The John Steel Singers ‘Everything’s A Thread’ – Exclusive Stream And Track-By-Track

One of our favourite new bands, Aussies The John Steel Singers release album ‘Everything’s A Thread’ next Monday (July 28) via Full Time Hobby, and we’ve got the whole thing to stream below. What’s more, keyboardist/trombonist/vocalist Pete Bernoth has gone and written us a track-by-track too. Scroll down now to read it in full.

Pete’s track-by-track:


The Needle
This came about one night when we were contemplating dropping a song from the record, this happened instead. It’s a slowed down sample from one of the tracks we recorded but didn’t make the album heavily manipulated.

Happy Before
I’m pretty sure this came from a jam we recorded late one night up while recording. We arranged it in our shitty rehearsal room and recorded it much later in the same shitty rehearsal room. A lot of our chorus lyrics come from singing gibberish while coming up with melodies and finding words that fit the melody then find other words that fit the first word that first fitted the melody. I’m pretty sure this was one of them. I’m guessing (I’m the worst person to be answering this as my memory is so shitty that I can’t remember if my memory was always this shitty because my memory is so shitty) that the lyrics are a combo of Tim and Scott working the out the bulk of it with the occasional line being thrown in from the rest of us. Ross’s drumming is ridiculous!

Everything’s A Thread
Ahhhh the title track, we’ve been playing this song for ages. It has gone through many forms but it came from the guitar line I’m pretty sure. Our old bass player Damien Hammond came up with the bass line. I am almost certain the lyrics are complete nonsense (I’m really sorry if they are not).

Common Thread
The lyrics came from Tim after he spent a couple days almost dead from food poisoning after ordering clams from a chinese restaurant in new york at 10:30pm. we were all staying in a two bedroom apartment, including our manager Maggie and tour manager Adam. Tim was basically (actually) sleeping in a closet. We’d check on him and fill his water bottle if he hadn’t surfaced in a couple of hours to rush to the toilet and vomit. The end of the song took about three months to get right. The whole thing worked so well thanks to Nicolas Vernhes who mixed the record and knew how clear all the cluttered shit we had recorded and give the parts space.

There’s A Bird
This was written by Scott, we recorded a demo at Luke’s parents place a couple months before recording. Tried to do it better but couldn’t so we just added to it. This is probably my favourite song from the record. The Kawai keyboard that Tim’s friend sold us is all over this shit. As well as Little Scout’s crappy Yamaha keyboard and their tiny Casio something or other. Recording the hand claps was done while extremely sleep deprived and involved ever increasing craziness and interpretive dance.

The Marksman
This is another by Scott, I think it came from a break up. This is a good show case for Scott and Luke’s backing vocal genius. It features Mel from Little Scout on vox and our good friend/ manager of our rehearsal room D-wizz can be heard in the break down. He came in while we were recording and spent a good 25 minutes talking about this and that. We had the mics on. We took the best bit and ran it through alot of effects. I’m not sure if he knows this.


State Of Unrest
Another song that we wrote ages ago that has gone through a multitude of changes. I remember back in the day when it just went by the name of ‘E Jam’, unfortunately thats all i remember but there probably was a cool story somewhere. Another song that I’m pretty sure contains gibberish lyrics (again sorry if it’s not). This is an absolute joy to play live as we can be as self indulgent as we like and jam out the middle section for as long as we please. Also showcases Tim’s love of overdriven and distorted vocals. He seriously loves that shit!

The AC
The name has relevance to the track. When we were recording the vocals in our rehearsal room we had to turn the air conditioner off for each take. Before one you could hear some one say, “Pete, the AC”. Then i heroically reached over and turned it off right on the beat before the song started. Because we heard these songs over and over again for months this is what it became know as and it stuck. This came from an organ part I played during downtime while recording. Scott heard it and it eventually got worked into the song form that you hear now. Scott gets groovy on bass, the lyrics came from Tim after he spent days in hospital with a fucked up appendix. I think it’s a love song for his wife who looked after him while we joked about having to put him out of his misery.

Never Read Tolstoy
This is another song that the demo that was recorded originally was too good to redo. The lyrics are a vague fantasy about punching a pretentious hipster in his stupid face at a Melbourne party. Luke’s guitar goes all Os Mutantes on yo ass and super distorted. I’m pretty sure it was recorded on a busted up practice amp.

Another gibberish lyric one (this one I’m pretty certain about) and also another one that went through a multitude of changes. It wasn’t until Nicolas got his hands on this one that this one was saved from being cut from the record. We fucked about a fair bit speeding up and slowing down keyboards on this one. Ross’ drumming rules in this!

TGI Tuesday
I remember recording the bed tracks on this one at Luke’s parent’s place and having absolutely no idea what I was doing. I think that track was still used. Shambolic and chaotic. The outro showcases how good I am at playing trombone badly. The roughest horn player in Brisbane right here. I think one night we all went away, including my mate Simon who stayed over and drank with us and tried to come up with verse lyrics for this. I’m pretty sure none of them were used. But the stars sure were pretty that night.

MJ’s On Fire
This is the grooviest shit we have ever done. Fucks me where it came from, I’m pretty sure it was a jam we had at some point. It took a loooong time to get right but I’m supremely happy with how it turned out. The side of the road organ was used, I ran a Micro Korg through it at the same time as Scott played it. Turned out real cool. Recording this song was when the record started to get real for me. We worked really quickly on it initially, but that didn’t last and then spent months on that shit. The pre chorus especially. Ahhh but just listen to that bass.


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