Ernest Ellis
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Ernest Ellis

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“It was more of an accident really,” Ellis explains. “When we put it on this record and tracked it, it sort of popped its head right through and gave (the album) a guiding voice. There’s a lot of space in the instrumentation and then when you throw a harmonica or a saxophone in, these shrill instruments, they really have time to shine through.”

It works surprisingly well, too. Ellis is keen to keep the more organic instruments and put them alongside the synthetic elements. Acoustic guitar, harmonica, piano and saxophone both complement and star at times alongside other production elements. Undoubtedly, working with Webster has expanded Ernest’s sound, but he’s grown as a songwriter in terms of his vocal and lyrical content, taking on a much more honest approach to his writing.

“When I hear a lot of songs now, the tendency in my writing and the tendency in a lot of writing is to shirk what’s honest for what you think is poetic, because it fits the way the melody goes and so on. In a lot of cases when I listen to my old stuff, I can see why it works, the poetry and sound, but I’m not actually saying anything. The lyric is an oblique reference to something I can’t remember what it was. On this record, with these songs, I thought, ‘Fuck that, I want to say something.’”

An unexpected side affect was finding more confidence in his delivery, easier because, as he says, “If they (the lyrics) have personal resonance your delivery is better. My vocal delivery just felt a lot better because I was a lot more connected to these songs, you feel honest about it and you feel like you’re actually saying something.”

That lack of honesty in songwriting is something Ellis sees far too much of in the music world. I mention how frustrating it is to hear songwriters cite Crowded House or Paul Kelly as influences then write shallow lyrics.

“Let’s be honest, (that kind of writing) doesn’t say anything,” Ellis agrees. “There’s nothing to that, it’s a sweet melody and there’s a place for that, that’s fine. When it’s trying to be passed off like you’re a student of Paul Kelly? Don’t give me that shit! People cite Lou Reed as an influence probably having heard Perfect Day and never having dug into Berlin or Coney Island Baby.”

He’s wary of sounding like a wanker in saying that (he doesn’t, trust me), but its clear he’s reached a point of honesty with his songwriting and doesn’t want to turn back, even if it is difficult.

“It’s maybe a lot more challenging to write songs that way because it’s harder to find the poetry in honesty, but I wanted to really face up to that fact, and I think it made me a lot better writer.” For evidence to that fact Cold Desire is full of it. Shine Like Me is infectious and closes with Ellis sounding like Beck singing through a megaphone. Black Wire 1 & 2 are sweeter, smoother and dare I say, sexier tracks. Opener Clean Machine has a Kavinsky beat and channels Nick Cave in full swagger mode – with harmonica. They are tracks exemplary of a songwriter who’s hit confidence.

With the album all finished, Ellis and Webster from Shining Bird aren’t content with just their work in the studio, he and Shining Bird will be co-headlining a short tour through NSW and Victoria, and don’t expect to hear any bullshit contrived lyrics or unimpassioned vocals from either.

BY GARRY WESTMORE