Montpelier

Montpelier have recently released the lovely Peter Gabriel-like single Last Boat, which is about vocalist Greg Chiapello’s coming to terms with living with OCD as a teenager. The guys have a lot more planned for the year though and I have interviewed Greg to get the scoop-y juice.
Also, clicks for the coffee mention! I couldn’t go a day without it!

A Has Been: Do you think Montpelier’s sound has evolved much since your early days?

Greg Chiapello: I think it has definitely matured and developed. We had only been together for a few months before recording over in LA so I think the new record will be a strong reflection on how close we have all become both musically and as friends. Some of our favourite bands are the ones who continue to evolve and try new things, so we want to follow down that path and really push ourselves creatively.

AHB: I read that after meeting someone at SXSW you got a little more recognition, starting in New York. Do you think it’s important for Aussie artists to travel in order to get their name out there?

GC: One of our band’s ethos is ‘fortune favours the brave.’ I think by Andrew going over there without a whole lot of knowledge and doing what he did really says a lot about going out on a limb and backing yourself and the team you work and create with to find opportunities. I believe if you have substance you will find opportunity if you go and get it. There are opportunities everywhere, you just have to be open and ready for them.

AHB: How has the reception been since then?

GC: It has been very positive and has been becoming even more so with the last couple of tours and releases. Just after we got back from LA there was an element of people not really knowing what we were about and thinking we were just a bunch of rich boys throwing money at a big name producer. The fact was that an opportunity had presented itself after a lot of hard work amongst the band and we were given the chance to record with someone we respect and learnt a hell of a lot from in the process. All at a very, very modest budget to say the least, so we snapped it up. Since then we have had the chance to prove ourselves and are looking forward to building on that with the next release.

AHB: Outside of music, where do you draw inspiration from?

GC: My family and friends are a big source. My room mates are in theatre and music so hearing their stories inspires me a hell of a lot every day. Hearing what other musicians are doing now, and what others have done in the past… Movies and a glass of red is a good combo. Also coffee, the sky, and nature. Pretty much everything actually.

AHB: What plans have you got for 2011?

GC: We are currently in the final stages of finishing the EP. First of all though we will be releasing a couple of tracks in the lead up. Also a lot more touring followed by a break towards the end of the year to retreat as a band and start working on a whole heap of new songs we have waiting in the wings which will hopefully become an album.

AHB: Can you share any memorable live moments, as a performer or spectator?

GC: Playing with the guys continues to get more and more exciting. I love playing with Dave, Johnny and Andrew and wouldn’t trade it for anything. For me every time stepping out on to a stage with the guys is memorable. Supporting Frightened Rabbit in Melbourne was a great experience and gave us a taste of how fun the Scottish can be.
As a spectator I saw Glen Hansard up close at the Sydney Opera House last year. I stood right at the front and centre… That was damn special! That man breathes passion and is very inspiring to watch!
Seeing all the bands in the Brisbane music scene play and support each other is also something very special. We are very good friends with the Charlie Mayfair crew, so forging ahead together and watching them grow into what they are now is amazing! Being a part of our town’s music community is something which I am very proud of. - A Has Been That Never Was

Dave Butler from Brisbane feel good group Montpelier spins a tale of rehearsals, writing and the rewards.

Our band name Montpelier is named after the street where our first rehearsal room was on Montpelier Road in Brisbane. There’s this really run down, dirty old bunch of rooms there and that’s where we had our first jam. For some reason heaps of people think that we took the name from a brand of mineral water. That’s not true but maybe we should make bottled water part of our merch.

What inspires you to write, perform, get out of bed?

The writing thing for me is really about just trying to write a really brilliant song; one that people want to sing along to because it means something to them.

When I listen to my favourite songs by other artists, if the timing is right or if I’m seeing them live then I’ll get the whole shivers down the spine thing happening.

That’s what I’m aiming for with my songs. One day I’d also like one of my songs to so profoundly express something that when people hear it they think, “That’s exactly what I wanted to say, I just couldn’t find the words.”

As far as getting out of bed goes, there are these kids who live in the house behind mine who are the loudest kids I’ve ever encountered. They wake me up every single day.

Tell me a bit about the writing process within Montpelier. Do you tend to fall into specific roles or apply more of a chaos theory approach?

Usually Greg and I will start the process, getting songs together in their most basic form. Verses, choruses, lyrics. The basics. Sometimes if we’re getting along that week we’ll collaborate on that first step. Then we’ll usually play new songs for each other and work out harmonies and who’s best suited to sing what. Then we’ll take those bare bones of songs to the rest of the band and arrange it from there. So the final sound of every song is really a collaboration of the four of us.

