It’s been a little while between drinks for party starting purveyors Art vs Science.
Since their 2011 album release, ‘The Experiment’ (which scored the Best Independent Release at the ARIAs), the Sydney trio have remained relatively quiet. But that’s all about to change with the release of a new EP, ‘Create/Destroy’. Dan Mac (vocalist/ keys/ guitar) removed himself from his psychological studies long enough to answer a few thought-provoking questions.
Hey Dan... thanks for taking time out for this interview. You have your new EP ready to drop April 4; it’s been a long wait for new material from Art vs Science; what have you three been up to since you released/ toured ‘The Experiment’?
Jim [James Finn] has taken up illegal poaching. He spends long evenings slinking about the Serengeti, avoiding lions, rolling in the grass to mask his scent. I’ve resumed psychological studies and am just as perplexed by the human condition as ever. What is the meaning of it all? What is consciousness? Does it even matter? And D Dubs [Daniel Williams] has just bought his 100th science fiction book. It’s called ‘Deep Moon Forest’ and is about a man who takes one big chance on a routine exploratory mission for an interstellar mining company. On one of Jupiter’s moons he discovers an ancient world of sexy female humanoids (are they aliens? Robots? Can/ should he have sex with them?). But he has a dark past which is haunting him still… ‘DEEP MOON FOREST’. One of 1956’s top 1000 best sellers by Axel Edgecardienst.
Was there a specific reason why three years have passed between releases? Or was it more of an organic process with a series of factors not related to the band?
Basically we forgot how to write new music. So we had to go on a great quest to find out how to do it again. I went to Nepal and Tibet, then met up with D Dubs in Berlin. Jim, unconventionally, decided the best way to remember how to write new music is to actually write new music, and made his debut album for side project Vydamo. Crazy man. We then spent weeks in a converted shed in Kanagaroo Valley making new choons and avoiding bush fires. Then some weeks in Byron recording with Berkfinger. Then we did secret shows to try new songs out on audiences in Sydney and Brisbane. Basically we’ve been working really hard, but trying to focus all that energy enough to turn out something good. And when you’re not playing shows and there’s no label pressure to release something [we’re still independent in Oz], you have the luxury of time which is a blessing and a curse. I think in the future we’ll just say ‘Boom, that sounds good put it out’, and not over complicate the process.
Had you been working on new material throughout the last three years... if so, did anything make 'Create/Destroy’?
‘Create/Destroy’ is pretty old. It came from an random jam, which is always good. Good Art vs Science grooves come from random jams. Then it had some minor plastic surgery at DW’s old place at Milson’s Point. [First track] ‘Everybody Wants To Change’ is its little brother. It came from a song I actually wrote to be used in a Weetbix campaign in New Zealand. My mate Alex was directing the ad and kind of flicked me an easy pass to make the music for it. I wrote one really generic, ad sounding piece of music. And the client said ‘nahhhh... make something like Art vs Science’, so I did. I did the demo of ‘Everybody Wants To Change’, and they said ‘hmmmm... nahh not quite right’. Then I made a weird shuffled punk song called ‘Where’s The Ice Cream’, at which point I think they decided to go with some other generic ad sounding music. So I missed out on the big bucks but still ended up with a cool AVS jam.
There’s a mixture of uptempo numbers, and more relaxed, chilled tracks... was that a conscious decision?
Not at the time of songwriting, but yes, once all the songs are all laid out one enjoys a sense of balance in one’s collection of songs. Makes for a pleasant listening experience and a good representation of the flavours we’re enjoying.
You’ve mentioned ‘fabulous’ best describes how you guys feel about this new release... why fabulous?
Because FABULOUS! Mostly I think it’s because compared to earlier recordings this record is relatively clean and nice and shiny sounding with tingly synths and flashy rhythms. They would also be excellent songs for some sort of interpretive dance, which is pretty fabulous I think.
You recorded with Paul McKercher at Oceanic Studios... what did Paul bring/ add to the recording sessions?
Corn chips and dip! And decades of knowledge on how to pull really, really, really good sounds, particularly drum sounds. And a very positive and calm attitude which made you want to do really great takes.
To the outside world, one studio pretty much looks like the next; but did the space at Oceanic contribute in a positive manner to the songs you recorded there?
For sure! It felt like recording in a friend’s garage — it was full of gear and toys and great sounding compressors etc. Old couches, cool little kitchenette. So it wasn’t a big soundproof bunker with smooth carpeted walls and a sense of claustrophobia. Full of natural light too. But it was also air-conditioned. Which was fabulous.
Is there a hidden meaning for the band behind the EP’s title?
