BMA Band Profile

A new Canberra supergroup— comprising beloved author and muso Nigel Featherstone and poetry wizards Melinda Smith, CJ Bowerbird, and Stuart Barnes—setting spoken-word to evocative electronica? Imma shut up and find out more from Nigel himself!

Where did the band name come from?

A hell heron is a type of crocodile-faced dinosaur, which, like the bird, could catch prey in the water and on land.

It’s a gentle dig at the collective age of the band members and a nod to the fact that we’ll all be dinosaurs if we don’t get our environmental priorities right.

How’d this magical musical journey begin?

I’ve been a daily fan of music since childhood – the first single I bought was Wuthering Heights by Kate Bush (1978), and the first song I recorded off the radio was London Calling by The Clash (1979) – and I’ve been making music off and on since my teens.

Fast forwarding, in 2014, the Hume Conservatorium commissioned me to write the libretto for a contemporary song cycle (music composed by James Humberstone from the Sydney Conservatorium) titled The Weight of Light. This work was co-produced by The Street Theatre and had its world premiere in 2018.

That project led me to collaborate with Pete Lyon from The Cashews on The Final Hours, an EP reflecting on the tragedy of the Bali 9, thanks to an invitation from the Tuggeranong Arts Centre.

In 2019, I began working on a play with songs, for which I’m writing the text, lyrics, and draft music (more on this project soon; once again, I thank The Street Theatre).

In 2022, I founded Hell Herons, collaborating with eminent poetry wizards Melinda Smith, CJ Bowerbird, and Stuart Barnes. The Wreck Event is our first album.

Describe your sound/what you do:

We’ve aimed to set spoken word to evocative electronica. We’re not afraid of beats, noise, and field recordings, but we also want warmth and accessibility – sometimes.

What key tracks should people check out?

Our first single is Nocturnal, featuring words and an incredible vocal from Melinda Smith, a previous Prime Minister’s Prize winner for poetry. Frankly, it’s stunning.

Influences?

Hard to say! If pushed, we’re the lovechild of M83 and Arvo Part, with a bit of My Bloody Valentine somehow making its present felt.

Most memorable experiences?

With making The Wreck Event? I reckon it’d be having the album mixed and mastered by Kimmo Vennonen, thanks to support from an artsACT grant.

Kimmo went well and truly beyond, and every time he sent me a mix, I got goosebumps. Truly.

What is it that you love about the scene?

In terms of ‘scene’, I’m a bit weird because I’m a natural hermit, and I also move between the literary fiction world, the theatre world, and the music world.

Overall, I find most Australian artists to be humble, generous, and hard-working.

Tell us of your proudest moments:

If I got hit by a bus this afternoon, I hope what flashes through my mind include The Weight of Light, my novel My Heart is a Little Wild Thing (Ultimo, 2022), and The Wreck Event.

I’m stupidly tough on myself, but I reckon there’s some unashamed Life in those works.

What are your plans for the future?

Keep making art, with music increasingly prominent in my schedule.

What makes you laugh?

Anyone willing to laugh at themselves.

What pisses you off?

Australians who deny the complexity – and darkness – of this nation’s history.

Anything else you’d like to add?

I’ve been reading street mags like BMA since I was a teenager riding his bike to the local music shop to buy a Kate Bush single; a good 40 years ago, now.

I hope there’ll be the opportunity to do it for at least another four decades.

Where can people check you out?

The Wreck Event is available through all the main streamers as well as Bandcamp. We’re in the (very!) early stages of working on a live show. Insta is @hellherons, web is hellherons.com