Infusion were and are a group that originated from Wollongong. They spent a lot of time touring and fostering a strong and dedicated audience. As with Manny Sharrad, I recently had the good fortune of speaking to Infusion’s Frank Xavier about their album, Six Feet Above Yesterday, which turns twenty this year.

Ez: Twenty years ago Infusion released Six Feet Above Yesterday. Are you now more than six feet above yesterday?

Frank: I’m very much, very above, six feet.

Eze: But yeah; this year is the twentieth anniversary of the album.

Frank: I didn’t realise it had been twenty years until Manuel (Sharrad) told me the other day.

Ez: What do you remember of what the conditions were like going from Phrases and Numbers to working on Six Feet…?

Frank: In what respect?

Ez: You you guys released Phrases and Numbers.

Frank: Yep.

Ez: I don’t know how successful it was. I do know that “Legacy” got a remix from Junkie XL, which is actually what got me into Infusion.

Frank: Changes… It changed in that we moved over to a major record label, and we had a bit of money to play around with in regards to being able to go into a studio and record properly, and spend a bit of money on to get some more orchestration bits and pieces done.

We made a bit of money from touring as well, so it all kind of.. we were able to actually do what we wanted to do. There weren’t really many [financial] restrictions placed on us as with an independent label.

I guess we were able to be a little bit more experimental than what we should have been, I guess, in signing to a major label. They probably expect a couple of singles, and you know a little bit of guarantee of a payback if they’re investing money into you. But we managed to get a couple of singles in.

But I think the difference between the the first album and the second album is the first album is kind of a body of work. And the second album we had to really think about things, like “Maybe we should make this into a single, or see what we can do this. Make this a little bit more radio friendly. Let’s experiment more with vocals. Let’s experiment more with guitars. Let’s experiment a little bit more with song formats”, if that makes sense.

Ez: Yeah, it does as Phrases and Numbers is more of a dance record.

Frank: Well, the whole process was new to us when we did Phrases and Numbers [as] back then we had a couple of samplers with limited memory and a few synths, and that’s what we could afford.

Phrases and Numbers came into the era of software synths. And we had a little bit more money to play around with. We were able to up our sound a little bit more. Use proper studios, that kind of thing.

Ez: So in terms of thinking more about what you’re doing in terms of composition and whatnot.

And sorry; Did you say that you got major label funding as well?

Frank: Before Six Feet Above Yesterday?

Ez: in approaching Six Feet.

Frank: We signed a record deal with BMG and we got funding from that.

We signed the record deal, I think at a bad time, because BMG and Sony merged a few months later. We had to deal with Sony, who didn’t really know about us, and they felt like they were taking on a project from BMG, so it was a tough situation.

And then we also signed a publishing deal.

So a lot of these things like a publishing deal, we signed just to get some money to start touring a bit more. Just getting around the world so people could hear us and know what we’re about.

Ez: Did you feel that having a bit more of a budget behind yourselves allowed for a lot more ideas that maybe you would have been hesitant to use beforehand to come to the forefront?

Frank: Oh, definitely, in the way of mixing the records. We had an in-room engineer, but we were able to get on a console and use all these amazing compressors and effects, units and things. That was a good thing and, as I said before, being able to get strings done and brass instruments done. A lot of that stuff can cost a lot of money. We got to work with a few people, [and] we bought a couple of keyboards and a few things that helped us through.

But a lot of it was kind of self-funded in the way of what we spent. A lot of the money went into marketing and film clips and that kind of thing.

I think film clips were really really important at the time, so those had to look pretty good, and we spent a bit of money on getting work done. We got one of the guys from tomato, which is (John) Warwicker, I think. He did all the tomato stuff for Underworld. He did all the Underworld visuals, so we thought that’d be good to get him on board to do all our visuals because Underworld was our thing *laughs* We love them.

Ez: What do you remember of the writing process?

Frank: I do remember that…

Can’t get the times right, but I know we hired out houses a few times, but I can’t remember whether that was for the third or the second album.

I would come up with a whole bunch of ideas on my computer at home, and Jamie would do the same on his own his setup. We had an Infusion studio setup,  and Manuel had a 4-track and acoustic guitar.

Our writing process for the first two albums was a lot of stuff with Manuel coming up with song ideas on a guitar and a 4-track, and then Jamie and I would listen to it, and pull it apart, and make it sound Infusion which, in my opinion, was the best way we ever did things.

