’ this year and my wife turned me on to the band “I Break Horses’ – super cool!!! And I really like the last two Beach House albums. But always, always, always I’m listening to The Cure. It’s my deep dark secret, stuff like ‘Pornography’ or ‘Disintegration’. I have been listening to them since my sister showed them to me when I was 12 years old. But I won’t tell you how old I am now. Ha!!


Ceremony – ‘Can’t Say Your Name’

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You’ve teamed up with Moon Sounds Records for the release, how’s the experience been? Has releasing the record digitally been the best way to get your music out there? (This is a loaded question, if you’d like to rant about the state of the biz, please do).

Yes! It’s great to have Moon Sounds release ‘Distance’!!! We met online and have a great friendship. It’s been so cool to have a record label that is so into the artist. As for the biz, it’s been the same for years for me. With Skywave we only had our albums in a handful of stores and now with record shops almost all gone, digital is the only way. What is the biz now? And what is shoegaze? Don’t you think we should come up with a new name? Some kids weren’t even born in 1991 when the shoegaze thing was going on and they are shoegazers now… maybe call it “sounds better with reverb” ha!!! okay I will stop the rant about a question that wasn’t asked. Yeah, online sales are the only way now. It’s sad.

Your former Skywave band mate Oliver Ackermann (A Place To Bury Strangers) mastered the record. How much input did he have creatively? Are you planning on working together again in the future?

Oliver is the coolest mother fucker ever!!! He is always there for me and I have never been able to return the favor. I’m hoping someday he will ask me for something and I will be there for him. He mastered ‘Rocket Fire’ for Ceremony too but the record label didn’t want it. And it’s funny, okay, Oliver from APTBS, mastering ‘Distance’ for me, and I had to send it back to him two times saying it’s not crazy enough!!!!! I called him saying “make it fucked up!!!” I always have such a great time working with Oliver and yes I hope to work with him again!!!!

What’s next for Ceremony? Are you planning on doing any shows over the coming months? Or will it be primarily a recording project?

I’m planing on a tour in the UK in 2014. I cancelled a tour last year in the UK for different reasons but my management is working on a new tour and I’m always picking up shows (up and down the east coast). I never go that much south, and I have a label in Germany I’m talking with about an EP. I have 4 or 5 songs that I want to put out. So 2014, Ceremony will still be moving and always from time to time loading a video on youtube. Oh yeah, I’m working on a side thing now with candy called ‘Shotgun Postcards’ so look out for that in 2014 too.


Visit Ceremony @ Moon Sounds Records @ Soundcloud @ Facebook.

The KVB Talk Grey Winters, Hot Summers And Suburban Boredom


The KVB push out an enigmatic mix of noise rock, darkwave and post punk that’s mashed together to create an audiovisual feast. Dark, stormy and provocative, there’s little room for fence sitting ears. You’re either going to lap it up or run screaming for the light switch. It’s been a big year for the London-based duo (Nicholas Wood & Kat Day), kicking off with ‘Immaterial Visions‘, followed by a remix EP and now the extended ‘Minus One‘ release plus there’s an impending tour with The Brian Jonestown Massacre on the horizon. This week I had a chat to The KVB to figure out how it all came together…

The KVB – ‘Again And Again’

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Your last LP ‘Immaterial Visions’ was released earlier this year, how has the response been and are you happy with the record?

We love that release; it’s a beautiful LP! The remix EP was equally so and we were especially honoured that artists such as Regis and Silent Servant etc created such wonderful interpretations of our work. Additionally, we felt that the visuals (ie sleeve design, ‘Shadows’ & ‘Dayzed’ videos) blended well with the sound and encapsulated the oeuvre of the record and our aesthetics as an audiovisual project.

Am I right in saying that The KVB started out in 2010 with Nicholas recording all the parts before Kat joined the group? How did it all come together?

It came together quite naturally. We collaborated on each other’s work – Nick contributed audio to Kat’s video art, and vice versa. Our interests and artistic direction seem to coalesce perfectly.

How do you manage producing such a big sound as a duo? Is it a difficult dynamic to manage on stage?

It’s deceptive; the drum machine is like an invisible member. Aside from that, our setup is quite minimal – two synths, guitar, vocals and lots of pedals.

