![]() ![]() ” is an infinitely complex strum, and there are a lot of variations on it,” he explains. There’s also a particular style of acoustic guitar-playing, fascinating to Williams, which informed many tracks including first single My Boy. Don’t Go Back boasts Nile Rodgers snaps of rhythmic electric guitar, congas, cowbell, go-go bells and tambo. The whole thrums with sensitive ideas: there’s the unexpected drum machine and descending synth arpeggios of River Rival, the funk-filled My Heart the Wormhole with its off-beat woodblock, sections of silence, and guitar licks that have a distinctive, vicious, Boarding House Reach-era Jack White edge to them. So there is a lot of mystery and magic between the walls.”īut the atmospheric alchemy of Roundhouse was just one vial in the cauldron’s potion that cooked My Boy, the Christchurch-born artist’s third solo studio album (which follows 2018’s NZ number one and Oz number eight beauty Make Way for Love). And I’ve got my own personal history of friends who’ve been there, some who are no longer with us. ![]() “There’s all of Neil’s guitars sitting around, so I think there is a little bit of stolen magic – the ghosts of music that are haunting it. It’s got incredible gear, it’s got the recording desk that did Fleetwood Mac’s Tusk, it’s crazy. ”I’m sure there is some world in which Neil Finn built a really bad studio and it just doesn’t work on any level, and the vibe’s all wrong. ”Studios are such a psychic thing, with what goes into making a good studio or not!” the singer- songwriter smiles. Having partially recorded his gorgeous new album at Neil Finn’s Roundhouse Studios in Auckland, Marlon Williams admits there may be a bit of borrowed magic from the New Zealand icon steeped through his final product. ![]() On My Boy, Marlon Williams meshes worlds, drawing from his Māori heritage, storytelling nous, and curiosity around arrangements and feel, to create an extraordinary record which investigates the many facets of masculinity. ![]()
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