Grazer

We are both heavily inspired by the neo-psychedelia of the late 90s. In particular, The Brian Jonestown Massacre who effortlessly meld the genres of shoegaze, psychedelia and blues rock. Our dominant, yet simplified guitar breaks also recall a steady childhood diet of Led Zeppelin and the Beatles.

While we were in the UK, the music tended towards punk and grunge, echoing the grey skies, stagnant tube air and our general malaise. But when we returned to Australia, we realised that grunge is dead and punk is long dead. We decided that we needed to find something modern. The renaissance of psychedelic rock and shoegaze that we found in DIIV and Beach Fossils was exactly what we were looking for. All of a sudden we weren’t tied to a genre, and had a lot more space to experiment. Moving to Melbourne was particularly significant - the vibrancy of the live music scene allowed us to forge our evolving sound in response to our audiences. Melbourne’s electronic scene also introduced us to the world of synths and drum machines, which contribute to our lo-fi sound. 

We always start with a bassline, usually post-punk inspired. Loop it infinitely, before layering melodic guitar riffs over the top until something sticks. From there, we start recording immediately in our home studio, formatting and rearranging the song until it takes shape. Vocals are the last piece of the puzzle, as we always put off writing down lyrics. When we are stuck, we turn to the pages of Oscar Wilde, Dylan Thomas and some of our own poetry for inspiration and guidance.

We feel very lucky to be able to share something so meaningful together. Making music is already such an emotional, special thing, but doing it with someone you love is something else entirely. If Matt ever needs a female vocal or is stuck on a line, Mollie is always painting nearby and ready to lend an ear.

The naivety expressed in Vision is a recollection of growing up together, as next door neighbours. It’s a song of underlying friendship and the blessing of innocence. When we first got together, there was so much history but at the same time, an entirely new life was beginning. This song is love in its infancy.

Some songs arrive fully formed, and all we have to do is transcribe it and it will be finished in a couple of days. Other times, Matt sits on a bassline for years, waiting for a riff or hook that fits it perfectly. The recording process is generally quite fast, to prevent us growing sick of the song before it’s released. Vocal recordings can be a bit testing as we are both relatively new to singing.

It is very daunting and demoralising when the first couple of releases don’t get many listens. But you have to push through and trust that good music will always find the right ears. And when a song is received well, it is humbling and reassuring to know that online streaming is not as cold as it first appears. We are very grateful for the opportunities that Nostalgia Seed’s success has afforded us. 

Without You is the darker, radio-friendly pop song and Vision is a present for our loyal fans (a throwback to our earlier sounds). They both explore different sides of love, so it made sense to release them together. Vision captures the naive optimism of our early, youthful romance. Without You, on the other hand, explores the heavy burden of loving another and knowing that you might lose them.

We both consider music the most primordial art form, so it’s actually the thing that influences everything else. Our music is a significant influence on Mollie’s abstract figurative painting. Often, the early shapes of a song will be echoed in the expressive bodily movements and brushstrokes. Listening to music while painting is a really helpful way to release the rational brain and tap into the unconscious mind where all creativity springs from.

The mannequin shot was originally going to be a quick, passing shot in one of our music videos, but then we realised how much potential there was. We spent ten hours filming Matt and the mannequin (Katerina) in our apartment and the streets of Melbourne, parodying our daily routines. The mannequin is the “ideal” person, who can never exist. She is contrasted with a close sultry portrait of Mollie under flashing lights, whispering the chorus, beckoning Matt back into the real world.

We are very lucky that we have similar voices (when Matt sings high) so it’s quite easy to find pleasing harmonies. Mollie’s high vocals are able to cut through the cacophony of overdriven and feedbacking guitars in a way that male vocals cannot, allowing the vocals to retain prominence. We both have a wide vocal range and we often take turns singing the highs and lows, circling each other throughout the song.

Following on from our recent release, we want to experiment in more minimalistic pop songs, with prominent vocals. We also have a number of sixties revival songs that we’ve been sitting on for a while. Basically, we don’t want to get tied to any particular genre. Our favourite bands are always the ones who aren’t afraid to experiment and get away from themselves.

We have a new single that will hopefully be released in late September. It’s a fan favourite from our live set (Reunion). Hopefully after that, an LP to bring in the New Year. It’s our goal to release singles as often as we are able. We are also looking to tour nationally and internationally as soon as the pandemic will allow. Keep your eyes peeled!