Like most of the team at The Big Idea, Clayton works part-time, all the time, while juggling his creative career as a musician.

Like most of the team at The Big Idea, Clayton works part-time, all the time, while juggling his creative career as a musician.

He calls himself the TBI dancing monkey 'who performs whenever a coin is put in the hat' but his official title is editorial assistant. So it comes in handy that as a drummer he's got a pretty good rhythm, and his endless tapping and writing songs in his head also keeps him entertained while doing the jobs no one else wants to do.

So what does he do? Basically everything the editor doesn't have time to do (or doesn't want to do ;) from uploading and formatting content, pics and videos, to filling in spread sheets and schedules, deleting spam, recording bugs and fixes and helping fix community content including listings, images and links. Phew - it's tiring just reading the list!

But he does much more than that unofficially behind the scenes as the Eds other-half. He's a second-pair-of-eyes, checking it twice to keep things nice, and a sensible sounding board. His active creative juices comes in handy for curation and he frequently delivers catchy headlines and summaries.

Plus, he's really good at requests - dance monkey dance! But he'll always choose his own song - most likely one of his own creations or an inspirational favourite like Keep Yourself Alive by Queen.

During what hours of the day do you feel most inspired?

I’m totally a night person – I’m convinced morning was invented just to prevent night-time from bumping into the afternoon. Sometimes when I’m asleep, I’ll dream up a song or progression – and Ill wake up very excited.

How would a good friend describe your aesthetic or style?

A rockstar from the 70’s who fell off the stage and upon getting up didn’t notice we’re in 2012.

What aspect of your creative practice gives you the biggest thrill?

The thrill of coming up with a couple of riffs, knowing where they are headed, and bringing them together with all the other supportive parts to create a song that takes you somewhere.

The possibility of the song – it's monstrous and completely overwhelming. And of course the finished tune.

Or when I’m jamming and I look at one of the other players and they are in the same place I am (the zone), the feeling is indescribable.

How does your environment affect your work?

Depends on my mood I suppose. Sometimes looking out from my studio to the ocean will help me come up with the goods, and sometimes I can be in the middle of somewhere I don’t want to be, and I start dreaming to escape.

Do you like to look at the big picture or focus on the details?

Both, but not micro details – I get frustrated with micro details.

What's your number one business tip for surviving (and thriving) in the creative industries?

Don’t give up on your dream…ever! (and learn how to carry/clean/serve something to support yourself till you get there)

Which of your projects to date has given you the most satisfaction?

Dunno if I could single just one out, as they all mean something different to me. When you’re on stage and the crowd are loving what you’re doing (they know the words to your songs!!) that’s a pretty huge buzz, playing on big stages when everything is clicking, nailing that solo that you’ve been going batshit insane over….all sorts really.

Who or what has inspired you recently?

Heaps of stuff, I'm constantly getting inspiration (which can be a nuisance when your finished writing and you’re on to production). I’m loving a lot of music that I grew up listening to: Pink Floyd, Queen, the Muppets (damn - the guys who played the music behind the scenes were badass!!) I'm a huge metal fan and a lot of the stuff coming out of Europe is really good at the moment, especially the Scandinavian stuff – black metal from Norway, technical thrash and death metal from Sweden and Finland. Blackend death from Poland. Oh and Muse – they blow me away with each new album. It takes serious kahunas to put out a leading single that has a chunk of dubstep in it, considering the widespread hatred of dubstep.

Tell us a bit about your background.

I grew up playing drums from around the age of 5, my Dad was a drummer so he was very understanding and tolerant of my constant tapping (so is my wife :P) Very supportive parents egging me on (cheers Mum and Dad). I found metal at a very young age, so that really shaped my love of over the top emotion and stage performance.

I started playing in bands very young (too young to get in to the clubs, so I would have to hide backstage until we came on!), then started playing guitar in order to write with (its kinda hard to write songs just on the drums), then bass, keys etc as an extension.

