Where are you from? Does the location have any influence on your music?
Grand Atlantic was formed and is based in Brisbane, Australia. There are several aspects to life in Brisbane that have impacted on the formation of the band. The city has a vibrant and varied live music scene and also has a well-documented tradition of Internationally recognized artists including The Bee Gees, The Saints through to more recent groups such as Savage Garden and The Veronicas. n 2009, Brisbane was named in Billboard magazine as one of the 5 hottest cities in the world for music.It is rapidly expanding and growing with people from all over the world moving to the region for the weather and laid back lifestyle. Brisbane's musical heritage has grown out of an oppressive State Government which actively tried to stifle youth culture through the 1970s and 80s.
How would you describe your music?
Our music is predominantly 1960s influenced alternative melodic rock. Other words that have been used to describe it would be Powerpop, Indie etc.
What genre of music do you consider your work to be?
Indie, Alternative rock, Pop rock, Powerpop
Who are your major influences?
The Rolling Stones, The Beatles, Brian Wilson, Teenage Fanclub, Swervedriver, Sounds Like Sunset, The Kinks, The Doors, My Bloody Valentine
What's your/the band's history? (how many albums, when they were released, how long you've been in the industry, etc.)
Grand Atlantic formed in a small coffee shop in Brisbane's inner city Paddington as 2005 came to a close. The band came together after a variety of defunct projects allowed a group of friends to explore a new creative outlet, to explore their musical ideas and to form the band they had always dreamed of forming previously. With a new name chosen and a group of songs coming together, they started work immediately on recording songs for their first release. The band's sound is built on the compositions of principal songwriter Phil Usher, with the arrangements assembled together during the demoing and recording process.
These recordings resulted in their first release in September 2006, the well-received EP entitled "Smoke and Mirrors" on opboomerang Records. The band became a regular on the Australian touring circuit, undertaking several tours up and down the expansive East Coast of Australia on the back of strong support from radio stations Triple J, Triple Z and community (public) radio around the country.
Grand Atlantic continued in the studio, with their debut LP entitled "This Is Grand Atlantic" (Popboomerang Records) in June 2007, again to glowing reviews and increased international support from radio, blogs and podcasts. More touring ensued, along with various accolades from the likes of The International Songwriting Competition, festivals and showcases as well as international support shows around Australia. The album was recorded, mixed and produced by the band at their original drummer's studio (Aisle 6), which proved to be a rewarding yet painstaking effort. Unfortunately, as 2007 came to a close, founding member Nigel Smith had to resign in order to meet family commitments and the band replaced him with their sometimes keyboard player, Morgan Hann on guitar and backing vocals.
After a hectic touring schedule throughout the end of 2007 to promote their debut album, Grand Atlantic started writing and recording album number two at the beginning of 2008. The decision was made to return to Aisle 6 to track instruments with a view to outsourcing the mixing in order to build on their sound. The lads kept a hectic schedule during 2008, spending countless hours in the studio as well as touring, making music videos and generally working towards building their profile.
This relentless schedule saw founding drummer Scott Mullane also depart from the GA lineup to spend more time with his young family. The search for a new drummer led the band to Mat Von Diehm. Mat had played in a support band at Grand Atlantic's "Smoke and Mirrors" EP launch and had stayed in contact with Phil.
With the new lineup in place, the boys pooled all their efforts into finishing the recording of "How We Survive." Uber-producer Magoo was enlisted to mix the opus at his Blackbox Studio in inner Brisbane. Grand Atlantic finally had a second album up their collective sleeve and the tracks were sent to Yes, Master in Nashville to be prepared for release.
After sending the album out to labels and a variety of industry people, Sydney's Laughing Outlaw records came on board to release the disc. The band still continued to tour and work at building a momentum for the launch of "How We Survive". The album was launched at Brisbane's rock and roll institution The Zoo to a capacity crowd and kicked off another national tour to support the release.
The album has received plenty of traction on radio, blogs and podcasts around the globe, as well as placements on TV. This attention led The USA Network to use one of the songs on a 6 week summer campaign in the U.S.A to promote their new programming.
