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Where are you currently based and what is the music scene like there?
I’m based in Los Angeles which is a massive vortex of creative and spiritual energy. The music scene here is centered around the pop industry and there are just huge amounts of artists, writers, labels, producers, all just buzzing around like busy bees. I’ve found that most of the people I meet are very optimistic and open to collaboration, as soon as you meet someone they’re like, hey let’s write a song together! And you don’t see a lot of artists that are content with just playing a few shows here and there and scraping together a humble living, it feels like everyone here is dreaming big, trying to transform themselves into something greater and shooting for the stars. Which is good because that’s what I’m here for too!
How did you first start playing music?
I grew up in a musical family. I sang in choir, and I started playing guitar when I was maybe 10 or 11, then played flute and tuba in music class and eventually studied classical music in university. For a while I was playing the tuba professionally in a few different bands in Toronto (Lemon Bucket Orkestra for example), and also got into composing and film scoring before starting this project a year and a half ago. That caused me to pick up the guitar again after a hiatus of almost 20 years, so I’m back to square one in a way.
You have an album coming out in the next few months called ‘Love Is Surrender’ what influenced the sound and songwriting for this album?
The biggest influence for me is probably Trevor Hall, I was going through a process of growth and spiritual awakening, and his music not only guided me through my own personal process, but he also showed me that it’s possible to be an artist that writes songs about spirituality and have a career doing it as your authentic self, rather than twisting yourself into what you think the industry wants you to be. Sonically I was also drawn to artists like Gregory Alan Isakov and early Bon Iver who have a soft and gentle Americana vibe that I really love.
How did you go about writing the music for this album?
A lot of the songs I wrote quickly, whenever inspiration struck, which would sometimes be when I was at the beach, or at home, or at my girlfriend’s house. Many of the songs showed up in the aftermath of an intense emotional event and I would use the song as a way of processing while the feeling was still fresh. At first they were just kind of like journaling songs for myself, but as they started to accumulate (I’ve probably got about 40 since I started this process a year and a half ago), I started refining them and choosing the ones that fit together well to make a little record.
Where and when did you record?
I recorded last summer at a studio in Burbank called Eldorado Recording. It’s a beautiful big building with huge rooms and a grand piano which I loved. They are especially renowned for their drum sounds and used to do a lot of rock records there, including Offspring’s “Americana” and My Chemical Romance’s “The Black Parade”, which is funny because I remember listening to those records when I was younger, but I’m now doing something totally different.
How did you approach the recording and production?
We did three days of bed tracks with a four-piece band, all live off the floor so that we could capture a tight ensemble sound. Then another two days of overdubs of additional guitars and vocals. I went back and finished the vocals later that summer. All told it was pretty quick and efficient. I thought we would get four or five songs done and I’d have an EP, but it ended up being seven.
Did you work with anybody during the recording/production process?
My secret weapon was Tim Callobre who played guitar (and also figured out how to play Hammond B3 and lap steel on the spot!). He’s insanely talented and I work with him at the same TV scoring studio, he is primarily a composer, but was a child prodigy guitarist, and I was very lucky he agreed to be part of my project. He brought a beautiful touch and emotion to the record through his guitar-work, in fact it was so sweet that I started calling him “honey-fingers”.
My plan was to produce the record myself, since I have enough music experience to know how to arrange the tunes and get good performances, and work with Eldorado’s in-house engineer to shape the sound since I’m less knowledgable about mic techniques. I was really luck that the engineer, Phil English, immediately understood what I was trying to do and brought a huge amount of heart and creative energy into the record and took it sonically into a completely new arena that I couldn’t have imagined. I ended up having him mix the record and giving him a co-producer credit.
What are you plans for this album?
This is my first release as Kalon Hart, so it’s my way of saying “here I am!”. It feels like there is a shift in consciousness and spiritual awakening happening now across the globe that I’ve tapped into, so I’m hoping the record gets out there and finds an audience online and that people resonate with its message, and in that process I meet the right industry people who can help take my career to a higher level. In the meantime, I’ll be doing a 15-show CD-release tour in July and I’m really looking forward to getting on the road and connecting with people.
What did you find most challenging and rewarding during the creation of this album?
It’s sometimes a challenge juggling my other career, which is writing music for film and TV, with trying to build this project up as a solo independent artist. When I’m working on a film, I’m not as able to get out and see shows or go to writing sessions with other artists for example. On the recording days I was dealing with painters and contractors at the studio in the morning and driving across town to record so I was exhausted by the end of the day.The biggest reward was hearing my songs come to life with a professional band, and realizing that these songs were not just a hobby, but my spirit’s calling. By the end of the recording, I realized that Kalon Hart was a real artist who was going to have a real career, and it changed the entire way I look at my life.
Do you find Amercian and Canadian influences creeping into your music?
