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Platinum Producer Felix Cartal Releases 4th Studio Album "Expensive Sounds For Nice People," Featuring Kiiara, Sophie Simmons, Lights, Karen Harding, And More
Music News

Platinum Producer Felix Cartal Releases 4th Studio Album “Expensive Sounds For Nice People,” Featuring Kiiara, Sophie Simmons, Lights, Karen Harding, And More

by the partae
written by the partae

Artist: Felix Cartal
Title: Expensive Sounds For Nice People
Label: Physical Presents

Download/stream “Expensive Sounds For Nice People”

Platinum producer Felix Cartal releases his 4th studio album “Expensive Sounds For Nice People” via Physical Presents. Also taken from the album are previously released “Mine” with Sophie Simmons, and “Love Me” with Lights; both are certified Platinum in Canada, with the latter one also winning the Dance Recording of the Year at the Junos 2020. Other remarkable tracks on the album include “Only One” with the hit UK singer-songwriter Karen Harding and “My Last Song” with the rebellious Norwegian songstress Hanne Mjøen, “Too Late” with the Juno Award-winning singer and composer KROY (from Quebec duo Milk & Bone), as well as “The Life” with Fjord as well as several solo indie dance anthems from Felix, which find themselves at home on the album. Cartal‘s earlier “Get What You Give” also reached Platinum status, while one of the most recent singles “Happy Hour” with Kiiara was featured on 32 Spotify New Music Friday playlists as well as Billboard’s Best New Dance Tracks.

A release nearly 3 years in the making, “Expensive Sounds For Nice People” covers a range of emotions: from the ecstatic highs of new love to the frustrating lows brought by inevitable heartbreak, all held up by a backbone of unique house music. Felix Cartal lures listeners onto the dancefloor with an array of strong female vocals, showcasing some of the best singers the pop world has to offer one unforgettable track at a time, as each occupies its own sonic realm of indie dance, and none is quite like the other.

Felix Cartal shares the history behind the album: “My fourth album Expensive Sounds For Nice People is part of the second musical chapter in my life. My first two albums were the first chapter of my musical career: a scrappier, undeveloped, experimental phase where a lot of the ideas didn’t quite get executed how I would want from lack of skill or know-how. I’m still fond of that time and those releases, but was ultimately frustrated that I couldn’t make what I wanted come to life exactly how I heard it in my head. The other big problem from that era was consistency, and basically that’s what I’ve become obsessed with. Growing up arguably through one of the worst eras of one-hit-wonders in musical history, I remember constantly being disappointed when I bought an album and there was only one good song. I hated that. And I think remembering that has guided me into this second chapter of my life. Where I’ve just tried to grind it out daily at the studio and work on my skills, and trying to become more consistent. I’m more into the ‘Jiro Dreams of Sushi‘ chef approach nowadays, where I just try to log hours every day to refine my craft. Not too concerned with the result from that specific day but knowing that if I stack those hours I will in fact improve. I want every song to be 100% something I’m proud of, or it’s not coming out.“

He goes on to further elaborate: “The title of the album is a tongue in cheek description of all this. The Sounds, to me, are Expensive because I know time is a valuable commodity and I’ve logged the hours to get there. On the other hand, as an artist, who knows what even gives art value half the time? But for me, the fact that people still to this day take the time to write me heartfelt messages about my music, inspires me to keep going and to keep creating. So this album is for them, the Nice People who take the time to care, and for me, because I care too. I hope the album, from front to back, is enjoyable. I’ve worked very hard on every detail for the past 3 years.“

Vancouver-based Felix Cartal has collaborated with several major artists such as Kaskade, R3HAB, Gallant, and has also created official remixes for the likes of Selena Gomez, Zedd, Galantis, Dillon Francis, MØ, Ellie Goulding, Diplo, Anne-Marie & Doja Cat as well as Daya & Shallou‘s “Older.”  He has been featured by major Youtube channels Trap Nation, MrSuicideSheep, MrRevillz, Chill Nation, The Vibe Guide, Selected, xKito, among others, and has earned over 360 million plays across all platforms. He has also seen support from BBC Radio 1’s Danny Howard and Diplo & Friends, and SiriusXM Chill has also heavily supported several singles, while his Weekend Workout radio show is also featured on SiriusXM‘s Diplo’s Revolution.

