The Sand Pebbles are set to release their new 7-inch single, ‘Sometimes A Great Notion’/’Desire Lines’. The inspiration behind ‘Sometimes A Great Notion’ stems from Ken Kesey’s work, reflecting on notions that shape life’s trajectory, while ‘Desire Lines’ carries forward the group’s sonic evolution. Growing up amidst Melbourne’s vibrant post-punk scene, they learned the importance of forging a distinct musical identity fueled by psychedelia. Ben Michael X, Sand Pebbles’ guitarist and songwriter, tells their story to Jason Barnard.
Could you tell us a bit about the inspiration behind the tracks on your forthcoming Fruits de Mer single?
‘Sometimes A Notion’ was Ken Kesey’s follow up to ‘One Flew Over The Cuckoo’s Nest’ – it’s underrated but I also have always loved that title. Then one day it hit me, that some notions you have are best left unrealised and others are life changers. An example of the later such notion was to hang out with the wild, funny, brilliant writer, musician Kath Dolheguy. She told me once that at the end of the day, the only thing that matters in a relationship is having your partner’s back. So, this is a love song that hopefully conveys the rush of love and making a good choice for once!
‘Sometimes A Great Notion’ is also featured on your latest album ‘The Antagonist’. Could you share some insights into the recording process for the LP and the sound you aimed for.
The basic tracks for 60% of the album were recorded live in a day – a wonderful fun day between COVID lockdowns. Then we had fun casually putting down extra tracks over the next year as we hibernated indoors. I wanted a couple tracks, ‘Field of The Lord’ and ‘Sweet Tenderloin’ to have a 60s/70s Steve Miller mixed with a little ‘Soulin’ era JJ Cale and ‘What Goes On’ Velvets feel – loose, easy and fun. The title song was a mixing of twang, soul and the German pop song ‘Da, Da, Da’ – I loved the late 70s early 80s weird pop hits with drum machines, ‘Pop Musik’, The Flying Lizards, all that stuff. ‘The Light’ is Peter Green meets the Blade Runner soundtrack. ‘Barry Michael Takes A Train’ was a tribute to my dear dad and my fav type of Cure song. So, a lot of genres were flying around my mind as I worried the world was ending (it still is, but I’m at peace with that now) and I wanted to mix them all up.
The Sand Pebbles origins go back to the Australian TV soap Neighbours, where the three of you were scriptwriters. How did your experiences there influence your trip into music and formation?
Chris and I wrote scripts for the show. It was a kinda silly but fun way to make some sweet dollars, I don’t think it really influenced us musically but it did bring us together. TV people are often lovely but it’s rare to find one who knows or cares about underground music, so meeting Chris was a true revelation. And it was Chris’ energy that drove us to make the band happen. But neither of us can sing, so we needed a golden voice and that voice was Andrew and we have been the 3 consistent members for the last 24 years.
Melbourne has a rich musical history. Can you share some of your early experiences within the local music scene and how it shaped the group’s development?
The Australian Post-Punk scene was insanely good. The Moodists, early Models, early Hunters and Collectors, The Birthday Party, The Sacred Cowboys, The Triffids, Gobetweens, Shower Scene From Psycho, The Wet Ones, the list goes on and on, back then they’d let little 14 year ratbags such as myself into pubs to see these bands, no questions asked or ID needed and it was just an amazing joyful fun time to be alive. It taught me that one of the most important aspects of being in a band was having your own unique sound, to be truly yourself and have your own weird sound.
The name The Sand Pebbles was inspired by the old film of the same title. How does it reflect your artistic identity?
To be honest, we chose the name because we think Steve McQueen is so damn handsome. Plus we love how it sounds. The great Dave Graney once said of us that having sand was an old school way of saying “you got stones”.
Your sound has been described as psychedelic. How do you feel your music has evolved since the band’s inception, and what would you say is the overarching vision of The Sand Pebbles?
Psych is only part of the story, but it’s a part we love, not so much the super over the top type, more that ripple inside each song that twists things. There’s always a surface that pulls you in, and then the details underneath the surface are there to let your mind wig out if you listen closely. We also love Post-punk, Krautrock, soundtracks, obscure singer songwriter, modern classical, ambient, and more just as much. Maybe it’s that soup that makes it psych.
Could you give us a glimpse into the gear you use in the band? How do your instruments and equipment contribute to shaping your sound?
I love clean pure non-tube amps. I adore my Roland Jazz Chorus amp. Then I just go through waves of pedals, most from small obsessive makers. Gehirn Enterprises make great pedals, I adore and used their doomedlife pedal, I love Kink pedals and their brutal heavy distortion, a vox repeat percussion pedal, then more obvious ones like MXR flanger (I’ve loved flanger since The Banshees), a Roland Space Echo, A Walrus Slo Night, a Surfybear spring reverb. These and more have been put to use on the last record. I play a 83 Telecaster, a modern Gibson SG, a Fender 6 string bass and a beautiful Pure Salem Woodsoul. I recorded two songs and a bunch of overdubs on a Zoom 16 track at home. Every tool you have shapes the sound in one way or another – I like to use effects for the things they aren’t made for, like a doom metal pedal on an ambient tune.
With each member bringing diverse musical tastes, how does this shape the collective songwriting and arranging process within the band?
It means we never do a straight version of any type of music, the moment it sounds too much like a particular genre, we will fuck with it to twist it out of that shape, at least a little. Bands need to have different tastes, that’s what keeps it spicy. We all bring our own style to each song.
Are there any specific moments or milestones since The Sand Pebbles’ formation that you feel have been particularly defining?
Selling out our first show for the ‘Ghost Transmissions’ album – was a big one, I realised that 95% of the crowd were people I didn’t know, who just liked the band. That was special.
Getting to play music with musicians I loved as a fan first Like Dean Wareham and Britta Phillips, and Dave Graney and Clare Moore. Getting played by my favourite DJ on my fav station, Stephen Walker on RRR, there’s so many more – music has saved my life, over and over.
Finally, could you share some insights into your future plans?
Make the next album this year, there’s been too long between the last couple records. Play overseas.
Further information
The Sand Pebbles: ‘Sometimes A Great Notion” / ‘Desire Lines” 7″ single (45rpm), on sale June 10th
