Kia Ora Adam and thank you for taking the time out to speak with us at Musicology.

Firstly, congratulations on the new record. A hugely impressive album and one that sees a shift in style, can you explain the creative choices and experimental pursuits you have explored from Crying Lessons through to High Horse?

So yeah with All dat Love that was recorded in my bedroom, then we put the band together properly and did Crying Lessons. I guess we’ve come a long way since then as we knew absolutely nothing then. We’ve learned a thing or two since then. This whole time though, we’ve just tried to write good songs. And make albums that have no filler. In saying that, each album we make should have some completely unique flavor from all the other albums. But yeah, it mostly comes back to a pretty  rock n roll style, as does the new album.

Is there an overarching theme to the record spread across the twelve tracks on High Horse?

No, but Elmore and I write a lot of music in my dreams, so maybe there is and I just don’t know about it yet.

Partner in crime Marlon Williams had a large part to play in the creation and production of the album, in what ways was Marlon instrumental and the new sonic boundaries he helped open up?

In every way. He was not just a producer but like an alpaca farmer. He decided to make this album ‘Frustratingly quiet’ which was a big change for us as our albums previously had all been irritatingly loud.

Described by your compatriot Marlon as having a vocal approach akin to the mighty Piwakawaka (or for our Australian friends, the Djidi Djidi), your range is as varied as can be. What was it about this record that guided your preferential style and what made it so fitting?

Marlon heavily produced my vocals on this album. We recorded the vocals and built the music around them, something we had never done before. A process that we learnt alot from and I guess I’m quite pleased with.

Were there any unexpected challenges in writing and recording High Horse and conversely any great surprises during the process?

The recording side of things went swimmingly. But when we braved the long dark nights at our accommodation, Aldous Harding’s house, we came across many a gigantic monster of a spider. Some of us cried.

Can you explain the dynamism you share within the band, creating the works you produce and where your roles overlap and diverge?

Liam Quinn is in our band and he works at Stats NZ. I believe he goes to a lot of meetings where they decide when they’re going to have the next meeting. I think if you consider the similarities between this kind of work and being in a band, you begin to get a more in depth understanding of how people can interact on many levels.

What quintessential kiwi elements are woven into your music and where do you look further afield for inspiration and new creative approaches to embrace?

We’re inspired by American music. But I feel that there are lots of good kiwi musicians around and we probably are influenced by them inadvertently. In particular there seems to be a big Americana influence in Christchurch, there’s a hell of a lot of good music coming from there.

The single best piece of musical advice you have received throughout your career?

Daddy told me not to quit.

Set to perform shortly in Melbourne, can you share with us one of the most memorable gigs that you have played and what made it so remarkable?

Just before we walked onstage for a festival show in 2020, our drummer said to Elmore “prepare to get booed.” We still don’t know why he said it.

What does music give you that nothing else does?

It’s the only form of pleasure in my life.