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by the partae

Where are you currently based and how did you wind up there? I’m currently based in the central highlands of Bali, Indonesia. The waves initially brought me here, I landed a 6 month surf coaching job just as the English winter was about to begin in 2010. It’s been my home base ever since. How did you first start playing music and singing? My dad taught me guitar at age 11 but a had piano lessons since I was 6. He and my mum were big Beatles fans and he would teach me a lot of their songs. I especially remember learning blackbird in the garden along with my brother - this was my first intro to fingerpicking. I overcame the ‘singing whilst playing conundrum’ pretty quickly somehow, so I was blessed in that sense, I learnt a bunch of songs from tablature from the internet and from my dads books ranging from Black Sabbath to Van Morrison. My first live song performance was at a friends living room and we only played one song, Daytripper! How have you been dealing with the current COVID19 situation? It’s a shocking time and I’m doing my best to stay positive. I’ve been keeping busy inside recording, I have an album of songs ready to get down and my plan is to release them as singles as I go. I’ve also been getting into some gardening that I’ve been wanting to do for a while but never made the time - it’s nice to do something different and give my ears a break for a day or two. I really like the idea of growing your own food and being self sufficient, plus it feels great to be out in nature. It’s super easy to do in the tropics because everything grows so fast. You have a new single 'Lucky Kid' out now, what influenced the sound and songwriting for this track? Lucky Kid is a kind of postcard to myself. A reminder of where I’ve come from and what I’ve got to be grateful for. It came to me one day out of nowhere and I wrote the whole thing at the kitchen table in one sitting, which is super rare for me. I always have this nostalgic feeling when I play the song live and I wanted to capture that when it came to recording, which meant performance was key, so there weren’t many takes and it all came together quite quickly. How did you go about writing Lucky Kid? It was this rare moment where everything happened at once. I was hanging around downstairs with my acoustic guitar drinking tea and thinking of England and how I got to where I was, just playing around with a few chords and all of a sudden the verse melody came to me and I just started writing out what came into my head. How and when did you record/produce Lucky Kid and what programs equipment did you use? I recorded and released Lucky Kid in April 2020. I have a little wooden bungalow next to my house that I use as a studio. It’s helpful to have all my gear and instruments set up so I can just go in when I feel like it. I use an Apogee Duet as my audio interface and Logic X. My go to mic is the Rode NT1a, I also use other condensers and dynamics for different purposes. I started by laying down a scratch guitar and vocal and making sure the tempo is right, then add a live performance of my kick and tambourine and make sure it’s in time. Then once the song is mapped properly I can comfortably go for a real guitar take, then vocals/harmonica and slide guitars and light percussion were added after. How did you learn how to record/produce? I’ve always been messing around with recording since I was a kid and I used this Tascam 4 track that was my brothers, but never had any formal training. I schooled myself from copious YouTube videos and blogs and just learnt what I needed to know as I went along - a kind of trial and error approach. By no means am I a pro but I know what I want the song to sound like and I’m now proficient in the various parts of the process to get a decent version down. Please tell us about how you came to send the mix to a guy in Amsterdam that he ran through his Ampex Analogtape machine, how did this come about and how did the process effect the track? I sent the mix of Lucky Kid to a friend and we were discussing tape vs digital sound. We started riffing about sending digital mixes through a tape machine to see what it would sound like. I was curious to do an experiment, so after some googling I found this guy in Amsterdam at Lullabye Studios who had an Ampex Tape Machine from the 60’s. So I flipped him the mix and he put it through in various speeds and saturation and sent back 4 different versions. I could really tell the difference, the guitar and vocal and percussion seemed more present to me. I chose the 15IPS setting with normal saturation, It just sounded more full, thicker and clean. Some of the other variations sounded cool but at 7.5IPS with higher saturation it just sounded too gritty for this acoustic song. It was amazing really to be able to do this process remotely. It doesn’t beat actually recording everything to tape of course, but you can get a little bit of that analog colour on your mix for a small price, and I’m stoked with how it turned out. I’ll definitely be doing this with more of my recordings. Where, when and how did you master Lucky Kid? So I received the mix after it had gone through the tape machine and I mastered it myself here at home. The process it quite simple really, you are in essence just making the track louder and balanced. I usually just do a bit of EQ, light compression and make sure the loudness meets the optimised standard for streaming platforms like Spotify etc. What did you find most challenging and rewarding through the process? I normally have a hard time getting my acoustic guitar to sound good, it’s often quite boomy and involves heavy EQ in the mix, but I played around with some unusual microphone placements and found a spot near my strumming elbow that required almost no EQ whatsoever. I think mic placement is super important and it’s something I’ve overlooked previously. Where can we listen/buy? Go over to Spotify, Apple Music or any music platform to listen to Lucky Kid. Its available to purchase on iTunes and Bandcamp too. Who are you listening to at the moment? I’ve been listening to the Beatles recordings a lot at the moment, they are just fantastic and always inspire me to get into the studio. Been getting into some Dr Dog, Phil Cook and Hiss Golden Messenger to name a few. What do you like to do away from music? I really like to travel so I try and go somewhere new each year. I feel like it’s important to go somewhere so I can come back with new ideas and experiences that can weave their way into the music. Favourite food and place to hangout? My girlfriend and I have been trying out new recipes and there’s lot of yum food coming out of our kitchen right now. And since I decided to be vegetarian 2 years ago it’s opened my eyes to a whole new world of dishes, hence to say I’ve never looked back. So, actually here at home is my favourite place to eat and hang out right now, and it’s the safest! Plus all my dogs are here too, they love that I’m home so much. www.andysixstring.com @andysixstring instagram https://www.instagram.com/andysixstring/ @andysixstring_ twitter https://twitter.com/andysixstring_ Andysixstring Facebook https://facebook.com/andysixstring/