Definitely there is an “indie Americana” sonic influence happening. That’s not necessarily a uniquely American thing though because a lot of Canadian artists sound like that too, there was a whole folk-roots scene back home in Toronto that I was probably tapping into. Is there an influence in my music that’s specifically Canadian? Good question, I don’t know.
You have experience working in TV, please tell us what it is that you were doing?
I’ve been a composer for most of my career and I got into scoring films about eight years ago. In 2015 I moved to Los Angeles to see what I could accomplish down here, and I was very lucky to find work as the assistant to a major TV composer, Sean Callery. We have a nice Master-Apprentice type relationship going on and besides keeping the studio running, I’ve had the opportunity to write some music on a few of his shows, namely “Elementary” and “Jessica Jones”.
What has the TV experience taught you about music?
SO MUCH. When I started I wanted to pack every scene full of all of my emotions and all of my musical knowledge, and it would just be way too much. Like, it’s just two people walking down a hallway, chill bro! I’ve had to learn to give only what the drama requires and trim away the fat. As a songwriter, that lesson gave me confidence to expose my voice and write clear, simple lyrics, rather than cramming the mix with too many sounds and muddling it, or writing obscure lyrics that hide my heart.
What do you like to do away from music?
I love spending time in nature. LA is amazing for that, there are beaches, mountains, forests, deserts all within a one-hour drive. I think it’s important to get out of the city and remember that nature is not just a place we go to, it’s what we are, and this capitalism machine that’s got us all in its grip, well that’s one story, but not the whole story. I always feel like the universe has my back when I put my feet in the ocean or lie down on the grass. Often that’s when a song will come.
Who are you listening to at the moment?
I’m on a “gentle spiritual acoustic” kick. I’m really into two artists in particular: Danit (her album “Aliento” is a masterpiece), and Rainer Scheurenbrand.
What do you have planned for 2019?
It depends entirely on what happens in the next 6 months. I know that I want to make more recordings, write more songs, play more shows, shoot more videos, collaborate with other artists, and continue growing and experiencing life. Beyond that, I’m open to the unexpected.
Any secrets that you care to share?
Row, row, row your boat, gently down the stream, merrily, merrily, merrily, merrily, life is but a dream.
Favourite food and place to hangout?
I became a vegan about 8 months ago so that brought a lot of changes to my life. Luckily LA is a good place to be vegan, there are a lot of us here. My favorite spot is a fully vegan restaurant called Sage Bistro. Favourite place to hangout – gotta go with the beach, you can’t beat the ocean, and it’s free!
Where are you currently based and what is the music scene like there?
I’m in Sydney and the vibe here is pretty dreamy. I also topline and I’ve been privileged to jump into sessions with some killer artists. Saying that the live scene has taken a massive hit thanks to some idiotic decisions and politicians, but we’re starting to see a few green shoots of recovery.
How did you first start playing music?
Well…I was absolutely terrified by the concept of singing/performing live. So, after a strong start I pretty much stopped from 9-24 ha. But eventually I couldn’t resist. I’m just your typical, ‘terrified I could sing but knew I kind of could sing’ story. Eventually I taught myself piano and guitar and I’ve been scaring myself on stage ever since.
Your new single ‘Is Your Love Still Cool’ is your first release since your debut EP ‘Tigerlilly’ came out in 2017, what have you been up to in the last 18 or so months?
Shit, 18 months…it’s pretty crazy. I think when you’re trying to establish yourself everything takes longer. I had a lot of material that I wanted to drop last year but it didn’t quite feel right so in the end I went back and just really immersed myself in writing and collaboration. Is Your Lover Still Cool is the first single to come out from that, but the next is not far away.
Who or what influenced the sound and songwriting for “Is Your Love Still Cool’?
The sound speaks to my influences, I think at heart I’m a storyteller, I grew up on Dylan, Mitchell and Springsteen but also connected massively with the alt pop and indie artists like The Weeknd, Vampire Weekend, Bon Iver, and early Drake. I think this song is a bit of a fusion of genres and that sits nicely to who and what inspired me.
How did you go about writing this track?
I actually wrote the melody in the morning overlooking a beach just north of Byron Bay. As wanky as that sounds it’s true! I’d been writing a lot on the piano and was about to jump into a session. I loved the idea of this big but also chilled out chorus, and the song came together pretty quickly from there.
Where and when did you record and who did you work with?
The track’s produced by Jack Gray and Robert Conley who are both incredible musos and lovely chaps all round. We recorded it in Byron Bay at Robert’s studio. You’d spend six hours getting into it, then beers on the beach, then repeat. It was a blast.
What programs/equipment did you use when recording?
