The Temper Trap

Whichever angle it’s viewed from, whether a 20,000-strong singalong throng in Melbourne, through the smoggy haze of West Hollywood or from the window of Dougy Mandagi’s flat overlooking the riot zone in Hackney, The Temper Trap’s 2009 debut ‘Conditions’ was a roaraway success. Propelled by the omniscience of a song called ‘Sweet Disposition’, the album sold nearly a million copies worldwide. The Melbourne four-piece made a breakthrough at odds with the flash-in-the-pan nature of rock’s revolving door, resulting in a Brit nomination for International Breakthrough Artist and two sell-out UK tours including a trio of shows at London’s Shepherds Bush Empire. ‘Sweet Disposition’ may have been their not-so-secret weapon, but they backed it up with an album of nuanced epic-pop perfection and a work ethic that would mean they wouldn’t see their own beds for the best part of three years.

Dougy Mandagi (vocals, guitar), Lorenzo Sillitto (guitar), Jonny Aherne (bass) and Toby Dundas (drums) had barely relocated from Melbourne to London when they made a tourbus their home-from-home. They’d arrived in 2009 as a band wet behind the ears but armed with songs fit to headline festivals and an ambition that was keen on getting them there. Having recorded ‘Conditions’ with Arctic Monkeys producer Jim Abbiss, their debut was released in August 2009 and what followed was an extensive period of intensive, relentless touring that only ended at the beginning of 2011. If they’d pitched up in the English capital as relative novices, come the end of the year, they’d most definitely found their feet. “My expectations were to play as many shows as possible and see where it went from there,” says Sillitto. “The thought of getting into the Top Ten and selling however many records that we did was never really a goal. As high points go, we played a festival in Australia called Splendour In The Grass and at that point it was the biggest crowd we’d ever played to, like 20,000 people, the reaction was just incredible.” “When you’re onstage and the crowd are singing so loud that you can’t hear yourself,” adds Mandagi, “that’s quite an amazing moment.”

And so, it was in these triumphant circumstances that The Temper Trap, now bolstered to a five-piece with the permanent addition of Joseph Greer on keyboards, reconvened after a shorter-than-expected holiday (“I thought to myself, ‘I’m gonna disappear for a year’, but after a week and a half, I was so bored,” laughs Mandagi) to begin work on their second album. With minimal writing having taken place amidst the whirlwind of the Conditions’ touring cycle, the band entered sessions for album two with a clean slate and little idea of what would surface. Mandagi, though, was aware he had little control over what the main lyrical themes would entail. “I was in a relationship whilst touring the last album and it went bad. I guess I opened the floodgates – I thought I was over it but I had a lot of things to get off my chest so I started writing all these mopey heartbreak songs.”

What emerges is their self-titled second album, a record of two distinct personalities, one of melancholic, mesmeric balladry and one of synth-led, anthemic powerhouse pop. “Each time I play my friends these songs they all have a different favorite,” says Aherne. “This really feels like a record that could have something for everyone.”

At the centre of everything is the charismatic, enigmatic Mandagi and that voice, a swooping croon that could lift a 747. The Indonesian-born, Melbourne-raised, London-living frontman is the driving force behind ‘The Temper Trap’’s recurring theme of displacement. “I definitely went through phases where the only place I felt like I belonged was on the road, on the stage, in a bus,” he says. “Being on the road gave me a sense of purpose. I love it and there’s no place I’d rather be, but at the same time it can be lonely. That’s all ammo for me as a lyricist.”

Whichever angle it’s viewed from, whether a 20,000-strong singalong throng in Melbourne, through the smoggy haze of West Hollywood or from the window of Dougy Mandagi’s flat overlooking the riot zone in Hackney, The Temper Trap’s 2009 debut ‘Conditions’ was a roaraway success. Propelled by the omniscience of a song called ‘Sweet Disposition’, the album sold nearly a million copies worldwide. The Melbourne four-piece made a breakthrough at odds with the flash-in-the-pan nature of rock’s revolving door, resulting in a Brit nomination for International Breakthrough Artist and two sell-out UK tours including a trio of shows at London’s Shepherds Bush Empire. ‘Sweet Disposition’ may have been their not-so-secret weapon, but they backed it up with an album of nuanced epic-pop perfection and a work ethic that would mean they wouldn’t see their own beds for the best part of three years.

Dougy Mandagi (vocals, guitar), Lorenzo Sillitto (guitar), Jonny Aherne (bass) and Toby Dundas (drums) had barely relocated from Melbourne to London when they made a tourbus their home-from-home. They’d arrived in 2009 as a band wet behind the ears but armed with songs fit to headline festivals and an ambition that was keen on getting them there. Having recorded ‘Conditions’ with Arctic Monkeys producer Jim Abbiss, their debut was released in August 2009 and what followed was an extensive period of intensive, relentless touring that only ended at the beginning of 2011. If they’d pitched up in the English capital as relative novices, come the end of the year, they’d most definitely found their feet. “My expectations were to play as many shows as possible and see where it went from there,” says Sillitto. “The thought of getting into the Top Ten and selling however many records that we did was never really a goal. As high points go, we played a festival in Australia called Splendour In The Grass and at that point it was the biggest crowd we’d ever played to, like 20,000 people, the reaction was just incredible.” “When you’re onstage and the crowd are singing so loud that you can’t hear yourself,” adds Mandagi, “that’s quite an amazing moment.”

