Give us a little introduction of your band. Who does what?
We play experimental pop. Shaun plays bass and percussion, Zwi and Adam vocals, Robbie and Adam guitar and samples, Zwi and I play synths and drums.
What do you guys do outside of Megastick Fanfare?
Zwi and I are both Usyd law students and work at the ABC. Shaun is a Usyd Masters of Urban and Regional Planning student and currently the subject of a bidding war between several modelling agencies. I’m Sam Goldsmith, studying law. Adam recently quit a job as a foley artist to watch eSports tournaments in Thailand and ride horses in Mongolia. Robbie is a Time Lord or whatever you call them at Apple, and plays in a much more successful band than ours. Kiss, date, marry?
How did you come together to form the band?
Playing Of Montreal and Belle and Sebastian covers in high school/meeting around the traps.
Your album, Grit Aglow, was produced by the renowned Jonathan Boulet. What was it like working with him? And was it weird not having complete control over your work?
Jono actually only came on board for the mixing process, so all the recording and the bulk of production was done before he suggested we scrap the ten sublime radio hits we’d written and just stick to the experimental pop stuff. Unfortunately for Jono, there was no point at which we didn’t have creative control, because we sat with him in his famed garage the whole way through the mixing process, breathing (loudly) down his neck. We don’t mix like that anymore. Jono is a good dude, and musically like-minded in all the important ways. We’re working with him on our second album at the moment.
You’ve just released Fanfare EP 1. Why did you decide to go to an EP after an album? Usually it’s the other way around.
The songs on the album were our favourite ten of the first bunch of songs we wrote, and we wanted to show people. We felt that they fit together well as the product of the first year or so of learning to write music together so we released a full-length. Maybe an EP first would have been a more commercially responsible move but we ain’t about that, man.
The songs on the EP are the first few ideas we developed after we finished the album. It was a chance to put into practice a lot of what we learned on the first album, moving away from its density and being more careful with the arrangements.
What fuelled the writing and recording of this EP?
Lots of our songs are born as fanfares, which is what we call the short pieces we write to open with at live shows. The four tracks on the EP originated in this way, and we wanted to develop them fully before starting work on the second album.
If your band’s bio was turned into a kid’s book, what would it be called?
The Boys Who Dropped Their Banana Paddle Pops On The Carpet And Ate Them Anyway
What bands have you been digging lately? Have you been into any Sydney bands in particular?
I’m way off the pace with this but I really got into Ariel Pink over the summer. Black Moth Super Rainbow and I have been going steady for ages but the last few months we’ve shared have been particularly special. Sydney-wise, Holy Balm, Shady Lane, and Day Ravies are all doing cool stuff. There’s a new Sydney RnB artist called VCS, who has a kind of Shahrukh-Kahn-visits-the-Bronx-via-a-Bachelor-of-Finance-and-some-heartbreak vibe going on. He’s really good.
How does your environment influence the music that you create?
We do most of our songwriting when we’re all in a room together, so being out of the city and away from competing study/work commitments makes a big difference to productivity. For that reason, we spent 10 days or so over the summer in Turondale, about an hour north of Bathurst, starting to record the second album/swimming in creeks/fishing (not catching)
And lastly, what’s the band’s groupie policy?!
What’s a groupie?