Where are you currently based? 

Hey there, I’ve been back and forth between New York City and Los Angeles for many years and have finally settled permanently on the west coast. Due to some unforeseen circumstances during the pandemic, I moved my studio to Ojai – about 90 minutes north of LA.  It’s a beautiful area. Very peaceful.

How does the sound of your new album Refolded – Waving at Airplanes Remixes differ from the original Waving At Airplanes album?

For the original album, I set up parameters to use specific sound sources which were a modular synth, piano and some acoustic guitar.  I wanted the tracks to have a continuous, sonic thread beyond the vocals of Natalie Walker and Merz. For the new remixes, we had the freedom to experiment with different musical styles so, while the originals are somewhat subdued, the remixes are more immediate, beat-heavy, and venture into some darker territory. 

What initially inspired you to remix the album?

The pandemic put a halt on in-person collaborations so I thought a great project would be to revisit the songs from Waving At Airplanes and come up with some new interpretations. Normally, I would farm out the remixes to other producers, but I was playing around with the vocal tracks and was really keen on doing some myself.  I asked Mike Lindsay if he wanted to remix one of the songs and he was up for it so I was thrilled to have him involved. 

How did the collaboration between Natalie Walker and Merz come about, and how do the two feature on the album?

I worked with both Natalie and Merz way back on the Dive Index album, Mid/Air which was a wonderful collaboration.  They both are phenomenal talents and I was so honored to work with them again on Waving At Airplanes.  I sent them both a handful of demos and they picked multiple songs so the album ended up being just the two of them. We alternated the track order – Natalie, then Merz and so on – which created a nice dialog between their voices.  As far as the remix album, it really came down to which vocals were ‘remix-able’, if that makes sense. And some worked better than others so the selections came together organically. 

Can you tell us a bit about the original production of the EP? 

Since I used mostly modular synth, piano and acoustic guitar on the original versions, I made a conscious decision not to use those instruments at all for the remixes. This was to make sure there was a clear distinction of sound sources used for each version.  When I was packing up my studio to move, I rediscovered a few pieces of gear that I haven’t used in quite a while. Mostly analog synths from the 80s like a Roland JX3P and an Oberheim Xpander.  It was great to get reacquainted with these old friends. 

What’s the creative process like behind a Dive Index release, and how does this differ from your other projects such as Plumbline?

Plumbline is primarily an instrumental project and Dive Index is vocal oriented with somewhat traditional song structures so that’s the main difference between the two. Working on Plumbline material is more of a solo affair, except when working with Roger Eno. And since I know the Dive Index songs will ultimately have a vocal track, I have to approach those songs with that in mind and leave room for the voice within the sonic space. 

What are your favourite tracks from the new album, and why?

Oh geez, that’s like asking a parent which kid they like best.  I know this isn’t fair, but I truly like each one for different reasons. And the ones that I felt weren’t working, didn’t make the cut.  Now that said, Mike Lindsay’s remix of ‘She’s Exploding’ is certainly a stand out for me simply because Mike took it to a place that I wouldn’t normally go. And it’s wonderful to get lost in all of his sounds. 

What does the rest of 2021 hold for Dive Index?

I hope we can do some shows in the fall. Nothing is booked at the moment but thankfully things are opening up so live music is alive and well.  Finally!  

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Georgia’ for those who might be coming to the band for the first time – how do you think this song represents the central core of the McDermott & North sound?

I would say that the sound of ‘Georgia’ is more of a change of pace with our sound. It’s a song you could slow dance to. It’s intimate, slow and romantic.

Can you tell us a bit about how the genesis of the song has matched the final result?

When we first wrote the song it was much slower and on an acoustic guitar. It has definitely changed a lot since the original version, hopefully for the best.

What significance does this song in particular hold for you as a songwriter now?

This song is significant because it was the beginning of a run of Bluesy-sounding songs. After writing Georgia, we went on to write a bunch of songs with the same Blues rhythm and feel.

As an indicator of what we’re still to hear from McDermott & North – what makes ‘Georgia’ such strong single to lead into this new chapter with?