Grand Atlantic continued to play key shows and tours around Australia up until the end of 2009 and then embarked on a 15-date tour of the US and Canada, playing at Canadian Music Week and South By Southwest in March 2010.
What's the story behind your band's name?
The band was named after the Grand Atlantic Hotel, which was situated on the shores at Atlantic City, New Jersey. The story of Jaws was based on events that occurred in the area and it was also the location for much gangster activity in the early 1900's. Besides the fascinating history of the Hotel, we also loved the name and felt that it reflected the music that we wanted to make.
Who are the band members (with instrumentation) and how did you come together? When did you form your band? What inspired you to make music together?
Phil Usher | vocals, rhythm guitar
Sean Bower | Bass, backing vocals, samples
Morgan Hann | Lead guitar, backing vocals
Mat Von Diehm | Drums
Also | See answer to question 3
Grand Atlantic formed in a small coffee shop in Brisbane's inner city Paddington as 2005 came to a close. The band came together after a variety of defunct projects allowed a group of friends to explore a new creative outlet, to explore their musical ideas and to form the band they had always dreamed of forming previously. With a new name chosen and a group of songs coming together, they started work immediately on recording songs for their first release. The band's sound is built on the compositions of principal songwriter Phil Usher, with the arrangements assembled together during the demoing and recording process.
Who writes your songs? What are the main themes or topics for most of your songs? Do you think these topics will change over time?
Phil Usher | Songwriter for Grand Atlantic. The themes of our music are quite varied and have changed as the band has progressed. The songs have covered subjects including different types of relationships, the pitfalls of the music industry, the ups and downs of everyday existence, self belief vs self doubt and dealing with the difficulties of life in the 21st Century. I can see the next album progressing in new directions. Songs that I have been working on lately have covered topics such as infidelity, the loss of innocence and dealing with the disappointment of fallen idols. I can possibly see the next album becoming more personal in its content.
Could you briefly describe the music-making process?
I write songs in many different ways and it really comes down to when and where the inspiration comes. Usually I write the music first, but I also keep notes of lyrical ideas as well as recording any musical thoughts as they come to me. I prefer to write on my own, demo the songs and then play them to the rest of the guys but lately we've been jamming a bit more and working on things together. When I demo a song, I generally play all the parts myself but it's mostly so that I can listen back to it and to make sure that I feel it's working cohesively. From there, we work on it together and make any adjustments or changes in the practice studio. I think my best ideas come when I'm falling asleep or waking up, which is unfortunate because if I don't document them then and there, they are usually lost forever. It must be the altered state that my brain is in during those times.
Who and/or what serves as your inspiration?
I am inspired by anything and everything. I often find driving and watching films inspiring, particularly with lyrics. If I'm experiencing a particularly intense phase of writing, my ears and eyes are open to everything around me. It might be a phrase from a conversation, something you see in the street or even a story you read in the newspaper. I find inspiration a mysterious force that has a habit of directing you rather than the other way round.
How has your music evolved since you first began playing music together?
It's definitely become more raw. Playing live has made that happen in some ways. As we've gotten more proficient with the songs, they've evolved and changed as we've added new ideas and changed them slightly. Also, as we've got more confident, I think we're learning to take more risks as a band, which is a good feeling. I guess our music has become less obviously reflective of our influences and they are starting to mash into each other. Having new members also has had an affect on our sound in that I think it has more energy now.
What has been your biggest challenge as a band? Have you been able to overcome that challenge? If so, how?
There are several that come to mind. Firstly, it has been hard to maintain a stable lineup. We've only changed a couple of times, but that can be extremely frustrating. I really feel that we've consolidated things now and have found our definitive lineup, which is fantastic.
Secondly, I'd say that being independent in a place like Australia has been difficult and a blessing at the same time. The biggest obstacle is probably finance. Things are gradually improving, but we've had to fund many things ourselves, especially in the early stages of the band. That can make things difficult, but it also shows where your commitment lies and also helps people to take more ownership of the band and your music.
What's your ultimate direction for your band?
