Macromantics is a strange phenomenon indeed – a mix of existentialism, political commentation and 80s MC parody. She has no category to speak of and has played with the likes of Erase Errata, Architecture In Helsinki and Lily Allen, been name checked by Joanna Newsom and all this started by playing in a band with the dulcet singer songwriter Ben Lee. Strange origins, but her music imitates her life - with trips through comedy, tragedy and philosophy, taking us through her world view.
She sits down with BCR in a dingy Old Man’s pub in Soho, while the strains of Kiss FM round on us, to talk of Nietzsche, manic depression and tennis.
Macromantics: I'm thinking Depeche Mode next record – I love Depeche Mode so much
BCR: there’s nothing wrong with Depeche Mode, kind of an odd choice for an MC though
M: Ah, not really, I just think that they write amazing songs, and they manage to like clash really minor sounding key - really sad but happy at the same time, like it’s so happy it’s sad...
BCR: is that what appeals to you? Coz you’ve got Depeche Mode, joy division, and even tears for fears…
M: I’m into ALL that stuff. I just think song wise those bands write really great stuff. That 80’s balladry… The songs just have variety and diversity within them.... I find songs today don’t really do that as much... it’s just, like, so straight forward... I don’t know, they just go somewhere with the song... It’s a movement, which is why I love black metal music, which a lot of people find repetitive. To me its like classical music, it has like a beginning, a middle and an end, like in a real composition...it just rolls, There is nothing wrong with repetition either... I love that, but yeah…
BCR: It’s the intertextuality in rap that I dig the most, that I find the most interesting... Is that a conscious decision to make so many cross-cultural references, so many cross-media references as well?
M: Ah no it’s not really a conscious effort because... what I see is unconscious like, are you really conscious of what you are seeing? Like every single sound, sight, when you’re walking through the streets there are a like a zillion things that you don’t even know are going into your mind and then its like, almost dreaming. My work is my dreaming and then it all comes out unconsciously, subconsciously. I happen to be influenced by a lot of things. I see my work as journalism. That’s what the forefront of my work is...its pop-culture criticism in a way and political activism but no so in your face about it. I see it as post-modern pastiching /collaging – I’m just making a huge collage - there is no limit to what I can do... I never want to make the same record. My next mix tape which I wanna work on is primarily just gonna be me rapping over early sonic youth stuff, early Jesus Lizards, The Swans and black metal…
BCR: Do you think that is because we’re this sort of post generation X?
M: Yeah, yeah definitely like... and just music is soo... just clashes everything these days and draws on the past. New rave is in, a derivative from rave music from, like, whenever, early 90’s, 80’s. Like, that is why someone like Kanye West does so well... coz he’s a crossover, he’s, like, so many genres. I think music is getting there. It’s also a product of downloading, you download a song here, there, you make your own compilation, you’re like your own DJ, you make your own record. I’m also thinking where is this going? and I have to adapt with how music’s changed. But I’m still an album person, like, its really important for me, the albums I love are contextual, where I want to listen to it from start to finish and I wouldn’t just download.... yeah I’m not really a downloader much...
BCR: Hows it working for you at the moment? You’ve done SXSW now...
M: yeah I did that this year... I’ve gone to America twice this year. No, once this year... once this year. I’ve been to America on and off for years and years. My record came out there on Kill Rock Stars, me and my manager Emily, who is like my mentor and my guide, she is very clued in, I don’t really know what’s going on today in terms of, like, what’ hip and not.... I’m not really involved in that... but she kind of, she is always aware of that, it was basically both our idea... I think I just said I think I should go over to the UK and try doing a few shows to see what’s going on... I’m so used to going to America and I know exactly what’s going on there.... I just want to see what is happening in Europe.... It’s been really good. I checked out a lot of the grime stuff... and there is only so much of that I can personally take but I think its amazing... Like, it’s so self-sufficient, it’s got its own sound going on, it doesn’t seem like anyone here is trying to be American.
BCR: How is it different to the Australian scene?
M: Australia... Australian hip hop’s... Well, it’s hard... I don’t want to talk badly about Australian hip hop, but it’s kind of bad... It’s not supportive to me, like... I don’t know what you think of UK hip hop whatever, but Australian hip hop is the most narrow minded thing, like what I do... I get dissed A LOT. Within Australian hip hop guys...
BCR: Because you are a girl or because you cover issues...?
M: Because it’s different, it’s not straight up.... like, all the guys there, this is like a generalisation... not all... I’m talking about like ‘Aussie Hip Hop’ – I don’t really want to speak about smoking bongs and having a barbeque... getting drunk and its all fine whatever you do... I mean its all kind of really negative messages... its like get drunk... have a good time... start fights... have a party... whatever.... its all good, you wake up tomorrow... new day... There is actually some good Australian hip hop that’s politically minded and those are the things I like, those are the people I do shows with... but again, like, in Australia it’s really hard for me to figure out who to do shows with... I play with punk bands and stuff in Australia.....
