I went into an architectural history wormhole learning about the Futuro house you guys are sitting at in your press photo. Apparently they were all the rage in the ‘70s and now there are only a few in Australia. Where’s this one?
It’s at an old go-kart track in South Morang, literally just sitting there at somebody’s property. We were talking about photo concepts and Dad was around, and he’s like “I remember when I was a kid, there was one of those Futuro houses,” and it was an old real estate office. We got online and looked it up and hunted it down, and sure enough it was there.
What were you most focused on in challenging yourself for this album?
I think this time around it was actually more of a freeing sort of experience, writing. We just went into the shed by ourselves without telling anybody and wrote the whole album for ourselves without worrying about anyone else or what sort of album we were going to make… There’s so many different influences that you can kind of absorb into your work.
I think in the end made something that we’re just totally happy with, and you can see that it is something that is totally our own.
I love the middle section of Through The Storm, with the euphoric harmonies and the slowed tempo, then there’s the sludgy creepy section. What were you channelling?
We wrote that song so long ago. I remember sitting down in our shed and we went through each person, and everybody had to say a line to contribute to the lyrics. Musically, because the song is so heavy and there’s a lot going on, we wanted to break it down, so we had one quantum voice doing the lyrics. Then we started mucking around with synths and harmonies and layered vocals, and kind of ended up with that whole spacey, spooky sort of thing.
Was the ‘one line each’ thing a new approach?
That was kind of a new concept – we were actually writing that song with Kram from Spiderbait a few years ago. He was encouraging us to try a few different ways of writing: only spending a certain amount of time on one song and then just leaving it as it is and moving on, starting off with different instruments, and whatnot. But I think we kind of learnt a lot from sitting around doing lyrics together. Holly actually is a really good lyricist, which we didn’t really know before that.
On In The Eve and Visions, you hold chords for longer than a listener might expect. It’s unhurried, which I think characterises a lot of the album. Do you notice that you’re confident to rest back, rather than relying on a frenetic pace to communicate power?
Yeah, I think that’s something that we’ve definitely become aware of and have not been as afraid to try this [time]. [Previously] we definitely just had every instrument going, and everything happening at once. So, it was a conscious thought, that maybe we can take a step back and give the songs a lot more space to breathe.
Far From Earth is out April 13 via Flightless/Inertia.