Trascrizione completa di No Rules, No Limits: SIXTH WONDER Conquer With BURNOUT

really really out of 77 00:03:38.900 --> 00:03:41.960 place but to be acting as if everything was normal 78 00:03:42.520 --> 00:03:44.219 is why I was like the smile was painted on 79 00:03:44.259 --> 00:03:47.439 it's plastered on my face throughout the entire music video. 80 00:03:47.840 --> 00:03:51.599 I just wanted to give just a very uncertain feeling 81 00:03:51.620 --> 00:03:53.379 because it's such a long song as well to watch 82 00:03:53.409 --> 00:03:57.169 like a full music video for but I just wanted 83 00:03:57.189 --> 00:04:00.389 to kind of keep that almost grip on the person 84 00:04:00.449 --> 00:04:03.569 watching because it's like why why why are they doing 85 00:04:03.629 --> 00:04:04.129 all of this? 86 00:04:06.659 --> 00:04:09.699 Good. Burnout follows on from the singles missile and Is 87 00:04:09.719 --> 00:04:12.370 This What You Want From Me. So are they standalone 88 00:04:12.409 --> 00:04:14.909 singles or are they part of a bigger musical picture? 89 00:04:16.790 --> 00:04:19.709 All standalone. None of these songs are linked whatsoever. 90 00:04:20.389 --> 00:04:21.370 Right. 91 00:04:21.410 --> 00:04:23.600 There's no plans for an album with them or you're 92 00:04:23.639 --> 00:04:25.100 just working one song at a time at the moment? 93 00:04:26.939 --> 00:04:28.779 At the moment, we're working a little bit at a time. 94 00:04:28.939 --> 00:04:31.939 Maybe check in with us next year. But at the moment, singles. 95 00:04:32.490 --> 00:04:35.769 No worries. So talk us through the massive single Missile then. 96 00:04:35.870 --> 00:04:39.029 Apparently it all sparked from messing around with the synth 97 00:04:39.189 --> 00:04:41.290 loop pattern on the Apple loop. So what was the 98 00:04:41.329 --> 00:04:44.519 creative simulation like when Dylan and Nathan took the electronic 99 00:04:44.540 --> 00:04:47.300 backbone and laid on the heavy elements with it? 100 00:04:48.319 --> 00:04:50.579 It was really interesting to watch how this song developed 101 00:04:50.600 --> 00:04:51.879 because I could just... When I was. 102 00:04:52.439 --> 00:04:54.939 Again, as you said, it was just Apple loops that 103 00:04:54.959 --> 00:04:56.620 I was messing about with that I'd kind of changed 104 00:04:56.680 --> 00:05:03.000 the synth pattern slightly for. I'd seen... I could hear 105 00:05:03.019 --> 00:05:05.259 that I wanted it to be like a really good 106 00:05:05.420 --> 00:05:08.100 live song because I could hear really good drums on 107 00:05:08.139 --> 00:05:12.110 it and I could hear how I wanted the guitars 108 00:05:12.120 --> 00:05:13.689 to sound but I wanted it to still kind of 109 00:05:14.949 --> 00:05:16.949 I don't know circle around that initial sort of synth 110 00:05:16.990 --> 00:05:19.329 pattern which is why the guitar riff is also the 111 00:05:19.370 --> 00:05:21.750 synth pattern and just that kind of really is hammered 112 00:05:21.790 --> 00:05:25.290 in that this is the song but yeah hearing it

113 00:05:25.470 --> 00:05:29.329 go from what initially was it didn't change too much 114 00:05:29.410 --> 00:05:31.860 to be fair but things were added and it just 115 00:05:31.939 --> 00:05:33.560 lifted it to this new. 116 00:05:33.459 --> 00:05:36.600 Sort of I guess it's probably a rockiest. 