Category: Interviews

INTERVIEW: Jim Ward (USA), December 2008

Posted on by David James Young in Interviews

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Funny story about this one: I remember it was scheduled the same day as my orientation day at uni, but I was in no position to say no to interviewing Jim Ward. So, naturally, I got my lunch break and I did my interview at the Uni Bar out the front while a staff member looked on with confusion. Jim was a pensive, thoughtful interviewee; and ended up being a very lovely guy in his own right when I met him not too long after I did this interview at his show at the Annandale. That, fittingly enough, was my first ever Annandale show – I can’t believe I’ve been going to that sumbitch for nearly five years! I’ll always love Jim Ward, no matter what music he’s making. This experience simply solidified that love.

– DJY, July 2013

***

Jim Ward is no stranger to Australian shores. Each time he has come, however, he has brought something different along with him. Back in 2001, it was with genre-defying quintet At The Drive-In, holding down the rhythm section whilst the future Mars Volta leaders Cedric Bixler-Zavala and Omar Rodriguez-Lopez threw themselves across the stage.

A few years later, Ward was positioned up the front as his new band, Sparta, warmed up an audience in hot anticipation of Blink 182. Earlier this year, he returned without either band to perform solo and acoustically, as both the opening act for Incubus and one of the many artists featured at the 2008 Soundwave Festival.

Now, just over six months since that appearance, Jim Ward is set to play a number of low-key, intimate shows this month. This time, however, he will be showcasing tracks from his latest project, Sleepercar, and its album West Texas.

“This is definitely music I’ve wanted to make for a while,” he comments on the album’s rootsy, country vibe. “It’s stuff that I love, both in the singer-songwriter format and the band format as well. I’ve been working on it for quite a while, and it seemed like the right time to release it, with Sparta moving into a ‘vacation’ stage… it just seemed like something I wanted to do.”

The entire record is a notable change for Ward; not only as a guitarist (favouring a trusty old acoustic in favour of his Fender Esquire) but as a vocalist. His lower-range storytelling shows scarcely any resemblance to the high-octave scream of “Cut away! Cut away!” in the classic One Armed Scissor.

“It’s stretched my limits,” Ward confesses when asked whether the solo acoustic work has challenged him as a singer. He still remains positive that the challenge of creating entirely different music from his past has paid off. “It’s a good thing to be able to learn new stuff and better yourself,” he muses.

Despite having a new backing band in Sleepercar, with which he has toured with extensively this year, Ward’s visit to Australia is on his lonesome. He makes a point of his experiences of tours without a band, and what you take in as a result of solo touring and travelling.

When asked to comment on the life of the one man show, Ward describes it as “a whole new way of seeing things,” in a slightly weary tone (quite possibly the toll of his extensive tours). “It can get a little lonely at times, but it’s also good to explore your head and think about things… it’s a little selfish to do, but I think it’s an important thing to do sometimes, just to get everything together.”

Anyone who has followed Jim’s career to its full extent will note that he has evolved further and further in independence as a musician and songwriter, developing from a key band member to band leader, and subsequently as a solo musician. Each career step, one could argue that Ward has revealed more and more of his musical identity, his soul.

“Yeah, that’s fair to say,” he responds when presented with this thesis. “I think it’s given me a chance to find myself and explore other music, which you don’t normally get to do when you’re working with other people. Over the years, I’ve definitely found more comfort in making music. It’s definitely broadened my horizons.”

Ward’s work with other musicians, of course, has not come without in-band controversy. Huge creative differences were cited as the reason for ATDI’s demise; as Rodriguez-Lopez and Bixler-Zavala went on to form the Mars Volta. Even when the dust had settled on that one, another personal blow to the Sparta camp came when guitarist Paul Hinojos jumped ship… to join his former Drive-In bandmates in the Mars Volta. Despite such potential grudges still to be held, Ward emphasises that such conflicts of his past is water under the bridge.

“I still talk to them,” he states when questioned about his former bandmates. “They played in El Paso [city of Texas in which ATD-I was formed] the other day and I went to the show. Y’know, you grow up and you move on; but it’s still nice to be reminded where you come from.”

