Heidi Lenffer - Cloud Control (03/09/2013)
When Heidi Lenffer, Cloud Control’s vocalist and keyboardist took some time out of her busy schedule to speak with The 59th Sound, Dream Cave was mere days away from release, and they'd just played at the annual Splendour In The Grass festival.
With all the makings of a classic, and showcasing a much wiser, and slightly darker side Cloud Control, Dream Cave is the monumental and beautifully crafted successor to the band’s debut album, Bliss Release.
Upon its release, Bliss Release took the Australian music scene by surprise. Triple J favourite Gold Canary put Cloud Control at the forefront of the Australian live music scene, and then in the blink of an eye, they seemingly dropped off the musical radar as surprisingly as they had arrived. But this was not the case. In reality, the radar had merely relocated. And while they fans missed their touring and appearances at Australian festivals, there was the greatest of silver linings at work.
Cloud Control had wasted no time between drinks, and moved to London to commence production on their follow-up record, some of which was recorded in an actual cave, all while alluding to a deep philosophical meaning behind the concept of the bands' sophomore record.
"It’s funny, because we’d all been throwing around ideas of recording in interesting spaces like bunkers and churches, then Al wrote the song Dream Cave, so talk naturally turned to caves", Lenffer explains.
"But independent to this, one of the ideas that had been informing my songwriting was Plato’s classic cave metaphor for enlightenment - about the ignorant man in a cave who’s reality is the dancing light shadows on the wall, rather than the real objects outside that make the shadows".
As philosophers will tell us, Plato's metaphor describes some prisoners who have lived chained to the wall of a cave for their whole lives. They watch shadows projected on a blank wall by the world passing in front of a bright fire behind them. Since they know no different, they begin to attribute different forms to these shadows, which are as close as the prisoners get to viewing reality, a concept which has been adapted heavily into the context behind Dream Cave.
"I was really interested by the idea of living out imagined realities and borrowed world-views and the possibility of re-invention within the parameters of the people who make up your world. Quite a few of my songs play with this idea in some way, so Dream Cave tied in quite neatly at a philosophical level".
With high expectations for their sophomore, there was no doubt external pressure from their fans and critics alike to set the bar high. Bliss Release had resonated with so many music fans; and there was the question of whether it could be repeated. But rather than succumb to external, Cloud Control have defied it and made a record which they feel satisfies and expresses their passion as musicians, one they're ready to share with the world.
"Of course we’ve felt some (external pressure) but to take that pressure into the recording process would be like voluntarily donning a straight jacket and jeans for an ocean swim", Lenffer says.
"Releasing music is the start of a relationship with people and with that love you feel an obligation and also vulnerability, like in any relationship. You want to do them proud. But these desires are different to the need to write a record that musically and conceptually satisfies the four of us. Touring is too demanding a lifestyle if you only feel half-heartedly about your music".
Dream Cave has an abundance of unique moments; the richly textured lead single Dojo Rising is a serious contender for the Triple J Hottest 100, while Scar is bathed in the influences of classic folk rock of the 1970s, echoing of Rumours era Fleetwood Mac.
But amongst the sweeping melodies and soaring vocals, there are moments of subtle brilliance. Like a voice echoing through a tunnel, only to be heard moments later, the two tracks Scream Rave and Dream Cave act as bookends for the album. However, this bookend was not a conscious decision during pre-production, but rather a concept which came to be during recording in the studio.
“The demo of Scream Rave always sounded to us like a great intro song for the album, so this was always in the back of our minds and in the end it was the song that had the least development in recording. We pretty much replicated the demo, even used some of the original parts, and overlaid live drums. Using Dream Cave as a closer was not an obvious choice, however. We tried relentlessly to fit it in the middle as a kind of oasis but after several weeks of extensive track-listing experimentation we found the contour of the album made sense with Dream Cave at the end."
