It was a bit after the turn of the millennium that The Presets turned Australian dance music on it’s head.
It was a bit after the turn of the millennium that The Presets turned Australian dance music on it’s head. There was some who came before – and no doubt plenty who will come after – but Sydney boys Julian Hamilton and Kim Moyes nailed a pop slash electro niche that has since seen them deliver a message to millions of feet around the world – as well as thousands of proud Australians.
As if never asked before, Kim seems to be taken by surprise – or maybe tired of answering the same question for the millionth time, but he is willing to humour me: "I guess we were at University together at the Sydney Conservatorium; we liked each other; we liked swapping tapes and we liked going out and going to clubs." Sounds like a match made in heaven – and when that translates to the sound of chords, people stop and take notice. Have for years and will continue to.
The lads were in bands and things prior but decided things needed to be different if they were to embark on a journey and capture their vision. "It was around 2002 that we wanted something that was a little more pop oriented." In hindsight, like all stories of triumph, this one is undoubtedly an unmitigated success.
"We never kind of expected this of course," suggests Kim in his modest, affable manner. "You talk about a formula of whatever; it’s not something we’ve really ever been conscious about. We have always been about working in different ways each time – many different ways really. We might bring in an idea individually – or it might even be fully fledged and worked out – and then we may or may not spend time replacing bits and pieces here and there."
It sounds like a never-ending search for dance floor – aural even – perfection. And their search doesn’t stop. Kim describes the recent time they’ve spent rehearsing for their upcoming live shows. "We’re pretty happy with the way it’s sounding. There were times where we thought there was something lacking so we went back into the studio and came up with a new chorus. We’ve even now both got home studios and we’re always emailing each other files and we might add something here and there to see what happens. It’s kind of doing things an organic way but using an inorganic process!"
And then we harp on and on about music and studio production and how hard it is to reconcile what you’re feeling and what the dance-floor is feeling. It’s the eternal question – and everyone has an opinion. "With regards to the formula I think there is something there that is inherently present." It’s what is the heart and soul – a group’s vibe if you will.
"For example, we did a track called Hectic and we’re trying to get it into the live show. It’s kind of immediate and aggressive and upfront. It sounded like what we do but at its inception it sounded like it could have gone a few different ways. We thought about what made our songs great and all of a sudden this track blossomed and grew to become the next logical progression to the songs we have done before."
Kim describes them as becoming more self aware in some ways too. "We’ve got the time and luxury to stop and think about what we do and we had a year and a half of – well not completely – resting on our laurels and now it’ time to get back to the roots of what makes us what we are; so there is a pattern there for sure." Indeed – and pardon the cliché – but this sounds like it could be the calm before the storm. It’s the period in one’s career where all the experience, desire and commitment culminate in something special.
"We want to hold true to certain ideals that we do really well at," describes Kim "The way our careers have worked; we sort of did a couple of EPs and then came out with an album and did Apocalypso and from there, really had a strong idea of what we were about. We were not trying to revolutionise or recreate the wheel. We were trying to stay true to the things that make us who we are; we move forward with each record."
"But we’re not trying to chuck it out the window and start again. Potentially that can hurt bands and stuff; sometimes you get people who don’t get what you’re doing. Fans love you for what you are, sometimes you aren’t aware of what it is people like you for, so you have to make it more effective. It’s like it needs to hit a certain spot, you know?"
Right now though, the lads are happy with what they’ve got in the kitty; Kim admits they might not have another single on the radio for a while, probably not until late this year – but on the flip they will play some new material at the festivals and are looking forward to the opportunity to get back in front of big crowds. "We’ve got some cool new stadium techno tracks," says Kim with the enthusiasm of an 18 year old. "We’ve also remixed and spiced up some old tracks to get the juices flowing!"
The Presets [AUS] play Future Music Festival with Dizzee Rascal [UK], Mark Ronson & The Business Intl [UK], Steve Aoki [US] and more at the Flemington Racecourse on Sunday March 13.
RK
