It’s Matt O’Donnell from Tarmac Adam here. We’ve just released a new album of twelve songs called The History Effect. Twelve songs about life’s journey – reflections on where we’ve been, where we are now, and where we’re headed.

This album is the followup to our debut record “Handheld Torch” which was released in 2003 with the late-lamented Paul Hester on drums at the time.

The songs for this new record were written by myself and multi-instrumentalist Steve Paix and recorded in our studio here in Melbourne. Nick Seymour, who joined us again, was sent the demos in Ireland (his place of residence) to work on parts before flying out to Australia to record the bass. The rhythm section was completed by Reuben Alexander on drums. Josh Barber from Gotye’s touring band plays percussion, and there’s a guest vocal from local chanteuse Maddy Hay.

The record was mixed at Quad Studios, Nashville; mastered at Sterling Sound, New York.

It’s been 10 years since your debut album came out. A lot has changed since then, can you give us a run down what you guys have been doing in the meantime?

The last 10 years have seen many events and changes in our respective lives.  Steve and I started a media production business – that’s me humming in the traffic reports on ABC Local Radio… quite bizarre to hear as the radio alarm wakes me for the day! And Nick, well he’s made a couple of Crowded House records, a few world tours, he’s recently produced a soundtrack for a recent film “Summit” – an Irish produced feature film about one of the deadliest days in modern mountaineering history in which eleven climbers died on K2 in 2008.

And what brought the band back together to record after such a long hiatus?

Steve and I had continued to write and record new material and we’d had intentions for quite a while to produce a new record. It really was a question of timing. There were a few false starts, but at the end of 2011 we decided to go for it. It seemed that the stars were aligning: we had an opportunity to work with US mix engineer/producer Rob Feaster in Nashville, Nick had a break in his schedule and became available, and I felt like I had something worthwhile to write about. And being 10 years since the release of our first album, Handheld Torch, it seemed that if were going to make another record, now was the time to do it.

How does The History Effect differ from Handheld Torch?

Sonically, while we maintained the layered, lush approach of the first album, The History Effect is probably a bit more “pop” than Handheld Torch. The new sound has a sense of buoyancy about it. We structured it to work as a “whole” album listening experience in terms of the song themes. The History Effect is more about resolution, while Handheld Torch was perhaps more about choice, indecision, and conflict. This album feels quite decisive.

Thinking about the music you were making ten years ago, compared to the music on your latest record, how has time altered you as musicians?

The time past has made me more confident in what I do and how I do it and less concerned about whether it’s right or wrong. It is what it is. Process- wise, we’ve become much more efficient in the writing and production, not labouring so much on ideas, and finding productive ways to address the creative hurdles and barriers one always encounters on a project like this. We’re able to get to the core of a song more quickly now, exploring the musical options to find a production direction that we vibe on. There’s nothing like a deadline to get a result!

Undoubtedly you would have had a lot to write about over the years, did you have too many songs to choose from for this record?

Not necessarily. Writing over the ten period also included a fair bit of discarding so by the time we were ready to make the record the five or so tracks we chose were pretty obvious keepers. The rest of the album was written over a fairly short time frame – five months. I tend to have lots of beginnings of songs floating around and the ones that stay with me for maybe six months are the ones that the work is put into to get finished. Actually completing a song is a challenge that requires a certain work ethic… getting that second verse and a bridge written takes discipline, you’ve just got to put the work in.

What would you say are the common themes within the lyrics on the album?

There are three themes running through the record. Firstly there’s the idea of looking at what influences who we are today and what things from generations before influence us in the choices we make. Secondly, where life is now, a sense of contentment, acceptance and an optimism about ‘my lot’ – rather than being on the eternal search for something different, something better. It’s a reflection on “this is where it’s at” and within the issues and paradoxes of day-to-day living…it’s actually pretty good. Thirdly, some songs are from a perspective of someone nearing the end of their life. It made me wonder how would I reflect on things past… ”last chance, last rights, will there be much left to say… let bygones be bygones”.

Ultimately it’s an optimistic record written in good times. It was a cathartic writing period, and the writing and recording process was very enjoyable.

The unfortunate passing of Paul Hester was an incredibly sad time for all, did you think it was the end for Tarmac Adam when it happened?

Indeed, it was a very sad time. Steve and I were in the planning stages of what next for Tarmac Adam when he died and I suppose things were just put on hold. And we got busy with other things that came along. I always planned to make another record but wasn’t sure how it would transpire. There were a couple of false starts but we didn’t get the momentum up to get a record over the line until late 2011.

How did those events impact on your music?

Death brings up lots of issues – mortality, loss, a sense of finiteness. It also brings into focus life and living, not regretting things, not letting opportunities pass you by.  The sayings: “I could have…” or “I should have…” certainly come into sharp focus for me and drive my intent to do stuff, to be creative, to make records and to write songs that have some relevance to where I’m at. People dying makes me want to get the most out of living and not spending too much time dwelling in life’s pitfalls (still sometimes unavoidable). I reckon in the last ten years I’ve been a lot more mindful of choices I have in how I live rather than let circumstance purely determine what and how I do it. These things have certainly influenced my writing.

Rueben Alexander is now on drums, how do you think he impacted on the new album?

Rueben is a very musical drummer who plays in an understated manner. Often it’s what he doesn’t play that works so well on this record. The drums are rock solid but never overbearing and his hi-hat performance works so well with the guitars. He’s also a charming and gentle individual to work with in the studio and these qualities certainly come across in his performance.

What are your plans for the rest of 2013?

The record is being very well received in US, particularly on College Radio. As such it looks like Steve and I will be heading over mid May to do a promo run  – a couple of TV spots, radio and online interviews. We’re looking at doing some shows locally later in the year.

Where we can see you play next, what releases do you have available and where can we get them? 

Both albums are available at www.tarmacadam.com.au and all digital outlets.

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