Milwaukee Banks On Justin Bieber, Donald Trump And Mini Sausage Rolls

Weaving minimalist melodies from Edo Rafter with atmospheric rap lyrics by Dyl Thomas, Milwaukee Banks’ aesthetic is clean, hip-hop inspired electronica. While they have released a few EPs and mixtapes (Van Gogh, Rose Water), Milwaukee Banks are yet to drop a full length LP of their distinctive galactic electronica. Their debut album, featuring their new single Faded and slated for release next year on Dot Dash (Remote Control Records), promises to be another cleverly executed production by the Melbourne-based duo.

Last week, under a rare sunny afternoon, Edo and Dylan met us on Gertrude St, Fitzroy, to visit the laneways and answer some important questions.

Firstly, we asked them to make some difficult decisions between…
Kanye vs Drake
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Edo: Kanye
Dyl: Drake
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Hip hop vs Rap
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E: Hip hop
D: That’s a really hard question for me…
E: Hip hop
D: Yeah, hip hop

Jazz vs Classical
violin_piano_saxophone_clip_art_26464
E&D: Jazz!

Justin Bieber
 vs One Direction
Justin-Bieber-1D
D: Justin Bieber
E: [laughs] Neither

Puppies vs Kittens

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D: Kittens
E: Yeah, kittens.

Jasmine vs Ariel

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D: Ariel. Red hair! And half fish! [laughs]

E: Ariel.

NY vs LA

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D: NY
E: Yeah, NY

Party pies vs Mini Sausage rolls

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E: Mini sauso [sausage rolls] for sure
D: [deep in thought] I’ll go party pies.

Spotify vs Apple Music

AppleVsSpotify1
D: Spotify
E: Oooh, actually I like both.

Sia vs Adele

SiaAdele
D: Sia
E: Adele
D: I love Sia.
E: Adele’s on our label.

Then we asked them to tell us whatever came to mind when we said…

North West

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D: North Face jackets
E: Kanye
D: You’re a Kanye man, aren’t you?

Melbourne

image.adapt.1663.medium
D: Drinking
E: City

Coffee

gourmet-coffee-10
D: Flat white
E: Black

Miley Cyrus

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D: Dreadlocks [laughs]

E: A lot of words coming to mind…I’ll just say lame.

Emoji

happyemoji
D: Overrated
E: ?

Netflix and Chill

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D: Non-existent
E: [laughs] Aziz

Hotline Bling

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D: Wii-sports
E: Dance

Donald Trump

donald-trump-is-still-soaring-in-iowa--but-there-are-now-some-clear-warning-signs
E: Boooooo [laughs]

D: Wrinkles

E: I went to a Knicks game once and he was in the crowd, they panned the camera and they’re like it’s the Beastie Boys, and everyone’s like “Yeahhh!” losing it, and then Donald Trump and everyone’s like “Booooo” so that’s the first thing that comes to mind.

EDM


edm

D: HTML
E: Drugs

Graffiti

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D: Bag o’ beans
E: Laneway

Kangaroo 

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D: Kanga.
E: Pouch. They got a pouch! [laughs]

Milwaukee Banks' debut album Deep Into The Night was released today, Friday 18 March via Dot Dash / Remote Control. 

Photos by Michelle He for the interns 

Sable1

Sable On The Difficulty Of Making Music With Lasting Impact

Sable

Sable

John Dewhurst is Sable, an incredibly talented young Australian electronic producer. Dewhurst has been releasing music under the Sable name for a few years now, and recently dropped his debut EP URL LUV. He’s also been releasing music under the guise of Shadow Sable, and his Facebook page is filled with comics that follow the adventures of these characters in their own universe. We caught up with John to chat about his incredible national tour that’s just wrapped up, how the music all came together and why it’s hard to create electronic music with any lasting impact these days.

You’re music has always been pretty cute, sort of gamer-style. Where did the idea for creating an alternate identity like Shadow Sable, and his darker styles of music, come from?
I guess it’s just a matter of perspective. For me I’d been making all that stuff and more for as long as I’ve been making electronic music. I guess it’s a function of the industry that I only now have a way to release it (Shadow Sable). I could’ve been doing it before but limitations meant that wasn’t a possibility. It’s been a way to get that side of the music out. I have three or four hours of demos on my hard-drive, but finding a way to get things out is usually more difficult than actually making them.

