Q & A with Cogel’s Edward Prescott

Cogel excited me with the epic sound and visually thrilling video of the single “Felusine,” so I was thrilled to catch up with their drummer Edward Prescott. Read on to see what they had to say about their unique sound, their current launch shows, and that oh so cool clip.

Your music really seems to defy classification. For the uninitiated, how would you describe it?
I think the first part of that question is one of the biggest compliments a band could get. So thanks! It’s great that you feel we’ve got our own thing going on.

I would say our sound uses elements of rock, indie, pop and folk. I know that’s not very specific, but hey, let’s keep it broad!

You’re about to launch your EP Nowhere Near for hometown fans in Sydney [the show happened on November 2]. Are you looking forward to that show?
Of course! Haven’t played the Beresford before and it sounds like they treat bands really well there. It’s a free entry gig and the supports are great. Can’t wait.

You played your first EP launch show in Melbourne a couple of weekends ago. How did that go?
It was sweet. The Ding Dong Lounge is another room none of us had seen or played in before.  Our set seemed to be well received.

You’re regulars on the Sydney gig circuit. What’s your favourite local place to play and why?
That’s a tough one. My personal faves are probably The Vanguard, Oxford Art Factory and FBi Social. Great PAs, engineers and vibes in those rooms.

I feel like the Sydney live scene is pretty strong and often gets an unfair rap – there’s a bunch of good smaller venues and pop-up bars that sometimes fly under the radar. And every closure seems to be offset by an opening.

The backyard gig initiatives that have cropped up over the last couple of years are fantastic too. We’ve got friends that run ‘The Gate’ and ‘The Smallest Gig’, which are both doing tremendously well.

I believe a Brisbane launch show is in the works too. When are you expecting to play there?
Hopefully in January. Yet to be confirmed.

I loved “Felusine.” Is it a good indication of what we can look forward to on the rest of the EP?
Thanks! It’s probably the most bombastic track on the EP, but I’d say it’s a good indication of our sound in terms of the dynamic range and the interplay between the violin and the vocal.

Having said that, we always try and approach every song as its own thing. There’s stuff on the EP that’s poppier, there’s stuff that’s vaguely tribal and there’s stuff that’s more atmospheric. Then there’s some stuff that sounds like Psy. Just kidding.

You were pretty creative in funding this EP through Pozible. I see a few people have pledged the amount that will see your guitarist Nick Langley completing their dares. What are some of the wacky stunts we’ll see on YouTube?
He’s only completed one dare so far – which was a ridiculous cover of “Call Me Maybe.”

Some of the other things he has to do are even more absurd. One involves him strapping bacon to his ankles and walking through a dog park. For another, he has to assume the role of Bane and film himself reenacting every scene from The Dark Knight Rises.

Let’s just say we should’ve charged people more for the dares!

The clip for “Felusine” was one of the most interesting I’ve seen all year. How involved were you in that creative process?
Thank you! It was very time consuming and labour intensive, but worth it in the end!

“Felusine” was directed by someone outside the band (the brilliant Tim Gibbs), but we were still very involved. The concept (the whole idea of projecting images onto a statue head) belongs to Nic, our singer. He’s very visual and is always pretty hands-on with our clips. Tim definitely took it to a whole new level though!

Doing interesting videos is really important to us; we feel it is virtually as important as the music. There are so many “band-playing-in-a-room” videos out there that we really don’t feel the need to produce one ourselves!

Where does the name Cogel come from?
Nic’s last name is Cogels, so we just dropped the ‘s’, even though Cogel is very much a band, not a solo project.

We wanted a name that didn’t already have a meaning, associated imagery or any kind of pre-existing connotations attached to it. By that I mean we didn’t want something like Smashing Pumpkins, The Shins or The White Stripes, as much as we love those bands.

We wanted something a bit more abstract and devoid of meaning, like Feist or Gotye. And Cogel fit the bill!

Do you have anything else in the pipeline?
Hopefully we’ll be aiming to get an album out next year. At the very least, it’ll be another EP.

