Musical Rooms

December 7, 2010

Musical Rooms Part 103: Solar Bears

Filed under: Interviews,Music,Musical Rooms Series — by Sinéad Gleeson @ 10:00 am
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“Our musical room is a small part of Rian’s home. It resembles a loft or attic but it could be a mezzanine. Rian has been learning about music production for over a decade, working most days on various projects. His house is located on a steep hill in Delgany, Wicklow. It is not far from woodland and the quality of oxygen is better than you could hope for. There is an energy in the locality that is lacking in the area I am from personally. Both Rian’s parents are musicians, as is his brother Oisin so there are countless books on music and instruments laying around.

There happens to be another studio next door called Strawberry Studios, ours was called Studio Antarctica unofficially. Equipment-wise the list is longer and more varied than either of us had recalled. We worked off a Mac running an ancient version of Protools. We used keyboards like the Proteus 1 + 2 as well as more standard fare like Novation K-Station. The guitars ranged from a Epiphone Viola Bass (a Hofner copy) to an Adam Black Orion using pedals like the EH Holy Grail Plus and the Keeley Blues Driver.

The real joy for us was tape machines which included a My First Sony Cassette Recorder and a Tiger Electronics Talkboy Cassette Recorder, which featured in Home Alone 2, if I am not mistaken. We used some software for textures as well but it was mostly hardware that we got our ideas down on for editing. Songs were created without much labour or polishing. Rian spent quite a while mixing and doing final touches. There were times when we left the windows open to allow the ambience outside to creep in. That is something Can used to do. An element of nature is important.

We sampled scales of guitar and saxophone to create new synth sounds. Another trick we did was recording the resonance off a Welmar Acoustic piano strings after shouting at them. Sometimes Rian started a track, sometimes it was me. Everything was shared and equal. Roles became non-existent early on. Thankfully we produced a piece of music each time we met up.

The room itself has enough books, angles and objects to ensure interesting acoustics. There was plenty of beer and wine drinking during sessions. Afterward we would watch an old-skool science fiction film or a psychedelic opus like The Holy Mountain to inspire us for the next day. The laidback approach suited us both as people and music makers.”

Solar Bears are Dublin/Wicklow duo John Kowalski and Rian Trench who met at sound engineering college. Sharing a love of world cinema, their music combines a number of different influences ranging from electronica to film composers like Ennio Morricone and George Delerue. Their sound is a mix of programming, acoustic instruments, synths and vintage tape machines. They are signed to Planet Mu and their 2010 album, She Was Coloured In, was named in Rough Trade’s 100 Albums of the Year and in Uncut Magazine’s Top 50 albums of 2010. For more information visit

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November 15, 2009

Musical Rooms Part 93: Mike Scott

Filed under: Interviews,Music,Musical Rooms Series — by Sinéad Gleeson @ 9:44 pm
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“I used to write and play anywhere – bedroom, living room, kitchen, street – until I set up my first music room in 1988, when I was 29. It was in a house on a hill overlooking Galway Bay. The view was incredible but once I started singing and playing I’d forget all about it; the only landscape that mattered was the one in my head. I finished writing The Waterboys’ Fisherman’s Blues album in that room and since then I’ve set up a music room in every place I’ve lived: twelve of them in all, including Baile an tSleibhe, Waterloo Rd, Hudson St., Kilmashogue Lane, Marine Cottage, Lansdowne Road, No. 69, No. 72, Primrose Hill, Broombank, Raglan Lane – of which the current one is the best.

It’s an extension of a mews house in south Dublin city. My wife and I have a home in Scotland but we’re in Dublin for a year while I develop my Appointment With Mr Yeats project, a show The Waterboys are doing at the Abbey Theatre in March 2010, for which I’ve turned around 20 of WB Yeats’ poems into songs. The music room is at the rear of the house, reached by a glass hallway, and feels quite separate from the rest of the building, giving it a removed atmosphere.

The command posts are my electric piano, which is plugged into to a Fender guitar amp and a large desk on which my computer sits. I do all my home recording here using Apple’s Garageband system, which I prefer to Pro-tools (less mental energy is involved running the system, freeing up my mind for music). I have guitars, a bouzouki, a mandolin, various drums, tambourines and sleighbells, two speaker systems (KRKs and Yamaha NS10s) and a couple of huge boxes of Venetian masks that got worn on the last Waterboys tour.

