Greg, can you share how your diverse musical background has influenced the sound of Heisenberg Principle?
I think it has given me a wide palette of music styles to paint with. While my experience with classical, jazz and blues music may not be readily heard in the music, ideas of structure and form in many of the songs takes it’s foundation in these different styles.
Having played classical violin in three symphony orchestras and been a lead singer in two original bands, how do these experiences shape your songwriting process?
My songs usually start with a lyric or a melody line that I can’t get out of my head. At times I am haunted by a phrase or even a few notes from a key composition or past bands that makes it’s way into my brain. If it sticks for longer than a few days, then I know I might be on to something.
How did learning guitar during the COVID-19 pandemic impact your music, and what inspired you to write over 60 original songs during this period?
It was a soul searching time, particularly working and home schooling my kids and being made redundant in this period. It did give me less distractions in some ways, and allowed me to see experiences from my past or things I had seen in a new light though, which I drew upon in my songwriting process. I did not learn any cover songs, I basically learnt guitar to accompany all the stories that come forth from my head.
Your upcoming album “Icarus” explores themes of pushing boundaries and experiencing falls. Can you elaborate on the personal experiences that inspired these songs?
An example would be going to places like Romania and Poland, often as the only Australian fencer, being ostracised on a Polish fencing training camp that was pretty hardcore being blasted with firehoses and pushing through to compete against insurmountable odds, and then failing. Or going to the community of Ramingining and making an award winning short horror film with a onesie, a knife and half a bottle of sauce. These kind of experiences have built my character of pushing through with blind optimism, which have served me well in other areas of my life.
You’ve worked extensively with Yolngu people in North-East Arnhem Land. How has this experience and learning Yolngu Matha language influenced your music?
In many ways this experience have given me an entirely different perspective on nature, as well as collective thinking which is different from the individualistic mindset in mainstream society. Learning Yolngu Matha also opened my eyes to a different understanding of things that is often difficult to translate but includes an understanding of finding balance within families, relationships and nature. These concepts have affected me deeply and are reflected in the duality of perspectives in some of my lyrics.
Can you tell us more about your journey from being ranked No. 2 Sabre fencer in Australia to becoming a musician? How do these two worlds intersect for you?
Fencing can be seen as a discipline like music requiring lots of practice. Tempo and timing in fencing is also crucial and my coach used to do a sequence with me he called a song, with a certain tempo. This sense of timing and persistence is something that intersects with my approach to music.
With over 30 short films in comedy, horror, and drama genres under your belt, how has your filmmaking experience contributed to your music and its storytelling elements?
In all my films, have a strong narrative approach, seeking to tell stories in new ways. My music is like an extension of this in another medium. Recently, I have enjoyed blending the two with making a series of three video clips for my music, each telling a story based on the lyrics of the song.
Your music draws on a wide range of influences, from Wet Leg to ACDC. How do you blend these diverse styles into a cohesive sound for Heisenberg Principle?
I think it is important to recognise if something is serving the song or not. Like in filmmaking, when you might be in love with a certain shot but it doesn’t help the story, these shots need to go. Some aspects like power chords similar to ACDC can help the song move along and establish a groove, but the melody might take you elsewhere. Finding the balance of how to blend different things in new ways that serve the creative vision is where I think the heart of creativity lies today.
The concept of your track “110” involves helping a friend through a bad LSD trip. Can you share more about the story behind this song and its creative process?
I was overseas at the time and my friend took LSD after being rejected by a girl. Being in a bad frame of mind at the outset I think lead to him having a bad trip, running naked around the hotel room and wanting to call his mum. I reassured him and convinced him it might not be the best time to call his mum. He kept thinking he would never be normal again, which became the lead in to the chorus. The last verse is about the next day when I climbed table top mountain in Cape Town and we got lost in the dark on top of the mountain and my other friend was freaking out. The story of this experience is what makes up the lyrics.
How has working with Byron Bay-based producer Keefe Davidson West shaped the production of your album “Icarus”?
His experience has definitely lifted the production, being an experienced producer who was able to see where the song could go. He is a much better guitarist than me also, and crafted the lead solos on melody lines I would sing to him. Through recording all 11 songs on the album in a similar way over zoom, we have built a great partnership to put the album together. I also recruited my wife Ella to record backing vocals on the Icarus track.
You’re preparing to launch your album and have created several video clips to support it. What can fans expect from these visual elements and the album’s overall narrative?
The video clips and the album were a labour of love, from spending countless hours making wings for the Icarus video clip, to filming a clip featuring my two children and wife, and pushing to the limit what can be achieved on a limited budget. The album overall is optimistic, thoughtful and humorous at times, presenting tales from life and relationships. There is a lot of deadly earnest music out there, I am hoping this provides something of a breath of fresh air.
With a sound that feels nostalgic yet refreshingly original, what do you hope listeners take away from your music, especially with your upcoming album “Icarus”?
Ultimately, I hope that people will see something of themselves in the music, whether it is a relationship they have experienced, or problem they have had to overcome. I hope people will also smile at times at some of the in-jokes and feel inspired to dance sometimes.