Image source: Cogel website

Q & A with Sam Buckingham

Singer-songwriter Sam Buckingham has been a fixture on the Sydney music scene for many years. Now she’s taking her music to the rest of the country with shows to support her latest EP, Fragile Heart. She recently took time out from her busy touring schedule to chat about her new release, her upcoming shows, and what it’s like to be admired by some of the industry’s best.

You’re currently on the road promoting your EP Fragile Heart. What can you tell me about it?
It’s been a long time in the making and I think, more than anything, I feel like it completely sums up who I’ve been, who I am, what I’ve been thinking and feeling over a period of time, and it tells a story

I love the first single “Hit Me With Your Heart.” What was it about that song that made you want to release it?
As soon as I wrote that song (on the floor of an Adelaide backpackers in 2011) I loved it. I actually played it that night at a gig, with a lyrics sheet on the floor, because I was so desperate to show it to people. I think people love it because it’s so honest and really paints a picture of hurt and finding a way to make sense of that and turn it into something positive. It’s a liberating song

I noticed you’re playing both festivals and smaller intimate shows on your current tour. Do you have a preference?
I love them both! No preference. They’re both wonderful in completely different ways.

What do you love about performing?
I love the immediacy of it. I tell a story, people hear it and feel it right in front of my eyes. I feed off the audiences energy, they feed off mine … I love the exchange and being able to see what people are getting from the songs.

You’ve played some amazing festivals and supported some of Australia’s most beloved performers. What are your personal career highlights?
Supporting Washington at the Astor Theatre in Perth was a beautiful and musical life affirming moment. It was a huge crowd and I felt enveloped and accepted by every single one of them. It was a beautiful night. Co-producing this EP with (Australian producer) Paul McKercher was a definite highlight as well. Mostly because it felt like a very real and perfect match … to find someone to collaborate with that perfectly complements and challenges you is no mean feat and every day in the studio was both very intense and very good for the soul … we’ll be finishing off the album together as well.

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Q & A with Sons of Rico’s Alex MacRae

After scoring the coveted support slot for The Living End’s Perth leg, it seems Sons of Rico are impressing all the right people. I caught up with the band’s frontman Alex MacRae to talk about the honour, their new single “You Don’t Know What You’re Missing,” and what we can expect from album number two.

You just scored the support slot for The Living End’s Perth shows. How does that feel?
Kind of bizarre! Here’s a band that we’ve all been fans of since our high school years and seen play on all sorts of stages ever since, and now we’re sharing a stage with them. Really cool, but kind of surreal too.

The support slot can be a tough gig when you’re playing with such an esteemed band. How do you intend to win the crowds over?
When supporting any band we adjust our setlist to include songs that we think will resonate best with a particular crowd. In the case of The Living End this weekend we’ll probably be cranking more of our guitar-heavy tunes. The hardest part for me will be trying not to upstage Chris Cheney with my super badass guitar solos.

After those shows you’ll be headlining your own gigs to launch your single “You Don’t Know What You’re Missing.” What can you tell me about the song?
The song has a bit of a cheeky origin. After a show in Sydney, Adam and I went out in search for a post-gig kebab and were accosted by a transgender lady of the night. Since she wasn’t offering kebabs we kept moving, but not before she said to us “you don’t know what you’re missing”! So I thought to myself “good point”, and the rest is history!

Do you approach a support slot differently to a headlining show?
A little bit yeah. You’re pretty aware that the audience is not your own, but we’ll still try and perform at our best as if it were our own show. There’s a little bit of readjusting that subconsciously happens when you’re onstage as a support, but we’re hardly going to get into leather if we were to support Aerosmith, although Rob has been looking for an excuse to bust out his leather.

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Q & A with Ben Wells and the Middle Names’ Ben Wells

Ahead of his Bear in a Birdcage tour, I caught up with Tassie’s Ben Wells of Ben Wells and the Middle Names to chat about the new single, time on the road, and his band’s ever evolving sound.

Your new single “Bear in a Birdcage” has a different sound than the songs I’ve heard from you before. What inspired it?
Something we pride ourselves on is our onstage energy, so I suppose we wanted to write music that we could really let loose to and get the crowd involved in a little more. Also, with the change in the line up of the band recently we wanted to start making a different sound that suited having two lead guitars rather than a violin.

