Augie March

“It never really came up,” says Augie March guitarist Adam Donovan. “It was more of a question of time, rather than whether we would or wouldn’t. We probably always knew we would.”

Listeners’ sincere concern about whether Augie March would make another record draws attention to the proud sense of ownership that many feel towards the group. This ties in with the fact that several Augie March compositions have been anointed modern Australian classics. Such a reputation could surely weigh down on a band, but Donovan says it wasn’t a present consideration during the making of the album.

“Mainly the duty is to yourself and to do something that you can be proud of. I think our fans would expect us to do something that we like and it’s up to them to interpret it any way that they want,” he says. “The way we operate is just trying to treat each song on its merits – let the song take you where it wants to go and not try to steer the ship in another direction. Try to basically be a bit of a slave and do what you’re required to do.”

As has been the case with Augie March’s previous four releases, vocalist/guitarist Glenn Richards penned all of Havens Dumb’s 14 tracks. Each song deftly balances instrumental elegance, contemplative melodies and intricately wrought lyricism, which itself could take several years to craft. Astoundingly, the final collection was whittled down from a far greater batch of songs.

“There was probably somewhere around 50,” Donovan says. “We worked on the first bunch and then another collection of songs and another one. The songs sort of select themselves – the ones that are most suited to our outfit to go after and make progress with.”

Havens Dumb is Augie March’s first record done without the backing of major label Sony Music (formerly BMG). Instead of chasing down another record deal, the band chose to embrace its newfound independence.

“I think not having a deadline is a good thing and we could go at our own pace,” Donovan says. “Having said that, there is always a deadline and that’s usually your own sanity. There are things there that we could have done differently, but nobody will ever know that.”

Approaching the record as a listener, it’s hard to identify much in need of revision. Havens Dumb isn’t a major departure from the classic Augie March sound, but it does step into some novel territory, sonically and thematically. Succinctly articulating exactly what constitutes the ‘Augie March sound’ is nigh on impossible, but Donovan underlines one leading aspect. “Glenn’s voice is pretty distinctive and as soon as you hear it, I think that’s our sound. I would say it’s definitely Glenn’s voice.”

Richards doesn’t just possess an unmistakable croon – he’s also a wonderfully incisive poet. Havens Dumb is full of arresting lyrical content, which is yet another reminder of Augie March’s cultural significance. For instance, the chorus of album centerpiece ‘Definitive History’ features this pointed barb at contemporary Australia: “One for the mother, one for the dad / One for treasurer, one for the plasma screen / And don’t forget the developer’s dream / A tumour for them all in the belly of the sprawl”.

“Glenn’s always got songs that require and demand your attention,” Donovan says.

“As a songwriter I think you’re allowed to bring up those things. You have to have a message.”