There are a couple of cupboards; one’s full of books, sound effects CDs and tapes; the other contains effects pedals. I love Electro Harmonix pedals: the Pog, the Hog, the Stain, the Wiggler. They sound as great as their names and I spend many psychedelic hours sticking keyboards and guitars through them.

The floor is wood but I’ve covered it with eastern carpets purchased in that famous and most exotic bazaar, Dunne’s Stores in the Stephens Green shopping centre. The room is well-lit, with about a dozen bright ceiling lights. The family who rented us the house used this space as their office, and the bright lights suit me – I’ve no patience with working in shadowy, dingy places where I can’t see what I’m doing. I like atmospheric lights on stage, not in my music room.

The Waterboys sometimes rehearse here if we’re preparing for an acoustic show, though we could squeeze a drummer in too, I guess. And Steve Wickham and I are doing the string arranging for the Yeats’ show here, the two of us sitting together at the desk sorting the manuscripts on our computers. He’s a trained reader who went to music college, and works beautifully fast. I taught myself to read and write music only a few years ago, and though I compose quickly, it takes me a day to write out a page of manuscript.

I don’t work specific times; I just get in here whenever I have a ‘go’ feeling, which is most days. I used to stay up working all night but now I prefer to work only when I’m fresh and at my peak. I make less mistakes, keep my perspective, and it’s easier to stay “on” all the time. In common with all my music rooms just the fact of the room itself enhances the creativity. I only have to walk in to feel stuff start happening. That’s the beauty of it: a dedicated space where alchemy happens.”

Mike Scott is the founder of The Waterboys, a band who have released hugely successful albums like A Pagan Place (1984), This Is the Sea (1985) and Room to Roam (1990). They are probably best known for their 1988 album, Fisherman’s Blues. Scott has also released two solo records to date and his next project is An Appointment with Mr Yeats, a show fusing the poetry of W.B. Yeats and the music of The Waterboys. The WB Yeats show runs for five nights from Monday March 15th, 2010 to Friday March 19th, 2010 on Dublin’s Abbey Theatre. Scott also plays a solo gig on Saturday, November 28th at the Clyde Auditorium, (part of Scotland’s SECC complex) in Glasgow. For more information, visit

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October 6, 2009

Competition: win tickets to see Roses Kings Castles (Adam Ficek of Babyshambles)

Filed under: competitions,Music — by Sinéad Gleeson @ 4:12 pm
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roseskingscastleMusical Rooms has five pairs of tickets to give away to see Roses Kings Castles, the “quixotic pop project” of Adam Ficek, whose day job is as drummer in Pete Doherty’s band Babyshambles. The gig takes place at Whelan’s, this Thursday, October 8th. To be in with a chance to win, just answer the following question and leave your answer in the comments below.

What instrument does Adam Ficek play in Babyshambles?

Tickets for the gig are €12.00 plus booking fee from WAV Box-Office (Lo-Call 1890 200 078), City Discs, and Ticketmaster outlets nationwide. Doors are 7.30pm and there will be a support act.

Link: Roses Kings Castles on Myspace

September 2, 2009

Musical Rooms Part 85: Future Islands

Filed under: Interviews,Music,Musical Rooms Series — by Sinéad Gleeson @ 7:53 am
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William Cashion: “We create music either in Gerrit’s bedroom in Baltimore, or our living room. I prefer any room that we can smoke cigarettes in. Gerrit generally comes up with a bunch of ideas on his own – most of my ideas come from riffing/jamming with Gerrit. Personally, the most important things for me to have in here are my bass guitar and amp. After that, probably computers and keyboards. Until very recently, we were writing every day for about five to seven hours a day working on material for the new album. We often get together in spurts of inspiration, usually after a big tour, recollecting our thoughts and ideas regarding new material. Usually Gerrit will have a drum loop he made and a chord progression or riff and I’ll come in and figure out my bass parts to move along top of/under it. Other times I may have a chord progression or idea that I show to Gerrit and he works with me to figure out his parts. Sam usually hangs out and writes lyrics out while we jam. Sometimes we’ll play the same riff for half an hour and Sam will keep reworking his melody or words (or both). Sam’s words often decide the form the song will take, like when the chorus will start, and if there is a bridge before or after the chorus, things like that. I have a Yamaha bass guitar that I’m pretty sure is a metal guitar (not made of metal, but made for metal music) run through an echo pedal and a Rat distortion pedal. I guess my favorite part of this room is the tape machine (or mini disc recorder), where we capture ideas, the rough sketches of songs that never get officially released.”