It’s a strong single for the new chapter because it’s a taste of something different. We’re trying to keep our sound as diverse as possible through different types of songs.

What was 2020 like for the two of you creatively? How did you find navigating that last year as a duo?

We spent a lot of time in our van busking around Australia, going to small country towns, so we were fortunate to spend a lot of time playing in front of people even if that was just busking. We also spent a lot of time writing while in lockdown, which is always nice.

Had you been listening to any particular artist / band who has influenced you throughout the last year?

Not too many new artists to be honest, besides Phoebe Bridgers. We have been listening to a lot of her stuff. Her lyrics are pretty potent while also being tongue in cheek, it’s a pretty effective mix I feel. We constantly find ourselves drawing from the 60/70s and still finding some brilliant bands we haven’t heard before. 

What do you think you learned about yourself as a songwriter and about one another as a group?

The importance of perseverance as an artist! It has been inspiring to watch the industry quickly adapt to the unprecedented state of the world during the pandemic, as well as the rebirth of the local music scene and gigs.

What’s exciting you about new music moving forward into 2021?

I think what we’re most excited about is getting out there and playing some live gigs around the country, playing our music to new audiences. As for new music, we have a few tunes up our sleeves, and we’re going into the studio with some exciting people too! We’re truly excited to share it all with you when it’s done, we think it’s going to be a great year. 

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When and how did you first get into making music? 

I first got into rapping at 7 years old, my sister was the one who convinced me to do it. Music had been around my family since I can remember so when it came to making it, it was second nature, it helped that I used to mimic all the rappers I saw on tv, that’s where I got my style and swag from and copied everything they did. Otherwise when it came to writing and recording my sister played a big part in that. 

How would you describe your music style to someone who doesn’t know You? 

I would say my style is very melodic and energetic with most songs, I use auto tune in ways to captivate and maintain a particular mood whether it’s dark or uptempo. A lot of the tracks I’ve been recording today just seem to be very catchy and easy to remember, something that goes a long way especially when made simple. In other ways my sound is very out there, I like to experiment with everything. 

The best way I can describe it is, imagine yourself in a space shuttle swerving through meteors at light speed, but everything you hear sounds like an echo and far away, even if it’s right next to your ear. At the same time your booster is powered by a 24 inch chrome spinner with a sub attached to it powered by koolaid, that’s me, that’s Perry P. 

Your new single ‘On The Low’ comes out on the 4th of June, what does the song mean to you? 

To me it’s a realisation that the life I wanna live is only a step away, that all the work being put in will soon pay off in the biggest ways. Throughout a lot of my songs, this track in particular I manifest and speak all of the things I want to happen in life into existence. 

The title ‘On The Low’ represents the quiet grind I’ve been on to make things happen, me having my head down trying to piece things together, and that I won’t allow any outside thoughts and opinions to enter my inner matrix on my way up. 

Another good example of this is the cover art, a young me with a crown on my head, meaning whatever successes happen, it was meant to. Shoutout to Ish for coming through with the sketch. . 

What’s the first song you remember liking? 

The first song I remember liking is Black and Yellow by Wiz Khalifa. There are plenty that I liked before that but this particular track hit me in a different way. I was around 7 or 8 when I first came across it, to this day it remains my favourite song of all time. 

Who are your biggest influences? 

I could go on and on if I was to really name all of my musical influences but growing up I was listening to every genre there was, not just hip hop, but in this case the ones that

influence my music the most today are, Kendrick, Schoolboy Q, Travis Scott and drake. They all influence me in a different way, whether it be on delivery, style or flow. 

I’m one of those people that really listen to music, not just listen, if you know what I mean. I guess it’s just the musical ear I’ve been given, being able to pay attention to the small and minor details and learn how to take and then turn them into my own thing. I really study the ones that come before me, it’s helped me evolve into the artist I am today, so I’ll always be learning, from Adele to Jay Z, my thoughts will always be focused on how the great ones did it and how I can apply that to myself and be better. 

Who is Perry P outside of the music game? 

