Wet Lips Band Good For a Girl interview melbourne

Interview: Grace & Jenny from Wet Lips (@BIGSOUND)

WET LIPS ARE NOT A GIRL BAND.

Wet Lips good for a girl blog interview

“Wet Lips are a one-stop shop for getting off chops.
You’ll laugh, you’ll cry. You’ll spill your beer. Try on Try It Again.
A searing Melbourne anthem about seeing an old root out at every fuckin’ venue and thinking “y’know what, I’m DTF”.
Unhinged, unstoppable, as fun and sloppy as a 3am d-floor pash with some hot stranger.
Pucker up.”

I’m not usually as lazy as to just copy and paste a band’s bio – but this has got to be one of the best ones I’ve read in a while.

Wet Lips are a 3-piece punk band from Melbourne, inspired by the lack of non-male representation in the local rock scene. There is Grace on vocals and guitar, Jenny on bass and vocals, and soon-to-depart-on-other-adventures Mo on drums.

I had only briefly heard of them before heading to BIGSOUND after I had been searching for women on the festival line up to hang out with. I didn’t know much about them or their music, so while meeting and chatting with Grace and Jenny (Mo is gender neutral) I got to know how low-key hilarious these girls were, I was very intrigued to check out the fulle band at their showcase later that night.

Wet Lips Good For a Girl interview bigsound band

I had an absolute blast at their show! Grace saunters about looking over the crowd like she owns the fucking place (good), Jenny looks like she’s having the time of her life and has the best dance moves, and Mo provides the backbone with some beats that were hella fun to watch! But the best part of all is their on-stage banter, which is a string of hilarious exchanges between Grace and Jenny about a range of topics from how much they hate lanyards (they were around many necks at BIGSOUND) to Jenny’s parents. They also took the time to acknowledge that they were playing in a venue that is built on top of aboriginal stolen land and expressed their gratitude for the honour of playing there.

The entire crowd was enthralled by their set. It was v v fun to watch.

SO WATCH MY CHAT WITH GRACE AND JENNY FROM WET LIPS.

Wet Lips have just dropped a sweet new split 7″ single with Jenny’s other band, Cable Ties, and it’s a lil ripper. Listen to it below and check out Wet Lips on the interwebz.

wet lips good for a girl blog interview

WET LIPS LINKS

Facebook
Bandcamp
Instagram

………………………………….

INTERVIEW: GRACE & JENNY FROM WET LIPS [TRANSCRIPTION]!

Emma:
So I guess we will approach this individually – your influences and inspiration growing up. What music was surrounding you when you were kids or…

Grace:
A lot of when I was a kid, a lot of Australian stuff that my parents listened to. A lot of Aus-Rock like Crowded House and Paul Kelly. Then as a teenager I moved in to the whole Indie Rock, Brit Rock thing. Loved a lot of british bands and triple j bands. Then I discovered riot girl, so Bikini Kill, Sleater Kinney, and there was kind of… so Jenny and I met when we moved to college in Melbourne. And we started going and seeing local bands and that really just opened up, well, our brains, really! Yeah so bands that we loved were like Terrible Truths, then heaps of garage bands, um. Yeah… trying to think of other women bands that we went and saw…

Jenny:
Yeah so when we first started, cuz we’ve been playing for 4 years, so when we first started going out to see bands, we didn’t see many women. So we went and saw Terrible Truths a lot and we really liked them and they were really inspiring. And yeah, … but recently in Melbourne there has been a massive surge with women and gender non-binary and trans people..

Emma:
Yeah with LISTEN and stuff

Both:
Yeah!

Jenny:
Yeah so there’s this really amazing vibrant community and that’s where we get all of our energy and inspiration from now!

Emma:
Yeah! And so when you say that you guys met in college is that high school or university?

Grace:
Oh, like university, yeah

Emma:
Right!

Jenny:
We’re both from the country.

Emma:
Right

Jenny:
So I’m from Bendigo and Grace is from like.. south Queensland. So we started uni…

Emma:
And that was the connection like ‘we’re both from way out of town”

Both:
Yeah

Jenny:
So we moved in res accommodation and…

Grace:
And then moved in to a share house with our friend Maya from Habits. And yeah we all just little 19 year olds going and drinking $2 pots and seeing the same bands every night of the week!

Emma:
(laughs) Wicked! So what got you guys individually in to music? Like did you pick up instruments from quite a young age, or?

Jenny:
Well I actually played folk music before… so yeah my influences are a bit different because until I was playing in like a celtic folk band

Emma:
Wow!

Jenny:
Yeah and I was really in to folk music

Grace:
They were really really good

Jenny:
And um, yeah I just met Grace and liked Grace and..

Emma:
She brought you over to the dark side….

Jenny:
I went to gigs in to town and I was like “why does everyone sing out of tune and why don’t they tune their guitars?”

Emma:
(laughs)

Jenny:
But yeah and now I love it.

Emma:
“Now I love out of tune guitars!!” (laughs)

Jenny:
Yeah!

Emma:
How about you, Grace? What got you in to music, like actually wanting to perform?

Grace:
Ohhh just my um… my forever unsatisfied ego, really. Nah not actually… well, actually yes. Well yeah it was just this kind of thing where I’d always been really interested in rock music. And we started going to see all these bands and think I’ve always had this sense of like ‘oh they’re doing all these really cool things and they’re getting lost of attention and that looks really fun” Yeah and we really felt like there was a big gap in the Melbourne scene maybe 4 years ago, there weren’t many women. And it was just this real sense of ‘fuck that. let’s do it.’

Emma:
Yeah, so that was kind of the motive? Like you guys set out to start a girl rock band together?

Grace:
Yeah..

Jenny:
Kind of!

Grace:
Kind of.. I’m sorry I just realized everything I said revealed what a massive narcissist I am…

Emma:
(laughs)

Grace:
Umm I try and keep that under the surface most of the time.

Emma:
This is a safe space to be a narcissist

Grace:
Yeah.. I think it was more just like we want to start a band and we wanna do what all these other guys are doing

Jenny:
We looked at them and we were like ‘we can do that’ and so…

Emma:
And better..

Grace:
Yeah, well, we are better. And um..

