Ahead of the launch for the band’s new single Swim at The Workers Club this Friday, Beat checks in withStowers for a rundown of the release. When the call comes through, he’s on his way to the band’s studio space in The Basin to put the finishing touches on the track.
“We finished up in about June, but through the mixing process we realised that there were a couple of things we wanted to get right and that involved another go at the vocals, so here I am heading out for that,” he says.
In December last year, Orsome Welles released their debut EP Erth News Bulletin; a six-track display of the intense, bone-crushing unison between the two guitars, bass and drums, with Stowers’ incredible vocal range dancing over the top. As one might suspect, Stowers’ incredible vocal ability isn’t just some happy accident.
“I started singing when I was six,” he says. “I was in the national boys choir and I was lucky enough to travel around the world singing before the age of 12, so I definitely learned a different style from most rock singers.”
The arrangement of Swim lets Stowers showcase his voice in all its glory, with the vocals occupying centre stage for the first three minutes before the full force of the band comes crashing in. It’s an unorthodox structure from a band whose previous releases had as much subtlety as a freight train.
“It was the first song that I have written and taken to the band as the singer,” says Stowers. “It is a brooding track, there is a lot of atmosphere at the start. I think nowadays we’re confident in our ability that we don’t have to punch it out and get so heavy so early.”
The media release for Swim contains a picture of each band member with his nickname written across it. It’s pretty self-explanatory to whom the names Toohey, Justin, Jimmy and Stowers belong, but Angell’s nickname ‘BV’ is a bit of a mystery.
“I got told that when he was young everyone used to call him Stevie but he couldn’t say it,” Stowers says. “The best he could manage was ‘BV’ and then everyone started calling him BV, even his parents.”
Elocution issues aside, Angell and his six-string counterpart Toohey have an almost perfect intuitive bond. “We’ve never distinguished between lead and rhythm guitar, because in our very first rehearsal both of them brought in full finished songs. So it’s always been a process where they give each other a lot of space and respect when it comes to the guitar parts.”
Showing respect for each other’s input is of crucial importance for Orsome Welles. It’s given Stowers the freedom to utilise his voice in a powerful and sustainable manner. “Trying not to yell is probably the most important [thing], because over-use of the voice is what hurts a lot of people. You can get a lot of power out of using your breath well, and using your body. You sing with your whole body, don’t think that it is all coming from just your throat.”
BY DAN WATT
