We love Meanjin/Brisbane Grit Hop trio, Spirit Bunny, a joyful explosion of noise from multi-instrumentalists Kate Thomas, Joel Saunders and Cam Smith. We’re super excited to bring you the premiere of first single ‘Paper Handshakes’ from their upcoming sophomore album on new independent label Zang! Records. Spirit Bunny’s sound is a perfect storm of circuit bent Casio noise and C64 synths with phat beats and whimsical melodies.
Firstly, congratulations on signing with Zang! Records. We’re really excited that Spirit Bunny has new music to share with us. We’re really digging your new song ‘Paper Handshakes’! Where did the song name come from? I’ve heard that Spirit Bunny songs often start with a title before music and lyrics are written.
SPIRIT BUNNY: Thanks! We’re super happy and excited to be able to share some new stuff again. ‘Paper Handshakes’ actually had a different, working title until right at the last minute. That’s pretty normal for us – a lot of our songs start off with working titles that are related to how the songs sound or what they remind us of. A good example of that is ‘Gold & Brown’ from our first album, which in its very early stages of being written reminded us in mood of the song ‘Golden Brown’ by The Stranglers. Sometimes those working titles then inform the lyrics and themes, which are almost always the final part added to the song. So it almost always goes music, working song title, lyrics, and then sometimes a proper song title if we decide the working title is no good (or embarrassing). This song had an embarrassingly mundane and meaningless working title.
What inspired it both musically and lyrically?
SB: Musically we wanted something that was upbeat and really punchy. We started the writing of the album with a couple of more downbeat or weirder songs, and thought we should perhaps write a pop song. Which is what we did, or at least it’s what we consider to be a “pop song”. It was one of the first songs for the record where we started experimenting more in-depth with dual and duelling vocals, something we tried a little bit on the last record. Lyrically it’s about the sway that people with money hold over decision makers, and how that doesn’t always benefit the greater good.
How much did the song change from its beginnings to what we hear now?
SB: This is one of the songs that just kind of came out and didn’t need a whole heap of tweaking, it came together pretty easily (which can’t necessarily be said for the some of the other songs from our forthcoming album). The only significant change came right towards the end of recording, when we invited our friend Keeley Young (of Claude and Requin) to play saxophone on it. That’s something we experimented with on the new record, getting our friends in to replace our parts but playing them on an instrument that we don’t normally use, to try to get some new and often more organic sounds into the mix. So on this song, Keeley multi-tracked her saxophone to replace some of the chordal parts that Kate plays on Commodore 64.
What interests each of you in what you create as Spirit Bunny? I know you’ve all had many other bands and projects.
SB: It’s probably the most democratic and collaborative band any of us have been in, which can be challenging but also very much worthwhile. It’s definitely a project where if you were to replace any one of us you’d end up with a completely different thing. When we first got together we had an idea of what we wanted to sound like, but ultimately what came out is Spirit Bunny. It really pushes each of us in different ways, both technically and in what we’re comfortable with in terms of our roles in the band. For example, Kate is kind of the musical core of virtually every Spirit Bunny song and that’s not something she’s done in her other projects.
It’s also very different from any of the other projects we’re involved with. Some musicians like to play in a bunch of bands that are all of a kind, but that’s not something we’re overly interested in.
Spirit Bunny shows are pretty special, there’s an amazing synergy between you; do you ever have trouble capturing the spirit you play with live in recording or do you see live and recording sound-wise as two different things?
SB: The first record was definitely a pretty close representation of the live version of the band. The new album is perhaps very slightly less so, although the majority of the record was still built around the way we would play the songs in a live context. We did try a few new methods of writing and recording this time, with a few of the songs being partially constructed in the studio instead of extensively hashed out in the rehearsal room. We also tried to incorporate a few more textures this time, and to give some of the songs a bit more space than on the previous album. We definitely try to capture the energy of our live shows, though. That’s really important, and I think both albums go pretty close to achieving that.
What’s something surprising that people might find interesting about the way you write or record?
SB: We’re all multi-tasking in this band, each playing multiple instruments at the same time. Kate plays two Commodore 64s, Joel has two of his unique circuit-bent Casios plus a bunch of noise boxes, and Cam has his looped beats alongside the acoustic drums. So everything can get pretty layered and dense for a trio, but that’s what we actually sound like. It was a bit of a focus on this record to strip that back a bit sometimes and give the songs some room to breathe.
You use circuit bent keyboards/Commodore 64 synths; where did your interest in using these come from?
SB: We like repurposing obsolete or outdated technology in a creative fashion, giving it a second life that’s perhaps outside its original purpose. It’s cool to make something that’s somewhat futuristic and hopefully forward-looking with elements that could sometimes be considered somewhat ‘retro’. Also, these instruments have inherent limitations and we like that those limitations can force us to come up with novel solutions. An interesting example of that is that the Commodore 64 has virtually no dynamics, and Cam came to Spirit Bunny from bands that were highly dynamic so he had to rethink the way that his drums were going to function in this new context, where if he played quietly he was going to be drowned out but if he played loudly he would drown everyone else out. The answer ended up being adding dynamics to the drums via the density of the playing, rather than playing softer or louder.
What can you tell us at this point about your sophomore album you have coming up?
SB: Firstly that we’re really happy with it. There’s been a lot of work to get to this point. It’s been good to welcome some new people into the fold to help us get the record to the finish line, whether it’s been various friends of ours adding their own flavours to the record sonically, or teaming up with Zang! to get the record out into the world. Listening to it now, it seems like real growth from the first album. The songs are simultaneously more extreme and also more accessible, more dense and also more spacious. It’s been a journey of discovery for us as much as it is for anyone else, perhaps more so. From within the band, everything we come up with seems to be greater than the sum of its constituent parts.
What bands/albums/songs have you been obsessing over lately?
SB: We’ve been listening to Deerhoof’s two new records a lot, always listening to lots of Deerhoof. We love the new Party Dozen album, in a way we feel like they’re kindred spirits in the Australian music community. Similarly with the new Wax Chattels. Angel Olsen’s All Mirrors is a record that weirdly influenced some of the sounds on this album, in terms of some of the mellotron arrangements and a kind of chamber-pop sound we attempted to incorporate in parts (with varying success).
We also listen to lots of local stuff, and there’s been heaps of really good local releases lately. The new Ancient Channels is fantastic, which some of us are involved with in some ways (Cam recorded it, and Joel now plays in the live band). Zang! labelmates Gold Stars have a fantastic debut album. Local Authority, Ultra Material and Relay Tapes all put out some great shoegaze and dream-pop records recently. Nathan John Kearney put out a lovely solo record, It’s Magnetic have a wonderful debut album. There’s new Grieg. We’re looking forward to the new Apparitions record. There’s so much stuff.
What’s something that’s important to Spirit Bunny?
SB: Musically we just want to make something that excites and challenges us. On a more important note, we feel strongly about diversity and social responsibility, supporting community and grassroots art and initiatives. We delved into some of these issues lyrically on the new album, which we also did on the first one but often in a more oblique way – this time we were a bit more overt in the presentation of some of these themes.