May 28, 2025 • 37 mins
Garage punk with heart and soul? Australian band Delivery proves it's not only possible—it's transformative.
When Rebecca Allen and James Lynch first connected romantically eight years ago, they weren't immediately thinking musical collaboration. Despite James gifting Rebecca her first bass guitar and both gravitating toward punk sounds, they maintained separate musical journeys until COVID lockdowns created the perfect environment for creative fusion.
"We were at home where you couldn't go out with nothing to do," explains James, "and somehow the idea of 'should we try and make some songs together' happened." That spontaneous decision launched what would become Delivery—a five-piece powerhouse featuring three guitars and four vocalists across their catalog.
Their latest album "Force Majeure" showcases a band that understands the delicate balance between intensity and accessibility. Songs like "Digging Holes" deliver raw garage punk energy while tracks like "New Alphabet" reveal a more melodic, Pavement-inspired sensibility. This thoughtful approach to sonic dynamics creates what host Chris describes as a "soothing" quality unusual for the genre—a testament to the band's mature songwriting approach.
What truly defines Delivery is their commitment to genuine collaboration. "We definitely wanted it to be a band, not like a duo project," James emphasizes. This democratic ethos allows each member to contribute ideas freely, resulting in music that feels both cohesive and delightfully unpredictable. Whether workshopping riffs together in rehearsal or meticulously layering guitars in the studio, the process maintains an "anything goes" attitude that keeps their sound fresh.
The band's live performances capture this collaborative spirit perfectly—high-energy affairs where, as Rebecca puts it, "we have a lot of fun on stage playing together, and that feeds into the crowd too." This authentic connection with audiences has helped Delivery build an expanding international following.
From bedroom recordings to world tours, Delivery represents what happens when musical community prioritizes genuine expression over rigid formulas. As they continue crafting new material for 2025, their journey stands as inspiration for anyone seeking to create art that balances power with nuance, intensity with melody, and individual expression with collective joy.
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Episode Transcript
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Intro (00:18):
I'm tasted, I take back what it took.
Download the movie.
Save me buying a book that Iain't reading.
All right, here we are.
Welcome people.
colleyc (00:32):
Another episode of If you Be A Podcast coming to you,
Excuse me, you know, season five.
I've had local but surprisinglyenough I've had two Australian
artists come in and now I have athird coming in.
I have delivery here with metoday and I have rebecca allen
(00:54):
and I have james lynch, who arethe founding members, um, who
have been working together forfor a while, or being together
for a while, and are now havejust put out their latest,
January 17th, and I'm going tosay in French, because it's a
French word, but, Force Majeure,I'm in Quebec so I speak French
(01:17):
.
So I love the title Absolutelystunning album.
I've just been like obsessedwith listening to it and I kind
of mentioned this before Ihopped on that.
You know I mean garage punk.
You know rocking like it makesme nervous sometimes, but your
(01:37):
album is really soothing to mein this funny, interesting kind
of way.
So thanks to James and Rebeccafor jumping on here with me
today.
James (01:45):
Thank you, Thanks for having us.
It's cool to hear you pronounceforce majeure.
It's always, that's it.
colleyc (01:53):
Well, here in Canada, Quebec the second largest
province is majority French.
The second largest province ismajority French.
Our old colonialists were fromFrance, so our major language
here is French.
So I mean force majeure.
It's right up my alley.
(02:14):
So thank you for making aFrench title too.
James (02:22):
I mean, it gets so little attention in our language at
times.
We've had, well obviously,force majeure being this album,
and the album there's a songcalled beta meinhof, which is
german, and both times we'vegone on tour and gone to those
countries and they're likeyou're pronouncing it wrong.
colleyc (02:36):
well, I make an effort to pronounce right and I think,
to start off, guys, I I kind oflike to kind of dive back into
your history a little bit abouthow things started to spark for
you guys and James, I'm going tothrow this question at you
first.
What were some of your keymoments when you were growing up
(02:57):
?
That where music really startedto kind of sing to you and you
knew that music was somehowgoing to be a part of what you
did when you, when you grew up,yeah, um, I guess I was always
quite drawn to music, um, butI'm not really sure why.
Rebecca (03:18):
I think, like when I was quite young, we had a piano
at home and I was like six orseven asking my parents to give
me piano lessons for some reason, because once I started them I
really didn't like, I didn'treally practice or stick to it.
Um, but yeah, by the time I was, like I don't know, a little
bit older and getting into kindof rock bands, I guess I sort of
found what I was looking for,um, and got like there were a
(03:42):
bunch of bands that were reallybig for me as I grew up and um,
a few of them were likeaustralian, like rock bands from
the kind of early 2000s.
And there's a band, the vines,who maybe people are familiar
with, who were a really big dealto me as I grew up.
Um and um, and I mean, like atthe same time I'm I'm a 10 on
the thing to green day andlistening to whatever else had
(04:05):
come across kind of my ears, um,but yeah, at probably at a
certain age I became reallyobsessed and, um, yeah, would
spend my saturday trying tolearn how to record my guitar
onto the computer which wouldn'twork or whatever it was.
Um, so yeah, there were probablya bunch of really key moments.
Yeah, the band the Vines Ireally like was obsessed with,
(04:27):
and then, getting a bit older Ikind of got really obsessed with
, kind of like there was likethe Tame Impala had started and
there was this like Perth andMelbourne psych and garage
scenes that were kind of likehappening, where I think I was
really obsessed with thecommunity side of it more than
in exactly the band itself, likethe idea that all these bands
(04:48):
could be friends and play intoother bands and stuff.
Um, so yeah, I was really drawnto, yeah, I guess, music in the
first place and then thecommunity side of things and
then when I ended up being ableto find my own community and do
the same thing and play in abunch of different bands with
different friends, I guess thatwas a big moment for me, like
amped up, yeah totally Breck.
colleyc (05:07):
What about you?
Where did music start to cometo the forefront of your
realizations of hey, I need this.
James (05:17):
Yeah, I think a little bit different for me.
I was like I always reallyliked music from when I was
young, like um always was likelistening to records or
downloading, or getting mybrother to download music for my
mp3 or whatever, but uh limewire days right and yeah, I
(05:42):
think, like when I was younger,I got piano lessons but I didn't
really like it, because I guessthey just taught you like
really simple versions of likebeethoven or something, and
you're like when you're 12 yearsold or something it's like this
sucks lame yeah, I'm not doingthat anymore um
(06:03):
so I didn't really play musicbut I always liked it and I
guess you like go see bands and,um, maybe you see like a big
band and then a band supportsthem and then you get into that
band and then you're there andsomeone else supports them and
you get into that.
Then it kind of wasn't untillike a few layers deeper, when I
was like in my early 20s and Iwas going to see like bands at
(06:25):
smaller DIY venues and stuffthat I was like oh, cool people
are like making music who aren'tnecessarily like, I guess, like
punk music, who aren't like youknow not saying that they're
not incredible musicians, butlike formally trained, like
music and um, when I met james,he was playing in bands but I
(06:46):
couldn't play music.
And um, then you start meetingeveryone in the community and
all this stuff, and I was a fewof me and my friends were like
maybe we should teach ourselveshow to play some music and get
involved in this.
And I think once we started itwas kind of just like eyes wide
open, let's go right, um.
colleyc (07:07):
So, and what?
What style?
Rebecca, when you first startedto kind of look at music as you
being involved in it, what wereyou?
What was your go-to kind oflike songs that you were writing
or playing together?
James (07:21):
yeah, pretty much like punk, okay, yeah, so my first
band got a girls was like punkband, I would say, or maybe like
a little bit post-punky maybe,but probably punk um.
