Category Archives: Interviews

Q&A With Josh Pyke



Josh Pyke is a multi ARIA award winning singer/songwriter who has captured the hearts of fans with his whimsical lyrics and catchy tunes. He’s just finished touring his latest album “The Beginning and the End of Everything”, and can be seen next as one of the headliners for Conception Day 2013. He chatted with our resident fangirl, M.K Smith, about his inspiration, how to make it as a musician, and his special connection to the boys from fellow Conception Day act, Bluejuice.

I really enjoyed “The Beginning and the End of Everything” that was released back in July, what was the recording process like for this album?

It was amazing, actually. It was the most fun I’ve had doing a record, I think ever. I did half in Sydney and half in Melbourne and it was just a really good balance of being at home in my home studio. The other half was down in Melbourne with John Castle who co-produced the record in the studio and it was just a really quick and a really creative process. It felt really inspired and inspiring; we kind of laboured over a lot of stuff. It was really excellent.

What was the inspiration for the album?

I always write from personal experience so it was definitely a personal experience record. So, stuff that’s happened in my life over the past few years, coming to terms with being a Dad and also being a creative person in a rapidly changing music landscape. With everything that’s going on with technology and stuff like that, a lot of it creeps into the music.

You’ve been around the Australian music scene for a while, what kind of changes have you seen happen?

So many. Obviously when I first started, iTunes wasn’t even around. The rise of digital music and digitally distributing your music has been massive. Now with Spotify and stuff like that, it’s a brave new world for music and musicians. I think it’s the equivalent of the industrial revolution. It’s been pretty huge.

Your lyrics have always been a really charming addition to your music, how important do you think lyrics are to a song?

It depends. For me, Nirvana is not so much about the lyrics as it is about the emotion and the angst in the songs. Whereas a band like Okkervil Riveror or The National are very much about the lyrics. I think it depends, but for me personally, it’s very, very important in my music. It’s definitely been a thing that people have connected with, with my music.

What’s the process for writing your lyrics?

It’s changed a lot over the years. Basically, as weird as it sounds, I just play my guitar and mumble gibberish until I can turn it into real words. I refine those ideas and turn it into a proper song. I have been writing stream of consciousness prose and cherry-picking little phrases out of that and spring-boarding points from that. I have to find subject matter to write about as well.

You’re one of the headliners at Macquarie University’s Conception Day this year, are you looking forward to anything in particular about the festival?

It’s always good to see Bluejuice play, they’re good friends of mine and I actually went to primary school with Jake, actually a couple of them. So I love seeing those guys play, it’ll be really cool.

We’ve got a lot of young musicians here at Macquarie, what advice would you give to bands just starting out?

It’s very tough and different these days. It’s hard to give any kind of blanket advice that covers all musicians, but I would say that nobody is ever going to care more about your music than you so don’t sit around waiting for opportunities to present themselves. You’ve really got to take the bull by the horns and do everything yourself. If you want to make a record, there’s really nothing stopping you from making a record, just save up the money and go to one of the many studios in Sydney. Make your own record and see what happens. Don’t just sit around waiting for people to discover you because it’s not going to happen like that.

Thanks Josh, we’ll see you at Conception Day.

See you there.


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Q&A With Guineafowl



The oh-so dreamy Guineafowl (or Sam Yeldham, as he’s known to his friends and family), is releasing his sophomore album, “I Hope My City Loves Me Still” on October 11. We were lucky enough to score an interview with the Sydney muso about his new music and the origin behind his moniker.

Your 2011 debut High Anxiety was filled with songs that were quite anthemic, how is your new EP, “I Hope My City Loves Me Still” different, sound-wise?

I don’t think it’s different, anthem wise, it’s still kind of anthemic but it’s different. It’s more mature sounding; it’s a bit more developed. Structurally, it’s a lot more thought out. That first EP was very fluid, this one has a few more parts to it and it’s definitely more deliberate in the way that it’s written.

[The first EP] “Hello Anxiety” seemed like more of D.I.Y effort, how did the recording process change when you made I Hope My City Loves Me Still?

