We’re excited to share Gimmie print issue two with you! In-depth interviews with:
Zach Choy from Crack Cloud tells us about the new record in the works! We deep dive into the importance of storytelling through music & art, collaboration, and creating longevity for a creative collective doing things your own way, continuing to look out for each other, and not letting the industry burn you out. Inspiring stuff.
Joey Walker from King Gizzard & the Lizard Wizard gives us a look into their new LP Butterfly 3000, songwriting, of initially being profoundly inspired by Indigenous musicians as a child, talk of new Bullant + more!
Brisbane band, Guppy (f/ members of Clever, Cured Pink & Come Die in QLD) have been blowing away the Brisbane music community with their live shows, we believe they’re the most exciting and original new band in Australia (big call, we know!). They’re currently putting finishing touches on their debut album recorded by Dubsy from Blank Realm. We chat with them about their DIY creative world & bringing light and fun to weird times.
We get insight into the heart and mind of one of Australia’s most vital underground documentarians photographer Jamie Wdziekonski aka Sublation! We talk craft, his journey, knowing better & doing better, having purpose in your work, new projects in the works incl. a book of photojournalistic documentation of Indigenous social justice rallies in Naarm over the last 6 years!
Hideous Sun Demon’s Jake Suriano put together a tour diary for us! + told us about early days in Perth, democratic songwriting, realities of touring, studying to be a teacher’s aide, the joys of working as a furniture removalist, community, & new Dr Sure’s + Kosmetika.
First Nations musician Swoon frankly shares his beautiful, isolating, confusing, eye-opening, hard, journey in discovering and exploring his identity, and in healing family intergenerational-trauma; channeling it into EP Rainbirds. A powerful read.
Plus, a super cool contribution from Parsnip & School Damage’s Carolyn Hawkins, & other fun stuff!
Thibault is a new indie-pop outfit from Naarm/Melbourne created by Nicole Thibault featuring contributions from Zak Olsen (ORB, Traffik Island), Rebecca Liston (Parsnip), Lachlan Denton (The Ocean Party) as well as Julian Patterson (from Nicole’s previous band, Minimum Chips). They’re getting set to release their debut album Or Not Thibault, a collection of songs straight from the heart, that are as beautiful, mysterious and eerie as the surroundings in which they recorded, near Hanging Rock; a spot made famous by the 1967 historic mystery novel by Joan Lindsay, Picnic at Hanging Rock. Gimmie caught up with Nicole last week to explore the writing and recording of the album.
The black and white cover image on your record Or No Thibault is really beautiful; what inspired it?
NICOLE THIBAULT: It’s Hanging Rock! You can look at it from where we recorded the album up at Mount Macedon in Victoria. James Cecil recorded it in an old school. It’s a beautiful, spooky part of the world, it’s covered in clouds half the time. I think there’s one part of the mountain that doesn’t see the sun. We had this idea, it was a group effort, of cutting out letters hiding behind rocks, just the letters poking up. We climbed up to the top and hand a play around. Jamie Wdziekonski took the photos, he came out for the day, it was a really good vibe. He did some studio photos and we all went up to Hanging Rock, none of us disappeared! [laughs]. It’s a very eerie place.
Did the environment inspire the sound of the record?
NT: Yeah. The actual studio is an 1800-1900’s school, that’s spooky enough in itself. There’s photos of all of the little children, which was eerie, but also quite beautiful. It’s surrounded by tall trees. Being away from the city is really, really nice. James has made it his own, he’s leasing it through the Council but he’s made it really homely. I stayed there at night a few times. It’s really just a nice place to be, that definitely had an influence. Time stands still somewhat, it’s a really dreamy kind of place.
You didn’t encounter any ghosts while there?
NT: I was ready for it! [laughs]. I stayed over night on my own twice, one time in a bell tent, and it was very Blair Witch! Not that I’ve seen the movie but, I’ve seen the trailers and was too scared to watch it. I was like, this is how I’m going to go, this is how I’m going to die! [laughs]. It was really fun.