ANDYSIXSTRING Interview

BAD COP / BAD COP RELEASE NEW SINGLE “PURSUIT OF LIBERTY”

TYNE-JAMES ORGAN RETURNS WITH NEW SINGLE HOLD ME BACK

Delivered, Live Episode 8 – Saturday, May 23rd

A New Zealand-based answer to Winston Surfshirt or Rex Orange County, Balu Brigada make music that’s so warm and smooth you’ll want to take a bath in it. . – Happy Mag, 2020 New Zealand’s Balu Brigada release ‘nice to have someone to miss’ - the second single off their upcoming EP, following their late 2019 track ‘medicine’. Underpinned by their signature groove, "nice to have someone to miss" is a dreamscape of hazy production and yearning falsetto. Tracing the paradoxical pleasure in missing someone. ‘It’s really just acknowledging that it’s a luxury to have something that meant enough to you that you miss it when it’s gone.’ – Balu Brigada Balu Brigada are an alt-pop duo from New Zealand, made up of multi-instrumentalist writer/producer brothers, Henry and Pierre Beasley. The pair started making music together young, when a 12-year-old Henry capitalised on his Older Brother status by appointing himself lead-guitarist and forcing Pierre to learn bass. They spent the next few years teaching themselves production, songwriting and a handful of instruments, before officially forming Balu Brigada when Pierre was old enough to pass as 18 and play in bars. Before anyone else asks, the band name has its origins in the Jungle Book’s character Baloo - “the ultimate chiller,” according to the boys. This morphed into Balu Brigada when they wisely decided they didn’t want to get sued by Disney. As a multi-talented duo, they have a hand in every aspect of Balu’s output. The duo dropped their Almost Feel Good mixtape in 2019, showcasing their ability to skate genres and pull from a broad range of influences, from Clairo to the Gorillaz to Tyler the Creator. Funk-inflected basslines glide under R&B beats, with lyrics relatable to any young person figuring themselves out - whether they’re navigating a long-distance relationship over Skype or dining out alone on Christmas Day. Their next EP, Funk Boiz, is set to drop later this year and is the duo’s most cohesive statement to date. It’s as suited to a lazy day in the sun with mates as it is to dancing in the kitchen at 2am, and cements Balu Brigada’s place as the best duo out of New Zealand since Flight of the Conchords. Balu Brigada 'nice to have someone to miss' | Single OUT NOW (INDEPENDENT) CONNECT ONLINE WITH BALU BRIGADA

INTRODUCING BALU BRIGADA WITH SINGLE ‘nice to have someone to miss’

You’ve seen MorningMaxwell You’ve seen MorningMovewell You’ve seen MorningSantawell Have you seen… … MorningMaloneWell?