You recently recorded with ARIA nominated producer, Tim Powels- what was he like to work with?

Working with Tim was different to any other experience of creating music that we’ve ever done before. In the past we’ve always written the songs, arranged them and rehearsed them to completion as a band before getting anyone else involved. With Tim we started the collaboration with a bunch of demos that hadn’t even been completely written yet. So from the outset he had a really big part in helping us shape the direction of the sound of the record.

He seems to have a lot going on inside his head all the time; like he’s got a Rolodex of awesome ideas up there and he’s just trying to find the right one. His nickname is the TimeBandit and so when working with him any sense of normal time kind of disappears. At the end of one session Greg and myself finished vocal takes to find it was 5am and we had to get straight in the car and drive to Melbourne for a gig.

How did you find working and living in Sydney?

Well we haven’t exactly lived in Sydney. Tim’s studio is in Ryde which is about half an hour west of the city, and so our whole experience recording with him consists of being in the studio, sleeping in the flat he has attached to his studio and walking across the road to the RSL to get dinner. There’s never a whole lot of time to just wander around.

Did you get much of a chance to catch up on the local music scene there? How do you think it compares to Brisbane?

We’ve been down to Sydney a whole bunch of times to play gigs or to record or whatever and so we’ve had a bit of a chance to get involved in the local Sydney scene. It’s a lot more spread out than Brisbane I think. Venues are littered all over the place in Sydney whereas in Brisbane, with the exception of a few, everything’s pretty much in The Valley. So I think Brisbane has more of an intimate scene. But maybe it just feels like that because we live here. Whichever way, both are really different and really great.

Brisbane recently lost one of our much-loved venues, The Troubadour; what would you say your dream venue would be?

We really loved The Troubadour. It was a really great intimate little venue with such a community around it.

When I was younger my favourite venue was The Tivoli in Brisbane. I saw so many good bands there and I always thought that one day I’d love to sell out a show there. So I think for the moment anyway that The Tivoli is really a dream venue I’d love to play. That would make the teenage version of me very happy anyway. If we manage to sell that out one day then I might be able to think bigger.

If you could play alongside any artist, who would you chose and why?

There are lots that I’d love to play with but on top of the list would probably be Coldplay. They released their first album when I was just starting to write songs and they’ve been a massive influence on how I see writing and performing and being in a band. Their live show is also probably the most amazing immersive concert I’ve ever been to. I think there would be so much to learn from them and it would be a pretty priceless experience.

The film clip for your latest single Last Boat was created by Paul Andrew Rhodes, using paper-stop-motion, which gives the entire piece a very story-book kind of feel. Did you have any say in the creative decision for the clip, and what do you think of the outcome?

When we work with someone on a project other than our music we’ll generally give a really basic brief of what we want to convey to our audience and then give them pretty free reign to come up with the concept. Paul came back with this really visual and creative idea of the paper-stop-motion animation for the film clip and we loved it. The final product was nothing like I could have imagined but I think it’s amazing. When working with people who are really great at what they do, the best part is when they come up with something that we never would have thought of for the project. - Not Street Press

Montpelier. The Australian four piece are fans of bands such as Death Cab Cutie, Doves and The Shins; They have supported some very big names, such as Frightened Rabbit and Biffy Clyro to much appreciation.

Their latest release, an emotion-fuelled track called ‘Last Boat’ is something of an artistic masterpiece. And I’m not just talking about the music video. So you really know what I’m talking about, I thought I’d add the video at the bottom!

Taken from a new EP that is ready and waiting to be released in April 2011, the vocals are haunting and expressive. Montpelier are like a pot of gold at the end of the rainbow. Written and performed by front man Greg Chiapello, the track is about coming to terms with living with obsessive compulsive disorder as a teenager.
Enveloped in an atmospheric bubble, the track is simply sweet. Fellow front man, Dave Butler’s melodic vocals also add a nice touch, as sharing such a track with others when it means so much to one member can sometimes be very difficult. Although, ‘Last Boat’ is performed with passion all over.

The music video itself is very sincere and clever, it was produced in paper stop-motion by Sydney film-maker Paul Andrew Rhodes. - New Reviews

Hauntingly beautiful....

This gave me goosebumps the first time it wafted through my speakers, and has been on high rotation ever since. A mournful lament with such sweet sounding harmonies, this is the latest tune from Brisbane four-piece Montpelier.

Comprising Dave Butler (vocals, guitar), Greg Chiapello (vocals, bass),Andrew Stone (keyboards) and John Pickering (Drums), Montpelier are a formidable force with two amazing lead vocalists who compliment each other beautifully. I am struggling to find the words to fully portray the exquisiteness of their sound... But since there is this little website called Facebook complete with this amazing contraption called a music player you can just log on to their page and listen to what I'm making all this fuss about.