Emma:
There it is again (laughs)

Grace:
Yeah so we started and we were so… well I certainly was really desperate for approval from all the people in that kind of scene. and you know we’d play shows.. and we’ve gotten so much shit over the years. We’re always on first. People would make disparaging remarks. And even like I think like 2 years ago I was playing through someone else’s amplifier and I was like ‘have you switched it on?’ and he said ‘yeah!’ and I leaned down and he was like ‘yeah and this is the volume knob, and this is the gain knob…’ and I was like yep yep I have this amp at home like this is the same amp and he’s like ‘and this is the tremolo…and this is…’

Emma:
“Did you even hear what I just said? Like… you know I’m about to play in a band.. like i do actually do the thing…’

Both:
Yeah

Emma:
Yeah I get that a bit too…

Jenny:
When we did get recognition, a lot of the time it was kinda like this quirky and cute thing that they were…

Emma:
A bit condescending

Jenny:
Yeah

Grace:
Yeah always the novelty. And so I think we’ve moved away, especially in the past 2 years, of seeking approval from that group. And going okay actually we don’t need you. And I guess we’ve been lucky we’ve been part of a big community and a lot of our friends have started bands in the last few years and we’ve reached out and yeah there are organizations like LISTEN and other kind of networks. And venues like tote that put on really great stuff… and.. yeah

Jenny:
And I’ll say at this point also like.. when we started… like, Mo, our drummer is non-binary so.. yeah we’re not a girl band

Emma:
Not a girl band, yeah sorry!!

Jenny:
No no you’re okay it’s fine!

Grace:
And there is such a vibrant trans and gender non-conforming community in Melbourne. As Chloe Turner from LISTEN said yesterday, they really are making the most innovative music at the moment.

Emma:
Yep!

Grace:
And there are artists like Simona Castricum who’s at BIGSOUND, Habits… and it’s really cool seeing it-

Jenny:
Chelsea Bleach!

Grace:
Just seeing it absolutely explode. And they’re starting to get some of the recognition they deserve

Emma:
Yeah well it’s brilliant that they’re showcasing here as well! It’s great. We kind do a similar little festival like this in New Zealand. It happens.. it was just at the weekend. They fly some of the panelist from here over there. And we showcased at that. And I was looking at the line up, only 12 artists play the whole time, it’s not like here. I realized that 50% of them had women in them, which was really cool cuz I feel like we’re at this critical period at the moment where we are starting to be listened to. And people are starting to kind of.. the conversation is not as scary to people any more. There’s been a lot of development and Melbourne is like a hub for that. It’s culturally very accepting and open, and it’s great that you guys are based there…

Grace:
Yeah it’s great! We love it! We feel like it has, in the past year just in terms of something tangible.. like often at the bigger underground venues like the tote and that kind of thing.. they don’t like putting on line ups that are all men. So they will often book a band that has at least one woman or a GnC person in there. But it’s at this stage where they’ll book that band but they’ll put them on first still

Emma:
Right so it’s like a step..

Grace:
Yeah it’s a step, and um… I’m really interested in.. cuz there was this kind of thing that happened in the 90s to a certain extent. And I’m really interested in how you keep that moving in to the future, and you don’t regress back to the indie rock scene of 10 years ago. Not that I was part of it, but it was very male dominated and people weren’t having these sort of conversations.

Emma:
Yeah

Grace:
Yeah so, I think we have made a bit of progress. But the music industry is still full of misogyny. And the vast majority of people still don’t respect women’s music. And they still see it fundamentally as something abnormal, and sort of just a novelty.

Emma:
Yeah definitely. And we have made steps with women but, like, as you say kind of the next thing is the GnC community and yeah… I hope that what everyone is learning from women starting to come to the forefront is that actually progress isn’t terrifying and actually like everyone has a voice and everyone deserves to be heard.

Grace:
Yep

Emma:
And yeah I think that’s slowly but surely happening. I don’t think it will regress back. I hope not anyway. Unless like Donald Trump comes in to power and everything turns to shit. Influences a whole bunch of other horrible white dudes (laughs)

Both:
(laugh) yeah!

Emma:
So what’s next for you guys? Have you got releases coming out? Records? Tours?

Both:
Yeah!

Jenny:
We’re doing a split 7” which is coming out in November. And so, the split on the other side is with my other band, Cable Ties

Emma:
Oh cool!

Jenny:
So that’ll be really good! And we’ve recorded and album and we will be releasing it but that will be next year and… we don’t know when

Grace:
Yeah! Hey if anyone runs a label… get in touch! Ah yeah, so we’ve got the album. We’ve mixed half of it and doing the other half in 2 weeks or something! And, yeah, we’ll just be trying to put that out. Maybe put out another single before it.

Emma:
Awesome!

Chloe Turner LISTEN Good for a Girl interview

Interview: Chloe Turner from LISTEN Organisation (@BIGSOUND)

LISTEN ARE A ORGANISATION BASED IN MELBOURNE

LISTEN organisation good for a girl interview

BIGSOUND Friends?” was the subject of the email I received from a gal named Chloe Turner from an organisation named LISTEN just a couple weeks out from my trip to Brisbane.

“Hilarious bio. Wanna grab a drink at BIGSOUND? I think we’d have a lot in common :)” Well, she had me at “hilarious bio” – but I was really intrigued to find out what LISTEN was. It was a familiar name to me, and I’d seen the logo somewhere on the ‘webz prior. After some really quick googling and a good old fashioned stalk of Chloe’s bio on the BIGSOUND website, I replied “ABSOLUTELY” and asked her if she would be keen for an interview as well!

Chloe herself is a hugely talented human. A super human and just 22 years old, Chloe is a musician, co-founder of a record label, involved in operations for Music Victoria, and of course hugely involved in LISTEN. I’m sure she’s got a whole lot more talent up those sleeves, as well!

Chloe turner listen good for a girl interview

Chloe Turner just being casually badass.

So what is LISTEN, exactly? Well it all started with the artist Evelyn Morris – also known as Pikelet – sharing her frustrations online with the lack of inclusion in the music industry for women and gender-non-conforming people.

“So tired of male back-patting and exclusion of anything vaguely ‘feminine’ in subculture. We get it. You think you’re all awesome and we’re all just kinda average. Unless we sound like you. Ladies of Melbourne… Let’s please reject this culture.”

(Yaaaaaaaassss!) Naturally, this caused quite a stir, and after the ground swell of support she received, she went on to create the LISTEN organisation as a space for women and gender-non-conforming people in the Melbourne and Australia-wide music community to share their stories and experiences. With the purpose of historical documentation, visibility, and inclusion.

“We want to become visible – historically and in the present day – in our own words, on our own terms.”

I had a great time chatting to Chloe about LISTEN and further on from that, her own personal experiences working in the music industry in fields other than just the artistry!

CHECK OUT MY INTERVIEW WITH CHLOE TURNER FROM LISTEN ORGANISATION!

IN MELBOURNE THIS WEEKEND? Well you should absolutely head along to the annual LISTEN Conference!

