\u00a0I read that <\/b>Shapeshifter<\/b><\/i> was your attempt to capture Hollywood romanticism of the 1940s. Is there an element of nostalgia in the music you make?<\/b><\/span><\/p>\nYes, I\u2019d say that\u2019s true. When writing Shapeshifter<\/i>, I had this image in my head of Mary Poppins, where they\u2019re at the Riviera in a cartoon landscape. So it\u2019s that Dean Martin style, Italian Riviera, that\u2019s the image I wanted to create when people would listen to the song. It\u2019s completely nostalgic. But the initial songs, like Assembly<\/i>, didn\u2019t start out like that. Only with the last ones did we start getting into romance and nostalgia, like TV Dinner.<\/i><\/p>\n
\u00a0Your album arrived in April this year. You worked with music producer Andy Dragazis. What was it like working with him?\u00a0<\/b><\/p>\n
He\u2019d probably tell you differently, but it was amazing for us. He was basically our counsellor. Andy and I wrote some of the early songs, like Skyscraper<\/i>. I\u2019d just do the music. I\u2019d leave at 4pm, then Milly would arrive at 4.30 and do the singing. This went on for probably eight months, when we wrote three or four of the songs. So he got us through our breakup. He was awesome.<\/p>\n
\u00a0Amelia is half French. Is there a French influence to your music?<\/b><\/p>\n
Yeah, definitely. It\u2019s more of a European vibe, from Italy and France. We used to love the band Beirut, and use a lot more accordions with our music. I actually wanted to do a French sounding album, but I don\u2019t know how in the world that would have happened.\u00a0People in France also just seem to like us a lot more than anywhere else. It\u2019s one of our favourite places actually, we seem to click more with our listeners. Maybe it is because on our press release it says that Milly is French.<\/p>\n