Where are you currently based? Sydney. Marrickville. Coogee. Ashfield. All bases are loaded. What's been happening recently? Our debut single If I Knew has landed and we’re very glad that we get to share something new and exciting. On the back of that we’ve been finishing clips, building websites, and all the associated behind the scenes stuff that you need to do to be a band. Your new single 'If I Knew' is out now, what influenced the sound and songwriting for this track? We’d gone into the studio on a Saturday morning, and by Sunday afternoon we had the beds down for 10 songs. If I Knew was almost an afterthought, and made it 11. After waiting so long to record an album, the sound of If I Knew is the sound of us making a jubilant, celebratory, messy noise and loving every minute of it. We kept getting to the same point in the song and grinding to a halt, but each time we honed the emerging vision and got closer and closer to nailing that down. The ‘train track riding’ rhythm of the guitar only came out as we were doing the early takes, so each time we stopped it was a chance to really capture that seat of your pants chaos and energy of a song still forming. We’d played the Sebadoh song Magnet’s Coil in the studio, just as a reference for the energy we wanted to capture, and we feel like we got that, and possibly more. The recording is the sound of three friends celebrating the sheer joy of playing together, trusting each other, and having a tonne of fun on the way. Once the beds were down we did some guitar doubling, and then for the outro, added the duelling guitar lines and counter vocal melody. Josh sang lead and Eliot sang killer harmonies that really kick the song into another realm. Nick joked that what had started sounding like the Verlaines had ended up sounding like the 3Ds. How did you go about writing If I Knew? The song had been kicking around for a while - in its previous incarnation it had a feel like Iggy Pop’s the Passenger - so much so that we’d do the La La La bits at the end. It had almost been dead and buried but some songs dig in their hooks and don’t let go. The week before we were due to go in and record we started messing around with an alternate time signature and an alternate feel, but it really wasn’t until we got into the studio that the song found its way. Watching Wilco tear apart songs in the doco I Am Trying To Break Your Heart, and the love of jamming through different incarnations of an idea gave us the freedom to just try different things, which is a real theme across the whole album. If an idea worked it stayed. If it didn’t, it left. Lyrically, the song was also a rebuild, with the final lyrics only being completed on the morning the vocals were recorded. It had been another song about escape - but nothing that had been particularly coherent. Whilst that would have been something we’d settled on in the past, the opportunity to record doesn’t happen often enough for us to just waste the chance, so we set about tweaking, tuning and weaving a narrative in the verses, and leaving the chorus untouched. It’s now a song marking how lucky we are to have people in our lives who encourage us to play music, and to be there through all the twists and turns of a long partnership. So in a small way, it’s still a song about escape - that we get to play in a band and live in an alternate universe that’s not plagued by the logistics of jobs, and kids and dishes. It was also a chance to sing in honour of a Fugazi first date. Where and when did you record/produce/master and who with? If I Knew is the first single from our debut album You Don’t Have Time To Stay Lost. We recorded the whole album with Tim Kevin, whom Nick had played alongside in Knievel, and we’d all known to varying degrees through mutual friends. Tim has recorded Youth Group, Holly Throsby, Peabody, Toby Martin, Buddy Glass and stacks of other great records that we really loved. His Tempe River Studios is not in Tempe, but it’s close to the Cooks River and is located in a building adjacent to an old Holden Factory. It has great lino floors, and a hallway that people occasionally walk through as you’re tracking. We can and will always recommend people work with Tim - he’s talented, patient, kind and diplomatic - all qualities a great producer/engineer needs. We started recording in late 2018, and we mixed in 2019. The album was then mastered by JJ Golden in California. JJ’s a second generation mastering engineer, who has mastered albums by Sharon Jones and The Dap Kings, Soundgarden, Neko Case, Calexico and loads of others. What programs/instruments did you use? The sessions were recorded using Pro Tools, with a stack of analog gear to warm things up at all stages. Tim has some beautiful ribbon mics, a collection of fine sonic toys, and some great tricks up his sleeve. Josh played a 1960s Fender Jaguar throughout the whole record, and it ran split through an old cream piggy back Bandmaster and a Vibrolux. He used the amp in Tim’s Ferrograph Tape Machine for the breaking up slide sound, and his Princeton amp to run a Hotcake through for the other outdo line. Nick played a very fetching green DW kit with Meinl cymbals, and had a second floor tom that feels like a truck veering off a highway when hit. Eliot played a Fender Jazz Bass running straight into a DI and then re-amped through a Hi Watt Head and speaker box with a touch of fuzz. How did you approach the recording process and did the single turn out as you first imagined? Across the album we had an almost even split between songs we knew really well, and songs we didn’t. Consequently, there was a real sense of tension and of exploration. By the time we hit Sunday night, and If I Knew, we were really firing on the enthusiasm and confidence we’d built up over a weekend of tightrope walking. Everything we knew was going to work had, and the stuff we hadn’t know would work had locked into place too. It was one massive exercise in trusting ourselves, and each-other. We were also safe in the knowledge that if it something didn’t work, it really didn’t matter. This was all about having fun, recording some tunes and making good on a promise we’d made to each other a long time ago. In terms of If I Knew, it turned out WAY better than we had imagined. Just before we mastered it, Eliot made the call to kick the song off with the snare roll it now starts with, and that was that. What do you like to do away from music? Hang out with our partners, our kids, our friends, our pets. Laugh, and love. Watch films. Eat cheese. Try not to despair when reading the news. Go swimming. Go walking. Talk politics. Talk music. Read books. Rediscover hope. Who are you listening to at the moment? Big Thief. The Beths. Field Music. King Gizzard. Talking Heads. Aldous Harding. Tropical Fuck Storm. What's planned for 2020? Ha! Who could have planned for 2020? Our plan is to (hopefully) release three more singles, and then our debut album You Don’t Have Time To Stay Lost in August. Favourite food and place to hangout? Vietnamese. Mexican. Thai. Home. In a rehearsal room. In a cinema. https://linktr.ee/theelectorate https://www.theelectorate.com.au/ https://www.facebook.com/theelectorateband/ https://www.instagram.com/theelectorate/ https://twitter.com/electoratemusic https://theelectorate.bandcamp.com/