“Expensive Sounds For Nice People” Tracklist:

01. The Life (feat. Fjord)
02. Over It (feat. Veronica)
03. Harmony
04. Layover
05. Mine (feat. Sophie Simmons)
06. 500 Days (feat. Matilda)
07. Old Self (feat. Ofelia K)
08. We Fall
09. Only One (feat. Karen Harding)
10. My Last Song (feat. Hanne Mjøen)
11. Love Me (feat. Lights)
12. Going Up
13. Happy Hour (feat. Kiiara)
14. Jealous
15. Hygge
16. Too Late (feat. KROY)

“Felix Cartal is here to bless the masses with timeless music” – Flaunt Magazine

“Friday vibes are exemplified on ‘Happy Hour,’ a joyous new collab between Canadian producer Felix Cartal and anti-pop star Kiiara.” – Billboard

“It goes from a cool electro place into some more mellow, halftime vibes during the hook. No earth-shattering drops, no pandering. This is just good music for great people.” – Complex

“Felix Cartal has turned ‘You Get What You Give’ into a full-on EDM blast, the kind of thing you expect to hear at four A.M., as you’re waiting for the sun to rise.” – Popdust

“The platinum-selling producer is back, matching his arena-level electronics to a potent pop touch.” – Clash Magazine

“‘Mine‘ follows the producer and DJ, Taelor Deitcher’s irresistible sonic formula: melting melodic electro-pop sensibilities with slick body-shaking bass lines, this time relaying an ode to lost love with the honey vocals of singer Sophie Simmons” – Wonderland Magazine

More info on Felix Cartal / Physical Presents:

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Learning music comes naturally to some people, where they can pick it up and have an easy time learning and understanding. Additionally, some have a great ear for music and are able to play songs with ease. However, not everyone is provided such gifts, and even those that have a great ear would benefit from learning the fundamentals of music theory. Here are some basics in a theory guide to help you get started. Tempo And BPM Tempo is the pace of a song. It can be either fast or slow, of course in relativity. A beat is a standard unit of time in music. Tempo is measured in beats per minute or BPM. The higher the BPM, the faster the tempo and the faster the song. This is important to consider for pacing when you are trying to play in harmony with others, or in music production where you have different instrument sounds and are trying to match them with each other to create synchronicity. Drummers and other rhythm instruments are often tasked with keeping this consistent tempo, and DJs will need to consistently match BPM on their playlists and mixes to create a seamless transition between songs.  Time Signatures The concept of time signatures expands on the previously explored concepts of tempo. You will use this in order to determine how to count your music. Utilizing fractions, you will measure the beats that you will find in each individual bar as the top number, while the bottom number in the fraction will signify the length of the note to count. An example of the most common time signature looks like 4/4 and means there are four quarter notes to account for. Keep in mind, this is shown this way specifically for music purposes, and unlike math, would not be reduced to 1. The importance of time signatures breaks down to organization and creating an easy identify the structure for musicians to understand and be able to play. Frequencies And Notes A note consists of a pitch of a sound and its duration. A pitch refers to the frequency of the sound, which translates to how high or low the note is. The frequencies are more commonly known and associated with the letters A through G, creating what most musicians will feel familiar with as notes. The notes will then repeat, just in different In a single octave, there are 12 notes to account for. These include sharps and flats as well. Grasping the basics of notes is your first step in musical notations. This is important because you have to be able to read music in its written form in order to properly play music if you cannot reasonably memorize entire songs, and when you also want to create pieces of your own. When you are first learning music and instruments, learning the piano provides a strong foundational basis, as the notes are aligned in order.  Sharps And Flats Sharps and flats are unique types of notes used to reference when you play certain notes a semitone or a half step higher or lower. For sharps, the semitone is higher, while the flat denotes a lower played half step. When it comes to sheet music, sharp is indicated by the # while a flat is indicated by ♭. On a piano, you will find sharps and flats easy to identify as they are the black keys. Keep in mind, sharps and flats can share the same keys, since they are either one semitone higher or lower than a root note. For example, a C sharp is also known as the D flat. Both are correct and used, depending on the situation or key that a piece or song is in.  Octaves An octave is used with notes that are of the same frequency but played at different speeds, creating different sounds. They are the distance from one note to the next same note, either lower or higher. Octaves separate the groups of notes by their pitch, as you will notice a significant difference in notes played from different octaves, as they have easily distinguishable pitches from one another. Chords Chords are multiple notes played in harmony at the same time. The most common note is composed of three notes, creating what is known as a triad. Triads are often the most common note you will find, hear, and play. A chord is named after its root note or the note that you start with when you are playing your chords.  Before you progress in any learning environment where the material can be complicated, it is important that you always begin with the basics. This is the same for learning music, as the theory and fundamentals are important to build before you proceed to more in-depth learning. 
Music News