The track’s very much a blend of digital and analogue. The guitars, keys and some of the drums are organic and recorded live, but the set up was very minimal. We went through an Apollo Duo, which is just a beast. Jack had also just got a Nord, which we were all very excited about. What can’t that baby do. It created a lot of the textures surrounding the track. The bass was actually digital made up of a few components. I think two parts of it are through Serum.
Where and when can we see you play next?
I’ve actually got a gig this Wednesday in Sydney at Folkswagon, which is this beautiful and intimate experience (which I love). Then I’m heading to Melbourne for ‘Debut Melbourne’ in May which is about to be announced.
You’ve also released a film clip for ‘Is Your Love Still Cool’ please describe how the concept for the video came about?
I didn’t want the video to have another idea in addition to the song’s own, I very much wanted it to be this epic piece that captured the sentiment and only reinforced the message. The song is very much about growing up and looking back, so we thought we’d do the same with the setting. We wanted to bring modern to retro and that meant it could only be one thing… karting and laser tag. Obviously.
Where did the filming take place and who did you work with?
The video’s directed together with Dan Hartley-Allen and his team. Dan is quite simply and insanely talented human being who shoots and frames everything so uniquely. He’s also a wonderful human.
There’s this place in Albion Park, on the way to Kiama, that I’ve driven by a few times called C1 karting and I thought it could be perfect. It’s indoor which meant we could shoot at night and really control the lighting. Then we found out it also had laser tag. The child in me got very excited. ps, i’m still a child.
What did you find most challenging and rewarding during the filming and production process?
Timings and production is pretty full on when you have such a small team. Once we actually started shooting I had full trust in Dan and we work together really well, but it’s a little tricky creating something beautiful and grand with the world’s smallest budget. Oh and we had like a week to do everything. I think at one stage we were shooting in two days and didn’t have a location. But we got there.
Did you learn anything new during the whole process?
When you’re working with Dan you learn a lot of things. We actually managed to rig his camera to the go-kart, which was such an epic win for no-budget cinematography. So…now we know how to do that. Well, now Dan knows how to do that.
Who are you listening to at the moment?
Broods, Julia Jacklin, Vampire Weekend, Sigrid, The 1975, Maggie Rodgers, Tame Impala and Bec Sandridge to name a few. I’ve also got back into Paul Simon in a big way. I’m going to Graceland.
What do you like to do away from music?
I’m also a creative writer, so when I’m not making music I tend to be trying to make people buy things with the power of advertising. I pretty much love all things sport and entertainment. I’m a bit of a gamer too. Ok..I’m a lot of a gamer too.
Any secrets that you care to share?
Well, I’m actually working/writing a secret TV show at the moment, which we’re about to pitch out. The plot is bonkers in the best way possible and will probably never get made, but it’s awesome. Would love to tell you more but…it’s a secret.
What planned for the rest of 2019?
Next single will ‘hopefully’ come out in June. Shit that’s close, so yeah I had better get onto that.
Favourite food and place to hangout?
RaRa Ramen in Redfern into The Bearded Tit. Great…now I’m hungry.
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Where are you currently based and what is the music scene like there?
Currently, I’m based in Sydney. It’s been pretty rough goings with the climate towards live music – lockout laws and whatnot. It’s pretty early days for me so I don’t think it’s affected me too much personally. There are a lot of passionate people fighting for live music around town though, so hopefully things improve over time.
How did you first start playing music?
I started singing in Year 6 at Sevcon School of Contemporary Singing, picked up guitar around 2 years ago. Luke was originally teaching me and I’d bring him songs that I’d started writing. He’d fill in the gaps with chords and we’d add more lyrics and fiddle with the structure where we had to.
Your new single ‘Holy Hell’ is our first taste of your upcoming EP, what influenced the sound and songwriting for ‘Holly Hell’?
In terms of the songwriting, it’s hard to explain what the song’s about specifically. General fear, paranoia is the best explanation. I did actually crash my car a few months prior. Not badly, but enough to tear the front up a bit. We were going for kind of an Arctic Monkeys vibe with the sound, leaning towards their latest release.
How did you go about writing this track?
A lot of the tracks we’ve come up with have changed quite a bit from where they originally started. Holy Hell was one of the few that stayed pretty true to the original design. Like most of my songs, it was mostly written in the shower. Most of my songs are written in the shower or drunk. Holy Hell might have been both. I don’t really remember. The only thing that changed, really, was the sonics. The distortion on the guitar was a decision we made in the studio on the first day of recording. Up until then, when it was played live, it was played on my Fender Strat or an acoustic. It ended up on a Jazzmaster.
Where and when did you record and who did you work with?
We recorded towards the end of last year over a few months. Holy Hell was among the first songs recorded in that time, maybe even the very first one we recorded. Luke and I recorded with Ian Pritchett at his home studio in Baulkam Hills. Gorgeous place, super cozy.
How do you approach recording?