The Electorate

Agorai announces new single ‘3 Letters’

A PORTRAIT OF AN UGLY MAN OUT JUNE 26 ON EPITAPH RECORDS Remo Drive have unleashed their new video and second single, “Ode to Joy 2”. Written over the span of a few years, vocalist Erik Paulson explains, “the lyrics were inspired by the excess I perceived around me as I transitioned from being a college student into touring full time. Most people who’ve done either can confirm that many social interactions are built around having a drink or smoking weed. Once the honeymoon period of exploration was over for me, I became frustrated with the omnipresence of drugs and alcohol and wanted to write about it... Oh what fun it is laughing at nothing, by this age we all have it down.. When I wrote the final version of the lyrics, I tried to connect with how I think when I’m drunk. I always feel as though I’m loving and hating every second of it. This song captures that same ambivalence.” With its acrobatic guitar work, deeply self-referential lyrics and off-the-walls energy, Remo Drive’s upcoming album A Portrait of an Ugly Man calls back to the dextrous, eccentric sound that helped the band – brothers Erik (vocals, guitar) and Stephen (bass) Paulson – explode onto the scene back in 2017. Self-produced and mixed, A Portrait of an Ugly Man feels all at once familiar and fresh. Taking shape in their parent’s basement in Minnesota, the space breathed a looseness into the songs, while the freedom of the sessions left the band able to explore the next evolution of their sound. A slice of tremolo-heavy classic rock filtered through the lens of the gunslinging American West, A Portrait of an Ugly Man finds them truly in their element – both physically and sonically. Whereas the Paulsons filtered their buoyant songwriting through the concise lens of storytellers like Bruce Springsteen and The Killers on Natural, Everyday Degradation, A Portrait of an Ugly Man is more spontaneous, bolstered by the same charm and levity that made their debut, Greatest Hits, such an underground favorite. The loathsomeness Paulson explores on the album certainly reflect less glamorous aspects of both his psyche and that of others, but when they’re cut with his quick wit and self-deprecation, they seem less like an actual indictment and more of an embrace of all of life’s imperfection and absurdity. In turning the mirror back at themselves in this way, Remo Drive have learned a lot about who they really are: A Portrait of an Ugly Man is an album that doesn’t seek to minimize important subjects like mental health or self-worth, but rather welcome them in and accept them as part of what it means to be human. REMO DRIVE - A PORTRAIT OF AN UGLY MAN - OUT FRIDAY JUNE 26 A Portrait of an Ugly Man Track Listing: 1 - A Guide To Live By 2 - Star Worship 3 - Dead Man 4 - If I’ve Ever Looked Too Deep In Thought 5 - The Ugly Man Sings 6 - True Romance Lives 7 - Ode to Joy 2 8 - The Night I Kidnapped Remo Drive 9 - A Flower and a Weed 10 - Easy as That