Lush and layered, this is an alluring, delightful piece of music, smooth and polished, even the artwork is divine. It's slow, it's sweet and you need to listen to it!

And it's just a tantilising taste, a snippet from their next EP which is due out in April and was recorded in Sydney with Tim Powles (Regular John, The Church). A small exquisite offering to tantilise the taste buds and leave us wanting more and wishing the months away...

Hurry up April, I need to hear more... - The Dwarf

I like Montpelier. I don’t know whether it’s their beautiful music or that they’re a bunch of good-looking, well-dressed young blokes. Either way, the fondness exists. Okay, so pretty faces aside…

Whether you’re a fan of sentimental indie pop (think Death Cab for Cutie) or passionate indie rock (Arcade Fire style), the Brisbane band caters for all with an individual sound that encapsulates both and then some. Their songs aren’t your standard clone pop numbers, yet are catchy enough to imagine on some top twenty music list. This charming quality carried across from their debut self-titled EP to its Sydney launch at The Gaelic Theatre Friday night.

Montpelier are an act worth seeing live. Vocalist Greg Chiapello has a powerful, stirring voice that is a great asset to the band, and their passion and talent carries across in their performance with heartfelt precision. They played songs from the EP such as the Celtic-flavoured ‘Take A Picture’ (reminiscent of The Pogues) and a selection of other songs, ranging from a bluesy number to the nostalgic ‘Last Boat’. I would have liked to have heard even more of the EP though – don’t hold back, fellas!

Preceded by rock band Sunroom, the contrast in atmosphere and audience with Montpelier was astonishing (exchange Tool t-shirts and mosh pit for composed kids wearing glasses and pretty dresses). Their lyrics are wistful and poetic, revealing that those of the male species can be as profound and romantic as the rest of us. Strong drums and guitar amplified the rock element, while melodious keyboard and persistent harmonies reinforced the sentimentality. The intimate Gaelic Theatre provided a fitting atmosphere for the emotional intensity that comes across with Montpelier.

Montpelier left the best until last with ‘The Rafters’, a catchy tune marked by a fantastic keyboard riff and the subtle vocals of Dave Butler. The song was welcomed with crowd-clapping and dancing and finished with a communal chorus singing “oh-oh-ohhh…”. I amusingly recalled singing along in the same passionate way listening to their EP in my bedroom. Montpelier are proficient at spirited, anthemic phrases which draw the crowd into their colourful world of “comets” and “fireworks”.

A talented bunch, Montpelier have great potential and are one to watch. The next step is getting their music heard, so let’s all sing along—in, and out, of our bedrooms. In their words: “let the music play, doesn’t matter where you are.” - Music Feeds

Trying to get noticed as an indie band in Australia usually goes in hand in hand with more than a few compromises, some minor, some scarring for the rest of your life and not all of them artistic. Montpelier however are a band who defy this unfortunate trend, having not only garnered praise from press and industry alike, but hooked in big name American producer Kevin Augunas (Cold War Kids, Edward Sharpe & The Zeros) to record and produce their latest EP.

Listening to their music it all becomes clear. Sporting a diverse range of influences spanning from the uplifting pop rock of acts such as Elton John or Coldplay all the way through to the adventurous and introspective indie of bands like Death Cab For Cutie and Doves, Montpelier aren’t afraid of walking in the shoes of those who have come before them while always trying to tread new ground. - Music Feeds

A technical hitch holds MONTPELIER up for a few seconds as they begin but they calmly swing into gear, and begin a very chilled out and relaxed set. Informing the small crowd that they have just returned from LA where they are recording their debut EP, they launch into – œThe Rafters’, the standout song of the set. Lead vocal duties are shared between the bassist Greg Chiapello and the guitarist Dave Butler and their light vocals match the indie-pop tunes perfectly. The foursome has only been together since the start of 2009 but are very much in sync with each other, and their music, and tonight’s set suggests big things may be on the horizon. - FasterLouder

Montpelier… timeless Australian indie-pop.

If I was a thoughtful, modern man and wanted to be a band with integrity and class (and I was a good singer and could write great music) then I’d probably record earnest songs about love with subtle string arrangements and slow building crescendos. I’d also set them to uncomplicated visually arresting film clips which are about love too. Wouldn’t you?