You’re about to kick off a tour of the East Coast. Are you looking forward to it?
Ah I’m so excited about going on tour. Playing live is my favourite thing and because we’re from Tassie we don’t get the opportunity to play to different crowds as often as we’d like, so we take full advantage of going on tour!

You must have the touring bug as you’ve clocked up more than 10, 000 kays in the last year alone. What is your favorite part about being on stage?
I love feeding off the crowd’s energy and the other guys in the band. It’s the only time you can really let loose. Plus you know the people who are there are there to see you play, so we don’t hold back at all.

How do you keep things fresh when you spend so much time on the road?
That’s probably the hardest part about going on tour. Making sure you eat healthy and spend lots of time doing your own thing when we aren’t playing. Going on tour is a good time to check out the rest of the country too!

Probably part of the reason you travel so much is that you live in Tasmania. When so many bands move to the mainland, what is it about the state that keeps you there?
We’ve talked about moving to the mainland before but living in Tassie has its conveniences as well. We recorded “Bear in a Birdcage” at the studio in my house, where we rehearse and write. I think it would be hard to be able to do that in a major city and be able to afford it on a musician’s wage. Plus the music scene down here is really starting to fire. There is so much good music coming out of Tassie it’s all time!

The video for “Bear in a Birdcage” is so much fun. How much input do you have in that creative process?
Thanks! I picked out the direcor (Simon Treweek) for the clip because he’s a prolific surf cinematographer and I knew he’d know what I was getting at with the song. We put a few ideas toward the clip but he knew what he was doing and he nailed it!

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Q & A with Charlie Horse’s Paul McDonald

Charlie Horse wowed me with their debut single “Dead Roses,” so I was thrilled to catch up with one half of the band recently. Read on to see what Paul McDonald had to say about his duo’s debut album, their musical influences, and the need for “creative isolation.”

When I heard your single “Dead Roses,” I was struck by its classic sound, so I wasn’t surprised to hear you were influenced by listening to your parents’ Johnny Cash and Neil Young records. What is it about that music that really revs you?
Well, you summed it up right there; it is timeless classic music. I spent most of the ’90s coming from that school of art, have a different guitar in a different tuning for every song and then carry nine guitars with you on tour and at least five of them had to be Fender Jazzmasters and Jaguars. I started to think, are we just being clever for the sake of it and is this just sonic posing? I am not sure if you know much about music theory and chord structures, but it is generally deemed uncool to write a song that goes E, A, D but any song that is considered “classic” tends to have very simple chord structures. And we didn’t go E, A, D with Dead Roses, we went D, A, E, so how avant garde are we?

What was it about “Dead Roses” that made you want to release it?
I suppose people hassling me saying “this has to be the single,” ha! I was looking at releasing something a bit more obscure but got out voted by the band. What would I know? I do really enjoy playing it live as it tends to connect with a lot of the fans. It’s nice to have people singing the lyrics with you.

The single comes from your album I Hope I’m Not a Monster. I love the title. What’s the story behind it?
I was getting the train up to the studio when I noticed somebody had scratched “I hope I am not a sea monster” into the back of the train seat. I mean who does that, and what does it even mean? It had to be the album title.

I hear that you recorded the album in your studio in the Blue Mountains, because “creative isolation” is really important for you. Why is that?
Well, we started the album in East Balmain on Darling St. Not a lot of isolation there. Then we did some writing in Bread St in Edinburgh near the castle. Not a lot of isolation there as it is in the seedy side of Edinburgh, lots of strip clubs and drunks. So we packed up and took to the Mountains. It is important to us not to listen to trends and the opinions of all the experts. Give somebody a laptop and an e-mail account and they will want to tell you what you shoulda, coulda and woulda be doing wrong or right. The music we play does not come from any scene or desire to be cool, so that kind of counts us out of the race for a lot of things now … hah. Nobody dictates to the Drones or Jack Ladder what they should sound and look like. Well maybe they do, but I am guessing they don’t listen either.

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Q & A with Brad Butcher

Queensland singer-songwriter Brad Butcher will unleash his self-titled debut album later this month. I caught up with Brad recently to chat about the album, his upcoming launch shows, and what it was like growing up in a small mining town.

