No | Text |
1 | Pages |
2 | Categories |
3 | Crawlspace: a music website from australia |
4 | Evil enya: kahli carter interviewed |
5 | A glimmer of hope: orion interviewed |
6 | “the suburban ethnic fringe of dolewave”: hurtsville interviewed |
7 | Threads of beginning: vincent over the sink revisited and reissued |
8 | Phantom game: a brief chat with 100% |
9 | Post navigation |
No | Text |
1 | What’s the intention behind the compositions on your Soundcloud playlist “To Sleep To” (#DeepSleep) ? |
2 | What other genres would you like to explore in the future? |
3 | Was it hard to write pop songs initially, given that you’d never really done it properly before? |
4 | Is that to say that your other bands were less rooted in emotional experience? |
5 | So does Orion represent an evolution in songwriting for all of you? |
6 | Was the goal to try something different when starting the band? |
7 | Your music obviously draws on a lot of other much-loved bands. The instrumentation, particularly the ba*** lines and the drum machine compliment each other pretty precisely. Which came first for Orion, the sound or the idea? |
8 | Yeah, funny you say that, I remember at Maggot Fest last year during your set, some punter shouted out ‘f**** the ’80s!’ Do you ever feel pigeonholed as an ’80s style, new wave bad? |
9 | Is that because you feel there’s more honesty in it? |
10 | Do you guys find it challenging to perform live in Orion sometimes? |
11 | It’s palpable that when you see an Orion show, you really feel the emotion and pa***ion emanate from the live performance. Audiences get really rowdy and into it. |
12 | How satisfied with your demos were you? |
13 | In what sense do they sound different? |
14 | I see you’re playing Maggot Fest again in Melbourne. How do you find Melbourne audiences respond to your music? |
15 | What’s been your most memorable live experience? |
16 | A lot of people seem to be quite enthusiastic about Orion. Do you feel that you’re filling some sort of void in Sydney music? |
17 | Hurtsville isn’t a Jack Ladder reference, is it? Why Hurtsville? |
18 | But it’s significant that the t**le’s referencing a place. Is a sense of place important to the Hurtsville project? |
19 | You guys were also around the inner-west punk scene growing up. |
20 | I found it interesting when you talked about places being valorised, whether that’s the Inner West, or London, or Berlin… |
21 | For me, part of the way that sense of place is communicated with Hurtsville is with songs named after “ethnic” food or accompanied by photos of suburban shopping centres or Chinese supermarkets. I wasn’t sure whether I was projecting something onto that, as a white Inner Westie. And when you put it in terms of that question of cultural capital, it really does seem like I’m exoticising the place, or exoticising you guys. But there is this feeling of a series of small details that add up to a sense of place. |
22 | This stuff is noticeable in your presentation though, because a lot of the electronic artists you see on Soundcloud, the imagery they use is free-floating: it’s all jpgs of s***ny 3D CGI spheres or whatever. It could come from anywhere, it’s post-geographic. It’s the result of a scene that’s const**uted or even located on the internet. So all the stuff about Hurtsville that I’ve interpreted as local references, it sticks out. |
23 | Well, I’m starting to wonder now. I suppose a lot of the time when I get into music made by people I know, I can’t help but read it as a kind of meta-text. I’m listening to the music and looking at the way you’ve presented it, but for me it’s also tied up with conversations that we’ve had, or other projects you’ve done, or stuff that I know you’re interested in. It’ll be interesting to see, when I write this up, whether it’s going to make sense for someone else. |
24 | You made a joke before we started the interview about Hurtsville being on “the suburban ethnic fringe of dolewave”. |
25 | Not many people have been doing all that through electronic music though. |
26 | What do you think you’ve taken from club culture, and what have you taken from punk or DIY? |
27 | You’ve told me that when you were actually asked to play a show, though, it felt really weird. |
28 | The performance that I saw and loved was Kevin Duo Jin standing in front of you guys while you were playing, solemnly eating baklava with chopsticks. It was this great incongruous combination and a perfect visual metaphor for what it’s like to live in a global city, a Eurasian city. |
29 | This has been a really interesting exercise for me as well, because I realise the a***umptions I’m bringing to my observation of Hurtsville. There’s a real sense in which the idea of these suburbs of south-west Sydney is genuinely strange to me. I grew up in a town with only a thousand people living in it, and multiculturalism was the Chinese restaurant at the bowlo. I didn’t even know what laksa was before I moved here. So I necessarily read all of those perfectly normal local references you make as different and interesting, exotic even. I didn’t consciously realise that I was doing it. |
30 | How did you and Chris meet? What were the origins of your friends***p? |
31 | Who’s Vincent? |
32 | How do you feel when you listen to the album all these years later? |
33 | Who is in 100% and how did the group form? Have the members played in any other groups? |
34 | Why the name 100%? |
35 | How did the three of you arrive at the group’s sound? Was it a conscious stylistic decision or something that came naturally? |
36 | What was the particular vision you mention? |
37 | There’s a drowsy energy to the tracks on the demo. Particularly ‘Prisoner’, which sounds like a submerged, syrupy dance track, though the ba***line is very ‘rock’. What’s that song about in particular? |
38 | How is it an Australian feeling? |
39 | When I saw you play at Rag Rag the group covered ‘I Can Never be Your Woman’ by White Town. What’s appealing about that song? |
40 | What’s is planned for the band? Is there another release coming? |
41 | What’s important to you in a live show? What do you set out to achieve? |
No | Text |
1 | How do you go about creating melodies that are not catchy? |
2 | Is your emotional drive when composing often derived from anxiety, sadness or exhaustion? |
3 | I guess – since your music is about creating a solution for anxiety, rather than directly expressing anxiety – it is important to keep emotions at bay. |
4 | Your compositions have strong new age and cla***ical music connotations, yet they feel very modern – how much of this is a conscious effort? |
5 | Synth compositions and heavier music– what’s the best part about each of them, for you? |
6 | Do you choose to play ba*** in grind and punk bands because of the live aspect? |
7 | Punk and grind definitely have a better guarantee that your audience will physically engage with your show. How did it feel to play in a band like Caught s***p, which was more experimental? |
8 | It wouldn’t be as liberating to play a gig where you don’t know if the crowd will positively engage or be dead quiet, particularly if your motivation is physical expression. |
9 | Correct me if I’m wrong, but this is the first straight pop band that any of you have been in before? |
10 | Why was 22 Coloured Bull-Terriers so scarce when it released? How many copies did you print? |
11 | 22 Coloured Bull-Terriers was quite different to the 7 inch and Holy Balm split that released earlier. What prompted you and Chris to move in this more pop, songwriterly direction? |
12 | It sounds like you’re both having fun on the record, even during the more reserved tracks like ‘ME****ub’ and ‘Heavy Gum’. Can you describe how the record was made? What were the circ***stances? |
13 | How was writing with Chris different to say, Lucy [Half High, NOTV], or Jonathan [Four Door], or any of your other collaborators? |
No | Text |
1 | Symmetricult |
2 | Sleep |
3 | Orion’s demo ca***ette is sold out, but it can be downloaded here. |
4 | Hurtsville can be streamed on Soundcloud. |
5 | 22 Coloured Bull-Terriers (7) |
6 | Bible Bashers |
7 | Dust Studies |
8 | 22 Coloured Bull Terriers |
9 | Bull-Terriers |
10 | 22 Coloured Bull-Terriers releases November 27 on Another Dark Age. |
11 | Drive |
12 | The Prisoner |
13 | Prisoner |
No | Text |
1 | Cla***ic FM. |
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