James used to live in France for a little bit so he’d make us crepes and we were very, very spoiled. He makes really good coffee. It was five-star treatment for sure! It was really, really fun! It took about a year to make. I’d go out once every few weeks and James would fit me in between his other, more professional customers [laughs].
That sounds amazing! You’ve made music since the ‘90s and I know you took time off to raise a family; how did it feel coming back to music?
NT: It felt really good! I think I can’t not make music. I think I really committed myself to raise a couple of children and I was like; this is it now, this is what I do, I’m not Kim Gordon and I don’t have a team of people to look after my child while I stay up and party on to 4am. I have to become an adult and snap out of it. I separated from the father of my children and that was the best thing that ever happened to me [laughs]. Can I say that?
You sure can!
NT: I didn’t really have any family support, like grandparents or anything, so it was just 24/7 child looking after… which I’m not complaining about, but it’s good now because I have a little bit of time to myself ‘cause there’s shared parenting duties. I wish I had done it sooner!
Why did you feel it was time to create this new musical project, Thibault?
NT: I got encouragement from a friend of mine. I started playing solo, I had some songs that I had been twiddling around with. I hadn’t played live for a while but I always had fiddled around with some songs. I did a few solo shows but they weren’t great, let’s just be honest, they weren’t great. A friend of mine was like “let’s start a band; do you want some people to play with?” It went from there. I got people offering to play with me, I’m so lucky that they did!
Did you have a vision for how you wanted this project to sound?
NT: No. Am I meant to? It just kind of happened. I listen to music all day every day and I listen to the radio… it just goes in and it’s got to come out somewhere sounding like something. It sounds like what was inside me.
How did you first discover music?
NT: I was actually born in Tamworth and my mum had a piano, my sister was getting music lessons and I wasn’t really interested in it, but one day I walked up to the piano and could play the Mickey Mouse March by ear! I thought, this is fun! I started playing the trombone in high school because it was the only instrument left that no one wanted to play, it was that or nothing, so I played it. I wasn’t amazing at it but I went to university for a couple of years and studied it. I wasn’t really good at university either. I made some friends and I joined the band Clag. I met Julian Patterson at uni, he was studying architecture and then we started Minimum Chips. We all had a bit of a classical music background but we were more into My Bloody Valentine and The Cure [laughs]. I remember having a cassette of The Cure and being like, oh my god, this is amazing! We thought we were underground [laughs].
You mentioned that you went out to recorded bits and pieces of the record when you could; what about the writing for the album? Did it take a while to get this collection of songs?
NT: I think so. I didn’t sit down and go studiously, I’m going to write a song now! It was little ideas and then we were playing them live for a little bit. They had the structure, the melodies, all the parts and then taking them to James’ studio is where the magic happened; he had this array of old synthesizers and organs, a beautiful piano. We let the songs be free. We added layers upon layers. They evolved that way. I write very melodic songs, on their own they might not sound so great but when everyone came in, Zak came in with his guitar and he played a ‘60s twelve string; everyone was such great musicians. Julian Patterson played bass on the album and came up with all the melodies. Lachlan Denton played all the drums, he made all of the songs a hundred times better. It was a lot of experimenting—we thought we were The Beach Boys [laughs]. It was very free-form.
A while back there was a post on your social media and you commented: we wanted to reassure you that we recorded a fair bit of tambourine on the record.
NT: Yeah! [laughs]. Tambourine is something that you either love it or hate it. It’s always too loud but sometimes it can be amazing. It’s such a contentious instrument [laughs].I just didn’t want to be too serious. It’s hard to play, it’s so hard to make it sound in time.
One of my favourite songs on the album is “Continuer” it’s very cinematic.