Gerrit Welmers: “It’s small and packed full of things, which is nicely balanced. In here, I have midi controllers, computers, and keyboards. There are a couple guitars and small instruments. I also use an Akai Midi Keyboard that controls Reason. There is an audio interface, a mixer, four-track, tape player, overly gigantic speakers that make everything sound like three six mafia and that’s about it. The most important thing for me to have here is my collection of everything that has existed since I was born. I probably spend too much time here. I seem to be writing or playing music all of the time. I tend to work alone a lot. It’s easier for me to figure things out. We, as a group, will then compile the song later. What I tend to like most about this space is that it’s mine.”

Musical Rooms was talking to William Cashion and Gerrit Welmers of Future Islands.

Future Islands are a new-wave dance band from North Carolina, who now live in Baltimore. Gerrit Welmers, Sam Herring and William Cashion play terse, passionate music built around Welmers’ cart-wheeling synthesizer melodies and Cashion’s post-punk bass pulse. They have been writing songs together since 2003 in the guise of absurdist party project Art Lord & The Self Portraits and their sound has become exponentially faster and surprisingly powerful. They wrote and recorded an EP, ‘Little Advances’, in time for their first tour in 2006. This was followed by their debut album Wave Like Home in 2008, with the help of Dan Deacon’s producer Chester Endersby Gwazda (Dan Deacon). They released Feathers & Hallways, a 7″ EP earlier this year and play upstairs at Whelan’s on September 9th with support from Ear Pwr (Carpark Recordings/Baltimore) and We Cut Corners. Doors are 8pm, admission is €12 plus booking fee from WAV Box-Office (Lo-Call 1890 200 078), City Discs, Sound Cellar, and Ticketmaster. For more information visit

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August 9, 2009

Musical Rooms Part 81: Amiina


“We don’t really have one favourite space to make our music, except for our studio of course, where we’ve spent most of our time rehearsing and making new material. But we like going elsewhere now and then, it helps bring in new energy. Our studio is actually a garage next to a big beautiful old white house, and our landlady is a very respectable elderly lady. At first when she heard a band was going to rehearse in her garage she wasn’t terribly happy, but she soon realized we’re not the loudest band in Reykjav�k, and was fine with it.

As long as the space is quiet, has natural light, isn’t too cold and has enough space for us and all of our instruments to be set up comfortably we’re happy. And there has to be some sort of a kitchen close by as well, cause we usually like to make time to enjoy something nice to eat and drink together between sessions. Our studio has all of that, as well as lace curtains.

The amount of time we spend here depends on our schedule, sometimes we spend every day in our studio for long periods of time, but we do most of our recordings elsewhere. It’s in the middle of a nice old neighborhood and usually a little bit too noisy for recordings. We try to stick to a schedule when we’re working creatively on something. There’s four of us, and we make all our music collectively, so co-ordinating hits of inspiration would be complicated.

It is very helpful to get time away from everyday life, away from phones and internet. If the creative process is allowed to flow uninterrupted by these it’s amazing how much is possible to achieve in relatively little time. Every time we’ve had a chance to go somewhere outside the city and work, it’s been great.

Our studio is very close to where we all live, it’s in the best part of Reykjav�k and there’s a really nice grocer on the corner who knows us all and chats for a long time every time we come for milk or fruit or bread or something. It feels a lot like home, and that’s a good thing for doing what we do.”

Having started out as Sigur Ros’ string quartet, Amiina have gone on to produce their own very unique music. Hildur Ársælsdóttir, Edda Rún Ólafsdóttir, Maria Huld Markan Sigfúsdóttir and Sólrún Sumarliðadóttir play a huge array of instruments and layer simple vocals and harmonies to create something epic. Their debut album Kurr was released in 2007 and featured strings and synths, as well as guitar, harp, harmonium, melodica, glockenspiel, zither, desk bells, kalimba, mandolin and saw. They also reworked their song ‘Hilli’ with vocals provided by singer Lee Hazelwood before his death.

Amiina play St Canice’s Cathedral, Kilkenny tonight, Sunday August 9th at 8pm as part of the Kilkenny Arts Festival. Support is from Katie Kim and Geppetto. For more information, visit

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May 10, 2009

Musical Rooms Part 73: Le Galaxie

Filed under: Interviews,Music,Musical Rooms Series — by Sinéad Gleeson @ 11:36 am
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“Our favourite space to create music is our basement room we keep in the centre of Dublin. It’s completely central (just off Georges Street) so is kind of invaluable in that a) sonically, it’s a place of silence in the middle of mayhem b) it’s somewhere where can keep everything we own and create. It’s small, but there’s enough space not to feel claustrophobic and work by yourself if need be. The walls are a combination of plain white, bright orange and blue blankets and artwork/photos of various band members in (sometimes) none too flattering poses.