117 00:05:36.800 --> 00:05:39.620 Sounding song rather than metal I know there is still 118 00:05:39.639 --> 00:05:43.370 a breakdown but it is pretty live rock is kind 119 00:05:43.410 --> 00:05:45.189 of what I wanted the sound to be and I 120 00:05:45.209 --> 00:05:50.129 feel like it kind of did that. 121 00:05:48.350 --> 00:05:51.189 So this new material that you're writing like how how 122 00:05:51.250 --> 00:05:53.560 is it different from the music on your debut EP 123 00:05:53.600 --> 00:05:57.000 prologue like how's the band how's it maturing I guess or. 124 00:05:56.939 --> 00:06:01.910 Changing I feel like the approach that we have to 125 00:06:01.930 --> 00:06:05.370 writing is slightly, it's not too dissimilar to what we 126 00:06:05.389 --> 00:06:08.189 were doing before but I feel like as musicians we've 127 00:06:08.209 --> 00:06:13.009 all kind of developed in our writing styles and the 128 00:06:13.029 --> 00:06:14.009 way that we work together. 129 00:06:14.029 --> 00:06:16.569 We obviously have a. 130 00:06:16.750 --> 00:06:19.490 New member with fresh ideas on board in Nick here 131 00:06:19.569 --> 00:06:22.850 so just kind of bringing all those elements in together 132 00:06:22.870 --> 00:06:25.829 I feel like is sort of changing the way that 133 00:06:25.870 --> 00:06:31.180 we approach our writing styles. And I feel like we're, 134 00:06:32.240 --> 00:06:35.160 although Prologue was very collaborative, I feel like we're heading 135 00:06:35.180 --> 00:06:40.240 down a way more collaborative route to kind of age 136 00:06:40.319 --> 00:06:42.399 into the next year with the sort of new stuff 137 00:06:42.420 --> 00:06:43.500 that we're doing at the moment. 138 00:06:43.519 --> 00:06:46.819 It's been great for me just being able to start 139 00:06:46.879 --> 00:06:49.050 working on that process with the guys and me and 140 00:06:49.970 --> 00:06:52.610 Nathan especially, it's just I've been working on ideas back 141 00:06:52.629 --> 00:06:56.870 and forth, summer demos, some were very early versions of Burnout, 142 00:06:56.930 --> 00:06:59.699 so it's been great for me just to impart a 143 00:06:59.730 --> 00:07:01.889 little bit of what I like my taste and stuff 144 00:07:01.949 --> 00:07:04.970 and then you know I'm not stubborn stuff can change 145 00:07:05.029 --> 00:07:06.769 it's like it's good to have your baseline and then 146 00:07:07.129 --> 00:07:09.250 other people's influences can mold that you know so it's 147 00:07:09.470 --> 00:07:10.569 it's been amazing yeah. 148 00:07:11.029 --> 00:07:12.410 So it's a bit newer to the band like um 149 00:07:12.449 --> 00:07:14.329 what do you what do you think you bring to 150 00:07:14.370 --> 00:07:16.949 the sound like what elements do you bring into the picture. 151 00:07:17.550 --> 00:07:19.110 Um I mean I've seen a little bit of progginess 152 00:07:19.189 --> 00:07:20.970 I do like I mean one of my favorite bands 153 00:07:21.050 --> 00:07:24.000 and drummers is um Periphery and that's just I love 154 00:07:24.040 --> 00:07:26.660 their musicality and that's something that's definitely part of the 155 00:07:26.680 --> 00:07:29.839 way I play drums um But then we all have 156 00:07:29.879 --> 00:07:33.899 such varied influences that are not metal. And I think 157 00:07:34.139 --> 00:07:38.889 it's amazing when those influences are clear in each person's contributions. 158 00:07:38.949 --> 00:07:44.569 And yeah, I like groovy drums. I like stuff that 159 00:07:44.629 --> 00:07:47.410 builds and develops. And I think Burnout is a really 160 00:07:47.430 --> 00:07:48.850 good example of that. So it's a great one to 161 00:07:48.870 --> 00:07:52.689 be involved in first. And yeah, I'm excited to work 162 00:07:52.750 --> 00:07:53.430 on new stuff next year. 163 00:07:54.199 --> 00:07:54.959 Very nice. 164 00:07:55.019 --> 00:07:57.930 Now, it's no secret to the faithful that Sixth Wonder 165 00:07:57.970 --> 00:08:00.829 actually started out as a university project to get a grade. 