STACK Issue 151 May 2017

76 / 92

Get the
STACK
Magazine
app
for more
digital
content
14 MAY 2017
visit MUSIC FEATURE
S an Cisco’s third album, The Water ,
jitterbugs all across all the best
kinds of pop: it’s like
funk-dance-disco, with lots of
smart and cute details, far
more synth than we’ve
previously heard, and
that Vampire Weekend
kind of agility.
Frontman and
primary songwriter
Jordi Davieson identifies the sprightly honky-
tonk keyboard line on stand-out That Boy
as “possibly the most poppy thing on
the record,” amongst quite a lot
of poppiness. “That keyboard
riff that Josh [Biondillo] did…
I describe it as an ice-cream
truck,” Davieson says. “It’s
so sweet. He was like
‘I’m not sure, I think it’s a
bit much,’ and I said ‘Nup,
leave it. We need the ice-cream truck.’” There
are so many touch-points throughout the
track: you might hear Split Enz, or The Love
Cats, or any slightly robo-manic allusion, but
Davieson reveals the group's concentrated
effort to relate these tracks to their previous
work when he says it was intended as the
equivalent to Too Much Time Together, San
Cisco’s first single from 2015’s Gracetown.
In a little nod which harkens all the way
back to the group’s break-out 2012 hit,
I like vocal
effects and
weird, electric,
robotic things
The third album from childhood friends San Cisco – Jordi Davieson, Nick
Gardner, Scarlett Stevens and Josh Biondillo – has emerged from the ocean, and
she's a shiny pop spoke to Davieson about why it doesn't matter
what he thinks the songs are about, going mad with vocal effects, and the
weird and wonderful influence of producer Steve Schram. Words Zoë Radas
Photo: Matsu