What’s your name and role within All The Colours?
My name is Josh Mann, I get called J Mann, as opposed to Josh Moriarty who is simply called J man. The subtlety is strangely easy to interpret in day to day living. I am usually the one that says pathetically odd things to diffuse non-existent tension. I also play the guitar, sing and have been known to compose a tune every now and then… Call me George.
What’s been happening recently?
We have just released a new single “Trigger”, on the verge of releasing Volume 3, which when it finally lands will be as a tonic for the fans. You’ve got to stay ahead of the game don’t you? So of course we have the skeleton of Volume 4 slowly having strings attached to its limbs, which is currently in a cupboard in North Fitzroy, as opposed to Fitzroy North. My golf game is slowly improving.
Your new album is coming out next year, how did you approach the songwriting for the album?
Jamming out in the middle of Victoria at various haunts BnB. Josh Moriarty brought a lot to the table quality wise, I think that is why we’ve managed to release so many singles off the yet to be released record. We would go away together for a week and bring nothing but all our music gear and a playstation. Despite getting a massive amount done we still managed to jam and write most of the album together.
What or who influenced the sound and songwriting?
Everything that has led us up to this point, our limits and each other were the biggest “what” and “who”. Though now it’s said each of us had our own noise buzzing in our head that signalled the direction of the record. For me, it was the guitar solos, it was the first ATC record where I played all of them, well almost. Someone else’s guitar bizz features on a track I won’t name.
How did you approach the recording process?
We tracked some drums here at St Charles, and then went over to L.A and spent a week at Electro-Vox tracking everything else. We had all our parts down so we only messed around with the instrument/amp choices for the sessions over there.
You worked with Chris Taylor (producer) and Cian Riordan (mixer), how did you come to work with these two highly acclaimed industry heavyweights?
When we were trying to figure out how to make the best of Vol III’s material, J man happened to ask his (and now our) good pal Chris Taylor. I think Chris suggested Cian when we got to the end of tracking. When you highly acclaim yourself after so long it’s only natural to associate with fellow H.A.I.H’s in the bizz you know?
How was the experience?
Ear opening. Chris Taylor has to be up there with the best producers, and let’s not forget Michael “Squirrel” Harris as head engineer at the Electro Vox sessions. It’s hard to keep pushing the envelope, but if we manage to keep moving forward one day we would love to reunite the team and have another week together. Dreams do come true, it’s just that other people are having them at the same time. Creepy.
What did you find most challenging and rewarding during the process?
I always get a bit apprehensive about singing in studios, a voice in your head is reminding you this is it, either it’s good or it’s not. The album is it’s own reward, but just behind it is playing the ’51 Tele they got there – easily the best guitar I’ve ever played. I’m now a Tele guy. That’s right folks, I’ve buried the wiggle bar.
What did you learn?
All The Colours and music is a family, and time together is like gold.
Does the album sound as you originally imagined it would? Please explain:
No it sounds way better! It’s a combination of exceeding expectations and changing tastes evolving with the writing and jamming.
What can we expect from All The Colours in the near future?
Shows here and abroad. Hopefully we’ll see you there!