I was experimenting with songwriting as well. A little bit; not as much as Manuel, I think. I think I wrote like one or two songs on on the record, and I was singing. I was dating a singing coach at the time, and she was encouraging me to sing more and work on that. So I was getting singing lessons and experimented with that a little bit more.

We’d come together and just play out our bits and pieces and say “Okay, well, I like this one. I like this one. I like this one that you’ve done”. So we had a pool of tracks.

Then we decided to just go and record, but to just tighten and fix up the songs. So we hired a house – I think we did it twice – kind of down south. I think one house in Mornington Peninsula, and then another house in Angelsea in Victoria along the beach, and we took all our gear down there. Hired a Tarago and drove all our stuff down and set it up in the lounge room and wired everything in, and then just solidly – every day – made sure we got up at 6 AM. Went down to the water, had a swim in the ocean, came back, and then arranging [what we had] into song format.

And then once they were done we [used] a big whiteboard and said, “Okay, this track could do with this. Get these instrumentations, these streams, or whatever”. We had a plan on what to do with these songs, and then we got other people involved and started recording.

I knew it was pretty hard to get it done because we were doing gigs in between, and it was pretty hard because we were living in Australia and it’s so far from the rest of the world. We were getting all these good offers that would allow us to pay for all this stuff that we wanted to do, so we’d we’d go and fly.

There was one time that we went and flew to Europe on a Thursday, did like three gigs, and came back on a Monday to start recording stuff on the Tuesday. We were doing crazy stuff like that, just trying to get money to pay for this record.

It took a lot longer than expected, but that’s because we were touring so much.

I think a lot of people forget how much of a privilege it is to be living in Europe, because you can just travel somewhere for the weekend and be back at home the next day. But for us we had to really travel far, and it was taking a lot out of us. If we didn’t have to travel far we probably would [have] put out more music a lot quicker, I guess. But we had to keep the finances rolling by touring, so that’s why it took a kind of a good deal of time.

Took us about three or four years from the first one to the second one, and then the second one and third one, I think, even took longer.

Kind of remember when the third one came out. Maybe 2009.

Ez: I think All Night (Sun Light) was around there. I remember it seemed like it took an age. I also remember “Dogtown” sort of being released earlyish, I think, but like it was a slight silence after that.

Frank: Yeah, it was just ’cause we got out of the major label. We just didn’t think…

I don’t know why we got out of the label. I can’t even really remember, but I don’t think we were getting what we wanted out of it. And with the merger it got a little bit more difficult.

So we thought “Okay, we’ll do a third album independently and see how we go”. But doing it independently, that means you’ve got to pay for everything yourself. So around that time we were touring hard just to pay for that record. I’d say we spent almost the same amount of money recording that record.

Probably not as much. But we spent a lot of money. But this time it was ours. It was a tough one.

At this stage it would be different. I think we could do an album with next to nothing. It would be pretty cheap *laughs* We’d probably be able to do all the recording and mixing at home, and maybe a few things in the studios.

Ez: It sounds like the process of writing Six Feet… [was] idyllic, what with, you know, being able to go for a swim every morning. But was it? Were there certain pressures that you guys were feeling to follow up the first album?

Frank: I don’t think there was pressure to follow up the first album. Personally, I was happy with it, but I thought our second album was a lot better *laughs* only because only because it seemed a little bit more complete.

To me there were more songs; It wasn’t just an instrumental package.

It’s a tough one. I think that the second one was more complete because we got to do what we wanted to do.

It was also tough being with a major, because now you’ve got an A&R who make… not bad suggestions, but we just had to start thinking in a more song format.

With things like “Natural”, that was an instrumental.

Ez “Love and Imitation”, yeah.

Frank: Yeah, and then they came back to us and said “Do you want to have a try at doing some vocals for this? Because I reckon this would be…”. At the time we were not happy about it, but after we were actually pretty happy that they suggested and pushed it.

I think Manuel had a few ideas, and we went over it in our hotel rooms. Then we recorded those vocals in a studio in the UK. I think we mixed it in the same studio. We just put vocals over the top of the instrumental and then then edited it into a single format.

That wasn’t really planned, but it ended up being one of our biggest songs. It ended up being a song that we would pretty much close every set with.

I forgot what the question was.

Ez: *laughs* It was about the writing process, if there were any pressures or stresses.