Listen Conference Feminist Futures Good for a girl

This year it is titled Feminist Futures, and is a three day feminist music conference featuring keynote presentations, panel discussions, workshops and live performances. Writer and feminist activist Clementine Ford and performer and activist Alok Vaid-Menon of Darkmatter (USA) will serve as keynotes!

What the heck are u waiting for?! Buy your tickets HERE immediately.

Intrigued to learn more about LISTEN or find out how you can get involved?

LISTEN LINKS

Website
Facebook
Instagram
Twitter

GOOD FOR A GIRL: CHLOE TURNER OF LISTEN (INTERVIEW TRANSCRIPT)

Emma:
Well it’s kind of different talking to you from the other artists I’m talking to because.. well i dunno! I don’t even know your background, by the way! So the first thing I wanna talk about with you is what do you do, what’s your background in the industry?

Chloe (Listen):
Okay! In high school I used to play music. So when I was in my first year of uni I released an EP and used to gig. Played folk music and stuff. Pretty chill, folk music cutesy stuff! And then kinda grew out of that. I think everyone kinda goes through a folk music phase (laughs)

Emma:
Yeah (laughs)

Chloe (Listen):
Grew out of that and then graduated uni and started interning at Chapter Music with Guy and Ben. And they introduced me to heaps of stuff. They introduced me to Pikelet and Evelyn Morris who is one of the co-founders of LISTEN. And the conversations we’d have around the office about queer people and representation in the music industry and females and stuff. Just kinda opened my eyes to stuff that I hadn’t really thought about in music before. Because at uni we talked about misogyny but it was like how women are represented in pop and hip hop music videos. It was a different kind of thing. And I was about to go in to this real world working in the music industry and I was like “eh it doesn’t exist. What’s the gender pay gap?” and now here I am! (laughs)

Emma:
(laughs)

Chloe (Listen):
Yeah! Started interning with Guy and Ben and was working at a record label then too called Deaf Ambitions which was my friend Aaron’s label.

Emma:
What was your role there?

Chloe (Listen):
I was kind of like the assistant manager I guess. So he would do, he’s sign the acts and do most of it but I’d help out with publicity and I was managing one of the acts, too.  And then from there just was also working for a music festival called Inca Roads – which got cancelled – then through that I started working for Paradise Music Festival and I’m there now. So I work one night a week as an artist coordinator for Paradise. And then full time I work for Music Victoria which is the state peak body for contemporary music. And then… LISTEN! In all the other time! (laughs)

Emma:
Yes! So tell me about LISTEN. Give me the full elevator pitch. Like obviously I’ve been to the website, I’ve read about it, but let’s tell the people what LISTEN do because I think it’s awesome.

Chloe (Listen):
Cool. So LISTEN started maybe just over 2 years ago now. It was co-founded by 3 musicians Erica Lewis, Evelyn Morris and Antonia Sellbach. Evelyn – Pikelet – she’s been playing in heaps of punk and hardcore bands her entire life. Pikelet is her most easy-listening pop project. She was written about in a book called “Noise in my Head – The Stories of the Ugly Australian Underground” and it was very… I guess her response to it was she was written about in a way that she wasn’t happy with that being documented. Like in a really masculine, men-dominated way. The book was quite male dominated, didn’t have much queer representation. So she just wrote this Facebook post that went viral. And it was kind of like, her action was like to start documenting our own history as women and queer people in the Victorian and Australian music industry. Particularly the underground and independent part. So from there they started running LISTENing Parties which are a monthly gig that we have, and they started publishing articles on the website. And then it just kinda grew. There was this big Facebook group where everyone would chat about stuff, post articles and generate discussion. But as Facebook’s do, they got a bit controversial and out of hand. It was hard to manage, it was like a full time job. It was just so stressful trying to moderate it and then people would get pissed off with you personally, because it was something someone else said but because you work for LISTEN it was your fault. Classic. So we kind of closed down the Facebook forum and had a real-life LISTEN Conference with the idea to have these discussions from online where people may not understand the emotion or tone or stuff like that – we wanted to have those discussions face-to-face. so the LISTEN Conference started! There’s also a record label which I run, LISTEN Records, which is separate to LISTEN but still affiliated obviously.

Emma:
And you guys have that big roster of artists? Like you were saying on the panel yesteday…

Chloe (Listen):
Yeah! So as part of that Facebook group there was a big resource generated which people could just add their bands to these huge lists in each state. And we’re in the process of updating the website so you are able to be like “okay I’m a festival booker maybe I should check this list out and make sure I’m being diverse at this festival”

Emma:
That’s fantastic!

Chloe (Listen):
So by the end of the year that will be up on the website. It’s just a long process with busy… stuff.

Emma:
(laughs) Lots of busy stuff.

Chloe (Listen):
Yeah!

Emma:
So you personally, because you’ve worked obviously in the music industry from quite a young age it seems..

Chloe (Listen):
Yeah, I guess, yeah!

Emma:
Have you ever personally experienced direct sexism towards yourself personally or is it more just the conversation interests you?

Chloe (Listen):
A couple of subtle things like working in an office with men. And you know, working – I’m young, I’m 22 so a lot of people don’t take me seriously they just think I’m like the “Facebook Youth”  who just sits on the computer and does social media. And it’s like actually, I run the entire awards and I do all this other stuff with Music Victoria, I do lots of things and it’s hard to be taken seriously. So there’s that kind of subtle misogyny I guess where people don’t shake my hand they shake my bosses hand. And they don’t bother introducing themselves to me because I might just be an assistant or that kind of thing. I get a lot. But then also I remember once I was booking a music festival and I called this booker, it was like a Sunday as well. No he called me – that’s right. Cuz I was trying to talk him down on a price for a band because it was a very tiny music festival and he was like “$4000!” and I was like… “$400…”

Emma:
(laughs)

Chloe (Listen):
And he called me and he was so condescending, and was like “you don’t know how it works in this industry sweetheart” like just real jerky. But then turns out the band really wanted to play and by him doing that he kinda fucked it up for them. And he sent me an email later like “happy to accept the offer!” Cuz I was pretty firm on the phone but I was still really upset about the fact he would speak to me like that – but stayed firm. But then he ended up groveling back cuz he was texting me like “Hey Chloe did you get my email? We’re happy to do it!” And I was like.. I’m going to reply to you tomorrow.

Emma:
(laughs) I’ll let you wait until you sweat. Yeah I found that a lot too. I actually wrote a blog post about it because Moses is a musician as well and he’s quite well known in the scene in CHCH and NZ at large and people will come up and talk to him like how’s your music going blah blah blah and I’m just standing there. Or there will be a group of us and we’re all musicians and if I’m the only girl standing there it’s just kind of assumed I’m just his girlfriend. Like “oh it’s just his girlfriend who kinda just follows him round all the time” and stuff. So it’s just.. like the things like “people assume I’m the assistant” or that kind of stuff.

