STACK #193 Nov 2020

MUSIC FEATURE

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process. A lot of art forms, particularly music, [they’re] not made for one person to hold on tightly to. It's a form of communication. I mean, obviously as a solo artist it can be a balance, because ultimately nobody cares as much about this music as I do. It's my name on the poster. I have to feel ownership of it. But, I think there are pitfalls associated with that when you allow yourself to fall into the trap of over-editing or over thinking, which is something I tend to do when I spend too much time writing music alone in a room. It actually needs to live and breathe through the ears and hearts of others, and sometimes that can paradoxically make it sound more personal and more intimate. Sometimes other people can just help you distil what you're saying down to an essence. Here is a technical question about singing. Little Roots Little Shoots opens with a vocal ‘ooh’; it rises up, perfectly harmonised, for an entire octave-and-a-half. But there’s no beats or syllables to tell you when you should arrive at the next note of the harmony. How do you execute this? It sounds like black magic. That's such a cool question. Well, I don't want to demystify it too much – but there was a bit of a click track going on – but I'm pretty good at singing with myself now, so there's all sorts of little cues you can pick up on. It’s weird, isn't it. I've never really thought about that directly. I think it's like an extra-verbal form of communication actually. Once you've done it once and you hear it once, you can sort of just internalise it. I guess that's what's so fun about music: it really does go beyond language. ZKR

Child In Reverse by Kate Miller- Heidke is out Oct 16 via EMI.

INTERVIEW

KATE MILLER-HEIDKE Replete with fine detail and all the onder you've come to expect from this voice of voices, Child In Reverse is Kate Miller-Heidke's enchanting

exploration of personal history and catharsis through pop. Read the full convo online @ stack.com.au. Words Zoë Radas

revealed as a fraud’ chestnut. That sort of never goes away. Also, I had a protective thing about my songs and my songwriting. I guess that finally, at the age of 38, [I] felt confident enough to just go ‘F-ck it’ – let all of that go, and be open again. I guess it's a sort of a lifelong learning

Some of these tracks came out of the APRA SongHub songwriting weekend.You've said the thought of such an activity always terr ifi ed you.Was it the pressure to create in a small amount of time? No – it’s the pressure to create with people I've never met. You know, the old ‘I'll be

Continue to read the full interview online at stack.com.au

MR. BUNGLE: LOUD & LIVID

I If you were like me in the '90s – obsessed with Mr. Bungle (and all things Mike Patton) -– then perhaps you were expecting the band's fourth album to continue a lineage of popular culture subversion, and a willingness to weave between any and all musical genres. However, this record is truly a return to their roots as a death/thrash metal act. it's a prequel, actually, to their three cult releases – a remake of their earliest demo recording

Trey Spruance, and bassist Trevor Dunn) must have been angry back then. With the addition of Scott Ian (Anthrax) on guitar and the mighty Dave Lombardo (Slayer) on drums, this album gets the full, weaponised line-up it deserves. In essence,

Mr. Bungle have once again delivered what they’ve come to be famous for: the opposite of whatever it was you were thinking. They almost looked positioned to create a pop album (of sorts) after 1999's California , but no: Mr. Bungle will not pander to expectations. Death metal heads are in for a treat with this one, and Bungle/Patton loyalists like myself are in for an education on where it all began. Tom Raucous

from 1986 (plus a few new tracks). It gives me great joy to hear this music, which was conceived in the high school in which the original bandmembers met; the three surviving members (Patton on vocals, guitarist

The Raging Wrath Of The Easter Bunny Demo by Mr. Bungle is out now via Ipecac/ Liberator.

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