He’s certainly come a long way since releasing Hell Paso as a seventeen year old in At the Drive-In with his college funds. However, it seems very evident from the conversation that has just passed with an intelligent, thoughtful and humble man that his creative streak is far from running out. Ladies and gentlemen, please experience Jim Ward.

INTERVIEW: Final Fantasy (CAN), December 2008

Posted on by David James Young in Interviews

This one’s a bit odd. I interviewed Owen Pallett twice – once via email and once over the phone. This is the first of the two, and one that I begrudgingly put together. I felt like he was really rude in his responses and didn’t give me a great deal to work with. By great contrast, by the time I interviewed him in 2010 he was really sweet and kind and thoughtful. Maybe it was just a matter of losing tone over the medium of text? I don’t know, but I felt I did alright here, given the circumstances. I still love this man like it’s going out of fashion. Apparently, he’s going to have a new record out soon. Make it so.

– DJY, July 2013

***

The name Owen Pallett on its own may not mean anything to your ears. It may, however, be a case of famous-by-association for many music fans: the Arcade Fire, The Last Shadow Puppets, Grizzly Bear,Fucked Up and the Hidden Cameras are just some of the acts Pallett has worked with. He is very much the background player, rarely taking to any kind of limelight.

When he does get the time to create his own music, however, it is under the moniker of Final Fantasy (yes, after the video game). Back in 2005, as a self-described “nobody”, he quietly released his debut record, Has a Good Home. Then, in 2006, Pallett wowed critics with a baroque pop masterpiece follow-up, with possibly the most inelegant, antithetic possible title for such a work – He Poos Clouds. Just because it’s been such a long time since that record, however, don’t think for a second Pallett hasn’t kept himself occupied.

“Since He Poos Clouds came out, I’ve done [we can assume, at this point, he has taken a deep breath before continuing] a film score, three classical pieces, two Final Fantasy EPs and a 7”, and orchestral/string arrangements on 15 different albums,” he recalls of the past few years in an email response to FL’s questions. “I’ve also learned how to cook Thai food, which caused me to gain 5-10 pounds.”

Even amidst so many projects, Pallett still finds the time to tour Final Fantasy, which is making its way to Australia this December. The live Final Fantasy experience is that of a unique loop pedal system centralised around Pallett’s predominant instrument of choice – the violin. Owen claims that a former bandmate was responsible for introducing him to this distinctive layering technique.

“Matt Smith, of the band Nifty and my former band, Les Mouches, is pretty much 100% responsible for introducing me to looping,” Pallett explains. “He guided me through expanding my set-up, and his own looping shows with Nifty are a blessing and an inspiration.” He also notes that he no longer uses loop pedals. “I’m doing multi-phonic looping now,” he notes. “Lots of fun foot-tapping and amplifiers.”

Not just Pallett’s own work appears in his sets, either. Final Fantasy has also paid homage to several other acts, notably recent visitors to our shores, Bloc Party. A video of Pallett using his looping system to coverSilent Alarm cut This Modern Love has been viewed over 100,000 times on YouTube, and came about through mutual appreciation of one another’s work.

“Kele [Okereke, BP frontman] cited my first album as one of his favourites of 2005, which was a major compliment, considering I was a real nobody. I really liked Silent Alarm, so I started covering This Modern Love.” He also notes that when he finally met Okereke for the first time, the two were so nervous that they “had a stutter festival.” “Stuttering begets stuttering,” he states. “Did you know that?”

Don’t be expecting any further covers from Pallett if you happen along to any of the upcoming Australian shows, however. “There aren’t any new songs I’m that excited about,” he confesses. “I like [The Dream’s single] Shawty is a 10, but that was last summer. Besides, everybody is doing the novelty covers these days. The novelty has worn off.”

