Rachael Dease

Familiar to local music aficionados as the front-woman of Schvendes, singer-songwriter Rachael Dease’s artistic practice straddles the realms of pop, classical contemporary and noise. She has worked closely with dancers, directors of theatre and film, and a vast array of musical collaboraters. Armed with her trusty omnichord and a box full of crime scene photos, Rachael is currently working on her first solo record and completed her new song cycle City of Shadows for FRINGE WORLD.

What did you want to be when you grew up?
Gene Krupa, Glen Miller or Ginger Rogers. I was obsessed with MGM musicals and big bands. A rank and file saxophone player would’ve sufficed.

When did you know you would work in the arts?
I don’t think I’ve thought of doing anything else to be honest, it was just something I felt I was meant to do. In what aspect of the arts, well, that seems to change regularly.

How did it feel to win the Western Power Martin Sims Fringe World Award?
I was totally blown away. The response from the audience was enough to keep me on a high for weeks. I was elated. Then to be considered for an award, but in particular Martin’s award, well I had a rare weepy moment. Martin did so much for contemporary arts in WA, so it’s a complete honour.

Describe your winning piece, City of Shadows?
It’s a song cycle for voice, string quartet, soundscape and crime scene photographs. Part popular song, part contemporary composition, and part soundtrack. The people portrayed in the photographs are the stars of the show for me.

What are your plans for the piece moving forward
Well, it looks like we’re hitting the road! First up we’ll be getting it recorded, sending it out in to the ether, and of course hitting some of the festivals in the Fringe Alliance. I think I’m petrified just the right amount!

How important are arts festivals like Fringe World to emerging artists?
VITAL. Totally vital. Regardless of my own work, Fringe World made me proud to be a WA artist. It felt so inclusive to the wider community. Audiences were diverse – you had the arts crew of course, but also baby boomers, young professionals, retirees, executives – people from all backgrounds and walks of life.

They owned their festival. People you’d not normally think of as being receptive to contemporary art were coming out in DROVES to see performances. I have never seen such a hunger for new work. I hope the powers that be noticed it as well! As an artist, it allows the opportunity to present new work in a supportive environment, and to network with colleagues. It’s a totally necessary, awesome petri dish.

How hard is it to be authentic in the arts nowadays?
Authentic? I guess it depends what you mean by that. Often what an artist perceives as authentic, isn’t what an audience thinks is authentic. All you can do is try to present your ideas the most honest, creative, succinct way you know how. .

Is there a mission to your work?
To City of Shadows? It didn’t start off that way, no. But it became somewhat bigger than me after a while, which at times was really quite scary. I had moments of self doubt regarding morality and intention. In the end, my mission was for people to see the beauty in the sadness and terror, and the humanity. For all the drama, and darkness, City of Shadows has a very clear, simple message. And the audience got it.

What's the one thing - piece of equipment, toy, security blanket, – you can't work without?
This is going to be really boring, but it would have to be my laptop.

What gets you fired up?
I guess what gets a lot of normal people fired up! To put it broadly – injustice. Locally, it would be the ridiculous cost of living in WA at the moment. Indignation is arguably

Who in the industry most inspires you?
There’s the obvious – I really admire the work of Artrage and Tura New Music. My teachers and friends – Cat Hope and Lindsay Vickery. Our local wunderkind Matt Lutton, and my long time collaborator, best friend and constant life saver, Tristen Parr. I’m also totally crazy about Robert Wilson, Wes Anderson, Darren Aronofsky, David Lynch, Scott Walker, Kronos Quartet, Clint Mansell’s film soundtracks and a list of musicians too long to mention!

What advice would you give anyone looking to break into the field?
Respect your tech staff. Specifically – don’t piss them off. They have the power to make or break your performance and are they an amazing source of knowledge. I’m constantly amazed at how some artists treat their technical staff. Not only is it just plain rude, it’s totally idiotic.

When do you know you’ve made it?
I’ll tell you when I get there!