Obviously renting a house somewhere idyllic can help take those things off, but it doesn’t necessarily mean that the writing process is going to be…

Frank: I think the stress was “We need to get an album out. It’s been this long. What are we gonna do?” And we’d been doing so many club shows… I guess we hadn’t really done that many club shows yet, but people were probably expecting a more club-friendly record. I think the first one was more club-friendly with “Spike” and “On the Outside”, but it wasn’t a pure club record.

We were [sharing] stages with people where the fans were singing the songs back to them, and then we would come on, and the crowd would be great, or you know, they’d like it. But it wasn’t really… I wasn’t really getting much out of it ’cause there wasn’t a lot of singing back and stuff like that. We could just do this in a club, which is what we preferred.

The pressure was trying to keep the club people happy but then also write songs that people who aren’t in the clubs would enjoy, and things that we’d be proud of. We were in a period where those probably…

…You wouldn’t have thought that an instrumental electronic dance song would get huge play. Now a lot of dance songs are just instrumentals that get a lot of play, and maybe like one little vocal in it. You know what I mean? But back then this there’s no way we would have got a hit, apart from “Spike”, which was kind of a hit. But it wasn’t huge. People from overseas didn’t really know what “Spike” was. People in Australia did.

I could feel Manuel also… he’s a very talented guy. He’s got a lot of musical experience, and you could see in his songwriting that he wanted to push the boundaries a little bit further and just writing club records, really linear club records; he’s just not gonna find that interesting. It’s a waste of his talent.

So we had to find a balance of showcasing this talent ’cause – I would say – Jamie and I, we were listening to a hell of a lot of club records, and Manuel not so much. He was pretty picky on what he would like, electronically and especially instrumentally. And we were playing a lot of clubs, and we were playing a lot of progressive clubs. And I think by the end of it me and Manuel, we were a little bit over it *laughs* It’s just “Yeah, yeah, cool.”

We [also] saw that we weren’t the only ones that doing this sort of music. There were a whole bunch of other people doing this; It wasn’t as special as we thought it was.

I mean, it wasn’t huge in Australia, so I think it was kind of special to that market. But when you start going overseas to different European countries, you realise that there’s so many other people doing that thing, as you are.

I felt that we needed to do something a little bit different, like Underworld and Fluke, and to some extent Chemical Brothers where they have like a crossover bit of everything.

But then you’d get all the club kids that would come to some of our festival shows, and we were playing songs and they were like, “I prefer the club stuff”. The way around that was that I would get all the stems for the live show and just make club versions of those songs.

Jamie would do the same, so the international market probably only really heard the club versions that we did in our live sets that never got released.

So it was tough, and then and then so we’d go overseas to America and we’d do Coachella or South by Southwest. So we were thinking “Okay, well, we’re on the stage with other bands. We need to do something different”. To be fair, If we were at Coachella playing late night, full crowd, then we could go crazy and play like [in a] proper club. But then we were getting on these festival stages and playing – like that one where I think we were playing at twelve or one o’clock in the afternoon, and our sound just doesn’t translate in that environment at that time.

Ez: Yeah, it is a bit weird, because it’s broad daylight.

Frank: I know people liked it.

We did a gig at Roskilde Festival in Denmark, which was one of our most favorite and memorable sets. They put us on last on our stage, which is which is the equivalent of playing Big Day Out last in the dance tent (The Boiler Room). The DJ before us didn’t turn up or was sick, so they asked us to play longer. I think we were supposed to only play for an hour or forty-five minutes, and we ended up playing two hours to thousands of people, and everyone was going nuts.

I know that if we did that same thing at one o’clock in the afternoon, no one would have cared.

Anyway, back to your question, that was the stress; trying to balance keeping the club people happy, the radio happy, the label happy, and keeping me and us happy, ’cause I wanted to sing, or write a song; something that I could go “Fuck. I actually wrote a song. I didn’t write just a piece of music”.

I was also learning guitar, so I got to play some guitar. This is all because I was getting influenced by going to these festivals and seeing what other people were doing, and some of my other friends were doing. They were not pure electronic; They were mixing up the electronic with the actual rock scene. I think that’s why with Six Feet Above Yesterday, there’s so many rock elements as well.

We were using a lot of samples as well, which I miss. I wish on the third record that we used a lot of samples again, just to make the thing sound organic.

Ez: The interesting thing about Six Feet…, I think, is that it becomes really expansive, either around “Love and Imitation” or “Daylight Hours”. That’s when it really opens up.

