With their debut self-titled LP now available via Resist Records, we caught up with Sydney post-punk quartet Oslow to give us the rundown on the album via our On The Record questions.

They’ve played an instore launch, and supported The Menzingers over the weekend. The main launch is locked in for Saturday 11th March at the soon to be gone Newtown Social Club. Tickets are on sale now from the venue for that one. Guests will be Cat Heaven and Recovery Room.

Rising through DIY indie, punk and hardcore circles over the past five years, Oslow have become a valued contributor to the local music community with their meticulous dedication to their art and equally energetic and captivating live performances. An enthralling debut album, Oslow encompasses the band’s signature indie-punk style laced with pop-punk tendencies in the same vein as bands such as Brand New and Title Fight.

Teaming up with Australian producer/engineer Dylan Adams (DMA’s, James Blake), Oslow have crafted 11-tracks built upon anthemic choruses, epic, fuzzy riffs and dreamy counter-melodies to convey the experiences of young people at this juncture of history through earnest and heartfelt lyrics.

You can order the album now physically [Here]. The album is also available digitally on iTunes [Here].

Give it a listen below while reading their answers to our On The Record questions.

LISTEN

ON THE RECORD INTERVIEW
Tell us about the release title.
Yea there were a few titles we through around before settling on Self-Titled. There’s usually a lyric that stands out to one of us and we go with that but this time we thought our debut is probably the best time to do a self titled record. Potential titles were ‘Pain We Share’ and ‘Asleep in the Hallway’.

Tell us about the artwork.
We had the idea to do some sort of photo for a while, it’s something we have explored on previous releases, and I guess with our debut we decided to see how far we could push it. I found a bunch of photos my parents had taken in New Zealand and we settled on a photo my mother took of a glacier. We had decided to work with Olivia Mead who done the layout and design for our previous two releases. This time she had a little more independence and started playing around with colours and various layouts. We all really love her work so it was really cool to curb our particularly bland and boring ideas into an artwork.

What format/s will it be released on and how will it be packaged?
We are doing 500 vinyl copies; 100 preorder double-mint, 200 indie-retail exclusive pink, and 200 black. Every colour comes with a digital download of the record. There will also be 500 CD’s in the form of a digi-pack.

Who will it be released through, and when?
Resist Records is putting it out and we couldn’t be more stoked. It’s out now! We have just celebrated the release by playing an in-store at Beatdisc Records and have an album launch March 11 at Newtown Social Club.

Tell us about the studio and why you chose to record there?
We recorded in two studios, one of them being 301 in Alexandria where we did the drums and some guitars. We were really lucky to have recorded there we were well aware of its prestige, things fell into place and we ended up there! The other studio was a smallish booth in a studio in Coogee where we had done our last 7”

Tell us about the producer / engineer and why you chose to record with them?
We had worked with Dylan Adams on our previous release and after that experience we knew we wanted to work with him again. He works really well at managing and balancing a bands dynamic in the studio ensuring the best performances are recorded and the energy remains high.

Did you go into the writing process with a clear direction in mind?
No not at all. We’ve never been a band to attempt to do a ‘thing’, we have tried it before it just never feels honest and gets tired. We just started jamming and punched out a few songs, knowing we wanted to do an album, but also knowing that an album has to be more than 6 songs. We sort of plateaued a little but when we got back on track I think everyone felt like they knew what they wanted and we smashed the rest of it out.

Were you listening to anything in particular during the writing / recording process that influenced the songs at all?
Constantly listening to music but in particular during the writing period, Hyperview came out which we were all really stoked on. Adventures – Supersonic Home was also a big one, Loveless and Souvlaki also got a fair bit of play. Cloud Nothings, The Cure, Dinosaur Jr., and Slint.

Were there any albums you were referencing in the studio to aim for a certain type of sound production wise?
We were referencing Balance & Composure’s The Things We Think We’re Missing in regards to it’s bright modern production sound. Floral Green by Title Fight was also referred to for it’s brazen, controlled and consistent energy.

How long did you spend in the studio recording?
We spent a total of four days at 301 doing drums and guitars then a period of weekends that panned 3-4 months at Dylan’s studio in Coogee. It was so great to have the time and space to be able to really delve into the arrangement of each song with Dylan. Giving each song it’s own colour and hearing them all progress was an amazing experience. One we had never had before as we have been pretty ‘smash and grab’ with recording and mixing due to needing to keep costs down.

