STACK #162 April 2018

MUSIC NEWS

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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. 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. Was the ‘one line each’ thing a new approach? That was kind of a new concept – we On InThe 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

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INTERVIEW

STONEFIELD The Sisters Findlay will shortly release their second glam/ psychedelic pearler; we spoke to guitarist Hannah about Stonefield's vivid and magnetic new effort, Far From Earth .

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. ZKR

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. I love the middle section of ThroughThe Storm , with the euphoric harmonies and the slowed tempo, then there’s the sludgy creepy section.What were you channelling? It HasTo Start Somewhere is a ripper of an opener; the range and propulsion of rhythms you’re using are awesome. Also considering the track’s title, did you know early on that this was going to be the first song of your first album in eight years? I think once we heard it finished it was a no brainer. We knew we wanted a fast, in-your-face song to open the record with and based off the lyrical content I loved the idea with the title. During the chorus of Rapture , Aaron [Gillespie, drummer] hits the snare on the on-beat instead of the off, which is

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

Far From Earth by Stonefield is out April 13 via Flightless/ Inertia.

UNDEROATH

kind of unsettling but really arresting. Did he play it like that straight off the bat? Rapture was a song I wrote alone away from the band. It was all programmed drums... When we actually got in the studio to record, Aaron tried several different drum ideas to replace my programming. Somehow we landed on this one. I’m not sure why, but I do love it! No Frame has a kind of unusual, gravelly, robotic effect on the double vocals.What came first, the glitchy style of the song or the decision to use

Lead vocalist and guitarist of Florida post-hardcore band Underoath, Spencer Chamberlain, gives us the goss on the six-piece's fiery new release Erase Me .

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APRIL 2018

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