Like Leaves - Interview

The guys from Like Leaves quite possibly have to be the warmest and most genuine local musos I've ever had the pleasure to meet. I don't say this lightly - I see a lot of people who often put up with the superficial front of paying lip service to them by bands. Many of these are people are only solely involved in the shameless self-promotion. Many of these people are assholes of the worst calibre. There ain't any sincerity, or passion - ya understand? Like Leaves deserve all the trimmings that come with success; but they're just that little bit too left of centre (supporting bands and individuals as diverse as Tame Impala and Damo Suzuki) for overall acceptance. Writing this now, I'm not sure if they'll ever be more than our little secret. But that's kinda awesome too. The psychedelic rock parallels to W&C are undeniable sonically, but LL haven't sold themselves down the river just yet.

One of those extraordinary gents to I spoke was Like Leaves' Ryan Manolakis about the future of the group, an M.I.A Mr. Wednesday album and some particularly insane multitasking.

Name: Ryan Manolakis

Role: drumwhore

Record out: Released- Mr. Wednesday ‘In The Garden Where Parties Grow’, The Mandala Project split EP w/ Full blood Commandos, Cookie Baker ‘Gala Day’, Spine ‘The Sound Before The Symbol’. Upcoming- Like Leaves debut full length is due around November/December and Mr. Wednesday’s second album ‘So Happy Yet So Out Of Breath’ will be digitally released before the year is out.

On repeat: The Beatles ‘Rain’, need I say more?

Anything else we should be into: I bought an electric blanket for my bed recently, no regrets.

Best song you’ve got: ‘Mercy Sound’. A Like Leaves song with Juliet on lead vocals, I love the way it goes from this minimal folk guitar tune and builds into this groove heavy chaotic psych jam. It is a very fun song to play on my part because of all the dynamic changes.

Ryan, you're known around town as a talented drummer who has played in a variety of experimental, post-rock and folk influenced outfits. Are you the first guy people go to in the phonebook? It's an impressive work load.

Drumming is something that I can never get enough of. I’m always looking for something different to do whether it’s a new drumming style/technique or playing for an act that is thriving to step out of the box. I teach drums 2 days a week and on the other 5 days I play music. I am first guy to go to in the phonebook? Yes, if I was Mitch Mitchell but I’m not.

You were a pivotal part of Mr. Wednesday (and the previous collective known as the Mandala Project). How did the creative process differ from that to your current band, Like Leaves?

All 3 bands have a completely different approach to the way they go about creating music. The Mandala Project was a band that would just completely improvise whenever we played together, so the nature of the music would come out according to the moods that we were in at the time. It was always exciting going to a Mandala gig because you would never know how it was going to fold out. I recall one gig where a member of the band did a percussion solo with an angle grinder on a steel stool frame. The whole front row the audience instantly cleared out because they were getting hit in the face by the sparks flying towards them.

Mr. Wednesday was (or is) a concept band that would create sounds according to the story they were telling. An example of the bands inspiration was Pink Floyd’s ‘The Wall’. So every note that was played was to enhance the mood that we were creating. Our lead singer Moon would write a lot poems, lyrics and scripts and would present them to the rest of the band and it would be up to the rest of the band to create the soundtrack. On some rare occasions the process was reversed.

Like Leaves has always been a process of sharing different musical ideas and working on them together as a band. On some occasions a member might have a whole arrangement prepared or the band would get together just to jam and sometimes ideas will form from those jams. Our tracks tend to have a set structure with areas to improvise within. To get back into the section will consist of either a member initiating a sound to mould into the next part or it’s the token wide-eyed musician’s nod.

Like Leaves brings together a collection of very like minded musicians. How did you all begin working together; and what was the aim?

