How did the song change during the process of writing, producing and recording?
It changed organically through playing the song with the band. The structure of the song is essentially the same as the iPhone demo, but the added instrumentation coloured in the gaps.
Who collaborated in the process of writing the music, lyrics, production, recording, mixing, etc.?
It started on two nylon string guitars a year ago when me and Sam lived together. I had written the chords and lyrics and latter jammed it with Sam one cold winter night. After a couple plays through we pretty much had the structure and melodic arrangements sorted. My partner, Mia, who is usually my first collaborator before I bring a song to the band, played along and provided a nice clarinet part. The song was part of our live set for a while and it was refined over time with the rest of the band adding there own parts and ideas to the arrangement. Also, our friend and sometimes band member, Kate Berry, sang backing vocals on the finished track.
What is the origin of the song?
This one pretty much came out all at once. It’s hard to pinpoint the origin. It’s nice when that happens.
How was the recording session for this song? What was fun, interesting, weird or intense during this process?
We encountered a lot of technical issues along the way, as we don’t know much about recording music. The mic leads quickly became tangled balls, we struggled to get the equipment to work, and we were bunched quite tight and uncomfortably in the small room. It was frustrating but at the same time a satisfying and fulfilling process. In that way, I guess it was an enjoyable experience.
What were other options for the title of the song and why was this one chosen in the end?
Death’s Wind, but the lyric and title were almost immediately changed to Blue Wind. It just felt better.
I wanted to express something that is fleeting, indifferent, and intangible.
Were there any influences or musical references that you used during the writing and recording process of this song?
There is a line in Death Don’t Have No Mercy by Rev Gary Davis: “It’ll come to your house but it won’t stay long / You’ll look in your bedroom and somebody will be gone.” Also, Tumble in the Wind” by Jackson C Frank. There’s a recklessness in a lot of Jackson C Franks’ songs that I like. And the euphoric outro to Satellite of Love always leaves me wanting more no matter how many times I’ve heard it.
What was the biggest obstacle during the writing and recording process and how was it overcome?
Definitely our ineptitude as sound engineers. I’m not sure how it was overcome, the results were just the best we could do.
If could have collaborated with anyone for this song, who would that person?
Which is the biggest challenge of play this song live and how have you resolved it?
Getting Mia to play the clarinet. Sometimes she doesn’t come to the gigs. This problem remains unresolved.
A remedy for world-weary heads and lovesick hearts, Northern Beaches five piece The Brights write and record music that is at once sincere and disarming. The outfit is comprised of high school friends Sunny, Sam, Cooper, Will and Dylan, whose understated approach to songwriting belies their age, all while giving a nod to their wide-ranging musical influences.