It didn’t change hugely. I still demoed the songs totally, I had every part worked out before I went into the studio and I had other musicians come in and play things. What changed was that we had more time in the studio and I had more time with the producer, who in this case was Paul Fung, who engineered the first EP. The first EP was done in 24 hours; it was recorded super quickly, whereas this one was made over a few weeks. That meant I had times to get things exactly how I wanted them.

The new EP seems to be a somewhat nostalgic affair, what was the inspiration behind the songs?

Love. It was written in a weird period where I was walking around Sydney a lot. The surroundings heavily influenced how it was written. It was also a period in my life that was fraught with relationship issues so those two themes kind of merged into one.

The video for your single Little Fingers was made backwards, and your single “Little Deaths (Make It Rain)” that’s just come out is kind of brain-bending as well. How important do you find music videos are for the message of a song?

Really important, I think they can totally dictate how someone interprets the song. I think they’re really, really important. Visuals are such a good way of helping people look at, or realise, what a song is about. It helps the words translate and it helps people formulate their own images in terms of what the song means to them.

I have to ask this question and I’m sorry because you probably get it a lot, but why did you decide on Guineafowl for your moniker?

It’s a very common question, but that’s okay because it’s a weird name. It was a nickname that I was given in high school. A teacher decided to pick on me a little bit by calling me ‘guinea pig’ as a consequence of my fringe being really long and it would cover my face, which is appropriate for a child. As I got older, that teacher, for no reason, started calling me ‘guinea fowl’ and when choosing a name for myself it just seemed like the one that made the most sense. Even though I didn’t really like it, it had a kind of meaning for me. The alternative was to go to a band name generator online and find one that way, but I didn’t want to get like ‘The Purple Vacuum Cleaner’ or something like that.

I thought that maybe it was a symbolic thing. I actually googled what the guinea fowl symbolises, do you know what it means in Africa?

I do! They’re used as alarms, the birds, and they look like disfigured turkeys and they make the worst sound. So it is somewhat apt.

Thanks for your time Sam.

Thank you.

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“It Should Just Be Wild”: Q&A With Bluejuice’s Jake Stone


Sydney band Bluejuice have been kicking around the Australian music scene for a decade now, flooring audiences with their unique brand of frenetic energy and catchy tunes. Now lead singer Jake Stone is using his musical expertise to help young musicians through a workshop held by the Telstra Road to Discovery, a program dedicated to fostering the talent of up-and-coming musicians. We had a chat to Jake about the program and Bluejuice’s spot at Conception Day this year.


Why did you want to be involved with the Telstra Road to Discovery?

It’s a mentorship program that appeals to me, and also to Stav, because it’s actually fun working with young musicians. I’m doing a lot more production. I’m actually doing some production now, so I’m trying to find a drum machine that will work for the part that I’m using. I do that kind of stuff a lot at home and at my job so I guess I feel qualified enough to talk about it with people… not totally qualified, but a little qualified.

What can we expect to learn from your master class?

It depends on what people really want out of it. I’ll have to respond to people in the class as they want questions answered, so I’m sure they’ll bring their own set of questions. Some of which will probably be, ‘how do I write a single for radio?’, or ‘how do I get my stuff to radio?’ that’s generally a common question and it’s got a complicated answer. Other than that I’ll just talk about process and the way songs develop from the early stages to a finished product and how you can do that for yourself. That’s what I want to talk about anyway.

What’s your personal process for song writing?

Like I said, I’m doing a lot more production with people and co-writing, and developing a lot of young artists by co-writing with them as well. It used to be that I was the primary songwriter of Bluejuice all the time, and I was pushing for that really hard. It changes, your process changes. Mine was initially just to become obsessed with a lyric or music hook and just develop that over weeks in my head, and eventually writing it down and crudely recording it. Then we went through the process of actually demoing and doing studio stuff and that really changed everything. It’s usually when you’re obsessed with something, and you just want to hear it a lot and that drives you to commit to it. It’s good to have something by the bed in case you wake up in the middle of the night with one of those ideas.