Easily Grasp the Fundamentals of Music With This Music Theory Guide

by the partae
written by the partae

Learning music comes naturally to some people, where they can pick it up and have an easy time learning and understanding. Additionally, some have a great ear for music and are able to play songs with ease. However, not everyone is provided such gifts, and even those that have a great ear would benefit from learning the fundamentals of music theory. Here are some basics in a theory guide to help you get started.

Tempo And BPM

Tempo is the pace of a song. It can be either fast or slow, of course in relativity. A beat is a standard unit of time in music. Tempo is measured in beats per minute or BPM. The higher the BPM, the faster the tempo and the faster the song. This is important to consider for pacing when you are trying to play in harmony with others, or in music production where you have different instrument sounds and are trying to match them with each other to create synchronicity. Drummers and other rhythm instruments are often tasked with keeping this consistent tempo, and DJs will need to consistently match BPM on their playlists and mixes to create a seamless transition between songs. 

Time Signatures

The concept of time signatures expands on the previously explored concepts of tempo. You will use this in order to determine how to count your music. Utilizing fractions, you will measure the beats that you will find in each individual bar as the top number, while the bottom number in the fraction will signify the length of the note to count. An example of the most common time signature looks like 4/4 and means there are four quarter notes to account for. Keep in mind, this is shown this way specifically for music purposes, and unlike math, would not be reduced to 1. The importance of time signatures breaks down to organization and creating an easy identify the structure for musicians to understand and be able to play.

Frequencies And Notes

A note consists of a pitch of a sound and its duration. A pitch refers to the frequency of the sound, which translates to how high or low the note is. The frequencies are more commonly known and associated with the letters A through G, creating what most musicians will feel familiar with as notes. The notes will then repeat, just in different In a single octave, there are 12 notes to account for. These include sharps and flats as well. Grasping the basics of notes is your first step in musical notations. This is important because you have to be able to read music in its written form in order to properly play music if you cannot reasonably memorize entire songs, and when you also want to create pieces of your own. When you are first learning music and instruments, learning the piano provides a strong foundational basis, as the notes are aligned in order. 

Sharps And Flats

Sharps and flats are unique types of notes used to reference when you play certain notes a semitone or a half step higher or lower. For sharps, the semitone is higher, while the flat denotes a lower played half step. When it comes to sheet music, sharp is indicated by the # while a flat is indicated by ♭. On a piano, you will find sharps and flats easy to identify as they are the black keys. Keep in mind, sharps and flats can share the same keys, since they are either one semitone higher or lower than a root note. For example, a C sharp is also known as the D flat. Both are correct and used, depending on the situation or key that a piece or song is in.

 

Octaves

An octave is used with notes that are of the same frequency but played at different speeds, creating different sounds. They are the distance from one note to the next same note, either lower or higher. Octaves separate the groups of notes by their pitch, as you will notice a significant difference in notes played from different octaves, as they have easily distinguishable pitches from one another.

 

Chords

Chords are multiple notes played in harmony at the same time. The most common note is composed of three notes, creating what is known as a triad. Triads are often the most common note you will find, hear, and play. A chord is named after its root note or the note that you start with when you are playing your chords. 

 

Before you progress in any learning environment where the material can be complicated, it is important that you always begin with the basics. This is the same for learning music, as the theory and fundamentals are important to build before you proceed to more in-depth learning. 