Cained the hell of the metal circuit in NZ for over ten years, playing anywhere that had a power socket – got very frustraiting, as metal in NZ aint a money earner and band members came and went after realising they weren't going to be turing up to the show in a limo! During a lull of competant rock and metal in the late 90's (nu-metal omg bluurrrggh), I fell in love with filtered disco, and starting producing and djing. But I got really pissed off at how fake the crowds and the scene were. Most people just wanted to hear the hits, not be taken on a journey.

Moved up north and got refocused on rock/metal and the rest is yet to be seen.

Tell us a bit about your recent and upcoming projects.

Halfway through production of my solo album. Over the top, pompous, space prog rock. Imagine if Queen and Pink Floyd had a baby, that baby watched too much Muppets while listening to metal, and then went on to write Bat out of Hell in collaboration with Jeff Lynn from ELO.

If you could go back and choose a completely different career path to the one you've chosen, what would it be?

No change here, but maybe I’d pay attention to my music teacher at school when she was trying to teach me how to play the piano.

What place is always with you, wherever you go?

Pakiri Beach (it’s a constant reminder I’ve done something right in my life, as it’s where my wife became my errrrmm - wife) Oh and Wembley Stadium as that’s where I’ve always wanted to play (even better if a crowd turns up!)

What's the best way to listen to music, and why?

Ultimately live. A great band can put on a show that has the ability to change your life. Or using a curious device called a turntable, with a large chunk of plastic called a 12” lp. I'm really big on listening to an album as opposed to a song. A good album is like a good story. The order of the songs give each other context. Plus I love the artwork and lyric sheet (even the thankyou list), the clicks and pops, and I love having to get up and change the record over. It demands your attention (which a great album deserves). I don't care what the technophiles say – there is something magical about a nice turntable paired with a nice hi-fi with great speakers.

You are given a piece of string, a stick and some fabric. What do you make?

Am I allowed to paint the fabric? If so, then I’d make a flag for a new country that I’m going to create, attach said flag to a pole (that’s the stick) and raise it with the string. The flag would read “The United Peoples Republic of Rock” and this \m/ would be the coat of arms.

What's the best stress relief advice you've ever been given?

“for gods sake, go for a surf would you!”

What’s great about today?

The great thing about today is the fact that tonight I get to play/listen/experience music.

What’s your big idea for 2013?

Finish the album, and move on to the next one. (oh did I mention change the world with rooooooock? \m/)

* * * The Big Idea 10th Birthday Questions * * *

What does The Big Idea mean to you?

It’s a place where creatives can go who are in need of some professional help (not that sort – you’d have to go elsewhere to get that kind of help!) People who don’t know what to do with their amazing piece of art they’ve created. All of the how/what/where/why and who's. The site is crafted by people who really, really love creation in all of it's forms. Also connecting with like-minded creatives…..you’re not alone!!

What changes have you noticed in (insert discipline) in the past 10 years?

The whole industry has been turned on its head, with the executives at the top of the food chain stabbing each other (and the fans of the acts they’re supposed to represent), and clinging to redundant business models in order to keep their pool heated. I’m not too sure I like the “download a single” thing, as I believe it’s partly destroying how music is appreciated. But on saying that the bands and muso’s have partly created that themselves by putting out albums containing too much “filler” material.

But for crying out loud stop calling the fans of the acts you represent “pirates”!!

Do we/they prowl the seas with an eye patch and a parrot trying to board your vessel? No – we just want to hear/see it the same time everyone else does!! (and at a fair price) Do not think for a second that everyone wants stuff for free – we will gladly hand over our hard earned dollars to support what we love and live.

However this negative aspect has had its equal reaction in the fact that bands have been forced to lift their game on the live circuit. You can’t put on a shitty show anymore – and if you do, you wont be here next year (or next month!)

I think it’s an amazing thing that bands and artists can do the whole independent thing now, without having to sacrifice any sort of integrity “you know you need to give us a radio friendly single or we won’t promote you”.

What are some of the opportunities and challenges for the next decade?

As above with the live aspect. People will no longer be able to rely on studio trickery to sell music. The punters won’t tolerate a crappy show no matter how good your producer got you to sound in the studio. We do need to come up with an equal balance between artists and representation. Even stevens!! We need to eat and pay the rent man. Cue Tenacious D: “the legend of the unpaid rent was way hardcore!!”