Chloe (Listen):
It is interesting. I haven’t really had direct experience with any harassment or anything. It’s just the subtle misogyny and even – like yesterday I was talking about on the panel – the internalised misogyny of older women in the music industry where it’s competitive for them. Which is interesting and annoying to deal with (laughs).

Emma:
Yeah I kinda get it too because they really had to struggle to get there and we’ve come up with a bit more of an accepting society so we’ve had it a little bit easier but it feels like a threat to them. Whereas we’re like “no but, we’re all –”

Chloe (Listen):
“We’re in this together!”

Emma:
“We’re embracing women now and we’re trying to do this thing!” I understand that a lot of them would feel that way but they obviously are not trying to be that way. It’s just that ingrained thing. And it’s the same with that guy on the phone calling you sweetheart and condescendingly talking to you. It’s like I don’t think they’re actively trying to be cunts – it’s that subconscious setting.

Chloe (Listen):
Yep! And then if you call them out and it can go one of two ways. They’ll either be like “Oh yeah sorry, I get that… my bad” or they’ll be like “oohh you’re a drama queen aren’t you? You’re getting a bit emotional. Calm down!” and it’s like… fuck you…

Emma:
(laughs)

Chloe (Listen):
Yeah it’s hard.

Emma:
So what are the goals for LISTEN – the big overall umbrella goals?

Chloe (Listen):
So I guess one of the main actions from starting out was to publish a book in response to that other book. So documenting female and GNC, queer and marginalised groups in the Australian music industry. Their stories, interviews. Documenting our own history. But at the moment it’s just heaps publishing heaps of stuff on the website; essays, articles, interviews, anything. Anything to do with music and feminism… gender. And I guess once we get enough we’ll apply for some grants and try and get a book thing happening. That’s going to be Evelyn’s thing.

Emma:
Rad.

Chloe (Listen):
The Conference is going well. So that’s another project that’s sprung up. We’ve got some grant funding this year. We’ve got two keynote speakers! We’ve got Clem Ford.

Emma:
Wicked!

Chloe (Listen):
And Darkmatter. Have you heard of Darkmatter?

Emma:
No!

Chloe (Listen):
So they are a trans duo from the US. We’re bringing one of them out and they’re just amazing. They do poetry performances. And just work a lot on discussing issues of trans people and people of colour and feminism and gender and stuff. So it’s not specific to music but it’s good to bring that in to the arts for a lot of people who may not have come across that before. And then we’ve announce 51 speakers a few weeks ago! So there’s going to be lots of panels on things like call-out culture and confidence, and race and sexism within music. There’s a lot!

Emma:
Yeah it sounds awesome – sounds massive!

Chloe (Listen):
Then there’s 3 nights of entertainment as well. So it’s 3 days of panels, keynotes and… it’s like a mini BIGSOUND but with no clashes!

Emma:
Okay good!

Chloe (Listen):
So instead of 3 things happening at once there is just one thing happening all the time.

Emma:
Ahh we have a music conference in New Zealand, it happens the weekend before this. They do they too – they try to make nothing clash with the showcase.

Chloe (Listen):
Same with us! It’s not competitive then, it’s just chill.

Drown This City Good For A Girl Alex Reade

Interview: Alex Reade from Drown This City (@BIGSOUND)

DROWN THIS CITY ARE A POST-HARDCORE BAND FROM MELBOURNE

Drown This City Good For A Girl Alex Reade

Image: Drown This City / Alex Reade (Centre… lol u know)

I first came across the existence of Drown This City through a mate of mine who does their PR/Media – who did a great bloody job, by the way, as everywhere I turned I was seeing their sheeeit. Knowing that women screamers are rare-as-fuck, I immediately checked them out, and died from love for front-woman, Alexandra Reade’s amazing voice.

I completely assumed Drown this City were showcasing at BIGSOUND 2016, so got in touch with Alex to organise a GFAG interview, to find out… she wasn’t attending at all. But the epic thing was she was super keen to meet up and chat with me that she booked her BIGSOUND tickets and travel right then and there and bob’s your uncle, it was ON. What a G.B.

I loved chatting to and meeting Alex, her perspective on being a woman in a male-dominated music genre is really interesting and she is strong in who she is and what she does. I won’t say much more, but I loved transcribing our chat.

Drown This City Good for a Girl Alex Reade Live

Image: Drown This City / Alex Reade 

So, Drown This City are a 5-piece post-hardcore band from Melbourne who launched on to the scene just under a year ago with heavy audiences across Australia welcoming them with enthusiastic open arms.

According to their official bio that I just officially read for the first time: they started the project as an electronic act aimed at an EDM audience! What da fuck. I was not expecting to read that haha. But listening to their music, you can hear that electronic influence coming through in the production with lush synths laid up over the slick guitar riffs and under Alex’s brutal screams (and beautiful clean vocals). And result: it is real good, mane.

Drown This City released their kick-ass debut EP, False Idols, in June this year, and you can listen to it in all of it’s glory in their links below!

BUT FIRST: WATCH MY INTERVIEW WITH ALEX READE FROM DROWN THIS CITY!

If you’re in the Melbourne area, you can CATCH THE BAND LIVE NEXT WEEK supporting Lacuna Coil on October 13th at Max Watt’s. Pick up your tickets here.

So if you like what you hear, check Alex and Drown This City out online!

DROWN THIS CITY LINKS

Website
Spotify
Facebook
Instagram
Twitter

GOOD FOR A GIRL: ALEX READE FROM DROWN THIS CITY (INTERVIEW TRANSCRIPT)

Alex (Drown This City):
Tell me if I’m doing weird facials. I always get real intense in my face!

Emma:
Just do it on purpose! Be like pulls serious face at the camera (laughs) OK, so, first thing I wanna talk about is your influences and inspirations from a little young age, or teenager,  who were they or what was it?

Alex (Drown This City):
My Dad was a really big music lover. Listened to Kiwi music – Split Enz! My first love, Split Enz. Neil Finn, Tim Finn, obsessed just love their music. Crowded House. But the first band that really inspired me was actually Muse. Just listened to Absolution and completely fell in love. And that was the first time I thought “maybe I could be in a band. Maybe I could do this.” And I just listened to it on repeat.

Emma:
Rad

Alex (Drown This City):
And that’s before I’d discovered anything heavy – never listened to heavy music. I didn’t even hear any screaming until I was 18. I had no idea. Really got in to Alexisonfire. Heard them for the first time and completely fell in love with heavy music. Parkway Drive! Those two are probably my biggest influences. They really inspired me to go “yeah fuck: that!” I’m going to be in a band and I wanna do that! Just in love with it.