When can we expect to hear new music from Bluejuice?

Very soon. There’s a single coming out in two weeks. It’s been a mixed process, just working on it and making it sound as good as we possibly can. Then we’ve got a video clip coming out for that as well, so you’ll see it soon.

Awesome. How do you think your sound has changed since the days of ‘Vitriol’ and ‘The Reductionist’?

I guess back then we had a lot of energy that we needed to expend in any way possible. Those songs were purely energetic; they’re just so straight-ahead. We also didn’t know how to record ourselves as well. All the things that happened early on in the band made me qualified, to some degree, to talk about what that band went through to get to a point where it could record well. I think recording well is so much a part of doing a good job as a modern musician. Your presence is essentially on the internet now, and then you start playing in front of people. In order to maximise that I think being a good producer, and making yourself sound good, is so important. Bluejuice came to that so late, we had to learn that on the fly and we weren’t good at it for a long time. That’s why I always try to encourage young people to learn how to record themselves, which they’re all doing anyway because studio technology is so available.

Bluejuice has been a band for a decade now, have you seen many changes in the Australian music scene?

Yeah quite a lot. The generations of bands that you grow up with and played with a lot go away, essentially, or move overseas, or break up. Some of them are around in a different form, which is kind of awesome as well. Red Riders became Palms, and Palms is a good band. A lot of people do start out in bands, that are still playing in bands, branch out. Like Ned from Dappled Cities is playing gigs for Andy Bull, but is also writing Emmy nominated music for television. People are doing amazing shit now that they’re adults. We still get to play, we’re doing BDO this year and a bunch of other gigs so I can’t complain. It would be silly to complain.

You guys are doing Macquarie Uni’s Conception Day this year as well, what can we expect from your set?

We’ve changed things a little bit. We had to replace our long-time keyboard player Jerry, which was pretty traumatic because Jerry is really, really good. We’ve taken an interesting approach to replace him, we’ve got one guy doing keyboards that’s a very sought after session musician who’s worked with Paul Kelly, he does really good pop stuff. His name is Cameron Bruce, he just has hands that can play and he can do all of the parts, just like Jerry’s in the band basically.

We have another version of the band that we’re trialling which is with our old sound guy, Alex Gooden, who is more of a dance music guy. He’s in a band called Adapt Or Die, and they do really edited dance stuff. He’s also going to fill in on keys on opposing days, but just playing samples of keys and triggering stuff. So he’ll play minimal keys but he’ll use MP3 and trigger shit, more like a dance gig. I’m interested to see which option will work better, or be the weirder one. You don’t know exactly, the next six months while we’re playing, unless it’s a big headline festival, you won’t know exactly which set-up you’ll be getting which I think is exciting. It could go totally wrong, but who cares?

I’m sure it’ll be fine!

Well both of them know the band pretty well, so they know all the songs and shit.

Do you still perform shirtless?

Yeah, it’s just a necessity. It gets super sweaty and it’s the best way to do those shows. It evokes the feeling of the show mostly when I just wear jeans and no shirt doing a gig. It should just be wild. It just seems like a durable outfit.

We’re looking forward to seeing Bluejuice play at Conception Day and we’re looking forward to hearing the new music, is there anything else that you’d like to add?

Just check out our new single, it’ll be called S.O.S so have a look for it.

Thanks for chatting to us Jake!

Thank you.

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Into the Urban Mundane: Q&A With Matthew Venables and Paul Gilsenan


We always appreciate a good art exhibition, and one that depicts the physical and imaginary urban space around us is just fantastic. We chat to photographer and Macquarie graduate Matthew Venables and painter Paul Gilsenan about their upcoming exhibition ‘Urbanal/Schmurbanal’ at the multi-arts hub 107 Projects in Redfern.

INTERVIEW M.K Smith & Nathan Li

What does the title of the exhibition mean?

Matthew (M): Well, it’s lighthearted. I don’t know what it means as such, I mean some of these works are urban art and some of them are more schmurban art.

