A Quick Chat with R.F. Coleman

CAN YOU TELL ME A BIT ABOUT YOUR INSPIRATION FOR EP ‘I COULDN’T TRUST’

Josh and I were mucking around with some samples. “Have a go then” he said, I dribbled out some melodies; we opened up another session, then another and another, then called it a day. We then rinse-repeated for a few more sessions until we had a whole bunch of tracks we loved. Josh convinced me to run with ‘R. F. Coleman’ as my artist name, and from there we shaped each song into its own little animal. Dark spots in this tune; pops of colour on that one; fast ones, slow ones; big tunes and silent-creepers. So there wasn’t so much an inspiration, more a desire to share the manifestation of our having fun. 

WHAT ARE YOUR INFLUENCES AND HOW DO THEY AFFECT YOUR SONGWRITING? 

The depth of my musical understanding, and appetite for listening beyond Goo Goo Dolls, is laughable. If I had to pin my influence onto a chest, it’d be Thom Yorke’s. Mania manifest. Iconic dancer. The master of the off-beat lyric (that you reckon you probably get but most likely not and it doesn’t really matter because it’s Radiohead, am I right? Maybe?). I guess I also admire the way - perhaps in my naivety - that Thom Yorke sees beauty in the imperfect inflection and ramble. I like that. The algorithm has been on a feed-me Rick Rubin spree recently, and, well, I just don’t get it. So definitely not Rick Rubin. The beard stinks.

WHAT’S THE CREATIVE PROCESS LIKE FOR YOU?
Music, writing, drawing - my creative process is the same. Ideas pass through me like an egg (I’ve never eaten an egg). If it’s a good egg, I’ll keep going. If it’s a bad one (like this metaphor), it goes straight in the incinerator. No recycling. And - even if it’s a good idea and in a good spot - I dread coming back to it. Listening through demo’d songs, editing stories or flicking through artbooks feels like punishment. Is it shame? Embarrassment? Laziness!? Looks like I’ve got something new to talk to my therapist about.
 

IF YOU COULD CHANGE SOMETHING ABOUT THE AUSTRALIAN MUSIC INDUSTRY, WHAT WOULD IT BE? 
I feel unqualified to answer this, but the question is here and I’m a 36-year-old white male debut artist, so I’m screwed either way. Everything feels safe. Versions of a version of like a version. I don’t blame the artists. The labels, festival honchos, radio-play keyholders. They’re setting the tone. Also, stop promoting douchebags like Sticky Fingers and boring drunk rock bands. It’s not a “vibe” and it’s not “edgy”.

WHAT DO YOU THINK LIFE WOULD BE LIKE FOR YOU IF YOU DIDN’T HAVE MUSIC AS AN OUTLET? 
Life would be the same as it was before: drawing portraits of strangers in bars, gambling with money and people I couldn’t afford to lose. It’d also be a bit shit ‘cos I wouldn’t get to hang out with Josh, but he’ll ditch me one day for a newer model and I’ll put an ad out on Craiglist for a producer if that still exists then.

IS THERE ANYONE YOU WOULD LIKE TO COLLABORATE WITH?  WHY?
Baxter Dury. Saw him play RISING last year and it was like a theatre show. He did absolutely nothing for three songs straight and I was enthralled. I bet he’d hate me though, and that’s fine; might make for something interesting.

WHAT’S YOUR ADVICE TO YOUNG PEOPLE WHO WANT TO MAKE A CAREER FOR THEMSELVES IN THE INDUSTRY? 
Same advice I’ve given to writers and creatives in the past: ‘no one fucks for free’. Don’t hand over your ideas for nothing; don’t play that show for ‘exposure’. Equally, who the hell am I? 

WHO’S THE MOST INTERESTING PERSON YOU’VE WORKED WITH/MET? 

Josh. Hands down. I’ve known him for 13 years and still don’t know how to stop pissing him off. Mix that with his unique ability to translate my stupidity into something listenable, and be patient with what my Dad describes as my “creative restlessness”, and you’ve got one very enigmatic individual.

ANY UPCOMING SHOWS?

Yes. But I promised my therapist I’d focus on one thing at a time, so that’s a ‘next week’ job!