RADD: What’s different about playing London?
CHET: London was one of my first major shows outside of Australia, in 2012 I played at the Notting Hill Arts Club. The first time I came here I was stressed, that was one of the most stressful times in my life. If you could imagine everything you thought you wanted to do and all of a sudden you were doing it, you’d freak out.
RADD: Looking at your life in the earlier days, did you think music would be the avenue that you would go down?
CHET: Naively yes, I put all my eggs in that basket. I knew it was something I wanted to do.
RADD: How does an acoustic artist get a break in the electronic world?
CHET: I hate to be difficult but they are not different worlds, acoustic and electronic – it’s all music. It’s not as analytical; it’s more subconscious. I’ll give you a diplomatic answer… I was always interested in electronic music but I never really played that stuff live because I didn’t know how. There’s no-one I can really look to for this type of stuff. I did make some electronic music but I thought it was crap. I wouldn’t really consider myself to be an acoustic artist, sure I did that in the past I also made filthy bangers in my garage!
RADD: What hardware do you use?
CHET: With every project I’ll try to change it up a little bit, but not entirely. When I say project I mean a stage or phase, so for example with the last EP I had a Wurlitzer Electric Piano and I used this kit where you buy all the pieces and put it together. It’s actually an awesome guitar and it was only 20 bucks. I also used a Technics organ I found on the side of the road amongst the rubbish. For the next album I bought a Sonic Core Profit 5 synth, which is next level, and a bass guitar.
RADD: Were you classically trained?
CHET: I had lessons for three years on keys. I didn’t really like singing; I’m self taught on the guitar but I just spent so much time in my garage, I mean, like every waking minute and put all my eggs into that basket. I’m just OK at a lot of things but I’m not good at one thing.
RADD: In terms of your recording process, is it structured and strategic?
CHET: I do it all myself so I have to be very careful to not turn things into a job because if I treat it like a job and work hard I have to play these psychological tricks on myself. As soon as I feel like I have to do something I’m not going to do it. I would promise myself I would spend six hours in a studio and create this space. If I wasn’t making music I get bored as fuck. I also had really limited Internet in there, which is a good thing.
RADD: Tell me about your creative process…
CHET: It’s different every time, which is both good and annoying. Every time I sit down it’s like I’m starting from scratch, but largely it starts with a vocal melody, which I will walk around in my head. I usually just do that and then perhaps change it up a little bit. Sometimes that melody is directly inspired by something but other times it just pops into your head.
RADD: When you write something, do you immediately have a sense of it’s quality?
CHET: The best stuff is written very unconsciously it just flows; often I really like the songs that aren’t as popular. I guess it’s like objectively viewing something. Often the songs that take the least amount of time to finish are the strongest.
RADD: In terms of the golden triangle of Australian music – yourself, Taku and Flume – are you guys putting a good foot forward for AU music and what’s your relationship like with those guys?
CHET: Totally, for sure. I love ’em. I love Reggie he’s the man. He’s really family orientated; he’s a big inspiration. He just loves sharing with people. It’s early days for him. It’s an unfinished story.
RADD: How do you want to be remembered?
CHET: It doesn’t really matter does it? Just being able to make music. I actually would like everyone to disagree on how I would be remembered and confuse everyone.