We started the day before we actually got into the studio, finalising the songs, making sure they were ready so we didn’t waste any time in the studio proper. We put aside the songs that were 100% ready to record – the ones we had all the parts ready for in our heads. We tinkered with the songs that needed more work, and if we couldn’t find a way to make them work, if they weren’t up to standard, we scrapped them. That whole process was vital, it made everything so much clearer in the studio. When we were in there, we gave Ian a rundown of what we wanted for the song, got a vocal lead, got the instrumentation down – Ian got the drum takes based off vocal recordings – and when that was pretty much in place, we’d record the vocals properly. We’d either get a good take or get a few takes with strong elements and piece together the strongest parts of each take into one supertake. The most important part of recording, the thing I took away most, is that you’ve got to be into whatever song you’re working on. If you’re not feeling it, things won’t fall into place the right way, you won’t give it your all. Take a step back, get some air, move onto a different song. You can’t let yourself get frustrated because nothing worth recording or listening to comes from that.
What programs/equipment did you use?
We used SONAR to record the track, a JC-120 Roland 1979 amp, Fender Jazzmaster, bass synth and real percussion.
Who are you listening to at the moment?
I tend to get stuck into holes with music. Periods where I get obsessed with an artist and don’t stop listening to their stuff for weeks. I’ve just got out of the Radiohead hole. Before that it was Pink Floyd, before that it was Talking Heads. Very recently, I’ve had Anderson .Paak’s new album going, Thundercat, Louis Cole, Uncle Jed. It’s been a good few weeks for me.
You’ve also released a video for ‘Holy Hell’ how did the concept for this video come about?
It was really tough coming up with the idea for the video. Before we started filming, before we’d even met with the videographer, I knew I wanted to use the car and that was about it. A lot of things fell into place when we met up with Joel. We figured out all the different things we could do with the car, we figured out how to create a story around it, around me in relation to it.
Who did you work with during the concept stage, filming and production?
For the most part, it was Luke, Joel and myself. We shared video references, talked through the narrative of the video, scoped out the area that we wanted to film in. Mostly over lunch.
What did you find most challenging and rewarding during the filming process?
The car we intended to use for the video, my old car, both had no functioning brakes and wouldn’t turn on the day we decided to film. It really drained my motivation. It was so crippling because there really wasn’t anything we could do about it on that day. But we wound up using the Saab in the video and I’m so happy we did. That car is absolutely beautiful. And I’m not a car guy or anything. The most rewarding thing was seeing everything come together in the end through Joel’s editing. It’s tricky to get the big picture when you’re filming because things are out of sequence, you’re doing things sometimes in the wrong order. You’re self-conscious about how you’re going to look and what people are going to think. And then you see it when it’s finished and all of that goes away. To this day, I’m still stunned by how the video turned out. Joel did a brilliant job.
What do you like to do away from music?
Mostly reading, playing video games, catching up on TV and movies. Generally, when I’ve got nothing to do I seek out food. I’ve always said I’m a functional eater, I don’t eat for pleasure. Just to survive. But it is a good way to kill time. It brings people together in a really charming way.
When and where are you playing next?
The next gig we’ve got lined up is Moonshine, Manly on the 23rd of May supporting Iluka.
What’s planned for the remainder of 2019?
A hell of a lot, as it turns out. I’ll be taking some time off playing throughout winter to focus on writing while Luke’s touring Europe. Before that though we’ve got to get moving on our next single, filming new videos, filling out the set list for future gigs. And that’s before things pick up again in summer. It is exciting, though. Overwhelming at times, but I’m looking forward to it.
Any secrets that you care to share?
Personal secrets, not exactly. I’m an open book and, more critically, I’ve led an extremely boring life so far. Secrets for aspiring artists? My only advice is to embrace the things that make you different from everyone else. That’s a cliché, but it’s functional. It’s so easy to find ways to stand out. Maybe it’s the way you sing, what you sing about, the way you carry yourself and present yourself on stage. I’ve always admired Ball Park Music and Louis Cole because of their song-writing. It’s really specific in a lot of different ways and I find that really funny and entertaining. If you want an example of doing something different and standing out, I implore you to watch Stop Making Sense. I implore everyone to watch Stop Making Sense.
Favourite food and place to hangout?
It’s always a toss-up between chicken or pizza. I’m leaning towards pizza. It helps that I work in a pizza restaurant. Or maybe it doesn’t help. Not long now before my bad diet choices catch up with me. As for my favourite place to hang out, I’m a real homebody. I like being at home, I like my creature comforts. Other than that, anywhere with good, reliable food.
