“Bushfire Moon” is inspired by real events following the Dunalley bushfires. Can you share more about how those experiences shaped the song’s narrative?
I can remember standing out on the verandah of my mother in law’s house in Lewisham in the summer of 2013. And we could see the beginnings of this very large bushfire taking off on the hill. It wasn’t coming towards us, but moving south and sadly continued on to burn about 29,000 hectares of the tasman peninsula. It cut the peninsula off and people could only get there by boat. Just about anyone that had a boat were heading back and forth down there ferrying supplies and people and the community rallied around and helped as best they could.
I had this fictional character in my head when I wrote the song. A volunteer firefighter, battling the blaze. At a certain point he realises the fire is raging out of control. Nature in all of its fury is unbeatable. So he down’s tools and has to get out of there. All he can think of is finding the love of his life before it’s too late. So he’s taking the back roads, the old roads, any way that he can to find her.
What was the creative process like working with Jeff Martin on “Bushfire Moon”? How did his influence shape the sound of the track?
I recorded a demo of this song with a full band that I’d sent to Jeff before coming up to record the album version. The demo is very “Australiana?Aussie Rock” and carries most of the elements that went into the album version. Jeff and I were happy with the whole structure of the song and so nothing had to change there. In fact all of my guitar parts and vocal tracks are pretty much identical to the demo.
In his mind, Jeff could hear a more country music feel that he wanted to draw out. I was a little dubious about this. Not that I don’t like country music, it was more that I’ve never written a country song and just couldn’t hear how that would work for the song.
So Jeff came up with this slide guitar idea which now forms the hook of the chorus. And Jeff’s long time friend Hellhound Brown came up into the studio and performed that slide guitar part on the right hand side. Jeff then played a similar part with a Fender Telecaster (B-Bender) on the left hand side. Suddenly, BAM it’s a country song. Haha.
Didn’t end there! Luke Moller then came in and added a fiddle to the end breakdown and it became even more country.
I guess in essence, it has a country feel, but it crosses a couple of genres which is a bit of fun.
Your forthcoming album “Black Dogs and Songbirds” features a diverse range of musical styles. How do you feel your upbringing in Tasmania influenced your sound?
Absolutely intrinsic. I was raised around folk music predominantly. Storytelling and meaningful music around me quite a lot. My dad John Coleman has been a prolific folk artist in Tasmania since the 70’s and so this acoustic, solo singer songwriting style has influenced me a lot from childhood.
As I got older, I moved into heavier music like Soundgarden, The Tea Party, Nine Inch Nails and also much heavier stuff (metal and prog rock etc). But my own style on the album is crossing genres from just my own experience of being a big fan of all of this music. Jeff Buckley, Neil Young, Bruce Springsteen, Eddie Vedder, Dave Matthews, Paul Kelly. Just lots of ingredients in the pot.
Being raised in Tasmania, there’s also the physical impact that the place has on you. Hot summers and freezing winters. I love the coast of Tassie and its landscape affects me deeply. You can hear the influence in this record on multiple songs. It wasn’t a purposeful act, but just pops out in the lyrics from time to time.
I feel like there are a range of styles on the album yes, but the central focus is an acoustic guitar (save for one or two songs), where I can get away with playing that album solo no problem or go all out with a 6 piece rock band and both ways work.
You mentioned that each song on the album channels its own unique sonic flavour. Can you tell us about one or two tracks that you’re particularly excited for listeners to hear?
Well I mentioned above that a lot of the album is acoustic guitar based at its core, but there are a couple the drift into electric land and punch a bit harder.
One is “Such Confidence” which might sound a bit like Soundgarden, Rage Against The Machine and The Tea Party had a baby together. Sonically this one is very different to the rest of the tracks which heavy overdriven guitar rock dominating. And Mellotron layered over the top that gives it a bit of a vintage vibe. It’s a fun song to listen to and has its place in there.