There’s something about Montpelier which to me smacks of class. The name of the band, the beautiful packaging of their EP, the unresolved nature of the love story in this film clip and their songwriting. There’s a subtlety there that tells me that they think hard about their music, their web presence and themselves. Big things I reckon, that’s what’s going to happen to Montpelier.
- AIR Charts - Staff Picks

Local indie-rock 4 piece Montpellier is a slick choice of opener. Their classy offering of very original originals strike up giant-killer comparisons from Arcade Fire to Foals. Deliciously layered vocals soar while simple but sharp drumming keeps the seams tightly sewn. A slow funk-blues track mid-set throws what turns out to be a golden spanner. As the set builds to a climatic close, the steadily growing crowd is totally sold and as the Brisbane boys disappear from view, they do so with a stack of new fans. - FasterLouder

Montpelier (pictured above), a local Brisbane band, played superbly as the opening act. Their songs were refreshing and soulful, the melodies sweet and harmonic. Comparisons to Arcade Fire and Death Cab for Cutie were easily made, as Montpelier’s performance balanced pop with indie rock wonderfully. The boys were dressed slickly, and with an equally slick stage presence, they will be a band to watch out for in the years to come. - News Unlimited

Brisbane lads Montpelier were first to grace the Hifi stage and gave a great start to the night. Upon early impressions of the band, they appeared to look very mismatched and not particularly cohesive, but once they began playing it all made sense. Their style is a mix of slow rock and alternative synth sounds, with long build-ups in some tracks, and others carrying a real pop rhythm. In the beginning of the set they seemed to struggle with mic control, however this eased up as they got more comfortable.

Both individually and combined, this band showed their ambition through their efforts on stage. Their songs were solid, with the crowd reacting well to songs such as The Rafter and Take a Picture. The shared vocals between Dave Butler and Greg Chiapello worked well to provide variety both in harmonies and solo. Perhaps due to nervousness, or maybe being a little overwhelmed, they managed to mention their band name four times, as well as where they are from. An endearing bunch, this group was obviously very pleased and thankful to be supporting a band they admire so much. Montpelier was captivating, and although at times songs may have bordered on the repetitious in sound, there was always an element of change to hold interest and make people pay attention to them in the future. - FasterLouder

So we posted the new Montpelier single ‘Last Boat‘ a few weeks ago, to a rather enthusiastic response from the indie-webs music community. The lads have just dropped us the new clip for the track, exclusively to show ya’ll.

Using the old painstaking ‘paper-stop-motion-technique’, which took creator Paul Andrew Rhodes around 17 years to make, a small bearded hipster goes on an exciting hallucinogenic journey into a nautical wonderland. I don’t want to spoil it for you, but the hipster rides a squid.. Enjoy. - whothehell.net

I came across Montpelier a little while ago with their self titled EP in 2009, initial thoughts of Coldplay and Arcade Fire as points of departure, but certainly strong song writers to keep an eye on. The bands new material has improved out of sight, working with Aria nominated producer Tim Powles (Regular John, The Church) has had an impact on the bands direction, with production quality and moving closer to their own unique sound. The first single, Last Boat, employs the epic intro, building up to the rather huge beat that drops to get the head nodding. The album demos also sound very promising. Check it out. - whothehell.net

One of the last standing live music venues in Brisbane, The Zoo swelters inside as keen punters enter to see an array of local bands. Tonight’s line up includes Kate Martin, Jac Stone, The Art of Sleeping and Montpelier as they launch their single Last Boat from their soon to be released second album...

Different colored lights shine on stage, as the five-piece that is Montpelier come out and get straight into the show. Drummer John Pickering plays a beat reminiscent to The Cure’s Close To Me. The intro is long but this gives enough time for the punters to move close to the stage. Vocalist Dave Butler sounds similar to Death Cab For Cutie’s Ben Gibbard, and projects his voice to the back of the venue. The band members nod their heads to the music as they get through an indie pop song and a slow jam, which includes a beautiful keyboard solo before saying hello to the crowd.

The keyboardist then exchanges his keys for an accordion and Charlie Mayfair guests Hannah Sheppard and Dave DeMarco appear on stage to help the band through their next song. It sounds similar to something you would hear on a Mumford & Sons album.

The purpose of this show is to launch the single Last Boat and when the first notes are played, the crowd cheer and whistle. Punters sing a long and pump their fists in the air as Montpelier play their beautifully crafted, indie pop single. - FasterLouder

As a slight contrast, headlining act Montpelier produced a highly polished, smooth sound – something which is an impressive feat by any band, of any measure. This is a four piece who have most certainly found their feet. But that doesn’t mean they didn’t bring on a varied set, either. They take on board quite a lot of sounds – from Foals to Dappled Cities, mixed in with the commercial sounds of a band like Evermore and Powderfinger, Montpelier have quite a lot of potential to make it big. There’s even a good dose of the 90s in their tunes, which they combine with the aforementioned to make their own.