I met Dan [Varricchio -vocalist/guitarist] 5 years ago at a Mr. Wednesday show and from there we started to jam together once every few months over 2 years. We then agreed that a 3rd member was evident and that’s when Pat [Saracino - vocalist/guitarist/bassist] came in and from there the musical ideas started to come out. The other 3 members of the band live under the same roof and Juliet [Hunter - violinist/vocalist] was usually home at the time of our practices as a 3 piece. There was one rehearsal where we were working on a song called ‘Falling For A Fleeting Moment’ and Dan felt that the track needed some female vocals and as they say the rest is history. Juliet joining was the band’s icing on the cake. From the beginning we all just wanted to do something musically that we hadn’t done before.

When is the debut Like Leaves album coming out? It seems like it's been forever.

Yes this is very true. The recording process has taken much longer than expected unfortunately with obstructions coming from all directions but now things are moving along nicely. The album will be mixed and mastered before the month is out and will be due to be released around October/November. I’m itching for people to hear it. It's sounding incredible already.

You've played with (and supported) a variety of artists. Who is in your personal opinion the most compelling and favourite band you've played with, and who would you like to work/play with in the future?

When Bjork was last in the country back in early 2008 Like Leaves supported her drummer Chris Corsano who played a solo show the night before the BDO. Chris is deemed as one of the best free-jazz/experimental drummers in the world and at the time I wasn’t very familiar with his work and just assumed that it was just going to be slugging drum fest. By the time his set was over every member of audience was completely in awe. Working with someone like Chris or a musician in a similar ball park would blow my mind. I guess I can dream the dream.

Like Leaves have a strong relationship with another Adelaide export, Wolf & Cub. Brothers in arms, or mutual appreciation of each others music?

Both. Our former bands (Artax Mission, Headress Of Neon Flames and Mr. Wednesday) had a lot of association with Wolf & Cub back in the earlier days. Also Dan, Pat and Juliet have been within Wolf & Cub’s circle of friends since the beginning. As for myself, I was a usual gig attendee who would get upset if I miss out on a show of theirs. When it comes down to it both Like Leaves and Wolf & Cub are inspired by similar music and that what brings the two bands together.

We were talking the other night about the future of intelligent music in the face of mediocrity. Do you think that more and more local bands try to 'dumb it down' to get that all important Transmission gig?

Yes definitely, the market for it is huge so therefore there are lots of opportunities for success. I know musician friends who have had little to no success with their ‘serious’ bands and then decide to start an indie/dance/electro project just for laughs and to be put on high rotation Triple J within weeks.

You gig around the traps all the time.Tell us about a local band that deserve more recognition than they're currently getting.

I would have to say Diplomat. They have been around for years and are still one of the hardest rocking bands in Adelaide. It shocks me they haven’t got more attention.

What's up next for Like Leaves?

An album release before the year is out followed by some interstate touring. A possible 12” vinyl pressing and depending on how things go, some overseas travels (fingers crossed).

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The Crying Game 'The Unguarded Moment' (Live)

Came out so well I thought i'd share it with you all.

Credit to Spoz.

Coerce 'Silver Tongued Life Licker' Video

Here's a creepy little video for your Tuesday morning, the first single off Coerce's amazing debut 'Silver Tongued Life Licker'. Like something out of the surrealist vision of Guillermo del Toro's Pan's Labyrinth, a kid runs round a forest escaping a giant silver tongued creature. Mike Deslandes gets his pendulum on. Kinda reminds me of Tool for some reason (but in a good way). The clip was directed by Nima Nabili Rad & Daniel Principe (responsible for Delta's 'The Lines') with assistance from Aaron Schuppan (Fire! Santa Rosa, Fire!'s 'Little Cowboys, Bad Hombres' film clip).

Check it out.

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Coerce support A Death In The Family with Daybreak on Saturday August 21st at The Arthouse in Melbourne.

Coerce's debut album 'Silver Tongued Life Licker' is out now on CD/Vinyl and iTunes through Capitalgames.

Collarbones - Interview

Collarbones is the collaborative musical project of Travis Cook (Cyst Impaled) and Marcus Whale (also known for his experimental music work under the pseudonym Scissor Lock). Having met Travis a couple of years ago when I used to put on all ages gigs at Urtext, I was interested to find out that the online project he'd been working on for the last couple of years had recently come to fruition with some pretty compelling results.