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IN ADDITION, ARTISTS MADAME GANDHI, PROFESSOR GREEN AND LUCIANO ALSO JOIN THE MENTAL HEALTH CRISIS DEBATE WITH LEADING WELLNESS EXPERTS
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For close to 10 years, Music Victoria has been representing musicians, venues, music businesses, professionals, and music lovers across the contemporary Victorian music community, providing support and advocacy, all while celebrating and promoting the state’s music sector. As the state’s peak contemporary music service organisation, Music Victoria has something to offer everyone in the music community.
As Music Victoria has expanded the scope of its servicing, it has introduced new membership categories including Sound Engineer/Producers, Music Industry Professionals and a Free Under 18’s Membership. These new changes allow a broader range of professionals free access to the workshops and professional development series, and enjoy the benefits of the discounts.
Music Victoria has brought on a raft of new discounting partners this year that cover the spectrum of the industry, from food and beverage, to merch, freight, acoustic reports, Auslan services, record stores, guitar repairs and green screen filming.
We caught up with Music Victoria’s new General Manager Dale Packard to find out about what he does and what Music Victoria have in store for rest of 2019.
How did you first become involved in music?
I more or less grew up going to folk festivals, My dad played double bass and mandolin in a lot of bluegrass and folk bands (and still does) so being part of a musical community started very young. I then rebelled in my teenage years and started punk bands.
Who are you listening to at the moment?
I listen to a lot of country music and dance music these days. Modern techno and old-timey acoustic music. Not sure why exactly, maybe there’s something about having a foot in the past and a foot in the future.
You played in a band called the Ground Components back in 2002 for several years, how has the local music scene changed since that period?
There has been a lot of changes but the most obvious would be the shift away from the ‘new rock’ period of the early 2000s where boys in tight jeans were trying to relive the glory days of rock n roll. Since then the scene has become more diverse and inclusive both in terms of genre and the people participating. There’s a lot more rnb inspired music which is cool. Even the idea of ‘bands’ seem to be a bit dated.
What is Music Victoria all about and what goals lie ahead?
Music Victoria is the independent voice of the Victorian music industry. We look after the interests and voices of musicians, music professionals, venues and music lovers.
One of the major aims of the organisation is to support venues, artists and the local community by ensuring live music venues stay open with more gigs and no lockouts. It’s fair to say we want to avoid what’s happening in NSW.
You’re new to Music Victoria, what is your new position and what does your role entail?
I’m am the General Manager at Music Victoria, before this role I was in the programming department at Regional Arts Victoria. My role is basically to keep the operations of the organisation on track, look after the finances, oversee projects, ensure staff are well supported and to make sure Victorian music has a loud and strong voice politically.
You came over from Regional Arts Victoria where you coordinated events around Australia that connect artists with new audiences and opportunities. What events did you coordinate and how did they help artists?
I developed and delivered a lot of touring projects. We ran an event called Showcase Victoria which is a marketplace for the performing arts. Artists and producers pitch their work in front of a room full of venue bookers and then Regional Arts Victoria would coordinate touring projects for shows that got sufficient interest. I was there for about 6 years and had a great time but it feels good to be back in the Music Industry, it feels a bit like coming home.
You have spent years touring the world with many successful bands as a tour manager, sound engineer and musician, including: Midnight Juggernauts, Architecture In Helsinki, First Aid Kit, Little Red and more. What were some of the biggest challenges that you encountered with touring and how does Music Victoria help touring artists?
Dealing with different personalities on tour and the way different people react to touring life is pretty challenging. I always loved it but some people really struggle with moving to different cities every day and barely sleeping. It was great fun though, I strongly recommend that people do it, particularly in their 20s. Music Victoria helps in lots of ways, particularly through the membership program. Members get extra baggage allowance on Virgin and Qantas flights which is a life saver if you have lots of gear. There are also discounts on freight, accommodation and vehicles.
You currently run Club Kids Music Academy, a place where children learn how to make music on electronic instruments and you’re also a board member for Schoolhouse Studios, a not-for-profit arts organisation providing workspaces for emerging artists. How are these two great causes making a difference to children and emerging artists?
Club Kids Music Academy is great fun and I’ve had the pleasure of running it at many festivals around Victoria. Basically, I get a bunch of 3-10 year of kids together, set up electronic instruments like samplers, drum machines, synths and fx pedals and teach the kids how to use them. It ends up in a great big chaotic jam session and everyone loves it.
Schoolhouse Studios is doing great work in the community arts area. They provide affordable workspaces for artists and also have created an accessible, harmonious community. Before becoming a board member I did an Auslan course there and loved it!
Why should people sign up to Music Victoria?
I strongly encourage people to become a Music Victoria member. You’ll get discounts, key information, professional development, access to the latest music and opportunities to further your career. We are like the community radio station you don’t hear, but we need memberships to continue to work behind the scenes, keep the fragile ecosystem together and help create sustainable careers for artists.
What are the new membership categories, prizes and discounts that are available?