Emma:
So were you singing? Or were you playing an instrument before you discovered heavy music?

Alex (Drown This City):
I was actually classically trained.

Emma:
Really?! (laughs)

Alex (Drown This City):
(laughs) Yes I was! So my parents had big dreams for me to be an opera singer! So from about the age of 5 until I was 19 I had classical music lessons.

Emma:
Right, so you’re still making just as much noise, really, vocally.

Alex (Drown This City):
Exactly! Same amount of intensity but just for a different tone.

Emma:
Metal’s an interesting scene because there aren’t many women in metal, at all. Did you have any influences or inspiration, are there any role models for you to look up to? Or even women to look to sideways from your career?

Alex (Drown This City):
That’s a really good question! My role models were men growing up because there weren’t any women. And I didn’t really get the memo that that was a problem. For me, it wasn’t about the fact they were a man, it was like “I can do that too. They’re doing it. I can do that.” But the first female screamer I really identified with was Alissa White-Gluz, originally from The Agonist, but now she’s the vocalist for Arch Enemy. She is just incredible and she was the first woman I ever heard scream. And I was like “alright. that’s amazing.”

Emma:
Did that change your approach at all to screaming? Cuz I got in to trying to do screaming when I was late teens too; I started getting in to August Burns Red and Architects, and love lots of bands from that scene. And was like “oh, maybe I want to go in more of that direction” because I was playing guitar as well and I was copying, doing what they do. But I only got in to screaming a little bit and I was like “nah I think singing is more for me” but I use screaming as an influence to how I deliver more yelling sort of screaming.

Alex (Drown This City):
Yeah

Emma:
But is there a difference in the way men scream to women scream? Like when you first discovered that woman screamer that was an influence to you – did you change your approach at all?

Alex (Drown This City):
Yeah that’s a good question – and when people say to me “how do you scream as a female?” I want my response to be “there’s no difference” because we both have the exact same vocal chords. But it does sound different, so you can’t deny there is a difference. But no, it never really changed my mind. I was just pretty set on “I will scream.” It took me many years to learn how to scream, and maybe because I’m a girl and it didn’t come naturally – that aggression didn’t come naturally.

Emma:
Yeah

Alex (Drown This City):
And I was like “how do I do this?” and I spent many many years of learning the technicalities of how to do it. Because I don’t scream from just aggression like “I’m just gunna scream now.” I learnt it as a technique. So perhaps that plays in to the gender thing? I know a lot of guys when you ask them how they scream they’re like “I just do it. I just get out there and I just do it.” But for me I had to really treat it like an extra skill set. Learn how I am going to do this because it’s not natural to have that.

Emma:
Or sometimes I wonder if it’s because women are quite a lot more… we kinda think before we act. We want to know the best way to do something.

Alex (Drown This City):
That’s so true!

Emma:
And we’re quite conscious of our health, and guys aren’t. A lot of them are like “I SCREAM” like “I don’t care if I blow out my voice” cuz they’re not thinking that. Do you find you had that approach? You wanted to do it without damage?

Alex (Drown This City):
Yeah! Definitely.

Emma:
So I wonder if that’s a woman thing as well? Cuz even with me when I meet other guy singers – i mean there are more experienced ones for sure – but ones that were kinda at my level when I was getting in to music, I was interested in looking up vocal warm-up techniques and vocal health online and learning what i need to do everyday to keep it healthy and what i need to do before and after a show. Whereas other guys that were at my same level are like “I just go out there and do it” and then they get off stage and they can’t talk anymore! I wonder if that’s a female trait that we look in to protecting and developing our craft.

Alex (Drown This City):
That’s a really good point. Because for me, it’s definitely analytical. And so much control around, and I gotta have routines before I go on stage. Like.. 3 days before hand “don’t talk to me! I can’t go anywhere. I gotta stay home and I gotta drink my tea.” Yeah it’s a really good point.. I don’t know!

Emma:
It just makes me think about how traditionally… I don’t know if it’s a gender role that’s been fostered or whether it is actually just genetic. Women, we want security, we do want protection, and even just in our lives we think about the future a lot. We’re quite an anxious gender. So that’s why I wonder if it all ties in to that, because we want the security of “well I know I like music. So I want the security and the best practise so I know I can do it for the rest of my life, and I know it will be a secure skill that I have.” I’ve never thought about that before, but that just made me think about that.

Alex (Drown This City):
Yeah I’ve never really thought about that either! Like when I compare the way I learnt to scream and how to harness that compared to singing, singing came really naturally. And I still sing in a sorta really clean way in Drown This City, but, so I never really put a lot of thought in to how I would do that.

Emma:
Mm

Alex (Drown This City):
But so much anxiety came with screaming for me. It took me years to learn. I felt a lot of anxiety and shame about how it sounded. Because it sounded like a girl screaming, it’s not a man. I’m never going to sound like my idols and people I love, and I was really embarrassed for a really long time learning how to scream. And I had to overcome so many obstacles in my mind. I would scream and it would squeak. I’d develop weird squeaks before playing shows. Like “Oh my god I’m losing it! Where’s it gone? Oh my god why can’t I scream?”

Emma:
Yeah and you’re doing it to yourself, eh?

Alex (Drown This City):
Exactly. It’s purely mental. And I actually had my singing teacher examine my vocal chords one day. He said “oh let’s have a look.” Had a look at them and he’s like “nah, listen. they’re the same vocal chords you sing with, Alex. If you can sing with them you can scream with them. there’s absolutely nothing wrong.” I’m like.. the mind is a very powerful tool! (laughs)

Emma:
Yeah and I think that women musicians take over a lot more than guys minds. I’m the same with my vocals! Like even when we were recording our album last year all of a sudden when it got to vocal week I felt so precious like “fuck…” and I actually made myself sick and then I couldn’t sing! I got like.. I don’t even know what I had the doctor couldn’t diagnose it but another guy in the studio ended up getting strep throat so we think it was that?

Alex (Drown This City):
Wow

Emma:
But like who would I have caught that off? I was just so anxious about “oh my god what if my vocals do this?” or “ohh it’s sounding scratchy before I even started” “when I warm up it doesn’t feel like it’s getting loose” and all this stuff that I actually did it at the detriment of my actual recording session and I couldn’t get the vocals done!

Alex (Drown This City):
Maybe we’re just so in tune with our bodies.. like we wake up in the morning like “something’s wrong something’s wrong what is it I need to find out, i need to protect” – and you’re right it must be instinctual because I wouldn’t think men do that?