166 00:08:00.910 --> 00:08:03.029 So at what moment, Rebecca, did you sort of. 167 00:08:02.970 --> 00:08:05.410 Stand back and look at the reception of First Track 168 00:08:05.490 --> 00:08:07.750 and say, rightio, we've got something going here. 169 00:08:07.829 --> 00:08:09.069 Let's turn into a proper band. 170 00:08:09.089 --> 00:08:14.430 I think it was just kind of seeing how accepting 171 00:08:14.449 --> 00:08:17.860 people were of the song off the bat. It's not 172 00:08:18.279 --> 00:08:20.560 like anything I'd ever done before. I did like kind 173 00:08:20.600 --> 00:08:23.000 of pop things before. 174 00:08:23.079 --> 00:08:23.740 So it was very. 175 00:08:24.819 --> 00:08:28.019 uh like drastically different but for everybody to just not 176 00:08:28.060 --> 00:08:30.839 really question that I just moved into this metal space 177 00:08:30.899 --> 00:08:32.340 and which is like oh okay that's really cool that 178 00:08:32.379 --> 00:08:38.080 she's doing that okay well awesome um and people people 179 00:08:38.100 --> 00:08:40.279 seem to enjoy the first song so I think at 180 00:08:40.419 --> 00:08:42.039 that point we're like well we'll just try it out 181 00:08:42.100 --> 00:08:42.720 and see see. 182 00:08:42.639 --> 00:08:44.149 How it goes and here we are. 183 00:08:46.029 --> 00:08:48.549 When I was really young I actually knew Rebecca at 184 00:08:49.049 --> 00:08:51.970 uh we were like I don't know how did we 185 00:08:51.990 --> 00:08:55.470 first meet in like a a rock school of some variety. 186 00:08:55.789 --> 00:08:59.070 It was not metal music, put it that way. I 187 00:08:59.110 --> 00:09:02.470 remember seeing

the first Sixth Wonder stuff and I was like, oh, 188 00:09:02.529 --> 00:09:03.149 this is pretty cool. 189 00:09:03.639 --> 00:09:09.279 I was like, is that Rebecca? People talk about your music. 190 00:09:09.299 --> 00:09:12.220 They take a notice of the self-described gent pop sound. 191 00:09:12.539 --> 00:09:14.299 How do you strike that balance? 192 00:09:14.320 --> 00:09:17.830 You've got the salty, sweet, massive radio-friendly pop hooks, and 193 00:09:17.850 --> 00:09:20.889 then you've got the soul-crushing technical prog breakdowns. 194 00:09:21.149 --> 00:09:25.330 How do you bring them together, I guess, without sacrificing one. 195 00:09:25.289 --> 00:09:25.669 Or the other? 196 00:09:25.690 --> 00:09:30.870 I think it just kind of naturally goes that way. 197 00:09:32.149 --> 00:09:35.220 everything that I write I feel like I'm not intentionally 198 00:09:35.240 --> 00:09:37.519 trying to make it kind of pop sounding it just 199 00:09:37.980 --> 00:09:39.539 kind of goes that way so I guess that's just 200 00:09:40.080 --> 00:09:43.179 my my writing style um and especially when I bring 201 00:09:43.200 --> 00:09:45.360 things to Nathan he's already he's got a million ideas 202 00:09:45.539 --> 00:09:48.320 all the time um so there's always going to be 203 00:09:48.460 --> 00:09:50.750 something that works with what I'm doing or he'll just 204 00:09:50.799 --> 00:09:53.549 write something on the spot around what I've done um 205 00:09:54.389 --> 00:09:56.789 I feel like because we are we're quite in tune 206 00:09:56.809 --> 00:09:59.309 with each other particularly myself and Nathan just when it 207 00:09:59.330 --> 00:10:01.960 comes to that like core writing process I feel as 208 00:10:02.059 --> 00:10:04.320 if we're able to bounce off of each other and 209 00:10:05.399 --> 00:10:08.200 recently speaking with Nathan he'd mentioned that when he's writing 