There’s a lot of drum stuff here, as Alastair seems to have developed an unhealthy eBay habit. Other than that there are many synthesizers ranging from the very tiny to the gargantuan, most of these get a run-out at every rehearsal/recording session. The newest addition, a MicroKorg Vocoder, is still trying to find its niche. Essential to the space is volume, as the music we make really needs to be fully tested before we can think that other humans could stand it. We have to play it at the level of immediacy and intensity that we would live, and that kind of renders every rehearsal session quite the test on your brain and body.

We have a fairly tight schedule. It’s Tuesday evenings and all day Saturday, with a kind of laptop/creation session elsewhere on Thursdays. The best thing of all is that you can play really late into the night, which is great for the drummers in the band! Isolation isn’t really important, just tolerance from those around us who don’t mind hearing some very strange sounds coming from the room as we try out different sonic messiness. We usually come to the space with ideas and work from there, we don’t jam out whole songs much, there’s a gestation process.

We’re all fairly techno savvy, so there is a lot of parts recorded and thrown down outside the rehearsal environment, and then introduced as elements or starting points for songs when Le Galaxie get down to work. Our best work has come from almost mathematically thought out structures, and our worst has come from free flowing improvisation. It just doesn’t work for us.

We use a Toshiba laptop running Reason and Cubase, and a Korg keyboard for midi from these. That opens up every angle possible for sounds/beats/loops. For myself, it’s a Fender 1972 Telecaster Custom re-issue guitar, with a Sound City 50 Plus valve amp (1975) hooked up to a 4×12 Cab. Anthony uses a Gibson Howard Roberts Fusion and Fender Telecaster through a Marshall JCM 2000 amp and 1×12 Cab. For David it’s a Fender Precision Bass with EMG Pickups through an Ashdown amp. Currently Alastair is playing a 1971 Ludwig Silver Sparkle with Yamaha Japanese oak snare. Zildjian & Sabian Cymbals.

What we like most about the space is if it’s late and things haven’t gone the way you planned – and you feel if you get in a taxi you might throw up – then the room’s dusty smelly floor will always welcome you for the night. It never judges you.”

Le Galaxie (formerly 66e) release their debut EP Transworld this Friday May 15th 2009 on Battlepulse Records. It follows the release last year of the singles ‘We Bleed The Blood Of Androids’ and ‘You Feel the Fire!’ The band features Michael Pope on guitar and synth, David McGloughlin on bass, Anthony Hyland on guitar and Alistair Higgins on drums. They play The Button Factory, Dublin on May 16th, The Pavilion, Cork on May 28th, The Roisin Dubh, Galway on May 29th, Whelan’s Upstairs, Dublin (Late Club) on June 6th, The Button Factory, Dublin (@ Musik) on June 18th, Electric Avenue, Waterford (supporting Fight Like Apes) on June 19 and at the Castle Paloooza Festival, Tullamore, Co. Offaly on August 1st. For more information, visit

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April 27, 2009

Musical Rooms Part 72: Camera Obscura

Filed under: Interviews,Music,Musical Rooms Series — by Sinéad Gleeson @ 2:30 pm
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“Our favourite space to create music is when we’re in the recording studio. I guess we spend most of our time in rehearsal rooms, getting ready to record, but they can be pretty sterile, and it’s heads down trying to get organised. But when we’re recording, we know what we’re aiming for and we’re all fired up to get what we’re aiming for. The last studio we used was Atlantis in Stockholm, which is a lovely old studio. It used to be owned by ABBA, and they recorded there for most of the 70’s. It has a real vintage feel to it, the main room is huge and has loads of wee pockets to it and has a balcony area. There was a massive old 50’s jukebox in the corner with loads of old 7″ singles. It has a fantastic feel to it, and it was a real pleasure to record there.

Swedish studios have this great mix of the most amazing vintage gear and bang up-to-date computer software, so you have the best of both worlds when you’re recording. ABBA’s old grand piano is in the room, and lovely old vintage amps and bits of gear like echo units and that sort of thing. Everything you need is there, and the recording desk looks like the bridge of the Enterprise, so its all good. Being prepared helps, but having the gear to make the sound you need to make the record you want helps. We’ve been really lucky with that over the past couple of records.

