Perth duo Lilt have spent the past three years cutting their teeth playing venues across Australia all whilst perfecting their intense yet intimate melodies and pure vocals. Since their recent success having their track added into the Triple J rotation the group decided to revisit an old favourite “Take” sharing a new live performance video filmed in their hometown of Perth. The group have forged through the adversities that have face many upcoming independent artists in Australia today and have continues to produce a series of shimmering and beautiful tracks. Having a Q&A with Matt I got to learn a lot more about the group and even heard about the time they broke Flumes balloon set up.

Hey there guys, you’ve just dropped the video for “Take” which was filmed at Jimmys Den. What influences the decision to have a live performance video for this track?

Well a lot of our fan base is outside of Perth and Australia, so we wanted to give them a glimpse of what we do as a live band. ‘Take’ was chosen as it’s one of our favourite tracks to play live, there’s a lot of organic parts that vary each time and dynamics to play around with.

Take was first released back in 2013 why the decision to do the video for the track now? And what do you think has changed the most about you in those 2 years time?

We felt that with our latest single ‘Don’t Tell Me’ going in to J rotation and bringing in a lot of new fans, and with a NIDA/JJJ clip for it on the way in September, and being in the process of writing new singles, that it was the best track to do at the moment.

As a live band, we now have drums and have changed some of the arrangement and layering between the released version and now. As a producer/engineer I’ve also got a bit better at mixing and mastering, so it was fun to go back and try to get more clarity and fix some annoying mix issues I felt were there.

There’s a certain sense of intimacy that you’ve created with the tracks we’ve heard so far, is the process a very personal one for you?

Yes definitely. I’d say getting the intimacy and originality in the production is the hardest part of Lilt. I don’t feel satisfied until I feel each track has its own unique identity/imprint. I also feel that understanding and extracting the essence of Louises lyrics, and channeling my own feelings about them in to the production is essential to what we do.

A lot of people say they find song writing to be very therapeutic. Does it have that effect on you?

I actually find it hard and stressful to write, until everything begins falling in to place. There is a catharsis that comes to a completed song, particularly if it was really tough to get written. I actually find the live show to be the most therapeutic side of Lilt (when everything is working well and we are playing tight).

What gear to you typically bring with you for your live shows now?

On stage its a four piece so: two laptops with two different DAWs running, iPad, two Virus TIs, midi keys for soft synths, electric guitar, drum sample pad, acoustic toms and cymbals, and a electronic drum kit and in ear monitoring.

We hear a lot about how hard it is for Emerging aussie acts out there at the moment. Has it been a hard road to get to where you are now?

We’ve been lucky to have always had the support of Jumpclimb behind us, which has helped with getting great bookings and support shows. It’s definitely tough. The proof is in the pudding, so for us its about writing new songs that are killer, and to keep working hard on making our live show something distinct and worth going to see; results come with hard work.

What do you think is the biggest obstacle facing new artist in Australia at the moment?

Revenue streams are pretty brutal… we are in a lucky position where I work at a studio, so recording is free and I do final mix downs and mastering with my boss at a much cheaper rate. I really feel for musos who simply don’t have the money up front to record on quality gear any more. I think that along with attention spans and the freedom to release pretty much at will has been a big part of the shift to single releases.

From the pics and videos I’ve seen of you guys at live shows you always are dressed so effortlessly cool on stage. How would you describe your #fashun style?

We just try to stay out of Lupe’s way – she’s got an eye for really cool clothes. Dan’s also pretty swagilicious. I can’t keep up with the kids of today.

What are your views on the online streaming services like Spotify, Tidal, Apple Music? Do you think they’re effective way of marketing your music to new ears?

It’s been interesting – Don’t Tell Me was the first track to get a substantial amount of plays on Spotify, and apparently thats due to it being added to some curated playlists after the radio add on Triple J. Soundcloud and Youtube have been our traditional outlets for streaming, supported by blog reposts like Musique (France)- that really helped getting the music away from an Australian fanbase and become global. They definitely are an effective way of sharing, if you can convince someone to share them!

Flume has been one of the biggest breakthroughs in AUSSIE music internationally of the past decade. Did you get any words of wisdom from him when you were support acts for the tour?

We supported him at Speakeasy on his Perth leg, just as he was about to blow up with the release of his LP. Unforunately we blew up the netting that was meant to hold balloons for his set, and we were too shy to say hi…Soz Flume.

Video here –>

Just to do a random closing question, if you were stuck on an island and could only have three things with you what would you choose?

Kick ass speakers, streaming connection to high fidelity music, endless supply of dark and stormies.


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