The changing face of fun
Few contemporary bands have reshaped the language of modern music like Hiatus Kaiyote. Formed in Melbourne in 2011, the quartet of Nai Palm (vocals, guitar), Paul Bender (bass), Simon Mavin (keys) and Perrin Moss (drums) has become one of Australia’s most celebrated musical exports, earning global acclaim for a sound that seamlessly bridges jazz, soul, funk, hip hop, electronic music and progressive composition.
The last time Hiatus Kaiyote played in Byron was 2016 – this year they are playing the closing party for Dingo Festival at the Beach Hotel, building a custom stage to fit the band in the courtyard and bringing in a huge LED wall with their psychedelic visuals, which has been touring the world.
On the weekend Seven spoke to Paul Bender, who will also be playing bass with an improvisational project called Uncomfortable Science. Wherein the music is composed on the fly, on a whiteboard, with a veritable who’s who of the Melbourne soul-jazz scene.
You’ve got a lot going on at the moment.
It’s a mix of things. There are a few different festivals and other gigs spread around – a few different pots on the boil.
Is there new music on the way?
We’re always writing new stuff, but, don’t hold your breath (laughs). The creative process takes as long as it takes. For now, we’re looking at a new album.
Tell me about Uncomfortable Science
It’s a super fun improv-based project with an ever-changing lineup. It’s more of a concept than a band.
Does improv ever go terribly wrong?
Not terribly, because the players are always good musicians. Sometimes, though, you end up in places that you might prefer not to be, and then you’ve got to figure out a way to get out of that. There is a risk of going sideways… and I think that’s enjoyable from an audience perspective, because it’s surprising. Every time is different, depending on the lineup.
You decided to become a musician at age 12. Has life matched what you imagined back then?
I’m not sure what 12-year-old me actually pictured, but I’m happy with where he’s ended up. I get to do creative work with really cool people, and I run an amazing studio in Preston, I get to play lots of styles and I get to travel. I think 12-year-old me would be pretty pleased with the outcome.
Have you got a current earworm?
Well I’m a dad now, so it’s mostly the Bluey soundtrack. It could be worse. My daughter caught ‘Baby Shark’ fever against my will – (doo doo, doo doo, doo doo), but The Wiggles are okay. They’ve got some bangers!
What inspires you? What gets you out of bed each day?
I’m a dad – there’s no choice! But with less time, there’s no waiting for inspiration. You just start doing stuff. It pushes me into a good practice. I value this time, and engage with creativity differently.
So ‘Baby Shark’ is making you a better musician?
It’s forcing my hand in a certain way.
Why do festivals still matter?
Seeing things happen in the real world is essential as people get increasingly siloed into little online realms. Much of what we’re sold is perfect and curated. Live performance brings real risk: the potential for failure, and then the actual success of pulling it off. That’s becoming more valuable on a real human and spiritual level, and anything that gets people out of the house to experience something real is profoundly important.
Paul, are you having enough fun?
Yes, though it’s different fun to previous versions of fun. Much of it comes from my studio: I love recording people doing their thing, and helping turn things from people’s imaginations into something tangible. To me, that’s super fun.
Paul Bender plays Dingo Festival with Hiatus Kaiyote, and with Uncomfortable Science. For more details, times and tickets visit dingofestival.com.
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