This is a tough question. My feeling is that when you pour your soul into something, you can't help but have expectations. Obviously we believe in what we do and would like as many people to hear our music as possible. It would also be great to carve out a career as artists as well. Having said that, knowing how fickle the industry is, how political and also how competitive, we try to focus on being the best band we can be. This means playing excellent live shows and writing the best bloody songs we can. We work at focusing on these things because I think it's really important to enjoy the journey and there are so many aspects that you can't control. It is important to work hard but also enjoy the process.
What training, if any, do you/members of the band have?
Morgan Hann has studied music at University majoring in production/songwriting and has been playing piano, guitar and singing since he was a child.
Sean Bower is a self-taught bass player and really understands the roll of the instrument in the band. He learnt playing along to some amazing bands (the BEST training).
Mat Von Diehm had lessons on drums as a teen and also learnt from playing in bands etc. He wasn't allowed to play at school because they told him he played too loud.
Phil Usher started learning music at an early age and has had lessons on Violin, Guitar and Percussion. He has played in Orchestras, Jazz bands and of course Rock groups. He doesn't like to admit it, but he studied classical Percussion at the Queensland Conservatorium of Music before leaving that world to pursue the rock and roll dream.
Who is the primary song writer?
Phil Usher
Where did you record your latest album, and why?
The latest album was recorded by Scott Mullane (founding ex-member) at Brisbane's Aisle 6 studios. At the beginning of the project, Scott was still playing with the band and the intensity of the recording along with maintaining a live presence became too much to juggle with his other commitments. Originally the studio was chosen because of convenience, accessibility, financial reasons and also because it was a known entity having recorded our first album there. We knew that we could pull good sounds and take extra time to make sure things sounded the way we wanted to. We did record some other bits such as percussion and grand piano at Ghost Gum as well as the harpsichord and organ at 2 other places. It was also intended that we would get an outside ear to mix the project once finished so as to give it a fresh approach once we were done. Magoo mixed the album at Blackbox studios and it was mastered in Nashville by Jim DeMain at Yes! Master.
What's a live show like for you/the band?
I think it's where all the hard work we've been doing seems worthwhile. It's such a great feeling to be able to walk out onstage with your mates and play music that you're proud to share with the audience. Bands seem to spend so much time traveling, setting up and waiting round to play a show, but it's all worth it when you get to that part. Of course it's the reason hopefully why you do all the boring stuff behind the scenes. I would definitely say that it's one of the greatest buzzes on the planet and probably something that you can't quite put into words that people who haven't done it could understand.
Where have you performed? What are your favorite and least favorite venues?
Grand Atlantic has to date only played at venues around Australia. Our favorite venues to play in Brisbane (our base) are The Troubadour and The Zoo, which are well known in our city. We've also had some great experiences playing in Melbourne. There are many fantastic venues in the city and there is an amazing live music culture there. People really enjoy going out and seeing new music. We've had some enjoyable shows at festivals such as Sounds of Spring in Brisbane and One Movement in Perth. Festivals have a totally different vibe for the band and audience as opposed to a club, which is a welcome change at times.
As individuals, we've played music in places around the world, including U.S.A, Japan, Hong Kong, China, England, Philippines, Scotland and Canada in a variety of groups, situations and venues.
Of course, Grand Atlantic as an entity has had some experiences wefd prefer to forget. We're pretty happy to play anywhere where there is a receptive audience of a combined number greater than the personnel onstage. Also, having a good mixer and a decent PA helps, as does a friendly bar/venue staff. The horror stories are usually the ones where the show wasn't promoted properly, the PA is crap, the sound guy is rude, unhelpful or absent, there is no rider, the staff is unfriendly and mean, or where the sound guy is the only one in the audience. There have been times that have ticked all these boxes. I won't mention any venue names to protect the innocent.
What's life on road like for you/the band? Any van necessities that are creatures of comfort etc?
In the current lineup we've done a moderate amount of touring so far. We all get on pretty well most of the time. Everyone takes their turn at being difficult at times, which is fairly natural. We always have an ipod that so that we can play tunes in the van or listen to comedy podcasts. We've been listening to a lot of Ricky Gervais' radio show thanks to Mat, which provided many laughs. I always take one of those sleeping eye masks and I think earplugs are a necessity for sleeping and sanity sake. Sean usually brings a book and I would have to say games on the iPhone have become a necessity of late as well.