 

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DEBUT AA-SIDE SINGLE FROM JESSIE WARE / JAMES VINCENT MCMORROW AND THE JOY OUT NOW ON TRANSGRESSIVE RECORDS
Music News

Two Inch Punch announces project, shares new single from Jessie Ware & James Vincent McMorrow

by the partae
written by the partae

DEBUT AA-SIDE SINGLE FROM
JESSIE WARE / JAMES VINCENT MCMORROW AND THE JOY
OUT NOW ON TRANSGRESSIVE RECORDS

photo credit. Alex Kurunis
During the first few weeks of the Covid-19 lockdown, London-based producer Two Inch Punch had the idea of a collaborative project in which the artist and producer community, given their sudden slow down of pace, could have the opportunity to continue working, collaborating and making connections with fellow producers and musicians that they may already know but also hopefully connecting with those that they didn’t, and that they may have admired from afar.
Two Inch Punch has now curated a new project titled A Month Of Sundays and in the spirit of the collaborative nature of the project will be releasing a series of AA-side singles over the coming months, with the full album A Month Of Sundays: Volume 1 set for release Friday 3rd September on Transgressive Records. Further details, including a full list of the collaborators plus the tracklisting, will be revealed soon.
Proceeds from A Month Of Sundays: Volume 1 will be going to the independent charities Young Minds and Black Minds Matter. It’s vitally important that we support each other at this time, and hope that this project is able to provide a small offering of relief.
The debut release from A Month Of Sundays shares two cuts, a brand new collaborative single from Jessie Ware and James Vincent McMorrow ‘Lost In LA’ plus an introduction to the truly exciting new South African group The Joy with ‘Nginothando Lwakhe’. On the project, Jessie Ware comments:
“It’s an absolute pleasure to be involved in such an exciting, collaborative project. Not only did I get to work with one of my great friends again, I got to sing with one of my favourite voices, James Vincent Mcmorrow. The other collabs on this project show just how instinctive and brilliant Two Inch Punch is, it’s been a total pleasure.”
Discussing the first release from A Month Of Sundays, Two Inch Punch offered the following:
“A Month Of Sundays started as soon as lockdown began. Every producer I know brought their studio setup home and tried to work out how to keep busy. All artists touring had suddenly stopped so creating music was the only thing we had. The idea came from Hamish Harris who is my friend and manager at September. He was suggesting using the unique time to collaborate on Instagram –  sending ideas to other producers and artists with the hashtag #PassItOnProject. Quickly ideas, beats & song nucleus’s were being formed at different levels & stages in peoples bedrooms.
 It started out with completely random records – from ballad ideas, to drill instrumentals. Some formed quickly, some fell away. Some had 4 or 5 producers, some 1 or 2. The best thing about it was there were no rules, no campaign. Just the most free and expressive we could be in a time we felt most trapped. Pass it On (A Month Of Sundays) built momentum and snowballed. Having so many labels and artists trying to get involved was great to see.
‘Lost In LA’ & ‘Nginothando Lwakhe’ are so important to me, and encapsulate the time and process of the making of this record but also couldn’t be more different. ‘Nginothando Lwakhe’ is a pure acapella song from the township in Durban SA, while ‘Lost in LA’ is a record, reflecting about chasing a dream in LA, while being written, recorded & produced in our bedrooms in London & Dublin. Both tracks reflect the time, having been made purely as a result of the pandemic, and I couldn’t be prouder of them.”
A Month Of Sundays: Volume 1 is available to pre-order on CD, alongside donations to Young Minds and Black Minds Matter, here.
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Naarm/Melbourne indie/post-punk duo Skydeck share new single 'No Change'
Music News

Naarm/Melbourne indie/post-punk duo Skydeck share new single ‘No Change’

by the partae
written by the partae

Naarm/Melbourne-based duo Skydeck (AKA Dominic Kearton and Mitchum Clemens) return with a new single titled ‘No Change’. The track is taken from the Skydeck’s sophomore album Coupon, out Friday August 27 via Dinosaur City Records, Osborne Again and Kingfisher Bluez digitally and on limited-edition 12” vinyl.

Listen HERE. Pre-order 12” vinyl HERE.

The follow-up to Coupon’s lead single ‘Dogshot’, ‘No Change’ features Clemens’ deadpan vocals backed by an upbeat bass line, snappy drums and field recordings that break through like shrapnel.

Clemens says of the track:

“[‘No Change’] is the product of a pretty constant vacillation between indifference and outrage at the state of the world, the vacillation between outrage at myself for not doing anything to change it, and indifference from the knowledge that no little post-punk ditty I write is going to change anything in the world.” 

“The bass line was knocking about in my head for a while. I recorded it on my phone with Pablo, who I was staying with in Guadalajara, and sent it to Dom. I tried to make the drums sound like Pablo who was playing them but a bit more punk, but Dom said it sounded like Crash Bandicoot. The end result is a pretty simple beat with a snare that sounds like a car trying to start. The recording I sent to Dom is kept at the end of the song, with some other phone recordings from around that time.” he continues.

