Faux Faux Amis launched their new album Beg For Merci Beaucoup in November last year.

Combined with X, it represents a near-complete documentation of the band’s musical output (I think there’s only two songs we’ve played out that now don’t have a proper recording).  Pulling back the curtain for a second, here’s the press release I wrote:

JUST SAY OUI!

***FOR IMMEDIATE RELEASE*** 

Faux Faux Amis drop their second album Beg For Merci Beaucoup  

Listening to the new FAUX FAUX AMIS album Beg For Merci Beaucoup is a dizzying experience. The band cartwheel between scuzzy r’n’b, French-sung pop, garage rock and swampy blues, all delivered with passion and smiles on their faces. ‘Muppet Rock, I like to call it’, laughs lead singer Luke McGrath, ‘it’s heavy but it still sounds happy’.

 The band have been performing in Canberra since 2013, already releasing an album on experimental label Early Music. ‘Our first album was very conceptual – it was ten one-minute songs, designed to give you a full album experience in a concentrated burst. This time we really branched out – some songs are even over three minutes!’ smirks McGrath, adding ‘three minutes feels like some prog-rock epic to us’.

Beginning as a humble (but noisy) three piece, their ranks swelled to seven before settling into their current five member configuration. ‘We’ve always had guitar, bass and drums as the foundation, but now with Claire Leske on trumpet and Catherine James adding vocals, percussion and keyboard, it adds so much texture and variety to our sound’, says McGrath, ‘It allowed us to lean into our soul and r’n’b influences on this album’.

After initial sessions at Merloc Studios, the band’s drummer/renaissance man Darren Atkinson produced this new album, drawing on his years of experience with bands like The Ups & Downs and Big Heavy Stuff. ‘Darren is basically Oz Rock royalty, so we knew we were in safe hands. Darren drums but he also sings, so he is uniquely sensitive to both rhythm and melody – he had a lot of ideas for extra percussion and vocal harmonies that made us sound more polished than we actually are!’ says McGrath.

It was celebrated poet CJ Bowerbird (who contributed liner notes) who noticed that despite the upbeat tempos and sunny harmonies, the album possesses a darker undercurrent. ‘Yeah, trust a poet to zero in on the lyrics – I hadn’t even realised that myself until CJ pointed it out, but it’s true’, remarks McGrath. ‘There are several songs about mortality and the passing of time, not to mention a song called Take A Chance On Murder! Even our feel-good summer hit (and upcoming single) is called Summer Frownz, so I guess a melancholic thread is woven through the album’.

 The album’s high watermark is its final track, a Pogues-influenced ballad which builds to the repeated coda ‘If I’m going down, I’m going down swinging/And if I’m gonna die, I’m gonna die singing’. The song is gilded with swooping violin melodies, played by special guest Emma Kelly (aka Happy Axe). ‘It was a treat to have Emma on the record’ says bassist Kevin Lauro. ‘The clapping at the end of that song – it was actually the band spontaneously applauding Emma after she did her first take! We left the first take and the applause in’.

And finally, what’s with all the French, both the band name and the punny title of the new record, Beg For Merci Beaucoup? ‘I was going through a Francophile period when I started the band,’ explains McGrath, ‘watching Godard and listening to Gainsbourg, and their influence crept in. France and the French language is perceived by outsiders as very cool and sophisticated, which I thought would make a curious contrast with the hot-blooded rock’n’roll I wanted to make. Now it’s just part of the band identity – I plan to have a song sung in French on every release we do.’

Listen to Faux Faux Amis’ new album ‘Beg For Merci Beaucoup’ at fauxfauxamis.bandcamp.com or pick up a copy at their album launch November 19^th at the Phoenix, supported by Hi New Low and Kilroy.

Photo by Adam Thomas

We were blessed to have new faves Kilroy, and Hi New Low support us – special thanks to Hi New Low who came up from Melbourne for the launch, bandleader Ramsay being ¼ of Fun Machine and one of my vocal inspirations (that’s me doing my best impersonation of him on Sno-Globe).

Suffice to say, I am incredibly proud of the record – the best sounding and most polished suite of my songs so far.  I have to single out the stellar artwork by Fiona McLeod – I asked Fiona to draw inspiration from the cover of one of my favourite albums, Love’s Forever Changes. As you can see, she knocked it out of the park – it was the final touch, the one that made it feel complete, like a real album to me. 

We were pleasantly shocked to find we made both BMA’s and 2XX’s year-end best-of-Canberra lists, for the songs The Last Hurrah, and Faux Amis respectively (both songs featuring uber-violinist Emma Kelly, perhaps not coincidentally).