210 00:10:08.240 --> 00:10:11.980 something he will often adjust something that he's written to 211 00:10:12.019 --> 00:10:14.320 think what would Rebecca do with this I think she'd 212 00:10:14.340 --> 00:10:16.139 probably do something like that so I'll write it in 213 00:10:16.179 --> 00:10:18.850 this way instead of the path I was already going 214 00:10:18.870 --> 00:10:21.179 down which I think is really really cool and it 215 00:10:21.200 --> 00:10:25.779 shows a really great maturity in his writing and understanding 216 00:10:26.159 --> 00:10:28.429 of the greater picture of what the sixth wonder sound 217 00:10:28.990 --> 00:10:29.769 could and should be. 218 00:10:31.360 --> 00:10:33.500 Yeah, that's my answer for that. I was just talking 219 00:10:33.519 --> 00:10:33.919 about Nathan. 220 00:10:34.769 --> 00:10:37.090 You've had a pretty good tour schedule too, guys. 221 00:10:37.110 --> 00:10:41.870 You've supported Malavara, especially the Radar Festival. You've got some 222 00:10:41.970 --> 00:10:45.210 gig with Skindred coming at the moment up. So how is, 223 00:10:45.690 --> 00:10:48.210 I suppose as a band who's sort of still youngish, 224 00:10:48.250 --> 00:10:52.379 like how does that intense live environment translate to the 225 00:10:52.389 --> 00:10:53.500 material you're working on now? 226 00:10:56.019 --> 00:10:56.700 That's a good question. 227 00:10:57.220 --> 00:10:57.379 Yeah. 228 00:10:59.580 --> 00:11:01.620 I don't know, I think how you structure set lists 229 00:11:01.639 --> 00:11:03.799 has maybe changed, and certainly in my mind, from the 230 00:11:03.840 --> 00:11:06.080 first show I played with these guys back in, what 231 00:11:06.960 --> 00:11:09.620 was it, June time this year? I don't know, now 232 00:11:09.659 --> 00:11:12.470 that Burnouts came into play, you're totally thinking more about 233 00:11:12.509 --> 00:11:14.889 the live set up in terms of songs and how you, 234 00:11:15.450 --> 00:11:17.730 like the journey of the set list, especially with the 235 00:11:17.769 --> 00:11:20.360 Mal of Orator, you're only getting 30 minutes. So you're 236 00:11:20.379 --> 00:11:24.259 trying to think about how you present yourself really well 237 00:11:24.259 --> 00:11:27.879 30 minutes and it's like it's maybe harder than people 238 00:11:27.899 --> 00:11:31.049 think when you're picking from songs and stuff and I 239 00:11:31.070 --> 00:11:32.769 don't know it's like it was a big discussion where 240 00:11:32.809 --> 00:11:34.990 Burnout goes on the set for example it's like because 241 00:11:35.009 --> 00:11:36.909 we wanted to play that on the Malibu Tour and 242 00:11:37.809 --> 00:11:39.769 yeah that was like a bit of a back and 243 00:11:39.789 --> 00:11:42.090 forth in rehearsals because there was a differing opinions on 244 00:11:42.129 --> 00:11:45.169 what songs you don't keep and what ones you sacrifice 245 00:11:45.190 --> 00:11:48.750 you know but I don't know all those shows were 246 00:11:48.769 --> 00:11:52.429 amazing and I wasn't overthinking it really I think Radar 247 00:11:52.450 --> 00:11:56.929 was probably the highlight of last few months but I 248 00:11:57.669 --> 00:11:59.110 don't know, Rebecca's opinion might differ. 249 00:11:59.129 --> 00:12:02.330 I would agree, definitely. 250 00:12:03.029 --> 00:12:05.659 I think as well with our last tour it was 251 00:12:05.700 --> 00:12:09.440 like our first time properly working with in-ears for a 252 00:12:09.480 --> 00:12:14.600 run specifically, which I think, me personally I feel like 253 00:12:14.620 --> 00:12:16.960 that changed a lot for me and I felt like 254 00:12:16.980 --> 00:12:18.659 I was able to have a lot more vocal control 255 00:12:18.679 --> 00:12:22.129 because I could actually hear myself on stage which, unusual. 256 00:12:22.649 --> 00:12:25.629 Usually cannot do that um so it was nice. 257 00:12:25.470 --> 00:12:27.389 To kind of have that that difference and I feel 258 00:12:27.409 --> 00:12:31.720 like that already has lifted for me my live presence 259 00:12:32.039 --> 00:12:36.259