WATCH

Tell us a little about the recording process the band used?
We tracked Drums live with all of playing in a room together. This was the best way to capture the energy and articulation of Alex’s drum parts as all of the songs were born from jamming in a room together. We had tried multi-tracking before and it only seemed to work with guitars and vocals but the drums always needed a more organic approach. Being an album rather than an EP or 7” we set aside a lot of time for the songs to breathe and grow as much as they needed to without rushing to just get it done. Arranging guitar parts, adding synths and acoustic guitars, sparingly, really opened the songs up to being more than just riffs strung together.

Was this any different to previous processes you have used?
Previously we had written 5 to 6 songs in a short space of time, practiced them until they were tired and then race to the finish line in the studio. Not to say we weren’t happy or proud of those releases by any means, but we hadn’t really spent time trying to craft a cohesive collection, previous releases just felt like a bunch of riffs without as much of a direction or holistic theme. Allowing us the time to do this really influenced our writing and recording process.

Any guests involved? if so, who.. and what did they do?
Not really hey we were going to get some friends in to do what ended up being very minimal gang vocals on the record but it was hard to organize a free time for people. We ended up them at our place with Dylan and our housemate Andrew joining us on those vocal parts. It was nice to get a little bit of our house on the record as it’s where a bunch of the writing and pre production happened. Other than that Dylan’s producer magic and cognac were regular guests.

When it comes do naming the tracks, is there any particular approach or process to it all?
I usually try and name tracks from a lyric but when that doesn’t work, I try and think of the general vibe of the lyrics as a whole, and when that doesn’t work, Alex and Jacob usually have a bank of song names they have been sitting on, sometimes from as long ago as high school. We don’t tend to think too much about song names to be honest but when it comes together and we’re all stoked on the song and the name it’s a dream.

Any particular equipment outside your usual live gear used in the process?
The main piece of gear would be this amazing 70’s Juno synth we used on a few songs to either add colour or thicken out some choruses. It sounds like a finished recording without any studio tweaking whatsoever, just an unbelievable instrument.. Acoustic guitars were always going to be on the record somewhere but were something we hadn’t added on previous recordings. Jacob used this really old Acoustic solid-state guitar amp that had a real cool warmish dull tone to it that was perfect for “Wide-Eyed” and in contrast to another amp that is unusual for us, a Marshall JCM 800.

Any memorable studio moments?
Waking Sean up to do gang vocals at 1 am was pretty great, “You woke me up for that!?”. Getting to work with Antonia Gauci as the engineer at 301 was a dream, had editing done before you were even ready to do another take and overall made the recording process at 301 such a smooth and enjoyable experience. We initially planned to get everything minus overdubs done in those four days at 301 but I ended up getting really sick and couldn’t sing so we cut our losses and ended up having enough time to try an old song out for the record.

Any additional tracks recorded that didn’t make the cut but may see the light of day sometime?
None! Once we were about halfway we talked about how many songs we wanted for the record and there was not going to be any more written than need be. We were all really stoked on every song enough that we didn’t see the need to go ahead and punch out another track, especially so long between releases and so close to the booked recording time. We ended up pulling out “Deer in the Works” from our last EP and giving it a go in the studio. It sounded so good we needed it on the record. And if there was going to be another strong song added to the 10 we had, it was going to be that over a song we would write as the extra track.

What track/s are you most looking forward to playing live?
“Separate” as it’s real upbeat and drivey, heaps of energy. I was nervous about pulling off the vocals in the chorus prior to rehearsing the live set but it came together real well. Another one would be “Los Croydos”, a song that took us a while to work out but now is so rewarding to play because of that.

How would you compare the final product to previous releases?
I’d like to say our last release, the No Longer Concerns Me 7”, is like the proto-LP, you can hear us working out whether we wanted to be a noodly emo band or something a little bit more aggressive. With the LP having more time with Dylan, more time with songs and a long time between recording sessions I feel like we were able to work out some internal band conflicts and put something out we are all stoked on and that is an honest representation of who we are as people. I would like to think that but who knows!

Anything else you want to say or about the release?
It is an absolute honour to have an album out on Resist Records, to have celebrated it’s release at our favourite record shop Beatdisc Records, to have worked with our friends on artwork and the video and to have been lucky enough to write a record with longtime friends. Thank you!

COVER ART
Oslow
TRACK LISTING

1. Asleep in the Hallway
2. Sewing
3. Cold Dark Space
4. Los Croydos
5. Everything Etc
6. Nothing Yet
7. Separate
8. Deer in the Works
9. Black Light
10. Straight Through
11. Wide Eyed

TOUR POSTER
oslow
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