SLIFT’s music takes you on an epic journey to the far reaches of the Universe and back! Their latest slice of heavy sci-fi psych-rock album Ummon is excitingly one part Homer’s Odyssey and one part sci-fi trip. We interviewed guitarist-vocalist, Jean F. to find out more.
SLIFT are from Toulouse, France; what’s it like there? Can you tell us about your neighbourhood?
JEAN: Toulouse is a beautiful city made of red brick, and there are a lot of musicians here. Many very good bands, one of my favorite is Edredon Sensible, they are two percussionist and two saxophonist, They play a groovy and heavy trance, with free jazz elements. I think they will release their first album this year. There’s also BRUIT, evocative post-rock, and Hubris, krautrock warriors. We have a bar (Le Ravelin) where psych and punk bands from all over the world come to play. It’s the last bar in the city to regularly book great bands that play loud and fast. Many venues have closed, the city’s politics sucks and prefers to set up hotels in the centre of town rather than clubs and venues. But I hope things will change in the near future.
What have you been doing today?
JEAN: Today, we are going to pack vinyl to send them as quickly as possible despite the health crisis. Post offices are idling right now and that makes things more difficult. And then, as we are out of town at the moment, we are going to walk in the hills. We play a lot of music as well.
Two of you are brothers (Rémi and Jean), you met Canek in high school; what kind of music and bands were you listening to growing up?
JEAN: When we were kids, our parents listened to the Beatles, and a lot of blues, like John Lee Hooker and BB King. We’ve always loved the blues. Personally, I like the idea that we are still playing the blues with SLIFT. A different blues, but a blues anyway. In high school we listened to a lot of punk stuff, Rancid, Minor Threat, then Fugazi, No Means No and Melvins. In the van on the way to the rehearsal room, Canek’s father introduce us to South American music, psych stuff and jam bands. And of course we are extremely fans of Jimi Hendrix.
When did you first start making music yourself? You played in punk bands?
JEAN: We started playing together in high school. Rémi was still in college, we played punk in Green Day mode at the very beginning. It’s all good memories! We quickly started to add instrumental phases in the compositions. Then we played in different bands before meeting again and forming SLIFT.
Who are your biggest music influences?
JEAN: The Electric Church of Sir Jimi Hendrix.
What made you start SLIFT?
JEAN: We came from punk, and after discovering Hendrix, we started to lengthen our songs, to stretch the structures and especially to jam. It was 4 years ago, we wanted to start a band and play these new songs. We did not know at all the modern psych scene, when we had the chance to attend at the last minute a Moon Duo concert in a museum in Toulouse (we grabbed the last tickets by begging the porter to let us in). This concert was an important event, it was just after leaving the museum that we decided that we were going to record and tour. After that we have of course dug up the modern psych scene, there are so many great bands! People often associate us with this scene, and it’s very cool, but to be honest, today we don’t listen to bands like King Gizzard or Oh Sees anymore. We are more on the groups which, I think, influenced them. Like Amon Dull, Can, Hawkwind, all the 70’s German scene, 70’s Miles Davis, electronic and prog stuff. Among the current groups, we really like the Doom scene, and we particularly love a trio of English bands: Gnod, Hey Colossus and Part Chimp. We listen to a lot of film music. I would love so much that one day we have the opportunity to make one!
What does the band name SLIFT mean?
JEAN: SLIFT is the name of a character from a novel, La Zone du Dehors by Alain Damasio. Read it, you wouldn’t regret it. This author also wrote a masterpiece, La Horde du Contrevent. Probably my best reading experience.
How do you think SLIFT’s sound has changed over time?
JEAN: At first we just wanted to play a lot live, so we recorded quickly, and we composed quickly. Today and for the first time on Ummon, we took our time. The composition method has also changed. On our first two recordings, we all composed together in the rehearsal room. Now I mainly compose on my side, which allows me to go to the end of the ideas and to have a precise vision for the album. Then we test the songs in rehearsal and in concert, we jam the songs, and we talk a lot about where we want to go, what sound, what we are talking about. Personally, it is for me a more accomplished and coherent record, because I have the feeling that we have put a lot of personal and honest things in it, whether in the music or in the concept and the conception of the album. And in terms of sound, we often listen to new things, so it’s always enriching the way we play music I guess. Maybe in two years we will make an album with only percussion (… still with fuzz haha).
