Parcels’ Jules Crommelin and Patrick Hetherington: “I think we felt a collective desire to break out from what people expected from us”

(Image credit: Remi Ferrante Hartman)

Breaking out at the peak of the playlist age, Parcels earned their crust with a slate of snappy indie-pop songs tailored for the dancefloor. And of course they did – just a year after minting their debut EP (2015’s Clockscared), the Byron-native quintet won the hearts of French techno giants Daft Punk. By the time their eponymous full-length effort dropped in 2018, Parcels were veritable superstars, packing out crowds everywhere from Sydney to Sweden. The band are known largely for their prowess with synths, not guitars – which is what their defiantly analogue follow-up, Day/Night, such a striking affair. 

More surprising is how, despite their rise to fame via platforms like Spotify and sharp, hype-riding single drops, their new effort is a conceptual epic – two conceptual epics, in fact – wherein each song is linked to the next by way of stylistic and lyrical threads. It’s undoubtedly ambitious, a sprawling two‑disc journey through all the polychromatic peaks and valleys of the band’s sonic palette – and those of its five individual members, all of whom wield their own idiosyncratic flairs. But if there’s one we’ve learned from Parcels throughout the years past, it’s to trust their process; they’re enormous risk-takers, but every risk they take is meticulously calculated. 

Thank you for reading 5 articles this month**

Join now for unlimited access

US pricing $3.99 per month or $39.00 per year

UK pricing £2.99 per month or £29.00 per year 

Europe pricing €3.49 per month or €34.00 per year

*Read 5 free articles per month without a subscription

Join now for unlimited access

Prices from £2.99/$3.99/€3.49

Ellie Robinson
Editor-at-Large, Australian Guitar Magazine

Ellie Robinson is an Australian writer, editor and dog enthusiast with a keen ear for pop-rock and a keen tongue for actual Pop Rocks. Her bylines include music rag staples like NME, BLUNT, Mixdown and, of course, Australian Guitar (where she also serves as Editor-at-Large), but also less expected fare like TV Soap and Snowboarding Australia. Her go-to guitar is a Fender Player Tele, which, controversially, she only picked up after she'd joined the team at Australian Guitar. Before then, Ellie was a keyboardist – thankfully, the AG crew helped her see the light…