REMO DRIVE RELEASE NEW SINGLE AND VIDEO ‘ODE TO JOY 2’

Where are you currently based? Kalindy and I both live in Preston in Melbourne! Right in between the markets and Northland. How did you first start playing music? I started playing guitar in high school but very badly... I think Kalindy and I both started bands we actually loved - before meeting each other - in Sydney in around 2006/2007. We'd end up playing at the same warehouse parties and became friends that way. We started playing as Hearts and Rockets in 2016 just for fun - and are still having heaps of fun doing it. What's been happening recently? We've been working on some new songs, we only really just released 'You Don't Know What You Have Until You've Had Enough' two months ago and the video clip only about a month ago, so lots of work on that! You've recently released a remix of your single 'You Don't Know What You Have Until You've Had Enough' what influenced the sound and songwriting for this track? Kalindy woke up singing the chorus in the middle of the night one night, and had to make it a song. We released it on a split 7" with Zig Zag and I reckon just even that arrangement influenced how it sounds. The song had started off completely differently, then when we knew it would be being released alongside theirs we changed it and it was for the better! The theme of the song kind of stayed the same, though - it's about how shitty people can be, just in general public interactions like shopping centres. It was written before the COVID-19 crisis, too, so that stuff is next level now. Where and when did you record/produce/master and who did you work with? We're lucky that we can record at home - not having a drum kit helps with that. I engineer all of Hearts and Rockets' recordings, but we always get someone else to mix and master them. For this single, Matt Chow mixed and mastered it, as he was doing Zig Zag's single and knows our band really well. He's done live sound for us countless times, including our first show ever! We're really happy with the end result, and he even went ahead and recorded some live drums for the mix which sound amazing. Matt plays in Shepparton Airplane and Tankerville, two great Melbourne bands. Please tell is about how the track came to be remixed and the process that took place: It actually just came from a throwaway comment on a Facebook thread - I suggested that people could get the stems from us and make a remix if they wanted to, and a bunch of people said they were keen to do so. We ended up with 4 being finished and sent to us so we thought it was a good opportunity to do an EP. Each artist did their own remix and aded their own sound, and Mino Peric mastered the EP for us. Is the result what you originally expected? It was different than I expected it to be, but better than I expected it to be! I guess that's why we thought it would be worthwhile releasing it. The artists involved are some of our favourite Melbourne musicians, so it makes sense that they turned out great, but the 4 takes here are all so fresh and cool and different - not only from each other, but from the original song. The launch at BMF was cancelled but you launched online, how was this experience? It was so devastating when Brunswick Music Festival was cancelled - it was definitely the right decision by the festival, it was all happening right at the point where COVID-19 was spreading far too quickly, and tours and shows were starting to get cancelled left, right and centre. We had already pressed the record and made badges and printed t-shirts and had put so much into the single's release, that we really didn't want to just let that momentum go. So we decided to host live sets on the same night that the launch was supposed to be happening. Zig Zag did there's from their backyard, and we followed with a set from our loungeroom. It was one of the first - if not the first - weekend that people had really started to stay home so we had a nice collection of people watching and commenting, and it coincided with the first Friday that Bandcamp waived their fees, so we were also able to sell a bunch of records and merch! Who are you listening to at the moment? I can't get enough of Primo!'s track Comedy Show, and Mystery Guest's album Octagon City rules. Kalindy's still stuck into her faves Siouxsie and the Banshees and disco! She's big into Betty Davis Eyes at the moment. What do you like to do away from music? I run the label that we release music on, Psychic Hysteria, am a freelance publicist, booker and photographer, and work part time and broadcast at a community radio station so that's most of my time done. Kalindy is a freelance illustrator, designer and photographer. Aside from that, we both like riding bikes, gardening and cooking. What's planned for 2020, any new music on the way? We do have new music coming! We're about to announce the launch for our next single, which will be happening June 20 as part of an online music festival that's yet to be announced... The song is called Milk Bar and will also have a video clip. Favourite food and place to hangout? Inside for the moment still, but otherwise we're pretty low key with eating food out. If we do, it's usually at Tonkin on Smith Street, it's amazing. The sushi place in Northland is better than most fancy Japanese restaurants I've tried! https://open.spotify.com/artist/5wPyyPDBkCDn554i6klScd?si=N5omhBfHR7yo8_-mqMvR5w https://heartsandrockets.bandcamp.com http://www.facebook.com/heartsandrocketsband http://instagram.com/heartsandrocketsband https://youtu.be/WbMz596P3eE