You’re releasing your debut album later this month. How does it feel to be on the verge of its release?
It ‘s a great feeling knowing I’m about to finally put it out there. Making the album has been a great learning experience for me and I have made some great new friends. I’ve grown as a performer and a songwriter and I’m very proud of the songs I have and I can only hope that others will enjoy listening to them and get something from them.

What can you tell me about the album?
I have always written songs that are quite personal. I’m a very visual songwriter, meaning I find it easier to describe something I have seen or witnessed rather than to pull the image from thin air. This group of songs is almost a diary of my life and the people in it so far. From falling in love to falling apart, birth, death and about not giving up along the way.

It features the single “Conversations and Complications,” which has been embraced by community radio. Did that take you by surprise?
Everything has been a surprise for me over the last two years. I was surprised that other people thought I could do this. I was surprised with how much I liked the writing and recording process and I was even more surprised to find that people genuinely like the songs. I had a dream of making an album and everything since it was finished has been an unexpected but very welcome bonus.

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Q & A with Cold and Need’s Jared Daly

After making appearances at some of Australia’s hottest festivals and supporting some of the country’s best bands, Queensland’s Cold and Need are starting to build some serious buzz. I recently caught up with the band’s drummer Jared Daly to chat about their new EP Colours and Shapes and their upcoming shows.

You’re still making a name for yourself outside Queensland, so what do we all need to know about Cold and Need?
Cold and Need are a 4-piece Brisbane rock band. Our songs are loud and fun, we want you to clap and sing along at our shows.

You’ve just released your second EP Colours and Shapes. What can you tell me about it?
Colours and Shapes was definitely our most focused effort at a release. We spent countless hours/months demo-ing, e-mailing tracks across states, completely pulling material apart then re-working, changing sounds, trying new gear. At one point our producer Simon Leach actually told me to, “put that fricken China symbol away and never bring it back out”!  So that really shows we tried our hardest to explore as many different possibilities, while slowly driving Tristan Hoogland, our Brisbane engineer/producer, crazy.

The EP features the single “Kaleidoscope.” What was it about that song that made you want to release it?
“Kaleidoscope” was a late inclusion in the EP. We had already written and trialled the other tracks written for the new EP live, and at one rehearsal something just clicked and we wrote “Kaleidoscope” within a two-hour period, recorded it on an iPhone and e-mailed it to Simon in Melbourne to be critiqued. We were very focused on writing a tune with a strong guitar line as it was something that we thought we hadn’t focused enough on in the past, so that was a big factor in us releasing it as the first single.

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Q & A with Bart Thrupp

Bart Thrupp’s natural storytelling ability and Aussie charm is showcased beautifully in his brand new single “Girl in the Fishbowl.” Bart took time out from the single tour to tell me about the song, the shows, and what makes his hometown of Toowoomba so special.

Your current single “Girl in the Fishbowl” really struck a chord with me, as I think we’ve all been in those impossible relationships where it was the right person (at least in our minds) and wrong time. Did it come from personal experience?
I used to work at Coles. There was a florist just outside Coles which had glass on all four sides, so it looked like a giant fishbowl. That’s what everyone called it. I wrote the song on the back of a receipt while I was working on the checkout.

I was also struck by how Australian your voice sounds. It seems like so many Aussies tone down their accent to create this generic, globally marketable sound. Was there a conscious decision for you to avoid this?
I’m very proud of my home nation and our identity. I really love it, and I try to celebrate it. But to be honest I never thought too much about it. I just sing with my heart and that’s what’s happens.

The video for “Girl in the Fishbowl” also had that really honest, Australian charm to it. There’s no pretension or Hollywood flash to it. Did you have much creative input there?
I did have a lot to do with the video, and I was very lucky to have some talented people around to help me as well. It was a very honest story. We were also lucky enough to shoot the video inside the Coles where I used to work at Highfields Plaza in Toowoomba. It is the location of where the song was written, so it was great that we could use that space.