Skydeck Coupon

1. Dogshot
2. No Change
3. Guilty Of
4. Salt
5. Gut Guilt
6. Original Sin
7. Uptight
8. Plastic
9. Anthony

Pre-order Coupon on 12″ vinyl

Taking inspiration from cold, post-punk sounds of the 1980s, Skydeck makes use of FM synthesis and the bright, clean and sometimes artificial sounds it provides,  contrasted with distorted guitars and upbeat bass lines.

Sophomore album Coupon is the follow-up to Skydeck’s Australian Music Prize-nominated debut Eureka Moment (2019). While Eureka Moment was pieced together bit by bit, with lyrics applied to old unfinished demos years later, Coupon sees the band writing and recording in unison.  Though writing and recording at the same time, founding members and long-time friends Mitchum Clemens and Dominic Kearton were physically separated throughout the entire process: one in Mexico and the other back home in Australia.

Coupon was as much an artistic endeavour as it was a way to stay connected with each other over long distances, with songs and ideas acting like letters back and forth. Evidence of this can be heard through field recordings and phone memos scattered throughout songs.

Eureka Moment gestured towards an anti-capitalist sentiment, while Coupon sees the band less focused on observing society’s issues from afar, rather reflecting on their involvement within them.

Coupon is set for release digitally and on limited-edition 12” vinyl on Friday August 27 via Dinosaur City Records, Osborne Again and Kingfisher Bluez.
Keep up to date with Skydeck releases and events
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THE IMS BUSINESS REPORT 2021 IN PARTNERSHIP WITH PIONEER DJ & BILLBOARD DANCE PRESENTED LIVE ON BEATPORT’S STREAMING CHANNELS MONDAY 28 JUNE AT 17.00 BST FOLLOWED BY A LIVE INTERACTIVE PANEL DISCUSSION WITH ELECTRONIC MUSIC INDUSTRY EXPERTS FROM BEATPORT, BILLBOARD, SENTRIC MUSIC & WARNER MUSIC GROUP
Music News

THE IMS BUSINESS REPORT 2021 IN PARTNERSHIP WITH PIONEER DJ & BILLBOARD DANCE PRESENTED LIVE ON BEATPORT’S STREAMING CHANNELS MONDAY 28 JUNE AT 17.00 BST FOLLOWED BY A LIVE INTERACTIVE PANEL DISCUSSION WITH ELECTRONIC MUSIC INDUSTRY EXPERTS FROM BEATPORT, BILLBOARD, SENTRIC MUSIC & WARNER MUSIC GROUP

by the partae
written by the partae

International Music Summit (IMS), the leading platform for business, culture and education in global electronic music, will present and publish the findings of the annual IMS Business Report on Monday 28 June at 17.00 BST in an interactive broadcast live on Beatport’s streaming channels. The report will feature full and detailed data on the last year in the electronic music industry, highlighting key trends and providing analysis into the impact of the global pandemic, including how it has affected the total value of the industry.

For the first time in its ten year history the report has a new author, data analyst David Boyle, who will present an abridged version of the full updated format report, after which the findings will be examined and analyzed in a live discussion featuring Bart Cools, (Warner Music Group, EVP Global A&R and Marketing for Dance Music), Mark Lawrence (Sentric Music, Director of Electronic Music) and Susan Gloy-Kruse (Beatport, Director, Industry Relations), moderated by Katie Bain (Billboard Dance, Editor).

The IMS Business Report is an annual leading study that provides vital statistics on the growth of the electronic music industry across the previous year. Used by professionals across the industry and referenced in widespread news reports and studies, it is an essential tool for the electronic music business.  The 2021 edition presents a new format report and aims to be the definitive account of electronic music in 2020 and the trends shaping 2021 so far, covering key themes including:

