Boy & Bear are a stunning success story. One of the last surviving bands with grassroots beginnings, the Sydney-based band have seen no limit to their success. Debut album Moonfire went 2x platinum, and their follow-up Harlequin Dream went gold. With third album, Limit Of Love slated for release on October 9th, it will be interesting to see what they will achieve the third time around. The band took an organic approach to recording, produced by Ethan Johns, each track on the album was recorded live in studio- with no extra gimmicks or production.
We had the honour to speak with drummer Tim, about their upcoming release and tour plans.
So, Limit of Love is set to drop in October. Considering Harlequin Dream saw a progression from your debut into something that sounded more stripped back and focused instrumentally, is your third album set to progress in that manner?
The songs are fairly live in the third album. You know, I think it will be a progression from Harlequin Dream, but I think songwriting-wise it felt a bit more natural, we’ve done a bit more together. I guess one of the main constraints with the record was that it was all done live in the studio – even Dave’s vocals. So I guess it did constrain us in that way but I think that was a big positive in the outcome sounding a lot more like us.
Recording the whole thing live is a really interesting approach to recording, and something you said you guys have always wanted to do. Was there anything specific holding you back? Do you just now feel confident enough to take that approach?
Yeah, it was maybe a bit of fear and insecurity, you’re not really supposed to say that, but there was probably a little bit of that holding us back. A lot of people these days, a lot of producers and a lot of engineers, they record straight to digital… Sorry, I’ve got Dave distracting me, he’s eating cake and shoving it into my mouth, trying to distract me, which he’s doing a good job at!
But I guess, because of that, you lose some of that live energy that you may have had live at a gig or a radio performance, so you try to recreate that but you can’t. On the record, there were no computers involved, it was all done to a tape machine. If you stuff up, you stuff up. Ethan [Johns], our producer, he was the one that could tell if those stuff ups were kinda cool, or if we had to do it again. So there was a big trust thing for us, putting that into his hands and saying ‘well Ethan yeah, we trust you and we’re gonna have a crack at this’. He gave us the confidence to say, you guys can do this, you’re a live band, that’s who you are. It was a wonderful experience.
And apparently Ethan performed with you on the album as well – can you tell us a little about that? Did his parts make it to the album?
Yeah, he kind of felt like a bit of a sixth band member. He’d say to us ‘guys do you mind if I pick up an instrument here?’ and he’d grab something, maybe a keyboard part, or a guitar part. Even on percussion, he played on one track and he played a second drum kit on another track live. For those songs it made it really special, and it really did provide some glue that brought the songs together. He’s very much only a ‘feel’ guy, he only plays what he feels. And if there’s nothing he’s feeling he wouldn’t play anything, he wasn’t just trying to get on the record. It was very much case by case, it was very cool, I love what he did.
Is the record meant to resemble your live shows?
Yes! Yes. The only problem is we won’t have Ethan there. But yeah, it was wild, it felt so natural sitting in the studio, and it wasn’t until we realised that it was because we were set up like a live show that it made sense to us.
Do you feel like you’re taking a bigger risk in being instinctive in your approach while recording?
Yeah absolutely. But I think you have to, if you choose to do a record this way. It’s not going to sound as perfect and pristine and produced as a lot of other records these days. But that’s not what we wanted, we wanted it to be able to convey the emotion of what we’re doing as musicians and songwriters through our music. And I think a lot of that is really stripped from songs when it’s all perfect and knocked into line. It has energy taken out of it. It was a risk, but one that we’re really glad we took, and we’re prepared to do it again.
That organic style of recording seems to be getting popular again. Do you think Australia was just late to the game or was there a catalyst?
I don’t think so, I mean, I think us like many people around the world are very influenced by our parents and what they listened to. This is the way a lot of classic records well, all classic records were done. People just got into a room and played live. And what they recorded, was the album. I think we’re going back to that. We just want to go back to sounding like a band playing songs. I can’t comment on how other people record, but I think there is a hunger for that reality in music now.
I read that this was the first record in which you all shouldered the songwriting duties, what was that like doing it for the first time?