And then, yeah, I was playingin like a kind of like hot, more
hardcore punk band um as well,um, yeah, and then I guess
(07:44):
delivery kind of like yeah.
colleyc (07:53):
So I mean your orientations, both were kind of.
You were kind of in the samelane a little bit and and and.
From what I've been reading,and we had mentioned before we
hopped on here, that you guysare in a relationship as well
for eight plus years or whateverit might be.
How long into the relationshipdid you guys decide let's.
(08:14):
Why don't we team up?
Like you like what I do, I likewhat you do.
We're kind of in that same lane.
James (08:23):
Let's see if there's a possibility of a fusion yeah,
kind of embarrassingly long likeit's pretty funny, yeah, I
don't know, because jamesbrought me a bass when I said
for my birthday, when I saidthat I want to start playing
music, so it was always likereally encouraging and helped me
out heaps and everything.
But I guess, like we were kindof like I was finding my path.
(08:45):
Um, in a way that was likeseparate from yeah exactly like
where he like.
I wasn't like, oh, now can Iplay in your band we're gonna do
that and then, um, so I guessmaybe also I was more just
finding my feet a little bit atthe start, so it didn't seem
(09:05):
natural to be like oh, let'screate music together, because
that's not really how yeah.
Rebecca (09:11):
I think my side was working, but I think like by the
time Beck started playing inbands, I had been kind of in
bands for eight years orsomething by then, which didn't
not that that exactly matters.
But I always feel like at thestart we although like we were
both, I think, really supportiveof each other, we maybe didn't
do each other as contemporaries,like we were kind kind of both
(09:32):
doing kind of vastly differentthings.
James (09:34):
Yeah.
Rebecca (09:36):
And then, only maybe three years into the
relationship, when COVIDhappened, we were like at home
where you couldn't go out andnothing to do, and somehow the
idea of should we make it?
Try and make some songstogether happened.
James (09:49):
And I guess I was probably feeling like more
confident in like my skills andabilities and stuff.
Not that you can't make musicwhen you're at different skill
levels.
But I guess it kind of feltlike feels more natural to be
like should we like?
Not necessarily jam orsomething but maybe we could
have a crack at merging ourvibes together.
Rebecca (10:10):
Yeah, and I think as well.
My musical background prior tothat, I think as well was like
the main band I sort of playedin from when I was like 15 to
when I was 25, which was aroundthe time when COVID happened.
It was like a garage rock band,but it was also kind of pop
leaning and I was sort of likethe main songwriter and would
(10:31):
think a lot about melodies andharmonies and stuff like that,
which wasn't really Beck's world.
But by the end of like probably2019 or right before COVID
happened, I was sort of finallike for the first time in my
life really was getting intolike playing in bands where it
was more loose and like I don'tknow, I probably had eight years
of learning music where I waslike the way you write a song is
(10:52):
I have to labor over this thingfor 100 hours and then I bring
it to my bandmates and tell themexactly what to play, whereas
by the end I think I'd find havefound like the enjoyment out of
it being a whole lot looser.
So I think it probably yeah,you're probably feeling more
confident.
I was probably feeling a bitlike get, get over yourself, a
bit like it doesn't have to belike this.
colleyc (11:14):
I don't know, like letting it, letting it be more
loose and letting it find itsway yeah yeah, and and did you
guys during covid?
Did you co-write songs togetheror would you like?
How does your songwritingprocesses go each of you like,
do they intermingle at times, ordo you kind of keep them very
(11:36):
separate from one another untilyou have a complete kind of idea
before you introduce it to oneanother?
James (11:41):
It kind of changes a little bit depending on the song
.
But yeah, like I think beforedelivery started, like I was
obviously in bands with myfriends but I'd never like
written a song or lyrics orthing before.
So James definitely like heldmy hand at the start of it,
helping me figure out like howto fully get there with like
(12:06):
some of the stuff.
But now, like I think when westarted, like I would maybe have
a riff or something, then Jameswould help me figure out how to
like piece together like riffbreak whatever the formula, the
songwriting formula, yeah, andthen I would write the lyrics.
(12:27):
So me and Lisa would worktogether a bit on writing lyrics
because it's like scarysometimes and lisa would work
together a bit on writing lyricsbecause it's like scary
sometimes, but then yeah now Ifeel like kind of in like the
latest, uh, like I guess I'vekind of switched a bit and a lot
of the time like I'll just kindof think of like lyrics in my
head or a line or something canhave like a vibe and kind of
(12:49):
record a little bit of like bassor keys and vocals and then
kind of like take it to James orthe band to help me flesh it
out.
But James is and we definitelywork together a lot of the time
with like fleshing songs out.
But I guess you kind of havelike the main ball of the idea
before you get there, but you'rekind of sometimes a little bit
(13:09):
more like.
Yeah, james, what's your,what's your process, like ball
of the idea before you get there, but you're kind of sometimes a
little bit more like um yeah,james, what's your, what's your
process like for writing a song?
How do you?
Rebecca (13:15):
do it I, I think, as well.
To like tie back to thatearlier question, I think like
it is fairly collaborative, butmaybe the most collaborative
sense of it is that we're kindof quite good at being each
other's sounding boards, or ifthat's the way of saying it.
Like, um, one person willprobably throw their ideas out
of the other person and theother person might not be like
(13:36):
cool, well, I can, here's a riffthat I can match with that.
It's more like that one's thekeeper.
Yeah, like play that one abunch more times and then go use
that to go to some other partor whatever.
Um, and so, yeah, definitely mysongs, at least at the very
start of delivery.
Well, I don't know, like it'sall.
It kind of changed all the time,but I think there would be lots
of us sitting together and likeBeckham, bass and me on guitar
(13:59):
and just sort of like playingriffs and all like ideas at each
other, and then it's like thatone's cool.
And then it's like all right,well, I'm going to take that
idea and like work on it a bitmore myself, or um, or yeah,
it's like, oh, that bass line'sgood and beck's like all right,
well, I'm gonna go and write abunch of lyrics over the top of
this thing, um, but yeah, italways changes.
(14:21):
I don't know I'm, I would loveto have more of a process.
I think that everyone in ourband would like to have more of
a process, because sometimes Imean, I feel like a lot of,
maybe, songwriters feel likethis, where it's like making a
song is kind of hard andannoying, and then you finish it
and you're like, oh, I've got asong now.
And then you're like trying todo the next song and you're like
I wish it was easy.
As the one I just did.
James (14:42):
Or you write a song that you like and you're like oh no,
am I ever going to be able towrite another song again?
Rebecca (14:47):
Yeah totally.
colleyc (14:57):
And and do you, does everybody collab, like, does
everybody bring in songs of themembers of delivery, or is it
mainly you two that bring in theideas, or is it?
Is it, like you said, james,like totally collaborative, like
everybody brings in their ideasand then you kind of like
bounce them off each other andyou're like okay, let's keep
that part and we'll add that tothis or we'll add this on, or
how?
How does how does thatcollaborative work amongst all
the all the members?
Rebecca (15:17):
it's always been well.
Yeah, since beck and I startedthe project, we definitely
wanted it to be a band, not likea duo project or um, the two of
us being like the leaders andthe other three like our backing
band or something um, but thecollaboration sort of happened
in different kind of ways and alot of like the.
I think the way we I've talkedabout it before in other
(15:40):
interviews is that like.
I think it's collaborative inthe sense that it's like there's
kind of a very active anythinggoes attitude in this band, um,
which means someone can bring inum a fully finished song and
it's fair game.