You are influenced by cinema and books, especially science fiction stuff; what are some of your favourite books and films?
JEAN: La Nuit des Temps – Barjavel, Rick and Morty, Hyperion cycle – Dan Simmons, Le Dechronologue – Stephane Beauverger, La Horde du Contrevent / La zone du Dehors – Alain Damasio Alien / Prométheus.
Your album Ummon is s real journey for the listener; what inspired the songs themes? It tells a story? It’s a concept album?
JEAN: It is mainly inspired by Homer’s Odyssey and science-fiction trip. The first part tells of the titans’ ascent from the centre to the earth’s surface. The construction of their Citadel on a drifting asteroid, then their departure towards the stars in search of their creators, a journey which will last forever. The second part talks about Hyperion (a Titan born in a Nebula during the endless drift through space) and his exile from the Citadel. After wandering for millions of years, he will return on Earth, alone, then dig the Son Dong’s cave with his bare hand. Hyperion rests at the far end of the cave, and its body will be the breeding ground for life which will soon climb out of the abyss and cover the Earth.
Where does your fascination from space come from?
JEAN: When you are a child, space is synonymous with adventure and wonder. Growing up, what I find cool is that it’s probably endless.
Can you tell us a little bit about recording it? It was recorded at Studio Condorcet by Olivier Cussac, right?
JEAN: You’re right, it was Olivier Cussac who recorded it, and we both mixed and mastered it, we wanted to have as much control as possible over the sound of the record. Olivier is a very talented musician, he play a lot of instruments, and he’s a very good arranger. He mainly composes film music. He has a fascination with vintage stuff, so his studio is a real museum. It is a dream to be in a place like this. He liked the album project a lot, so we took a full month to do it. The atmosphere was super chill, we had the best time!
What is your favourite thing about Ummon?
JEAN: It is a team effort. We feel fortunate to work with very talented people who passionately love doing what they do. Guthio (who designs the clips and makes the video live), Olivier, Philippe Caza (who designed the artwork), Clémence (who came to sing), the fearless Vicious Circle Records and Stolen Body Records. Hélène, who made so that everything goes well and that ensures that we never sleep on the floor after the shows. And the coolest thing is that these people become a friends.
What do you strive for when playing live?
JEAN: We try to never do the same concert twice. Some pieces are lengthened. We don’t want to recreate the record on stage, its two totally different listening experiences. The record, you can listen to it at home with headphones, it’s an intimate and personal experience. Concerts are an experience of the body, it’s about feeling the volume and the vibrations and seeing humans playing live music.
Melbourne-based musician Zak Olsen is one of those musical wizards. He has a natural talent for songwriting, doesn’t tie himself to one genre, and somehow magically has a knack for them all. He works his magic in heavy psych power-trio ORB, with new wavers Hierophants and as Traffik Island, a project that jumps style from one album to the next. He’s one of our favourite songwriters. We spoke with him last week to get an insight into his world.
ZAK OLSEN: I’m just at the studio right now, saying studio is a bit of a stretch but, I have a room that’s not my house that has some of my music gear in it [laughs]. It’s really close to my house so I just come here most days. I spend all day and all night in here usually.
Where did you grow up?
ZO: I grew up in New Zealand, I grew up in a few places because we moved every year. I mainly grew up on farms in New Zealand and moved to Australia in the year 2000.
What were you like growing up?
ZO: Most of my youth I grew up on a farm, which was really good. My parents had that school of parenting where they just let you go and make your own mistakes. We had lots of space which was good, my dad would say “Just go and do whatever you want just be back before its dark”. I spent heaps of time outside by myself when I was younger. My dad also played in a few heavy metal bands so he would always have huge parties and there’d be all these metalheads around. That was the first music that I got into when I was really young, like five years old. Its’ pretty appealing to a five year old. My dad would have all these heavy metal VHS tapes, I particularly remember the Megadeath one! I loved it so much.
