Callum Twigger, Journalist

Holland Sky is a beautiful record.

"I only want to be known as a DJ/producer/label owner without my vagina getting a shout out."

” How it felt to spend twenty minutes submerged, with guitar, underwater? “I’m pretty used to it,” Godden rationalizes with a laugh. “I’ve done a lot of surfing. It was just like being dumped.”

“I was between bands, that’s in there. My father died too. A lot of pretty heavy stuff happened. I feel like there’s a lot of anger in there. There’s also that liberation in there, after someone’s fucked you over and you get over it. And then trying to get over the heartache.”

“Wolves At The Door was getting a lot more rock and roll, which isn’t like what this album is. James went to New York for a while, he had this beat machine on his iPhone, and he was like, ‘You should try this out’.”

"If people get upset, I’ll sometimes get emails, where people say ‘That crossed the line for me, my uncle went through this’…‘My mum had breast cancer, she went through this’, and I say to them, I’m a comedian, I’m not doing these things. I’m helping people laugh at them. If that doesn’t make you happy, I have no problem with that."

Gossamer can be swallowed, but its passage is not particularly significant.

With new single Suddenly Silently primed for release and a nation-wide tour set for later this month, Pseudo Echo’s Brian Canham talks to Callum Twigger about synthpop’s legacy.

"...Settle Down dropped next; bombastic, loud, bordering on burlesque in its charisma but trenchantly classical in its construction. It’s a sound she should carry to America with confidence."

With their national tour screaming into WA this weekend, Callum Twigger talks through sounds and seasons with Tom Iansek’s half of Melbourne two-piece Big Scary.