I am especially chuffed to see The Last Hurrah honoured, as the song has had a long gestation – the title and chorus lyric have been floating in my head for at least a decade. The song didn’t coalesce until I was writing tracks for my shelved musical L’Assassiner de Faux Faux Amis three years ago. The musical was as much about mortality as it was ‘murder’ per se, and in the show, The Last Hurrah fulfilled a similar role as on the album, an exultant and passionate finale, urging us all to not go gently against the dying of the light, to remember to find joy where we can, no matter how absurd and meaningless life can seem. It’s a rare ‘mature’ song from me, a resolutely playful artist – its execution and delivery on the album is everything I wanted it to be, and the reception to it has been extremely satisfying. It’s first public performance was at the launch, where we played the album in its entirety.

For 2018, we’ve been discussing some themed EPs – I look forward to getting stuck into those soon!

Nick previously documented the genesis of the Northside Swag Unit. After that, we cut one amazing song, which we perform at Coolio & Housemouse shows whenever we’re all together. While we’ve talked about doing more, it’s taken until this year before those plans solidified. 

Alongside the mainstays (myself, Nick, Matt and Simon), we’ve brought Evan Buckley (aka The One Inch Grinch) and Liam White (Ghostnoises) to the fold. Work has begun on an EP – I’m especially excited as we’ve split production duties between myself and Simon/Coolio – both of us have contributed three tracks.  

A majority of rap lyrics are the same interchangeable riffs on braggadocio, crime and wealth (no shade, but you can drop any Migos verse into any other of their tracks and nobody would notice) – in contrast, Coolio and Housemouse write complete songs, with inventive themes that match their musical backing. Their rhymes still frequently sound like stream-of-consciousness and go off on fun tangents, but they keep to a topic close enough that that’s how I remember them – The Space One, or The 80s One, for instance. It gives a focus and a cohesiveness to their material that I don’t hear often in other hip-hops acts. With up to six emcees on any NSU track, the potential for songs to get disjointed is high. We’re going to cleave tightly to this model and have already agreed on themes for each of our tracks.

Nick came up with one of those themes – he coined the term Zonin’, which means to travel on a budget, but to do so with swagger and style. It’s a perfect jumping-off point – broad enough for each emcee to put their own spin on it, but focussed enough that the track will hold together. It’s The Travel One – we have The Heist One, The Diss One, and others in the frame.

The plan now is to reconvene for a lyric-writing session, where we all sit in the room, put the tracks on loop and write our rhymes together. As someone that likes to be prepared as much as possible beforehand this is going to be an interesting (read nerve-wracking) challenge.

It’s also been a challenge to not to work on any rhymes beforehand. In fact, I found myself coming up with ideas for Zonin’ driving home the other night. An opening four bars soon turned into a full verse and then another. Determined to write all my material fresh in the room for the EP, I hit on a novel idea – what if I took these rhymes and made them into their own track? I essentially created a remix to a song that does not yet exist. Have a listen below – additional bass and vocals by ‘Killer’ Kev Lauro.

For fans of Ill Communication and Bug Powder Dust (I didn’t help myself by sampling Reef, but my stuff always comes out sounding like the nineties!).

I spent September visiting Tokyo, Kyoto, Hakone, Osaka, Hiroshima and the Okinawa Islands. It was an incredible experience, made all the better sharing it with my wife, and daughter Violet (this was the 19 month old globetrotter’s second overseas jaunt). Violet’s presence necessitated a different mode of travel than Lou and I have previously undertaken – the most significant change was getting back to our accommodation for her 7pm bedtime each night. Consequently, we didn’t see much Japanese nightlife. The upside was a month of evenings with no plans or obligations – I used them to level-up my beat-making and sampling skills.

 Inspired by spending time with Coolio Desgracias, I had started dabbling with sampling again but the early results were hit-and-miss. I’d send the better ones through to Coolio to get his thoughts, and encouraged by his response, kept going. In hindsight, I was unnecessarily timid about it, making it harder for myself than needed – feeling the need to chop up the samples into unrecognisable portions, or over-egging things with extra instrumentation and effects.  

Part of this is a hang-up about ego – that if I didn’t substantially alter or embellish the samples, then I wasn’t really ‘creating’ anything. I needed to realise the obvious – that the most important thing was the song, not how easy or hard it was to arrive at it, or what self-imposed rules had been applied. The listener does not give a shit about process – either it sounds good or it doesn’t. Listening to the And The Writer Is… podcast further rammed this point home – modern pop songs have dozens of writers credited, and these songwriters are unfazed about sharing authorship, no matter who wrote what.

