GRINSPOON
whatever, whatever

Developing a sound and presence so permanently ingrained in the consciousness of Australian rock history, Grinspoon have proven time and again in recent years that the passion that drives their music remains as potent as ever. 

With 13 ARIA Award nominations to their name; over half a million records sold; countless Platinum accolades and a live reputation that is untouchable, Grinspoon’s impact is one that contemporary Australian rock bands can still find themselves observing as a blueprint of enduring success. 

From 1997’s seminal Guide To Better Living, the band proved their grit and durability early before doubling down with records like Easy (1999), New Detention (2002) and Thrills, Kills & Sunday Pills (2004). 

It is testament to the band’s chemistry, stretching over two decades, that the endurance of a band like Grinspoon has kept them at the forefront of conversations when it comes to Australia’s most dynamic and beloved live bands. 

Not content to let the fire for new inspirations or ideas fade away, the group has found themselves relishing a fresh and boisterous new creative chapter – one that has led to the creation of their first new studio album in twelve years: whatever, whatever 

“We couldn’t keep on doing this retrospective thing; it’s cute, but it’s ultimately not very creatively satisfying,” frontman Phil Jamieson explains. “I like singing and playing our hits we’ve written over the last 25 years, but it would be great to do something new.”

It is an album of ferocity; an injection of adrenaline that marks a period of rejuvenation reaching a new peak for the band, who have spent recent years touring nationwide, celebrating their untouchable seven album-strong discography and legacy to date.

With initial sessions taking place in Adelaide just prior to lockdown, whatever, whatever really fell into place over a year later, when the group was able to reconvene and bring out the strengths of each songwriter.

“Joe came up with the idea of each songwriter in the band all bringing to the table three or four songs each,” Jamieson says. “It would be very diplomatic; everyone putting their best songs in, seeing how it falls out. Amazingly, everyone agreed on that. We ended up with the collection you now hear; a fairly broad smattering of what I consider to be Grinspoon’s strengths, with some of the heaviest stuff I think I’ve ever sung, and then also some of the prettiest stuff we’ve ever done.”

whatever, whatever is the perfect addition to their body of work, and an exciting step in the evolution of one Australia’s premier rock groups. Working with acclaimed producer Oscar Dawson (Holy Holy, Teen Jesus and the Jean Teasers) on the album in coastal Victoria, Grinspoon have produced an album that retains the essence of their iconic sound, while also offering up fresh perspectives from songwriters and musicians who have new viewpoints to share.

“There was a big trust basket there with Oscar already, I knew him from before. We were on the same page with where things would go,” Jamieson remembers. 

“Oscar is an incredibly talented creative, engineer and producer. We hadn’t worked with an Australian producer for a very long time and it was a refreshing change. Recording with Oscar became very collaborative, he’s humble and understands the different dynamics within the band.

Lead single, ‘Unknown Pretenders’ is quintessentially Grinspoon – from its opening riffs and rhythms, to the charismatic presence of Jamieson, it’s immediate with the title track that listeners old and new are in for a ride with Grinspoon here. 

“Surviving in the splendour of our times / And we will live forever / We are unknown …”

whatever, whatever brings the best out in Grinspoon; the musicality of the group has never waned yet here, the listener can hear the band pushing themselves into new directions in a way that uplifts and champions the talents of the individuals, as well as the whole group.

It’s heard across album tracks such as ‘This Love’, ‘Nasty’, and ‘Underground’; tracks that highlight the textures of the music, but the approach to both the heavier and more melodic ends of the Grinspoon sonic spectrum. Jamieson’s vocals are a highlight throughout; seasoned and balancing viciousness with vulnerability at points during the whatever, whatever journey. 

Perfectly complemented by Pat Davern’s weaving guitar, Kristian Hopes’ relentless percussion pace guiding the foundations of the album along with Joe Hansen’s bass rhythms, an album like whatever, whatever repositions Grinspoon as a rock group with a clear vision for the horizons ahead.

“Everyone has had their creative say, without it being under a rock of what we should do… Jamieson says. “That’s really important in a band of almost 30 years – it’s not what we should do, it’s what we want to do and that is ultimately, write.”

Grinspoon’s influence on the Australian scene has extended beyond the success of their early material; the band contributing to the blueprint of Australian rock music that has celebrated the embrace of different sounds and influences. The band’s later records, namely 2007’s Alibis & Other Lies and 2009’s Six to Midnight; both demonstrated Grinspoon’s ability to perceive the versatility of rock music through their unique lens, establishing a realm where heavy sounds could co-exist with the more soulful driven blues rhythms, as they could glam metal and power pop influences. 

And then, their much-anticipated return in 2012 with Black Rabbits proved an exciting return to form, groove-laden and unafraid to lean into the fun that comes with this blend of raw dynamism and lived experiences, on stage and off. 

It is this sense of fun that has made the prospect of new work from Grinspoon so exciting to contemplate and now, over a decade on, that period of waiting is finally over.