Fleeting Persuasion interview
Q: Can you talk about your history as an artist?
A: I think it definitely stemmed from growing up in a household with lots of music going on. Mum is a piano teacher, Dad was an Elvis impersonator. I guess it all kinda seeped into the subconscious, but I was mostly into sport growing up so late teens was when I started writing songs and took a more serious approach to expressing all the angst through music. My first band Charm is quite heavy, sort of like early Something For Kate, Heatmiser, Screamfeeder. Since then I've just kinda stumbled around aimlessly going solo, while also starting another band called Old Etiquettes, then returning to solo but under the name Fleeting Persuasion.
Q: What is your recording process usually like when you record music?
A: It usually starts with getting the drums down. Then agonizingly adding whatever comes next, either bass or guitars followed by vocals. Lately though with a few of these new songs being more synth and drum machine driven, it's been fun really starting from scratch and going off my home demos building the song in the studio itself as opposed to rehearsing with a band. Crosstown Studios has a great owner/engineer Josh Whitehead and it's been a bit of a creative collaborative effort on these songs.
Q: What is your creative process like?
A: Comes in waves and in the form of a body of work usually. If I come across a guitar tuning I'm really fixated on or just a general feeling, I have the need to capture it. If I'm coming to the end of promoting a new release I like to just get ready for what's next. Lately I've been revisiting old semi discarded guitar parts that might come on shuffle every now and then. So I make an effort to tie up those loose ends if I feel it can be made into something strong. And if I can remember how the hell to play it!
Q: Are there any recurring themes that you notice that find their way into your music?
A: Definitely. Often involves an actual experience that I can no longer pinpoint or remember well, but it's had a profound impact somehow without me even realizing. Usually it's something that doesn't make much sense either so that's what makes it reoccur and manifest in different ways creatively I find. But I'm not really trying to find answers either which is what makes it so fascinating to keep writing about.
Q: Have you started playing shows or virtual shows?
A: Neither actually. Not in much of a rush. Feeling like more studio time is all that's really on the horizon. Had so much fun playing shows and doing the tours over the years the good memories are enough for now.
Q: Can you talk about your single “Passed Through?”
A: It was one of those guitar progressions that got sidelined for a bit. Then when I went to revisit it, I played it quite differently cause no matter how much I tried I couldn't find the exact chords. Bit luckily the right mood and feeling was still there. I didn’t think it would become as dense and thick with synth-y sounds in the studio. But it became clear that one kick and snare sound wasn't enough, times it all by three and here we are. I like to let myself get carried away a bit and throw as much ingredients into songs as possible these days. And I'm lucky Josh at Crosstown helps me achieve that!
Q: What else should we know about your music?
A: I guess that there probably won't be any shortage of it in the near future!
Q: Can you talk about your history as an artist?
A: I think it definitely stemmed from growing up in a household with lots of music going on. Mum is a piano teacher, Dad was an Elvis impersonator. I guess it all kinda seeped into the subconscious, but I was mostly into sport growing up so late teens was when I started writing songs and took a more serious approach to expressing all the angst through music. My first band Charm is quite heavy, sort of like early Something For Kate, Heatmiser, Screamfeeder. Since then I've just kinda stumbled around aimlessly going solo, while also starting another band called Old Etiquettes, then returning to solo but under the name Fleeting Persuasion.
Q: What is your recording process usually like when you record music?
A: It usually starts with getting the drums down. Then agonizingly adding whatever comes next, either bass or guitars followed by vocals. Lately though with a few of these new songs being more synth and drum machine driven, it's been fun really starting from scratch and going off my home demos building the song in the studio itself as opposed to rehearsing with a band. Crosstown Studios has a great owner/engineer Josh Whitehead and it's been a bit of a creative collaborative effort on these songs.
Q: What is your creative process like?
A: Comes in waves and in the form of a body of work usually. If I come across a guitar tuning I'm really fixated on or just a general feeling, I have the need to capture it. If I'm coming to the end of promoting a new release I like to just get ready for what's next. Lately I've been revisiting old semi discarded guitar parts that might come on shuffle every now and then. So I make an effort to tie up those loose ends if I feel it can be made into something strong. And if I can remember how the hell to play it!
Q: Are there any recurring themes that you notice that find their way into your music?
A: Definitely. Often involves an actual experience that I can no longer pinpoint or remember well, but it's had a profound impact somehow without me even realizing. Usually it's something that doesn't make much sense either so that's what makes it reoccur and manifest in different ways creatively I find. But I'm not really trying to find answers either which is what makes it so fascinating to keep writing about.
Q: Have you started playing shows or virtual shows?
A: Neither actually. Not in much of a rush. Feeling like more studio time is all that's really on the horizon. Had so much fun playing shows and doing the tours over the years the good memories are enough for now.
Q: Can you talk about your single “Passed Through?”
A: It was one of those guitar progressions that got sidelined for a bit. Then when I went to revisit it, I played it quite differently cause no matter how much I tried I couldn't find the exact chords. Bit luckily the right mood and feeling was still there. I didn’t think it would become as dense and thick with synth-y sounds in the studio. But it became clear that one kick and snare sound wasn't enough, times it all by three and here we are. I like to let myself get carried away a bit and throw as much ingredients into songs as possible these days. And I'm lucky Josh at Crosstown helps me achieve that!
Q: What else should we know about your music?
A: I guess that there probably won't be any shortage of it in the near future!