Or someone can bring in an idea, and it's fair game and anyone
has license to like, come and be, like, I want to be the lead
singer on this song or um, Iwant this to happen or whatever
(16:02):
it is.
And so, um, on the latestrecord, the, out of the five of
us, there's four differentvocalists across the 12 tracks
and, yeah, some songs that woulddefinitely hashed out in the
rehearsal room and some songsthat were like had been fully
brought in as a demo and we werelike there's nothing that needs
changing um, so, yeah, it's afunny one to describe because it
(16:23):
is collaborative in that sense.
But equally it's like we're notalways going into the like the
writing room or something, andright If everyone's putting
their two cents Right.
colleyc (16:35):
It reminds me too there was a comment that somebody
mentioned that there's theseebbs and flows with the songs.
Rebecca (16:42):
But it sounds like that too with the songwriting, Like
it's very, seems organic, almostLike an idea will come in and
then it's, it's workshopped, youknow, like there's a
collaboration that goes on yeah,um, and yeah, I think there's
also like, at least on the lastcouple of albums, there's kind
(17:02):
of been a like all right, we'vegot um x amount of songs kind of
that have shaped up, and thenit's like, all right, we want to
fill in a few gaps.
Does anyone have a song thatfeels like they might lean this
way or lean this way?
And or then it's also like well, at least on the first album,
um, we had I don't know, maybewe had 11 songs and sam hadn't
(17:22):
written one yet, and we're likewell, sam, you have to write us.
Like yeah, like pick it up, man,pick it up yeah, and like he'd
only recently joined the band,at that stage and I think he may
be still finding like figuringout like he's rolling the band,
particularly because I think hetook someone else's role and I
think he was like, oh, I'm maybebeing someone else and we're
(17:43):
like no, no, no, we want you'rein the band now write your song,
yeah you gotta write your song.
colleyc (17:51):
I love that well to it.
Also, like it does sound like acollaborative effort on on your
latest, because you'll have asong like digging holes, which
is very like garage, you knowpunky, but then the new alphabet
, you know like again it'salmost it turns into more of a
pavement-y kind of you knowindie rock like.
(18:13):
So there are like kind of genrehopping, but as a whole, like
as a complete listen through andit's the kind of record you
have to listen through fromstart to finish.
I like I can't listen to onesong.
I'm like okay, I'm waiting forthe next song to arrive.
Was that conscious when youguys were assembling the songs,
(18:33):
that that you wanted them tokind of have a flow to them
throughout the whole record?
Rebecca (18:41):
yeah, I mean, I think a lot of it is sort of accidental
, not accidental, but like wesort of just let it kind of take
shape, um, because yeah, Idefinitely think when we started
writing the album, like wedidn't really know what we were
getting into, um, and it's funnyyou mentioned those two songs
(19:02):
with those two songs digging thehole, and you and New Alphabet
are two of my songs and I reckonthey were both fairly fleshed
out by the time the band.
James (19:12):
Yeah, they didn't have much practice room, right yeah.
Rebecca (19:18):
There was a lot of like playing it to try and like
figure out if it worked, but itwasn't.
Like it was kind of like Ibrought in a million ideas and I
was like I think there's a songin here and we just had to like
whittle it down a little more,um, but yeah, it's always been.
I like I think we're a bandthat has a lot of different
(19:40):
music in our like collective dnaand um.
I don't think there's muchdesire to make a completely punk
album from start to finish.
That's like no hold, but likeno held barred and like just
like brutal, because there'skind of other things we're
always keen to explore and likeum, and yeah, like it's fun
(20:00):
doing kind of like moremid-tempo things or like kind of
quirky moves that like I don'tknow.
You sort of need those ebbs andflows or you need to kind of
let up the pace a bit to likemake the moments hit better.
colleyc (20:13):
I think, yeah, absolutely, because sometimes
you need a bit of a relief,right, Rebecca?
Because it is so intense atsome points, like you get to
such a crescendo that you kindof need like that little
breather of like, all right,let's do this again, but give me
a break, give me a minute itmakes it like sometimes
listening to albums can be a bitof a slug.
James (20:35):
Um, if it's all like really similar, you're like yes
so it's nice to have somethingwhere you're kind of like
keeping alert during the processof being like, oh, I didn't
expect a song like this afterthat song or something.
So, I like it because it makesit more fun and interesting to
play.
Rebecca (20:57):
Once the record was ordered to, like Beck and I sort
of had kind of picked our tracklisting and we thought it would
be workshopped a bit more.
But then suddenly it was likeit got approved and like sent to
the master or whatever.
And then after it, like becausewe didn't think, like I, don't
know, we had thought about it afair bit, but like no one had
really given feedback orreflected on it.
colleyc (21:17):
And then, like I finally was like listening back
to the master version orwhatever, and I was like oh my
God, god, we really like frontload, like the first like six
songs are just like, and thenfortunately it lets up and then
like it.
There's like a gap yeah, Ithink that's why new alphabet
sticks out to me yeah, it givesme that kind of like.
You have that clean guitar atthe start and it just kind of
(21:39):
like you know, eases a littlebit you back into thank god, no,
but I mean, like I, I totallylove it.
I mean you got three guitars,you got four vocalists.
I mean it has to be, um, it'sgoing to be powerful.
I mean it just just with thesetup of the instrumentation,
(21:59):
the vocals that you have, um,you, I.
My question, kind of james, islike I know that you produce
this, you recorded this as well.
How do you manage the guitarsand the vocals?
Like I know that the vocalsthere's usually somebody that
sings and then there's there'sothers that will add in, but the
(22:21):
guitars are always like, whendo you know to have three
guitars all playing the samechords and when do you?
Okay, why don't you try thisline that fits on top of what
we're strumming?
Like, how do you manage that sothat you're not overwhelming
and also adding new kind ofelements to a song?
Like, how do you navigate that?
Rebecca (22:40):
Yeah, it's, it's.
It's one I thought a lot abouton this album because I mean, I
love being in a band with threeguitars and I guess we started
being in a band with threeguitars more in a live context
than a recording context,because the first songs that
Beck and I were making in ourbedroom in COVID, I think, on
those recordings we weren't likewe need all of these layers, we
(23:01):
just made the song, but then itwas like having a band with
three guys was really really fun.
Um, but then the first record wemade, we kind of tried to
record it as live as possible,which meant that every song had
the three of us playing and, um,depending on how it was
arranged, it'd be like, allright, for this section we all
played the exact same riff, it'sjust times three.
(23:22):
And then we get to the nextpart and maybe we're all doing
separate things and um, andthat's a kind of a cool thing
too, because it like, I guess,like the balance of the mix or
whatever you call it like, keepschanging, like the, because,
like, if there's a guitar, likein your left ear or whatever,
and then suddenly that's theguitar solo.
(23:42):
You've got to figure out how tomake that like be the highlight
, even though it's being liketucked away for the last bit,
Right, right.
And then so coming to doing thenext album, which we didn't
record, we recorded like thebeds of it live, but we sort of
took our time doing the guitarlayering and I spent a lot of
time trying to figure out, like,all right, like what, what do
(24:04):
we need here?
Do we need three guitars or dowe need just one guitar to play
this part and then the otherguitars join in, or um, or
there's lots of double tracking,so it's like there'll be, um,
two guitars playing the exactsame thing on either side of the
mix and then the next guitarpops up in the middle for the
guitar solo, or or.
However, and yeah, I spent agesthinking about this stuff at
one point we had, like, not aspreadsheet, but like there was
(24:27):
a whiteboard in like the garagewhere we were recording and it's
got like the like layering ofhow the guitar was done, Like a
mind map of yeah, yeah.
colleyc (24:35):
What were you going to do then?