Another thing you probably won’t see Pallett do anytime soon is discuss his sexuality in depth. In an interview with Toronto music magazine NOW back in 2005, he stated in passing that being a homosexual, and even identifying as a queer artist, did not necessarily equate to “gay” music and/or themes. “As far as whether the music I make is gay or queer? Yeah, it comes from the fact that I’m gay, but that doesn’t mean I’m making music about it,” he ruminated to writer Sarah Liss. A request for him to reflect on this mindset at this stage in his career, a few years down the track, surprisingly, leads to a dead end. “No answer for this,” he says, before dubiously adding: “I’m not interested in  ‘gay.’”

Regardless of what the man may be currently interested in, one can safely assume that his upcoming shows (which includes an appearance at the Meredith Music Festival) will be some of the most talked-about of the festival season. Don’t miss your chance to see one of the great young minds of modern music at work.

INTERVIEW: The Bronx (USA), December 2008

Posted on by David James Young in Interviews

It’s the Bronx, you guys. They impale weak fucks for a living. They don’t take no shit from nobody. They’re AWESOME. I learned the easy way – been following these guys and their music since 2004, and they just continue to destroy all in their path. I interviewed Joby Ford and it was… well, it was interesting. I kinda got the feeling that he didn’t like me at the beginning, with some curt and blunt responses. Eventually, though, he warmed up – and we got into a decent enough chat. I love this band, and it was super-cool to chat to Joby. Good times.

– DJY, July 2013

***

“You know how when you put a CD into iTunes, it automatically categorises it?” Joby Ford says in a low-key, slightly bemused drawl. “Our records don’t do that.”

And why is that? “Because of that reason.” To not be categorised in iTunes? “Exactly.”

Odd? Certainly – but it’s what we’ve come to expect from the band Joby Ford plays guitar in, The Bronx. The band have just released their third self-titled record (hereby known as The Bronx III ), which sees the anarchic Californians beef up both their sound and their line-up, thanks to the addition of a second guitarist, Ken Horne. Ford maintains that, despite having a second axe on board, the songwriting process for III really was not all that different.

“Anything you do to a band – changing a member or instrument – changes the musical spectrum completely,” he readily admits. ”[Former bassist] James [Tweedy] is no longer with the band, either; so there was two new members and we had to try and figure out where we fit sonically now.” And did it work? “We took our time and made sure everything was the way it needed to be. And it’s great,” Ford states enthusiastically, before laughing, “Another guitar player means I only have to do half as much!”

The Bronx III is also a departure for the band in terms of the way it was released. The band released this record entirely independently, under their label White Drugs. Ford, especially, seemed especially proud to discuss the band’s independence in regards to the record.

“There’s a lot less crap you don’t have to deal with,” Joby confirms as he weighs up the pros and cons out loud. “It’s a lot easier to do what you want, because you have no one to answer to; but you also have to pay the bills too, which is not always fun.” Regardless, Ford remains largely content as he makes a statement very few bands can honestly make. “I couldn’t be more happy with our place in the musical world right now.”

On the back of The Bronx III, the band is preparing yet another visit to our shores. The band have returned on the back of every single release since 2004, and have even filmed their first live DVD here (Live at the Annandale). The connection that Australian audiences have with the Bronx is not only a boisterous one, but also a somewhat inexplicable one.

“To be honest, I have no idea. I couldn’t tell you,” Ford confesses when asked why Aussie audiences in particular love the Bronx so much. After a momentary silence, he forges a makeshift explanation. “I think, maybe, we respect music and that could be it. The pedigree of music that comes from that country is, pound for pound, some of the best rock, garage and punk I’ve ever heard in my entire life. So to be accepted into that country… I’m not gonna lie, it makes me feel pretty good.”

The band not only has a handful of east coast shows on their Australian agenda, but also an envious spot atop the Meredith Music Festival line-up. “Matt [Caughthran, vocalist] is especially excited about the race – The Gift,” Ford says. “I dunno if you know what that is, but he’s really stoked to see that. He’s got the video camera charged.”

Ford is also quick to praise down under, even with the music put aside. “It’s a wonderful, wonderful country full of very interesting things. You know what the funniest thing about Australia is? I don’t know if you’ve ever been to the UK, but the fact that Australia was deemed a prison island for that country speaks absolute mountains about that culture. The UK? Not great. Australia? AWESOME!”