And so, it was in these triumphant circumstances that The Temper Trap, now bolstered to a five-piece with the permanent addition of Joseph Greer on keyboards, reconvened after a shorter-than-expected holiday (“I thought to myself, ‘I’m gonna disappear for a year’, but after a week and a half, I was so bored,” laughs Mandagi) to begin work on their second album. With minimal writing having taken place amidst the whirlwind of the Conditions’ touring cycle, the band entered sessions for album two with a clean slate and little idea of what would surface. Mandagi, though, was aware he had little control over what the main lyrical themes would entail. “I was in a relationship whilst touring the last album and it went bad. I guess I opened the floodgates – I thought I was over it but I had a lot of things to get off my chest so I started writing all these mopey heartbreak songs.”

What emerges is their self-titled second album, a record of two distinct personalities, one of melancholic, mesmeric balladry and one of synth-led, anthemic powerhouse pop. “Each time I play my friends these songs they all have a different favorite,” says Aherne. “This really feels like a record that could have something for everyone.”

At the centre of everything is the charismatic, enigmatic Mandagi and that voice, a swooping croon that could lift a 747. The Indonesian-born, Melbourne-raised, London-living frontman is the driving force behind ‘The Temper Trap’’s recurring theme of displacement. “I definitely went through phases where the only place I felt like I belonged was on the road, on the stage, in a bus,” he says. “Being on the road gave me a sense of purpose. I love it and there’s no place I’d rather be, but at the same time it can be lonely. That’s all ammo for me as a lyricist.”

Whichever angle it’s viewed from, whether a 20,000-strong singalong throng in Melbourne, through the smoggy haze of West Hollywood or from the window of Dougy Mandagi’s flat overlooking the riot zone in Hackney, The Temper Trap’s 2009 debut ‘Conditions’ was a roaraway success. Propelled by the omniscience of a song called ‘Sweet Disposition’, the album sold nearly a million copies worldwide. The Melbourne four-piece made a breakthrough at odds with the flash-in-the-pan nature of rock’s revolving door, resulting in a Brit nomination for International Breakthrough Artist and two sell-out UK tours including a trio of shows at London’s Shepherds Bush Empire. ‘Sweet Disposition’ may have been their not-so-secret weapon, but they backed it up with an album of nuanced epic-pop perfection and a work ethic that would mean they wouldn’t see their own beds for the best part of three years.

Dougy Mandagi (vocals, guitar), Lorenzo Sillitto (guitar), Jonny Aherne (bass) and Toby Dundas (drums) had barely relocated from Melbourne to London when they made a tourbus their home-from-home. They’d arrived in 2009 as a band wet behind the ears but armed with songs fit to headline festivals and an ambition that was keen on getting them there. Having recorded ‘Conditions’ with Arctic Monkeys producer Jim Abbiss, their debut was released in August 2009 and what followed was an extensive period of intensive, relentless touring that only ended at the beginning of 2011. If they’d pitched up in the English capital as relative novices, come the end of the year, they’d most definitely found their feet. “My expectations were to play as many shows as possible and see where it went from there,” says Sillitto. “The thought of getting into the Top Ten and selling however many records that we did was never really a goal. As high points go, we played a festival in Australia called Splendour In The Grass and at that point it was the biggest crowd we’d ever played to, like 20,000 people, the reaction was just incredible.” “When you’re onstage and the crowd are singing so loud that you can’t hear yourself,” adds Mandagi, “that’s quite an amazing moment.”

And so, it was in these triumphant circumstances that The Temper Trap, now bolstered to a five-piece with the permanent addition of Joseph Greer on keyboards, reconvened after a shorter-than-expected holiday (“I thought to myself, ‘I’m gonna disappear for a year’, but after a week and a half, I was so bored,” laughs Mandagi) to begin work on their second album. With minimal writing having taken place amidst the whirlwind of the Conditions’ touring cycle, the band entered sessions for album two with a clean slate and little idea of what would surface. Mandagi, though, was aware he had little control over what the main lyrical themes would entail. “I was in a relationship whilst touring the last album and it went bad. I guess I opened the floodgates – I thought I was over it but I had a lot of things to get off my chest so I started writing all these mopey heartbreak songs.”

What emerges is their self-titled second album, a record of two distinct personalities, one of melancholic, mesmeric balladry and one of synth-led, anthemic powerhouse pop. “Each time I play my friends these songs they all have a different favorite,” says Aherne. “This really feels like a record that could have something for everyone.”

At the centre of everything is the charismatic, enigmatic Mandagi and that voice, a swooping croon that could lift a 747. The Indonesian-born, Melbourne-raised, London-living frontman is the driving force behind ‘The Temper Trap’’s recurring theme of displacement. “I definitely went through phases where the only place I felt like I belonged was on the road, on the stage, in a bus,” he says. “Being on the road gave me a sense of purpose. I love it and there’s no place I’d rather be, but at the same time it can be lonely. That’s all ammo for me as a lyricist.”