The post-hardcore kids will know him as the second drummer for Behind Crimson Eyes, while the hip-hop heads will recognise him as Illy's babin' touring man behind the kit. Either way, the man's name is Cam Gilmour and now, he's stepped out from behind the kit and has produced his own debut EP, A Bellyfull of Classics.
You’ve been in music for years now – had being involved in various other projects been the main reason as to why you’ve waited this long in producing your own release?
Yes, but not in the way you might think. I had to work really hard on my song writing before I felt I should release something. I am very proud of the EP I’m putting out. It’s probably the smallest project I’ve ever worked on whilst in music, but it is the most cherished. I had to make music for ten years to feel this much joy and satisfaction from what I do. Small is beautiful.
How would you describe your music? You’ve been involved a vast array of music genres, so where you do you see your solo music fitting?
My music fits wherever I shove it. My debut EP A Bellyful Of Classics definitely lumps in with the hip-hop genre. It is a collection of melodic instrumentals that feature a lot of orchestral strings, synths, melancholic piano melodies and hip hop drumbeats. I’m sure my music will change over time, but it will always have that thread of myself running through it, which is somewhere between an epic film score and a crazy guy playing bucket drums on the street.
Where did you find the time to dedicate yourself to producing this EP, A Bellyfull of Classics?
If you care about something enough, you make time for it. I was touring quite heavily with Illy while also in my final year of a psychology degree, so it was a busy period, and the EP was always the runt that got pushed to the side. But I worked on it where I could, mainly in the gasps between tours and semesters. During those breaks I would spend most of my time writing like a fiend - sulking in the moments I was severed from the work desk.
You’re a writer for publications as well as working while studying, which was basically my life until a few years ago. How hard was it to balance work and study and being on the road?
It really wasn’t that bad. It sounds like a lot, but strangely, I always feel like I could be doing more. I get really agitated and down on myself if I spend even a day not working on something – whether that be music or writing. It’s typical work-whore neuroses, and even though most things eventuate to nothing remarkable, I feel like it’s a better way to spend my time than getting addicted to television series. You’d be amazed at what you can do if you are passionate, inspired and consuming your own weight in coffee every day.
Again, having been with Behind Crimson Eyes and then performing alongside Illy, how have you noticed the difference in crowds? Obviously, both hip-hop and harder rock have passionate fan bases, so as a drummer being able to watch these different levels of intensity, I would imagine it’s quite the experience.
The difference is about as subtle as a javelin to the throat. The two are completely different worlds. The audience as well as the artists tend to have very different attitudes. Hip hop is very ego driven, a lot of bravado and metaphorical cock waving. But then, the alternative scene was very cliquey and hierarchical in my experience – and that sucks. Both scenes have their pockets of brilliance and If you’ve been touring as long as I have, you really just want to surround yourself with people who are genuine. I like people who do what they do with complete seriousness, but don’t take themselves too seriously.
And I prefer the punk/alternative audiences. For the most part, music has more value to them and that is discernible in the room - sorry Aussie Hip Hop fans (you drink beer well though!).
You’re an independent artist in every sense of the word – having been involved in the industry and having worked with different tiers of it in labels, large-scale management etc, how has it informed the way you go around handling this solo project?
I’m an advocate for DIY in every sense. From my modicum of business sense, I’ve managed to coordinate the whole process of an EP release. It’s a small project, but I would implore younger and developing artists to familiarise themselves with the business side of music. I was just a kid when I was thrown into the world of major labels. It was overwhelming. When you’re 19, you can’t possibly understand the music industry machine. I don’t think being on a label or having managerial representation is necessarily bad. If it’s a collaborative and respectful relationship and money is made along the way, then fine. When it becomes simply a business venture – a relationship upheld through embittered emails and money lust – well you become just another arsehole, poisoning the well of creativity and ideas. I’ve got no time for that.
I want music to be more direct, from the artist straight to the people. The middleman is the biggest crook of all time - Matt Caughthran(singer of The Bronx) told me that, and it stuck with me. Artists would be wise to get off their high horse and get to work.
Can we expect any showcase gigs from you as the year goes on?
I really hope so. It’s not from a lack of wanting, that’s for sure. It is more about figuring how I can bring these songs into a live performance and not have it be boring or contrived. I have been on stage sitting behind a drum kit my entire life, It would be nice to stand up.
A Bellyfull of Classics will be available digitally from May 31. Visit camgilmour.com for further information.