Emma:
Yeah wouldn’t think many of them would. There’s probably men out there that do, like anxious men. But I still think it’s probably like the default thing in women. Like most of us do that?

Alex (Drown This City):
It’s a really good point (laughs).

Emma:
And you said before that you’ve had in the past, guys being like “how do chicks scream?” and you’ve just been like “how do guys..it’s just the same.” Have you had many experiences being a woman in metal where not just with your artistry, but with general fuckery coming at you for being a chick?

Alex (Drown This City):
(laughs) Yep! On my way here this morning I was just having a quick read through Facebook I’m like “I’m just gunna go–” cuz I know it’s there – but I decided to go back and pick out a few instances. And it’s – people are obsessed with gender. So they can’t critique me as a musician. They have to critique me as a female musician. And so I was reading a few comments on Facebook. One we got was “another excellent band ruined by a terrible female vocalist” and I’m like well I’m not a “female vocalist” I’m a “vocalist.” There’s not difference.

Emma:
Yeah that’s interesting because they judge your terrible-ness on being a woman. Where as if they didn’t think about your gender they’d be like “she’s pretty fucking good.”

Alex (Drown This City):
Exactly. We had a guy ask us once, sent us a message, “oh I love your music, it’s so wonderful. Great vocalist, Alex, but any chance one of the guys in the band are going to do any vocals?” And I thought “well I’m the vocalist?”

Emma:
Yeah we’ll just get the drummer to hop off of the kit and start…

Alex (Drown This City):
Yeah! And it was an assumption that apparently they’ve got these skills that… and mine aren’t good enough. “Are you gunna get male vocals in there?” So I am a vocalist at the end of the day I don’t breathe any different, I don’t walk any different, I don’t do anything different. I don’t sing or scream any different to any guy. And so it’s just this obsession with being female! And another few instances, we were looking for a guitarist, and we were advertising publicly on Facebook and a few people were responding back going… and I don’t wanna be crude and you can cut this out if I’m not allowed to say this?

Emma:
Always be crude

Alex (Drown This City):
Alright! Basically it was, “nah shit band. I’d fuck the girl though” those comments. Um. When I was playing a gig last week, a guy walked up to me and said “hi. I was paid $5 to come get your name. How you going?”

Emma:
What?! Paid $5?!

Alex (Drown This City):
Yeah. So he was paid to come over and talk to me. And felt like it was appropriate to come over to me while I was on stage and basically try and… whatever it was.

Emma:
Holy shit.

Alex (Drown This City):
Yeah and I was like.. you’re not taking me seriously! I’m a performer. I’m here, I’m trying to perform. Like fuck off.

Emma:
And you don’t see them doing that to any of your guys.

Alex (Drown This City):
And I was really thinking a lot more about this. And another thing I’ve found quite interesting is the use of saying you’re a “female-fronted band.” So that’s quite a hot topic at the moment. And the thing I can’t get my head around is… I can’t do anything about the fact that I’m female.

Emma:
Yep.

Alex (Drown This City):
But, aside from that, it’s one word. It’s the word female. So putting it in a tagline “female-fronted” – it doesn’t actually change anything. There’s an assumption that that’s giving me an advantage. And that’s not fair. “That’s not fair that you put female-fronted in there stop doing that.”What’s unfair about that?

Emma:
Yeah I agree.

Alex (Drown This City):
I think you’re over sexualising the whole thing. What am I hoping to achieve?  You know, it’s purely because there’s not many female screamers, not many females in bands. The same people criticising are the ones going “where are the females? Why aren’t they there? More chicks should be in bands. But don’t you dare say you’re a female-fronted band!” So I’ve always thought that was really weird as well.

Emma:
Really odd!

Alex (Drown This City):
I just don’t understand the obsession and it wasn’t something that I was prepared for coming in. I just put my head down. I’m just like anyone else. These guys are my best friends. You know you’re in a band with guys and you’re just one of the crew.

Emma:
Yeah you’re just mates playing music together. I was kinda the same like that. I never really knew there was sexism in the industry, it didn’t come in to my sphere of influence. I never thought about it really until a couple of years ago – I mean this blog’s only started this year – when we started releasing a lot more and yeah, it did crop up a lot more. I was like “what? I just thought we were playing music? I didn’t realise this was a thing that I have to deal with. What?”

Alex (Drown This City):
Yeah!

Emma:
So what are you wanting to do moving forward? What are Drown This City up to?

Alex (Drown This City):
Ooooh! Quite a lot of things. We’re quite new, actually. So we withheld a lot of our online presence. We’ve been writing music together for a couple of years, sorta preparing our release. So since December last year we came out. And we’ve just tried to push it as hard as we can. But we’re just focussing on writing as much music as we can because I think that’s a downfall for a lot of bands.

Emma:
Yep

Alex (Drown This City):
They come out with this product and then they tour it, and then they have to take a break. They don’t have anything to put out there. And unfortunately content is key. If you don’t have the content people are just going to move on to another band and it’s quite crushing actually!

Emma:
Yeah!

Alex (Drown This City):
You’ve got these highs and these lows of people coming in and being so interested in what you’re doing – even in our short amount of time we’ve had ups and downs in interest as well. So we’re just writing as much as we can as often as we can. Always prepared for any opportunity coming up. But we’re playing some pretty good gigs for the rest of the year, we’ll announce some soon! We haven’t unleashed them yet. But we’re playing a really good festival next year which I think is the highlight, which is a Unify festival called Unified. And yeah, that’s another interesting point as well because there’s only two females playing that festival..

Emma:
Yeah! Right.

Alex (Drown This City):
There’s myself and another band called Savior who have got a female vocalist as well. A vocalist. (laughts) Not a female vocalist – just a vocalist.

Emma:
(laughs) Just a vocalist, yeah! Happens to have a vagina.

Alex (Drown This City):
Yeah so out of 220 musicians playing there are only two females playing.

Emma:
Wow.

Alex (Drown This City):
So that received a lot of… that sort of sparked a big debate in the last couple months of “where are they.”

Emma:
Yeah well there’s been all those things of people removing all the male bands off festival posters and just leaving women ones on there and being like shrugs the posters are completely bare essentially. But I suppose that’s kinda like dominant in the metal scene, especially. There’s quite a lack of women.

Alex (Drown This City):
There definitely is.

Emma:
Like you go to the country scene and it’s quite even or even like rock.. i mean rock’s not even but it’s  way more women there… metal’s kinda like… even hip hop! Drum and bass. There are some specific genres that are massive genres. Like huge followings.. electronic, drum and bass and the metal scene have very loyal fanbases and huge followings and it’s like “where are the women at?” and there’s a lot of women fans, so?

Alex (Drown This City):
Yeah!

