DIVA DEMOLITION

02 Diva Demolition Web ResWith a name like DIVA DEMOLITION you know that this is going to be good. I just had to know more so I interviewed them. ©2015 Anders Ekdahl

Was it hard to come up with a name? What does the name mean to you?
-It was extremely difficult and, in the end, we cheated and took the name of our previous album. We were once called Legless, but for numerous reasons we had to change it. Diva Demolition came about as an album title due to the fact we had exhausted numerous female singers and couldn’t find a suitable front person. With an album almost in the bag, the last vocalist resigned, and so instead of (again) using vocals from a defunct singer we re-recorded using my vocals. It was the best thing we could’ve done. From there, we went to far greener pastures. By demolishing the idea of having a dedicated diva, we were able to move forward real far, real quick without having diva demands. Sherree and I consider ourselves anti-divas, so the name works on two levels.

Who would say have laid the foundation for the kind of sound you have?
-We’ve often been compared to Joan Jett and the Runaways, but we are more heavily influenced by Aussie Rock bands like AC/DC and Divinyls. Sherree grew up listening to The Shadows, and did a long stint doing surf rock, whereas I lapped up all the 80s hair rock.

When you play slow do you have to think differently arranging the music than if you play faster and vice versa?
-Most certainly. Slower tunes reveal more about the skill of a musician. The old ‘less is more’ has true merit. It’s much easier to fill a sound than create a beautiful space.

What kind of stage environment would best suit your music; a big stage or a small club?
-I loved the big stage. I’ve always dreamt of it, and when it came true I felt very comfortable and we rose to the occasion. But small clubs are where we play most, and I love that too. Which one suits? I really can’t answer except to say that our music translates no matter where we find ourselves.

If you could go back in time and change things what would you have liked done differently this time around?
-I would try harder not to please others. I would take control and be more decisive. My biggest mistakes are letting others make decisions that ultimately aren’t in my best interests. Other than that I have few regrets. Failure is necessary.

Is it hard to reach out to all those that might be interested in your music? What alleys have you used to get people familiarized with your band?
-This is a very good question. I’m at a crossroads with social media. I’m not convinced it translates, plus it’s an ever-changing playing field. Who knows how long it will last until the next platform comes along? Whilst being accessible, it’s a quagmire of endless info, getting more accessible and larger every day, and the free choices for the music listener are so vast. I’ve seen firsthand that this doesn’t translate to real fans, or sales, or bums on seats without a massive advertising budget. Instead, we play live often and that is by far the best way to reach out to audiences. Dazzle ‘em live and they’re loyal fans for life. Nothing will ever compare to the live experience. Despite this, we still do the social media things that are expected, and yes, we are on all the sites, both free and paid for the lounge room music fan. There is plenty of content available.

What to you is a great front cover? What should a cover have to make it great?
-The basics are very important to me. First up, the name of the band, then the name of the album. Seems obvious but I have examples of epic failures. From there, the artwork should be personal in some way, artistically reflecting the act and music in some way. I love a good theme! The cover image and theme ideally speaks to the artist, and therefore opens a window to the listener who may wish to dig deeper and connect on an artistic visual level. When designing for digital, it’s a different more simplistic story.

Do you feel that you are part of a national scene? What is the climate for rock/metal in your country?
-No, we are an island of our own here in Oz. I suppose occasionally we get thrown a life raft, but rarely do we feel part of what I perceive as a competitive Australian industry. We tend to piss people off mostly, because we strive and succeed independent of the industry movers and shakers. I would say that the climate is cutthroat. Metal and Rock are either very underground or left of center success stories after years and years of hard work and dedication. An example of this is Parkway Drive, who after ten years are now finding themselves No 1 on the Aria Charts. We have a rock radio station in Australia that is a complete joke, only playing dinosaur rock and giving locals a obligatory night spin when no-one is listening, and the only other alternative for airplay as a rock act is a national broadcaster, who play lots of diverse music but primarily focused on youth. This leaves us in no-woman’s land, but we’ve learnt not to give a fuck, which can be the catalyst for success and ultimately maintains sanity when all else seems fruitless and a waste of time.

When do you know that you have come as far as possible in your country and the next step is looking abroad?
-We got bored. We saw the endless circle, felt like we were treading water creatively and career wise. Nothing inspires more than the unknown.

What does the future hold?
-We are pretty much set on our path. Our career planning consists of the tour/release theory. Live is important to us, however without new material and something new to perform it’s easy to be stale. Once our Home Dirt Tour is dusted, we have a short time to complete the album we started in Sweden and then we’re back on the road.
It’s on the cards we will be abroad again real soon, as the contacts we have made are valuable … but we need to refuel first.

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