It could be a salute to the hindu god Shiva, whose earthly domain I visited in western Tibet. He’s the god of creation and destruction in their pantheon. Or it might be a reference to ‘love and fear’ which was a working title/ thematic device I had in mind for our new releases. Love brings together, fear pushes apart. But the Shiva thing; basically the Hindus deified the force of creation and destruction — which is basically change — which is basically one of the key essences of consciousness as we know it. Time and matter — matter is constantly changing: electrons whizzing around creating deferent molecules, decaying… Therefore, matter is a product of time — we can’t imagine it existing without it DOING something, ie. changing. And in the same way, the only way we know that time exists is through observing matter changing: the earth spinning, a quartz crystal emitting a pulse, however those atomic clocks work; also, the act of observing itself is necessary for us to perceive time. And I have a theory that I’m working on that time is consciousness. But it’s a work in progress at the moment.
You have another EP slated for later in year; where are you at with a full length album release? Or are you focusing on smaller releases/ tours?
Not really sure! We figured we didn’t want to make too huge a fuss coming back this time. Kind of like starting again. We’re stoked with the new songs though. I can see us doing another album at some time, but an EP felt best for now.
The Art vs Science live show today; how has it evolved over the journey?
We’re thinking about incorporating some drum machines soon! Jagwa Ma style. Except with more keyboards and live drums. We have new costumes now too. We’re outer space explorers, back from a mineral hunting expedition. But every show is an evolution with AVS because everything gets played live. There are no backing tracks, not even click tracks. So you get to hear D Dubs getting excited and pushing the drums along, or getting tired in the last chorus of ‘Magic Fountain’ and slowing down a tiny bit. And the buzz of the tube amps, and the sound of vocal mics in front of wedges that are too loud. I spent about half a week reincorporating a special ‘brain’ pedal onto my pedal board to make it switch my pedals on and off and send MIDI program change to all my keyboards, so I can change songs more quickly and keep the flow going. Can’t wait to play again actually!
How important is it from your perspective that the punter walks away from one of your shows with a beaming smile and...
…and? A beaming smile and what? We may never know. [Ed’s note: always read through your questions before sending them off] It’s super important really, which is why we’ve been rehearsing so much. It doesn’t happen often, but sometimes when we’re experimenting with a new set list or a whole bunch of technical things break, you can lose the crowd and you can also lose yourself too. Your excitement. And the crowd senses that, and they get a bit anxious. But when everything’s working well and you know the set like the back of your hand and you and the crowd are vibing — there are few better feelings in life.
Life on the road with you guys... I recall one adventure I spent on the Bacardi Express Train a few years back now, and you guys were well up for the party... is it still that way now, or have you become much more reserved, gentile lads; the type who sip tea and eat biscuits while recording?
Tea and biscuits are a definite must for recording. We pick our parties more these days, as opposed to being first and last at every party. It’s not sustainable. But neither is complete abstinence either. So a little sampling of life from all the different fruit bearing trees I think is healthy.
Do you now feel like 'older statesmen' of the Australian music scene? Or are things still as fresh and a buzz as when you began six years ago?
I did for a little while, but then I realised that that feeling is destructive. I need to feel like I’m starting out again and have something to prove, and treat it like a new band. It’s harder when you’ve got songs you wrote five years ago and they must be played, but then new songs are completely different sounding, and you think, ‘how will I incorporate a fifteen minute techno jam with minimal vocals into a set with ‘Parlez Vous Francais’ and ‘Magic Fountain’?’ A good night of techno doesn’t have those wild peaks and troughs. It’s one continuous musical orgasm. We’re known for being a lot more hyperactive. But we’re moulding the sounds at least, and clothing them in the softer, synthier tones of our time. And we draw the songs out longer live. And soon we have some exciting new toys arriving. Experimenting with sounds and sound production techniques is one of the most gratifying parts of the job.
You're heading north in May for the Big Pineapple Music Festival... do any of you have a childhood story of visiting Qld's most famous landmark?
I used to stay in a unit at Mooloolabah every year or so, so we’d always go to either The Big Pineapple, the go cart track, the Superbee or the cable waterskiing place. I actually nearly drowned there and am probably the reason why they don’t put knee straps on their kneeboards anymore!
Playing a regional festival like BPMF... do you add any extra spice to the show, knowing the punters don't get many opportunities to watch/ hear top quality acts?
Our show is now so full of spice you can smell it all the way from Sydney. We’re tight as a fish bum, and full of urgency.
And this is random... but pineapple — where do Art vs Science stand on the hot/ cold argument? Should pineapple be used with hot foods, or left cold?
Pineapple, like revenge, should be served cold and with malice aforethought. But remember kids, revenge gets us nowhere. So best to have pineapple any way you like it, so long as it’s with a bunch of good friends and top quality jokes.
This time next year... where can we expect to find Art vs Science?
Deep in a techno forest zooming through the computerised landscape. Stopping only for swirly supplies for the swirly train.
‘Create/Destroy’ will be released April 4.
Art Vs Science Tour Dates
Fri Apr 4 - Adelaide Uni Bar
Sat Apr 5 - Amplifier Bar (Perth)
Thu Apr 10 - The Corner (Melbourne)
Fri Apr 11 - Oxford Art Factory (Sydney)
Sat Apr 12 - The Zoo (Brisbane)
Sat May 17 - Big Pineapple Music Festival (Sunshine Coast)
