The Musical Multiverse Exists: An Interview with Satellite Train
The Musical Multiverse Exists: An Interview with Satellite Train
We spoke with Satellite Train, who told us about their musical vision — a journey through sonic universes. From their shared base between Melbourne and Los Angeles, the band — made up of musicians from legendary projects such as AC/DC, Icehouse, Paul Kelly, and My Chemical Romance — challenges the traditional concept of an album with their innovative project, The Melbourne Sessions Multiverse Experience.
Their new single, “James Dean”, not only pays tribute to one of cinema’s most iconic figures but also embodies the essence of the concept: a single song that exists in parallel versions, with different mixes depending on the platform where it’s played. With the approval of the James Dean family and a production that takes full advantage of Dolby Atmos technology, Satellite Train fuses the rebellious spirit of classic rock with a futuristic exploration of sound.
We spoke with the band about the origins of this ambitious project and the technical challenges behind creating the musical multiverse.
How did the idea of dedicating a song to James Dean come about, and what does his figure represent to you?
There’s always been a legend around James Dean, a kind of mystery that made him stand out. He had this uniqueness, charisma, and confidence that people still admire. Those are qualities many strive for, and the band relates to that idea of wanting to be unique. There’s also tragedy mixed into his story, which makes it even more interesting. Often, success and tragedy seem to come hand in hand, and people who achieve that level of fame probably understand that risk. o me, James Dean represents both the beauty and the cost of standing out. What makes him fascinating is that his kind of uniqueness doesn’t happen as often in movies as it does in music. We aim for that same sense of individuality. Getting permission from the James Dean family to release the track added another layer to it all. It reinforced that feeling of awe and almost untouchability that surrounds him. It was also the first song written for the album, and it really set the tone for everything that followed The concept of a “musical multiverse” is truly innovative.
How did the idea of offering different versions depending on the platform come about?
It actually came from other mediums, like film. Spider-Man: No Way Home was a big influence because it showed how one idea could exist in multiple worlds at once, each version slightly different but sharing the same core. We thought, why can’t music do that? That’s how the Multiverse Experience was born. With Dolby technology, we were able to make that concept real. If you listen to the same song on Spotify and Apple Music using Dolby-capable headphones like AirPods, you’ll actually hear two different versions of Satellite Train. You can even switch between Dolby and non-Dolby playback and experience new variations. It was incredibly difficult to pull off. The engineers found it confusing at first, and explaining what we were trying to achieve wasn’t easy. It took a lot of trial and error, but now that we’ve figured it out, we’ll continue doing it for our next albums.
What technical and creative challenges did producing different mixes for Apple Music
and Spotify involve?
There were plenty. None of the musicians from one “universe” heard what was happening in the other, so it really was like building parallel worlds. The band members weren’t aware it was going on. The initial engineers struggled to bring it to life. Eventually, we brought in Robert Adam Stevenson, who was open-minded about the idea even though he wasn’t sure it could be done. He pushed the Dolby technology to its limits and made it work. He mixed the record in this incredible house and studio owned by a well-known actor, and the atmosphere was surreal, like being on a movie set. I think the coincidence of that atmosphere is what got it over the edge. It was the perfect environment for something as abstract as the Multiverse concept. There were moments when we were close to giving up, but we managed to pull through and make it happen.
Satellite Train brings together musicians from legendary projects like AC/DC, Icehouse, and Paul Kelly. How does having members split between Melbourne and Los Angeles influence your creative dynamic?
I think it gives the music a really unique quality. The musicians in Melbourne and the musicians in Los Angeles have very different musical paths and influences, and that comes through in how they play. When those sounds are mixed together, it creates something special that still feels consistent. There are moments that sound very American and others that sound very Australian, and that blend is part of what makes Satellite Train distinct. We also like to mix up who plays on each song so there’s variation from track to track. Even with those differences, we’ve developed a signature sound that ties it all together. We’ve only released one album so far, but the second one is on the way and two more are already in progress. Each album has its own character, but you can still tell it’s us. The first album has a very Australian sound, the second more of an American flavor, and the third doesn’t really fit either. It leads to unexpected results, which keeps things interesting.
Many of you come from the live music world, yet this project focuses on the studio. Do
you miss the stage, or is this a new form of performance for you?
The focus on studio work wasn’t really by choice. Most of the musicians are out on the road for huge chunks of the year, constantly touring or recording with other projects. Chris has been out with AC/DC, Jamie with My Chemical Romance, Randy, Shane, and John seem to be on the road all year long, and Michael has been performing in the musical Jesus Christ Superstar over the past year. Playing live as Satellite Train would be amazing, and I think it would sound incredible. If we did it, the focus would probably be on improvisation. We’d want the musicians to play freely and not stick too closely to the recorded versions, which would make it fun for both the band and the audience. There are just too many challenges to getting out live. Everyone’s schedules are packed, and since we’re an independent act without management, a label, or any real promotion, it would take some real success to make live shows possible. But it would be pretty incredible if it could happen.