Some tracks were slightly more relaxed, and others quite epic. “Last Boat”, their upcoming single, was brilliant and the easy highlight of the night. Meanwhile “Don’t Change” (working title) proved another amazing point of the set. If the band continue down this track, there’s not saying where they’ll end up. As the saying goes, the skies the limit, and this band should certainly reach for it. - The AU Review

Recorded in Hollywood with US producer Kevin Augunas (Cold War Kids, Yves Klein Blue), nothing unradioworthy was ever going to come of this. But with subtlety and honest intent, the Brisbane fourpiece somehow manage to keep things home-grown. There's a lovely Oz element to these epic youth anthems - and indie-nostalgia can still work.

Opening track 'The Rafters' and follower 'Take a Picture' instantly stir a deliciously classic brew of indie piano pop that (astonishingly) reeks of earnest sincerity. Like a sentimental Ben Folds, they charge out Temper Trap-esque drumbeats and alternating notes like an indecisive mind. Standout 'Girl' blends vocalist Greg Chiapello's somewhat melodramatic lyrics ("every time you cut yourself you cut me too") with a genuine pang of sorrow, to craft a lovely and stripped-back musical meditation that pristinely captures tragic loss, and fourteen-year-old love.

The strength of Montpelier lies in melody - the ability to create memorable, chart-worthy tunes. Any enthusiasts of Ryan and Marissa's tumultuously self-obsessed meanderings will be unable to deny Montplier, especially with final track 'Fireworks', which listens like a teen-drama pre-credits clincher.

This is heartfelt, return-to-hometown music; the kind of tracks that inevitably invoke self-reflection and nostalgic nods to 1998... - The Brag

It can be hard keeping up with the local music scene; bands come and go – you see some make it and then spend the rest of their career telling people you saw them when they were “just starting out”. For that is the natural progression of a band – to start off small and then work their way up to bigger things. Montpelier, a Brisbane four-piece, seemed to have defied all logic and started with the biggest first – and by the looks of it, this is only the beginning to what may become domination of Australia’s indie-pop culture.

It may seem like I’m jumping the gun a bit here (a month ago I had never even heard of the band), but I have since discovered that they recorded their first EP in Fairfax Studios in Hollywood with Kevin Augunas (who worked with Cold War Kids and the Zeros) in Fairfax Studios, Hollywood. Like I said: starting off big. Luckily, I will be able to be one of those who can claim to have seen Montpelier during their humble beginnings as they played the Troubadour along with Claire Whiting and Blame Ringo as part of the Broken Compass Tour. The band is comprised of Dave Butler (vocals/guitar), Greg Chiapello (vocals/bass), Andrew Stone (keyboard) and John Pickering (drums).

Unfortunately, the term ‘indie-pop’ can be more of an affliction than a classification – but the band’s determination to not become defined by the label is what works best for them. Their influences – the likes of Death Cab for Cutie, Arcade Fire, Radiohead and the Shins – can be quite distinctly recognised upon listening to their tracks, but in a way that seem to update and refresh the ‘alternative’ culture of the past.

The songs are diverse. For example, The Rafters contains beautiful harmonies and repetitive pop melodies coupled together in what can be recognised as an uncannily brilliant juxtaposition. And it is not just by chance or luck that these combinations work so well; listening to their self-titled EP reveals this type of layering across many of the songs.

One thing that may be detrimental to the band is that they don’t yet really look like a band. Skinny jeans and thick-rimmed glasses will only get you so far and in my opinion it would perhaps be wise for each of the members to start to forge their own role within the band. This being said, their fans don’t seem to mind at all. They have a distinct group of followers here in Brisbane, and if things keep going to plan, this fan-base is set to multiply big-time. - News Unlimited

Montpelier‘s debut EP showcases their melody-driven indie/pop music beautifully and amanges to leave you craving more. There’s nothing overly rough or technologically edited in Montpelier’s EP: it’s organic, natural, piano driven pop featuring rolling percussion, gentle yet punchy guitar and breathtakingly beautiful vocals.

Produced by Kevin Augunas of Cold War Kids, Edwarde Sharpe & The Magnetic Zeros and Yves Klein Blue fame; the EP benefits from subtle changes of tempo throughout, yet relies primarily on their trademark melodies. The band utilises lead singer Greg Chiapello’s ability to hit high-pitched notes just often enough. The gentle melodies and clever tempo-changes highlight his exceptional vocal talent, but at no stage do you feel like the band is dependent on his prowess behind the microphone.

Chiapello’s voice has this remarkable ability to put me to sleep, making me so engrossed in his music that life is an afterthought and dances along like a lunatic; all at the same time.