Perry is a pretty quiet and private guy to say the least, just a hardworking lowkey individual. That changes when I’m around my friends though, I turn into a demon at times, especially if there’s loud music playing, crazy energy that can’t be tamed, it’s just my thing. But I’m your average joe, get along with everyone and just like to have a good time. One thing I pride myself on is bringing up the mood of the people around me, no matter the time or place. So if you ever find yourself in the same vicinity as me, gear up for action. 

What’s your outlook on Australia’s music scene at the moment? 

For a while now I’ve felt that the scene in Australia is gonna be crazy once it pops off, in my mind all it’s gonna take is for one person to really take off and that’s gonna open doors for so many others, especially within Perth. Right now we are doing our thing but it’s not yet at that stage where we’ve got the world’s attention on us, that’s what we’re striving for. Collectively we are destined to do amazing things and individually there are key names to look out for. 

Personally within my city, besides myself I feel like those guys are Young Pascal, Yourboymars, Trapboii and Nabiiou$, just to name a few, guys I see really pushing the bar, these are my peers so when I see them doing well it only motivates me. Give it a few years and Australia is gonna be a hotspot, I truly believe that! 

Who do you want to work with in the future? 

There are plenty of people I want to work with in future but to be honest I’m more excited to work with the same guys I’ve been working with currently, five years from now and onwards. Coming up with the same people you started with is a different feeling when you’re all together at the top, something I can’t wait for. 

Any shoutouts…. 

Shoutout to my mum for keeping my head straight and my siblings for playing MTV everyday when I was a kid, I took notes, now it’s about to take us a long way. 

Instagram: http://instagram.com/perrypleasurre/ 

‘ON THE LOW’ by Perry P will be out on all streaming platforms on 4th June, 2021.

What significance does this record have to you now, that it’s out there and you can look back on it as a completed record?

The record loses significance in some way to me after it’s been released. When I’m writing and recording it seems like this mammoth task and I imagine once I finish it I will feel really accomplished. But it kinda turns out the other way. I won’t listen to the record for maybe 2-4 weeks after it’s been released, then I’ll hit it up and kinda feel like ah well that’s kinda cool I guess?? What do I do now..? What’s next? It’s a weird rollercoaster of emotions.

How long did the recording of this EP take and if there was, what was something you learned about yourself as an artist during that process?

Roughly 18 months I think. There was a lot of delay due to lockdown here in Melbourne. Every time I’m involved in some kind of recording or record or whatever I seem to learn to be less and less hard on myself. I’m learning to take my foot off the gas when an obstacle comes my way. Instead of doubling down and hoping for the best. 

Is there any one song that stands out to you as a favourite (and why)?

Life In Hollywood is definitely the track I want people to hear. It’s something new for me with the guitar taking the backseat and letting the vocals and synth drive. It’s new territory for me and I want people to notice that more than anything else. 

Was there a moment when making this EP where you thought, ‘This is turning into something that I wasn’t expecting’ – did the initial vision you had for it change in the final product?

As soon as I started recording Life In Hollywood I was like, ‘Holy shit I haven’t been here before.’ I was trying to work out what the guitar was supposed to do, but it became obvious early on that it wasn’t needed. Homage Part 1 & 2 were going to be one bigger song but at some point got split up and book ending the EP. 

Was much of the material written pre-lockdown or during?

About 50/50. I wrote the bassline for She Wants You about 4 years ago. Life In Hollywood came in the depths of lockdown.  

Thinking about the music you’re wanting to make in the future, how does this EP capture this energy?

I’m excited about playing more synth and keys for sure, to broaden my knowledge a bit. This EP in particular I have really grown to love writing and playing bass, so I think these instruments that usually take a back seat role will come to the forefront in future recordings. 

Being in Melbourne, how much of an escape has music been for you over the last 12 months?

It’s been an escape and a prison. I had more time than ever to sit down and write and record, but it was almost the only thing I did during lockdown. Writing and recording is usually my happy place but during lockdown I didn’t really have any other place to escape to. Music felt like a chore at times.

The Life In Hollywood EP is out now.

PLAY/LISTEN

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