Another is “The World Is On Fire, But You Look So Great”. This one has a bit of a Jeff Buckley and early Radiohead influence in places. Musically I love the direction it takes. Descending, interesting guitar lines. Lots of vocal harmonies and feel. The song takes its time. It has never screamed “Single!” to me, but it is my personal favourite from the album to listen to because we allowed it to breathe until it was spent. Lyrically, its a subconscious brain dump/stream of consciousness appreciation song of all things feminine. Mothers, Lovers, Daughters, Sisters and all.
The music video for “Bushfire Moon” uses striking visuals to reflect the reality of bushfires in Australia. What was your vision for this video, and how did you collaborate with Thomas Roach on it?
Tom can take full credit for this. When it comes to visual art, I am a novice. So when I approach a music video and know I’m dealing with a good director/producer, sometimes for me, I like to get them to listen to the music and for them to tell me what they envisage from what they are hearing.
In this case, I did this with Tom. And Tom went literal. He had footage of fires and devastation etc. and rather than that being played behind me on green screen. He set up two Projectors in a studio and had me stand in front of a white wall and play the song. Then he projected the visuals on to me and the wall behind and captured that.
What themes or messages do you hope listeners take away from “Black Dogs and Songbirds”?
I’ve created this album primarily for myself, pouring in a great deal of effort and emotion. Completing the record was immensely satisfying, and I feel like my journey with it is complete. From here on out, it’s an exploration and I’m so curious in seeing how it unfolds once its out in the wide world.
“Black Dogs and Songbirds,” serves as a metaphor for life’s ebb and flow—capturing intense lows guided by the black dogs, and exhilarating highs led by songbirds. This theme of contrast is woven throughout and I’d recommend a listen with headphones at full volume for the immersion.
Ultimately, I hope listeners find their own meaning in the album. My part is finished, but I invite everyone to explore and connect with the songs personally in their own way.
Your tour with Jeff Martin marks a significant moment in your career. What are you most looking forward to about performing these songs in a stripped-back acoustic format?
Such an incredible honour for me to be performing with Jeff Martin. I can tell you now, my 14 year old self would be curling his toes in excitement.
I absolutely love the stripped back format and playing these songs solo. The album is more like a six piece band in all of its fullness. However almost every song on the record began with just me and an acoustic guitar. So its very natural for me to play in this way.
I most look forward to the intimate side of these shows where the guitar weaves in and out of the lyrics and people can get lost in the story.
You describe your music as a blend of various influences, from classic rock to singer-songwriter. How do you balance these different styles while maintaining your unique voice?
I feel like we are all just a product of our own experience. We’re shaped by what we hear, what we do and what happens to us.
When it comes to music, in the past when I was inexperienced, I would try to sound like the music that I loved.
These days, I understand all these styles are imbedded in my psyche from the constant barrage of music that I soak up. And so in writing new songs, I can let go of the expectation of what exactly I want a song to be or to sound like. I just let it happen and I don’t try to sound like anything.
So, in letting go of that, I have my own style and voice, but it’s also nostalgic to listen to. You’ll hear lots of influences in the music and I’m unapologetic and happy to have people identify them because there are many and they are varied.
What can fans expect from your upcoming full band tour after the album release? Will there be any surprises or special performances?
If I told you everything it wouldn’t be a surprise!
The full band tour will be everything we have to offer on display. From the big epic rock songs, to the ballads and stories.
With any luck there will be some interesting instruments on stage that fans may not have seen or heard before and we’re also tinkering with a few new songs and interesting covers that I hope people will love.
As a musician who learned by ear and honed your craft over the years, what advice would you give to aspiring songwriters and performers?
Good question. I wish someone could have told me in the early days to not expect too much for yourself early on. Don’t “Try” to be like anyone else. Because in essence nobody really cares at the start except probably you and your parents. So give yourself time to bloom and have experiences. That’ll shape you as a person and an artist.
Approach your music seriously with intent. But don’t take yourself too seriously.