The multi-tiered harmonies and charming melodies are so intrinsically warming that it’s only upon closer inspection that you realise this is essentially a record that explores the themes of loss, rejection and love.

The lyrical content is not exactly unique to piano driven pop bands; but is complex, intriguing; Montpelier tells stories that captivate every ounce of your attention.

Whilst each track differs only subtly, Montpelier’s debut EP can’t be termed one-dimensional.

Featuring snappy piano and soaring harmonies, opening track The Rafters is the most lyrically beautiful track of the album and jostles in competition with slow burner Fireworks for the title of my favourite track off the album. Fireworks features rolling percussion, and then acoustic guitar that ups the tempo at just the right moments.

The composition of each song and the EP as a whole belies the band’s tender years and lack of musical experience.

The EP shows exactly why Montpelier is described as a band to watch out for. Do yourself a favour and discover them. - The Dwarf

montpelier had just finished their encore when i overheard someone exclaim, "fuck man. that was awesome!". i'm not sure there's much more i could add to that - it's possibly the best compliment the band could have received about their 'last boat' single launch at the zoo on saturday night. but i'm going to give it a go.

you know when your face hurts at the end of a gig from smiling so much, and you find yourself still smiling in the morning? i'd say it's a pretty good sign that something quite musically amazing had unfolded.

montpelier, plus a fifth member [andy collins on electric guitar], opened with a long introduction to a pumping 'suburbia', followed immediately with 'danny'. now, i know i've said before that one thing i judge a good gig by is the engagement with the crowd - often done through talking between songs. well, montpelier didn't address the crowd until two songs in. but this didn't matter. it was almost as though the crowd was simply watching in on a jam session. there was an intimacy between band members, as they stole energy + glances from each other to create something special. and let's face it. montpelier is a very good looking band. [made all the more dapper dressed in subfusco.] so watching them just do their stuff on stage wasn't particularly difficult.


then andrew's piano accordion made an appearance. will + hannah [charlie mayfair] joined the boys on stage for 'the irish staircase', a happy, jiggy number, made all the more happy with the bouncing energy of all on stage. hannah was swapped with tom wearne [tin can radio] on trumpet and another charlie mayfair member, dave [dancing with his acoustic guitar], for the big 'take a picture'. at this point, the joy in the room swelled, and continued to do so as the night simmered on. a few more additional band member swaps for 'the harder times of yesterday' [hannah's voice was again exceptional] and then 'last boat' slipped quietly into the set. and without words at the song's end, 'start a war' began. quite a subtle 'launch' for an impressive song. a song that i always find myself singing for some time after seeing it live. the continuing collaboration between montpelier and charlie mayfair is great, and adds a little more richness to each band's gigs.


during the encore, greg sang a solo 'lonely people'. then finally, 'rafters'. wow. just wow. long, loud music tangents made this the highlight of the night. towards the end, dave + greg stopped singing and the crowd took over.

and so the end had finally come. although i am sure i could have smiled through another couple of hours. but the people stayed on. as did the clean, live fabulousness of montpelier's great indie-pop slash rock. - Diaphanous Bird

Here's a typically well constructed ditty from unsigned Brisbane band Montpelier.

I tweeted the other day that I thought this song was a guilty pleasure. Guilty because its hooks are so immediate, guilty because the song is so emotive and the music snob in me resents being won over so easily. Guilty because I secretly love getting all emotional and ending up a blubbering mess listening to sad indie music. Some serious congnative dissonance going on here.

But. As I watch this clip and listen to the music over and over and over again, I feel less conflicted. They write intelligent and emotional music and they don't make apologies. Hopefully they'll be coming out with a new release in the not-too-distant future and I for one would be delighted to see 12 tracks on an album that are anywhere near as good as "Last Boat".

"Last Boat" is a non-guilty pleasure Montpelier are a great band and I can't wait for the rest of the country to work that out too. - AIR Charts

Following them is Montpelier, a wistful indie-pop band formerly known as The Quills. From the first song played on a rosy-lit stage, their harmonies and melodies are captivating and polished. There is something more than a little appealing about watching pretty boys with trendy haircuts sing beautiful and romantic indie songs. The only thing out of place is the lack of audience, and it seems likely this won’t be the case for very much longer.

- Rave Magazine, 14 July 2009 - Rave Magazine

A technical hitch holds MONTPELIER up for a few seconds as they begin but they calmly swing into gear, and begin a very chilled out and relaxed set. Informing the small crowd that they have just returned from LA where they are recording their debut EP, they launch into ‘The Rafters’, the standout song of the set. Lead vocal duties are shared between the bassist Greg Chiapello and the guitarist Dave Butler and their light vocals match the indie-pop tunes perfectly. The foursome has only been together since the start of 2009 but are very much in sync with each other, and their music, and tonight’s set suggests big things may be on the horizon.