Pauly (P): There’s a quick answer to that: Matt was basically putting this exhibition together and it was, you know, shots of the urbanal, it’s how he described it to me… what were you going to call your show originally?

M: The urban owl.

P: The urban owl, or something like that. And then he needed to add me into the show… well he didn’t need to…

M: Wanted to…

P: [So he] asked me to join him, so I provide the schmurbanal. I guess my take is a little less literal than the camera, even though in this show sometimes it’s hard to tell if Matt’s shots are really literal or if it’s made up or messed around with. But they’re not, they’re real shots.

M: And then there’s on average a debate between the two of us on the relative merits of photography and of painting and drawing and those types of things. Hence the line between urbanal and schmurbanal.

What is ‘schmurbanal’?

P: Actually it’s just that old thing, that old saying that I guess a lot of people are familiar with and a few people aren’t. It’s like work/schmork or good morning/schood morning. It’s just a sarcastic…

M: Just a stupid… I recently found out, after we titled it, that the original schmick came from monty python apparently… which I’m not surprised by, it’s just a light hearted take really.

Do you find that there’s an emotional difference in the landscapes in the work?

M: Actually I’d say more connection than difference, to be honest. Certainly Paul’s got some stuff that’s perhaps more fantastic, but then I’ve often chosen to photograph those things in the way that makes them towards the fantastic, for lack of a better word. So I would say there’s more of a connection than a difference.

P: Yeah, I think of them, I guess pretty similar in a way – our views pretty similar. We’re pretty good friends and we’ve worked together for a while. It’s just that the mediums that we’ve used, and I guess the fact that my places are out of my head and Matt’s are real. But aside from that, I’d like to think that half the photos could be jammed in my head somewhere as well and probably be in the same realms as the cities that I make.

M: We often think pretty similarly about stuff in the city, feelings, whatever and magic. Obviously we have a reasonably strong colour connection.

What’s the creative process for you both?

M: (To Paul) Don’t you have to spiritually sit down and [with] your blindfold and don’t you just paint without actually thinking?

P: I am probably trying to do – recreate a moment, which is described as the dumb painter, when you dumb yourself down to your surroundings and just let the painting or drawing happen. A lot of these works, in this show, basically the way that I practise or the stuff I do for light relief as opposed to the works that I usually exhibit. Matt has a camera that takes 100 shot a second and he can wave it around blindly and just pick one out.

M: I usually just get you to choose them…

P: I like to have, and I like these things in general and I tend to gravitate towards them. I guess I didn’t really think about how to response, just sort of make a picture usually and then as I get a few of them together maybe I’ll think about how other could group together that to build on the series.

What do you want people to take away from the exhibition?

M: I don’t know, maybe something that they wouldn’t have otherwise.

P: I’d like to think that some of the people that live in this city could understand where we came from and sometimes it’s a bit of a city that you have to battle with a bit, a lot of friends leave the city and say that they couldn’t handle Sydney anymore. But ah, it’s worth going through the gruelling pain of this city sometimes, it’s a beautiful place. I’d like to think that some people will feel the same way we do.

Tell us about 107 Projects.

M: It’s a multi-arts hub and a community place, obviously. We’ve all come up from artists’ friends spaces that we relied on for a lot of years. I guess the idea is… one of the core ideas would be that a lot of these creative things, a lot of these arts are actually intermeshed and work a lot nicer when you have them in the same place and people enjoy them like that and that it’s crazy to visit an opera place and a painting place and a this place and a that place. And that these things are becoming more intermeshed anyway. It’s also a community place so we have lots of workshops and studios. We like to support people to be able to do their thing, to graduate towards something, to make a living from it or practice from it or educate people by running their workshop. And it’s run by largely by volunteers, we have a grant from the council for this particular building and all the rest of it, whatever salaries and monies comes from what we do with the sale of ticket prices or fundraising.

What do you hope to contribute to Sydney’s art scene? 

M: Well we hope to fill some of those gaps, to provide a warm, welcoming place to cross sections of community, to mingle these things together so that people feel welcome, and can come and enjoy a bit of this and a bit of that. To support people through their emerging years, we hope to deliver them with good principles.

