Words By: Laurent Shervington
First off the new album is bloody awesome, how long did it take to record?
Cheers! The recording was split over three sessions which probably totalled a week of actual studio time. We chose to track the instrumental backbone of the songs live, which went a long way to speeding up the process.
I understand you worked with producer Kieran Kenderessy (Birds of Tokyo, Usurpers of Modern Medicine) what did he bring to the table?
Kieran’s stamp is all over the place – from petite production veneer to more surgical creative changes. Miscellaneous barefoot magic! He was really superb to work with and immediately had a grasp of the tempo-breathing, aural aesthetic. He made us tea, named one of the songs, and now we sound coherent.
I’m hearing a lot of dissonant post-hardcore influences by way of Fugazi/Husker Du showing up here, what kind of influences (both musical and not) do you associate with Deepo?
Bands like Slint, Schellac, Polvo, June of 44, and Jesus Lizard were all roughly in our mind’s eye. Our past releases had a very dense, sample-heavy sound – which had begun to feel way too restrictive. Not sure it shows, but we also hide a huge soft-spot for the precision stylings of Jaga Jazzists and Tortoise. Post-hardcore showed us that it’s still possible to write textured, asymmetric music with the leg-room of minimalism. It’s been incredibly liberating!
Songs like ‘Wishbone’ have been part of your live setlist for a while, did you try a lot of the songs out live before going in to record them?
Yeah, mostly. To our minds, we haven’t finished working on a song until we’ve played it live a few times. It’s nice having something to get better at, so we tend to write songs we can’t really play. I think the paint was still drying on Flood and Transgressh. Wishbone had been fermenting a while, but it was pretty worn down to begin with.
There’s some really interesting lyrics on Deepo, going along with the theme of “Celebration with a heavy dose of uncertainty” can you tell me a bit more about this theme?
Most of the album is an attempt to figure out what’s good and why. Also an attempt to reconcile that with the latent guilt and self-loathing that would accompany any quasi-recognition. Woo! Maybe that’s worth celebrating..?
The song ‘Trangressh’ in particular is really captivating in its somewhat abstract diction and references to slaves and masters, how did this song come into existence?
Yeahhh, that song was originally a poem of sorts. I’d been reading Georges Bataille and the Marquis de Sade, and feeling kinda raw. Then we gave that a beat!
I think people are petrified to wholly act as though there exists a thing of absolute value, and that there are therefore choices which they categorically ought or ought not to make in a life. But it’s likewise terrifying to fully commit to the opposite. I’ve a hunch that we can’t not act to reinforce moral taboos. Perhaps in order for those two bookends of a person, sex and death, to remain transgressions. Or to create the impression of autonomy. It would profoundly suck if these things weren’t a big deal.
So I figure, if you must be subjugated to something, you’re better off bending your knee to the biggest picture, even if it’s a semblance, or a trick of the light. Easier to say than do.
What’s in the title ‘Deepo’?
A reference to an 80s comic book character who has the good fortune of sounding like an Australian colloquialism. We came to the name by the coming and goings of sincerity/sarcasm. Significance loitered a few steps behind. It was either that or Depot.
You’ll be launching Deepo on the 20th of May at The Rosemount, what can we expect from the show?
We’re super excited for the night! Moana, Hip Priest, Good try and the Government Yard are all acts we dig, hopefully everyone will find their flavours on offer. We’ll be playing the album in full, so all those keen will get to hear some tracks we’re unlikely to play again live anytime soon.
~ ¡The first person to tell us from whence the character Deepo came gets a well-deserved copy of the album! ~ ❤