- FasterLouder, 14 July 2009 - Fasterlouder

Buoyed by their forthcoming collaboration with the Cold War Kids producer and with new bassist Greg Chiapello in the ranks, the LA-bound Montpelier clearly aim Skyward as they treat the crowd to their sharp pop-rock repertoire. Live staple Foresight has frontman Dave Butler and keysmith Andrew Stone rocking out with double energy before bringing the set to a shimmering close.

Rave Magazine - 24 June 2009 - Rave Magazine

Montpelier were up next on the outside stage. It’s easy to see that these guys are aiming for the troposphere of the poposphere. They have an 80’s synth pop vibe that’s reminiscent of Human League, Duran Duran, et al. mixed in with an indie-pop flavour that is very much in the same field as The Killers. They write good hooks, dress to kill, and play like they are in a stadium. Maybe, with a bit of luck and perseverance, one day they will get to play in a stadium.

Stu Riddel - Fasterlouder.com.au 24/6/09 - Fasterlouder

Featured Artist: Montpelier
This week, we are featuring recently-returned-from-recording-in-the-United-States-of-America band, Montpelier.

From their MySpace: Montpelier create modern indie-pop with purpose and clarity. The four-piece combine close soaring harmonies with fresh electro-synth and sharp rhythms to give a sound that inspires fans of Coldplay, Radiohead, and Arcade Fire alike.

Montpelier Rd in Brisbane, Australia, was where Dave Butler, Greg Chiapello, Andrew Stone, and John Pickering formed the band that would revisit the lush sounds and pop writing legacies of past decades and reinvent them for the 2010’s. “While our sound is modern, there is something to be said for capturing the beauty of records from another age,” says singer/bassist Greg Chiapello.

Following their inception in early 2009, Montpelier have performed across Australia, though under a different name. The band have since taken a break from the road and non-stop songwriting, and are currently in Los Angeles recording their first EP with eclectic producer Kevin Augunas (Cold War Kids, Edward Sharpe and the Magnetic Zeros, Yves Klein Blue).

What’s the name of your band? What’s the origin of that name? Who came up with it?

We’re called Montpelier, which is named after Montpelier Rd in Bowen Hills, Brisbane, and the old Wizzard studios that many Brisbane bands are fond of and know well! That’s where the four of us first hooked up and decided to play together, and also where The Quills was based in the old days. Greg and Dave came up with the name when we decided to change from the old name. We figured, we’re a new band now, it’s a change of direction musically, and Montpelier suited the new style, approach and had the energy of a fresh start! Montpelier is also the name of a few cities across the world, the most notable of which is the capital of Vermont in the USA, which is the only US state capital without a McDonald’s!

You have just been in the United States recording with the producer who has worked with Cold War Kids and fellow Brisbane Locals, Yves Klein Blue. What was the experience like – where were you and what was the funniest moment during recording?

The experience was like nothing we expected. Being totally immersed in four songs for almost three weeks can do weird things to four blokes. Further, hanging out with each other in close confines for that length of time can get pretty full on, but we got through it as good mates which is important to our musician cohesion and all that other touchy feely shit! John and I had to put up with Greg and Dave doing vocal warm ups all morning while we tried to get our beauty sleep. I swear they spent the whole trip trying to out do each other with who could to the stupidest me-my-mo-ma warm up routine.

Working was Kevin was great! He’s got an awesome studio full of the most amazing gear you can imagine. We tracked all the vocals using the very microphone Michael Jackson (RIP) used to record ‘Thriller’ and his desk is an old one from Abbey Rd. Not to mention the endless guitar amps, old synths, vintage drums etc. We also hadn’t worked with a pro producer previously, and that was a great learning experience in itself. Kevin’s approach is truly about capturing the energy and emotion in the room; our job was to deliver fucking hot performances as often as we could.

The funniest experience of the trip was when our producer, Kevin, decided to take us for a hike up to the HOLLYWOOD sign one morning before we got started in the studio. Little did we know it’s ludicrously illegal and surrounded by motion sensors and cameras and the like. Little did the authorities know, however, that our producer is sadistic and decided to take us on the most out of the way, bush bashing route known to man. Two hours later covered in cuts and grazes we made it up the, sat on one of the ‘Ls’ and were taking pictures when the alarm went off and a voice came over the speakers saying “Stop hiking now!”. We got down and took off back down the hill.

What’s your ultimate direction for your band? Are you seeking fame and fortune?

