Interviews:: Alex from Dappled Cities

To complete our cyber tour of Australia, we sat down with bassist Alex Moore for a quick chat before they head over to North America for a boatload of shows. Granddance is out now, so go check it out.

web site :: myspace :: label
MP3:: Fire, Fire, Fire
Video:: Fire, Fire, Fire

HH:: Seems to me they got you up early. What time is it over there?
AM:: It's about 930AM. Not too bad. How about you?

HH:: Pushing 430 here in vancouver.
AM:: Oh, I can't wait to get to Canada. I think we are heading to Ontario in July or August with the Fratellis. So excited.

HH:: Ok. Well that's a perfect spot to start this I think. You are about to jump over here for a US tour with the Tokyo Police Club which will be your first big journey to cities other than LA or NY. Any expectations or things you guys are really looking forward to?
AM:: We are all looking forward to everything in general. Wow. What a well worded answer. We're truthfully just excited to be playing. In australia… no venues or cities… three cities all 12 hours apart. IT's hilarious to us to know that we are going to play like 12 nights in a row. That's impossible here.

HH:: That's like Canada. Vancouver, Toronto, Montreal and.. well.. Other than that the cities don't really get a lot of acts. it's a long haul in between each city to say the least.
AM:: But you guys have so many great bands. It's unreal. I don’t know how you do it.

HH:: I'm not sure either. Out of nowhere, Toronto and Montreal decided to take over indie rock.
AM:: There isn't much indie rock down here at all. It's too bad.

HH:: Yeah, when I was talking to the guys from Wolfmother last year, Miles mentioned that there isn't a huge rock fan base in Australia. He said hip-hop was more popular. Has the success of bands like yours helped bring rock back at all?
AM:: Rock is still big, but there is no indie rock. Hip-hop is huge and rock still does ok, but that's about it. We can't figure it out actually,

HH:: So it will be a big change I'd guess? Hopping in the van and just going. The size in venue might be a bit different too? Smaller shows instead of bigger venues?
AM:: I guess that's true. We are kind of playing bigger venues now.. Like 1000 people, because, we'll it's fun. Granddance is actually just starting to pick up down here, so we are pretty used to playing small shows too. I mean, to break up the tours down here, you have to stop and play rural towns, where there are like 5 drunk people calling you names.

HH:: I guess that means it was pretty important for you to get noticed outside of Australia?
AM:: Extremely important. We were kind of stuck, wondering how to continue. It's tough when there is no market, not for obscure indie pop. Well, maybe not obscure, but not straight down the line. We were starting to lose the drive. It's hard to keep going out to play for no one. So in March 2006 we headed to SXSW and the Dangerbird stuff kind of fell into line. Been a marriage of love ever since.

HH:: That's really funny. I've talked to most of the artists on Dangerbird, and to a person, everyone always says how great the label is.
AM:: It's the best label. So good. I mean American Indie is so awesome. The label has a team behind it. Great guys. We are so lucky.

HH:: So did you guys get Jim Fairchild involved with the record after the fact? And how much influence did he and Peter Walker bring to the final mix?
AM:: Completely after the fact. Our manager was over in LA and met him. HE asked him if he was interested in helping us. It was right after Grandaddy, but he was super busy. Then we both freed up at the right time and he loved the demos. He's the best guy ever.

HH:: So did he have a lot of influence, or did you guys go in knowing the structure of the songs?
AM:: We knew the moods and sounds, as opposed to the structure. So we kind of went in open minded, spent the days in a dodgy basement beside a taco truck and we all made a record.

HH:: Talking about structure.. and bad segues. I would imagine you guys have an interesting working relationship. I've always wondered how bands made up of friend with multiple singers actually write songs. It's not like your songs are simple progressions and straight ahead rockers. How does the process go for you?
AM:: Whoever writes the song sings the song. Most times we come in and a song is 50% done. Then we all sit down and add parts, and change parts. I mean, sometimes it just works. Holy Chord wasn't touched, but Granddance… no joke it's had like 50 version and taken about a year to finish. It just went on and on. So I guess it's just luck of the draw. Some are easy, so take forever.

HH:: So last question and I'll let you get back to it. It's obvious you guys are influenced by a big range of artists. Did you guys have a goal when you made the record? Or was it more, let's see where we end up?
AM:: Mainly the latter. Only thing we really wanted was something ... grander. Wow. That was a bit cliché. But we wanted more synths and everything bigger. We just sort of decided to tone down the obscurity on this one. Our first record, it was just pieces of songs we found hilarious. It made absolutely no sense.

HH:: Well, this one makes a lot of sense I'd say. So thanks for taking the time to talk to us. I hope the first US/Canada tour goes well for you guys.
AM:: Hey now. I'm just actually on your blog. You have Augie March on there!?

HH:: Yeah, I just got the record a few days ago in the mail.
AM:: Do you like it?

HH:: Yeah. Some of the melodies are fantastic.
AM:: Oh it's so good. It's a bit more mature. Maybe more pop than the my favorite, Sunset Studies. If you get a chance, you should hear that.

HH:: Great. Thanks for the tip. I'm still surprised they van be so huge in Australia, and it took this long to get them out.
AM:: I know. That record was massive down here. So weird.

HH:: Alright Alex. Have a great day.
AM:: You too. Cheers.

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