Of course, the life-on-the-road touring schedule of the Bronx does have its drawbacks. “I’m the only one in the band with a family,” Ford explains. “I have a 17-month old daughter. It’s driving me nuts not seeing her.” Despite the time away from his family, Ford still bravely and admiringly shows dedication to his band. “I cannot wait to go home, and I miss her so much. But you’ve gotta do what you’ve gotta do.”

So if you’re hungry for some sweaty, unorthodox and decidedly interactive punk rock from five guys who love our country, the Bronx happily welcome you along to their show.

INTERVIEW: Jen Cloher (AUS), November 2008

Posted on by David James Young in Interviews

Funny that I’m revisiting this literally a day after seeing the lady in question live once again. I’ve known Jen for years, and I count her as both a friend and a great inspiration. This interview more or less started that, although we’d briefly met once before in 2007 at a festival featuring Xavier Rudd, Ash Grunwald and The Audreys. Man, what a time hey? Roots takeover! This interview came prior to the release of Jen’s second studio album, Hidden Hands, which was one of my favourite LPs of 2009. She doesn’t turn out records often, but when she does… look out, son. Them’s some hot rekkids.

This was one of my favourite interviews from around this time – more for what ended up on the cutting room floor, interestingly enough. We were supposed to have a 15-minute interview and we just ended up chatting for a good 30 minutes. She’s just such a warm and interesting person, and I can never be in a bad mood when I’m listening to her music or seeing her live. We’re fortunate to have women like this around, folks. Anyway, enough from me. Let’s read on…

– DJY, July 2013

***

Over the past couple of months, a familiar face has re-entered the collective conscience of Australian music after a momentary lapse into obscurity. For a while, nobody knew where Jen Cloher or her band, the Endless Sea, had gotten to. “I know, right?” the woman herself laughs. “People have been like, – ‘What happened to Jen Cloher? First she was touring and doing shows and then… she wasn’t!’”

The truth of the matter is that there is no big rock star meltdown story, or even in-band fighting. Jen simply took some time away from the limelight to visit her parents. “My parents moved back to New Zealand about fifteen years ago when Mum got work here – they’re Kiwis originally,” she explains. “I made the decision to spend some quality time with them and help out where I could.” Whilst in New Zealand, Jen also came to write the bulk of what would become the Endless Sea’s second album, Hidden Hands. The album’s title – from Cloher’s point of view at least – “sounds a little sinister.” There’s a lot more to it than that, however. “It’s based on a quote by Joseph Campbell, this amazing mythologist. – ‘Follow your bliss, do whatever you are meant to do on this planet. Doors will open where there were no doors before, and you will be lead by a thousand unseen helping hands.’ I love the idea that there are forces beyond what we can see that will help us on our quest.”

Recorded at Woodstock Studios in St. Kilda – which was, up until recently, owned by Joe Camilleri of Jo Jo Zep and the Falcons – Hidden Hands was swiftly recorded live over a period of seven days. The band chose once again to work with engineer Paul McKercher, who has also worked with artists like Sarah Blasko and Augie March. “We worked with him again because we were really happy with his work on the first album,” says Cloher. It is also interesting to note that Cloher herself, as well as singer-songwriter/touring partner Laura Jean, undertook the album’s production duties. “She’s a really great musician,” Jen enthuses. “I’ve stolen her to play some piano and sing, as an honorary member of the Endless Sea.”

Jean’s inclusion in the Endless Sea is one of three new additions to the Endless Sea line-up, which now tallies up as a septuplet. The others are Biddy Connor, a viola/musical saw player who also performs as part of Laura Jean’s Eden Land Band, and Tom Healy, a guitarist that Cloher met during her time in New Zealand. So what’s changed this time around for Cloher’s music? “The differences between the first and second albums are worlds apart,” she says emphatically. Elaborating on this statement leads Cloher to compare and contrast her two works back to back. “Our last album (2006’s ARIA-nominated Dead Wood Falls) was kind of based around lovelorn characters, and it had a distant romantic, blurred-around-the-edges kind of thing about it. It was very much your singer-songwriter album. You could hear that these were songs that I’d written by myself in my bedroom.” And now? “This record is much more of a ‘band’ album because we really developed our own sound a lot with all the touring that we did. When I was writing these songs, I was very conscious that I was writing these songs to a band’s strength.”