um because I have audio um but uh I think 260 00:12:36.559 --> 00:12:41.230 genuinely it's been um it's been really good just um 261 00:12:42.470 --> 00:12:45.990 trying new things I think and just creating more of 262 00:12:46.509 --> 00:12:49.330 an atmosphere, especially like what Nick was saying with creating 263 00:12:49.389 --> 00:12:52.570 the set lists and how to present ourselves with the 264 00:12:52.590 --> 00:12:54.340 kind of order of stuff, because it really does make 265 00:12:54.799 --> 00:12:56.860 a difference. It doesn't sound like a big thing, but 266 00:12:57.299 --> 00:12:59.399 the order of the songs can really like make or 267 00:12:59.419 --> 00:13:02.700 break the flow of the set. So just trying to 268 00:13:03.000 --> 00:13:05.139 get into that has been really interesting. 269 00:13:06.159 --> 00:13:08.600 Talking of touring guys, like I know we're a long. 270 00:13:08.440 --> 00:13:10.519 Way from you over there, but have there been any 271 00:13:10.559 --> 00:13:11.750 discussions about coming over here? 272 00:13:13.909 --> 00:13:15.320 Oh, 100%, yeah. 273 00:13:15.519 --> 00:13:18.600 If we could have the money to do such a thing, 274 00:13:18.620 --> 00:13:20.220 we would absolutely love that. 275 00:13:21.139 --> 00:13:22.480 Some of my favourite. 276 00:13:22.179 --> 00:13:23.679 Metal bands are Australian as well. 277 00:13:24.879 --> 00:13:29.480 You have such a great metal culture over there, and 278 00:13:29.519 --> 00:13:31.159 I think we want to be part of it, so 279 00:13:31.179 --> 00:13:33.019 get us over there. Sure, yeah. 280 00:13:36.029 --> 00:13:37.649 I was actually talking about this yesterday as well I 281 00:13:37.649 --> 00:13:39.809 was thinking about it I was like you know playing 282 00:13:39.830 --> 00:13:42.350 Australia is such a big deal I think it's not 283 00:13:42.389 --> 00:13:45.690 even like a UK thing it's US as well it's 284 00:13:45.730 --> 00:13:47.889 such a big deal to go play out there and 285 00:13:48.750 --> 00:13:50.429 yeah it'd be amazing it'd be such an ordeal I 286 00:13:50.450 --> 00:13:53.240 think it would be so good and I just you 287 00:13:53.480 --> 00:13:56.360 know from following bands growing up every time they were 288 00:13:56.379 --> 00:14:00.740 like announcing shows in Australia it was like always a 289 00:14:00.779 --> 00:14:04.159 big deal to play in Australia so yeah I've never 290 00:14:04.200 --> 00:14:06.460 been myself so I'd love to play. 291 00:14:07.039 --> 00:14:08.440 Well, if you make it over, let me know and 292 00:14:08.460 --> 00:14:09.340 I'll be your chaperones. 293 00:14:11.019 --> 00:14:11.379 Hell yeah. 294 00:14:11.759 --> 00:14:12.000 Brilliant. 295 00:14:12.039 --> 00:14:14.620 All right, guys. Well, thanks very much for your time. 296 00:14:14.639 --> 00:14:17.279 The single Burnout is out now. Everyone in Australia goes 297 00:14:17.340 --> 00:14:18.059 out and listens to it. 298 00:14:18.379 --> 00:14:20.019 It might help the cause to get you down here, 299 00:14:20.039 --> 00:14:22.070 but in the meantime, best of luck with everything. 300 00:14:23.389 --> 00:14:23.950 Thank you very much. 301 00:14:23.970 --> 00:14:24.809 Thank you very much, Chris.