Music Victoria has made some exciting changes to our membership categories. Some of our new types include memberships for Sound Engineers/Producers, Managers and a Free Under 18’s Membership. We’ve also introduced a category for Music Lovers who may not be part of the industry but want to support the work Music Victoria are doing. We’ve brought on heaps of discounting partners this year that cover the spectrum of the industry, from food and beverage to merch, freight, acoustic reports, Auslan services, record stores, guitar repairs and green screen filming.
Music Victoria continues to offer our (free-for-industry-members) which equip musicians, venues and industry professionals with the tools they need to thrive in the industry. Membership also provides a discount to the Changes Music Summit and Brisbane’s BIGSOUND Conference.
Please tell us about the upcoming professional development programs and workshops that Music Victoria will be running this year:
There are some fantastic professional development opportunities throughout the year which are free for members. Coming up soon we have a venues day for the City of Port Phillip, we’ve got a workshop on artists management, one on pitching music to radio and getting on playlists. We also have one at the end of the financial year to help musicians and music professionals get on top of their tax. You can check them all out on the Music Victoria website.
New Membership Types and Prices 2019
Under 18 memberships – Free
Concession $33
Music Lovers $55
Musicians/Performers $77
Sound Engineer/Producers and Music Industry Professionals $77
Non-Profit Organisations/Small Businesses $220
Venues $440
Platinum $1100
Council $2200
Full list of Membership discounts at musicvictoria.com.au.
What is your name and role within The Wild State?
Josh Difford, my role includes songwriting, vocals, piano and occasional guitar.
Where are you currently based and what is the music scene like there?
We are based predominantly in Brighton at the moment, which has a good music scene in many ways, however we are yet to really dive into it as our opportunities so far have been more London based.
How did The Wild State form?
Oliver and I met at school many moons ago, and as soon possible we moved to Brighton and attended BIMM where we met guitarist Laurie White and began to trial different sounds and genres until we found ourselves and became immersed within the sound of what is now The Wild State.
Your new single ‘Lavender’ is out now, where and when did you record?
We recorded Lavender at Tarquin Studios in Connecticut US last June.
Who did you work with during the recording/production process?
We worked closely with Peter Katis who produced our whole record. He had a great team at his studio. Gabe Wolf was a huge help throughout the process.
What or who influenced the sound and songwriting for ‘Lavender’?
Lavender actually started off as an instrumental song, pretty up beat and post rock inspired. One day I really felt the urge to project some emotion into this track, I had a lot on my mind at this time and the track provided a great back bone for writing. I sent the idea to Oliver who was touched by the fact I was able to make an upbeat song, kind of heartbreaking. And soon enough we collaborated on it and he dusted the song with his beautiful harmonies and melodic strength and the song quickly formed into what it is today.
How do you usually go about writing music?
We try to mix up the writing process as much as possible in order to not follow the same formula.
Who are you listening to at the moment?
Big Thief, genius songwriting. Radiohead. Death Cab for Cutie
You have a unique set up being two lead vocals, with piano and drums being played, how did this come about?
We don’t particularly like the idea of this deeply engrained need for a front man. We aim to allow the music to speak for itself. Our vocals blend really nicely together and I think it represents the closeness we have as a band.
Your debut album is also on the way, can you give us an idea of what to expect?
A journey of emotion & expression, don’t worry, not all sad!
What have you found most challenging and rewarding whilst putting the album together?
Writing/recording & living with your closest friends is the dream. And we were able to tap into this dream and do exactly that. There’s no better feeling. The challenging parts were insanity, ear blindness and HEAT. It was very hot in Connecticut and as a bunch of very English guys, we were melting a fair amount.
What else have you been working on recently and what’s planned for 2019?
We are very excited to really get our live set out there, that’s our main aim currently. Our album ‘Light Along The Waves’ is out on 10th May.
What do you like to do away from music?
Country walks and ale. We are the epitome of party animals.
Any secrets that you care to share?
I’m scared of sharks, and mayo.
Favourite food and place to hangout?
The Better half pub in Hove, great atmosphere, great food, great landlord!
Rough Trade and Remote Control are pleased to share the new song & video from sunshine folk/pop outfit PicaPica. ‘Day To Day Parade’ is taken their debut album Together & Apart which will be released Friday 7 June.
Together & Apart was recorded at the end of 2018 and is produced by Mobo / Mercury Nominated Producer Sonny Johns who also plays bass on the record.
The album is about health and heartache, spring and shade, love and loss and life. PicaPica are able to balance life’s joys and sorrows beautifully, effortlessly, and in continuous harmony, viewing life’s coloured photographs as imagined through their silvery negatives.