Conversation moves to what Jen was writing about during her time in New Zealand. “It’s not about romantic love or lost love. It’s about…” She takes a moment to attempt a vivid description, but shrugs and jokingly comes up with, “…big stuff”. By ‘big stuff,’ of course, Cloher means “mortality, relationships, family, friends, creativity… Really, when I was writing the album, I thought that the most important thing was that these songs were true to me right now.” With this in mind, it must be asked if there is a song that means the most to Cloher out of her sophomore batch. After a moment of thinking out loud (“They all are, so much,” she sighs), she chooses a song called Watch Me Disappear. Written about her mother’s battle with Alzheimer’s disease, she says that the song deals with watching someone very close to you succumb to the illness. “It’s death itself,” Cloher states. “It’s watching someone lose their memory, their concept of time… it’s a really weird disease.”

Certainly, even with a fuller and more realised band sound, this is the sound of a singer-songwriter tacking very personal yet universal issues. If you haven’t yet already, don’t miss an opportunity to bear witness to two of contemporary Australian music’s most formidable talents and hear the beginning stages of what is certain to be a popular release of 2009, Hidden Hands.

INTERVIEW: Scary Kids Scaring Kids (USA), November 2008

Posted on by David James Young in Interviews

I don’t remember too much about this one. Hell, you probably don’t even remember there WAS a band called Scary Kids Scaring Kids. They were in that whole mid-2000s wave of post-hardcore. That was a time, wasn’t it. Hell, the guy I interviewed from the band was their KEYBOARDIST. Remember when keyboards were still a thing in post-hardcore? It was like how every nu-metal band in the late 90s and early 2000s got themselves a DJ, only to find they contributed nothing – they either learned how to play keys or they fucked off. Anyway, nothing too brilliant about this interview – or this band, for that matter, although they did have a couple of decent tunes. Just throwing this up here for completion’s sake. Mawsh.

– DJY, July 2013

***

Scary Kids Scaring Kids don’t exactly seem like the happiest of dudes – especially given their musical subject matter is frequented by despair, abandoned hope and the evil that women (and, occasionally, men) do. Thankfully, this kind of pained imagery belies them – today, at least. Keyboardist Pouyan Afkary is in high spirits as we begin our conversation.

“Feeling really good, man!” he enthuses. “Just got off the road with Anberlin and now we’re on our way down to Australia. Really looking forward to it!” You can understand why. The band are hitting our shores as headliners of the Versus tour, alongside those good Christian boys Haste the Day and Californian pop-rockers Halifax. Afkary definitely sounds excited to be on tour with two bands he is close with.

“We’ve known both bands for many, many years,” he comments. “It’s gonna be a pretty wild tour. Haste the Day are more like our bigger brothers who guide us in the right direction and have a very positive influence on us. Halifax, on the other hand, are the band that really bring out the party in us.” Which side of the line SKSK themselves will fall is anyone’s guess; even for Pouyan himself. “It’s like the devil on one shoulder and the angel on the other,” he laughs.

The tour is not only the band’s second visit to our shores, but also their second visit this year. The band rocked the mainstage of the Soundwave festival back in February. “It was great fun; beautiful place,” Afkary says with great positivity. “Can’t wait to be back.” With this notion made, it must be asked why the band have returned so soon? “There’s a promoter out there who thinks our first headlining tour would be successful, and so far ticket sales have been great,” explains Afkary. “Obviously, his faith in us is paying off!”

