Tasmanian outfit Enola Fall frontman Joe Nuttall reveals ‘Heliotropic’ track-by-track

Heliotropic Track by Track by Joe Nuttall:

[The album was recorded in Sydney, at Jungle Studios.]

Unloveable

The acoustic intro is pretty standard stuff, but we tried to make it unusual and slightly disconcerting by driving the whole thing with a high distorted bassline. Hopefully it worked, especially with the low vocal and washy guitars. The idea was to kick the record off with something huge and spacy. 

Lyrically this one is a pure slice of misery. Ever find it really, really hard to take a compliment? I do. It’s like there’s another guy standing behind me going “nope, nope, nope”.

Stab On!

The lead single, this one was built around a three-note bassline that got stuck in my head for days and days. It’s probably the most post-punk track on the album, shades of The Cure and Joy Division (Although I’d never claim to be anywhere close to the genius of Peter Hook). 

Lyrically it’s kind of my version of “Shake It Off”. The endless, esoteric search for coolness seems to leech a music scene of its vibrancy… bands focus more on their gear and facial hair than WHAT THEY’RE ACTUALLY PLAYING. Arghhhhhh.

Sorry, got angry again for a second there. 

Dirigibles

A love song, pure and simple. The weird tangles of relationships that people find themselves in, unrequited on one side, unknown on another… That led to the analogy of kite strings all getting tangled and bumping into each other. Except I liked the word ‘dirigibles’ more than kites.

In case you’re wondering, a dirigible is a rigid airship, like a blimp. I guess that’s where the metaphor runs into problems. Ah well. 

Surrender

I’m very much aware that as a white male, I have it pretty fucking good. It’s really important to be aware of that, even in the middle of a bout of depression. This track is an attempt to reconcile those two viewpoints; as weird as that might be.

It’s probably the most sonically diverse track, starts off with all that synth and spooky percussion and quickly turns into a slightly MUSE-esque riff fest. It’s got my favorite chorus too. 

Lions

The oldest song on the album. “Lions” came about from a description of someone suffering severe depression as being eaten alive by invisible animals, in this case lions. Just because they’re not there, doesn’t make them any less potent. 

The vocal is so high that it’s actually slightly out of my range. Which gives it that yelping quality… is that a good thing?

Pilot Light

The music to “Pilot Light” was written in Portland, Oregon. The lyrics came about later on an international flight back to Melbourne. You sit there in semi darkness looking out into the night at the little beacon thing on the wing; kilometers above the pitch black Pacific Ocean. It’s bizarre.

A pilot light is the little flame that kick starts gas burners and ovens. But for reason I thought it was a good name for that flashing beacon, and the strange loneliness it can inspire. 

Down in the Well

This is another meditation on depression (sensing a theme yet?). Mostly springing from the old adage “What doesn’t kill you, makes you stronger”, which I personally think is one of the biggest piles of horseshit I’ve ever heard. 

The main guitar line was originally recorded on a 6 string, before we changed it to a clanging 12 string acoustic. “Hotel California” vibes aside, I think it sounds really pretty. 

Heliotropic

This track was written in the studio and recorded in one take during a massive rainstorm outside. The only instrument is an upright piano, and the vocals were recorded at the same time. Lyrically it is a summation of the rest of the album, both melancholy and slightly angry.

Oct 06 – Seattle, WA – The High Dive

Oct 07 – Portland, OR – Ash Street Saloon

Oct 08 – Medford, OR – Johnny B’s

Oct 10 – Los Angeles, CA – Culture Collide

Oct 12 – San Francisco, CA – Elbo Room

Oct 15 – Hollywood, CA – Loaded

Oct 21 – Nashville, TN – Ri’Chards

Oct 22 – Nashville, TN – Bobbys Idle Hour