If it’s been a case of having such a large base of music from various styles, why is it that up to this point your main releases have been of the lighter, Sable style.
That’s the thing; I was making a lot more darker music for two years before anyone even knew the Sable name. So I guess it’s only now that people know the music from the past twelve to eighteen months that it’s taken on that perception. It’s a funny thing, how it’s all come to reach this point. In older shows I usually played a lot of unreleased material because I feel that it’s a better set, but it wasn’t really focussed on songs, and that’s what I wanted Sable to be more focussed on; actual songs with a theme to themselves and a structure that exists. The demand is there for music that exists to just be played in clubs and doesn’t really have any content that would classify it as a song by itself. For around twelve months I’ve been trying to find a way to release that music, I guess ‘Mt Moon’ was the first example of that, it was just me putting my foot down and saying “I’m releasing this song regardless of what anyone does”. So essentially Sable is for songs, and Shadow Sable is for whatever I would play in release in clubs with set tools.

We’ve witnessed the story behind Shadow Sable and his battles with Saybot. Is Shadow Sable something that is going to remain part of what your music and what you’re creating going forward?
Possible, I’m definitely going to keep making that music but it’s not something that is fulfilling for me. I enjoy making it and I enjoy playing it, but the shelf life is very short for that kind of music. It’s just a consequence of music these days anyway that music has a short shelf life as it is, it’s very hard to make something with any lasting impact. That stuff (Shadow) has a very specific response, you hear it and you’re very excited for a short period and a week later you can make something else and that will be exciting. It’s a continual process of releasing short, exciting bits rather than focussing a lot of energy and thought into creating a theme and a story behind a song. It’ll definitely keep going but it will never be the primary focus.

Your new EP has just dropped as well; tell us a bit about what went into creating it?
The theme and the story, and all of the tracks, were basically almost finished a year before the EP was released. It was a process of thinking, “how can I actually create some kind of release where it’s not just uploading five songs to the internet”. So there was a very distinct theme behind the EP itself, and the art style came about as a result of a lot of discussing between Pilerats and myself. Then we got some artists on board and thought how can we bring the themes to life. It became this dichotomy of songwriting versus club music and that’s basically what it is now. The EP itself and the music, it’s all very centred around the theme of people socialising online nowadays. A lot of relationships start online and a lot of that is just purely internet-based, and that’s what it’s playing into. It’s trying to say that more people should talk to each other without being shielded by armour of the internet. Those five tracks all have a theme to themselves, and all the Shadow stuff is a counterpoint to that, so this is the right time to get that out. It worked in well with the comic, in a story that I thought was pretty tangible to people. Pilerats deserve a lot of the credit; they did an amazing job of getting the art together.

Your new live show has an incredible number of elements all coming together; tell us about what went into creating what your live show is today?
That’s a similar thing to having the comic in that I’m creating a universe for the EP to exist in. The live show has to be representative of that. That inflatable (Saybot) directly tied in, it was a really early idea, we thought it we make something that’s a fantasy world we need to somehow pull that into the real world. And that was the process of the show, to try and do that. That’s the visual component, the real effort at trying to bring the comic into real life. We thought that if people encounter it on the internet first the show would make a lot more sense.

You also use a lot of hardware in your shows, has that always been an important element for you?
It varies; the concept for a live show for electronic music is still really poorly defined. A lot of artists are still trying to figure out exactly what they want to do. The hardware itself; I went through a period in early days of using a lot more than I have recently. I played a lot of synth and stuff like that, but anything small like that, playing a bunch of keys on a tiny keyboard, it doesn’t matter if you’re doing the most crazy stuff people have no idea what you’re doing. Then I went through a period of trying to make the music flow together as seamlessly as possible. That’s always been a big focus of mine, trying to create a set that keeps going and everything runs into the next thing and it layers over itself. That was the big focus for the music side of this tour. There’s forty-five songs in the set, and excluding the shadow stuff four aren’t mine. So there’s thirty-five of my own production. A lot of those are unreleased, and that was specifically so I could have a seamless set. Then I introduced a lot more hardware, I’ve got lights synced to midi that I’m controlling, synth, drum pads, and some vocal effect loops going on as well. The most difficult thing is carrying all the stuff around. We’ve got the inflatable projector, all my equipment, and yeah like five cases of stuff. I feel like it’s definitely more visually impressive than anything I’ve done before, and having an impressive visual side that’s really tight with your concept and your music is really important these days for an electronic live set.