What notable bands and artists have you worked/played with?
To date, we've played with Silversun Pickups, Youth Group, Dappled Cities, Operator Please, John Steel Singers, Hungry Kids of Hungary, Spiderbait, Tim Rogers, From the Jam and shared festival stages with the likes of The Living End, Ed Kuepper, The Red Paintings, Violent Soho, Yves Klein Blue, Sarah Blasko, Hilltop Hoods, Kate Miller-Heidke, Screamfeeder, Little Red, Art Vs Science, Wolf and Cub, Bertie Blackman, Philadelphia Grand Jury, I Heart Hiroshima and many morec
What's the best thing about being in the industry? What's the worst?
The best thing about it is definitely the opportunity to write and play our music. This also gives us the opportunity to travel and meet an amazingly diverse range of people. I have friends in other countries that I wouldn't have met if it wasn't for my involvement in music. It has enriched my life immensely.
The worst things are probably the difficulties that you face. There is no end to obstacles that you have to negotiate on a daily basis, including finances, competition, juggling life commitments, fashion trends, shifty people, political games, constant disappointments, negative reviews, and ignorance to name but a few. In Australia, we also deal with having to travel large distances to play to a relatively small population. This is also compounded by the fact that we are so far away from the rest of the world, which makes international touring very expensive and problematic.
What do you hope to accomplish through your music?
I guess primarily it is a personal outlet which allows us (Grand Atlantic) to process our lives and the experiences that we have as humans in an artistic and positive fashion. I would have to say personally that I get an immense enjoyment and sense of satisfaction from writing songs and singing them. From here, I hope that other people enjoy the songs and our performances, and that the music can enrich their lives in some way. Music has been a very powerful force in my life and has meant so much in so many different ways and situations. I know there is an ocean of people in the world who feel the same. I hope that we can serve these people's ears in some way.
How are you adapting to the changes in the music industry?
We have been concentrating our efforts on having an online presence. Our music is available worldwide through a variety of online retailers and sites. We have also been promoting our music to online blogs and podcasts which have been extremely helpful in exposing the band to a global audience. We often discuss new technologies and ways that we can use them as a band to promote ourselves. Our approach to innovations and changes is generally focused around publicity rather than changing our music.
What awards or recognition have you received from the industry (i.e. songwriting awards, best new artist, airplay, or press etc)
We had a third place in the International Songwriting Competition for our song "Coolite" in 2007 in the Rock category. Also an honourable mention for the song "Wonderful Tragedy" also in 2007 in the performance category. Our Smoke and Mirrors EP received a 'top 10 releases of the year' stamp of approval from Sydney's Drum Media; "This Is Grand Atlantic" was Album Of the Week on PBS Radio in Australia, was named by the Courier Mail's in their TOP TEN list for 2007, #11 in The Absolute Powerpop Top 50 of 2007, and made #115 in David Bash's Top 125 of 2007. "How We Survive" was in the Ripple Effect Top 10, made #38 in David Bash's Top 100 and #48 in The Absolute Powerpop Top 100. All the release have received amazingly positive press around the world, but particularly in the US. And one nice piece of new | the USA Network used 'Holding Pattern' for their new show promo in the fall of 2009c
What other interests do you have outside of music? Do any of your interests influence your music at all? If so, how?
Sean | Reading, collecting music, movies by the Coen brothers, the art of home brew.
Mat | Skateboarding, drawing/graffiti-ing, fixed gear bikes, tattoos, cute girls, having sweet hair, NBA Basketball.
Mat - skateboarding definitely has an influence in my musical tastes because of the amount of punk/hard rock/metal on skateboard videos, along with the tasty jams of some hip hop acts like Jurassic 5 and the like. I think the way I dress/act and play drums is more like a skateboarder than a drummer, just hit it hard, and if you bail or mess up, make sure you hit it harder the next time.
Morgan | Beer, vintage and western clothes, classic cars and indoor soccer.
