Revel, Revel is your debut album—what emotions and ideas were at the core of this project? Was there a specific moment when you knew it was time to create this record?
I had a few things that didn’t go my way personally in late 2023, and it provided the spark and focus necessary to commit to and complete the project from a writing perspective. I had songs floating around without a home and I resolved then to produce an album. The recording came very quickly with that determination.
Many of your songs, like Raspberry Water and Canopies, were inspired by poems, books, and personal recordings. Can you share more about your songwriting process and how these influences shape your music?
I don’t have a set process. I try different methods. I always have dozens of riffs or chord progressions floating around on my phone, and notes and books full of poems or lyrics. Most of these are incomplete, much of it is rubbish – but there is also the odd interesting line. I write down phrases I read, hear, dream – everything. It rarely leads to the eventual theme of the song but sets me on a path I wouldn’t take if I sat down with a pencil and paper.
Once I’ve accumulated lots of stuff or it’s time to write a body of work I spend a couple of days compiling everything. But that only gets me to stage 2 because much of what I have is incomplete – but it allows me to expand from there. I don’t really do anything quickly or efficiently!
There’s an interesting mix of escapism, absurdity, and reality throughout the album. Were you aiming for a particular narrative or mood, or did these themes emerge naturally?
They just emerged, but probably reflect my nature and what I read and listen to, and my overall philosophy on life.
Wildcat takes a departure from your usual style into classic rock. What inspired this shift, and do you see yourself exploring more of this sound in the future?
‘Wildcat’ gives the record a lighter mood – and that was deliberate. I wanted something fun to contrast with other songs. I reckon a verse like “Oh you won’t break, strong like cognac, let’s drink to that” achieves it haha. The eventual mix rocked it up a bit and the guitar has a bluesier riff – but there are also other production elements consistent with the record. It fits into the overall theme of having multiple styles and is just one of those styles within the overall album.
You worked with producer Robert Muinos, known for his bold mixing choices. How did his approach shape Revel, Revel, and what was the most unexpected or exciting part of the production process?
Rob took it to another level. He didn’t completely transform the original sounds but added the sparkle. His added flavours were all subtle – but brilliant and creative. For example, he’d run the vocals through a pedal in certain parts or focus in on a particular hi hat sound and make it wild.
It was all very exciting. Every song has some magic from a production perspective. A couple of favourite moments are Canopies – where a spare bass track was used it as a subtle background layer that gives the song a beautiful dimension. And Grenades – where the bass was re-tracked through an analogue octave pedal which inconsistently splutters all over the place and gives the song real power.
The album combines electronic and analog elements, as heard in Raspberry Water. How do you balance these contrasting textures while maintaining a cohesive sound?
Everything was performed by me so I think that helps. It’s a good question but I think that balance is what makes this record different from other works. There are plenty of examples of that combination working in other records but perhaps not too much with some of the types of tracks here where most people would produce those layers with other analog elements – and I get that. But it gives these tunes a point of difference.
Your project name has a fascinating origin—naming it after a general known for a surrender to Napoleon. What drew you to this name, and does it carry any deeper meaning for your music?
I wanted the name to stand out! I liked the ring of General Mack. He was also known as “the unfortunate General Mack” which would have been good too…perhaps for a future album. The grapeshot aspect was after the weapon which was a grouping of small iron balls shot from a cannon that resembled a bunch of grapes. The idea I had was that with many different styles on the album, it’s General Mack’s ‘grapeshot of tunes’ as if the grapeshot was like a shotgun release. A grapeshot is slightly different but I liked how it sounded anyway.
You’ve played in bands in both Melbourne and LA, including Cannon and Damndogs. How has your experience in those scenes influenced your solo work?
I think everything I’ve done so far has in some way influenced my solo work. It’s one big adventure of discovery, learning, accidents, and fun.
With the album launch at The Fitzroy Pinnacle approaching, how do you plan to translate the album’s layered, cinematic sound into a live setting?
I have a really great band and we have a few tricks to help with that. Sometimes it will be layered and cinematic reflecting the album and other times it will be quite different. I’m not looking to replicate everything precisely. Playing live needs to have an energy and a connection to the audience – that’s the main focus.
Now that Revel, Revel is out in the world, what’s next for General Mack’s Grapeshot? Do you already have ideas for your next project, or are you focusing on performing and seeing how this record resonates first?
For now, I look forward to performing the record. I’ve been quite moved by the feedback I’ve received from people who have bought the album from all over the world. So that’s really encouraging.
Moving forward, I have a new album close to being written, which is exciting, and I’m already planning for the recording of that later this year. So hopefully lots more to come for GMG!
General Mack’s Grapeshot Revel, Revel Launch Show:
Saturday 12 April
The Fitzroy Pinnacle, VIC
Supports: Tallulah Grace & Wild Dog Mountains
Tickets via Oztix
