Spacey Jane Made His Second Album In “Live Music Void”

A quick search for the Australian band Spacey Jane on any platform, he soon garners fervent comments about his live performances, whether in public response or critical reviews. It is not risky to consider, even speaking from here in a corner of the world where the quartet has never set foot, that this is, therefore, its strongest point. How curious, then, to think that the group produced their second album, Here Comes Everybodyduring a time of the pandemic when no one could say if we would ever step on a show again in our lives.

“We were in a live music vacuum,” frontman Caleb Harper told pavé music, “For the first time, we made songs without thinking about how they would look on stage. We only take into account the listener’s experience with the record.” Also commenting on the experience of working on a second album, compared to a debut release, he states that “it wasn’t easier, because we had more to think about. When you release your first album, it’s like a three-year-old showing you a drawing and you say “look, that’s cool” (laughs), there’s a whole margin of error. That margin is much smaller now. Our audience has grown, there are more expectations, and we had to consider all of that. At the same time, it’s our first time writing and producing with the band as our full-time job. The feeling is that we are now where we need to be.”

In addition to being able to dedicate himself exclusively to the band (and with plenty of time during the pandemic quarantine), Spacey Jane was able to rethink what he would like to do with Here Comes Everybodythe successor of Sunlight (2020). “The way people consume music is 99% alone, with headphones, so we thought, ‘How do we make this experience the best?’” says Caleb, “it’s only now that we’re in the process of building the show for the album. , which has been really cool, because that’s where a lot of challenges arise of how to transport that to the stage. We’re walking the fine line between reproducing what’s on the album, which is what people want to hear most, and our desire to deliver a performance that’s amazing.”

“I think, more and more, if you love a song by a band, you want to go to the show and at the very least recognize that sound that you already enjoy. So, the primary objective is to be able to bring the live sound closer to the recorded one, then think about how to make it even better”, comments he, who says he is also looking forward to the shows: “[Estou] excited to play less of the old songs that we’ve played so much over the course of two years, so it will be nice to be able to focus on the new ones. I think it gives us new energy. But I’m nervous because the audience still doesn’t know the songs well. You can’t tell how people there identify with a track just by the streaming numbers. Sometimes when you’re standing there in front of them, the reaction isn’t what you expected, it’s a whole different story.”

Launching on June 24th, Here Comes Everybody already had three singles released: Hardlight, It’s Been a Long Day e Sitting Up. “They don’t necessarily reflect how the record is as a whole, because the decision to choose singles is made based on several factors – the label thinks about what will look best on radio, streaming, engagement, etc. – and putting together an album is just a matter of keeping in mind what makes that record good,” explains Caleb, “there are things on the album that I’m curious to see how people will react. It’s not all big choruses, or guitar-driven. It has a lot of keyboard, but also a lot of percussion. You’re going to listen to the album and not say ‘oh sure, I already knew that sound from hearing the singles’. I think he’s going to say, ‘this wasn’t what I expected, what the fuck?’ (laughs)”.

If the pandemic and also its period of isolation influenced disco production, it is easy to assume that they also affected the content of the lyrics – see It’s Been a Long Day. Caleb says that working on this dynamic “is difficult, because we don’t want to talk about it all the time, but we also can’t ignore the impact it all has. For me, the track is about a relationship that ended as a result of the afflictions of being a musician during the pandemic, and how it affected my mental state. So, yes, it had a direct impact on the content of the album, which speaks to the experiences that I and others have had over the years.”

In time: Spacey Jane is a bit of a “fish out of water” band in the Perth scene, known as the birthplace of Australian psychedelia. “We worked with a guy who mastered the first releases that Tame Impala did,” says Caleb, “and a lot of Brazilian psychedelic bands would send him music to master as well, so we would sit in the studio with him and listen to a bunch of psychedelic Brazilian music that I hadn’t even left yet, and it was all amazing. We grew up in that environment, but we were the only band making a more indie sound.”

like more interviews no pavé music