Emma:
It’d be interesting – I don’t know how we’d ever find out – but women fans… whether they are in to women vocalists as well? Whether there is actual bias within audiences? but..

Alex (Drown This City):
Well when I was growing up I didn’t really like a lot of female vocalists. But it wasn’t because they were female. I didn’t go searching for it.

Emma:
No me either. I didn’t know that I should. Or I didn’t have influences that were women. But since starting this blog it’s like.. there are so many women artists out there!

Alex (Drown This City):
Yeah I know!!

Caitlin Duff Manor Good for a Girl Interview

Interview: Caitlin Duff from Manor (@BIGSOUND)

I saw Manor for the first time at Bigsound 2016

Manor Caitlin Duff Interview Good For A Girl

Image: Manor / Caitlin Duff (right, duh) and Nathaniel Morse

A good friend of mine recommended I go check out Manor at The Brightside on the first night of the Bigsound festival, and later that same day I had a message from my ‘helper-outer-crisis-aversion-guy,’ Max, that he’d contacted their manager, and Caitlin Duff (vocalist and writer) was keen as a bean for an ol’ chateroo with yours truly!

I enjoyed their live set, but because I wasn’t aware at the time that they were actually a duo; during it all I could think was that I really wanted Caitlin to be standing proud in the centre like the front-woman she is (or thought she should be). I made sure I asked about this during the interview, and her answer showed precise intent. Good! For a hot minute I was worried she had been forced over there by an egotistical band mate who wanted all the glory for himself. He can live to see another day and I can grow as a person who doesn’t jump to outrageous women-defending conclusions all the time.

Manor Caitlin Duff Bigsound Interview Good for a Girl Live Brightside

Image: Manor performing live at The Brightside, Brisbane / 7th September, 2016 / BIGSOUND 2016 / Caitlin Duff (left, duh)

So, Manor are a 2-piece electro-rock-dream-scape (genre I coined btw) from Melbourne. Well, they describe their genre as ‘beat’ on their Facebook… I’m not sure what pre-requisites are required to be considered ‘beat’ but, I like it when bands create their own genre labels so I’ll accept.

Manor formed and started writing and experimenting together in 2012. They Drip-fed a few (great) single releases, then dropped a 3-track EP in March 2016 titled ‘MANOR EP’ which you can listen to here.

I really dig Manor’s recorded shit – Caitlin’s vocals are totally dreamy and the chill-as production on the tracks makes me just want to chuck ’em on and drive around aimlessly for a few hours in a beat up convertible cadillac while I stare in to the distance and think about my life choices. It’s a good thing, for sure.

Now you should Watch my interview with Caitlin Duff from Manor.

For a full transcript, scroll to the bottom of this post.

I would say ‘I’m looking forward to hearing new music from Manor asap’ but they literally just released a brand new track on the 5th September titled ‘Repent’, so we don’t even need to look forward to it, it’s here already. And it’s 80s and it’s POG effects and it’s definitely driving aimlessly and feeling fucking cool doing it.

So if you like what you hear, check Caitlin and Manor out online!

MANOR LINKS

Website
Spotify
Facebook
Instagram
Twitter

…………………………………………………

Good For A Girl: Caitlin Duff from Manor (Interview Transcript)

Emma:
So, the first thing I want to talk about with you is your influences growing up, like, even as a little kid, even just what music you were surrounded by growing up, maybe your parents, like, what they played around you …

Caitlin (Manor):
Yeah! My dad’s a musician. When I was growing up, he was in an acappella group

Emma: 
Cool!

Caitlin (Manor):
They used to rehearse in our lounge room all hours of the night so I grew up listening to folk music, um, oh Crosby Stills and Nash and Young were always on..you know, the Steve Miller Band. So, for me, it’s always been, like, the vocals is what I’ve been interested in. I’ve learnt instruments but I never took to them in the same way.

Emma:  
Yeah. Yeah.

Caitlin (Manor):
Um, yeah. I was in a couple of choirs for me, but apart from that, I never had any vocal training or anything. I just loved doing it!

Emma:
Yeah. Well, you’re good at it so… (laughs)

Caitlin (Manor):
(laughs) Lots of practice now! Lots of years of singing and relentlessly singing, so yeah.

Emma:  
Were there any sort of flagship acts that kind of made you go “I want to do music. I want to be a singer” ?

Caitlin (Manor):
Um, well, yes and no. We didn’t really have, like, it was all records at home, we didn’t have a TV or anything growing up. So, I didn’t have an icon or, like, a, a heroine that I looked up to in that way.

Emma:  
Yeah.

Caitlin (Manor):
Um, but, people like Kate Bush, um, you know that, that their art is such a visual thing as well. You know, she never really played live. She did like one TV appearance in Germany and hated it and, like, never went back to it! I’m quite an introverted person as well. My performance style isn’t, like, the crazy dancing, moving thing. I like to focus on making sure I hit the notes! It’s my number one thing. (laughs)

Emma: 
(laughs)

Caitlin (Manor):
Yeah, so, growing up my influences were all like, sonic and, and then a bit of a visual scene. But it was always about vocalists with huge range and songwriting.

Emma:   
Yeah. So, was Kate Bush a strong influence to you?

Caitlin (Manor):
Yeah, Kate Bush was a big one.

Emma:
So, did you kind of look up to her, like, was it because she was a woman or were you not really conscious of finding women role models, or?

Caitlin (Manor):
I think the reason why Kate Bush does stand out to me particularly, is because yeah, a lot of music I was listening to was male dominanted.

Emma:
Yeah.

Caitlin (Manor):
Like, you know, as I said before; Crosby Stills Nash and Young – that’s four male musicians making a band and their vocals were so diverse, but, you never get to hear that feminine side. So whenever my Dad would play female musicians I was like [looks excited]. Tori Amos as well! My Mum played a lot of her stuff growing up and, yeah, it does definitely resonate with me, because I can sing their songs, you know? And it just like it’s, for me, um, something I can start to emulate, whereas those male vocalists – i can’t get that way. I can do it my own way but it’s not the same thing.

 

Emma:
Yeah. So when, what actually inspired you to start being a performer? I mean, were you starting in bands or solo, or?

Caitlin (Manor):
The very first band I was in when I was sixteen, the lead singer at the time who was male lost his voice two days before their EP launch. I’d done some back-up vocals on the recording so they asked me to step in for the show. Which was great cause I just sang his lines, but, you know, as a female vocalist, and the audience really resonated with it and they asked me to join the next day.

Emma:
Wow, just “screw the other guy!”

Caitlin (Manor):
Yeah, well he’s still sang, like, we both sang, but I became the lead singer, and he focused on the guitar after that.