How did you discover music for yourself?
ZO: I’ve always had an interest in it because my dad did. In high school I heard the Sex Pistols and had one of those light bulb moments! Megadeth also did a Sex Pistols’ cover. I remember watching SBS one night and the Sex Pistols being on there and they played ‘Anarchy In The UK’ and I remember the Megadeth song of it from back when I was a kid and it sort of all came back around again. I got into it from there, I decided that I wanted to play guitar and that was that.
Why is music important to you?
ZO: Just the actual act of making it, is the most fun I could ever have. Once it’s made it’s never quite as good, I still love playing live and all that stuff but for me personally the most fun that I can have in music is writing things—making noises! [laughs].
Is there a particular album or albums that’s helped shape your ideas on music?
ZO: Yes. Besides the obvious stuff like ‘60s pop – I got really into that in high school – just the simple things that are catchy that still have an effect that aren’t intimidating; stuff that involves everyone, simple music like The Beatles and The Kinks. That stuff is always with me. I remember the first time I heard R. Stevie Moore, that was a big influence because he didn’t stick to any genre. I know a lot of people claim they don’t stick to one genre but he really, really pushed that, he really went for it. I remember seeing an interview with him and he said that you can just make any noise, it’s still a song, not every song has to be your magnum opus. That allowed me to open up and make any noise.
I really like with him too that people go “you’re the king of lo-fi!” and he tells them something like “It doesn’t matter if it’s lo-fi or hi-fi or whatever-fi, I’m DIY-fi”.
ZO: Yeah, exactly! I’m definitely not going for a lo-fi thing, it’s just out of necessity. If I could make big grand exotica Martin Denny kind of albums I would. I don’t have that kind of money or resources though [laughs].
How did you first start making music yourself? You were in The Frowning Clouds; were you making stuff before that?
ZO: Nah, no. I was barely playing guitar before that, we just decided to start a band. I couldn’t really play at the time, we learnt as we went. I was a really slow learner with music but we all just kept going and here we are [laughs]. I’m still a slow learner!
When you make music then, is it mostly through feeling and intuition for you?
ZO: Absolutely. I don’t read music or know any of that kind of stuff. It’s 100% intuition for me.
The first Traffik Island LP Nature Strip that you put out – I know there was a split tape before that too – sounded kind of Beatles-y and Kinks-y and a little Bonzo Dog Band-ish and Syd Barrett-esque now with your new release Sweat Kollecta’s Peanut Butter Traffik Jam it’s kind of like a DJ Shadow beat tape, they’re such different sounds…
ZO: It goes back to the doing different things like R. Stevie Moore doing whatever you want. I wanted to do that to the max! I just wanted to make something as different from the first one. I was worried about it once it was made and I thought, oh shit, people that liked the first one probably aren’t going to like the new one. Nature Strip is the album that I always wanted to make ever since I was really young, being an obvious Syd Barrett fan, I just wanted to make an album on an acoustic guitar—that was the mission statement.
For the next one I wanted to do the total opposite and make it more computer-based and not write anything before; every one of those songs are made up just as I’m making it, it wasn’t prewritten.
So when you play them live you’ll have to teach yourself how to play them again?
ZO: Well, yeah. The band haven’t learnt any of those live yet, whether I’ll play them in front of an audience is yet to be seen [laughs].
I really hope you do!
ZO: There’s so many ways to do it that I’m just not sure yet. Hopefully one day… if venues open up again!
I really liked the Button Pusher live stream you did the other night!
ZO: Yeah, that was a test of maybe how we can do it live.
Dude, that test went really well, we super impressed. Just how you walked into the room rolled the tape machine and then started playing was so cool! The lighting and mood really added to it all too.
ZO: That’s good! That’s something I’m working on with a couple of other people at the studio too, we’ve started a YouTube channel live stream for performances and sorts of things. We have a few more coming up soon.
On your first release the split tape Sleepy Head/Traffic Island I noticed there’s Hierophants and Sweat Kollecta’s songs on that from back in 2012.