Rebecca (24:37):
Maybe no one else in the band knew what I was talking
about.
They were like whatever, justdo what you're going to do.
But it's a cool experiencebecause it means that it like
yeah, there's songs on the album, oh, there's songs we play live
, even like digging the holds.
Good example that when theverse is going, all three of us
are playing the same bar chordsand it's like rocking.
(24:58):
But if you do that on therecording, there's nowhere to
lift to when you get to thechorus.
So then on the recording, likewe pull off those guitars and
it's just one, or like a doubletrack guitar in the middle
holding it down, and then theother stuff pumps in and
suddenly everything lifts.
So it was cool to think about,like how I don't know how
layering and stacking thingscould work.
colleyc (25:19):
And when it comes to the live set, it's like well,
let's just make everyone playthe same thing and make it loud.
Is that?
Is that, Rebecca?
I wanted to ask, like, ifsomebody attends a delivery show
, what can they expect?
Like, so, like I mentionedthree guitars, four vocals.
I mean, like, how does how doesa participant in a delivery
(25:44):
show you think?
What will they leave?
Feeling or thinking.
James (25:51):
It's usually pretty loud, but it's fun.
I think we have a lot of fun onstage playing together and have
a lot of energy, and I thinkwhen you're in the crowd, I can,
you can kind of feel that thatfeeds into the crowd too.
Um, so I think it's a reallyfun band to be in that.
(26:13):
A lot of the time you finishyour set and you kind of like go
out into the crowd or talk topeople and they've kind of had
just as much fun as you've hadon the stage, um, so it's all
pretty high energy and goodvibes absolutely that's pretty
um customary to a rock move ortwo, yeah I think everyone you
(26:34):
gotta have, you know, you gottahave that in your repertoire for
sure tries to jump a littlehigher or something amazing um,
but we, yeah, we don't takeourselves too seriously, but
yeah, we definitely have a goodtime.
colleyc (26:49):
Well, I mean from the live.
You know parts that I've seenon youtube.
I mean it looks like such a funshow um I'm sure there are no
tables, um everybody's up movinglike it just looks like a like
what you would think of of a fun, awesome show that you got to
go to delivery.
Go there, they will deliver.
(27:10):
Um, so it's been like january17th this record came out, uh,
force majeure.
Um how how have you guys feltthe reaction has been since,
since the release?
James (27:23):
yeah, it's been awesome.
I mean we've yeah I guess we'veboth put out lots of releases
in all different ways along ourmusical journeys.
Um, that's cool, really cool,been really cool working with
the label like heavenly, umthey're so great um, and yeah, I
guess also like um justinstantly going on tour after
(27:46):
releasing it.
That's probably like the firsttime we've released an album and
then just gone away.
And it was like a very fun wayto have the album out because
you're just on the road playingit and meeting people and
talking to people and stuff,whereas I guess sometimes you
could probably get caught upsitting at home Googling.
colleyc (28:09):
Right.
Rebecca (28:10):
On the door of a beer, totally.
colleyc (28:13):
And it gives you a good kind of like gauge too, as to
like are people singing thesongs?
Like has the album started toproliferate amongst the
population, right Like?
You can see that firsthand atthese shows.
James (28:28):
Yeah.
It's just been kind of awesome.
It's like like for someone whoplays an abandoned people liking
what we do, yeah I mean it'sgood having that instant
gratification like a funny one.
Rebecca (28:43):
Is that like I guess you like do this stuff and you
don't really think about itbeing bigger than I don't know,
a five kilometer radius aroundyour house or something um?
But like, when we were inamerica recently we didn't have
any records to sell um for along story.
But it's like someone came upand got us to sign their record
and then and like yeah, like,and then like no, I bought it
(29:07):
like on from a store.
I bought it and it's like, oh,yeah, I forget that like the
world exists now and like, um,so it's cool.
Yeah, there's people around theworld that have actually bought
the album or listened to it, um, which, yeah, I think, growing
like from our background ofplaying bands like you might be
very, uh, you might fully expectthat you make an album and it's
(29:30):
just for the circle of friends,or, yeah, if 10 people outside
of that heard it, that would be,um, that would be special.
So, yeah, exciting to pick fromaround the world.
colleyc (29:42):
Yes, like artists have mentioned I've mentioned this
before on the cast that theyfeel like things are starting to
move forward when it's morethan their friends that appear
at the show and play the records.
You know it's like I don't know.
You guys, where did you?
You know like you start to feellike the, the wheels starting
to turn a little bit quicker,which is amazing it's cool, yeah
(30:05):
, and then I mean hopefully allof those people end up becoming
your friends.
Rebecca (30:08):
So just there you go there, you go.
colleyc (30:12):
So thanks, guys, so much for this.
I've I've really enjoyedtalking with the two of you.
Um, I've really loving the.
The new record and the oldstuff is, I mean, equally.
I think that you have thisgrowth that's happening, you
know.
It's just you're amping upevery release, which I totally
love.
Cool.
What can we anticipate for 2025, like tour-wise, and are you
(30:35):
guys dabbling in new tunes?
Is there maybe a record,anything that you can share with
us?
That's not a secret or anything, obviously, but what can we
expect from delivery in 2025?
James (30:47):
Well, we are working on new music.
So TV DCA, whatever the plan ison what will happen with that,
but it's fun.
I guess it's kind of motivatingonce you put something out, to
be like all right, what's next.
Rebecca (31:03):
The band since making the last record has changed a
bit, so it's kind of beenexciting.
We're sort of going in with afresh I don't know.
It's like we're kind of notback to square one, but like
it's a good chance to kind ofreimagine what we've been doing,
because we've got newsongwriters in the band.
(31:24):
That's exciting, yeah.
James (31:27):
We're just about to go on an Australian tour and then
we're over in the UK and Europeagain and we're working on
getting back to the States andCanada.
So, that's TPC DNA.
Yeah.
colleyc (31:45):
Right on, right on.
Well, I mean mean, the touringjust shows how many people want
to see you guys, which is, Imean, a great barometer for how
people are accepting the recordand and getting into it.
Um, I wish you guys all thebest in in this summer, in 2025,
(32:05):
and I I'm loving this record,but I'm so happy that I'm
hearing that you guys arecontinually writing um, I think
the best is yet to come, um, andI really would love to have you
guys come and do a show incanada at some point.
Uh, if you can get here.
I mean, we're commonwealth,right, so we're kind of like
related somehow.
Rebecca (32:29):
Our manager.
We saw our manager last nightand he was talking about some
kind of arrangement he wants toset up between Australia, canada
, mexico, denmark and somewhereelse?
He has some that he wants topresent to.
Yeah.
I'm in Maybe just get the us,the commonwealth tour, yeah but
(32:56):
I mean we'd love to come tocanada and hang out and play.
I appreciate you having us onchris, it's been, it's I'm.
I appreciate you listening tothe record attentively and um
yeah it's been a real pleasureit's been.
colleyc (33:06):
I love doing these deep dives and your story is one
that is quite unique and it'sbeen really fascinating talking
with you guys.
I love hearing how it all beganand then the records and the
songs that you guys have donecollaboratively.
I'm sorry I geeked out to alittle bit on the recording
(33:26):
process, but I love kind ofgetting a little bit into the
weeds on that, like,particularly when you're a DIY
and you're doing it yourself,it's you're kind of wearing
these two hats.
Um so, james, I appreciate yourwords on on that, those
processes that you go through ohcool, it's cool.
Rebecca (33:42):
I mean, yeah, it's something you think so much
about.
It's cool to um be forced toarticulate there you go there,
you go.
colleyc (33:49):
Well, thanks so much guys.