Phil | Retro furniture and vintage clothes, classic movies, collecting vinyl, thrift stores, antiques, live music, beer, recording and production.
Phil - For me personally, I think my love of rock and roll history from the 50's to the early 80's probably does have an influence. The clothes, artwork, and recording processes fascinate me. I think my love for the history of rock in some ways permeates our music.
Who are your favorite authors/books?
Phil | I really like reading James Bond novels by Ian Fleming, pulp fiction novels and also read biographies of bands as well. I also read music press, magazines, street press and comic books when I can. Unfortunately I don't have a lot of time to read at the moment.
Mat | Douglas Adams | Hitchhikers Guide To The Galaxy Series, Dirk Gently | Holistic Detective Series
Is there anything unique about where you live (i.e neighborhood, building, items in a specific room etc)
Brisbane has a unique history, which has resulted in a musical heritage that is quite well documented. Probably the best-known stories are of the Bee Gees who grew up in Brisbane as well as The Saints who were one of the first punk bands. Although both stories are interesting, The Saints are often talked about due to the fact that their music was inspired by a particularly difficult and ugly time in Queensland state politics. They are also often credited with having the first recording in the punk genre worldwide.
Phil | I live in a house that has been in my family since about the 1920's.This is special to me because of all the family stories that revolve around the home and the fact that many of my ancestors have lived here. The photo on the front cover of our first album was taken by my Mother in 1955, in the front yard of our house. It's a picture of my Aunt as a little girl dressed up for a party. I have a very strong connection with the history of my family and how it relates to where I live. My house is decorated almost exclusively with treasures that predate 1980.
Sean also lives in a pre 1960s house which is also predominantly decorated in vintage pieces.
Mat | Currently living in his folk's garage due to GA's hectic touring schedule. It makes him feel like a teenager again, but the temperature is akin to a prisoner of war torture device. It does however keep him thin, which is good for fitting into tight pants and also keeps his pores open.
Anything unique or different about your background/band?
Difficult question -
Phil | I've been learning music since I was in the 3rd Grade. My musical experiences have allowed me to play in a wide range of musical groups including Concert Bands, Jazz Bands, Professional Orchestras and Rock Bands. I've traveled the world playing music and shared the stage with a vast range of international artists, even once playing drums for Barry Manilow. These musical experiences led me to form Grand Atlantic, which I feel is the culmination of all these opportunities. I'd like to think that the band's music reflects these musical experiences, particularly my time playing classical music. There are some orchestral moments on our records, which I am very proud of. There are other artists who are working in a similar vein, however it is a point that somewhat sets us apart from other bands in our genre.
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About the new album (How We Survive)
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What is the title of the album? What does it represent to the whole?
Why did you choose it?
"How We Survive."
We chose the name because it was quite symbolic of where the band was at during the process of making the record, as well as reflective of living life on earth in the 21st Century and the struggles we face in the modern age. In some ways, making this record was very easy but in others it was difficult at the same time. A lot of the themes deal with the duality that we face as humans. Life can be so amazing and tragic at the same time and we all have our own ways of dealing with things and coping on a daily basis.
Can you list each song and tell me about the meaning behind each song?
Phil | I'm very careful when discussing the meanings of songs with people. The main reason is that I feel that it's a very important part of the process to allow the listener to draw their own conclusions so that they can "own" the song for themselves. Often I have an idea of what I want a song to say when I start writing it and then it has a way of changing on me. Because I write the melodies first, quite frequently the melody itself informs the words. I believe in going where the inspiration takes me rather than trying to control it too much. With this in mind, some songs tend to come out sounding like there is a stream of consciousness to the lyrics. Other times, because there could be several drafts of the lyrics, it can get to the point where the original idea and meaning are lost and a new song emerges.
[ Coast Is Clear ]
This song is about dealing with the impatience of feeling like you're in the wrong place, can't see a change on the horizon and would like to be somewhere else.
[ Tripwires ]
Lyrically this song has a free thought sort of style, but is hinting at the obsession with celebrity in the 21st Century media and therefore society.