Emma:
Cool!

Caitlin (Manor):
Um, so, we toured for six years. And, it was a bit of a fluke. I never intended to be a musician, like I was always interested in other things. I wanted to be an architect, actually.

Emma: 
Wow.

Caitlin (Manor):
So, um, after they asked me to join, that was the end of me. Of that person! (laughs)

Emma:
Yeah! (laughs) So, was it, so that was during high school time?

Caitlin (Manor):
That was, yeah. I was 16.

Emma:  
So you started touring at that age as well?

Caitlin (Manor):
Yeah, year 11 and 12 – there was a lot of missed school. (laughs).  A lot of touring.  And that was hard being in an all-guy band, being they were all you know, 18 or 19, and I was underage. No one ever questioned why I was there. “Why is this 16-year-old girl backstage?” you know. They probably thought I was someone’s girlfriend or something. No one ever spoke to me, really. May I was a little bit intimidating because I was the one girl in the room at all times. Like, “don’t bother talking to her”, you know. “She probably won’t have much to say.” So, fo a lot of my earlier touring experiences I was so shy, so people might of perceived that as me being a little bit stand-offish!

Emma:
Yeah.

Caitlin (Manor):
The guitarist in that band, to this day he’s still like, “I thought you were a total cow.”  (laughs)

Emma:  
(laughs)

Caitlin (Manor):
And I’m like, “I was so shy. I didn’t know what to say to you!”

Emma:  
I get that anxiety too. Like, if I’m just kind of at gig and I’m just kind of in the corner, it’s like “ugh everyone thinks I’m being a bitch but I’m just terrified”

Caitlin (Manor):
Yeah I genuinely don’t know what to say. Like,  the bands I listen to aren’t the same bands that these other guys listen to, because I don’t listen for guitars. I listen for vocals. That’s what gets me. So, often times I just sort of hang around, and I’ve taken on the social media side of the band ‘cuz I can just sit there on my phone and post something to Instagram while everyone’s talking shop. It’s a bit lonely, but yeah.

Emma: 
You know, you kind of touched on that thing where, like, you felt like maybe people assumed you were one the guy’s girlfriend’s and stuff like that.

Caitlin (Manor):
Yes.

Emma:
Do you have a lot of experiences on tour with bands where you aren’t respected? Or people assume that you’re not actually in the band, or maybe when your sound checking – the sound guys kind of being a dick to you you, or anything? Like any sort negative experiences that you’ve had?

Caitlin (Manor):
I think the big ones are the green room. When you’re on a tour with two other bands, and they’re all big guy like, jock-ey bands, and you’re in there, and they’re just doing their thing where they talk about horrible stuff. And then they go “oh yeah, shit there’s a girl in the room”

Emma:
Yeah.

Caitlin (Manor):
And it’s like, “it’s actually fine, I’m used to it.” And then, I stand there and I’m like, why am I used to it? Is that okay, that I’m okay with it?  Am I a bad person, now that I’m listening to these guys be horrible and talk about what girls they’re going to bring in to the room after the show.

 

Emma:  
And they also know that’s it’s gross.

Caitlin (Manor):
Yeah, they do.

Emma: 
Cause, they go, “oh yeah sorry. Well we’re going to talk about these girls like this but don’t worry worry – you’re cool

Caitlin (Manor):
Yeah, yeah, “you’re cool girl” as if that’s okay. And then I have to be okay with it. They don’t give me a choice to say, “actually I am offended.”

Emma:  
Yeah cuz then that potentially creates this tension And that’s kind of the weird position we get put in like we’re just trying to manage not…I don’t want to say intimidating and I don’t want to say offending them either it’s just… yeah it’s kind of weird.

Caitlin (Manor):
That’s the thing, like, you want to have your say and I have put my foot down a few times within the band I’m in. You know, every now and then someone drops a C bomb, or something like that. I’m like, It’s not okay for you to use that word and they’re usually totally cool with it. Then there’s other things like, you know, they love Top Gear and stuff like that.

Emma:    
(laughs)

Caitlin (Manor):
I just have to let it go… I can’t be that guy all time that says “don’t talk about this, don’t talk about that.” I mean it gets too hard as well. Yeah, and it’s kind of, you know, a little bit, um, a little bit… makes me feel like I’m being… being a bit of, a…uh … (laughs)

Emma: 
A bitch? (laughs)

Caitlin (Manor):
Yeah! (laughs) I don’t want to use that word, but yeah. And I guess that’s another issue in itself. Like why do I have to feel like a bitch for standing up for myself.

Emma:
Yeah, it’s insane. When guys stand up for themselves they’re a boss.

Caitlin (Manor):
Yeah. Exactly.

Emma:
But we’re like these horrible bithces that just want basic respect and just generally be treated like we’re other humans in the room.

Caitlin (Manor):
Yeah! Exactly!

Emma:
So I was watching your set last night, and I don’t know if it’s conscious from your guys’ perspective – your stage alignment – but I notice you’re the lead vocalist but you stand off to the left, can we talk about that?

Caitlin (Manor):
Yeah, yeah, yeah!

Emma:
Where does that come from?

Caitlin (Manor):
Um, well, my vocals are soft. Like I’m a quiet singer. So we were sort of working out the best way – in the early stages – to have my mic not run so hot all of the time. Where if I stand in the middle you’re just gunna hear drums, ‘cuz our drummer is a beast. He is super loud! So, me standing off to the side, we can turn the mic up little bit higher, and get more of my vocals…

Emma:
Nice, because it’s not swelling the the microphone.

Caitlin (Manor):
Yeah It’s like that. And Nathaniel’s guitar, like, he’s incredible. So, like, his pedal board takes up half the stage. So, um …

Emma:
(laughs)

Caitlin (Manor):
Yeah, it just works for us. And I feel a little bit less self conscious, and like I have to be like this, total big front woman, moving about, and like dancing, and stuff like that. I mean, as I said before, I just like to make sure I’m hitting the notes!

Emma:
Yeah, and create more of a team effort with the band as opposed to establishing that “I’m the main person – you have to watch all of this”

Caitlin (Manor):
Yeah. “I’m chick in the front, give me all of your attention” when we’ve got these incredible musicians that we play with. They deserve the lime light just as much. And it’s so easy  to just have 3 across the front.

Emma:
Cool! So what’s next for you guys? Have you got releases on the table…

Caitlin (Manor):
We do! We just released a single yesterday, officially. “Repent,” which is going well, which is good. And we’ve got, an album coming out early next year, which we’ve just finished recording.

Emma:
Awesome.

Caitlin (Manor):
Yeah, a few shows coming up, in Melbourne particularly, where we live. And just taking it as it comes, yeah!