Steph Hughes from Triple J had this to say about 'Beaman Park', "You guys can do no wrong right now. Captivating production. High-quality, sparse noise collages." She's not half wrong either.

I spoke to Travis about the trials and tribulations of collaborating over the Internet, their partnership with Two Bright Lakes and Pitchfork love.

Name: Travis Cook

Role: Laptop straddler, audiovisual slut, warlock

Record out: 'Beaman Park' single, followed by another single in the not too distant future. Our debut album 'Iconography' is due in April of 2011.

On repeat: 'Round and Round' by Ariel Pink's Haunted Graffiti. Marcus was in Adelaide recently and we both couldn't rinse it out of our brains.

Anything else we should be into: The new Todd Solondz film, Life During Wartime. [I highly recommend this also! - Matt]

Best song you’ve got: We're both quite fond of 'Don Juan', the opener of our upcoming album. It was nicely collaborative and sounds surprisingly mammoth.

Tell us about the Collarbones project - fame and (hopefully later on) fortune have seemingly been thrust upon you in recent months, but you've been working with Marcus [Whale - collaborator] for a little while, isn't that right?

Collarbones is a suicide cult disguised as a "trans-state collaboration". We believe Planet Earth is about to be recycled and you must leave with us on the back of a comet to survive. We first started collaborating in late 2007, occasionally circulating songs over the Internet and independent radio. We played our first show in July 2009, supporting the Los Angeles post-rock band Signal Hill in Sydney.

Things really seemed to explode early this year, after unexpectedly receiving a Soundclash grant from the Australia Council for the Arts. It made Collarbones seem more legitimate to me. Shit got serious, as the kids say. Shit will only get more serious if you don't escape Earth on the back of a comet.

What is the creative process like, given that interstate long distance relationship you have? Can it be wrought with loneliness and despair?

The phrase "wrought with loneliness" makes it seem painful and emotional. We often spend our intermittent time in person connected to our computers. I suppose we have to be comfortable with technology being a huge part of what we do. It's inseparable. Advances in Internet speed have made sending files back and forth a lot easier. We tend to act like "creative consultants" for one another, altering things and suggesting things. The dynamic is quite strange, we've gotten to know each other very well via the inhuman medium of instant messaging.

You've recently received blog love from afar and at home, and have been brought to the attention of Remote Control imprint Two Bright Lakes (Otouto, Kid Sam, Seagull, Psuche). They plan to release your album early next year. Is it still surprising to see how far you've come in such a short space of time?

I'm still coming to terms with the fact that this is a "band". Even so, it does feel somewhat natural given that this is a product of the Internet. The blogging chain reaction that led to Pitchfork posting about us was hard for us to keep up with. We've been receiving steady radio play, which was just as unexpected.

We're both fans of the Two Bright Lakes roster and are excited to be working with them. I'm baffled and excited by it all, who knows what the future holds?

'Beaman Park' is the single that will lead off the record, how would you describe your own music best to people who hadn't heard glitch pop before? Who are some your favourite artists?

Collarbones is what it sounds like when you stick a second-hand Rihanna CD into your stereo and it skips every now and again. You're not sure whether you like it or not.

I have musical ADHD. It's difficult for me to not sound like a wanker answering questions like this. Experimentalists like Jon Rose sit alongside 90s chart pop in my iTunes. I listen to as much Yiddish music or high life as I do Toro y Moi or Memoryhouse. Genesis P-Orridge is a singular entity in music, s/he confuses, disgusts and inspires me in equal portions. I'm fascinated.

Listening to the early 'Waiting for Ghosts' EP, you sample Bjork's 'Vespertine' to the point that it's unrecognisable. If given the opportunity, which famous artist would you like to work with?

This question was the hardest to answer. If given the opportunity, I would work with unfathomable amounts of famous artists. I would ejaculate everywhere if I could work with Flying Lotus, Janelle Monae, Mark E. Smith, Gwen Stefani, Scott Walker or Bradford Cox.