You were announced on the line-up for Sea N’ Beats festival, which was then unfortunately cancelled. What would you have done in terms of taking all that gear onto a boat? Do you have a plan for taking the show to smaller settings like that?
I think we’ll have to strip it back a bit (the live show). I’ve got some smaller lights that I can take with me without too much difficulty. I don’t know if Saybot would have been coming with us just because it’s a little over three metres tall. I might get a smaller one made actually, that’s been a thought for a while to get a little pocket-size. I definitely want to always bring something that’s at least a little bit exciting rather than not bringing lights or anything like that. It would’ve been really cool to have a self-contained community of people, I really like meeting people at my gigs and that would’ve been a really great opportunity.

KATEBOY

Kate Boy On Combining The Human And The Machine

KATEBOY

Kate Boy broke onto the internet in a big way in 2012. Their debut single Northern Lights was a crisp, near-perfect pop song with a chorus that shattered giddy heights and it made people look up immediately. From that point, they booked festival and shows and had people knocking at their door to make an album as soon as possible.

Three years later they’ve finally delivered their debut album ONE and despite the amount of time it took for them to release it they have lost none of that initial momentum. From the pounding, boundless energy of opener Midnight Sun to the burning ambition of Run As One, they have crafted a big, bold pop album that impresses from start to finish.

When they first popped onto the scene they were labelled enigmatic but bit by bit we’ve gotten to know Kate Boy - a trio combining an Australian vocalist Kate Akhurst with Swedes Markus Dextegen and Hampus Nordgren Hemlin. The three of them gelled from the first writing session and that bond is integral to the album. They have all written for other people in the past with Akhurst spending five years in Los Angeles writing songs with Delta Goodrem among others. The other two were part of a production duo called Rocket Boy, also crafting hits for other people.

We spoke to Akhurst and Dextegen about their debut album, how it feels to finally be writing for themselves and mixing human with the machine.

How long have you been sitting on the finished product?
Kate: It was kind of finished a long time again but then we realised oh we can change this and we can rework this. So, I’m not sure how long it’s been actually done but we’d written the songs a long time ago.
Markus: I think maybe the last song we recorded in March or April.
K: Oh yeah we did add one more.

How hard is it to decide when you’re actually done and ready to send it off?
M: Pretty much impossible.
K: Yeah, you need someone to say like, “Get over it, this is done.” It’s really really hard to know when. That’s the benefit of having more than yourself working on songs because you have each other to say, “I like this.” If you do continue you end of ruining it every single time.

Northern Lights blew up on the internet almost straight away. Did you decide after that you wanted to record an album?
M: We always wanted to do it but I guess what happened was that we were expected to put out an album way ahead of us even starting to work on it. But at the same time we got quite a few shows and venues and festival booking which we wanted to say yes to so we ended up touring a lot in the beginning which was stealing a lot of time from being in the studio. So that was quite stressful. You constantly felt like you wanted to be two place at one time. But in hindsight, you test all the songs live before we record them and I feel that the album is very much created out of the experience of being live and I’m really happy. It was hard work to do that but it’s been worth it in the long run.

Do you write while you're on the road?
M: Not really. We don’t have a tour bus where we can get in after the show. We go to a hotel and sleep nearly two hours before we get up for the airport so the only music that would be done would be sitting at airports. The experience of being somewhere doing a show can be extremely inspirational - meeting the people around etc. There’s a lot of inspiration brought back so that is what we then bring into the studio
K: It fills up the bank inside of us so when we get home we have money to spend.
M: You get really exhausted from touring but no matter how exhausted you are you can still be super inspired. You can get home from a couple of days of touring and not have more than like five hours sleep over two night but you still want to make music because there’s so much inspiration brought in.

I suppose that also comes from you guys gelling together as a band. You’ve all been musicians for a while but how good did it feel when you came together and it all clicked?
M: It’s so hard to answer that question.
K: It happened from the first time we met that’s why we formed a band. When we first met we were just meeting to hang out and then we thought we should write a song for somebody else and then that experience of all writing together…the synergy that happened between us we were like, “Whoah, we’ve never felt this before,” and we’ve worked with a lot of people. When you strike upon that connection that’s when you think you have something special. That was from the beginning.

