Australian innovator Dallas Cosmas – whose new album ‘Alpha Beta Gamma’ is out now – is also the brains behind indie project Prototype Musique. He tells Chris Sharpe how his many ideas come about and why Melbourne has a sound all of its own
Words by Chris Sharpe
Discovered via http://musosoup.com
Chris) The name Dallas Cosmas is an interesting one. How did it come about?
Dallas Cosmas) Dallas is my middle name. My family is of Greek origin and my first name is Telemahos who in Greek mythology was the son of Ulysses. I would also identify myself as a traveller and dreamer.
Your company Prototype Musique sounds like a great idea with its independent ethos, can you tell us about this?
Over the years I've been very fortunate to work with many great musicians who have become the best of friends. There are also many highly skilled creatives who I've engaged with – playing in various bands, touring, recording, session work, etc. I was always interested in getting deeper into recording and production and the tipping point came when I realised that reliance on the studio establishment was over.
Prototype Musique is a collective offering the whole package for independent musicians. Our services include arranging session players, recording/mixing/mastering, graphic artwork and distribution. We also have plenty of very funky analogue recording gear, which I could talk about in detail about all day! Apart from my own music, Prototype Musique has released music by Brother To The Birds, UON, Wally Hite Rankin, Kate Ceberano, Wayne Rintoul, The Last Five Minutes, Emma Wall and more.
There seem to be so many good bands from Australia right now. How is the music scene and what are the ups and downs of being from that part of the world?
There’s a melting pot of influences here. Traditionally, British and American cultures have left an indelible mark. And Melbourne, where I live, is a whole tapestry of ethnicities. So there are all these different sounds we hear on local public radio, in the numerous bars and clubs (arguably, Melbourne has the best live music scene), or just wandering around the inner-city streets.
Australia has immense geographical space, so you can kind of become whatever it is you want to be. But it's a big country with a small population so the good bands that seriously made it had to conquer a lot of territory. It can be gruelling. When AC/DC sang ‘It's a Long Way to the Top (If You Wanna Rock & Roll)’, they lived and breathed it and every band that followed had to overcome the same thing.
Maybe now, with the rise of the web, it's a little more immediate. I can connect to you and your readers from far away in an instant. But the tyranny of distance to physically reach an audience in the northern hemisphere hasn't changed.
Then there's the rhythm. I think there is something particular in how the beat lands and confronts you in all kinds of music created here, whether it be rock, urban or EDM. It may be a subconscious thing, which in my mind is born out of the Australian experience and links back to something ancient found in indigenous music.
If you could curate a festival who would be on the bill?
Music lives deep in me and all around me. And in the studio we often talk of the music in visual terms so I would be interested to curate a festival that brings together different kinds of visual creators and music makers performing live to various film presentations. Let's call this festival Light/Pulse/Action!
You have a number of albums under your belt – what has influenced your writing over time?
I'm like anybody: you're influenced by what is happening immediately around you and what you see happening at a distance, so the albums I've released over the years have been affected like that and have evolved over time. My new album, Alpha Beta Gamma, was written in the aftermath of the loss of a family member. I felt like my bearings were thrown off course and the only music that was really touching me was soul and gospel. The sense of rhythm coupled with the physical action of singing was an immense release and joy. The album is a collection of colourful grooves and bold harmonies. We actually recorded a lot of material with the gospel choir onsite in a chapel to capture the sonic atmosphere.
Any advice you can offer young and upcoming bands?
Whatever path your music takes you, don't lose sight of where you're at. Be open to positive criticism. Rejection is all part of the game, which can be challenging, so remaining true to yourself is the only way I know. Substance and credibility in your music will strengthen and sustain you, and will reach your audience.
What cool gigs do you have coming up?
I'm getting asked that all the time now that the album is out. If I could get all the Alpha Beta Gamma musicians together at once (there are 14 on the album) for some kind of concert would be pretty cool.
So what are your other plans?
The first single from the album, 'If You Don't Know Where You Came From', has been getting pretty cool radio attention and we have a video out for that now. There'll be a follow up single a little further down the line. I have significant plans to expand Prototype Musique into other areas next year, which I can tell you more about perhaps once it comes together. Actually... now you have me thinking about the Light/Pulse/Action festival...
Any good bands we should know about?
Brother To The Birds and Wally Hite Rankin have written some fantastic new songs. UON have some wonderfully intricate new production material on the horizon. So 2020 promises to be a big year for new releases from Prototype Musique.
Anything you would like to add?
In the Alpha Beta Gamma liner notes I give thanks to everybody involved in making the album. I'd like to take this opportunity to also thank all the radio DJ's around the world that have played my music, the reviewers who (mostly!) have been enthusiastic about my work and audiences everywhere for the good vibes. They've all carried me through,h which I truly appreciate. So, for now, let's continue the musical dialogue...