Inland Sea

Inland Sea are a rare find. After releasing their debut EP Traitor earlier this year the band has only gone on to impress, receiving brilliant reviews from NME and other press alike at this year’s Big Sound Conference. 

The band has just released their sophomore EP Fortune – and there’s no doubt it’s just as mind blowing as the first, if not more. The opener Dead Man’s Left is brilliantly haunting and establishes the record’s rich and diverse sound.

Inland Sea do more than play, they are musicians who know their instruments and craft like the back of their hand – easily blending genres and breathtaking harmonies.

If you like what you hear, Inland Sea are playing a host of east coast shows this October – details here. 

We were lucky to have a chat with Tahlee about all things Inland Sea related... 

At times there’s a carefree sound to the EP, and others it’s a little more somber – what was the thinking behind the name Fortune to tie the songs together?

Fortune is a lyric in the song Dead Man’s Left, but more than that it encapsulates a feeling of completeness. Not in the way that a fortune makes a life complete, but in the way that describes the richness behind the music and the lyrics. We have struck a kind of formula that produces the unexpected when songs are brought to the band. Three different members of the band write the songs on the EP, (Alastair, Jeremy and Beau) and yet they still seem to fit together. I guess Fortune describes the diverse talent we are able to draw from. 

The most captivating aspect of Fortune is it’s ability to slide easily from folk influences, classic pop to breathtaking harmonies almost gospel in nature – do you enjoy experimenting with your sound as a band? 

Experimentation is what makes the song. When a song is brought to the band by one songwriter it has to then go through nine other filters, who all have something a little different and original to offer, to transform it into something wonderful. We have at least five members who write songs. This allows us to stretch our sound and saves us from writing songs that sound the same.

It goes without saying that ten members is a fair amount for a band, are writing sessions a big jam or is there a little more organization involved?

Usually a song is brought to the band and then we work through it together. The writer usually has some idea of what they would like, and we go from there. There have been some instances when a couple of members will write a song together, or get help to finish a song off, but the same process always follows. We have recently created a system that allows members to bring a song on a turn-by-turn basis. This gives songwriters who don’t write as many songs to have a turn to show their work.

How does it feel that your music is reaching a whole bunch of people, who we assume love it as much as we do? Especially after that rave NME review…

That is the dream of any musician, to be able to reach your audience. It is a weird combination of shock and hyper-excitement that people in the music industry also enjoy what we do; NME was one of these moments.

For a little fun, given the chance if you could take to the stage with any artists (alive or dead) who would they be?

I’m sure there is a general consensus running that Arcade Fire would be amazing. Bon Iver or Fleet Foxes would also be on that list. We have ten members in this band who all come from different musical backgrounds, so it would be a lengthy list. Personally I think Fleetwood Mac would be incredible.

Also out of interest, if you could expand that amazing instrument range any further what would be the lucky choice?

I think our manager and sound man would both have aneurisms if we expanded any further, but I would say the next thing (crossing fingers) would be a keyboard, perhaps castanets for Dani.

The title track from the Traitor EP, 

You can get your hands on both Inland Sea EPs at their online site here. 

Split Seconds

Split Seconds debut EP was released today to much anticipation, the bell was fortunate enough to chat to lead singer Sean Pollard about the new record...

There is something classically Australian about the way Pollard crafts his lyrics. Almost as if he is letting us be a part of a moment in time, his subtle storytelling reminiscent of artist’s such as Paul Kelly and Gareth Liddiard.

“It’s something you can do when you’re Australian, you can focus on the lyrics because the accent does stand out a bit. It’s about giving the listener some idea of what’s going on without making it too obvious…It’s a hard line to follow but once you get it it’s pretty cool.”

All it takes is one listen of the EP to realize that Split Seconds definitely have it.

A bittersweet nostalgia is prevalent throughout the record, a sound realized as Pollard spent time living in London, working at the infamous rehab centre The Priory.

“London’s obviously a very different place from Perth… so there was definitely that element of homesickness. Some of the songs are a little glum...maybe the London life got to me a little bit.”

As a whole Split Second’s debut EP lends itself to be considered as a mini-album in many ways.

“All six songs come together in one feel…It kind of felt like a couple of years of my life put into one succinct statement. When I’m fifty years old I’ll be able to listen to it and go that’s where I was then.”

The success of Split Seconds can also be attributed to their collaborative nature as a band.  

As Sean relates, “everyone can contribute on anything - on drums, guitar or bass ... It’s a good way to do it because people when just pitch in when you need to. It was just whatever the song needed we would try and find somewhere.”

Elizabeth is almost haunting in sound as distant bells ring throughout the track.

“the bells were from the Angels…this eighties record that my dad had, we just put it on and recorded it from behind the wall…it sounded like it was a million years away.”

Less romantic but nevertheless effective was the featured percussion of What a Week – a large recycling bin.

“We wheeled that into the studio and kind of closed the lid a couple of times, cut it up a little bit and that ended up as the percussion base on that track which is pretty interesting.”

Simply said Split Seconds are a talented group of musicians, however so too are they vocalists. Their harmonies, of at times up to five parts, have almost become a trademark of Split Seconds. Bed Down being the perfect example.

When I ask Pollard what has been the most rewarding aspect of producing the EP he is amiably modest in response, characteristic of his down to earth nature.

“Just having people hear it now is cool, hopefully getting something out of it. That’s really humbling as well. You often make these things thinking you’ll be the only one who hears them - so it’s good to know people are listening.”

Split Seconds is definitely worth getting your hands on, buy the full EP  from Itunes or order a copy from JB/any other reliable music store.

Follow Split Seconds on myspace, facebook and twitter.

Oh Mercy

the bell was able to catch up with Alex Gow to answer a few questions about the recently released Great Barrier Grief.

Click to read more ...