Have a great summer um, keepdoing what you're doing and uh,
people check out um the latestrecord.
They're going to be on tour.
Uh, fox major delivery.
Thanks so much, guys thanks.
Rebecca (34:04):
Thanks, chris.
I thought I'd run into you.
Pick it up, pick it up what youlook like, and I'll be waiting
(34:32):
on the paper and I'll talk toyou.
Stretch it off my tongue.
Yeah, who would know?
Do you even have to say it?
Do you even know what I do?
Do you See you when you're outto say it?
Take the side of your ghost.
See you, see, you, see you.
(34:55):
So don't you be a part of that.
You can just be again, causeI'm digging the hole that y'all
fell in.
Crack it out what fell along.
(35:23):
What I'm stopping at is howcould we do the same thing?
(37:01):
When you look at me, we'll beright back.
I'm.
We'll be right back.
Guitar solo We'll be right back, cause I'm digging the hole
(37:30):
that you're building.
Digging, digging, digging,digging, digging.
I'm tasted, I take back what it took.
Download the movie.
Save me buying a book that Iain't reading.
All right, here we are.
Welcome people.
colleyc (00:32):
Another episode of If you Be A Podcast coming to you,
Excuse me, you know, season five.
I've had local but surprisinglyenough I've had two Australian
artists come in and now I have athird coming in.
I have delivery here with metoday and I have rebecca allen
(00:54):
and I have james lynch, who arethe founding members, um, who
have been working together forfor a while, or being together
for a while, and are now havejust put out their latest,
January 17th, and I'm going tosay in French, because it's a
French word, but, Force Majeure,I'm in Quebec so I speak French
(01:17):
.
So I love the title Absolutelystunning album.
I've just been like obsessedwith listening to it and I kind
of mentioned this before Ihopped on that.
You know I mean garage punk.
You know rocking like it makesme nervous sometimes, but your
(01:37):
album is really soothing to mein this funny, interesting kind
of way.
So thanks to James and Rebeccafor jumping on here with me
today.
James (01:45):
Thank you, Thanks for having us.
It's cool to hear you pronounceforce majeure.
It's always, that's it.
colleyc (01:53):
Well, here in Canada, Quebec the second largest
province is majority French.
The second largest province ismajority French.
Our old colonialists were fromFrance, so our major language
here is French.
So I mean force majeure.
It's right up my alley.
(02:14):
So thank you for making aFrench title too.
James (02:22):
I mean, it gets so little attention in our language at
times.
We've had, well obviously,force majeure being this album,
and the album there's a songcalled beta meinhof, which is
german, and both times we'vegone on tour and gone to those
countries and they're likeyou're pronouncing it wrong.
colleyc (02:36):
well, I make an effort to pronounce right and I think,
to start off, guys, I I kind oflike to kind of dive back into
your history a little bit abouthow things started to spark for
you guys and James, I'm going tothrow this question at you
first.
What were some of your keymoments when you were growing up
(02:57):
?
That where music really startedto kind of sing to you and you
knew that music was somehowgoing to be a part of what you
did when you, when you grew up,yeah, um, I guess I was always
quite drawn to music, um, butI'm not really sure why.
Rebecca (03:18):
I think, like when I was quite young, we had a piano
at home and I was like six orseven asking my parents to give
me piano lessons for some reason, because once I started them I
really didn't like, I didn'treally practice or stick to it.
Um, but yeah, by the time I was, like I don't know, a little
bit older and getting into kindof rock bands, I guess I sort of
found what I was looking for,um, and got like there were a
(03:42):
bunch of bands that were reallybig for me as I grew up and um,
a few of them were likeaustralian, like rock bands from
the kind of early 2000s.
And there's a band, the vines,who maybe people are familiar
with, who were a really big dealto me as I grew up.
Um and um, and I mean, like atthe same time I'm I'm a 10 on
the thing to green day andlistening to whatever else had
(04:05):
come across kind of my ears, um,but yeah, at probably at a
certain age I became reallyobsessed and, um, yeah, would
spend my saturday trying tolearn how to record my guitar
onto the computer which wouldn'twork or whatever it was.
Um, so yeah, there were probablya bunch of really key moments.
Yeah, the band the Vines Ireally like was obsessed with,
(04:27):
and then, getting a bit older Ikind of got really obsessed with
, kind of like there was likethe Tame Impala had started and
there was this like Perth andMelbourne psych and garage
scenes that were kind of likehappening, where I think I was
really obsessed with thecommunity side of it more than
in exactly the band itself, likethe idea that all these bands
(04:48):
could be friends and play intoother bands and stuff.
Um, so yeah, I was really drawnto, yeah, I guess, music in the
first place and then thecommunity side of things and
then when I ended up being ableto find my own community and do
the same thing and play in abunch of different bands with
different friends, I guess thatwas a big moment for me, like
amped up, yeah totally Breck.
colleyc (05:07):
What about you?
Where did music start to cometo the forefront of your
realizations of hey, I need this.
James (05:17):
Yeah, I think a little bit different for me.
I was like I always reallyliked music from when I was
young, like um always was likelistening to records or
downloading, or getting mybrother to download music for my
mp3 or whatever, but uh limewire days right and yeah, I
(05:42):
think, like when I was younger,I got piano lessons but I didn't
really like it, because I guessthey just taught you like
really simple versions of likebeethoven or something, and
you're like when you're 12 yearsold or something it's like this
sucks lame yeah, I'm not doingthat anymore um
(06:03):
so I didn't really play musicbut I always liked it and I
guess you like go see bands and,um, maybe you see like a big
band and then a band supportsthem and then you get into that
band and then you're there andsomeone else supports them and
you get into that.
Then it kind of wasn't untillike a few layers deeper, when I
was like in my early 20s and Iwas going to see like bands at
(06:25):
smaller DIY venues and stuffthat I was like oh, cool people
are like making music who aren'tnecessarily like, I guess, like
punk music, who aren't like youknow not saying that they're
not incredible musicians, butlike formally trained, like
music and um, when I met james,he was playing in bands but I
(06:46):
couldn't play music.
And um, then you start meetingeveryone in the community and
all this stuff, and I was a fewof me and my friends were like
maybe we should teach ourselveshow to play some music and get
involved in this.
And I think once we started itwas kind of just like eyes wide
open, let's go right, um.
colleyc (07:07):
So, and what?
What style?
Rebecca, when you first startedto kind of look at music as you
being involved in it, what wereyou?
What was your go-to kind oflike songs that you were writing
or playing together?
James (07:21):
yeah, pretty much like punk, okay, yeah, so my first
band got a girls was like punkband, I would say, or maybe like
a little bit post-punky maybe,but probably punk um.
And then, yeah, I was playingin like a kind of like hot, more
hardcore punk band um as well,um, yeah, and then I guess
(07:44):
delivery kind of like yeah.
colleyc (07:53):
So I mean your orientations, both were kind of.
You were kind of in the samelane a little bit and and and.
From what I've been reading,and we had mentioned before we
hopped on here, that you guysare in a relationship as well
for eight plus years or whateverit might be.
How long into the relationshipdid you guys decide let's.
(08:14):
Why don't we team up?
Like you like what I do, I likewhat you do.
We're kind of in that same lane.
James (08:23):
Let's see if there's a possibility of a fusion yeah,
kind of embarrassingly long likeit's pretty funny, yeah, I
don't know, because jamesbrought me a bass when I said
for my birthday, when I saidthat I want to start playing
music, so it was always likereally encouraging and helped me
out heaps and everything.
But I guess, like we were kindof like I was finding my path.
(08:45):
Um, in a way that was likeseparate from yeah exactly like
where he like.
