Home' Rhythms Magazine : RHYTHMS JULY AUGUST 2019 Contents 32
“We recorded the album over two weekends
at the bass player’s Mum’s house in French’s
Forest,” explains Mark Moldre as he talks
about the gestation of his album Fever
Dreams, a project that was six years in the
making and two weekends in the recording.
“We were pushing beds and couches against
the walls and moving the dining table and
snaking leads through the bathrooms
and laundry. Every band member was in a
different room and then we had to do it very
quickly so we just pushed the Record button
and played live.
“I loved doing it that way. I’ve made too
many records which were basically just
sitting endlessly in front of a computer and
things taking way too long and having too
“We’d rehearsed all the songs a real lot
and we ended up keeping the mistakes
and weird vocal things. We maybe played
each song three times and kept the best
“And, of course, after the first weekend
we had to leave the house the way we
found it, and then set it up again the next
So, of course you want to know why the
bass player’s Mum decided to subject
herself and her home to the making of a
“She offered,” Moldre laughs. “She was
happy to have six or seven guys take over
her house. She was lovely, cooked us lunch
and then disappeared.”
Fever Dreams – an absolutely superb record
– is Moldre’s first for six years, his previous
release being 2013’s An Ear To The Earth.
This is his third solo album after a number
of fine but under-rated albums with his
band Hitchcock’s Regret.
Not that Moldre intended Fever Dreams
to take six years. Life just gets in the way,
particularly as musicians and songwriters
get a little older.
“It wasn’t conscious,” Moldre says. He’s
visiting Sydney for a day from his home up
Terrigal way in New South Wales to deliver
vinyl copies of the album and other rewards
to people who contributed to his crowd
funding campaign for the album.
“I would have started this record about four
years ago and it’s taken this long to get
to the finish line. One thing is that Jamie
(Hutchings), who produced the album,
never stops doing his own stuff so he can
be hard to pin down. Then the guy who
engineered the album is a pretty in-demand
doctor who’s not only a GP but travels
around the world doing lectures so he’s also
pretty hard to pin down. And everyone else
has busy lives so it was really just about
making schedules work.”
Moldre wrote the songs on Fever Dreams
over staggered periods and then would
rehearse them with the band and work out
what worked and what didn’t. Slowly things
That process also altered the way Moldre
wrote songs as he had the opportunity to
try them out with the band at each step of
the process – something that was new for
“In the past I’d written with my acoustic
guitar and just imagined recording the
songs that way or as a duo, and this time I
wrote more with the band sound in mind.
It’s a much more band orientated record.”
And was this process frustrating? It seems
that it wasn’t really – just the reality of how
things are for most artists after their mid
“We’re all getting older,” Moldre laughs.
“Everyone has less time, more pressures,
families and so forth we just have to make
the most of the time we have and make that
time really count.”
Fever Dreams is a superlative album from
a songwriter who cites Tom Waits, Chet
Baker and Bob Dylan amongst his myriad
of influences. And on the song ‘Leave
Me Where You Find Me’ even quotes a
bunch of lines from Dylan’s Highway 61
“When we recorded it originally it was just
a guitar solo, a big instrumental section and
then one day I just sang those lines. It was
part of a rant that happened in rehearsal. I
just started singing over Jamie’s guitar solo,
and I kept doing it when we played shows
in France, and then Jamie suggested I do it
for the recording so it was done in twenty
Fever Dreams is out now on
Yellow Moon Records.
Mark Moldre’s new album was
six years in the making.
By Stuart Coupe
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