Heart And Rockets Interview

Complications - MorningMaxwell - MorningScratchwell I scratched that beat and the beat got thicker.

Complications – MorningMaxwell – MorningScratchwell I scratched that beat and the beat got thicker.

New Song Debuts on Eurovision: Europe Shine a Light, Out On DSPs Listen HERE “I’m like a bird in a cage and I’m going cuckoo…” Global quirk-pop master and Eurovision champ (2018 with “Toy”) Netta is back with her new song “Cuckoo”, a devastating heartbreaker of a ballad that feels eerily poignant given the state of the world currently. The song debuted as a part of Eurovision: Europe Shine A Light which aired in Australia and a further 45 countries on Saturday and included a touching video of Netta performing the track with a custom-made music box. Also released now on DSPs is the official studio recording “Cuckoo”, which will also appear on the forthcoming EP, out this summer via S-Curve Records/BMG. A noticeable shift for the Israeli artist/composer/songwriter who has made a name for herself (and notched over 1 billion streams globally!) for her bombastic, colorful and high-adrenaline pop, “Cuckoo” is a soulful ballad about feeling self-awarely stuck in a stalled relationship. Whether over heartbreak or feeling emotionally disconnected during this current pandemic, the choral refrain is melancholic brilliance: “I’m like a bird in a cage and I’m going cuckoo”. “This song was written about the feeling of being stuck in a loop, that you don’t know if you created yourself or someone else built for you. We decided to recreate this feeling with a music box. We worked over three months to build a custom-made music box, which was very tricky, because it’s an instrument that was manufactured by hand back in the 16th century. I’ve had this image stuck in my mind for a long time - a ballerina stuck inside a jewelry box, spinning around forever in a loop. Just like I’m afraid I might be,” said Netta. “Cuckoo is my confession. It reveals a vulnerable side of me, which I’ve never let anyone see before. I am in a place where everything happened to me really fast, and I can’t help but doubt.” Listen to Netta on Switched On Pop earlier this week HERE discussing her personal journey as an artist and what it takes to make the perfect Eurovision song. She also recently was spotlighted by BUST who called her the “soulful singer creating escapist videos you didn’t know you needed” and Hey Alma who praised her as a “role model”. She will also be Facebook’s “Artist Of The Day” on May 18th. Check out Netta’s on-the-spot ingenuity in this recent video for iHeartRadio where she covers hits by Eiffel 65, Flo Rida, and Soulja Boy’Tell Em. NETTA ONLINE YOUTUBE | INSTAGRAM | TWITTER | FACEBOOK | TIKTOK

EUROVISION CHAMP NETTA CONJURES UP HEARTBREAKING BRILLIANCE ON “CUCKOO”

Homebrew is your one stop shop for local and independent music. They genre hop through garage, funk, indie, acoustic, jazz, soul, and the in-betweens and the show on airs on Mondays at 3pm. PBS Radio Festival 2020: You Can't Stop The Music May 18 – May 31 2020 From Monday 18 May to Sunday 31 May you can join up or renew your annual PBS membership, or simply make a donation via the PBS website, during the station’s biggest online and on air fundraiser of the year. Tune into 106.7FM to catch tales from PBS’ past, cherished memories, guest appearances and your favourite PBS presenters sharing their thoughts on the many, many benefits of being a PBS member including, of course, a treasure trove of prizes. For the full list of daily prizes or to join head over to www.pbsfm.org.au If you are having trouble renewing online, you can email info@pbsfm.org.au or try calling (03) 8415 1067 between 10am-6pm Monday to Friday and PBS will do their best to answer your call