I think we’ve always had a hand on it anyway, all five of us. I guess in this case, some of the songs were started together. It didn’t feel massively different, those songs felt really special but I think it was more of an evolution in our relationship as band members, more than anything. We went away on writing trips and were able to start songs together but still, the process didn’t feel massively different to me, because you know, Dave still has a massive part to play. He still has to sing the songs and melodies wise, he has a right on those. I think it’s just been a nice evolution as band members together, and yet it was just a lot of fun.
For any upcoming live shows, how do you think the new stuff will fit in with the old? Will you play primarily new material?
I think it will, the old stuff works live. The stuff off Moonfire was probably the most difficult to translate live, but it still works. Harlequin Dream, I think we were halfway between Moonfire and where we are now. We still played some live takes, but I think it was a very different fit. And I think this is just, well to be honest, I just think it’s better. And I think it will work with the old stuff, it’s just an improvement and an evolution. And I’m still proud of the last two records! I’m just especially proud of this one.
Is there less follow-up pressure now that it’s your third try? Or is it harder because you recorded it all live?
You know that’s funny, you’re the first person to ask me that question! Yeah, there’s heaps less pressure. When we made our first record everyone was asking ‘oh do you feel pressured because it’s your first record?’ and I thought about it and was like… yeah, I do. But we feel great about this, and I guess because we have a lot of confidence in the record, and we had so much fun making it, it’s nice to talk about and it’s easy to not feel any pressure at all about it.
Considering there are so many different platforms bands can use to get their name out there, how do you think the internet has helped push your name out there to your audience?
I think social media’s massive these days. I think it’s a good thing, because people can have access to music and not just be told by commercial radio what to listen to and how to consume music. People are smart, and people now what they like, and they’ll discover it. We’re just one in a massive pool of artists trying to create, and I think we rely on those people that want to find good music and share good music discovering us. And part of that involves being active in social media and being there and interacting directly with people. But I still think there’s a place for radio, having said that, we’re very grateful to have been played on radio. I just think people have become more educated, and as a result, there’s far more room to move towards social media.
There’s a lot of stigma involved in streaming services, like Spotify, at the moment, do you reckon it helps or hinders bands of your calibre? Or bands that are smaller than your own?
Anyone that hears our music is a positive. We just want people to enjoy it and hopefully come along to a live show. The reality is, record companies make the lion’s share of profits from albums anyway. So I don’t care, if we make nothing from it. I probably shouldn’t be saying this, but I just don’t care if we make nothing from our records. People wanna come along and spend some time listening to us live and chat to us after, you know, come out and see live music, I think that’s a positive. I don’t care if they get the music from Spotify, or if they buy it through iTunes, or if they buy it physically at the store. As long as they can consume it and enjoy it, and we can have that relationship directly with music listeners, that’s what I think’s important.
What’s on for you guys in the next few months in terms of touring? I know you’re going to the UK shortly, do you have any Australian plans for us?
Yeah, look I think Australia’s going to be happy like, early next year. I’m not too sure exactly when that’s going to be but it will be early next year. Like you say, there’s the UK and Europe early next year and then we’re heading to the states early November.
And I have one last question for you- if you had to summarize Limit of Love in a word, what would that be?
Fun. It’s a lot of fun.
Limit of Love is released on October 9
BOY & BEAR – LIMIT OF LOVE TOUR
FRI 22 JAN | ODEON THEATRE, HOBART TAS
Tickets available from www.oztix.com.au | 1300 762 545 | All Oztix Outlets
SAT 23 JAN | FESTIVAL HALL, MELBOURNE VIC
Tickets available from www.ticketmaster.com.au | 136 100 | All Ticketmaster Outlets
FRI 29 JAN | THEBARTON THEATRE, ADELAIDE SA
Tickets available from www.ticketmaster.com.au | 136 100 | All Ticketmaster Outlets
SAT 30 JAN | RED HILL AUDITORIUM, PERTH WA
Tickets available from www.oztix.com.au | 1300 762 545 | All Oztix Outlets
FRI 12 FEB | HORDERN PAVILION, SYDNEY NSW
Tickets available from www.ticketek.com.au | 132 849 | All Ticketek Outlets
SAT 13 FEB | RIVERSTAGE, BRISBANE QLD
Tickets available from www.ticketmaster.com.au | 136 100 | All Ticketmaster Outlets