Sole Stickers share all things that are good

Tasmanian three-piece Sole Stickers have just released their debut album We Got All Things That Are Good produced by The Posies Jon Auer.

We find out all the good things about Sole Stickers with singer/guitarist James Dilger.

yG: How did the band first get together and what differences did you wish Sole Stickers to have from your previous musical incarnations? 

JD: I had some songs left over when my previous group disbanded in 2008 and I knew Jonathan as a bass player from around the Tasmanian scene.  He was keen to get back into music after a few years out of bands and it grew from there with him bringing our drummer Matthew into the picture.  Sole Stickers focus was definitely more on pop hooks mixed in with the guitar driven 60’s garage vibe compared to the harder rock edge of our previous groups.

yG: Now that your debut album is out – how closely did the finished product resemble the aims and ambitions you first had for it?

JD: I’d say it turned out much better than I had hoped and that’s largely due to Jon’s involvement.  As a first album it was more an exercise in capturing our songs so that we had something to sell at gigs and help establish a sound and identity for the group rather than to address any specific musical ambitions on record.  Once Jon started working on the songs in Seattle it really brought out an extra dimension and sweetened it up.  It sounds much better than a 4 chord garage-pop trio album recorded in 4 days, which is exactly what it was before Jon got hold.

yG: What do you hope the album can achieve for you in terms of your profile and touring?

JD: Naturally we hope that this release will elevate our profile and possibly open a few more doors with gigs outside Tasmania or even some good supports with touring bands down here.  We’ve only been around for 18 months so it’s a matter of just chipping away and getting heard by people for now.

yG: Did you always have in mind for Jon Auer to be involved in the album, and why –how did it all come together and what do you think of the results?

JD: I knew I wanted to work with a producer who had experience with the appropriate guitar based rock/pop bands I am into.  I discovered the Posies about 5 years ago and I started following Jon’s work online after picking up his excellent 2006 solo album “Songs From The Year Of Our Demise”.  I listened to it one Autumn/Winter and just loved it to pieces because it sounded like a lot of attention had been paid to the songs and sonically I thought the mix had everything in the right place.  I had drafted a bit of a wish list of Australian producers but I just happened to first approach Jon via email after noticing on his Myspace or Twitter he’d been doing production work for other bands and he said he was interested. Then it was a matter of the right timing for both parties.

yG: What did you learn from working with Auer?

JD: That I should hire professionals of Jon’s calibre more often!  I probably learned to not be so impatient in the studio mainly.  I’d say that the separation between presenting the songs for live performance and using the studio as tool to further evolve the music has also became a lot more prominent in my approach to this band.  I’ve become much more fastidious with my writing and arranging too.  You don’t want to serve up too many clankers and look like a drongo, especially around class like Jon!

yG: Did the other guest appearances on the album come about as they musicians could play specific sounds you had in mind?

JD: Definitely.  I wrote “I Don’t Wanna Go Out With You” with the idea of it being performed by a bratty, teenage all girl garage-punk band in mind using a Billy Childish styled Kinks riff.  I thought it’d sound great if we could maybe do a Headcoatees inspired girl gang vocal on the chorus and Jon was able to get Kim & Lulu from The Fastbacks on it who were perfect.  I wish now that I hadn’t left the verse lyrics so juvenile teenagerish, but I love their singing on that chorus so much!  The French Horn was totally Jon’s idea.  The song ‘Everything’ had been an instrumental for ages along the lines of ‘Overture’ from The Who’s Tommy and Jon thought we should really go all rock opera on it and he got Jacob James in and it turned out great.

JD: Yes.  Sitting in with blues group Pete Cornelius and the DeVilles at the Republic Bar and being absolutely terrified for three songs.

yG:  If you put your band’s collective iPod/Mp3 players on shuffle – what would come up?

 JD: Some of my most listened to songs on my iPod are Guided By Voices,Sleater-Kinney, Hoodoo Gurus, Sugar, Redd Kross and Teenage Fanclub.  Our bassplayer Jono said The Damned, Mustang, Dreadnaught, Hellacopters and Roger Alan Wade.  Drummer Matt says the last two Cog releases and the Megan Washington album.   You can automatically sack a band member without notice for liking Cog can’t you?

yG: Best gig you’ve played?

JD: My last band did a gig supporting the White Stripes in 2006 at Hobart City Hall which still stands out quite vividly as a good performance personally.  A Sole Stickers gig supporting the Hoodoo Gurus at Wrest Point Casino in Hobart this year was also memorable.  It always seems to elevate your performance when you play in front of a large audience, even if it isn’t your own.    

yG: Worst on stage moment?

JD: When I forget to gaffer down my guitar pedals and get a bit excited with the karate kicks or windmills and unplug the whole lot mid song.  Also, chipping teeth on microphones whilst singing is a not so great occurrence onstage.
 

yG: What’s your favourite venue to play in Australia and why?

JD: Pony in Little Collins St, Melbourne and Hobart City Hall back home in Tasmania.

yG: One gig in history you wish you were at?

JD: The Who at the Isle of Wight in 1971 as per the video mentioned above would’ve been amazing if only to see Entwistle’s one piece skeleton body suit up close.