I wasn't like, oh, now can Iplay in your band we're gonna do
that and then, um, so I guessmaybe also I was more just
finding my feet a little bit atthe start, so it didn't seem
(09:05):
natural to be like oh, let'screate music together, because
that's not really how yeah.
Rebecca (09:11):
I think my side was working, but I think like by the
time Beck started playing inbands, I had been kind of in
bands for eight years orsomething by then, which didn't
not that that exactly matters.
But I always feel like at thestart we although like we were
both, I think, really supportiveof each other, we maybe didn't
do each other as contemporaries,like we were kind kind of both
(09:32):
doing kind of vastly differentthings.
James (09:34):
Yeah.
Rebecca (09:36):
And then, only maybe three years into the
relationship, when COVIDhappened, we were like at home
where you couldn't go out andnothing to do, and somehow the
idea of should we make it?
Try and make some songstogether happened.
James (09:49):
And I guess I was probably feeling like more
confident in like my skills andabilities and stuff.
Not that you can't make musicwhen you're at different skill
levels.
But I guess it kind of feltlike feels more natural to be
like should we like?
Not necessarily jam orsomething but maybe we could
have a crack at merging ourvibes together.
Rebecca (10:10):
Yeah, and I think as well.
My musical background prior tothat, I think as well was like
the main band I sort of playedin from when I was like 15 to
when I was 25, which was aroundthe time when COVID happened.
It was like a garage rock band,but it was also kind of pop
leaning and I was sort of likethe main songwriter and would
(10:31):
think a lot about melodies andharmonies and stuff like that,
which wasn't really Beck's world.
But by the end of like probably2019 or right before COVID
happened, I was sort of finallike for the first time in my
life really was getting intolike playing in bands where it
was more loose and like I don'tknow, I probably had eight years
of learning music where I waslike the way you write a song is
(10:52):
I have to labor over this thingfor 100 hours and then I bring
it to my bandmates and tell themexactly what to play, whereas
by the end I think I'd find havefound like the enjoyment out of
it being a whole lot looser.
So I think it probably yeah,you're probably feeling more
confident.
I was probably feeling a bitlike get, get over yourself, a
bit like it doesn't have to belike this.
colleyc (11:14):
I don't know, like letting it, letting it be more
loose and letting it find itsway yeah yeah, and and did you
guys during covid?
Did you co-write songs togetheror would you like?
How does your songwritingprocesses go each of you like,
do they intermingle at times, ordo you kind of keep them very
(11:36):
separate from one another untilyou have a complete kind of idea
before you introduce it to oneanother?
James (11:41):
It kind of changes a little bit depending on the song
.
But yeah, like I think beforedelivery started, like I was
obviously in bands with myfriends but I'd never like
written a song or lyrics orthing before.
So James definitely like heldmy hand at the start of it,
helping me figure out like howto fully get there with like
(12:06):
some of the stuff.
But now, like I think when westarted, like I would maybe have
a riff or something, then Jameswould help me figure out how to
like piece together like riffbreak whatever the formula, the
songwriting formula, yeah, andthen I would write the lyrics.
(12:27):
So me and Lisa would worktogether a bit on writing lyrics
because it's like scarysometimes and lisa would work
together a bit on writing lyricsbecause it's like scary
sometimes, but then yeah now Ifeel like kind of in like the
latest, uh, like I guess I'vekind of switched a bit and a lot
of the time like I'll just kindof think of like lyrics in my
head or a line or something canhave like a vibe and kind of
(12:49):
record a little bit of like bassor keys and vocals and then
kind of like take it to James orthe band to help me flesh it
out.
But James is and we definitelywork together a lot of the time
with like fleshing songs out.
But I guess you kind of havelike the main ball of the idea
before you get there, but you'rekind of sometimes a little bit
(13:09):
more like.
Yeah, james, what's your,what's your process, like ball
of the idea before you get there, but you're kind of sometimes a
little bit more like um yeah,james, what's your, what's your
process like for writing a song?
How do you?
Rebecca (13:15):
do it I, I think, as well.
To like tie back to thatearlier question, I think like
it is fairly collaborative, butmaybe the most collaborative
sense of it is that we're kindof quite good at being each
other's sounding boards, or ifthat's the way of saying it.
Like, um, one person willprobably throw their ideas out
of the other person and theother person might not be like
(13:36):
cool, well, I can, here's a riffthat I can match with that.
It's more like that one's thekeeper.
Yeah, like play that one abunch more times and then go use
that to go to some other partor whatever.
Um, and so, yeah, definitely mysongs, at least at the very
start of delivery.
Well, I don't know, like it'sall.
It kind of changed all the time,but I think there would be lots
of us sitting together and likeBeckham, bass and me on guitar
(13:59):
and just sort of like playingriffs and all like ideas at each
other, and then it's like thatone's cool.
And then it's like all right,well, I'm going to take that
idea and like work on it a bitmore myself, or um, or yeah,
it's like, oh, that bass line'sgood and beck's like all right,
well, I'm gonna go and write abunch of lyrics over the top of
this thing, um, but yeah, italways changes.
(14:21):
I don't know I'm, I would loveto have more of a process.
I think that everyone in ourband would like to have more of
a process, because sometimes Imean, I feel like a lot of,
maybe, songwriters feel likethis, where it's like making a
song is kind of hard andannoying, and then you finish it
and you're like, oh, I've got asong now.
And then you're like trying todo the next song and you're like
I wish it was easy.
As the one I just did.
James (14:42):
Or you write a song that you like and you're like oh no,
am I ever going to be able towrite another song again?
Rebecca (14:47):
Yeah totally.
colleyc (14:57):
And and do you, does everybody collab, like, does
everybody bring in songs of themembers of delivery, or is it
mainly you two that bring in theideas, or is it?
Is it, like you said, james,like totally collaborative, like
everybody brings in their ideasand then you kind of like
bounce them off each other andyou're like okay, let's keep
that part and we'll add that tothis or we'll add this on, or
how?
How does how does thatcollaborative work amongst all
the all the members?
Rebecca (15:17):
it's always been well.
Yeah, since beck and I startedthe project, we definitely
wanted it to be a band, not likea duo project or um, the two of
us being like the leaders andthe other three like our backing
band or something um, but thecollaboration sort of happened
in different kind of ways and alot of like the.
I think the way we I've talkedabout it before in other
(15:40):
interviews is that like.
I think it's collaborative inthe sense that it's like there's
kind of a very active anythinggoes attitude in this band, um,
which means someone can bring inum a fully finished song and
it's fair game.
Or someone can bring in an idea, and it's fair game and anyone
has license to like, come and be, like, I want to be the lead
singer on this song or um, Iwant this to happen or whatever
(16:02):
it is.
And so, um, on the latestrecord, the, out of the five of
us, there's four differentvocalists across the 12 tracks
and, yeah, some songs that woulddefinitely hashed out in the
rehearsal room and some songsthat were like had been fully
brought in as a demo and we werelike there's nothing that needs
changing um, so, yeah, it's afunny one to describe because it
(16:23):
is collaborative in that sense.
But equally it's like we're notalways going into the like the
writing room or something, andright If everyone's putting
their two cents Right.
colleyc (16:35):
It reminds me too there was a comment that somebody
mentioned that there's theseebbs and flows with the songs.
Rebecca (16:42):
But it sounds like that too with the songwriting, Like
it's very, seems organic, almostLike an idea will come in and
then it's, it's workshopped, youknow, like there's a
collaboration that goes on yeah,um, and yeah, I think there's
also like, at least on the lastcouple of albums, there's kind
(17:02):
of been a like all right, we'vegot um x amount of songs kind of
that have shaped up, and thenit's like, all right, we want to
fill in a few gaps.