PicaPica features the vocal interplay of Josienne Clarke and Samantha Whates, dual front women who create powerful harmonies atop layers of texture created by Adam Beattie & Sonny Johns, a tiding of magpies picking shiny moments of tone and timbre from 60s west coast, sunshine pop and indie folk. Josienne and Samantha met on the London acoustic music scene several years ago and immediately shared a love of singing and writing. They have been unofficially collaborating for years, often singing backing vocals for each other’s projects or just singing harmonies together for the pure enjoyment of it. The other half of PicaPica aka Adam Beattie, Scotland’s king of soft-spoken chanson, brings gently morphing textures and detailed guitar playing to every bar, while Sonny Johns bass playing and production give PicaPica’s otherworldly compositions a seriously grounded sound.
PicaPica – ‘Day To Day Parade’
Purchase / Stream: https://picapica.lnk.to/togetherandapart
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What is your name role within Milo Viti?
I’m Luke and I’m the lead singer/ Synth player.
Where are you currently based and what is the music scene like there?
Milo Witi is based in Sydney. Since Sydney is so big people don’t go out to just see live music for the sake of it. The Liberal government is also killing the venues for live music which I see as a good thing because it makes people more aware of how important live music is and gives you something to fight for. I see it as a really big learning experience because it makes you have to understand what makes good live music so you have a better understanding of what will bring people to your shows.
How did Milo Viti form?
It started out as a solo project and I found each of the other members through Facebook music groups but we’ve become so tight together now.
Your new single ‘Be Cool’ is out now, what influenced the sound and songwriting for this track?
There’s a really big punk rock scene in Sydney like Skegss, Dear Seattle, Johnny Hunter and we really love the punk energy they have at their shows but we also wanna give our music a dance element like The Presets and Rufus Du Sol so we try to mix huge synth in to our sound.
How did you go about writing ‘Be Cool’?
I wrote it a few years ago and it started off being more of a chill pop song with piano during the verses and half-time drums but then we double-timed the drums so it was faster and gave it a whole new energy to the song with our huge synth sound and guitars.
What programs/equipment did you use to record?
We recorded in a studio with all our instruments and equipment we use live cause we wanted to try and recreate that experience so there’s nothing artificial on there.
Do you approach your live sound differently to your recording sound?
I like to keep the song pure and we play live with a lot of energy so I want that same energy to come across in our recordings. A lot of punk bands record their music more chilled out but then play their live music with a wall of distortion and energy. I love that energy that comes from live punk music and I like to try and convey that in our recording as well because it’s something that a lot of pop music is lacking so it becomes kind of numbing listening to recorded music.
Where did you record and who did you work with?
We recorded at A Sharp Studios in Sydney with guy called Justin Gonzales and he was incredible in helping us develop our sound and trying to convey that in a recording since we’re trying to do something different so there’s not a single band we can reference for our recording to sound like.
Who are you listening to at the moment?
I listen to a lot of different music but the two songs that I’m really feeling at the moment are Old Friend by Elderbrook and Lightning by Bag Raiders feat. The Kite String Tangle. I really love dance music but I want to incorporate the huge energy of punk.
What do you like to do away from music?
I love all the artwork that goes along with our music so every time we put out a song I love following the concept of the song and coming up with the artwork and for it and the general image of the band. I love the whole creative process.
You also have a new video for the single, how did the film concept come about?
Our video is coming out soon but we’re taking the idea of being “cool” and expressing the ironies that the glorification of that reveals. Everyone selfies themselves on social media these days so we’re capitalising off that idea and instead of using a big film production team we’re just filming each other off our phones and a GoPro to save costs and create a more natural/ realistic experience for the viewer.
Who did you work with?
We filmed it all ourselves but we got some live footage from an amazing photographer called Jack Thepsourinthone who filmed our single launch gig and got some live footage for us to put in our video.
What did you find most challenging and rewarding during the film process?
Finding the time is always hard with our normal life schedules but we just love having a lot of fun with each other so it was basically just us mucking around and having a good time.
What’s planned for the remainder of 2019?
Since this is our first single we’re looking to record another 2 more singles before the year is out and just generally trying to get out there and gig as much as we can.
Any secrets that you care to share?
A secret is only a secret when you have information that people want to know that you can’t share and we’ve got a lot of information that we can share but no one wants to know yet so we’ll keep you updated 😉
Favourite food and place to hangout?
We love Korean BBQ. It’s such a great experience to share and it’s something we really love doing as a band.
Official Website | Facebook | Twitter | Instagram | YouTube
For C.W. Stoneking the road continues to call and, following successful solo dates across the USA, Europe, New Zealand & some of Australia’s southern states earlier this year, C.W is returning to local stages for a limited series of solo performances, stopping in the South at UOW UniBar.
Rumour has it C.W. Stoneking has been busy crafting songs for his next full length album, his first since 2014’s ARIA Award winning, Gon’ Boogaloo.
Fans can expect songs old and new, favourites performed as never heard before and perhaps a few surprises too.