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Q&A With Equus Producer Elliott Marsh


INTERVIEW Nathan Li & M.K Smith

Can you introduce yourself a little bit to our fellow students at Macquarie University?

My background is as an actor and theatre technician. When I was at university (QUT) in Brisbane I studied technical theatre and drama. My job outside of uni was working at a large performing arts centre backstage on shows so I got a great insight into how productions are put together.

After leaving uni I decided to study acting overseas so I moved to London and got a job as an actor touring with a large entertainment company around Europe. It was great getting paid to do something I loved whilst travelling the world at the same time! An opportunity arose within that company to help co-produce a play and that was my first taste of creating a production from scratch. Equus is my first solo venture since returning to Australia.

Equus has been around for 40 years, why did you decide to bring it to the Sydney audience?

About a year ago now, I decided I wanted to create some work for myself, my friends and use the networks and resources in the industry I have made so began thinking of my favourite plays. Equus was one. When I did some research I discovered that it was 40 years old this year and I also discovered that none of the major theatre companies had programmed it into their seasons. Not that they should have, but its a timeless classic, so I was a little surprised no one was doing it for the anniversary. I also have an interest in supporting local artists and young people in the arts, and Equus is centred around youth related issues.

What about the play do you think still resonates with audiences?

The play is based on real life events, which makes it even more shocking. Universal themes, such as youth in society, coming of age, the media and its effect on society, religion, sex, crime, mental illness, parental influence on children and the question of ‘what is normal’, resonate in some way. Peter Shaffer (the author) wanted to explain the real life crime and so created the ‘world of Equus’.

The play seems to elicit strong, controversial reactions, what was your reaction when you first saw the production?

I saw a Melbourne production of Equus recently. What moved me most was the commitment of the actors. They go to dark places in this play and challenging places on a personal level. It’s confronting at first to see a naked body on stage. Then you realise, it’s just a naked body on a stage.

I don’t think Equus is a play one can watch passively. It invites you to consider something else being possible in life verses a reasonable, educated assumption about a person or situation. It challenges one’s beliefs, excites the senses and brings to the forefront all that is ‘gruesome’ in the world, putting on a platform conversations that should be spoken about but are not. Or not spoken about enough.

What do you want the audience to take away from your version of Equus?  

I would love the play to move and inspire people, to take action in their lives in places they have been wanting to but not getting around to. For example, realising that big dream they have been putting off for so long. Or simple, looking at life from a different point of view. Equus has the power to shift perceptions I think.

Have you taken many creative liberties with the original version of the play? 

Peter Shaffer is quite specific in his stage notes, so we have to adhere to those quite a lot. What we can be liberal with is interpretations in costume, lighting and sound. For example, we have an original score being composed by Jessica Wells, who has worked on both Happy Feet movies and with Baz Luhrmann onAustralia.

Daniel Radcliffe brought the play into a more mainstream reception, how do plan to carry on the legacy from him?

Equus will carry its own legacy. Its the story and the relationship between the characters and the unique staging and physical theatre that has had it survive 40 years. Daniel Radcliffe was simply a way of bringing into a new decade. And he did it very well. By staging Equus, we are continuing the story for another 40 years.

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Q&A With Laura Dundovic


Former Miss Universe Australia, Macquarie graduate and Myer spokesperson Laura Dundović speaks to us on being a student in the limelight. 

INTERVIEW Nathan Li & M.K Smith

Congratulations Laura on graduating from Bachelor of Science (Psychology)! What made you decide to study a degree in psychology?

Thank you! I’ve always loved being around people and fascinated by science and the mind. All through school I wanted to be a psychologist.

How was the learning experience at Macquarie University for you? Any highlights or memories of the campus?
I loved going to Macquarie Uni. Growing up in The Hills a lot of my friends went there and I also met a lot of new people who I am still in touch with. My highlight was Uni Games! It was so much fun!

Winning the title of Miss Universe Australia in 2008 and coming top ten in Miss Universe must’ve been an overwhelming experience for you. How has it all been for you right from joining the contest to landing in the spotlight to now?