With their national album tour currently underway, word of mouth amongst social media users has been extremely positive about the performances. But prior to the release of Dream Cave, Cloud Control returned for a slot at the 2013 Splendour in the Grass, which would play host for the debut for a small selection of new material.
Following a somewhat small hiatus from the live scene, there was no way for Cloud Control to gauge how they would be received at Splendour. Rather, it was about sensing what the audience wanted to experience, and how to deliver it.
“The last moments (before going on stage) are ruled by the body more than the mind. Sensing the space and the crowd. Feeling what they want and what you have to give,” Lenffer says.
“By the time we played apparently our tent- GW Mac- had become a knee-deep quagmire of mud and plastic cups so I was impressed to see it filled, and a little relieved because being out of the scene you’ve go no means to gauge how interested people are in your music. Especially with so many great bands around- bands start up, each and every day”.
Like all established bands, Cloud Control began their touring days in small band rooms, the initiation point of any emerging artist. But with one too many local venues facing closure due to liquor licensing and development plans, our promising Australian talents are failing to gain momentum and find their feet in this all too important industry.
“You need to think of small venues as nurseries for ideas and musicians”, Lenffer says. “The small venues are where established bands experiment and where fledgling bands grow. Another helpful image is to imagine local music venues as the strong low-slung branches of a tree that allow kids to climb. Cut these off and the trees will still stand but the only ones playing in them will be the rich kids with cherry-pickers”.
While they are no doubt established in the live music scene, Cloud Control continue to play the small venues amongst the larger theatres; where they grow, interact, and share their passion with their audiences. For the members of Cloud Control, music is their lifeblood. Their love of performing for the world is an unrivalled experience; and that's what makes Cloud Control so unique.
"People are very perceptive. The most standard interaction I have with someone who wants to talk about life in a band is a mixture of unbridled enthusiasm about how amazing it must be to tour the world performing and writing music, combined with genuine concern about missing family and a rooted homelife. This pretty much nails it", Lenffer explains.
"Performing to a crowd that is hungry for an experience and lovers of our music, never gets old. You would have to be dead or dying inside to not be stirred by this generous exchange of human spirit".
Luke Sutton
@lukesutton
With all the makings of a classic, and showcasing a much wiser, and slightly darker side Cloud Control, Dream Cave is the monumental and beautifully crafted successor to the band’s debut album, Bliss Release.
Upon its release, Bliss Release took the Australian music scene by surprise. Triple J favourite Gold Canary put Cloud Control at the forefront of the Australian live music scene, and then in the blink of an eye, they seemingly dropped off the musical radar as surprisingly as they had arrived. But this was not the case. In reality, the radar had merely relocated. And while they fans missed their touring and appearances at Australian festivals, there was the greatest of silver linings at work.
Cloud Control had wasted no time between drinks, and moved to London to commence production on their follow-up record, some of which was recorded in an actual cave, all while alluding to a deep philosophical meaning behind the concept of the bands' sophomore record.
"It’s funny, because we’d all been throwing around ideas of recording in interesting spaces like bunkers and churches, then Al wrote the song Dream Cave, so talk naturally turned to caves", Lenffer explains.
"But independent to this, one of the ideas that had been informing my songwriting was Plato’s classic cave metaphor for enlightenment - about the ignorant man in a cave who’s reality is the dancing light shadows on the wall, rather than the real objects outside that make the shadows".
As philosophers will tell us, Plato's metaphor describes some prisoners who have lived chained to the wall of a cave for their whole lives. They watch shadows projected on a blank wall by the world passing in front of a bright fire behind them. Since they know no different, they begin to attribute different forms to these shadows, which are as close as the prisoners get to viewing reality, a concept which has been adapted heavily into the context behind Dream Cave.
"I was really interested by the idea of living out imagined realities and borrowed world-views and the possibility of re-invention within the parameters of the people who make up your world. Quite a few of my songs play with this idea in some way, so Dream Cave tied in quite neatly at a philosophical level".