I see you’re touring the single around the country. How are those shows going?
Terrific! I’m having an amazing time. I’ve driven from Brisbane to Adelaide in three weeks with a whole bunch of towns and shows in between. I love my job. I’ve caught up with so many beautiful friends along the way, and met heaps of new faces. Between my skateboard and my car I’ve travelled thousands of kilometres through this beautiful country. I don’t know how I got so lucky.
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Q & A with The Medics’ Charles Thomas

The Medics never quite fit in with the rest of the music scene in Far North Queensland. Not one to feel constrained by the industry around them, the band perserved and crafted their debut album Foundations. With the album due for release on May 18 I caught up with the band’s bassist Charles Thomas to chat about it, their early years in Cairns, and supporting some of the best bands in the country.

Your debut album Foundations hits stores on Friday. What can you tell me about it?
It’s going to be a real exciting day! The songs that we have treasured and nurtured over the months will be available in stores and online for everyone to hear! We hope that people love them and that the songs speak to them.

How does it feel to finally unleash that music?
Pretty unreal. We are just ‘going with the flow’ and aren’t sure if it’s going to do really well or not. We’re just pumped that the public will be available to hear it and buy it!

You released an EP before this. How have you grown between releasing that and the long player?
Most definitely. We have matured as musicians, which has seen the development within the band.

The band’s made up of cousins and close friends. What does that shared history bring to the band?
It means that we all have a close, tight-knit connection on and off stage.

I believe your music didn’t quite gel with the rest of the scene back home. How did that experience shape you?
In a way it encouraged us to be the different. To start something ‘fresh’ and new. Glad we thought along those lines, because it ended up working really well.

Triple J was an early supporter of your work. What did their belief in your music do for you?
It encouraged us that we were doing the right thing, stepping out and just being plain original. They also exposed us to Australia! Oh and of course Stifler’s mum …

You’ve supported some amazing acts over the past couple of years. What are the highlights for you?
Playing with and meeting incredible artists is so inspiring. Touring with The Grates and Last Dinosaurs last year was a definite highlight.

You’ve also played just about every festival that matters. How do those shows compare to the club gigs?
They are both good. It’s really cool to play big festivals because the exposure and vibe is awesome!

Are you planning any shows to support the album release?
Yep. We are having a launch party at the Black Bear Lodge (in Brisbane) on 22 May. Come PARTY! We’re hoping to do some touring later in the year.

Do you have anything else in the pipeline?
We are incredibly excited for Splendour in The Grass. It’s going to be epic! We can’t wait to play in front of friends and fans!
Image used with permission from Footstomp Music

Q & A with Sui Zhen

Sui Zhen is charming Australia with her quirky new album Two Seas. I recently caught up with this singer-songwriter to chat about the new release, her forthcoming tour, and what comes next.

You’ve just released your debut album Two Seas. What can you tell me about it?
I wanted to make an album that would be comfortable to listen to. Songs that speak to you on a personal level, that hopefully can live a long life with the listeners. I really focused on the songwriting ahead of instrumentation and experimentation; I wanted to practice the rules before breaking them. The role of ‘Arranger’ was really important on this album and that’s where Tony Dupe weaved in his wonderful magic.

I believe you did plenty of travelling while writing and recording the album. How did those adventures influence Two Seas?
The biggest thing I took from those adventures was how to maintain inspiration for the music I was making. Sometimes you write songs ahead of your actual experiences, and it takes time to find their meaning for you.

A year filled with farewells, departure gates and an overall sense of longing for people and feelings that had come and gone certainly fuelled my passion for the songs. It’s like Charlie Brown says, “I say too many goodbyes and not enough hellos!”

Though I’d written and recorded most of the songs prior to travelling, when I was based in an old shop in Redfern. I went to the Red Bull Music Academy in early 2010 (RBMA) just when I’d finished the first mixes and spent the rest of that year overseas visiting friends and family. It was important to take time off the production side of things to get perspective on the album as a whole, and to make that decision that it was ‘finished’.

I hear you’ve been working on this album for the last few years. Why did it take so long to finish?
That’s a good question. RBMA was a catalyst for some big life changes. I went there with a near complete debut LP and left with heartbreak, new love, a new band and a whole lot of travelling ahead of me. I became a little side-tracked with ‘life’.

When I returned to Australia in late 2010, I worked on other arts projects until I was able to move to Melbourne mid 2011 and settle down somewhat. I became a partner in a start-up web-channel (InFrame.tv) and finally set about release plans for Two Seas.