How different is it going from writing songs for other people to having creative control over your own project?
M: It’s super different. It’s so much better in so many ways because you’re doing exactly what you want. The concept of creating music for somebody else to perform and for somebody else to embody, it’s such an artificial way of creating music. It’s incredibly hard. Someone could be writing an awful song but with the right artist it could be a major hit or the other way round. It’s super frustrating to know that when you create something whether it’s good or not it doesn’t make a difference whether it’s going to get out there or not if you’re writing for someone else. It’s whether management likes the song. But when you’re writing for yourself it means you feel good about it and you want to share it. It’s such a freedom and that’s the reason why people make music because they want to share something that they feel emotional about. It’s awesome. It’s much better.

The energy between the three of you comes across so well on the album but I was listening and thinking, man, how do you pick a single from this?
K: It’s more the songs that we wrote in progression. It wasn’t so much that we had 11 songs from the get-go and we thought let’s choose the pattern of what we release. It was more we wrote that and at that time it felt right to release that one. Midnight Sun was written over the winter here and we wanted to escape the darkness of the Swedish winter. That song came out of that yearning for that. It wasn’t so much let’s do this or we need another single it was just a song we made at that time so we put it out then.

The album has such a cohesive feel to it. Was there one instrument in particular that bound it together?
M: Not really. More a technique that we felt very inspired by. Most of our bassline are usually both electric bass and synth bass so we tried to mould them together into one sound. But they could be any electric bass or synth. That’s one of the fundamentals in our song.
K: The backbone.
M: Yeah that comes from us wanting to combine something that is very human with something very machine. We’re equally inspired by both of those worlds and we wanted to have them in our music so I think what we end up doing quite naturally is trying to take real instruments and make them sound like machines and trying to take machine instruments and making them sound real. By doing that they meet in the middle.

I feel like that’s the same with your visual. You have a really human part to it but then you’ve also got this other worldly feel to it. Was that a conscious decision?
M: It was more those visuals inspire us a lot. It’s not us sitting down and making the decision because that’s one of the hardest things to do. Imagine if you’re trying to write and song and saying, “Oh, it’s going to feel like this when we enter the chorus.” You put so much pressure on yourself to deliver something that you may actually get a better result if you just follow your gut. And that’s what we did. When we tried out visuals we looked at a lot of different things and then one of us might throw in an idea and we gradually end up with what we get.
K: it’s just our personal taste. We love the human meets machine and the same with our visuals. Everything is the far end of the spectrums so black and white and this human face in a 3D way. It’s finding that balance every single time. That’s our taste to a tee. What we love is finding the perfect balance of the complete opposite. It’s prevalent in everything we do even though it’s subconscious. Our name, Kate Boy - is it a girl? Is it a character? Is it a band? We love combining different things and finding that perfect harmony.

Is that interesting when it comes to speaking to the press as they love to read into things?
K: No I think it’s quite true. We do want to have deeper meaning to everything we do so we’re a bit like that anyway. We have to think, why do we want to do this? Sometimes it’s just like this is what we all really like but we really like it for a reason. And that reason is what the press are digging around for and there is always one reason. We can definitely answer every single question regarding why we do the things we do because, you’re right, it’s finding that deeper meaning. We want a bigger purpose for us to sing every night rather than a song about an ex-relationship. It’s about finding something that you feel inspired by to get up every night and do. That’s why we do what we do. So you can keep them coming.

Well speaking of going deep I’m going to go the complete opposite way and ask about this email you guys started for people to send in food recommendations. Is it true?
K: Yep, we love our food.

Have you had some good suggestions?
K: Oh yeah. We really hit people up when we went to Mexico City for the first time.
M: It’s quite funny because I think Kate tweeted, “any good food joints in Mexico City?” and then the organiser of the festival retweeted that to half a million followers and we were getting thousands and thousands of food tips.
K: We get to travel so much which is amazing but we don’t have much time. Like we land and then you have soundcheck and then you have a show a few hours later and then you have to get up to board a plane for the next show. So, it’s something short like visiting a record store that’s like “what can we do in a matter of hours?” because that’s what we have. You always have to eat. We love trying different things and getting that local recommendation from people has just been amazing. Even if it’s just the host from the festival. They have taken us to places you would never find like around the corner in some hidden alley and they have been some of the best memories. That’s the way we’re getting the feeling of the town. Or eat the feeling. We thought that it doesn’t necessarily have to be food. It’s just getting the locals tips.
M: Kate burns a lot of calories on stage so…

One place you’d be very familiar with Kate is Australia. Any plans to head down here soon?
K: Yes. We are planning it right now. We are going to spend Christmas and New Year’s there. We are going to try book shows in January or February. We don’t have it done yet but we’re trying to plan. I miss home so much and I think it would be nice to spend some more time down there.