PBS Homebrew x The Partae Playlist – Maddy and Kurt

Hearts and Rockets – Had Enough Remixed

Where are you currently based? Brisbane How did you first start playing music? During school holidays, my family would go and work on my Grandfather's farm in Nothern NSW. Having just bought a new laptop and not having any internet access in the area, GarageBand never stood a chance. I would catch my family while they were sitting around the TV and play them my demos and because they are incredibly polite, they said they were good! What's been happening recently? I have just purchased some very sexy studio monitors and am setting up a small home studio to begin writing an EP for release in early 2021. I have also been really excited to find some other Australian artists to work with, either as a feature or to co-produce. How did you come to be a part of the local music scene? I started making connections through university - becoming friends with wonderfully talented singers, mixing engineers and learning the basics of production on Ableton during tutorials. Since then my tutors and my manager have helped expand my horizons and meet some fantastic artists from around Australia. This is super exciting and I am looking forward to working with as many people as I can! Your new single 'Shake You Off' is out now, what influenced the sound and songwriting for this track? I was really loving the amazing music coming out from Golden Vessel and wanted to create a similar sort of electronic pop track with some toplines that you could sing/rap along to at home! For the chorus, I wanted an off-kilter sort of Flume'esque synth sound and reworked the original synth line to create the organic sounding lead synth in the final version. The song is about two friends who become more than friends, leading to love, happiness but eventually ends in trouble. Where and when did you record and who with? The track was recorded over a few months at the end of 2019 and early 2020. Although Lucie lives in Brisbane, she was actually on a student exchange studying music in Los Angeles at the time and had to record her vocals in her bedroom. While we would normally record at my University's recording studio, COVID-19 meant we needed to find an alternative. For Declan's (Zeplyn) verse, we recorded in a closet at my house on a disgustingly hot day and although the conditions were dreadful, it resulted in a great performance! What programs/instruments did you use? I produced Shake You Off on Ableton and used a Launchkey Mini as my main MIDI controller for all the synths you hear in the track. All the drums are one-shots I have arranged to create the playful yet heavy beat. Who are you listening to at the moment? So much fantastic music has come out recently. I've been listening to new tracks from Young Franco, Yb., Yuto and have had the Vallis Alps Remix of Matt Maeson's - Hallucinogenics on repeat for the last week. What do you like to do away from music? I'm currently having fun completing my Honours thesis at the Queensland University of Technology for Industrial Design. I am looking into making entry lines for music festivals faster and more enjoyable! For work, I help design unmanned ground vehicles (UGVs), drones, robots, and do some data labeling to help improve machine vision systems for autonomous navigation - all very interesting to work on! Who would you love to work with? I would be absolutely thrilled to work with Emerson Lief, Upsidedownhead, Luboku and Jadu Heart - all have amazing styles and I think working with them would result in some really unique and fun music! What's planned for 2020? I am hoping to keep experimenting with sounds and styles this year, releasing a few more singles in preparation for an EP in early 2021. I am also trying to collaborate with more local artists and keep working my way into the wider Australian music scene! Favourite food and place to hangout? My favourite food is anything Mexican - burritos, nachos... the lot. My favourite place to hang out is in the Z9 music building at QUT. With so many amazing artists in the one space, it's got a fantastic energy about it, not to mention the great equipment! https://open.spotify.com/album/0nWXImF5S5VYrmnM1Avxak Stream Link: https://gyro.lnk.to/ShakeYouOff Instagram: https://www.instagram.com/presentingmagnus/ Facebook: https://www.facebook.com/presentingmagnus/

Presenting Magnus Interview

To celebrate the release of MorningMaxwell’s new single ‘Complications’, MorningMaxwell will be conducting a 2-week campaign with the Partae celebrating the topline over alternative beats (One new beat a day) from samples the legend has recorded around his house.

Complications – MorningMaxwell – MorningBeatboxWell Have you ever seen a topless music producer create a beat? Have you ever heard such a soulful topline?