ZO: Yeah, my friend Danny who ran that label Moontown was doing a split with Nick, another Frowning Clouds member, he was doing the A-side. Danny called me asked me if I had any demos laying around to fill up the B-side of the tape. I said, yes, but I didn’t have any at the time. Lucky it was around the time I heard R. Stevie Moore so I had a real jolt of inspiration and just went out the back for two weeks and did all those songs for the tape. Some of them ended up going into Frowning Clouds or Hierophants after the fact.
I really love Hierophants! Spitting Out Moonlight was one of our favourite LPs of last year! We’re big fans of your other releases last year too, it’s so cool when you can find an artist that makes such different things but they’re all incredible. That’s not an easy thing to pull off.
ZO: That’s nice to hear. Thank you. It all has to do with collaboration with people and letting things just happen the way they do between people. You’re not really pushing an aesthetic or an agenda when you’re collaborating, that’s hopefully when more interesting things come out. I think Hierophants lean into that, we purposely do things that maybe sound ugly or we think we shouldn’t do. That’s the most collaborative band, especially in the sense that no idea gets rejected, we do everything. It’s really warts and all, sometimes good, sometimes bad [laughs].
I wanted to ask you about the Hierophants song ‘Everything In Order’; what inspired that one?
ZO: That was nearly going to be a Traffik Island song. That was inspired by, I broke my arm quite badly and had surgery. I spent a couple of weeks doing demos one-handed, that song was one of the one-handed songs [laughs]. Jake [Robertson] heard it and asked if Hierophants could do it. I was trying to do a show tune-y kind of thing [laughs]. Someone told me that the hook is the same from a song from a Disney movie [laughs]. I was trying to do something Robyn Hitchcock-y, when he does these ridiculous sounding show tunes.
I love the lyrics in it: you don’t need friendship anyway / you don’t need family anyway.
ZO: [Laughs] Don’t quote me on that one, it’s a character who is wrong, because you do need family and friends.
What about the song ‘Limousine’?
ZO: It’s about the obvious, but the funny thing about it is that I think I subconsciously took that from watching a Paul Simon interview. He was on the Dick Cavett Show from back in the ‘70s and he was talking about writing a song about someone that’s trapped by fame and they’re riding around in their limousine. Subconsciously years down the track I just wrote that! I re-watched that interview recently and realised I took it [laughs]. The song is original, I promise! The seed of the song maybe I took from Paul Simon.
Do you have a favourite track on the new Traffik Island Sweat Kollecta’s LP?
ZO: I like ‘Rubber Stamps’ it’s the least beats/DJ Shadow-y one. It’s a short instrumental, sort of exotica, ‘60s kind of sounding, crappy Beach Boys instrumental one. It came out the easiest.
I notice though different lyrics or song titles there’s a humour and lightness to your music.
ZO: Humour is always good, it takes the edge off. Frank Zappa had a humorous side or Devo did too, they had a real sense of humour and both had been big influences on me. It’s not too conscious for me. It is a bit easier if you put a sense of humour on things, it’s easier to put it out into the world because… I’m kind of lost for words…
Because it’s too personal? And you’re not overtly putting yourself out there?
ZO: Yeah. I think if people put irony in their music it protects them from criticism. People don’t criticise things, they just say that I’m being ironic. That’s not why I’m trying to be funny in the songs though, I guess it just makes it more enjoyable. I don’t think anyone wants to be yelled at [laughs].
I wanted to ask you about one of my favourite ORB songs, ‘Space Between The Planets’…
ZO: Oh nice! That’s mainly Daff’s song, it took us ages to do that one, we got a bit lost in the riffage [laughs]. It turned out well in the end. There’s no secret with the ORB songs, everyone brings riffs and we smash ‘em together and hope they turn out good—it’s that boneheaded! [laughs].
It’s fun to have that too.
ZO: Yeah, the goal was just to have a fun band and just turn it up! We wanted to make it fun live and be nice and loud, because a lot of our stuff was never like that.
Do you write every day?
ZO: Yeah, in some sense. I haven’t done any acoustic guitar writing in ages. I come to the studio every day I can. I make noises in some sense but I’m not like Randy Newman on the piano every day, as much as I wish I was!
