Your single ‘The Way We Crush’ touches on the complications experienced in a relationship moving from physical to emotional. What inspired the song?

There was no specific event, more like a long history of internal conflict and dilemma – the kind that everyone goes through. It’s also really inspired by the film La Jetée by Chris Marker and post-human theory such as the writings of N. Kathryn Hayles, something that inspired some art I did a little while ago. It’s just about trying to connect.

Should we expect more vulnerability in your upcoming singles?

I mean, you should expect more me. If I seem vulnerable to you then I guess so? Maybe now I’ll try and write some tough ones.

You combine elements of R&B, electronic, and pop in your soundscape. Is there any particular genre you gravitate towards over others?

Not really. I think I’ve always been fascinated with pop music and its transience and flippantness, which can be either liberating or questionable depending on how you think about it.

How did you get into music?

I never really got into it, I was raised in it. My parents have always done lots of singing and been deeply immersed in music and its ability to nurture communities. While I was growing up my Mum literally kept us afloat by teaching choirs while she and my Dad were developing the community music organisation they both still run.

Who have been your biggest influences?

Mostly mates more than ‘music legends’. Being in a scene with artists like Couture, Habits, and Leisure Suite makes you wanna set a pretty high bar for your own music and seek out stuff that will impress them [laughs]. Working with people like Oscar Key Sung, The Harpoons, and Banoffee has given me heaps of insight into how other people write or understand things like structure. I also didn’t think I would ever stop listening to Azealia Banks despite all the unsolicited low blows she tends to troll the internet with, but lately I have been finding it harder and harder to DJ her stuff publicly. I still think her music is flawless though.

Late last year you travelled to Georgia with your parents’ folk choir. What is the music and culture like there? Is your upbringing a big part of your musical inspiration?

My parents have been mates with a couple of Georgian expats who live and do music in Melbourne for as long as I can remember, so I’ve been going there since I was like 12 literally just to learn songs and sing with people. It kind of feels like a second home. I think as a consequence of being invaded many times throughout history, they built a very strong cultural identity especially through songs. The culture is by no means one dimensional, particularly the capital city Tbilisi is recognised for its strong electronic music scene. In one day I went from singing folk and ancient church songs with military guards on the top of a mountain on the turkish boarder, to 10 hours later dancing until sunrise at the techno club Bassani in an underground swimming pool in the basement of a Soviet era soccer stadium.

You’re based in Melbourne. Do you see much live music when you’re not writing?

Yeah, of course, although lately I’ve been seeing a lot more dance than music. Some recent highlights have been a piece for Asiatopa festival by Justin Shoulder, which was a kind of a post-apocalyptic-anime-bridal-cyborg-catwalk performance and was completely amazing. Also Piece For Person and Ghetto Blaster by Nicola Gunn for Dance Massive which was Nicola doing a dance solo whilst simultaneously performing the monologue of a neurotic person weighing up the consequences of giving in to their own anger and defending a duck which is under attack from a family of stone throwing refugees in Belgium. It’s really quite hard to do it justice in words, but very worth seeing if it’s ever on again. Literally one of the most amazing, funny and deeply complex things I’ve ever seen.

You are a member of The Harpoons and previously Oscar & Martin. How does it differ when working with collectives to working on a solo project? Is it easier by yourself, or do you find it more difficult to stay inspired?

Staying inspired is fine because it’s like finally you can do exactly what you want without compromise, but finishing things becomes heaps more difficult because there’s no-one else there to tell you when something’s done or what a track might need.

You worked with Banoffee on her EP Do I Make You Nervous? What is it like working with someone outside of your own projects?

Martha and I have been mates for ages but hadn’t really done music together, so that was really fun. Making I’m Not Sorry with her was awesome. I definitely want to do more stuff with her and can’t wait to hear what she’s been working on lately.

How has it been working with Good Manners Records on your last couple of releases? How did you start working with them?

Yeah these guys work tirelessly to curate an amazing label and develop the great community surrounding it. They’re both called Hugh/Huw and I think having the same name gives them an intuitive understanding of how to work together, like how twins on the same sport team can dominate a game because they each know what the other is thinking. What I’m trying to say is they have multiple perspectives on the same vision. I’m really excited to see everything Good Manners comes up with this year.

Now you’re a few singles in, are there any plans for an EP or album? What’s next for Martin King?

I don’t have the focus or self confidence to commit to anything of any significant length, not ruling it out. At this stage I’m keeping it one track at a time so I can make each one really good and not feel like they have to form some coherent whole. I’ve got a video coming for ‘The Way We Crush’ which I’m really looking forward to. Definitely gonna do another track with Juliet Rowe who I’ve worked with in the past. I also just directed a video clip for The Harpoons that I’m really excited about. It’s coming out with our second album later this year.

‘The Way We Crush’ is out now Good Manners Records. Listen here.

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