Frank: Yeah, “Daylight…” is still one of my favorite songs on that on that record. Which is a prime example; We spent some of our money on the brass in “Daylight Hours”.

That came from a really obscure loop that I’d had done in my bedroom, and then we took it into the studio, and then it just started expanding into what happened. It generally wasn’t the vision at the beginning, but it turned out to be amazing.

Ez: When it came out in 2004, there were a few other songs that I gravitated to at the time, but that one really stuck out to me.

But yeah; The earlier parts are definitely more rock. And then you get a few more of those tracks a bit later on. But it is a pretty variable album, in a sense. It isn’t just rock. There’s ambient stuff going on and certainly some more harder dance stuff, like “Girls Can be Cruel”.

Frank: That’s an interesting one. We were signed to Dave Seaman’s label (Audio Therapy), and I remember we had a deadline to put out a track, and we hadn’t done anything yet.

Jamie was away for the weekend, and Manuel and I just came into the studio, and I quickly made the bed of music, and then he just came up with his lyrics on the fly. Didn’t even really think about it.

I mixed it down and then sent it to Audio Therapy. They were like “This is great”, and then Jamie came back, and then he worked a little bit more on the remixes of it.

Because of the nature of that track you can tell that me and Manuel kind of were the heart of that; because it wasn’t so clubby, if that makes sense. It’s kind of quite rocky.

That’s an example of just “Let’s do something different. Let’s try to infuse a little bit of rock and pop into something and see what happens, and we can just do another, clubbier version of it for the club heads.

Ez: I thought that one was actually a bit more clubby; that it uses the heavy sort of really driving and really hard, kicking snare on it.

Frank: Yeah, but it’s still got that rock feel in the timing. I mean, they don’t sound like rock drums, but the beat of it, I made it sound like it was a 4/4 rock beat. And even the riff on that track was just my Poly-61, and we played it live – I think – and just recorded it *laughs* It was done really, really quickly.

Ez: I think “The Careless Kind” is interesting ’cause you could argue that it’s hinting toward the album being more expansive and variable. It does have that more rock feel, but it’s definitely making heavy use of the electronic elements in it.

Frank: “The Careless Kind” is one that I wrote. I don’t know how how I came up with that one, but yeah; that was my first one I wrote pretty much by myself, I guess. And “Best in Show”.

Ez: “Best in Show” show is definitely like one of the more rocky tracks on the album. Does it have guitar on it?

Frank: No, I don’t think so. Oh, there might be.

Yeah, I think they’re just heavily processed guitars.

Ez: But you’ve also got these more expansive ones like, say, “Daylight Hours” and “Invisible”. You’ve also got things like “We follow. I fly”.

Frank: With the album we wanted [the songs] to flow in and out of each other, so I think we needed things to just fill things out to make it work, which was great.

A lot of those little things Jamie did; I think he got little bits and pieces of the tracks and then mixed them together to make just things to go in between songs. I think “Feeding from the Hand” comes out of “The Careless Kind”.

Ez Yeah, straight after.

Frank: So he got the elements of “The Careless Kind” and made something to bridge through.

Ez: You’ve also got “Rattlewasp”, which you know…

Frank: “Rattlewasp” was supposed to be on the first album, but no one liked it.

We liked it, but Thunk, our original label, didn’t think it was fitting, and that was one of my favorite songs. We were a little bit disappointed it didn’t make the first album, so we were just like “No fuck it. We want to put in the second album”, so we redid it; just a little bit differently, but the concept and the structure is still the same. I think we just changed the synth sounds or something. Then we were saying “Oh, it probably doesn’t really fit”, but then we went “Nah. Let’s just put it in”.

We did it in like ’97, ’98 or something. I think I’ve got the original copy on a DAT somewhere.

Ez: It’s certainly a bit more intense and harsher in sound than some of the other tracks.

It does suit the variability, but it also links well with “Dream”. They have similar sounds and a similar harshness, but “Dream” is a bit slower, in a sense.

Frank: Yeah, that’s another one I think I worked on the most. That was an idea that Manuel had come up with on the 4-track. I think that on the day that I was listening to it I was listening to David Bowie’s “Ashes to Ashes”, and the little plinks in that song I kind of borrow. It was heavily influenced by “Ashes to Ashes” for that.

We mixed that in the studio at Sing Sing in Melbourne, and I had mixed down a version on my computer just for a demo to get the mix to sound like that in the studio. Then when it came to the release of the record, they preferred the original version I did in my bedroom.

