Beige starts curtly, within an instant their enthusiasm and their heat are exposed along their wild beat.
They are very playful when it comes to harmony; bass player, Louise Ecksteen takes over the vocals in So Glad You’re Here, a spicy song that swings sensually, flirting with erratic and contagious gleams. Their narrative tends to be unpredictable, concise and brief, most of their songs are short and also a display of their creativity, they burst so graciously in between rough edges to melt sweetly: violence and sweetness get along so well in this album, it’s addictive, you don’t really want the songs to end, you keep craving for a little more. There is an exuberance to their music, forever playful and stimulating, hot and to the point; just as Missing The Past grows mild, Apple Pie’s haze becomes pretty dense; they are always gaining speed, always rowdy, such is the case of Can You Boogie, they tend to change the course of the songs completely; in Tropical Prints for example, they offer an enchanting perspective of what it is to fall in love with a sudden and mischievous conclusion.
Expectations is probably one of the highlights of the album, it unwinds so naturally, so smoothly, it persuades your pulse as it becomes a feverish maze, there is a delicate humour to it too, the album has around seventeen tracks, and they slide by just like that, what a delicacy. Master of Collisions is another great track worth mentioning, they’re always playful with their phrases, never obvious; boisterous like sunlight at noon, lethargic and tasty, like a drop of sap. When Every Inch of my Heart comes through with its rough tenderness, the album it’s about to end, but Hello and Goodbye proves you wrong, it sounds more like an invitation… it’s not over just yet.
-Could you tell us a bit about the process that lies behind your music?
Sometimes we try and come up with the heaviest sounds possible and other times the most ridiculous, mostly for our own enjoyment.
-What’s the story behind Pollinator? How did your first album, Honeyeaters, came to life?
Evert wanted to start a new band as his band at that time was imploding. Honeyeaters came about because we started writing music together. We recorded it in a very short amount of time because we wanted to get something out so that we could get the ball rolling.
-It’s been two years from your debut, where were you then and where are you now? What have you learned?
In the beginning we just tried to get organized to play as many shows as we could and get an album out. Two years later we’re being asked to play more shows, and we have been spending more time refining our sound.
-How would you describe Johannesburg’s music scene, what is happening now?
The Johannesburg scene is constantly trying to establish itself, with venues closing and opening every year. We would recommend bands such as: Ruff Majik, Scarlotte Will, Mad God, Stones & Gold, Apocalypse Later, Strait Jackal and Karaoke Machine of Death.
-Tell us a bit more about what’s behind Fruit’s artwork.
It was done by Annemarie Buchner who is an amazing artist and illustrator. The album cover for Fruit is a reference to the garden of Eden and how “Fruit” changed perceptions.
-Please tell us a bit more about “Expectations”.
Tim Edwards: Expectations is about realising that happiness can be found in pretty much any situation by changing your perspective. I tried to avoid only talking about acceptance of where one is because, while it may be true that lowering your expectations will avoid disappointment, having a goal gives you the potential to reach higher highs or learn more important lessons. The song was inspired by a bit of heartbreak. It was the placement of my expectations that got me into and out of the mess I found myself in.
-What’s the story behind “Master of Collisions”?
Evert Snyman: Master of Collisions is a song a about a dream I had of my father who had recently passed away. It was a lucid dream in meaning that i was talking to him from the other side, When i realised it was a dream i kept trying to get to him before i wake up.
-There is a constant flirt with contrasts, what inspires you to give these delightful turns?
Louise Eksteen: I only find writing interesting when I get to surprise and entertain myself. Half of the time I improvise something in my head and then just put it down musically. We each have our own way of keeping it interesting when it comes to writing our songs.
-”Hello & Goodbye” is a loud ending, it’s also the longest track of the album, please tell us more about it.
It was the first song we wrote for the album, and we wrote the music together behind a piano. The song is about convincing someone that they can trust you.
-What awaits Pollinator now?
We want to go overseas, we’re still trying to figure out which countries would be the best to tour. We also want to record more albums. One thing that we would love to do is to record an album with Steve Albini who runs a studio in Chicago called Electrical Audio. Apart from playing our regular local shows we’ve started writing new songs.
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