TICKETS ON SALE NOW!
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Friday May 3 – Melbourne Museum | Tickets on sale now
Nocturnal is back for May, as Melbourne agency WAT Artists assemble a cast of local legends for an adults-only night at the Museum. It’s an open house, with resident experts delivering intimate talks and all Museum experiences and spaces in action and brand new Revolutions: Records & Rebels inviting you to turn on, tune in and drop out.
DAN CUT COPY (DJ SET). As frontman of Cut Copy, parent to Cutters Records and an alumnus of Melbourne’s club world, DJing has been a key part of Dan Whitford’s career. A fixture of festivals, runways and underground parties the world over, Whitford’s sets embody a devotion to the room and to the moment. No rules, no limits, no hangups. Anything goes.
KRAKATAU (LIVE) came together through a shared love for psychadelic rock, longform jazz, and minimalist composition. Acclaimed for their taut, expansive live performances, Krakatau are specialists in creating otherworldly sounds. Pack a bag and take the trip.
MILLÚ’s sets are defined by an ability to saunter effortlessly between genres, tempos and palettes. As a former Triple R presenter, resident of Melbourne’s ¿Club D’érange? and Queen of the dessert in the Wax’o Paradiso family, Millú is constantly seeking out and sharing the sounds of the world as she hears it. Ready to go to the other side? Listen to Millú and Pjenné usher in the sun at Golden Plains 2019.
MERVE is an expert explorer of the far-reaches of house, acid, techno and everything in between. A beloved resident of Hope Street Radio, Merve’s sounds aspire to connect dancers to a wider vibration, a harder jack, a higher groove.
Take a break from the dance-floor to visit the newly-opened Revolutions: Records and Rebels. In April we went underground with a night curated by original Bad Seed Mick Harvey. In May we invite you to join the revolution! Developed at the V&A, London, by the team behind David Bowie Is, this blockbuster exhibition investigates the way youth culture and collective action catalysed seismic shifts across five revolutionary years: 1966 – 70. Turn on, tune in, drop out.
Feeling curious? Hold your breath as conservators Lizzie McCartney and Dani Measday introduce you to our Fatberg-in-residence: a star of our sewers and the brand new exhibition Gut Feelings: Your Mind, Your Microbes.
Inside The Melbourne Story, Matthew Churchward and Lorenzo Iozzi share insight on how pictures were made, viewed and shared from the earliest photographs to today’s digital world.
In Wild, paleontologist Tim Ziegler will bring you face-to-face with ancient fossil remains of extinct – and surviving – predators that lived in Victoria during the last Ice Age.
NOCTURNAL & WAT Artists
Friday 3 May | 7pm to 11pm
Melbourne Museum, 11 Nicholson Street, Carlton
Featuring: Dan Cut Copy (DJ Set), Krakatau (Live), Millú, Merve
Tickets on sale now
Members $25 / Concession $32 / Early Bird $27 / On the door $37
Discounts for concession and group tickets apply.
All visitors to Nocturnal can access a special Revolutions: Records and Rebels entry offer when purchasing tickets
LISTEN/SHARE: https://youtu.be/gS5F92S71JQ
STREAM/BUY: https://BigBeat.lnk.to/SGMWPR
The revered French house producer/engineer Etienne only recently launched a new solo project under the Samaran moniker, but it’s already making waves around the tight-knit house music community worldwide, withDancing Astronaut going so far as to say it’s already beginning to “…incite widespread dance fevers.” Fresh off dropping his debut singles in 2018, including his true debut, the aptly named “A New Beginning,” Samaran is already back with his second club smash called “God Money War,” which is officially today through Big Beat Records. Listen HERE!
“God Money War” embraces analog synths, distorted vocals and utilizes Roland’s classic TR-909 drum machine to build the song into a house frenzy which, true to form, could only come straight out of Paris. In Samaran’s words, the track “…was made to be played during peak times in the clubs, it’s built to progressively bring you from a raw chopped intro to a filtered rhythmic pattern, always driven by some heavy 909 beat and house vibes.”
Samaran is a new solo artist project from Parisian producer Etienne, who’s honed his craft after years of working alongside some of the top pioneering electronic labels like Ed Banger, Confession, Record Record & more. Blending old-school sampling techniques and vintage sounds with actual drums, he modernizes the original house sound for today’s clubs. His latest track “Paris Madness” was supported by Martin Garrix, The Magician,Michael Calfan, Martin Solveig, Anna Lunoe, Just Kiddin, Purple Disco Machine, Addal, Melé, and more. It also garnered international radio support, including spot plays on BBC 6Music with Amy Lame, Mary Anne Hobbs and Nemone. Considering this is only the third official single from Samaran, it’s safe to say that he has truly arrived as an exciting new voice to keep an eye on in the house world.
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