Listen to their debut album ONE below:

Neon Indian

How Neon Indian Found His Groove To Make His Grooviest Record To Date

Four years without new music is a lifetime in a musical climate where most artists are dropping bits and pieces every other week. Alan Palomo released his first two records, Psychic Chasms and Era Extrana less than two years apart, but following his second he came to the realisation that Neon Indian felt like a job rather than a passion. After her finished the tour cycle for that album he took time out to focus on different projects.

In the past four years he’s DJ’d, written screenplays and composed scores for films while letting the third Neon Indian record unfurl naturally. The product of that is VEGA INTL. Night School - a record that introduces to a groovier, up-beat Neon Indian armed with a new set of influences. The sonic aesthetic of the album appropriately matches Palomo’s feelings towards Neon Indian at the moment. He’s re-enthused and learnt once again how to enjoy it.

Talking to him just days into a return to touring, that’s exactly the Palomo that arrives on the phone. He talks extensively and enthusiastically about the album talking about everything from inserting personal jokes into the record to realising that he can’t control his on-stage persona and should embrace his “awkward Dad dance moves.” He’s completely at ease with how this album will be received and he should be. VEGA INTL. Night School is his best album to date because it feels genuinely fun. That’s not something he’s forced, it’s something that’s he’s let come naturally in its own time and the record is all the more better off for it, as he expressed to us at various time during our chat.

Are you on tour at the moment?
Yeah on tour. We started tour about a week and a half ago and it’s been kind of an interesting climb into cruising altitude. We haven’t been on the road in a little over three years so it’s been wild to get back in the van and we’re pretty much playing dates right up until Christmas.

Does it feel like riding a bike? Are you picking it back up quickly?
Our first return gig was in Mexico City and I remember taking to the stage - everything leading up to the show is completely nerve-wracking and then you walk on stage and you have that moment of lucidity where you’re like “holy shit this was my job at some point.”

Has the crowd response been good so far?
Definitely. And we’re mostly playing the new record.

How does that feel? The record isn’t out yet so most people don’t know the songs. Is it nice to be able to try it out on them?
It’s always going to be a little challenging because the tried and true songs that you’ve played the longest are always going to be the songs that people take that moment to wild out to like I can’t tell you how many times we start playing Polish Girl and people bust their phones out. There are segments that people will connect to because they know the material but I also find it kinda rad that we’re easing them into what VEGA INTL. Night School is going to be by just trying that stuff out.

The album feels groovier and more danceable. It wouldn’t be very hard to get people into it would it?
Definitely. I would say for a cold run it’s amazing to see people having this kind of uncontrollable knee jerk reaction which varies from a head-bop to a full on freak out.

The first two albums were rolled out pretty quickly and then there has been a long time leading up to this one. What have you been up to?
We did the first two records back to back and I was on the road for a good three years so there was this moment where I was a little burnt and I had this realisation that the second record had been made in this very Led Zeppelin II style fashion where it’s been written in hotel room and recorded in between tours. The big transition I had from making music exclusively for myself and just as a fun mode of expression to full on having it as my vocation. There were some growing pains involved in that. But once we were done with the album cycle and I was left to my own devices I really needed some kind of complete restart button to hit. For me that was getting into some film stuff that I’d neglected over the past couple of years. I made a short film with a friend of mine and I wrote a screenplay for a sci-fi horror type thing and then I actually scored a feature that premiered at Toronto Film Festival. It was a very liberating catharsis to have. It never occurred to me that this was the only medium by which I should express myself and if I didn’t feel like making music at the moment there was absolutely no necessity to do it. 

That’s interesting. You obviously start making music because you enjoy doing but at some point does it begin to feel like work?
I think that’s why I stepped away from it. I got to the end of the tour and I was like, “jesus the first third of my 20’s has been like...unbeknownst to me I’d built a machine and now I was responsible for fuelling it and maintaining it.” When you find the idea that you feel is right then you realise that’s when it’s time to start writing a record again. I chipped away at it for a while and for a while I treated it like the boat in the glass bottle. I would go up to the attic and add another tiny piece and then in the last two years of it that’s when it started getting very serious. Once I felt like I’d found the first couple of pointers that were really going to inform the rest of the record it was like lighting a fuse.

