TRACK BY TRACK: Scenes Takes You Through His Debut EP 'ID'

Morse ft. Jesse Davidson

GR: I wrote Morse at my kitchen table with an acoustic guitar. The song stemmed from a chord-melody fingerpicking idea that I was developing. I hear a bit of Sufjan Stevens and Bibio in the melody – the contour, and tension and release. I’m inspired by their writing. They have well-ordered melodic structures and include unexpected turns.

Lyrically, yes, there’s a bit of wordplay. It was enjoyable to write the consonance in the verses, and to tinker with phrases and faux-axioms. They’re framed by the chorus lyric, as the characters search for a path forward with a new clarity.

I met Jesse Davidson not too long after he was a finalist in Unearthed-High. I co-produced the title-track single from his first EP ‘Ocean’ with Jake Miller (who mixed ‘ID’). I also played in his band for a handful of shows. I think it’s safe to say Jesse, Jake and I all have a similar taste and are on the lookout for poignant and innovative music. 

I love the tone of Jesse’s voice and his delivery on Morse. It’s endearing and sincere. He grounds and focuses the energy built into the arrangement back to the narrative.

Into the Ground ft. Montgomery

Montgomery: “This was the first song I heard from Scenes and the writing really captivated me from first listen. It’s so poetic and I guess cryptic in a way, so I found it really easy to get lost in my own interpretation of the song while tracking the vocals. I think it’ll have that effect on others too.”

GR: Ryan Strathie, my bandmate in Holy Holy, played drums on the EP. We recorded most of the drums in Brisbane at Alchemix Recording Studio with Marly Lüske. In trying to get more of a break beat feel, this drum take was tracked in my home studio with a more minimal mic setup.

The synths on this tune are the Juno Alpha 2, Juno 106 and Moog Little Phatty. I was experimenting with rhythmic ideas for the Guitars, referencing the Radiohead B-side Bangers + Mash, and D’Angelo.

I was already a fan of Montgomery’s music when we first met on a Japanese Wallpaper tour I was playing, where her band was the touring support. I think her delivery of Into the Ground captures the intended sentiment perfectly. Musically, it's a pretty simple song at its core by design, but lyrically, it has an almost unsettling honesty. Montgomery always sounds effortless and she has a really evocative vocal timbre that brought the song to life.

I Made My Bed, I Lie in it

GR: I Made My Bed has existed in one form or another for a few years now and was the first song I wrote for the EP. It’s a key moment thematically and still relevant to my life personally. It’s about identity and openness within ourselves.

The vocals are performed by Timothy Muller. Tim and I have been good friends since playing in our first band together in high school!

The first spark in creating the arrangement was the looping Bass Guitar riff with the chorus drum feel. The synth parts play an important role, they’re either swelling or working in with the drum feel rhythmically. It’s the Juno 106 again with wet Prophet 08 chords in the choruses, and the Moog Little Phatty for low end.

Henhouse ft. Ainslie Wills

GR: Ainslie Wills is one of my favourite artists and an incredible singer. We recorded her vocal at The Aviary Recording Studios in Melbourne after I had sent her the song with a guide vocal track. It still feels like a dream having Ainslie on this song. We had met a few times in Brisbane and Melbourne, and Ainslie had supported Holy Holy on an Australian tour. 

The Pre-Chorus section of this song is like a transcript of inner monologue. These phrases are layered under the lead vocal as the song progresses, as if Ainslie (as the narrator) is rising above them. They continue to ring out as the song finishes, but they’re diminishing into the background.

There are dual Drum Kit parts and a multi-layered Bass ostinato that drive the song. Jake Miller (who mixed the EP) was able to balance the interweaving Drums, the heft of the synth bass, and the Bass Guitar (amongst all those warm pads too). Thanks Jake!

Only When It’s Over ft. Street Rat

Street Rat: “What I loved about this song is that the instrumental felt evocative of the lyrics. The woozy synth, the tone of the live bass, it all sort of created the mood and context. Singing somebody else's lyrics is singing somebody else's experiences, and this was my first time doing that! It was a good thing Graham has such an ear for sonics.”

GR: I met Street Rat (Imraan Paleker) in Brisbane before he moved to the UK. Imraan is an accomplished musician and alongside his output as Street Rat is also a member of Jordan Rakei’s band. Imraan also worked with me on the guide vocal tracks and backing vocals for the EP. He’s a pro collaborator and with our shared taste in music, he was invaluable to the demoing and vocal arranging process.

This is probably the most ‘electronic’ song on the EP. I think it’s in the same sonic world as Atoms for Peace with the live drum kit mixed in with the programmed electronics and stark synths. The layered vocal harmonies and Bass fills provide the colour, along with the Guitar layering, which builds across the song. 

The song is about moving through life, and through grief, specifically. A la Henhouse and Morse, there’s a resolve and hope in the face of it all.

ID is out now and available for streaming. Check it out below: