"Ive got to tell you about Ike and Tina, the tarantulas above
the pool table. The mixing studio was in this factory in Soho. The guy
who ran the studio was a mad scientist - every door in the place was
like something out of Lost in Space. You got inside a force field or
you pressed the glass and the door would open. You pressed a little
button and the EQ would come down like a periscope in 20000 Leagues
Under The Sea. It was full of knick knacks. Youd open the dunny
door and Beethoven would blare out of these speakers.
Tarantulas and snakes everywhere. The tarantulas were real, the snakes
were skeletons or stuffed. There was a laundry across the road, staffed
by illegal immigrants, that was being closed down. The unions were having
a picket line out the front. It was all very full-on" -- David
A Few Facts
Brood is the second album by My Friend the Chocolate Cake, a six piece acoustic act which formed in Melbourne at the turn of the decade. Two of its members David Bridie (piano, vocals) and Helen Mountfort (cello), also play in Not Drowning, Waving. violin player Hope Csutoros plays with a number of acts in both classical and rock fields. Michael Barker has been found behind the drumkit with Tim Finn, Deborah Conway and others. Rather than play with other bands, Andrew Carswell (mandolin) and Andrew Richardson (guitar) have lives.
Brood was recorded in late 1993 in three Melbourne studios. It was mixed by Jim Rondinelli (Big Star, Matthew Sweet, Deborah Conway) in New York in Tom Verlain’s studio, allowing the band to feel like rock wankers, a long term ambition.
In keeping with the first, self-titled album, Brood is round and flat.
The members of the band had more input in its construction. Though David
and Helen are responsible for most of the songwriting, the passing of
time has slowed MFTCCs creativity to coalesce. Brood displays
a band more aware of itself.
It is an ambitious work. That ambition stems from a clear desire on
the part of the six musicians to build on the success of the first album,
to take the project into new realms. Lighter. Darker. Larger. Smaller.
Calmer. Angrier. The world that the music inhabits may be bigger than
before, but the confidence remains.
Australia doesnt have a great history of acoustic pop music. There
are few references for MFTCC they are something of a singularity.
They manage to be accessible while always offering reward for closer
inspection. They combine emotion, thought and vision in a way that few
Australian acts have ever been able to. Brood is without doubt the most
interesting, crafted and rounded album of 1994.
The capital of Lesotho is Maseru.
David: "The first record worked and MFTCC, which had been a bit
as hoc, actually became something. It had a framework to work within
and part of this album is a fight against that framework. At other times,
the point was to work with ideas, pick up on the threads that worked
really well in the first record and follow them through. Its a
more fully developed record than the last one."
Helen: "In some ways its a darker record. Its very
different in that its a studio album, where the first one was
intrinsically a live record. There was a lot more thought put into pre-production.
A lot of it is thicker, more textured. Theres still the happy
sort of songs that Chocolate Cake do so well, but there are more moody
David: "I wanted to work with the pop nature of the band in a couple
of songs, exploring what you could do with a string section. Its
a good band for that. There are a lot of different textures. We probably
knew a bit more about what instruments and combinations of instruments
the band was capable of, so we tried to push that a bit more. Its
a bit chunkier than the first record and thats not a bad thing."
Helen: "We wanted to push the limits of an acoustic band, to push
the instruments that we had to the edge, which I think we really have
in songs like Slow Way to Go Down. What I love about it is that is sounds
like it has electric instruments - were really pushing the instruments
to see what they can do."
Track by Track
Ive Got A Plan
David: " A song that came together really easily. One of those
classics - youve got the tune, melody and lyric in the head and
you just write it down and it doesnt change that much. There was
an immediacy about it that works well. I like singing it for some reason.
Its a classic sitting on the fence song."
Helen: "It was a late addition, very late. We started with 12 songs
and it sort of grew to 18. David wrote it at the Pig Pen (Johnnys
(Phillips of NDW) studio, with a drum machine going. He wasnt
sure if it was a Chocolate Cake song - he played it for me and I loved
it from the first time I heard it."
Throwing it away
David: "The same chord progression as Werewolves of London and
Sweet Home Alabama. It just king of chugged away, with its running string
lines and layered vocals. Theres a band sound that Chocolate Cake
can get - I really like the way it works. The Victorian reference in
the song is kind of important too. These days, people shy away from
writing things that are relevant to the place they live. If you lived
in Victoria at the moment...there are quite substantial changes happening.
There really is a sense of throwing away the stuff we have taken for
granted, like health care."
Helen: "From the soundtrack to David Caesars film (of the
same name). It obviously really suited Chocolate Cake."
David: "It has Chocolate Cake written all over it. Its such
a lovely melody to play live."
The Old Years
David: "It was written at Robe in South Australia in the winter
- in summer it becomes a horrid tourist town. Theres the point
there that overlooks this bay on one side and looks out to the ocean
on the other. There was one of those very rare occasions where there
was a full moon rising and the sun setting in the background, and it
was almost surreal."
And the line from Death of a Salesman, "Youve got to break
your neck to see the stars shine in this yard"? "It had always
stuck with me. It seems to say a lot about the struggle of urban living,
everyday life. It is an effort for people to keep their heads above
the water and that line says it well."
Dance You Stupid Monster to My Soft Song
Helen: "That name actually came when we were mixing it in New York.
David and I had gone down to the Guggenheim, where there was a Paul
Klee exhibition on. There was a drawing called Dance You Monster
to My Soft Song. David thought it would be a great name for that
instrumental, so we stole it."
David: "Its the kind of textural thing I was talking about.
Great piece. I really like the way that Hopes violin sounds -
Hopes role on this record is a lot stronger."
Song from Under the Floorboards
A Magazine song, from the glory days of post punk.
David: "Ive always wanted to do a cover of that. I thought
it was one of the great indie pop songs and I was always a big Howard
Devoto fan. In the same way as Throwing it Away or Slow Way to Go Down,
whats great is the way that Chocolate Cake play as a rock band.
There are bass lines being played on the cello and the violin is playing
keyboard lines and the mandolin is playing the guitar shuffle. I think
its a classic song of revolution - dont quote that."
And it has one of the greatest opening lines in rock history - "I
am angry, I am ill and Im as ugly as sin..." Yeah, what a
great line to sing. That was part of the reason too."
David: "Jimmy Stynes, an artist of a football player. Helen, Andrew
and I sat down together with the idea of writing an up tempo instrumental
for Chocolate Cake Helens going to hit me if I play the Melbourne
theme song one more time live, if I hide it in one of the songs, like
The Romp or in the middle section of Jimmy Stynes. Any kind of opportunity
- it was pretty shameless after a while. She was quite taken though
by the story of this lad from Dublin who came over at 19, learned another
game and won the Brownlow Medal. Andrew Carswell and I are quite adept
at having a few drinks, sitting down and talking about a Jimmy Stynes
short pass like it was a Paul Klee painting. The good thing about the
recording is that it has a lot of lumpy bits. One of the things we were
trying to get is the chunk of acoustic instruments, the chunks of the
piano or the fret noise of the stringed instruments, the roughage."
Slow Way to Go Down
Helen: "Its important for Chocolate Cake because its
a new thing - its much darker. David and I have this theory that
the three year old market wont appreciate Slow Way to Go Down.
A lot of kids really liked the first record. It was very child-friendly.
Slow Way was written while we were in London doing pre-production for
(NDW album) Circus. We were staying in this place on Portobello Road
beside the M4. I was in the upstairs flat so it wasnt too bad,
but David was downstairs and literally had to hear the motorway right
beside his bed. Its so bleak because thats when he was writing,
Bottom and the Rustics
Helen: "When we first started Chocolate Cake, Davids father
thought we should be called Bottom and the Rustics, because hed
been reading A Midsummer Nights Dream and there was a line, Exit
Bottom and the rustics. But David would have obviously Bottom,
and that wouldnt have been very good. And we had another name
by then, so we decided it should become a song title."
David: "One of the early inspirations for the band was the idea
of layered instrumentals. It was based on one of those punchy cello
lines of Helens."