There seems to be a dearth of computer aided musicians in Adelaide, you're very much an anomaly when put alongside many of the beer swilling rock and roll bands. Do you think that these producers are too self conscious to play live?

It's possible that a lot of the people who work profusely with computers in their music are too self-conscious to play live. That's not the case with us, I try to make a point of mocking myself. We dance to r&b once our live shows conclude. I flash people my nipples. It's the way to be.
Our music isn't particularly Adelaidian or even Australian sounding. Being internationally focused is inherent to being an "Internet collaboration", and I like it that way.

I do wish more Adelaide producers played live often, though. We can't solely subsist on DJ sets, guys.

Finally, are you working on presenting your music in a live format more often? I attempted to book a show for you guys (to no success, damn liquor licensing) but it fell through at the 11th hour.

We sure are! We're playing with Otouto in Sydney in August and have a number of surprising opportunities up our sleeve. An Australian tour is happening later in the year, and I'm looking forward to playing in Adelaide more often. Being split between two states is both a blessing and a curse when it comes to things like this.

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Collarbones - 'Beaman Park' / JJJ Unearthed download

Collarbones support Otouto at Melt Bar in Sydney on Friday, August 13th.

Animal House

Epic photo by Erick Watson

Tucked away in West Hindmarsh, a stones throw from the River Torrens; is a fairly nondescript warehouse. On a chilly Sunday night, people emerge from the shadows looking fairly eager to see what the final night of tour for the American bands Graf Orlock and Dangers with Coerce and Robotosaurus would have in store.

Animal House is our answer to Sydney's Maggotsville; a communal off the grid venue which sees vegan BBQ go hand in hand with some of the best of Australia's touring underground hardcore and experimental punk acts. The converted warehouse itself is a vibrant display of colour and creativity; the graffiti of the artists that reside at Animal House lends to its carefree and DIY aesthetic. The place is obviously invite only with a nod and a wink; but would never see any kind of violence other than the "positive masculine aggression" that goes with any hardcore circle pit.

Sex Wizard killed it. Featuring members of Jungle Fever, A Secret Death and Robotosaurus, SX\VZD outshone the ragged (and decidedly preachy) Dangers. Two drum kits, luchadore masks and repetitive stoner riffs big enough to tear down the mattresses insulating the building. Look forward to seeing these guys support Extortion on their national tour.

The overall feeling to Dangers set? Bittersweet. At the end of a long tour the band tore through its set at a breakneck pace, punctuated by overwrought and impassioned speeches by their lead singer Al Brown. I understand the sentiment and the message. Individualism, not giving a fuck, social justice etc. Preaching to the converted perhaps.

Does anyone ever feel the contradiction of hardcore bands preaching peace, love and understanding and then enabling their predominantly male audience members to go into a frenzy of pushing and shoving?

To answer the question, the guy who got my beer in his face which was kicked from my hand was not happy.

The throng of audience members pushed closer to see hometown heroes Coerce. A disappointing lack of a proper P.A the previous night at the German Club left me desperately hoping that they were deliver the goods on the night. Coerce delivered a blistering set highlighted by 'Dunamis', a track off their latest split with brothers in arms Robotosaurus. If their brand of post-hardcore wasn't for some, they definitely earnt some fans tonight. Or the kid pestering me about J-Bond's drumming I later crushed in the pandemonium that surrounded the Roboto set thought so.

After missing Graf Orlock (cigarettes were to be smoked in excess), Robotosaurus tore the place apart. Literally. Led by the intoxicated antics of frontman Isaac Rayson, the band played a selection of tracks from 'Manhater' and their latest split with Coerce. 'User' and 'End of the Line' capture Robotosaurus in excess, the nihilism and spirit of punk rock which should have been the template for others in full chaotic flight.

The set ended in destruction, of course. Slightly drunk and with unfulfilled promises of further excess in town I wisely head home. Animal House, you lived up to your reputation.

Thanks to No Patience for the good times.