[ She's A Dreamer ]
A celebration of people who don't fit into the drudgery of the daily grind and build their own fantasy lives to escape.
[ Freeway ]
This is a song about life coming full circle. Also returning to places or times in your life that you had previously moved on from.
[ How We Survive ]
Lyrically this song is about the struggles that people face in the modern world and the way they deal with them. I guess I wrote it when thinking about the inequalities in life depending on where we live in the world and what we consider necessary for survival given your particular circumstance or geographical location.
[ Used To Be The Sensitive Type ]
This song is about dealing with being an outsider and coming to a place of acceptance.
[ Just Another Ghost Town ]
This is a song about bad relationships
[ Hit n Run/So Cold ]
This song deals with the idea of losing someone close to you and how it feels when they're gone.
[ Holding Pattern ]
This song is about the obstacles that we face as we try to pursue a dream or do something different from the status quo.
[ These Are The Times ]
I wrote this song about the fact that there are good and bad times that we all face, but that these experiences all contribute to who we are as people and to our collective life experience. I think that if life is a rollercoaster ride, we should try to enjoy the journey as much as we can. Ever moment is truly precious.
[ Don't Say Goodnight ]
This song is a plea to people who have or are giving up on themselves.
How was making this record similar to making your last record? How was it different?
The similarities were mostly that we did the tracking at the same studio. The first record was written and recorded over a longer period (2 years) while the second took about half the time. The personnel were slightly different on the second record, although 3 of the founding members of the band were involved in making the second one. The first record is somewhat more symphonic in nature with strings and brass featured on several songs. The second record was mixed and mastered at different places than the first. I think the second is purposefully slightly less polished than the first in order to achieve a more raw sound. We also had more confidence when going into recording the second album. We definitely had everything demoed and worked out with the first one, but left a little more to the moment in the second one, having had more experience.
What new experiences did you encounter making this record?
It was great to work with Magoo which we hadn't done before. I wrote a short brief on what I thought each of the songs should sound like then let him go. It was really interesting to finish tracking and then have an outside ear put a fresh touch on the mixes. He has worked with some fantastic Australian artists and it was a real pleasure to have him work on our music. The other thing was that Morgan and I both did a little tracking ourselves, which was cool. We spent one day recording Harpsichord at a friend's house, amongst other things, and it felt great to have the confidence to record some things ourselves.
Did you record the exact amount of songs for this record or pare it down from more recordings?
We recorded 12 songs properly at Aisle 6 during the process, plus a few other little demos that we did ourselves. The 12th song is available on itunes.
When you listen to the record, what excites you the most as the creator? What makes you proud to share this with friends and family, and, ultimately, fans?
I feel extremely proud of the songs. There was a certain amount of time pressure going in to making the second record, and as the songwriter I certainly felt it. It was particularly hard due to the fact that we'd set the bar so high for ourselves with the first one. I really didn't think I could do better than that but listening back to it now, I sincerely feel that I have achieved that.
The other thing for me is the satisfaction of hearing what you have envisaged in your head come to life. As a musician, I am amazed that we can create something from nothing. To me that is magical, and an amazing privilege.
We've also always tried to make our albums like a listening journey for people and I feel like both of our albums achieve that goal.
How will fans react to this album compared to previous albums?
The reaction so far has been fantastic. I haven't heard too many people compare them in terms of which one is better. I think with this one, it still has those moments of instant gratification, but I'd like to think there is really room for the album to sink in with time and get it's hooks into you on another level as well.
How do you feel you grew as a songwriter both writing and recording this album?
I really pushed myself with some of the songs. I never want to over complicate things because I want our music to sound like it was easy to write, even if it wasn't. Some songs always come together easier than others. I think having a deadline was good for me. I usually take quite a long time to write songs in order to let them breathe and find their own way out of my head without forcing it too much.
Lyrically, I tried to pursue new subjects and material than previous times and say things in different ways than the first. There are some songs that I really worked hard on with the arrangements and structures. A good example is probably the title track. It's the first time we've actually done a time signature change and a tempo change at the same time. Having said that, it wasn't some lofty concept that I wanted to fit into a song. It came quite naturally. |