David: "A bit of flamboyancy. It has a Magazine reference too -
that semi-Motown piano vamp that you get at the beginning of Magic,
Murder and The Weather. It was a song that had the colour of Nannys
Farewell. Its good fun. I got to use The Junior Unbelievers in
the lyrics finally too ( a reference to the first band of Teleks,
PNG singer on NDWs Tabaran). Thats the third song Ive
written them into, but the first that have been recorded."
Helen: "Just a bit of a laugh really. It really features all the
Chocolate Cake instruments and was a lot of fun recording."
David: I just really like the way the simple piano chords work with
the cello. Im really happy with the lyrics too - it was specifically
written about housing estates in the north of England, but I changed
the lyric later to make it more universal. Its about the ugliness
that happens when somebodys misfortune comes about and other people
use it to brighten up their lives."
Helen: "Yandoit a very small town, a very cute town. Its
a track that very much came together in the studio. Its the thickest
thing weve ever done, the most layered. Yandoit was the town,
well, basically just a hall and a couple of houses near Daylesford (in
Victoria), where we did the pre-production for the record. We were there
for a weekend. There was this hall with a picture of the Queen and lots
and lots of signs that said "No Smoking". The caretaker, who
lived next door, dropped cigarette ash all over the place all the time,
except when his wife was there."
David: "This was the one where Michael Barker was able to go a
bit more. Helen and Hope had brought this song to rehearsal - it really
jigged along in the string section. Thats a really different song,
with the kinds of things we didnt attempt on the first record
- it has a bit of grip to it."
David: "The old man is based on the character Peter OToole
played in Under Milk Wood (Blind Captain Kat). I like the line about
the neddies, and old Australian term for horse racing. The
song just had this comical suburban theme, the whole thing of being
innocent and helpless when youre born and returning to that when
you get old. But the song doesnt ponder on it too much. I like
the Bavarian cabaret style of it, and I love the oompahpah of the drums.
The mandolin and violin line, theyre great musically, great lines."
John Cain Avenue
David: "I kind of feel bad that this song is so far back on the
record. It has been an archetypal Chocolate Cake song. It has that sense
of community, the ambivalence about it. Its about a house I used
to live in. Its supposed to be a positive lyric."
Helen: "It features a Melbourne dog barking, which I really like.
It was a dog out the backyard of Periscope, the studio where we recorded
the song. Hope insisted on doing her violin track outside because theres
a nice garden. The dog was barking in the background, which is very
appropriate, because its a sort of backyard suburban lyric."
Helen: "There was a track called A Slow Storm Brews on the first
record which, in a way, was very similar to Brood. We decided to play
around with a lot of textures, more scrunchy textures, Hope and I. If
there was a word in my head for Brood, it was murky."
David: "I see the word as meaning dwelling on something.
Ive had that piano line in my head for ages."
The Red Wallpaper
David: "What a tune! Andrew Carswell on acid with an eight track
machine, putting down eight tracks of mandolin. I actually want him
to do a whole album. Andrew Carswell is quite an amazing musician. I
havent quite worked out what it is, but his sense of melody is
astonishing - hes unlike any other musician I have ever worked
with. Theres a quirkiness in that that is quite strong."
Helen: "Somebody came up with an alternative name for that track,
Father Christmas is a Hare Krishna, because it has sleigh bells and
tabla. I thought it was a really really good title for the song, but
I got shouted down."
David: "The lyric could have been about anywhere, the tin whistle
could have been on anything, but yes, in a way it could be the Danny
Boy of this album. For the short time I was staying in Wales, I was
quite taken with the Welsh. Theyre quite an amazing nation and
an interesting culture too."
David: "I love the drum groove, the feel and the hi-hats. Thats
another difference with this album. Weve recorded it at three
different studios with three different engineers. We mucked around with
stuff, made mistakes and reworked them."
Helen: "David wanted strings, but I really loved it with piano
and drums, so I refused to play on it. Then one night David decided
he wanted to do some, erm, vocalising? Singing? Mumbling
the other day that it was the vocal track on the record he was happiest