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Home for the Def - Interview

There isn't much more I can say about Nigel Koop, the enigmatic, endearing and rather strange local musician who goes under the name Home for the Def without giving it away. His live performances make him a local musical icon, from baiting audience members to some very confronting intimate solo performances. One recent gig, he decided to play a set in dedication to the children's TV show Pugwall. Other gigs, he has abused audience members, himself and one occasion disemboweled a child's teddy bear.

I spoke in length via phone text with Nigel about conspiracy theories, organised religion and his mobile payment plan.

Name: Nigel Koop

Role: Spiritual leader, Church of the Def

Record out: 'Comfortably Dumb' (due out July 2010)

On repeat: 'Cooler than Ekke' by Jack Parrow.

Anything else we should be into: Investigate Martin Bryant.

Best song you've got: 'How Are You Going?'

Nigel, I really don't know where to start. Perhaps with the big questions... what is the biggest lie perpetrated against the human race and what are some of your thoughts?

The biggest lie perpetrated on the human race might be the concept of individual religions. Not in any anti-God way per se, but that each of the gods are not all the same. I'd rather believe that Earth is actually just a leper colony for some advanced race elsewhere in the galaxy and we're all basically the retarded, barbaric offspring of this advanced species who more or less hid us in a closet out of embarrassment. This would explain why there's been lots of visits but not that much contact. We're kinda like their bedlam circus.

Do you think self-idolatry is the way to go? The cover of Opti-mystik has you naked, almost an unconscious homage to Christ of Leonardo Da Vinci's 'Vitrivan Man'. Was your faith shaken at an early age by false prophets, namely Robert Smith?

Not self-idolatry, self aware is probably a healthier state. Embrace all your chakras, as is shown on the Opti-Mystik cover. How can we hope for world peace without inner peace?

It's a very true statement Nigel, his Holiness the Dalai Lama once said "We can live without religion and meditation, but we cannot survive without human affection." But then again he hates poofters. You've created such an extensive catalogue of music since you were younger, some of it frankly quite disturbing, some of it insightful and most of it quite depressing.

Please tell me about growing up in Seaton and what the Adelaide music scene was like in the late 90's. What were peoples initial reception to your music?

Seaton was really the average shithole of the average teen years. Truly nothing special. Luckily I had some awesome friends and an interest in art and music which let me create my own world instead of just accepting the one handed to me. Thankfully some time after surviving high school I managed to find an Adelaide music scene that made some sense to me, largely originating at the Interactive Art Gallery where there was a lot of creativity being thrown around and fun experimentation with art and music. The acceptance there was a nice validation though I'm sure I would've kept making music regardless, it wasn't really started for acceptance but for self entertainment.

Adelaide's always had a great scene, we're not really in the cool kids gang of the eastern states musically so folks seem a little less self conscious.

Some of your gigs have been the stuff of local folklore. One of my first gigs I ever played with you was the 'Livest' recording, where you spent what felt like 45 minutes tuning up, then proceeded to tell dirty limericks to a quite frankly rabid audience who were after blood. Is there a particularly story you'd care to elaborate on?

Ha ha, it'd feel weird re-telling past gigs myself. That's probably something audience members could do better. I try to keep each show fairly different and hopefully memorable. Sometimes planned, sometimes not. Whether it's a 20 minute speech against the theory of evolution in the middle of a song or gutting a large teddy bear with a filleting knife, I like to amuse myself and hopefully the audience too if I'm lucky.

I've still got loads of ideas for different gigs I wanna try so they'll hopefully continue to enter the world of folklore, hearsay and myth.

You're too modest. Okay then, well what was it like to work with Barry Cree (Spindickle), there was an insane character if ever I met one.

Working with Barry was great fun. He's a musical and comedy genius. It's a shame we can't work together anymore, the Bird Flu Flu album we recorded was a masterpiece.

Did you ever get a chance to work with the late Baterz?

No. The closest to that was lending him my bass guitar for some recordings.

Is there a particular artist in any form you'd like to work with next? Tell us about your next record.