  • Recorded Music: Electronic music market share in the face of the continued growth of Hip Hop.
  • Festivals & Clubs: Bearing the brunt of the impact of COVID-19, many clubs and festivals were not able to operate. We take a look at who went successfully virtual.
  • Livestreaming: A year into being forced into livestreaming, there are still more questions than answers about the biggest topic in the music industry. The report examines key case studies which illustrate three distinct pillars around which the answers will coalesce: Enroll, Engage and Excite.
  • Monetizing Fans: NFTs captured the headlines but they’re only the hottest of the direct-to-fan technologies that helped artists to engage and monetize their fans during the pandemic. The report looks at three technologies that each hold lessons and examine how NFTs are only the tip of the iceberg for our industry.
  • Good Causes: Whether raising money for PPE for healthcare workers, non-profits or artists and industry workers devastated by the pandemic, electronic music stepped up in 2020. We recap and salute the dedication and impact of this great work.
  • The Metaverse: 2020 saw record growth in gaming, an industry that is well used to expansion. The metaverse has arrived and the opportunities for electronic music are unlimited.
  • Industry Value: Revealing the all-important estimated value of the global electronic music industry, which in 2019 was $7.3bn.

The presentation and discussion will be live on Beatport’s Twitch, Facebook and YouTube pages and on the IMS Facebook and Billboard Dance Facebook pages, viewers will be able to share their opinions and ask questions to the panel via these platforms.  Immediately after the stream the IMS Business Report 2021 will be available for download from the IMS website.

DATE: Monday 28 June
TIME: 17.00 BST / 18.00 CEST / 12.00 EDT / 09.00 PDT 

— NOTES TO THE EDITOR —

International Music Summit is an educational, inspirational and motivational thought leadership platform dedicated to creating and encouraging the awareness of, and appreciation for, electronic music, and the artistry related to DJing and related art forms – primarily through the presentation of summits and events that celebrate both the historic and ongoing contribution of the genre to culture worldwide. IMS was created by Ben Turner, Danny Whittle, Mark Netto, Pete Tong & Simeon Friend. www.internationalmusicsummit.com
Connect with IMS
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Junior Jack Showcases New Talent, Virak With His Own Rework Of 'Kaolack' On Adesso Music | Stream Now
Music News

Junior Jack Showcases New Talent, Virak With His Own Rework Of ‘Kaolack’ On Adesso Music | Stream Now

by the partae
written by the partae

STREAM / LISTEN HERE

ADESSO MUSIC
VIRAK – ‘KAOLACK’ (JUNIOR JACK REWORK)
OUT NOW

Junior Jack’s prolific career has seen him become one of the most loved, listened to and coveted house artists of his time. As DJ, Producer and label head of Adesso Music alongside Pat BDS, Junior Jack continues to diversify his sound and reaffirm his talent through his releases and by additionally championing new artists from around the world.

Exemplifying this through his commitment to advocating young talent, Junior Jack has been utilising the background of his work to bolster Thailand based, Virak. Following the release of his debut ‘Sugar’ single at the beginning of 2021, Virak returns to Adesso Music with Junior Jack’s rework of ‘Kaolack’.

Progressively building energy through melodic grooves and tribal rhythms, Kaolack (Junior Jack Rework) reaches peak time euphoria through its sonic moulding and vocal hooks. Junior Jack is up there as one of Italy’s finest house music exports. With achievements that are multitude, as a producer he’s created some of the highly regarded house records of the early 2000s, becoming a big star as well as a major contributor to the sound and style of the time. Since then, he has continued to vary his sound and produce music for the underground.

Virak is also no stranger to the DJ booth. Now residing in Thailand where he has a number of residencies, he started his career in 2006 and has frequented many of the prestigious clubs in France such as Les Caves: (Courchevel), Le Milk (Montpellier) as well as open format sets at some of the world’s most tropezian bars and beach clubs. Championed by Junior Jack, the Adesso Music team and beyond, Virak’s creative productions that combine European house with international inspirations are a credit to his masterful techniques.

Virak ‘Kaolack’ (Junior Jack Rework) is out now on Adesso Music
Connect with Virak
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Connect with Adesso Music
Facebook
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Connect with Junior Jack
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Rashid Ajami
Music InterviewsMusic News

Rashid Ajami

by the partae
written by the partae

Hey Rashid, congrats on your latest release, your TOR label debut! For our readers who might not have heard it yet, can you describe each of the tracks in three words/a sentence?

That’s a good question ! I would say…

“Never Knew” is soulful, nostalgic and raw.

“Chasing Ghosts” is industrial, haunting and warm. 

“Still Think of You” is melancholy, lush and dreamy.

You’ve had a really strong 12 months with releases on the likes of Tale & Tone, TOR, XYZ… What do you think was the reason behind this exciting collection of new tracks? Have you been having an extra creative phase?