Scary Kids have been on the road supporting their latest release, 2007’s self-titled release, for quite some time now. “It’s been great, man. The tours have been very different – we’ve toured with a lot of – œparty’ bands, we’ve toured with a lot of Christian bands, and equally we’re connecting with all of them a lot.” Asking for some of the best memories of the tour so far sees Afkary temporarily stumped. “That’s tough,” he muses out loud. “I’d say the first headliner tour we did on the back of the self-titled album was one of the best, but also the Versus tour we just did with Haste the Day. We have a real camaraderie with them.”

Scary Kids Scaring Kids is certainly a record that the band themselves are especially proud to be touring on. The band’s first record, 2005’s The City Sleeps in Flames, is described by Pouyan as being “really rushed”.

“We only had thirty days to write it, and we’d just gotten a new guitarist [Steve Kilby, who did not play on the band’s debut After Dark EP], who was just getting comfortable with our vibe,” he recalls, before adding, “I think in the two years between albums, he got the time to become comfortable with the band.” So what was the next step for Scary Kids? “We locked ourselves away for a month and a half in a secluded place and focused ourselves entirely on the record,” Afkary continues solemnly. “What we wanted to play had slightly changed in that past two years and we really wanted to grow. It was a very conscious effort to make growth from the last album.”

With such a positive state of mind that the band are now in (touring an excellent sophomore release, playing with good friends, seeing the world), certainly Pouyan must be exhilarated to be back in Australia? “I dunno, man…” he says cautiously. “I’m actually kinda nervous. I always stress myself out about making next time bigger and better, y’know what I mean?” Nerves aside, one can rest assured that Pouyan and his five fellow Kids are set to put on some memorable shows this week, with all shows close to selling out at time of writing. Having said that, Afkary is still not without his reservations. “I don’t think I’ll ever get really excited unless we’re, like… KISS or something,” he jokes. “Or AC/DC, in your case.”

INTERVIEW: theredsunband (AUS), October 2008

Posted on by David James Young in Interviews

My second interview and the first one that ever got published. They decided to hold out on the Adam Green feature so that it would get timed correctly with Meredith. I wasn’t complaining – people were gonna read my stuff, man! Holy shit. Sarah Kelly and I are… well, not friends, but we’re certainly acquaintances. Having seen her through several guises over the years – most recently with the excellent Good Heavens – I’ve always had a great appreciation for her songwriting.

She remains one of the more underrated performers in this country, but you’d never have guessed that by the way I interviewed her. I was a really big fan of theredsunband, particularly their Peapod record. Throw on any jam from that record and I’m immediately in a good place. As an interviewee, she was a little reserved and softly-spoken, but that was fine. It reflected her overall nature – and besides, I wouldn’t have exactly warmed up to some dorky teenager mouthbreathing down the phone, either.

– DJY, July 2013

***

You’d be forgiven for not remembering Sydney alternative rock trio theredsunband in 2008. Even on the band’s own terms, it’s been quite a while since they gently rocked our worlds with 2005’s Peapod. They subsequently played around the nation with countless Aussie and international acts, including one support slot for the legendary Sonic Youth. The obvious question, thus, to put to Sarah Kelly (guitarist, vocalist and brains behind theredsunband) is why exactly it had taken so long for their return in the form of their new record, The Shiralee.

“We actually recorded the album two years after Peapod ,” she explains. “It took a little longer to release, because we weren’t really sure of how we were gonna do it.” What followed was a refreshing and classically DIY mission of releasing The Shiralee: pay for the entire recording out of pocket (thanks to a lengthy 32-stop van trek across the country in 2005 and a songwriting grant) and release it independently through their own new label. “It’s been a really good experience, I’ve liked the whole thing a lot,” Kelly happily comments. “You learn a lot of different things about stuff that goes on that you don’t really notice when you’re on a record label.”

Kelly’s inspiration in her songwriting for the sophomore release stemmed from the Shiralee itself. Translating to “burden” in an Aboriginal dialect that even Kelly herself is unaware of, the book is, according to Kelly, “basically about this man wondering around in the outback.” Further independent research on the matter revealed the book’s plot to be somewhat deeper than this, depicting a man’s relationship with his child and the stressful ways of the outback Australian life. Regardless, it appears that theredsunband’s sound has mused upon the Shiralee’s environment rather than its characters.