Was there a certain thing that made you edge towards a more upbeat dancier sound?
Yeah a lot of it was informed by the fact that I’d been DJing. That’s something I hadn’t done in a long time. Before Neon Indian and even before VEGA I would DJ every Wednesday night with my drummer at this local club. To be a DJ and to have to be hunting for music vocationally because it’s kind of what’s required of you to be like finding new shit to play the next week, I think it was a really awesome time to be inhaling as much music as possible and creating new influences. The first two records were written with the same set of general knowledge of music and set of influences. For Era Extrana obviously it was more post-punky or shoegaze but that was stuff that I’d liked since highschool. I didn’t have to hunt to find that. It’s funny because there certainly was a gluster of fans that were like, “dude, when are you going to start playing live. Why are you DJing so much,” and there was me having this selfish feeling like “I need this.” But it was cool because I was travelling a lot, I was going to record stores and hunting for music obsessively and I wound up tailoring my sets that way. Four years is a long time. I played a lot of different stuff. There was a moment where I was really investigating a lot of balearic beat stuff and then there was a lot of Belgian new beat and the beginnings of techno. Obviously, Italo disco has been my obsession since I started making music so I feel like I built this new set of influences. Not to say that I wanted to find something to rip-off, because it’s not about that, but the only thing I knew when I set out to make the record was that I wanted it to feel like a collage and have the fluidity of a DJ set. When I think of record like that I think of The Avalanches’ Since I Left You or J. Dilla Donuts. I realised that I couldn’t do that if I didn’t have this myriad of different reference points to be touching on. I needed a very eclectic mix of music to be informed by and to mutate it into this one fucked up cartoon of what I thought VEGA INTL. Night School was.

I read that you thought you were making a VEGA record and then you decided to take it in the direction of a Neon Indian record. What made you make that switch?
Well, you know, I wanted to write VEGA...initially, that was the restart button. It was like, “oh, ok cool I’ll just write music under a different moniker and look at it from a different mindset.” But, certain production components or certain songwriting things kept making their way into the VEGA material and I realised that I was splitting hairs to its detriment. It was getting too specific and I was tying my hands behind my back and I wasn’t writing just to write. So instead of trying to compartmentalise these ideas I was just like, “you know what, what you like is starting to veer into one lane and maybe this record should be a celebration of all those ideas.”

How much does it weight on your mind what your fans expect from you and also the fact that you’re critically acclaimed, so to speak?
Not really. I think I sweated it with the second record. The first record I thought no one was going to listen to it so it didn’t matter. There was a certain moment where I realised that if I kept looking at it from this more editorial narrative of what people expect Neon Indian to be that was going to become really unfun for me. I had to realise at some point this needed to be fun and writing a record needs to be a joy or I’m going to lose my mind. A lot of comedy made its way into the record because it was fun for me to be like, “I don’t know what people are going to think of this but we just made a shoutout to the name of the record.” Or, having the song titles that I picked. I wanted it to be what I would want to listen to and if people were to subscribe to that, that enough time had passed that if people didn’t care anymore I’d be content with that because I made the record that I wanted to write.

Do you feel way more enthusiastic going out on stage to perform these new songs that you did going out to perform the second album live for the first time?
Well, yeah to some extent. I felt surprisingly more comfortable as of late...obviously, because there’s more enthusiasm because we haven’t played any shows in a while and the crowds have been amazing but it’s just found a certain comfortability. I remember even then I was like, “what do I look like on stage? What are my moves? What am I doing,” but now I realise in terms of body language I’m way more of a Paul Simon than I ever could’ve hoped to be like I’m not a Michael Jackson or a Prince. I’ll just embrace my awkward Dad dance moves and that’s just what I do, that’s who I am on stage.

So what’s in the future for you then? Are you looking immediately towards another record or are you going to sit tight with this one for a while?
Well I don’t have any foreseeable plans to make another Neon Indian record at this point. I don’t mean to say that in a dramatic way but if I was to continue the project it would require some aesthetic overhaul to remain interesting to me. Who knows? That may mean it takes another four years to make another record. What I have enjoyed is finding my own lane in which I can merge the things I love about film with the things I love about music. I love seeing the record unfurl with all its complementary components. I love pairing a great video with a great record and how the artwork aligns with it. That is a very important thing that I’m in the midst of right now. I was holding one cell phone going through details for the Slumlord video next week and then I put that down and picked up another one and started talking to you. I’m just making sure that everything released in conjunction with VEGA INTL. Night School is not just some bullshit web content, it needs to be more than that because that’s what I’d expect from a record that I like.

VEGA INTL. Night School is out now. Read our review here.

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