New Music: 10 minutes with Broods

There’s an explosion of talent ricocheting from the South Pacific, and it’s increasingly more evident with the rocketing exposure of the Auckland based Broods.

With their debut full length about to drop this autumn (22 August AU/NZ, 7 September US/CA – Capital Records), the New Zealand duo comprising of Georgia Nott on vocals and her multi-instrumentalist brother Caleb, have been ceaselessly globetrotting in it’s anticipation. Just before their show in Toronto this past spring we caught up with Georgia to talk about their jetted success, the heat of the Auckland music scene and the eclectic development of their style.

Listen to their EP and read our exclusive interview with Broods below.

KENTON: The Self Titled EP (January 2014, Island Records) has a great range, The ability to go from a down tempo trap structured beat on the opening track (Never Gonna Change) to the folk-pop based “Taking You There” while maintaining strong continuity is fairly surprising. Is this something the two of you make a conscious effort of during the writing and recording process, or is it something that is reflected on during post?

GEORGIA: I think – we don’t really plan on making the songs exactly how they are, it’s more of an organic process that we try to keep really natural and just go with whatever we’re feeling, so it’s an accurate representation of whatever we’re feeling or thinking at the time of writing the song. I guess because it’s always the same voices singing and the same producer right through the EP that’s when it develops that connection throughout the songs, even when they’ll be completely different and kind of different vibes, it just has the continuity because of the way that I sing and the way we produce the music. I guess it’s just how it turns out. It’s started to become the same thing with the album as well, we try to work with different styles but they always seem to follow a truly “Broods” sound. It’s a pretty good representation of just being Human. We don’t have just one way of feeling or one way of thinking. It’s following how we go about our lives, and think about different events and experiences.

KENTON: How does the writing process between the two of you develop?

GEORGIA: For us we’re just starting to learn how to take over each other’s rolls rather than just stick to what we’re comfortable with – When we started off I’ve always been really into the lyrical side and have always been really conscious of what I’m saying and how I’m saying it. Caleb is always listening to how it’s going to come together musically, how the beat and the vocals and the synth lines all come together – We push ourselves to do more than we’re usually comfortable doing, challenging each other to move into different ways of writing. Caleb starts writing lyrics and melodies and I’ll start understanding how to make a logical beat.

BROODS-EPKENTON: When writing, what influences you musically? Do you typically stay within the Pop sphere or reach for influence outside of contemporary Pop?

GEORGIA: A bit of both. We both have grown up in the same household obviously, so we grew up listening to all this old music that our parents were obsessed with, and we still draw on that a bit. A good example is Abba, they wrote these amazing Pop songs that are so timeless. We find it really important to listen to things that are still relevant today. For us it’s really important to draw on things that are timeless as well as things that are current and up-and-coming. We listen to a lot of [emerging] music like Banks and London Grammar.

KENTON: And outside of music?

GEORGIA: We write about things that we feel really strongly about. For us it’s more about writing on how we’ve experienced something or how we’ve felt about something and portraying our perspective. When I listen to music it’s important for me to be able to understand where the artist was when they wrote that song, how they felt and how universal what they’re writing about is, so for us it’s really important to be relatable. We write about, I guess you could say cliché things, like love and all that, but everybody loves at some point so it’s an easy thing to relate to.

KENTON: Do you feel that with the rise globally of Lorde in the last year, and the recognition that Broods has quickly gained in the last few months, that this is indicative of the Auckland music scene as a whole gaining more prominence?

GEORGIA: I think yeah, it’s the situation where one person [breaks through] and others realize it’s actually possible and follows in their footsteps. I know for us, when we saw Lorde blowing up around the world it gave us – we were already going to go for it, and already had our mind’s set on doing this, but it made us think ‘well this actually could happen’ and allowed for us to trust ourselves a little bit more. I think that’s what a lot of other Auckland artists and New Zealand artists are feeling right now, that it is possible to break out to the rest of the world and you don’t have to just stay in your room and play on your piano by yourself. That’s the typical Kiwi thing to do, is to be really humble about it, but for everyone now they’re finding out people are interested in what New Zealand is doing and hopefully it does keep expanding and keeps growing.