Does anyone have a song thatfeels like they might lean this
way or lean this way?
And or then it's also like well, at least on the first album,
um, we had I don't know, maybewe had 11 songs and sam hadn't
(17:22):
written one yet, and we're likewell, sam, you have to write us.
Like yeah, like pick it up, man,pick it up yeah, and like he'd
only recently joined the band,at that stage and I think he may
be still finding like figuringout like he's rolling the band,
particularly because I think hetook someone else's role and I
think he was like, oh, I'm maybebeing someone else and we're
(17:43):
like no, no, no, we want you'rein the band now write your song,
yeah you gotta write your song.
colleyc (17:51):
I love that well to it.
Also, like it does sound like acollaborative effort on on your
latest, because you'll have asong like digging holes, which
is very like garage, you knowpunky, but then the new alphabet
, you know like again it'salmost it turns into more of a
pavement-y kind of you knowindie rock like.
(18:13):
So there are like kind of genrehopping, but as a whole, like
as a complete listen through andit's the kind of record you
have to listen through fromstart to finish.
I like I can't listen to onesong.
I'm like okay, I'm waiting forthe next song to arrive.
Was that conscious when youguys were assembling the songs,
(18:33):
that that you wanted them tokind of have a flow to them
throughout the whole record?
Rebecca (18:41):
yeah, I mean, I think a lot of it is sort of accidental
, not accidental, but like wesort of just let it kind of take
shape, um, because yeah, Idefinitely think when we started
writing the album, like wedidn't really know what we were
getting into, um, and it's funnyyou mentioned those two songs
(19:02):
with those two songs digging thehole, and you and New Alphabet
are two of my songs and I reckonthey were both fairly fleshed
out by the time the band.
James (19:12):
Yeah, they didn't have much practice room, right yeah.
Rebecca (19:18):
There was a lot of like playing it to try and like
figure out if it worked, but itwasn't.
Like it was kind of like Ibrought in a million ideas and I
was like I think there's a songin here and we just had to like
whittle it down a little more,um, but yeah, it's always been.
I like I think we're a bandthat has a lot of different
(19:40):
music in our like collective dnaand um.
I don't think there's muchdesire to make a completely punk
album from start to finish.
That's like no hold, but likeno held barred and like just
like brutal, because there'skind of other things we're
always keen to explore and likeum, and yeah, like it's fun
(20:00):
doing kind of like moremid-tempo things or like kind of
quirky moves that like I don'tknow.
You sort of need those ebbs andflows or you need to kind of
let up the pace a bit to likemake the moments hit better.
colleyc (20:13):
I think, yeah, absolutely, because sometimes
you need a bit of a relief,right, Rebecca?
Because it is so intense atsome points, like you get to
such a crescendo that you kindof need like that little
breather of like, all right,let's do this again, but give me
a break, give me a minute itmakes it like sometimes
listening to albums can be a bitof a slug.
James (20:35):
Um, if it's all like really similar, you're like yes
so it's nice to have somethingwhere you're kind of like
keeping alert during the processof being like, oh, I didn't
expect a song like this afterthat song or something.
So, I like it because it makesit more fun and interesting to
play.
Rebecca (20:57):
Once the record was ordered to, like Beck and I sort
of had kind of picked our tracklisting and we thought it would
be workshopped a bit more.
But then suddenly it was likeit got approved and like sent to
the master or whatever.
And then after it, like becausewe didn't think, like I, don't
know, we had thought about it afair bit, but like no one had
really given feedback orreflected on it.
colleyc (21:17):
And then, like I finally was like listening back
to the master version orwhatever, and I was like oh my
God, god, we really like frontload, like the first like six
songs are just like, and thenfortunately it lets up and then
like it.
There's like a gap yeah, Ithink that's why new alphabet
sticks out to me yeah, it givesme that kind of like.
You have that clean guitar atthe start and it just kind of
(21:39):
like you know, eases a littlebit you back into thank god, no,
but I mean, like I, I totallylove it.
I mean you got three guitars,you got four vocalists.
I mean it has to be, um, it'sgoing to be powerful.
I mean it just just with thesetup of the instrumentation,
(21:59):
the vocals that you have, um,you, I.
My question, kind of james, islike I know that you produce
this, you recorded this as well.
How do you manage the guitarsand the vocals?
Like I know that the vocalsthere's usually somebody that
sings and then there's there'sothers that will add in, but the
(22:21):
guitars are always like, whendo you know to have three
guitars all playing the samechords and when do you?
Okay, why don't you try thisline that fits on top of what
we're strumming?
Like, how do you manage that sothat you're not overwhelming
and also adding new kind ofelements to a song?
Like, how do you navigate that?
Rebecca (22:40):
Yeah, it's, it's.
It's one I thought a lot abouton this album because I mean, I
love being in a band with threeguitars and I guess we started
being in a band with threeguitars more in a live context
than a recording context,because the first songs that
Beck and I were making in ourbedroom in COVID, I think, on
those recordings we weren't likewe need all of these layers, we
(23:01):
just made the song, but then itwas like having a band with
three guys was really really fun.
Um, but then the first record wemade, we kind of tried to
record it as live as possible,which meant that every song had
the three of us playing and, um,depending on how it was
arranged, it'd be like, allright, for this section we all
played the exact same riff, it'sjust times three.
(23:22):
And then we get to the nextpart and maybe we're all doing
separate things and um, andthat's a kind of a cool thing
too, because it like, I guess,like the balance of the mix or
whatever you call it like, keepschanging, like the, because,
like, if there's a guitar, likein your left ear or whatever,
and then suddenly that's theguitar solo.
(23:42):
You've got to figure out how tomake that like be the highlight
, even though it's being liketucked away for the last bit,
Right, right.
And then so coming to doing thenext album, which we didn't
record, we recorded like thebeds of it live, but we sort of
took our time doing the guitarlayering and I spent a lot of
time trying to figure out, like,all right, like what, what do
(24:04):
we need here?
Do we need three guitars or dowe need just one guitar to play
this part and then the otherguitars join in, or um, or
there's lots of double tracking,so it's like there'll be, um,
two guitars playing the exactsame thing on either side of the
mix and then the next guitarpops up in the middle for the
guitar solo, or or.
However, and yeah, I spent agesthinking about this stuff at
one point we had, like, not aspreadsheet, but like there was
(24:27):
a whiteboard in like the garagewhere we were recording and it's
got like the like layering ofhow the guitar was done, Like a
mind map of yeah, yeah.
colleyc (24:35):
What were you going to do then?
Rebecca (24:37):
Maybe no one else in the band knew what I was talking
about.
They were like whatever, justdo what you're going to do.
But it's a cool experiencebecause it means that it like
yeah, there's songs on the album, oh, there's songs we play live
, even like digging the holds.
Good example that when theverse is going, all three of us
are playing the same bar chordsand it's like rocking.
(24:58):
But if you do that on therecording, there's nowhere to
lift to when you get to thechorus.
So then on the recording, likewe pull off those guitars and
it's just one, or like a doubletrack guitar in the middle
holding it down, and then theother stuff pumps in and
suddenly everything lifts.
So it was cool to think about,like how I don't know how
layering and stacking thingscould work.
colleyc (25:19):
And when it comes to the live set, it's like well,
let's just make everyone playthe same thing and make it loud.
Is that?
Is that, Rebecca?
I wanted to ask, like, ifsomebody attends a delivery show
, what can they expect?
Like, so, like I mentionedthree guitars, four vocals.
