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Interviewed by
Courtney Sanders
Monday 4th February, 2013 11:08AM

Making are a electronic-y, post-punk band from Sydney who are heading to New Zealand this week to play Camp a Low Hum. UTR caught up with Chris Davis and Matthew Taylor ahead of their appearance to talk about how they formed, who or what influences their music and to check out their latest single 'Barcelona', which you can listen to below.

Head over here for information about, and tickets to Camp a Low Hum 2013.

How did you guys form?

Matt: Chris and myself met on a musician's classified forum. From what I remember he was the only person who didn't want to be in an Iron Maiden/Parkway Drive-esque band. We wrote some stuff together, nothing really substantial though. When Pete joined a short time later, whom we met via the same medium, Making was set in stone.

Did you know how you wanted to sound from the get-go or was discovering your sound a more organic process?

Matt: We had a very vague idea at the start as we were trying to combine everyone's influences. I think the constant face to face contact in the rehearsal room has allowed it to develop fairly organically.

For people who haven't heard you, how would you describe your sound?

Matt: Noise-rock with an emphasis on layered rhythms is probably the best way to describe it.

From the tracks that are up on your Bandcamp, you sound heavily influenced by post punk, is this a fair statement? Who or what would you describe as your major influences?

Matt: There is certainly a post-punk influence but it is not limited to that. We all have quite an eclectic taste in music, so as a result I don't think there is a sole/major influence. I think it differs between each member.

The single on your Bandcamp, 'Barcelona', is really great. Tell us about writing and recording that one.

Matt: The writing process for "Barcelona" was just like every other from what I recall. Someone has a basic idea which the others add to and help evolve. From what I remember I think Chris brought in the initial guitar rhythm and then we all added to it from there. We decided to have a dedicated day in the studio to work on the one song with the intent of nailing the basic tracks with vocals/overdubs in one go. We recorded with our good friend Nick Franklin who needs nothing explained to him, he knows us well enough to know what we want. That makes the process a lot easier/quicker.

Do you have any other recordings or plans to record in the works at the moment? If so, tell us a little bit about them.

Matt: We have a single to be released soon-ish with accompanying remixes from friends of ours. We have been writing material for an album to be released some time this year. We are allocating ourselves 3-4 days in the studio, all of which are separated by a period of time. Each time we go in we will record new material and do the overdubs/vocals from the previous recording session. The time in between allows us to think about what to do with the basic tracks.

You guys are based in Sydney: tell us a little bit about the scene over there. Are there are lot of great bands at the moment? What about venues? Do you feel part of a like-minded or like-sounding community?

Chris: I think it’s fair to say that Sydney music in the last couple of years has been quite polarised. Garage and Beat Scene service the music-loving community every weekend. I’m speaking strictly here with respect to DIY or “the underground” if you will; the “indie” culture found in Sydney nightclubs has been of decaying relevance for a good while now.

The venue situation in Sydney is no different to anywhere else in major cities. The only ones that really matter are the spaces that aren’t run for profit, yet exist primarily to promote the culture (Black Wire Records of most note). Of course, local council mismanagement has signaled the demise of many great spaces (RIP Dirty Shirlows), so a lot of bands are forced to entertain an awkward relationship with nightclubs. In saying that, however, there have been a few people with the right idea in the last few years who have done great things in some pubs and clubs.

We definitely feel part of a community, at least philosophically. We play a lot of shows with our friends yet we’re all pretty different, so there’s a bind there more in terms of ideals and approach rather than sound. Pete is particularly proud of the fact that we can be included in a mixed bill – we’ve played some great shows with garage, doom and hardcore bands, as well as experimental and electronica outfits.

You're coming over for Camp a Low Hum: have you been before? If yes, tell us about your previous experience. If not, what are your pre-conceptions and why did you decide to come over for it?

Chris: None of us have ever had the opportunity to go to Camp before, yet we only have positive expectations for it. Without sounding sappy, it really is an honor we were given the opportunity to play - some of our favorite bands as well as friends have played it over the years. I think it’s fair to say that Camp has become pretty much an institution, at least within our half of the world, and that’s all the reason anyone would need to cross the Tasman.

Do you have any New Zealand bands that you particularly dig and if so, why?

Chris:I am still a really big fan of Die! Die! Die! and The Mint Chicks (RIP), and would even count them personally as influences. Both bands have been here a couple of times in the last couple of years - DDD perhaps every year. I only have fond albeit exhausting memories from those shows.

We’re also all really excited to be playing with Carb on Carb and Society at San Francisco, along with our friends Lenin Lennon right before Camp.

What are your thoughts on the differences between the New Zealand and Australian 'sound'. Do you think it's possible to define and compare these and if so, what would you say?

Chris: peaking right now as opposed to historically, I personally don’t see differences inasmuch as I do a dialogue. Within Australia, and Sydney and Melbourne in particular, we have some great bands doing pretty original, relevant and personal takes on what The Clean and Flying Nun in general were doing decades ago. This kind of cultural transmission is productive as opposed to replicative or derivative, so while a comparison may be possible it certainly isn’t fair.


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