Which is very odd *laughs*

I can’t even remember whether I’ve got the original one. I guess my version sounds a little bit harsher, and I don’t know whether I like that or not. But either way, yeah; that was a weird one.

But it’s got that rockiness.

Ez: It’s using guitar; at least what sounds like guitar.

Frank: Yeah. I don’t know what the album would have sounded like if we didn’t have guitar on a few things. It probably would just be an album without guitar.

Ez: It’s quite possible it would have sounded a bit more like a sequel to Phrases and Numbers in a lot of ways. There’s definitely stuff here that you guys are playing around with, and that guitar work does certainly add – I don’t wanna say heavier element, because that that’s pretty cliché [and] in a sense, trite. But it certainly does add a harder edge than if you just stuck with synths. The songs would still have a certain energy, but it’d be a very different energy.

Frank: I’ll have to listen to it again. I haven’t listened to it in years.

Ez: You should! It’s the twentieth anniversary.

Frank: *laughs* I haven’t listened to the the last album since it was released.

There’s a lot I would change with that one. I think we went a little bit too pop and too rock. I reckon that’s probably mine and Manuel’s fault. Jamie, I think he went down a more of a club route, and I was just…

I think I was over being in clubs and writing club music. I was writing more songs, playing guitar, and I was meeting a lot more people on the festival circuit. I looked to them for influence a little bit more ’cause they had a fan base.

I kind of just got over just playing club things, and I just wanted to write some songs. I mean, you could probably tell by the way those songs sound on the album.

Ez: There’s a definitely much more of a… I don’t want to say structured, but [All Night Sun Light] overall feels more kind more deliberate, in a sense, compared to Six Feet.

Frank: Could have been a bit. I don’t know. I felt at that time we couldn’t be that experimental anymore. We were in the era of electroclash. A lot of kind of Cut Copy-sounding bands were doing festival circuits and they were doing songs and all that kind of stuff.

I think it’s coming back now a little bit, but I just don’t think people were that open to an experimental album again. It ended up being a little bit experimental so it didn’t end up being pure pop, but it was right in the middle, and I don’t think people gravitated to it.

If we went a little bit more clubby, I think we would have kept the interest going. Kind of like what Basement Jaxx and all those guys were doing.

I feel like if we kept doing that, we would have been alright, but I think we were just over it. We just got killed by touring. I mean, I can say for myself; I got killed by touring. I didn’t do the the gigs that I wanted us to do, if that makes sense.

Ez: When I was speaking to Manuel about he told me that you’re still fine for songwriting, but just when it comes to touring you’re pretty much done.

Frank: Yeah. It just wasn’t very interesting for me anymore. Then, when you’re on plane trips all the time you’ve got so much time to listen to music.

I was listening to a lot of old stuff. I listened to the whole Beatles back catalog at some point. I listened to the whole Black Sabbath catalog. I was listening to a lot of eighties stuff. I still listen to heaps of eighties stuff.

Ez: Six Feet Above Yesterday closes with “Always There”, which is sort of a wider song than the previous few, and then “Continental Drift”, which kind of is a bit more sad.

Frank: I think “Continental Drift” was also written for the first album, but never made it.

I think we were in LA and we were doing some recording and there was a piano there. I think Manuel started playing on the piano and we had a mic on it. We recorded that and then we put it through a weird tape emulator so it sounded really old.

Ez: And and then it expands into strings and gets very beautiful.

What was what was kind of like the impact of Six Feet Above Yesterday landing? How did it affect the group?

Frank: I don’t think we had much of an effect in Europe because we had already started touring heavily [there] with more of our clubbier sound. I think our kick start to our career therewas because we did a live mix for BBC One, for Essential Mix, which our booking agent in the UK got us. I think we were one of the first Australian bands to get on BBC One, and one of the first bands do a BBC One live in the studio.

We basically set up our whole live gear in a studio and recorded two one-hour sets. I think the central mix was two hours. We then just fixed it up a little bit, made transitions and things like that. Some crazy sounds and all this kind of stuff. Then everyone kind of lost their minds because it was live. People didn’t really realise.

All these promoters were playing this Essential Mix [and] it went viral, and from that we started touring Europe. So they only knew us for our club sound.

America was a little bit different ’cause the college radio in The States is great.