Do you have a particular way you go about writing songs?
ZO: At the moment, because I’m working on remixes and I’m trying to do a hip-hop thing with a friend from America, all the stuff is very beat-based. I’ll start that by just finding cool drum loops. It’s totally different from writing song songs on the guitar, proper songs I guess, is that I usually try to hum a melody first in the shower or something, the catchiest bit, the bit everyone usually remembers about the song. If I can come up with a line or a chorus without any instruments first and then I’ll go to the guitar or the piano and work out what the chords are and go from there. That usually works.
Where did your interest in hip-hop come from?
ZO: It’s always been a faint interest. I grew up skateboarding so there’s lots of great songs in skateboarding videos…
Like A Tribe Called Quest!
ZO: Yeah, heaps of that and even stuff like DJ Shadow. A lot of new release hip-hop came out last year that I really liked.
What kind of stuff?
ZO: Quelle Chris had this album called Guns. There’s another guy I like too called Billy Woods he did an album called Hiding Places. They don’t give into the tropes of hip-hop and the beats are a lot weirder, psychedelic is the only way that I could describe it. There’s FX on the vocals and lots of echo. It’s not focusing on the tropes of gangsta stuff, they’re not rapping about cash or cars, it’s more introverted and weird. It kicked off my interest in it more. Obviously things like Madlib and MF Doom; I was late to the MF Doom thing but when I got into it, it was all I listened to for a year.
I love his Danger Doom project and the song ‘Benzie Box’ is an all-time favourite.
ZO: Hell yeah!
My brother and I owned a skateboard shop in the late ‘90s, he had one in the ‘80s too, and I loved all the skate vids with the hip-hop and punk soundtracks.
ZO: That’s cool. It’s such a good way to get into stuff. I’m very thankful for all those movies they really got me into stuff that I still listen to now.
Do you have a song of yours that stands out as one of the quickest ones to write?
ZO: ‘Looking Up’ it’s a song on Nature Strip. I never write songs in one sitting but that one was written in an hour, the whole thing; that’s never ever happened to me before. I said, ok, I’m going to sit down and write a song and then that came out really quickly.
What do you find challenging about songwriting?
ZO: Trying to be too tricky! It’s really a problem that you can get lost in that. I’ve been trying to make songs for around ten years now and you think that progressing with songwriting, you should have more complex melodies and complex chords, but it’s not necessarily the case. You have to try to remind yourself of that all of the time. There’s been times where I try to make the craziest song that I can and have weird chords and a fancy melody but it just turns out shit! If it’s not memorable, it’s just not going to have a connection with anyone. Instinct and when it comes out naturally and quickly, that usually resonates with people more and is more memorable.
When you’re working on things and they’re not working do you try and push through that or do you give up and move on to something else?
ZO: Usually I move on to something else. Sometimes I do just sit there banging my head against the wall for aaaaaages! That never works usually.
Is there anything you do in those times like go for a walk or something?
ZO: I should! [laughs]. But, nah. I really fucking just try to get something out of it. The only other thing that does work is before I go to sleep, when I’m lying in bed; that’s usually the best time for it. You’ll be thinking about your songs and that’s usually when things happen.
Do you think it’s because you’re more relaxed?
ZO: It must be, it has to be.
Do you do anything else creative outside of music?
ZO: Not really. I do some painting every now and then. My dad is a really good drawer and tattoo artist, so I kind of did that before I was doing music. I used to make poems all the time as a kid and that turned into songs. Making music is my main creative outlet, unless you count cooking! I try and cook more frequently now. My girlfriend is a really good cook.
What’s one of your favourite things to cook?
ZO: Lately I’ve just been going for all the different kinds of roasts and trying to master each one [laughs]. Cooking is just really good in general though, especially if you put aside the whole night and take your time. I love doing that!
I love cooking too, I find it really relaxing.
ZO: Yeah, totally.
You mentioned before that you’re working a hip-hop project; are you working on anything else?