Coolio again is a huge inspiration – he is one of the most gifted multi-instrumentalists I know, capable of writing and playing anything. If he wanted, he could fill every corner of a song with filigree and detail. And yet his songs are masterclasses in taste and restraint (and of course, all the more impactful because of it). My love for his work is evident, and talking to him about some of his heroes (Madlib, Dilla, MF DOOM) gave me new avenues to explore.

I spent lots of these September nights studying. It would have taken me years to learn any of this before the internet, but now I have access to the very best 24/7. I ran songs through whosampled.com, analysing how they were put together and how the samples were treated.  I watched Marley Marl recreate the beat to LL Cool J’s Mama Said Knock You Out and added his tips to my arsenal. Seeing 9^th Wonder and Just Blaze chop up then replay samples was revelatory.  Once you get out from under your ego and see yourself in collaboration with the samples’ original writers, then you are free to use whatever you want, however you want. The irony is the tracks I subsequently made were more creative (and often more personal) as a result.

My initial idea was to challenge myself to make beats from a handful of songs already in an old playlist on my laptop. It was mostly strains of garage rock – Thee Headcoatees, The Fall, Patti Smith, The Thirteenth Floor Elevators, The Yeah Yeah Yeahs – and a smattering of 90s alt-rock, like Cornershop and Kula Shaker. This was a great starting point – trying to identify worthwhile potential loops was good ear training, and attempting to seamlessly loop portions bedded down a solid workflow that’s now the basis for my sampling practice. Some of these loops were fun but I was finding it hard to tell if they could carry a whole song, or if rapping would even work over the top. I started adding rap acapellas over the top, essentially bridging the gap between my two favourite deejays – making beats like Coolio and turning them into mashups like Dead DJ Joke.  The first one I tried – the acapella for the Beastie Boys Intergalactic over a chopped up sample from Cornershop’s Who Fingered Rock’N’Roll? worked so perfectly, I used it as a template for the rest. 

One of the unexpected highlights of Japan was the sensational record stores. I’ve visited record stores everywhere from Reykjavik to Christchurch – most are in hipper areas of a city, often away from the typical tourist traps, so they’re a great way to explore a city. The stores in Japan were sensational – particular highlights were the four(!) floors of Disk Union in Shibuya (each dedicated to a different genre), Dumb Records in Hiroshima (specialising in punk and which had a bar inside the store), and Prototype in Kyoto (no bigger than a living room, but the only one I made two trips to, and the one I bought the most vinyl at!). I ended up buying 16 records, spanning 80s hip-hop, 70s Japanese film scores and 60s Brazilian rock. I took down the names of many more records and would investigate them at night, spiralling down Youtube rabbit-holes. After I had exhausted the songs on my laptop,  these listening sessions provided plenty of source material for the rest of my experiments. 

If I was to have a ‘sound’, I wanted it reflective of my love affair with garage rock and 60s pop – so I flipped songs by The Strawberry Alarm Clock, The Standells, The Shangri-Las, and the aforementioned Headcoatees, among others. But part of what I love about sampling is the raw luck and happenstance that is integral to the process – the unforced way you can stumble across the right song at the right time. Time and again, I would just seem to find the perfect complement (be it the underlying sample or the acapella), and then not be able to imagine it any other way.

Which is not to say that each track arrived fully formed – some took days of persistence and trial-and-error to get right (these ones sound the most effortless to me now). Each sample called for its own process – some are a just a single loop, others are multiple layers, yet others are chopped up and re-arranged entirely. Some are layered with classic breakbeats, but I programmed my own drums for many – I’m particularly proud of the drums on Jermaine’s Out Tonight,  which I drummed in with my fingers and then treated with compression and reverb until it sounded like a classic breakbeat (the best of both worlds). Most are re-timed and/or re-pitched. 

I kept each song to a little over a minute long, and capped it at eleven tracks. Each has something of an intro and an outro – an indication of the potential of a full version. I called the resulting compilation Lion’s Mansion Beat Tape, a reference to the name of the first apartment building we stayed at in Tokyo. The phrase ‘Lion’s Mansion’ seemed beautiful and poetic to me (especially compared to the pedestrian ‘lion’s den’), a perfect example of how things change ever-so-slightly across cultures. It evokes how sampling takes an original song and switches it up. 

I shared them with the Northside Swag Unit (more on the Unit next time), and we’ve picked out one to rap over for our upcoming EP (with several others flagged for late use). I can’t wait to hear how it gets transformed again. 

I’m now creating a companion beat tape, sampling only the vinyl I bought while in Japan (as Nick pointed out, this would be more of a challenge if I hadn’t purchased so many records!). Still, work on Return To Lion’s Mansion has begun!

Listen to Lion’s Mansion Beat Tape here.