College radio would be getting all the kind of indie records out that people wouldn’t necessarily hear; That’s what college radio is all about. They try to really go in and find obscure bands and people who are pushing forward. Nyxen, she got a lot of good feedback from college places and a lot of interviews from American college radio.

When we toured America, we went to a lot of colleges and did radio shows as well. They seem to be more forward-thinking than anyone else.

Anyway, what was the question again?

Ez: *laughs* What was the impact on Infusion after the album came out?

Frank: I think the impact in the Australian market was pretty good. We managed to do a lot of good sell-out venues. We weren’t doing huge venues, but we were doing consistent venues. It was cool because with this record we got we got to start bringing other people on board. We started bringing a guitarist, keyboardist and a bass guitarist/keyboardist. So it started to feel like a band.

Toward the end I think we even got a drummer. I can’t remember for Six Feet Above Yesterday if we got Hamish from The Vines playing drums for us. I know he was playing for the third album, but I think he was playing for us toward the end of the second album.

We also had Tarek from Melbourne; a good friend of mine. He was also playing drums for us. It was good to incorporate drums and guitars into our live setup, so that had a that had a big festival impact and a little bit more draw from festivals.

So I think it had a good impact. I don’t think it really had a big impact on the club scene as such. I think our remixes had a big impact on the club scene, especially in Europe and the UK. They knew all about our remixes for other people and all our our straight-up club hits. But from the album and the recording side of things, it really had a bigger impact on the more indie-friendly, and people who had a good crossover and who like to look for new things, and college kids.

If we didn’t have the club side of things on the side, I don’t think we would have been as successful as we were. We could play both games; We had a live show for the full festival show, but then we also had a live show for the club thing, so we could do the club thing with just the three of us, but we’d play club versions of those records. When we did the festival version, we play maybe the album version of that song.

We we were lucky that we could play both games.

I think our club show would have been perfect at Boiler Room towards the end, but there was no way we were going to get a Boiler Room set. We were going to get, at most six o’clock.

I don’t think we would have had the same impact if we didn’t have a full band visual lighting setup. We kind of worked that out the hard way by doing these festivals during the day and realising that we needed to do something about crowd interaction ’cause you don’t really need that much crowd interaction in the club.

Ez: Yeah, that’s that’s true. You just need them to feel the music.

Frank: We were playing 300, 400-max people clubs. We could travel around the world with just four cases full of gear, so we could keep our traveling costs down, not pay excess. We didn’t have to pay another guitarist or drummer to fly around with us.

There was a point when we were started doing festivals like Creamfields and Homelands and stuff like that where we had to hire a guitarist and a bass guitarist in the UK. The would come on any festival show that we did. But we primarily did club shows, ’cause it was cheaper to do. We could do three shows in a row on a weekend.

Ez: What does Six Feet Above Yesterday mean to you?

Frank: There is an answer to this, and we had a discussion, and it made sense, but I can’t remember *laughs*

I think it was the way we looked at what the album was . It was a step up from our previous album; It was more forward-thinking. It’s kind of “We’ve come a long way”.

It could even be referring to that TV series that came out of the time, Six Feet Under. I think Jamie was watching it a lot, and I think it was a play on that, but how to make that positive, if that makes sense. Six feet under; it’s kind of negative. It’s trying to trying to take something negative and make it positive, I guess.

I think whenever we used to do names, we’d have a note pad and just throw a whole bunch of things down on paper and grab things that we liked, but then make it relate.

Pretty much what Underworld does. A lot of the way we did stuff was like what Underworld did, I think, and with Manuel, he’d have a note pad and say things and write stuff down. I think “Daylight Hours” is a pretty good example of that kind of songwriting. He wrote down a whole bunch of things he had seen, and then put them all together, and that’s why it’s kind of nonstop of him reciting all these things.

I think that’s that’s kind of probably the way the the title came out the same kind of way; just referencing things and making them lighter, but making it mean something to the album.

Ez: Lastly, how do you feel about Six Feet Above Yesterday now?

Frank: I still love it. I wish we could do another album like that. I think it was pretty experimental, but it wasn’t just an album full of songs and bits and pieces. I’d really love to go back and do something organic like that. It was just a good era of writing music, I think.

I think the good thing about Six Feet Above Yesterday is it was a combination sampling records, drum beats, and also recording live instruments.

I think that’s why people like The Avalanches are so popular. They still sample and use this organic sound and mix it up with the new, and I think if we did a record like that again I’d be happy *laughs*.