Joining the contest was scary because it was my first beauty pageant. My modelling agent at the time said I should enter, and that Miss NSW was the following day. I had an in-class assessment that day so I went to Miss NSW, back to uni and then had the Miss NSW final that night. A week after was Miss Universe Australia and three weeks later was Miss Universe. I finished my end of semester exams two days before I left to go overseas and needed to get good marks to get into honors so it was a very stressful time! The pageant was amazing. One month overseas with 90 girls from all over the world. Since returning home I have had so many amazing experiences. I have travelled overseas and through Australia, met incredible people and learnt so much.

So you have started a successful career in modelling and presenting, why do you choose to continue your higher education?

Psychology has always interested me. Even since finishing uni I am still watching documentaries, reading and hanging out with my Psych friends. Having the degree is not only a good thing for me to have in the entertainment industry but also something that I can fall back on if I decide it’s time for a career change.

How do you find balance between studying and working – between almost conflicting commitments and different deadlines?

I found studying and working easy to balance because I enjoyed my subjects. The only part which is hard is with my job I don’t have a lot of control on dates work is scheduled on and when you are offered an opportunity it’s important to take it because you don’t know whether it will be there tomorrow. Trying to make sure I was free for my uni exams was tough but I got there!

What’s next on the plate for you? Can we expect to see you again soon in Macquarie University – if you were to continue with your honours?

Once I have a bit more time I’d love to continue studying.


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Q&A With Tim Higgins


M.K Smith

Tim Higgins, 2SER’s first full-time host, will begin his daily breakfast show on Monday 17 June. We spoke to him about what to expect from his radio show.

Congratulations on landing the job of 2SER’s first full-time presenter.

Thank you!

What can we expect from your breakfast show?

It’s going to be a pretty cool mix of things, really. 2SER always has this really great, diverse range of music and it’s still going to be like that, but it’s going to have a whole lot more consistency than has been on 2SER before. I’m the first full-time, paid presenter for 2SER, so hopefully I’ll be able to become a bit of a regular voice in people’s mornings. That’s my ultimate goal.

You’re going to get great, diverse music and intelligent talks, I’m hoping! It’s going to be slightly more intelligent than the stuff that’s out there on the breakfast radio market. And there’s going to be a whole bunch of [things about] Sydney as well – Sydney food. In my personal opinion, there is nowhere near enough food on the radio. I’ve got a few of Sydney’s top food bloggers signed up and we’re going to have a recipe segment.

It’s really going to explore parts of Sydney you’re not going to see on other radio stations. I think it’s going to be a nice little mix of things and hopefully it’s going to fill a bit of a gap that’s in the Sydney radio market at the moment.

What kind of intelligent talks can we look forward to?

Well, it’s not going to be boring. That’s all I’m going to say! I don’t want to associate ‘intelligent’ with ‘boring’.

We’re going to explore issues and do it in a quick and fun way. Hopefully we can explore the issue of same-sex marriage and marriage equality and not do it in a way that’s boring. We can actually be like ‘why do we still live in a country where it’s not allowed’, exploring things like that, issues that I think people are always going to be interested in, but exploring them in a way that people don’t get bored.

To be completely honest, I get really bored when I hear a lot of places talking about these issues which I think are really important and everyone has a connection to. Hopefully 2SER Breakfast can explore it in a way where people will be engaged.

How do you think 2SER is different from commercial radio?

[Laughs] Less fart sound effects, less prank calls. Obviously there’s a lot less pressure and that’s one of the reasons why I took this job, you can really explore some different things that wouldn’t be really viable on a commercial station.

Music is a big part of it, I’m sorry to say but we’re not going to be playing Justin Bieber. 2SER is actually pretty famous for its diverse music. There might be some really good up-and-coming bands. 2SER might be where lots of musicians get their break. We’re generally playing stuff that might’ve ended up on commercial radio, but 2SER played it a year before. For example, Gotye ‘Somebody That I Used To Know’, I remember playing that and saying ‘what is this?’ A year later it’s the biggest song in the world.