I've got plans to do an album with guest vocals from a bunch of Adelaide folks, Ellen [Carey] from Fair Maiden and Sarah [Chadwick] from Batrider in particular would be awesome.

It sounds like a great idea. Finally, Stan Mahoney has recently written a series of reviews of your various albums in his new book. Thoughts on the author?

Stan's great. There's a spiritual kinship on several levels there. I guess there'd have to be an attempt to review everything like he has. He's a good friend as well. It's nice to have people you can speak utter shit with as well as have deep conversations with. Stan is a renaissance man.

Well Nigel, that comes to the end of the interview. How much did this phone text interview cost you ya think?

Nothing, I'm on a cap plan so I just get a shitload of texts under an umbrella price. I recommend 3 for customer service and satisfaction.

Thanks for the plug Nigel.

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You can buy a copy of Stan Mahoney's book 'The Complete Home for the Def and Other Stories' by clicking here.

Fake Tan - Interview

It's always nice to see a new band come together. Youthful exuberance and the joys of getting together with friends and making music. Backyard parties and alleyway shows. Party music that's a little rough round the edges, but makes you wanna dance. Sometimes music gets way too serious anyways. Who are all these tortured artists anyways? On a Friday night what would you prefer doing, listening to some shut in sing songs about isolation and despair, or be out getting drunk and getting into trouble? I doubt Thom Yorke lives in a cellar waiting for the apocalypse to happen, but I'd rather be doing something else. Not that I get many invites to the Adelaide Club these days. Regardless, Fake Tan are a fun new band of young guys who enjoy listening and playing music to their friends and to whoever will listen.

I spoke to Ryan Kenny about mates, that trivial word 'scene' and breasts.

Name: Ryan Kenny

Role: Vocals, Guitar/Drums

Record out: Fake Tan Vol. 1

On repeat: Southern Comfort’s, ‘Hard to Have Fun’

Anything else we should be into: Kitchen’s Floor & Peak Twins

Best song you’ve got: I reckon they are all on par.

You guys have just started out. Tell us some trivial nonsense, about where you fine young gents met and what is the aim with Fake Tan?

We went to school together...and by year 12 we were beyond sick of everyone we knew so we just started partying solo in tom’s studio and playing songs. Then we realised some of the songs were alright and went from there. We haven’t got an aim but we just want to write songs that people enjoy.

I heard you guys on Radio Adelaide the other day and heard a rather playful little swipe at being asked if you were part of a 'scene'. What local bands do you admire then, if not perhaps Jimmy & The Mirrors?

Local bands we love are ones we are friends with like Bitch Prefect & Old Mate. We just used the example of Jimmy & the Mirrors to say what we are trying to avoid; over-done, over-budgeted, boring songs.

The two word band name seems to be a bit of a relevant thing with the other groups you hang around and play with (Bitch Prefect, Dud Pills, Old Mate). So you could say you were part of your own scene, even unwittingly? Thoughts?

The only reason people would think we are in a scene is because we are all friends. I’ve never noticed that two word thing, that’s kind of funny. But yeah I’m not sure what a scene even means to be honest. If it refers to playing music in bands and being friends with other bands...then I guess.

You guys love to party. Is what makes a good band actually having fun on stage? How do you translate that to your audiences?

It’s certainly what makes us an alright band. Our music is made to be enjoyed. We only just realised what we need to have to play a good show, if you were at the Exeter last week you’d know how much fun that was. I was having fun at least.

Tell us a bit about your upcoming recording on the excellently titled Dirty Burger Records.

It’s going to be way better than the first one that’s for sure, if not only for the big pair of tan-lined-breasts on the front cover.

Finally to people who are interested in having a good time, describe your music.

All of our songs have something to do with girls. If you said we were obsessed it’d be an understatement. It has a kind of summer sound I guess and all in all it’s meant to be fun.

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Fake Tan play with Scott and Charlene's Wedding and Fair Maiden on Saturday 26th June at the Metro Hotel.