Xavier’s

Sunday Tasmanian - Tassie Living - - Eguide Music -

What’s with the bird theme and the bird call sam­ples through­out the al­bums?

It’s an idea I have had for a while now to sample birds and this seemed like the per­fect record to give it a go. It worked re­ally well. It brought a lot of re­ally beau­ti­ful colours, har­monies you wouldn’t oth­er­wise expect. It was fas­ci­nat­ing for me to put those fa­mil­iar sounds I have grown up lis­ten­ing to in the scrub into a mu­si­cal con­text and un­der­stand how uniquely beau­ti­fully birds sing and how in­cred­i­bly they work in pitch and har­mony.

This al­bum had it’s ge­n­e­sis in the Kimberley af­ter an en­counter with a black cock­a­too – what hap­pened?

It’s hard to put it into words. A lot of this record was in­spired by my time in the Kimberley. I have been work­ing on the James Price Point saga for the last three to four years and that place has been very pow­er­ful for me on my per­sonal jour­ney. I had just been to a sa­cred site and was com­ing back along a track and I came across a tree that had a mob of red- tail black cock­a­toos in it. They are usu­ally pretty flighty but they stayed right there and one – I’m go­ing to call it an old grand­mother spirit – just locked her eyes on mine, looked through me and screeched and groaned and talked to me. I had all th­ese im­ages run­ning through my mind of faces and places, things that were like mem­o­ries but they weren’t mine. I was just blown away and that af­ter­noon I wrote the start of Spirit Bird on a beach. It just poured out of me

and it was re­ally emo­tional.

Your mu­sic in­vari­ably has a mes­sage. Does your ac­tivism in­form your art and vice versa?

I don’t set out to say any­thing re­ally, I just let the mu­sic come through and al­ways have. I have a strong connection to coun­try and cul­ture and as a re­sult of that there is a lot of mu­sic com­ing

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