“It’s a very spacious record,” says Sarah, before adding, “We spent a lot of time on the road, and I kind of think you can hear that on this album.” A request for further elaboration on this statement ironically presents further ambiguity. “It’s hard to explain. I don’t think you can necessarily explain why certain imagery comes into your head when you hear songs.”

True enough – especially when talk turns to what Toby Martin, singer and guitarist of long-serving Sydneysiders Youth Group, thinks of the record. “He told me that when he listens to that record, he gets a sense of a really huge, open space in the desert with lots of tiny little people walking around,” Kelly explains with a laugh. “That’s such an awesome thing to say.”

Australia will have their chance to experience this desert-sized sound for the first time as theredsunband team up with Youth Group for what looks to be one of the bigger Australian tours of this year. A double header, the tour takes the bands to a myriad of interesting regional places in addition to the capital cities – several of which neither band has ever been to.

“Neither of us has played in Wagga Wagga, or Currumbin or Noosa,” says Kelly as she tries to think of the places which the tour will take her. “I’m really looking forward to those shows and going to those places. We’ve played in quite a few unusual spots over the years, and tours like this are a really good opportunity.”

The tour was conceived after both Kelly and Martin appeared on the hugely popular SBS pub trivia show RocKwiz. The two battled it out as the guests on opposing teams, to be united later in the night with a surprisingly brilliant version of the Jesus and Mary Chain’s Sometimes Always. Martin took Jim Reid’s part, while Kelly did her best Hope Sandoval. Afterwards, discussing the touring plans for both camp’s new records (The Shiralee and Youth Group’s fourth release, The Night Is Ours, respectively), it was decided that “it would be great fun to do a tour together.”

“We’ve known various members of Youth Group for a very long time,” recalls Sarah, briefly before our conversation turns sweetly anecdotal. “I think the first time we ever played together was in 2002,” she continues. “That was [sister and keyboardist] Lizzie’s first show with the band. She was only 16 back then! Luckily, she had a fake ID under the name of Roxanne.”

‘Roxanne’ has long since grown up and established herself as the backbone of theredsunband sound, with warmly-toned organ and simple yet effective percussion such as the tambourine. It may seem a cliche to ask, but one can’t help but be intrigued as to whether it is difficult having a younger sibling on board in the band.

“People ask that all the time,” Kelly offers casually. “It’s not difficult at all. She’s a very calm person, always very cool. If anyone ever chucks a tantrum, it’s gonna be me!”

INTERVIEW: Adam Green (USA), November 2008

Posted on by David James Young in Interviews

Although this was my second interview feature posted for FasterLouder, it actually turned out to be my first-ever interview. So there’s a piece of history here, kids! I was really, really nervous going into this one – not only was I doing my first interview, I was speaking to New York legend Adam Green. He was a pretty big deal for me back then, and to some extent he is now as well. I can still sing a stack of his songs off by heart, and I’ve always had a soft spot for his music.

So, did I have anything to worry about in retrospect? Not at all. Adam was, to this day, one of the most entertaining people I’ve ever spoken to. He’s naturally charismatic and eccentric, and it made for some absolutely killer quotes. The feature itself is a little choppy, but I’d develop my style over time – and this was as decent a start-off as any.

– DJY, July 2013

***

Some musicians are uncomfortable speaking to complete strangers about the music they have put their heart and soul into, and will often be a little rude or unfriendly. Not New York’s anti-folk poet laureate Adam Green, however. The second we are connected, I am welcomed by a very enthusiastic “Holy shit!”, followed by a very intimate detailing of the night before.

“I never get hungover – I don’t know why,” he explains as if speaking casually to a close friend. “But I feel like I’m in a state of euphoria as I walk around!” Green’s night involved going to a friend’s house and drinking at a fake bar that a friend had built within their house – an adventure that may seem out of the ordinary to most. Green enthuses, however, that he is “always looking for new things to be a part of”- a trait many musicians these days just can’t flaunt.

