Local music legend Peter Knight has just released a new album with his band TL;DR. The Westsider’s Natalie Heslop chats to him about his creative approach and influences.
TL; DR’s music is often described as open-ended and organic. How do you approach composing or improvising in a way that keeps it engaging yet flexible?
The music of TL; DR is mostly improvised. We use a kind of structure based on repetition. Each member plays a phrase, rhythm, or melody, almost like live looping. We observe how our ideas intersect and evolve, and that’s where the magic happens.
It’s interesting how TL; DR’s music doesn’t really fit into just one genre. Was that a deliberate choice?
Absolutely. I’ve always gravitated towards music that sits between genres. I find that working with musicians like Helen Svoboda, Theo Carbo, and my son, Quinn, brings out that blend of influences. We don’t want to be confined to one label; we want to create something unique and fresh.
TL; DR unites musicians from different generations. What has been the most rewarding part of that dynamic?
It’s been incredibly exciting, especially for me as someone who’s spent much of their career connecting with young musicians. I’ve known Helen and Theo for years, and when we formed TL;DR, I wanted to continue that exchange of ideas. It keeps me sharp, and I love learning from these younger artists. It’s about sharing knowledge but also staying inspired by their energy and fresh perspectives.
Helen Svoboda’s wordless, melodic vocals are often compared to another instrument in the band. How does her voice blend with the band’s electronic textures?
Helen’s voice is such a key part of TL; DR. It blends seamlessly with my trumpet and the other textures we create. Because she’s an instrumentalist at heart, she approaches her voice like an instrument, almost like a horn or a flute. The way she constructs melodies and places her voice in the mix is fascinating. It’s not just about singing; it’s about adding to the music landscape in a unique way.
TL; DR’s live shows offer a more immersive experience than traditional performances. What do you hope audiences take away from a gig?
We aim to create a space where people’s thoughts can drift. Rather than telling you how to feel, we want to give the audience the freedom to fill that space with their own emotions. It’s a kind of relaxing, meditative experience. When people tell us they felt moved or found themselves drifting into an interesting sonic space, that’s incredibly satisfying.
Have you received any memorable feedback from audiences?
Yes! We recently played in Stanthorpe, a place not known for jazz or experimental music. A lot of people didn’t know what to expect, but they were really surprised by how much they enjoyed it. One person said, “It was strange, but lovely.” It’s great to reach people who might not typically go out to hear this kind of music.
You’ve lived in the West for 25 years. How has ths area influenced your music?
Living in the West has had a huge impact on my work. I’ve had bands focused on this neighbourhood before, like our album Footscray Station. I’ve been involved with places like The Substation, and I’m proud of how this area has shaped my music and my identity as an artist. It’s a very important part of my creative process.
You’re about to hit the road again for the TL; DR tour. How’s the tour going?
It’s been great! Touring with my son, Quinn, has been a wonderful experience. We’ve played together most days for the past 15 years, but this is the first time we’ve toured outside Melbourne together. It’s easy-going and fun, a great vibe on the road.
The TL;DR album is out now, and the national tour wraps up with a Melbourne gig at Peter Knight’s studios in Florence St, Seddon, on August 10.