How were you drawn to the cut throat sounds of noise rock and post punk? Do the dark overtones of The KVB come naturally?

Although there are dark tendencies, there was no melancholic intent whilst writing, it’s just how the inspiration flowed out… most material was written during periods of isolation in Southampton before Nick moved to London – so maybe the ‘cut throat’ sounds we are drawn to and create is just a natural reaction to the boredom of the suburbs.

‘Minus One’ was originally recorded in 2011, at home in less than a week! Tell us a little about those sessions and what fans can expect from the forthcoming extended edition.

It was shortly after we had first met, and Nick had also acquired some new equipment combined with a particularly dark, grey winter. It was a time of great inspiration with a longing to be elsewhere.

Previously, ‘Minus One’ was released as a digital only 6 track EP. However, now it has been remastered and extended to 8 tracks along with new artwork as a physical LP/CD and digital release.

There’s some really interesting sounds on ‘Minus One’. Like the creepy keyboards on ‘Endless’, brickwall guitars on ‘Something Inside’ and brutal basslines on ‘Dominance / Submission’. How did you approach these sounds?

It was an interest in conscious experience, and how sound can affect the listeners’ body and create immersive environments to be lost in.


What music have you been listening to lately? Any recommendations for SBWR readers?

Albums by Belong, Samuel Kerridge and The Holydrug Couple have been spun lots recently on our turntable.

Are you excited about your Australian tour next month with The Brian Jonestown Massacre? What can we expect from your live shows and are you prepared for the Aussie summer!? Bring sunscreen. Lots of it.

Well that goes without saying, of course we are excited! Expect haptic visuals, reverb soaked audio and jetlag induced mania.

Order The KVB’s ‘Minus One’ @ Cargo Records / December Australian Tour Tickets (w/ The Brian Jonestown Massacre) via Songkick.

Visit The KVB @ Bandcamp @ Facebook.

Greta Mob Talk Blues, Bushfires And Booze


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’

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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.

Pre-order Greta Mob’s ‘Let The Sunburnt Country Burn’ here / Stream the whole album via Mess + Noise.

Visit Greta Mob @ @ Bandcamp @ Facebook.

Kigo Discusses ‘Chance’ EP


The familiar guitar squall of Kigo fades into existence on ‘Dress’ to kick off his new EP ‘Chance’ – released today (download here). The Brisbane-based solo artist builds on his previous EP ‘Some Other Place’, this time with more subtle melodies and less full frontal, shoegaze noise! Audiocred described previous EP cut ‘I Won’t (I Can’t)’, as “the closest thing I’ve heard to the grandioseness of Loveless…an understated triumph”.

Kigo – ‘Dress’

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‘Chance’ marks Kigo’s fifth EP this year and since many SBWR readers are music makers themselves, I thought I’d ask Kigo what his secret to swift songwriting is? And where does that giant guitar sound come from?

“My song writing process is really simple; when I wake up, I pick up my guitar and play. I record the first thing that comes out. I guess I write songs in this way because it feels like I am tapping into a feeling that is more honest or real, unencumbered by anything that I have seen or felt during the time I am awake.

I usually start with the guitar and drums, then add the synth and bass parts. I add vocals after I have mixed everything. I like to put the songs together in this way, as it gives me more time to think about how the vocals will fit in with the overall mood of the song. I spend a lot of time thinking about the mood, and feeling of the songs I write, as to me that’s more important than lyrics or vocals.

Kigo – ‘When You Look’

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As for the guitar sound, I use a lot of delay to make the guitar sound bigger, and lots of distortion and reverse reverb. I don’t really use alternate tunings or anything like that at all, but I do like to use heaps of pitch bending on the master track as it gives the song a weird, sort of warble to it.

As for how I write songs so quickly, I guess I just try to write songs as an escape. I’m not really running from anything in my life; my life is happy, and full of great people, but sometimes it is great to sort of disappear, and hide away within your own thought space. I think I write as a way to share these thoughts, dreams, and feelings with people. Hopefully this feeling comes across when listening to my songs.”

Download Kigo @ Bandcamp / Connect @ Facebook.