But there’s a lot more to Adam Green than his late-night antics. By day, Adam Green makes music. Great music, too. Since starting out with fellow oddball Kimya Dawson in the now-revered Moldy Peaches (yes, from the Juno soundtrack), Green has gone on to a low-key yet fruitful and entertaining solo career.

Earlier this year, his fifth solo album, Sixes and Sevens, was quietly launched to generally positive acclaim. The album is a collection of short, sweet and diverse pop music that he is decidedly proud of. “It’s been a long time coming,” he says of the record, his first since 2006’s Jacket Full of Danger. The first track on the album in particular, entitled Festival Song, is a bold and self-described “bombastic” artistic statement that derived, ironically, out of an uncomfortable fear.

“I never liked playing the festivals,” he explains. “I didn’t understand it. I was just someone who went to festivals – I used to get a lot of nerves before going on.” The solution? “I thought of making up a song up that I could open up at a festival with, and it would build up the show to be alright. That’s what the song started as.”

Another noticeable aspect of Festival Song is its starkly different vocals – light years away from Green’s distinctive liquored croon. “The more angry and lonely and defeated that I sang this motherfucking song, it just sounded shit-punk-better.” This led Adam to unconventionally sing the song worse with each and every recording. “I feel sort of like a vampire,” he muses in the most casual way one can say they feel like a vampire. “I’ve always wanted people to see me as more Goth, and they never do! I think people now know I wanna suck their fucking blood.”

A vivid imagination? Certainly – but anyone who has listened closely to Adam’s smart, abstract and often slightly ridiculous way with words in his music would expect nothing less. Ask him the tales of any of the characters featured in his songs, and you’ll receive a glowing, in-depth anecdote. Talk of Carolina (“her lips taste just like sunk ships/But her breasts taste just like breakfast”) brings up memories of the eponymous character of the song slinking around her apartment – “Like a cat”, he emphasises. He also tells of the abusive relationship between her and an unknown friend of his. “He perceived her soul to be made of farts and shit – it was just a piece of trash, and he told me so.”

Shifting talk to Emily (“Baby, when I get you on that Persian rug/That’s the kind of movie I’ve been dreaming of”) elicits an entirely different, far more upbeat response. “What a lovely, lovely woman she is,” he says happily. “She came to my concert once looking like Goldilocks!”

With such fascinatingly weird and wonderful stories to tell, it’s natural to be inquisitive of the driving forces behind the man’s lyrics. When it comes to his inspiration, however, Green blames not a musician, book or writer – but a voice in his head. A voice, he reveals, that has been getting him into a spot of trouble.

“I’ve been pissing off strangers lately,” he states matter-of-factly, claiming that not everyone “gets” him and his little lyric-inspiring voice. “It’s my own fault, I think. I always think people can understand where I’m coming from – but then I say something and it offends them, and before I know it they’re crying and their boyfriend wants to kick my arse. Some people just don’t like my tone.”

Certainly, Adam isn’t going to impress everyone in his travels. Having said that, he’s still certainly acquired quite a devoted cult fan-base for his particular brand of indie pop. One country in particular that has warmed to Green’s style, interestingly enough, is Germany. “I think, at first, it was just because of my good looks,” he says in regards to this unnatural phenomenon. “They’re probably so boring, that I just make a boring thing and they like it.”

Green’s touring schedule has taken him to various hot-spots around the globe for years, with his Australian visit finally on the horizon. The tour sees Green taking the best of both worlds – a high billing at Meredith Music Festival in December, and three far more intimate east coast shows. When asked which scale show he prefers, he confesses that he will just “go where he is told”. “If someone says I have to play a monkey cage in an Egyptian zoo… y’know, I’ll give it a shot.”

Certainly the semi-ironic boldness of this statement, the eccentricity of our conversation and the genuine lightning strike of brilliance that comes through the Adam Green discography is certain to culminate in these upcoming shows. The tour will surely intrigue many – including Green.

“Who’s Meredith, anyway?” he asks me.

“Is she cute?”