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December 2016
December 2016
In this issue:
Ekko Park, Ill Semantics, The Broken Heartbreakers, Lisa Crawley, Valere, Fragile Colours, No Broadcast, Hikurangi Schavarien-Kaa, Skinny Hobos, Heroes For Sale, The Lucid Effect, Chris Priestley, Delaney Davidson in Europe
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Fresh Talent: Miss Little

Author: Daniel Lehrke

It’s been a long wait for Miss Little. With almost five years between her ‘Miss Little’ EP, which she did in 2006, and the recent release of her very impressive Sydney-recorded debut album, ‘When Things Fall Apart And Into Place’.
“The album kind of decided to take this long – I never meant for it to take so long. The initial recordings only took a week or two actually, the rest was waiting really.”
Outside of Miss Little, Sarah McCallum (whose direct musical lineage includes father Mal and brother Lewis) is an accomplished composer and arranger, with a strong classical background. But the crossover between the two personas ends there.
“I think what I do with my Miss Little albums is a very different type of musical venture and it allows me to do a particular type of songwriting. It's like an alter ego, Miss Little is a particular type of lady, you know? It’s a big mash up of styles. Especially this album, there’s a lot going on.”
Released by Aussie indie Laughing Outlaw Records, the captivating album has been well received across the ditch, with Miss Little touring as opening act for Lanie Lane around Australia. Songwriting comes easily (she won the Crowded House lyric writing comp in 2010), the biggest hurdle to her new release was having the patience to wait it out, she says.
“I write all the time, I find that the easy bit.”
Moving countries and getting married gave Sarah plenty of inspiration.
“I kind of made it by accident, I didn’t know if anyone would hear it at all when I started. There are some really pretty moments on the album and some really quite grotesque moments, and I think that’s to do with the duality of how I was feeling. I was moving around a lot and I was very up and down emotionally, and that comes through on the album.”
With all the recording done over three weeks, the mixing and mastering proved to be a waiting game.
“We recorded in Camperdown at Free Energy Device. It’s a great, full analogue studio full of amazing gear. We recorded without plug-ins and everything was miked, which kept it as real as possible. We were trying to sound electronic but keep all the real instruments and their feel. It’s taken three years from start to finish with [engineer/producer] Richard Belkner doing all the mixing, and then we have a wonderful mastering guy called Oscar Gaona we use.”
Wellington and Christchurch are on the agenda for her to play live next year.
“I try to get back to NZ about three or four times a year, so there’s no excuse for me to not do some more shows.”