Kirin J Callinan, the Australian multi-talent known for his music, acting, writing, and provocations took time out for chat
Kirin J Callinan’s latest single, ‘Eternally Hateful,’ released mid-October, is a standout from his upcoming fourth LP, ‘If I Could Sing.’
Kirin describes it as a raw exploration of hate and love, set to simple yet powerful chords. The accompanying music video, a trademark of his style, mirrors the love-hate dichotomy.
In this chat, Kirin reflects on his nomadic existence, finding beauty in Sydney, and the creative process. He shares insights into his label, Worse Records, and hints at the upcoming album’s dual themes of truth and fun.
Kirin’s collaborations, marked by genuine connection, shape both his solo work and joint projects like those with Genesis Owusu.
As for ‘If I Could Sing,’ Kirin assures it will be released on his birthday, promising drama, emotion, and a few surprises. For him, happiness lies in high-vibe collaborations, love, joy, and the ecstasy of music.
We delve into everything ‘Eternally Hateful’ with Kirin below:
Happy: Tell us about where you are from? What’s the scene like in your neck of the woods?
Kirin: I am no longer from anywhere. And there is no scene there anyway. I feel the same, & of no further significance, as the single amoeba, encased in a clear, mucous membrane, moving throughout the vastness of a body, endless & inconceivable via its immeasurable relative size.
Do amoebae recall, let alone give credence, to some abstract place of origin, some limb, where existence was to date most spent?
My existence is just as nomadic, as helpless, as unknown, and my surroundings just as inconceivable & vast.
It is impermanence that is my home state now.
This has long since taken precedence over any familial or earthly root.
But I must say Sydney is still the most beautiful city.
Happy: What are you up to today?
Kirin: I’ve had an excessive amount of caffeine. Enough to kill, or at least, stress-out a horse.
After I answer these questions I will, in sequential order: don the colours of Le Coq Gaulois (or the Sydney Roosters), meet my brother Mahne & go see Yokohama defeat Sapporo at the Nissan Stadium, Yokohama, followed by some late night mutual disc jocking between he & I & some others too.
Happy: Describe an average day?
Kirin: Sleeping in to an unacceptable hour, I will either attempt to reconcile my existance with a made bed & a youtube guided meditation session, or give in to the futility of it all & sleep / scroll a little more. After that, it’s all usually a bit of a blur.
Happy: “Eternally Hateful” seems to be a departure from your previous work. Can you share the inspiration behind this track and how it fits into your upcoming album ‘If I Could Sing’?
Kirin: I don’t see it as a departure, more a continuation & an inevitability.
I am trying to convey both truth & fun, simultaneously.
One of these is a challenge.
Both is a unicorn.
The album itself oscillates between these two core ideas, & hopefully with some sense of harmony, grace, charisma & shape too.
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Kirin: You’re set to launch your own label, Worse Records. What prompted this move and what can we expect from the label in the future?
Happy: Worse launched originally in 2021. However, what started out as a year of optimism, ambition & transcendental love, ended in isolation, exile, heartbreak & hurt ~ and the label was placed on the back-burner, if not locked in the attic, from then until now.
Worse 2.0 is a whole other beast, however.
Joining me in the boardroom is Si J. Gould, the mastermind behind Wondercore Island, auter & front man of Sissy Boy, and manager of Australia’s most singular avant-soul success stories, Hiatus Kayote. It only gets Worse.
Happy: Your collaboration history is impressive, from Connan Mockasin to Mark Ronson. Can you tell us about your creative process when working with other artists and how it influences your solo work?
Kirin: I don’t see it as very different, to be perfectly honest (which I am). My strength is my ability to connect & relate, and all of my work, whether it’s labeled KJC or otherwise, is collaborative.
Happy: Your live performances are known for their intensity and vulnerability. How do you balance these emotions on stage, and what do you hope the audience takes away from your shows?
Kirin: That’s a high compliment, and I appreciate you saying so. Presence & volume. Both loud & very very quiet, is key.
They will take what they will, come what may. Hopefully it’s a T-shirt.
Happy: Your album ‘Embracism’ is considered a cult classic in Australia. How does it feel to have such a lasting impact on the music scene, and do you see any parallels between that album and your upcoming release?
Kirin: I’ve heard that. Idk if I truly believe it, but it’s very kind. I actually think all of my KJC records, though especially Embracism, Bravado & now the latest, If I Could Sing, are more or less the exact same thing.
More or less.
I’ve been told that the new one is the album most like Embracism since Embracism, however we’ll see how’s perceived in the light o’ day.
It certainly has drama, some violence, an open heart & a few fun moments too.
For the most part it’s the collective perception that matters when it comes to whether a work has legs however, not its personal depth or inner workings.
Happy: You’ve been described as wildly unpredictable and controversial. How do you navigate the line between artistry and provocation, and what role do you think controversy plays in your work?
Kirin: I’m happy to be unpredictable, though I can’t necessarily say it’s served my life in terms of my own stability or security.
As far as controversial is concerned, this makes little since to me, other than it seems people need controversy, as long as it’s not on them, to brighten up their otherwise dull existence, or to project their own subconscious: their flaws, perceived failings, outrage, shame, desire, judgement, hurt et al etc.
It seems quite hard to me to fathom being offended really. It does happen of course.
But I feel pretty stupid afterwards.
I read a quote once, something along the line’s of “to be offended by someone that meant no offence is foolish; if they mean to offend then even more foolish still”.
Voltaire ? Aurelius ? Who cares.
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Happy: Your contributions to Genesis Owusu’s albums have been critically acclaimed. What draws you to collaborative projects, and how do they differ from your solo endeavours?
Kirin: I always say YES, where I can, to projects that engage me, intrigue me, challenge me.
And frankly, these things almost exclusively come about in organically, simply, directly and effortlessly.
Despite having been signed to major record labels & publishers Sony, EMI, XL etc; part o their role often to connect like minded people & artists whatnot ~ not really have I ever been thrust into specific writing or recording sessions this way.
For example Caroline Polachek dm’d me asking if I’d play some guitar on her most recent record. Absolutely YES.
Or years ago, I performed at a friend’s wedding, Mark Ronson was in attendance, and I ended up on his album Uptown Special & touring live with him too. YES, absolutely.
Connan Mockasin & I had played some shows together, became friends, before I managed to coerce & bully him into singing with me.
YES, or else. Jack Ladder & THe Dreamlanders, my brethren, YES, always, whenever I am called upon.
The Genesis Owusu sessions were a rare example of it not exactly coming from the artist directly.
I have a long history with both his manager & other band mates however, having worked with all of them at one stage or another, and this is how I came to be in this writing room.
But once we got goin, it was absolutely, YES.
Happy: ‘If I Could Sing’ has been eagerly anticipated for years. Can you give us any hints about what we can expect from the work and how it represents the current chapter of your musical journey?
Kirin: It will be out by my birthday. I promise.
Happy: Lastly, what makes you happy?
Kirin: High vibrational collaborative resonance. Love. Joy. Music. Ecstasy.
