the partae

You’ve got such a unique blend of sounds on Revel, Revel. Can you share a bit about the journey that led you to this eclectic mix?

Thanks! It is a blend of sounds. I’d like to think there is a common thread in there too but, simply, it just reflects me. I wanted to make a record that showed what I like – which is varied. I also like records that take people on a journey and have light and shade. I had a lot of material and decided to pick the ones I liked best.

General Mack’s Grapeshot was a fresh start after other solo projects didn’t work out. What made GMG the right fit for bringing your music to life?

Timing worked. Determination. I didn’t want more demos in my music library and I knew I needed to collaborate with others to get the whole project completed. I had to risk that they may not like it – something that has crippled me in the past. Despite the initial stress of doing so, I’ve made it happen. I had to work very hard to see it though. It’s taught me a lot about myself and I’ve worked with some wonderful people. I have a thirst to produce as much music as I can after delaying for too long. 

Your project name, General Mack’s Grapeshot, has a fascinating historical twist. What inspired you to go with such an unusual bit of history?

With much of the record and the project, I’ve made decisions based on what felt right. I do laugh sometimes because I knew I wanted something to stand out and I think I well and truly achieved that. I read War and Peace and there is one tiny mention of General Mack, this failed Austrian General. I wrote the name down because my last name is a kind of ‘Mack’. Grapeshot was mentioned in the book too but it wasn’t until I heard about it on a podcast a bit later that I thought it would be good for an album title. As the songs developed and I realised there was such variation,  I liked the idea that it’s general Mack’s ‘grapeshot’ of songs. Dangerous, unique and might just hit you…. It sounded so absurd I grew to like it.

You spent quite a bit of time on the Mornington Peninsula while recording Revel, Revel. How did that setting shape the album’s sound and feel?

It gave it space. I think in time that gave a dream-like feel to some of the songs. It was recorded in high ceilings, in front of the water, alone, and allowed for long drawn out days of experimentation. It was most helpful with the guitars I think. Lots of stuff didn’t work and I had layers of guitars on some stuff, most of which was later stripped back. But it was an important part of the process. I ended up using some parts I had no recollection of recording, such as the volume of content I recorded. 

Your music has a cinematic quality, with drum loops and synth bass woven throughout. Do you have a specific approach to layering these sounds, or is it more experimental?

It wasn’t always the same approach but I generally had a rough version of the song on guitar which I layered down and then built the drum tracks, and then everything else bit by bit. One of the main advantages of this process was the ability to subsequently edit, change, and improve as I went. They changed quite a bit. You don’t always get the chance to do that recording in bands. Sometimes natural and raw is good but I didn’t have others to pick up the slack so for me to get the final product required a lot of work. It wasn’t efficient at all but hopefully, it was effective! I did what I needed to do to make it work – a good lesson in trusting whatever works for you. I learnt a lot and I may do it a bit differently for the next one! Rob Muinos took it to another level with the mixing process and he enhanced the cinematic quality – it was great working with him. 

You’ve mentioned influences like Beck and St Vincent. Which of these artists has had the biggest impact on your music-making process?

I really like artists that get great sounds on their records. Beck and St Vincent are producers, songwriters, creatives, and probably then musicians. There is a musical essence I generally connect with, and not everything they do which is okay too. They mix their styles and take risks.  

The music video for ‘Carnival of Stars’ explores surreal themes with mirrors and reflections. How did you and director Laura May Grogan develop that concept?

I’d noticed Laura often played with mirrors in photos she would post of herself on social media. They were playful, fun, and interesting and I really liked them. Laura is an incredible photographer. So I when we met to discuss the concept, mentioned this and lent her a book called Treacle Walker, a mind bending phenomenon of a novella. There is a scene in that which plays with mirrors and I thought we may be able to use a starting point. Laura read the book, loved it, and really took it to another dimension from there. The concept is so unique, I love it. I think we work well together, she photographed the album too. 

You draw a lot from novels and poetry in your lyrics. Are there any favourite authors or works that inspire your writing?

Chekhov is probably the consistent one for me. There is something about Russian authors that is very inspiring as a songwriter. The translations often have unique old world lines and thoughtful phrases and descriptions, and simple stories that say so much about people and are still so relevant. 

You’ve played in bands like Cannon and Damndogs in both Melbourne and LA. How did performing in those scenes shape the GMG sound?

The more you play and learn and absorb from other people and situations, the better you are for it. Damndogs pushed boundaries with drum tracks and the live setup. Cannon brings an important energy and the band has been essential in allowing me to grow as a songwriter. 

If you could invite any musician, past or present, to collaborate on the next GMG record, who would you choose?

I’d love to make a record with both Dangermouse and Jamie Hinze. That would sound good.

–  UPCOMING SHOW –

Carnival of Stars Single Launch

Saturday 16 November at Brunswick Artists Bar

Supports: Nina Leo and Central Rain