NT: Yes! I’ll let you in on a little secret, it used to be called “Morricone” as in Ennio Morricone [the Italian composer known for his movie scores]. He recently passed away. I’ve always been a fan, as is probably everyone on the planet. I came up with melody and we just went to town and went hard, and didn’t want to pretend we weren’t ripping of Morricone. It’s definitely meant to be cinematic and atmospheric and inspired by one of my heroes. I’m glad you like that one. It’s hard to play live. It’s such a slow song. The recording really captured a slow and moody piece of music. It’s hard to play it in front of people, I think fast songs are easier to play. You kind of need the Philharmonic Orchestra behind you to play it [laughs]. We ended up going, nah, we’re not playing that live anymore. I’m glad it’s on the album. I got everyone to sing on it.
Is there a song on the album that was hard for you to write?
NT: Yeah, all of them! [laughs]. Sometimes I‘d be having a pretty bad day and stupid stuff would happen and I’d be like, ahhh geez! I have to drive up to Mount Macedon. I’d be trying to keep it together. I’d be singing these lyrics, which are very personal and I’d written about something specific, I’d have to go on walks and gather myself. Some of them were hard to sing and play. Because James is a friend, we’re even better friends now, he’d just be like, “Go for a walk and then come back and do it.” It’s so good that you can actually walk through a forest, it was a nice place to have lots of meltdowns! [laughs].
NT: In a good way though! I feel things and we didn’t shy away from it, let’s just put it that way. It’s all good. It’s really good to get over those… some were hard but it’s good to get over it and have done it!
Yeah. Kind of like that saying: sometimes you have to breakdown to breakthrough.
NT: Definitely! To not be afraid of mistakes too and to learn from them.
One of my favourite things about the album is your vocals, it’s really emotional; what did you do to tap into that?
NT: [Laughs] You don’t want to know! Being alive on this planet! Stuff happens to you. A person got me to sing some harmonies on their album and I couldn’t hit the high notes anymore… I think my voice has just lived. Your voice has to go through everything you do, and you can just hear it. We didn’t want to make it perfect and polished. We wanted to leave the emotion in it, I wanted it to just be from the heart.
When I first heard it, I was like, I just want to give this person a hug!
NT: A lot of my friends told me they cried when listening to it; why do you write such sad songs? I’m like, sorry! [laughs]. It’s good to cry. It’s good to have a time out, the world is not always a happy place… sometimes it is though! It’s good to feel real moments of sadness so you can appreciate the good things that happen.
Do you have a favourite piece of equipment you used for the recording?
NT: I reckon the Hammond organ, it had all these beautiful shimmery sounds. There was an old Yamaha organ and the piano James had was really beautiful. He had a few synths but I didn’t know how to play them so he played them. There was a little percussion instrument too that went “dooooiiiiig”.
The album is called Or Not Thibault; is that a play on words from Shakespeare?
NT: Yes, it is! I think Julian Patterson thought of it, it was a kind of tongue-in-cheek joke. I don’t want to take myself too seriously.
How is making music now fun and exciting for you compared to how you used to do things?
NT: I’ve just gotten over myself. I’ve run out of fucks to give. I don’t care what people think of me anymore. I believe in myself a little bit more. I’m around really supportive, positive people… I don’t think I’ve ever really experienced that [laughs]. This is nice. It’s really fun, so fun! I’m so lucky to have really beautiful, talented people playing music with me who aren’t just megalomaniacs from hell. It’s a good vibe now.
It sounds like you’re starting a whole new chapter!
NT: It is. It’s really nice to have this going on. I’m so glad we did it last year because I’m just sitting starring at walls now. I’m just like, oh my god, I’m so happy I achieved this album because I’m not very good in this pandemic, I haven’t been very inspired or productive. Some people are able to do things but I’m not one of those people…
And that’s totally OK.
NT: Yeah, you’re right. You just have to try and get through. It’s pretty bad down here. I haven’t seen anyone for so long, we can’t leave our houses. It’s pretty grim. Hopefully at the end of it everyone will appreciate everything so much more. I spend a lot of time by myself, I don’t have housemates or anything. I am getting myself some gear and teaching myself to record at home, that’s good and positive! I just have to do it.