ZO: I’m just trying to collaborate as much as I can this year. Because of the situation in the world right now, a lot of my friends that make music are staying inside right now and we’re all just sending music between each other right now and making things together. I was starting another Traffik Island one but I just ended up sending all of those ideas to friends to put stuff over the top. I’m working on things right now but I don’t know exactly what it is right now. I definitely just want to get into doing more collaborative stuff.
Why do you like working collaboratively so much?
ZO: Them bringing something to it that I could never possibly conceive. Just them adding something to it, some of my friends can come up with melodies that I would never imagine! Some people are just better at certain things.
What’s a song you’ve collaborated on that you were totally surprised where someone took it?
ZO: The first song on Peanut Butter… [Bits and Peace (Bullant Remix)] it was remixed by my friend Joe [Walker]. That one is basically the only song on the record made up of samples. I played some of my favourite records into my computer and gave him all the bits, they weren’t in time or anything like that and I told him to make a song out of all those noises—he sent me that! Impressed.
The film clip for your song ‘Ulla Dulla’ is pretty fun.
ZO: My friend John [Angus Stewart] made that, I know everyone says their friend is talented but, he IS insanely talented. He did some other clips, some King Gizzard [And The Lizard Wizard] ones. He asked me if he could make a clip for me. I said, sure. We wanted to try to really go above and beyond and to really try and push through the boundary. We did the clip and it was so tiring, we started at midday and I got home at one in the morning. We were driving all around the city, I think only two or three locations made it into the final clip but there was six. I had to do that dance to that song hundreds of times, I reckon [laughs]. Then it sat around for a couple of months because the album got pushed and of course in that time I started freaking out about it and got real paranoid. I was just so scared of being so open and vulnerable like that. I saw him at a party a few weeks before it came out and went up to him and told him that I don’t think I could go through with the video. He was not having a bar of it. He was like, “Don’t give me that stoner bullshit! It’s coming out.” [laughs].
What was it about it that made you freak out?
ZO: It was just so much of me! I didn’t want it to be The Zak Olsen Show… that kind of shot started getting to me. In the end I’m glad it came out. It definitely elevates the song a bit more. I’m really glad.
You did a lot of touring with ORB last year, right?
ZO: We did an Australian tour with Thee Oh Sees, then we went to America and Europe, so lots of moving around.
How do you find travelling so much?
ZO: Personally, I love it. There’s this weird thing about touring this feeling that… where people can feel like bands are running from responsibility… we were touring with King Gizzard and those guys work, it’s like seven James Browns! …it’s not the case with them, they work way harder than any other band I’ve ever met! If you’re into the second month of touring and you haven’t really made much and there’s not much time to make songs you can kind of get in a weird limbo mode where you think; what am I doing every day? I’m just playing the same songs!
It’s sort of like the movie Groundhog Day?
ZO: Yeah. But it’s still better than any other job you could have. You have to be careful of getting into the bad habits of drinking every day and eating shit food all the time.
Where do you get your hard work ethic from?
ZO: Probably my dad, he’s a little bit of a hard arse [laughs]. I can’t stand the feeling of not thinking I’m doing enough or giving enough. Having said that though, I do love staying in bed all day on Sunday! For me the guilt of not doing enough is way worse than just getting up and doing it.
Melbourne band, Sunfruits, are making our world brighter with their sun-soaked ‘60s-pop-psych-rock! Their debut EP Certified Organic is out on Third Eye Stimuli Records (Australia) and also Six Tonnes De Chair (Europe). We interviewed guitarist-vocalist Winnie McQuinn about the EP, climate change, the importance of acknowledging First Nations people, of being thoughtful and staying positive.
Sunfruits have a very ‘60s psych-garage-pop sound; how did you get into this style of music?
WINNIE: We’d all been fans of this style of music prior to coming together in Sunfruits through our parents’ record collections and all the great current bands that are playing music from that sphere. It feels like the genre is moving forward into something new and exciting whilst still keeping the style and roots in the vintage world.
Previously you’ve commented that Sunfruits “are all for a vintage sound with a new message”; what’s your message?