I mean, like, how does how doesa participant in a delivery
(25:44):
show you think?
What will they leave?
Feeling or thinking.
James (25:51):
It's usually pretty loud, but it's fun.
I think we have a lot of fun onstage playing together and have
a lot of energy, and I thinkwhen you're in the crowd, I can,
you can kind of feel that thatfeeds into the crowd too.
Um, so I think it's a reallyfun band to be in that.
(26:13):
A lot of the time you finishyour set and you kind of like go
out into the crowd or talk topeople and they've kind of had
just as much fun as you've hadon the stage, um, so it's all
pretty high energy and goodvibes absolutely that's pretty
um customary to a rock move ortwo, yeah I think everyone you
(26:34):
gotta have, you know, you gottahave that in your repertoire for
sure tries to jump a littlehigher or something amazing um,
but we, yeah, we don't takeourselves too seriously, but
yeah, we definitely have a goodtime.
colleyc (26:49):
Well, I mean from the live.
You know parts that I've seenon youtube.
I mean it looks like such a funshow um I'm sure there are no
tables, um everybody's up movinglike it just looks like a like
what you would think of of a fun, awesome show that you got to
go to delivery.
Go there, they will deliver.
(27:10):
Um, so it's been like january17th this record came out, uh,
force majeure.
Um how how have you guys feltthe reaction has been since,
since the release?
James (27:23):
yeah, it's been awesome.
I mean we've yeah I guess we'veboth put out lots of releases
in all different ways along ourmusical journeys.
Um, that's cool, really cool,been really cool working with
the label like heavenly, umthey're so great um, and yeah, I
guess also like um justinstantly going on tour after
(27:46):
releasing it.
That's probably like the firsttime we've released an album and
then just gone away.
And it was like a very fun wayto have the album out because
you're just on the road playingit and meeting people and
talking to people and stuff,whereas I guess sometimes you
could probably get caught upsitting at home Googling.
colleyc (28:09):
Right.
Rebecca (28:10):
On the door of a beer, totally.
colleyc (28:13):
And it gives you a good kind of like gauge too, as to
like are people singing thesongs?
Like has the album started toproliferate amongst the
population, right Like?
You can see that firsthand atthese shows.
James (28:28):
Yeah.
It's just been kind of awesome.
It's like like for someone whoplays an abandoned people liking
what we do, yeah I mean it'sgood having that instant
gratification like a funny one.
Rebecca (28:43):
Is that like I guess you like do this stuff and you
don't really think about itbeing bigger than I don't know,
a five kilometer radius aroundyour house or something um?
But like, when we were inamerica recently we didn't have
any records to sell um for along story.
But it's like someone came upand got us to sign their record
and then and like yeah, like,and then like no, I bought it
(29:07):
like on from a store.
I bought it and it's like, oh,yeah, I forget that like the
world exists now and like, um,so it's cool.
Yeah, there's people around theworld that have actually bought
the album or listened to it, um, which, yeah, I think, growing
like from our background ofplaying bands like you might be
very, uh, you might fully expectthat you make an album and it's
(29:30):
just for the circle of friends,or, yeah, if 10 people outside
of that heard it, that would be,um, that would be special.
So, yeah, exciting to pick fromaround the world.
colleyc (29:42):
Yes, like artists have mentioned I've mentioned this
before on the cast that theyfeel like things are starting to
move forward when it's morethan their friends that appear
at the show and play the records.
You know it's like I don't know.
You guys, where did you?
You know like you start to feellike the, the wheels starting
to turn a little bit quicker,which is amazing it's cool, yeah
(30:05):
, and then I mean hopefully allof those people end up becoming
your friends.
Rebecca (30:08):
So just there you go there, you go.
colleyc (30:12):
So thanks, guys, so much for this.
I've I've really enjoyedtalking with the two of you.
Um, I've really loving the.
The new record and the oldstuff is, I mean, equally.
I think that you have thisgrowth that's happening, you
know.
It's just you're amping upevery release, which I totally
love.
Cool.
What can we anticipate for 2025, like tour-wise, and are you
(30:35):
guys dabbling in new tunes?
Is there maybe a record,anything that you can share with
us?
That's not a secret or anything, obviously, but what can we
expect from delivery in 2025?
James (30:47):
Well, we are working on new music.
So TV DCA, whatever the plan ison what will happen with that,
but it's fun.
I guess it's kind of motivatingonce you put something out, to
be like all right, what's next.
Rebecca (31:03):
The band since making the last record has changed a
bit, so it's kind of beenexciting.
We're sort of going in with afresh I don't know.
It's like we're kind of notback to square one, but like
it's a good chance to kind ofreimagine what we've been doing,
because we've got newsongwriters in the band.
(31:24):
That's exciting, yeah.
James (31:27):
We're just about to go on an Australian tour and then
we're over in the UK and Europeagain and we're working on
getting back to the States andCanada.
So, that's TPC DNA.
Yeah.
colleyc (31:45):
Right on, right on.
Well, I mean mean, the touringjust shows how many people want
to see you guys, which is, Imean, a great barometer for how
people are accepting the recordand and getting into it.
Um, I wish you guys all thebest in in this summer, in 2025,
(32:05):
and I I'm loving this record,but I'm so happy that I'm
hearing that you guys arecontinually writing um, I think
the best is yet to come, um, andI really would love to have you
guys come and do a show incanada at some point.
Uh, if you can get here.
I mean, we're commonwealth,right, so we're kind of like
related somehow.
Rebecca (32:29):
Our manager.
We saw our manager last nightand he was talking about some
kind of arrangement he wants toset up between Australia, canada
, mexico, denmark and somewhereelse?
He has some that he wants topresent to.
Yeah.
I'm in Maybe just get the us,the commonwealth tour, yeah but
(32:56):
I mean we'd love to come tocanada and hang out and play.
I appreciate you having us onchris, it's been, it's I'm.
I appreciate you listening tothe record attentively and um
yeah it's been a real pleasureit's been.
colleyc (33:06):
I love doing these deep dives and your story is one
that is quite unique and it'sbeen really fascinating talking
with you guys.
I love hearing how it all beganand then the records and the
songs that you guys have donecollaboratively.
I'm sorry I geeked out to alittle bit on the recording
(33:26):
process, but I love kind ofgetting a little bit into the
weeds on that, like,particularly when you're a DIY
and you're doing it yourself,it's you're kind of wearing
these two hats.
Um so, james, I appreciate yourwords on on that, those
processes that you go through ohcool, it's cool.
Rebecca (33:42):
I mean, yeah, it's something you think so much
about.
It's cool to um be forced toarticulate there you go there,
you go.
colleyc (33:49):
Well, thanks so much guys.
Have a great summer um, keepdoing what you're doing and uh,
people check out um the latestrecord.
They're going to be on tour.
Uh, fox major delivery.
Thanks so much, guys thanks.
Rebecca (34:04):
Thanks, chris.
I thought I'd run into you.
Pick it up, pick it up what youlook like, and I'll be waiting
(34:32):
on the paper and I'll talk toyou.
Stretch it off my tongue.
Yeah, who would know?
Do you even have to say it?
Do you even know what I do?
Do you See you when you're outto say it?
Take the side of your ghost.
See you, see, you, see you.
(34:55):
So don't you be a part of that.
You can just be again, causeI'm digging the hole that y'all
fell in.
Crack it out what fell along.
(35:23):
What I'm stopping at is howcould we do the same thing?
(37:01):
When you look at me, we'll beright back.
I'm.
We'll be right back.
Guitar solo We'll be right back, cause I'm digging the hole
(37:30):
that you're building.
Digging, digging, digging,digging, digging.
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