We work quite quickly when we’re recording, so we usually spend a couple of weeks in the studio working LOOONG days. But it’s worth it in the end. We get pretty focused when recording, so it’s all about getting in and battering through the songs one by one, until we’re happy with the takes. We used to record ourselves with our engineer, but we realised that we really needed a bit of a shake up, so we approached a producer, Jari, and that made a massive difference to us, cause he really gave us the shake up we needed. We’ve become far more confident through working with him. Not just when recording but playing live too. It really helped us become better players, so yeah, we’ve learned a lot through working with other people.

We spend months and months preparing before going into record. We work through all the songs, try them in different ways until we get the emotional response from it we were looking for. Sometimes change the key, add bits, take bits out, rehearse them up until we’re a bit blue in the face,. And even then, as soon as the recording session starts, loads can get changed at the last minute, but by that point we know what we’re doing so tightly, that we an bounce off any changes there are and it all works out ok.

We use whatever is lying around as well as taking our own gear with us. Jari usually turns up on day one with a car full of a ridiculous amount of gear crammed into the back that he spends about two hours unloading into the studio, so we have a think about what’s right for every song, and we try out a few different things until we know we’ve got it right. It’s a nice position to be in to have access to the most ridiculous amount of vintage gear that just sounds incredible, as well as having new technologically bang up to date stuff at our disposal.

Making music is incredibly important to us, regardless of where we do it. Playing live gives an immediate response from the audience, which is great for us, but I guess when we’re in the studio making a record, it’s not something we do all the time. It’s a special occasion, and we know that what we are doing is important to us and to the people who want to listen to our music, so we need to nail it, and make it sound the best we can. I guess, when we’re in the studio, we know we’re making our next record, and that’s pretty much the best feeling you can have. The ultimate way we express ourselves creatively.”

Musical Rooms was talking to Gavin Dunbar of Camera Obscura

Camera Obscura formed in Glasgow in 1996 and have released a slew of singles and four albums to date. Their heartbroken country riffs are full of ’60s rhythms, jangly guitars and Tracyanne Campbell’s gorgeous vocals. The band have just released their fourth album, My Maudlin Career and opener ‘French Navy’ is one of the best singles of the year. They play Andrew’s Lane this Thursday, April 30th. Doors are 8pm and tickets cost €18 plus booking from, WAV Box-Office, City Discs, Sound Cellar and Ticketmaster outlets nationwide. For more details, visit

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April 8, 2009

Musical Rooms Part 70: Dark Room Notes


“After spending the past few years moving our musical room from bedroom to van to rehearsal studio and back again on a thrice-weekly basis, we have finally settled into a (so far) permanent home, inside some sort of pod in a disused steel factory with possible asbestos issues. However we are willing to ignore these for the convenience of not having to take apart all our gear after a mere three hours rehearsing. We’ve already befriended the Beetle restorer next door, and he’s offered the use of his cars for our next video, which is now provisionally titled ‘Herbie Goes Electro’.

It’s a small room, and we’ve just got our hands on a large PA system. We’ve had our hands on a very loud and very enthusiastic drummer for a number of years now, so tinnitus will surely soon be joining asbestos poisoning on our list of health concerns. But aside from those, we’ve settled in nicely to our new surroundings. It means we can now afford to write as a group rather than come up with ideas in our respective bedrooms, and can come and go as we please. We’ve tried to personalise it a bit with lamps and wall hangings and the like, but an accident involving a (borrowed) acoustic guitar and a brand new lamp that Arran bought has left us a little worried about fire safety. We’ve also outlawed smoking in the room, though this has led to a nasty accumulation of butts just outside the door.

Enough about health issues.

We’ve managed to gather around us quite a lot of equipment through various channels. Some pieces have been consciously lent to us. Others have been saved from the attics of disinterested former musicians. Still others we’re hoping the owners will have forgotten about by now. My personal favourite is the glockenspiel that the band gave Arran for her birthday, and which we bust out for acoustic performances. There has yet to be a song written which can’t be improved by the addition of a glockenspiel. Though we were assured of the soundproofedness of the studio when we moved in, we’ve discovered that a layer of rockwool is no protection against the curious sounds emanating from the other pod across the corridor. We never realised that the tin whistle had a role to play in the world of death metal, but it’s a strangely successful marriage. We’ll resist the temptation to add one to our own sound. For now.

The studio has already appeared in the video for ‘Let’s Light Fires’, the first single from our album, and was almost burnt the ground as a result. Considering we’ve named it the Dark Ark in homage to Lee Scratch Perry’s ill-fated Black Ark, that might have been a fitting, though a little premature, end.”

