It really does feel like we’re on opposite sides of the world, with guitarist Troy Van Leeuwen (Queens of the Stone Age) bringing the sunny LA vibes to a dull, rainy day in Sydney.

What’s also bringing the energy is the fast approaching release of the group’s debut LP Echolocation, recorded at Sencit Studios and mixed by the legendary Ken Andrews (Beck, A Perfect Circle).

While Leeuwen’s excitement for the album is palpable, he also says wisely, “You never know what you’re going to end up with when you embark on a project until all’s said and done.”

“The cool thing about this project is that we only have a short amount of time to dedicate to it, and everyone’s in these other really awesome bands (laughs)… But the great thing is that in that little time we get together, a lot of inspiration happens. So from where you heard the EP, the LP spreads its wings a little more and shows more depth.

“There’s a lot more music even beyond this, so it’s a cool project to dig our heels into in a short amount of time and try not to think about too much. So then we ended up with our full-length record, which I’m really happy with.”

The band was initially formed last year by founder of Sencit Music Mike Zarin and At the Drive-In’s Tony Hajjar (drums), previously working together on film trailers for hit TV series including Stranger Things and Game of Thrones. Yet it was the addition of Leeuwen and later Mastodon’s bassist and co-vocalist Troy Sanders which really completed the package.

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As characterised by Zarin, the group has been laying the groundwork to try out new sounds and textures. Reflecting on the depth of sound design that goes into the process, Leeuwen asserts, “Mike is a big part of that.”

“I think everyone has their spot. Troy has this undeniable presence with his voice, he’s got a very wide range. Tony’s an amazing drummer, and one of the guys that’s been doing sound design for a while with Mike. But really, the guy who’s surprised me the most is Mike. He’s the new guy that nobody knows about, so he’s really pushed some envelopes sonically, and I think it’s made me play a little different. I like that, and welcome that kind of change.”

“Musically I take a lot of cues from him because for me it’s got to sound different from what I normally do. So a lot of effects pedals get pushed (chuckles), and experimenting is always welcome. There’s a lot of fun when we get together and try to make this thing what it is.”

Testing the waters also extends to how the four-piece bring their music to the fans, and Van Leeuwen describes this as “an ongoing quest for how to do things outside the norm of what a rock band does.”

“We’re all guys who play that music, but there are certain things that every band normally does, which is write an album, record it, tour and then repeat. We don’t have the luxury or time to do that, so we’re always looking for new, interesting ways to bring the music to the people. It’s a constant conversation.”

It’s especially hard to do this when no-one has heard any of your songs. Yet the roaring reception to the group’s earliest material at their first show at The Dragonfly in LA last April is a sheer testament to their strength, both as a collective unit and individually.

“That was the highlight of the whole night,” the axeman remembers fondly. “But it’s something that doesn’t happen often. Everyone has to make their record, put it out and people listen to it, and then you go on the road and they know it. But I thought it was cool that people were genuinely interested in what we’re going to do just by our association with our other bands.”

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That raw energy certainly bleeds into the four-piece’s studio sound, with those atmospheric textures and ringing notes prevalent on Echolocation. Here Leeuwen asserts, “It’s a live experience, we feed off each other, and the chemistry is always there.”

Luckily, finding the right guys to build up that chemistry with has been nothing but an organic process. Mastodon and Queens of the Stone Age have shared many festival bills over the years, and the guitarist relates the first time the two crossed paths out on the road.

“I think it was in Denmark, maybe Copenhagen. Mastodon came to see Queens at a show, and we just hit it off. All those guys are great, and every time we play a festival together, we always hang out and have drinks. So our friendship just bloomed from that, and staying in touch over the years.”

As for what actually sparked the guitarist to call up Sanders, it all comes down to a chat with fellow members Zarin and Hajjar.

“They initially came to me and said ‘What do you think about Troy from Mastodon?’, and I was like ‘Well that’s awesome, because I already have his phone number and we like each other’,” Leeuwen begins. “We always talked about doing something together and this seemed like a good opportunity. It was that simple.

“I think he was at the DMV (Department of Motor Vehicles) when I called him, so he was definitely waiting in a line for something terrible (chuckles). He often thanks me for brightening up his day by calling him to be a part of this. He’s a great dude.”

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Considering Van Leeuwen’s own contributions, he’s certainly got many over the years to be proud of. In particular, he played rhythm with LA heavyweights A Perfect Circle, later contributing piano and backing vocals to Palm Desert rockers Eagles of Death Metal on Death by Sexy (2006) and xi (2008).

Reflecting on being a multi-instrumentalist brings the guitarist to think about the last time he struggled to play something for the first time. Here Van Leeuwen’s mind shoots straight to playing ‘American Valhalla’ in 2016, while on Iggy Pop’s tour in support of his latest album Post Pop Depression.

“I had to play the steel drum. For one song,” he chuckles. “It’s completely foreign to anyone who plays keyboard or guitar. So that was the last real struggle I had, and I can still only play the one song. You just bring out the steel drum for that one and then it’s gone. No pressure (laughs).”

Yet across all of his live collaborations and studio projects, Van Leeuwen’s mindset remains the same.

“My general philosophy is that if I can make music with people I like, I’ll do it as much as I can (chuckles). So all the projects and bands that you’ve mentioned I consider family, and I like to visit them as much as I can.”

Grab a copy of Gone Is Gone’s debut record Echolocation here, out via Black Dune Records/Cooking Vinyl Australia.

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