Klinger x 4000 Weeks
Fresh off a national tour supporting Bodyjar and Gyroscope, legendary Melbourne indie rock outfit Klinger have returned with their first new music in over two decades. Forming in the late 90s in Melbourne's northern suburbs, Klinger achieved national success with songs like Hello Cruel World and Ben Lee dominating the airwaves and landing in JJJ's Hottest 100 (twice!). They supported the likes of Green Day, Unwritten Law and Everclear before disbanding in 2002. But now they're back. Older and wiser, but still Klinger
Having danced with the proverbial devil independently and as a group – for decades now, do you feel like this is starting all over again?
It’s definitely a new start, but it’s not starting from the bottom again. We’ve been really lucky to have built a loyal following over the past few decades. And one of the benefits of being around forever is that our fans have grown up with us. Some of the kids who used to show up at our gigs, or tuned our guitars or reviewed us in the street press are now big wheels at the cracker factory that is Australian music! So yeah, it’s starting but not from the start, if that makes sense.
Klinger really are one of the most excellent testaments of both the benefit and limitation of independence. What are the pros and cons of not relying on labels to support you?
Klinger never ever signed a contract with anyone. Labels, publishing, management, distribution. Everything was off our own steam, or with handshake agreements that worked at the time.
The pros of this utter independence is total freedom. Being able to choose your collaborators and your community. Calling the shots. Having an idea and putting it out into the world without any friction is a powerful thing.
That’s also one of the cons! Having label support is about money, yes. But at its best, it’s about pairing you up with the right people to make your music better. We would have loved to have been able to work with other producers and collaborators and mentors over the years.
Why a double A side release?
We’ve always wanted to put something out on vinyl and this felt like a good way to do it. It also allowed us to out two songs out that show slightly different sides of the band. Our bass player Dave described it as 4000 Weeks being like covid and The Wrong Way being like long covid. They’re both catchy, but one of them is a slower burn. Too soon?
With the advancement of technology since you all started, how much less collaborative is the writing process? (file/demo sharing etc)
Our writing process hasn’t changed to much with technology. It’s always been based on one band member coming to the rest of the band with a song structure and filling in the details together. The structures are probably better recorded these days, and they’re shared more easily but the principles are all the same. We still work out the details with the four of us in a room, and use live performances to hone the finer points.
Is the reward for such long and seemingly brotherly associations, one of a well-oiled, instinctive machine or one of convenience and familiarity?
Yes to both! We know each other so well – personally and musically that everything can happen a lot quicker. We know what we sound like as a band, what each of our strengths are as performers and writers, so everything feels quicker and easier. And it’s just so much more rewarding making music with people you’ve known for half your life. Or more. Actually, more. Jesus.
Klimger’s double A side 4000 Weeks/The Wrong Way out now!
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