I think it’s just a little bit more intelligent, sorry to keep throwing that word around, but 2SER is just a little bit less stupid. Now the commercial stations are going to come after me! I’m just hoping to do something just a little less immature, I don’t think everyone really likes that sort of stuff.

How much work goes into producing a three-hour breakfast show?

Lots. I keep getting people saying to me ‘oh that’s great, just three hours a day, you’re done by 9am’. I wish it was like that! You’re generally there 4-4.30 in the morning, and depending on the day, you can be there until late at night.

It always depends. There’s a lot of work behind the scenes because you’ve got to be consistently onto what’s happening. If something is happening at 7pm, a politician has quit or gay marriage has been legalised in Australia… If that stuff happens, I don’t want to be there the next day and be completely behind. There’s a lot of preparation behind the scenes.

What have you done to prepare?

I’ve been getting up early again, building a lot of ideas for segments, getting regular guests and familiar voices for people to wake up to in the morning, so whether that’s food bloggers or regular talents. I’ve started preparing stories but with radio it’s always quite immediate and that’s one of the great things of radio.

Any confirmed guests so far?

None that I can really give away! On Monday we might be talking about a pretty cool story, I’ll be speaking to some guy in the middle of the Alaskan wilderness. Can’t really confirm why I’m talking to him, but it’s a really interesting story, based on a movie and a book that you’ve probably seen. This guy has an involvement with that, but I won’t give too much away. It’ll be revealed on Monday next week.

How did you get into this position?

I’ve been a volunteer at 2SER for quite a few years. I actually started here (Macquarie University’s 2SER station), not really knowing what I wanted to do with my life. I’m still not 100% sure, I don’t think anyone ever really is! But I walked in here and I fell in love with the place. Before I knew it I was on air hosting a show. I started hosting a regular show about Australian music and I started to become really passionate about radio.

I think that’s what’s really great about 2SER, it starts so many careers. Pretty much everyone you speak to who now works in radio, so many of them get their start here or somewhere else in community radio. I’ve been at the ABC for two years, and producing at Radio National Breakfast for just over one year, which is a pretty great place to learn. In terms of hectic breakfast radio shows, I pretty much learnt at the craziest one in Australia.

When this job came up I thought ‘wow, wouldn’t it be awesome for me to return to 2SER, the place where it all started for me’. To have the opportunity to be the first full-time presenter at 2SER was such an amazing opportunity and I’m so glad that it’s actually happening. I’m still in a little bit of shock, I can’t believe it. It’s such a cool opportunity and I just really hope I can do it well and not let people down.

What did you study at Macquarie University?

I studied media here, and I was studying radio. The student broadcasts was my first time ever on the radio. I graduated first semester of last year.

Macquarie radio is one of the big reasons why I got started in radio. Virginia Madsen, the lecturer and all the radio tutors – they were the people that made me think ‘maybe I can do this as well’. If it wasn’t for the combination of that and 2SER I never would’ve gotten into radio. I’m very grateful for both of them.

What do you like to do when you’re not busy working?

Music is a huge part of my life. I play in a bit of a shitty punk band. That’s something that people don’t really know about me, because I don’t really seem like the most ‘punk’ guy. I play in a band calledBachelor Pad.

My life has been all radio for the past little bit. Music is a big part of it, just sitting at home and putting on a record – yes I still listen to records! I watch a lot of TV when I have time. There’s nothing more I love and enjoy in life than eating food and exploring restaurants in Sydney’s outer suburbs.

I love throwing a Frisbee in the park, relaxing. I try and do as much relaxing as I can because I kind of really need it. Otherwise my mind will implode.

When does the show start?

Next Monday (17 June 2013) 6-9am, Monday to Friday.

[With the] early mornings, [my] coffee addiction is going to get out of control again. It should be a whole lot of fun. I think this will be something people will like, I hope it is. This is a cool station and I’m glad to be a big part of that now.

You can listen to 2SER ON 107.3 FM. If 6-9am is just too darn early for you, you can always check out 2SER’s podcasts here.

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