Come along for the ride to Melodronia, with Rik Saunders as he dives into the making of their debut album
After years of anticipation, Sydney/Eora’s alternative doo-wop rockers, The Melodrones, are finally unveiling their self-titled debut album.
Out today digitally via Third Eye Stimuli Records, The Melodrones showcases the band’s signature blend of 1960s Motown-inspired songwriting and post-punk production.
Featuring shared lead vocals by Rik Saunders and Melissah Mirage, the album explores themes of love, lust, and breakups, all while keeping listeners on edge with its dark yet euphoric undercurrents.
Ahead of their show at The Crow Bar, on April 11 – supporting GUM and Ambrose, we caught up with Rik to chat about the album’s creation, their influences, and how life in shared flats – from Sydney to Manchester – shaped the sound of The Melodrones.
HAPPY: What are you up to today?
THE MELODRONES: Washing my hair.
HAPPY: Tell us a little bit about where you are from, what do you love about it?
THE MELODRONES: We’re from the land of Melodronia, population five, and we love it because it’s where the melody drones on.
HAPPY: Who are some of your biggest musical influences, and how have they shaped the way you approach your sound?
THE MELODRONES: It begins and ends with The Beatles. We love a wide range of music – Creation records, Flying Nun, Motown, Chess, 4AD, and bands like The Jesus and Mary Chain and Pixies have shaped how we approach our sound.
HAPPY: Doo-Wop Rock isn’t exactly a genre you hear every day – what’s the spark that made you want to mix the 1950s with 90s shoegaze haze?
THE MELODRONES: We just wanted to combine two of our favourite sounds. Motown’s sweetness meets post-punk’s heaviness – what happens when you blend the two?
HAPPY: ‘Til Kingdom Come’ captures that feeling of running headfirst into something you know might wreck you – do you think that kind of reckless love is addictive?
THE MELODRONES: If it’s not addictive, it’s certainly fun for a while. What’s the worst that can happen? Maybe you’ll get a song out of it.
HAPPY: You tracked the album live, no more than three takes per track – what’s the magic in that kind of urgency?
THE MELODRONES: The speed of live-to-tape tracking is inspiring. If you’re tight enough, you could finish the album in a day. A couple of tracks like “Keep Me Company” and “Caius” were made up on the spot in the studio.
HAPPY: You wrote some tracks in Manchester – how did the city seep into the songs?
THE MELODRONES: Manchester was already influencing the music before I even lived there. It’s part of my musical journey, and the city definitely seeped into the songs, especially “To Err,” which was written on a guitar from Johnny Roadhouse in Manchester.
HAPPY: The album swings between chaos and euphoria – where do you feel most at home, in the storm or in the eye of it?
THE MELODRONES: We like a mix of both. Contrast makes everything more interesting.
HAPPY: You’ve been underground royalty in the Sydney alt-rock scene for a while now – what’s changed since the early days of The Melodrones?
THE MELODRONES: For us, babies. Mody and Mel have young ones, and we have a new member, Amy Yoshiko, who’s been an invaluable addition.
HAPPY: You’re finally dropping a full-length record after years of singles – what does that feel like?
THE MELODRONES: Cathartic. I hope people love it. Maybe one day, a 17-year-old will find it next to a Mary Chain or Pixies record.
HAPPY: What makes you happy?
THE MELODRONES: A nice jazz record on a Sunday afternoon.
