George Greenough's construction of boats, waterhousings, and waveriding tools in order to manifest his dreams are legendary acts not likely to be repeated. Not since has one man single-handedly so dramatically influenced surf culture. In this episode of Sea Movies, we are fortunate enough to air an exclusive collab by Greenough himself with the talented Australian musician Shannon Sol Carroll who co-composed the soundtrack to Under The Sun with his Band of Frequencies.
For more of Shannon's music and Andrew Crockett's projects check out: switch-foot.com
For more info on Band of Frequencies go to: bandoffrequencies.com
A limited edition 'All I've Found' EP with a frame grab of Greenough on the front cover is available for a short time only at switch-foot.com
It's also available to download at:
Stay informed about Band of Freq's future movements via:
Below is an interview with Shannon conducted by Andrew Crockett (author of Switchfoot I & II):
1) How long have you been working with George Greenough?
We've been working together for last few years on a couple of new short films, 'Deep Tube Riding' and 'Wipeout', that both take a closer look at some of the waves featured in his movies. George narrates and analyses what is going on (in detail) in select cuts from the footage taken on his custom-made 16mm film camera. It’s really interesting to get a glimpse into what’s going on when he’s riding either his high-tech Spoon or the inflatable surf mat with all that camera gear strapped to him. I've been creating the soundtracks using some trippy alternate takes and mixes from Band of Frequencies live studio recordings that were recorded straight to tape.
2) How did you first meet George?
I met Greenough with my mate AC when we went to hang out and jam at his house in Broken Head. GG was playing some of the carbon fiber didgeridoo’s he’s made and we were blowing out on how far the sound travels through the ground.
3) Have you ever surfed with him?
I’ve surfed out off the Cape at Byron with him a bit. He gets the longest waves on the mat, just gliding through the sections, reading the refracting energy lines that criss-cross out there.
4) How long did you spend working on this filmclip?
We started visualizing it a couple of years back. We looked through the archives a few times and then I selected some sections that I felt a connection with. George pulled out the old classic cars footage and the concept of the life long journey really resonated with me so I took a disc of various things home and came up with the lyrics loosely based on the scenes. Once we’d recorded the track I went through and catalogued the shots that corresponded with the songs lyrics and within two days editing with George we had the clip done.
How did writing the song All I’ve Found come about?
Originally I wrote the tune whilst watching the silent footage and it came out as a spacey acoustic track with heaps of delays. When the band version was being jammed in the studio we toyed with the idea of making it a driving shuffle, like 'The Farm' soundtrack in ‘Coming of the Dawn’. I was into a few dubstep tracks at the time and decided to focus that influence into the bands sound rather than go back into the past because for me George Greenough’s greatest influence is as an innovator. He’s always looking from the present and into the future. George is always looking forward so I didn’t feel like going back into the past really did the collaboration justice.
5) Is there much more old content hiding in his archives?
There are plenty of classic moments GG has captured on film that haven’t been released and there are so many more stories to hear. I’m really grateful GG documented that time in surfings progression, but also documented himself surfing so futuristically. There is very little footage of Greenough surfing, aside from the content he captured himself. I really wish I could have experienced those days in a lot of ways... At least the next generations can get a glimpse into that golden era through the footage, sound recordings and stories within these classic films.
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