Dublin-based electronic pop act Dark Room Notes first appeared in 2007 with a single, ‘Love Like Nicotine’, and the EP Dead Start Program. Their debut album, We Love You Dark Matter, was recorded in London last summer, and is released this Friday April 10th on Gonzo Records. The band play The Academy 2, Dublin on Thursday April 9th, Auntie Annie’s in Belfast on May 22nd, Galway’s Roisin Dubh on May 23rd and Cyprus Avenue, Cork on May 24th. For more information – and to hear the lead single ‘Let’s Light Fires’ – go to

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April 3, 2009

50 Best Irish music acts right now (who contributed to Musical Rooms)

davidholmesMyself and three Ticket colleagues (Jim Carroll, Tony Clayton Lea and Lauren Murphy) were each recently asked to compile a list of the ’50 Best Irish music acts right now’. As expected there’s lots of debate about it over on Jim Carroll’s blog. There were lots of bands I voted for that aren’t on the list, and some I didn’t vote for that made the final 50. Either way, it’s great to see a light shined on so many bands and the list proves that Irish music is in a fairly robust health. Well done to David Holmes for bagging the No. 1 slot.

Here’s a list of those included in the Top 50 who have contributed to Musical Rooms so far. Watch out for upcoming contributions from Spook of the Thirteenth Lock, Ann Scott and Dark Room Notes.

(49) David Turpin
(46) Mick Flannery
(38) The Jimmy Cake
(29) Julie Feeney
(23) Messiah J &The Expert
(20) Oppenheimer
(19) Chequerboard
(13) RSAG
(8) Adrian Crowley
(6) Villagers
(5) Lisa Hannigan
(4) Fight Like Apes
(2) Jape

April 1, 2009

Musical Rooms Part 69: Eskimo Joe

Filed under: Interviews,Music,Musical Rooms Series — by Sinéad Gleeson @ 12:27 pm
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“My favourite space to make music in would have to be our home studio space, which we have created in our home town of Perth, Western Australia. The studio is in Kav, our singer’s back yard and is essentially a garage that we have converted into a sound proof room of musical good times.

It’s a there-car garage, so it isn’t got a huge amount of space but it’s by no means too small. The room has developed into quite an earthy space with nice warm colours dominating, which give it a cosy feel. I guess it smells like the three of us in the band so during summer, that can be a heady brew! There are plenty of lighting options in the room depending on which mood we want to create which is dependent on the song that we’re recording and vice versa. The main thing for us is that all of our equipment is on hand and ready to go when we are.

We’ve been a band for 11 years now so we have a huge range of equipment to choose from these days. It’s nice to find something that we bought 10 years ago and have forgotten about and use it on a current track. The Yamaha piano gets a good workout. We also have a great drum kit that is always ready to be recorded, heaps of guitars and a pro-tools HD rig which is just brilliant. Our goal is to make our next record at home so we are well on our way to making that possible.

Wat’s really important for us, I guess, is that it’s all about the vibe of the room, so a good feel is paramount for us to make good music. That and the HD pro-tools rig are pretty indispensable. We tend to grab time when inspiration hits but when we are in writing mode for a record, we get in there fiive days a week and work really hard for about eight months or so. At the end of this process we have a album’s worth of demos ready to record for the album proper. Otherwise, we get in there with musician friends and have boozy jam/recording sessions and we also record other artists albums/eps in our space.

Living in the most isolated city in the world is brilliant for making music without the pressure of a label looking over your shoulder. As far as individually, sometimes space on your own is necessary to develop an idea or part before presenting it to the other guys in the band. Kav will usually come to myself with a song or an idea which is sometimes quite developed and other times pretty raw. We’ll then fill in the gaps together and then present that to Stu for his input. Then we will demo the song over the period of a week or so, layering and deconstructing the song until we’re happy.

The more time we spend and the more songs created in the space the better, I believe. It really adds to the feel of the room which definately effects the musicm, so I guess what I like best is that it keeps getting better!”

Musical Rooms was talking to Joel Quartermain of Eskimo Joe


Eskimo Joe are an Australian rock trio from Fremantle in Western Australia. The line-up includes Kavyen ‘Kav’ Temperley (bass/vocals), Joel Quartermain (guitar) and Stuart MacLeod (guitar) and the band have won various ARIA Awards. Their fourth studio album, Inshalla, is set for release in May. They play Whelans on Thursday April 9th. For more details, visit or

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