W: We love vintage 60s/70s sounds and aesthetics but are conscious of the fact that that era was full of problems including sexism, racism and conservative values that we aren’t about at all. We want to try and revive the aspects of that culture that we love without the old fashioned values that suck.
What’s something interesting you can tell me about each band member?
W: Gene our drummer has become a bit of a diva whenever we’re touring which we think is directly related to him downloading the astrology app The Pattern… it’s a scary one, proceed with caution. Our bassist Elena is a cryptic crossword queen, our guitarist Evie is the road trip playlist guru aka DJ Hydralyte and I’m angry about the lack of milk alternatives in rural town cafes/petrol stations.
How do Sunfruits’ songs form? Tell us a bit about your process, I’ve heard it can be quite relaxed and free-form/free-flowing.
There’s no particular pattern in which all our songs form but we try to keep it a pretty open process. Winnie will usually come with a basic structure and form which is then jammed with the band. We’re a big fan of stretching songs out when we play them live to give it a bit of a more fun and improvised feel compared to the recordings.
What was the idea behind your new EP title, Certified Organic?
W: We got the idea originally from the Mort Garson “Plantasia” reissue which came with download cards containing seeds that you could plant. I wanted to keep it in a similar vein to the songs and what they’re about and also it’s on a lot of products so the name is easy to remember.
Your first single “All I Want” was about society’s addictions to material possessions and consequences of consumerism; what sparked you off thinking about these kinds of things?
W: I got the idea for the lyrics after a good chat with my Mum – thanks mum – about consuming less and wanting to be more minimalist minded. I think everyone needs to think about how much they consume and what we all really need in life.
“Above The Clouds” is the second single from the EP out on Third Eye Stimuli Records and features French dialogue; what was the inspiration for this? Why did you decided to kick the EP off with this track?
W: Originally we we’re going to have “Sunfruits” as the opener but decided against it after some sound advice from Josh at Third Eye, thanks Josh. We think it kicks off the EP with a bang and sets the tone for the rest. The French monologue was a spur of the moment thing that sounded good, big shout out to Acacia’s sister Minnie for the great selection of words and delivering it with style.
Environmental themes come up in Sunfruits’ music, for example “Forest” talks to climate change; why is this an important topic for you?
W: It’s the biggest issue of our time and holds so many other issues under its umbrella. It’s always in the back of my mind so when it comes to writing lyrics I feel as though I can’t really write about anything else. It also feels cathartic to talk and write music about it as a way of doing something to help raise awareness and to combat it.
Tell us about the art for Certified Organic? Who did it?
W: The art was a collab between our very own Shelby, our label big dog Josh and good pal Luke. The main image is an illustration of a photo that our friend Ivy took at a music video shoot. They all did a great job and we’re super happy with it.
You acknowledged that your EP and all your music is made and recorded on Wurundjeri indigenous land of people from the Kulin nation and pay our respects to elders past present and emerging; why is this essential for you to do? As a First Nations woman myself, this means a lot.
W: We feel as though recognising and acknowledging the history of this country is so important. We want to try our best to support and fight for First Nations issues and rights. We are ultimately benefiting off of stolen land and the least people in the music world and bands can do is acknowledge that, realise our privileges and support First Nation issues and rights. It’s also super important to recognise that First Nations justice is climate justice as the two are inextricably linked.
Despite the serious issues the planet is facing that you sing about, I feel your music still inspires the listener to stay positive; what are some things you do to stay positive?
W: That’s exactly what we’re trying to do, inspire positivity and energy to act in the face of this existential crisis as that’s what we gotta do. Get involved in a sustainable activity no matter how big or small, it does wonders for your mental health and contributes to the fight against the climate crisis. A single action when multiplied by billions has a significant effect.
What bands have you been listening to lately?
W: We’ve been loving local heroes Eggy, Snowy band, Zoe Fox and The Rocket Clocks, Parsnip and also been diving into 70s disco pretty heavily as well.
What’s next for Sunfruits?
W: We’ve got some great shows coming up that we’re excited for, a new era has dawned in Sunfruits as well with Elena and Evie jumping on bass and guitar, we’re currently writing and recording an album which will hopefully be out early next year. Expect new music from that before the end of the year.