Ultimately we want to be a band that can tour the world and continue making the music we want to make. We also want to create a new sound for the 2010s, and be part of a revolution that looks back to some of the wonderful music and sounds created over the past few decades. Word on the street is that fortune could be a looooong way coming!

Which songs do you perform most frequently? Do you ever play any covers? Do you have a set play list?

We’ve been giving the songs that are on this EP a fair workout lately, songs like The Rafters and Comets. We’ve never been a band who plays covers, but that doesn’t mean we never will. I think if it’s a great song people haven’t heard fror a while, and something that is quite different to what we do already it’d be good fun to cover. The main goal at the moment is to write and write to get a fat set together in the lead up to recording a debut album next year.

Greg Chiapello, your bass player, is one of our previous interns. He’s a total dude! Has his inclusion in the band changed the style/feel of the band?

Yeah, Greg’s a wild one. He must be of good breeding coming from Musicadium! His vocal presence and song writing is what has changed us most as a band, and is what inspired us to change the band name and entire feel of what we do. He’s a fucking great songwriter too, and that’s the most important thing about being in a great band, having good songwriters!

What are your rehearsals generally like? Do you have a set time each week in which you practice or are rehearsals more spontaneous?

It depends, we’ll ramp it up before a show, but we’re mostly writing at the moment, trying to put something special together for when we launch this EP. We hope to be touring a heap for the rest of the year so it’s best to get the songs ready now!


What inspires you? What makes you wake up and think “Wow! That really matters!” What makes you want to write songs that make people sit down and think?

People and the truth. They’re what do it for me. There’s alot of nonsense in this world and often people lose sight of what matters. I’m not saying that we have all the answers about what matters, but it’s an interesting journey and that’s what we write about. That also sounds really vague and like I’m avoiding the question - but it’s a hard thing to explain.

We like to give people a moment where they might hear a tune or a lyric and say ‘hey yeah, I can relate to that’. It doesn’t have to be something that you actually experience yourself, but it is usually something that you have experience with. Hearing it put into words, or a song, or a movie, or a picture gives you perspective on that thing, and on life in general. For example, a song I’m writing at the moment is about a lady who mildly exaggerates every story she tells because she doesn’t feel the original story is good enough - it’s sad and funny at the same time. I used to feel like that, maybe others do too. Who knows, the song might turn out shit, but we’ll see.

How do you promote your music that you have for sale in the digital outlets?

We promote it like we promote everything band related, accross online media, social networks and we mention it at shows and in publicity. As an independent band with worldwide aspirations it is so important to be able to point a festival promoter or New York fan to a link to iTunes for quick and easy consumption!
- Musicadium Blog

Rave Magazine Single of the Week

Published November 10, 2009

Don’t shake that smile just yet. There’s another one to be had with another Brisbane group Montpelier – though their piano-indie lends itself to more of a contented sigh than a raucous party guffaw. The established acts Montpelier recall throughout this floating, dreamy, but still somehow grounded excursion are numerous – the pop sensibility of Ben Lee without the smugness, or maybe the cerebral self-awareness of The Panics without their occasional indulgent meanderings. These are big calls to make about a band so new that their eyes are still adjusting to the light, so truly the most startling thing about The Rafters is that it’s the group’s debut. It’s just so … confident? I’m scribbling their name down as the next ‘must see’ local act.

-Simon Topper

http://montpeliermusic.net/wp/2009/11/rave-magazine-single-of-the-week/
- Rave Magazine

Turn the tables once again, and main act Montpelier offer yet more points of difference on the musical smorgasbord of the evening. Fresh from a recording stint in Hollyweird, the Brisbane four-piece are a tight and polished pop-rock outfit seemingly from another time and place. This was no polyester-shirt, horn-rimmed glasses, shoe-gazing affair, but unadulterated melodic soaring, backed by some superb uplifting harmonising. Guitarist Dave Butler kicked off the vocal duties, but spent most of the evening wonderfully harmonising below bassist Greg Chiapello’s heart-on-the-sleeve singing style. Drummer John Pickering’s staccato rhythms provided a necessary counter-point early on and significantly lightened the mood in some of the darker moments. Nearing the set’s end, new singles The Rafters and Fireworks were treated to a slight re-working with Larsen joining them onstage for a little extra guitar and vocal kick. With keyboardist Andrew Stone strapping on a piano accordion, the two offerings were clear indications of this band’s ambitions to make memorable, fit-for-the-moment epic rock. The apt rise and fall of Last Boat Out To See You, with its nautical theme and interesting back-story, perfectly illustrated the intelligence and warmth Montpelier bring to their sound and whetted the appetite for more things to come.

-Brisjamin - Fasterlouder.com