With high expectations for their sophomore, there was no doubt external pressure from their fans and critics alike to set the bar high. Bliss Release had resonated with so many music fans; and there was the question of whether it could be repeated. But rather than succumb to external, Cloud Control have defied it and made a record which they feel satisfies and expresses their passion as musicians, one they're ready to share with the world.
"Of course we’ve felt some (external pressure) but to take that pressure into the recording process would be like voluntarily donning a straight jacket and jeans for an ocean swim", Lenffer says.
"Releasing music is the start of a relationship with people and with that love you feel an obligation and also vulnerability, like in any relationship. You want to do them proud. But these desires are different to the need to write a record that musically and conceptually satisfies the four of us. Touring is too demanding a lifestyle if you only feel half-heartedly about your music".
Dream Cave has an abundance of unique moments; the richly textured lead single Dojo Rising is a serious contender for the Triple J Hottest 100, while Scar is bathed in the influences of classic folk rock of the 1970s, echoing of Rumours era Fleetwood Mac.
But amongst the sweeping melodies and soaring vocals, there are moments of subtle brilliance. Like a voice echoing through a tunnel, only to be heard moments later, the two tracks Scream Rave and Dream Cave act as bookends for the album. However, this bookend was not a conscious decision during pre-production, but rather a concept which came to be during recording in the studio.
“The demo of Scream Rave always sounded to us like a great intro song for the album, so this was always in the back of our minds and in the end it was the song that had the least development in recording. We pretty much replicated the demo, even used some of the original parts, and overlaid live drums. Using Dream Cave as a closer was not an obvious choice, however. We tried relentlessly to fit it in the middle as a kind of oasis but after several weeks of extensive track-listing experimentation we found the contour of the album made sense with Dream Cave at the end."
With their national album tour currently underway, word of mouth amongst social media users has been extremely positive about the performances. But prior to the release of Dream Cave, Cloud Control returned for a slot at the 2013 Splendour in the Grass, which would play host for the debut for a small selection of new material.
Following a somewhat small hiatus from the live scene, there was no way for Cloud Control to gauge how they would be received at Splendour. Rather, it was about sensing what the audience wanted to experience, and how to deliver it.
“The last moments (before going on stage) are ruled by the body more than the mind. Sensing the space and the crowd. Feeling what they want and what you have to give,” Lenffer says.
“By the time we played apparently our tent- GW Mac- had become a knee-deep quagmire of mud and plastic cups so I was impressed to see it filled, and a little relieved because being out of the scene you’ve go no means to gauge how interested people are in your music. Especially with so many great bands around- bands start up, each and every day”.
Like all established bands, Cloud Control began their touring days in small band rooms, the initiation point of any emerging artist. But with one too many local venues facing closure due to liquor licensing and development plans, our promising Australian talents are failing to gain momentum and find their feet in this all too important industry.
“You need to think of small venues as nurseries for ideas and musicians”, Lenffer says. “The small venues are where established bands experiment and where fledgling bands grow. Another helpful image is to imagine local music venues as the strong low-slung branches of a tree that allow kids to climb. Cut these off and the trees will still stand but the only ones playing in them will be the rich kids with cherry-pickers”.
While they are no doubt established in the live music scene, Cloud Control continue to play the small venues amongst the larger theatres; where they grow, interact, and share their passion with their audiences. For the members of Cloud Control, music is their lifeblood. Their love of performing for the world is an unrivalled experience; and that's what makes Cloud Control so unique.
"People are very perceptive. The most standard interaction I have with someone who wants to talk about life in a band is a mixture of unbridled enthusiasm about how amazing it must be to tour the world performing and writing music, combined with genuine concern about missing family and a rooted homelife. This pretty much nails it", Lenffer explains.
"Performing to a crowd that is hungry for an experience and lovers of our music, never gets old. You would have to be dead or dying inside to not be stirred by this generous exchange of human spirit".
Luke Sutton
@lukesutton