I believe that when you were visiting your family in Bahrain you finally decided the album was done. What was it about your time there that led you to that decision?
I was demo-ing a lot while I was away from home. Mostly using Garageband and the laptop mic making Grimes-esque pop songs. It was when I had about twenty new demos that I decided it was time to draw the line with the album, give it a name and call it done.

I was staying with my step-mother in her apartment that looked out over the ocean ahead of a sea of other luxury apartment/hotels. It could have been a really sterile environment but the handful of friends I met there made it a home of sorts, with our nightly pool parties on the rooftops. It was the first time I felt enough distance from all the emotional drama of the start of the year. I learned that Bahrain literally meant the meeting of ‘two seas’, and it stuck.

You worked with Tony Dupe on the album, who’s produced for so many great people like Holly Throsby and Jack Ladder. What did he bring to your sound?
I can’t thank Tony enough for giving me the album I wanted. Early on in our collaboration I’d said I wanted to make something that could be performed solo or with a band. I didn’t want the songs to be co-dependent on the production.

We worked together from Redfern to Berlin for most of the tracking phase. I would send him a bunch of stems with vocals, q-chord, accordian, double bass, trumpet, electric guitars etc. He would then pick a strong vocal to work from and build the arrangement up from there. He added clarinet, cello, more guitar and I think even a trombone. Sometimes there would be just one ornamental flourish used from each take. But within Tony’s arrangement, it would make the song complete.

He’s an amazing producer to work with. He takes time to learn about you so he can bring your personality to the forefront. And he gives you an album that you will love for years to come.

Your music seems to have so many influences that it defies classification. How would you describe it?
Haha. I think you described my personality; I am very curious and I love music of all genres but I am very specific about which artists I choose to follow. I wanted to focus my Sui Zhen music into a more stable position, so it doesn’t try to encapsulate all the influences I‘ve absorbed, as that can become confusing for listeners.

With this album at least, I’ve hoped to accompalish folk-pop, alt-country, lyrical and melodic songwriting. With the next, I’ll be more adventurous and will include re-worked versions of those garage-band demos I mentioned.

I thought the video for your single “Little Frog” was just gorgeous. Did you have much to do with that creative process?
Yes I did. I created the animation with some help from my siblings to sew a few clouds here and there, and adjust the fringe on the girl to make it appear like wind was blowing.

It’s the result of an all encompassing craft experiment started back in 2008 for Even Books. I didn’t do much with the animation at the time and it sat quietly on a harddrive for a couple of years before I re-edited it to “Little Frog” just last year.

In my other life I am a videographer working predominantly in VHS and stop-motion animation.

You’re preparing to tour Two Seas later this month. Are you looking forward to bringing its songs to the people?
Most definitely. It’s been so wonderful to hear the feedback so far, especially from community radio stations. It’ll be great to perform now that people will be more intimate with the songs.

You’ve played both solo and full band shows in the past. What can fans expect at the upcoming shows?
For most of the album launch shows I’ll be performing as a three-piece with my brother Dan Stanley Freeman and long time collaborator and friend, Joe Gould. We’re a really close band and have a lot of fun with our on stage banter.

The support bands are hand-picked, with Jessica Says and Emma Russack duo-ing as Elva in Melbourne, Carry Nation joining us in Sydney and Newcastle and Epithets in Brisbane. Fanny Lumsden is doing the whole tour with us and she’s charming. Plus there’s more!

Do you have anything else in the pipeline?
Fox + Sui will release Taboo EP in the next couple of months on Two Bright Lakes. We’re then planning an LP later this year.

I’m also hoping to put out another Sui Zhen release in October, fingers crossed!

See Sui Zhen on her album launch tour at the following venues:

30 May 2012 – The Grace Darling Hotel, Collingwood
1 June 2012 – The Lass’O’Gowrie, Wickham
3 June 2012 – FBi Social, Kings Cross
6 June 2012 – Black Bear Lodge, Brisbane
13 June 2012 – Yours and Owls, Wollongong (Free)
14 June 2012 – The Front Café & Gallery, Canberra

Image used with permission from Positive Feedback