I think these tracks came from a desire to create during lockdown. I had a few months of creative focus in which the tracks came together. They each have their own story and meaning behind them, but in the end they worked quite nicely as a collection, even though this was not what I initially intended. 

Where do you usually get your inspiration from, and has lockdown affected that (either in a good or bad way)?

My inspiration comes from nature, art and mainly from experiences in my life. But when it comes down to it the inspiration comes from within and is at a deeper level. It comes from being in the moment of creation fully. 

Where would be your dream gig or show when the world opens back up properly again?

My dream is to tour the world and play in multiple countries, meet new people, and have unique experiences. 

What’s next for you? We’ve heard that you’re big into NFTs and artwork, and are working on some cool installations… can you tell us more about that?

I will be launching my first NFT collection soon. It consists of 6 pieces all with unique visuals and music. I’m very excited about it and I really enjoyed the project! I’m looking at many new artistic projects that involve bringing together art, music, film and immersive experiences. Stay tuned for more updates!

Rashid Ajami’s ‘You Don’t Know Me’ EP is out now on Tale & Tone. His ‘Never Knew’ EP is Out Now on TOR, get it here.

PLAY/LISTEN

 https://www.instagram.com/rashidajami/

https://www.facebook.com/rashidajamiofficial

 

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RISING STAR FINN ASKEW SHARES NEW SINGLE 'PARANOIA'
Music News

RISING STAR FINN ASKEW SHARES NEW SINGLE ‘PARANOIA’

by the partae
written by the partae
PRAISE FOR FINN ASKEW

Breakout Musicians To Know In 2021
GQ Australia

“A Gen Z artist to be reckoned with”
Tone Deaf

“A young prodigy”
Rolling Stone Australia

“​Finn Askew’s take on melody-rich hyperpop sees the Somerset-born songwriter
finding a summer-washed timelessness that revels in youth and excitement​”
​The Line of Best Fit

“A self-contained DIY talent… finessing a sound that is truly his own”
Clash Music

“​A soulful yet sharp sound”
COLORSXSTUDIO

UK-based singer-songwriter, Finn Askew, today shares his new single ‘Paranoia‘. LISTEN HERE.

As the follow-up to his more soulful single ‘Cherry Bomb‘, ‘Paranoia‘ is a genre-defying upbeat anthem, with its alt-rock sounds and rousing lyrics. Giving fans a new peak into his world, Finn shares a unique visual to release alongside the song – surrounded by a series of surveillance cameras and monitors, Finn performs ‘Paranoia‘ solo, collaged with livestream footage broadcast globally.

Of the track, Finn says “If I was in the form of a song that song would be ‘Paranoia’. It represents me as an artist the best. When you see the word paranoia you’d probably imagine the song to be pretty dark, that’s what I love about this song cause it’s far from that.”

At 20, Finn Askew is more focused than ever; ambitious, self-reliant, and prepared for the thrilling future he is building for himself. Praised by The Line Of Best Fit for his “candied indie-pop” that would “fit on your 2014 Tumblr dashboard”, “genre defying” by Equate Magazine, “a young prodigy” by Rolling Stone Australia, “an artist to be reckoned with” by Tone Deaf, and amongst others, a “breakout musician to know in 2021” by GQ Australia; Finn’s meteoric rise from zero studio experience some two years ago, to his signing to Polydor Records in 2020 who released his debut Peach EP, is a testament to his constant hustle and enthusiasm for experimentation. Trying on genres as often as he does new sartorial styles, guided by his own intuition, Askew continues to deliver with ‘Paranoia‘ taking his artistry to new heights. 

‘Paranoia‘ is out now via Polydor Records, buy/stream it here.

Stay connected with Finn Askew:
Twitter | Instagram | YouTube

 

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MAGIC DIRT Announce vinyl reissue of Friends In Danger (1996)
Music News

MAGIC DIRT Announce vinyl reissue of Friends In Danger (1996)

by the partae
written by the partae
Photo credit: Andy Mac
Praise for Friends In Danger

“…a visionary blast of noise, attitude and great songs… Recorded and mixed in only ten days in Sydney with producer Paul McKercher, it captures the raw power of this awesome live band in a manner that their previous recordings missed, while refusing to be straitjacketed. From the fuzz and feedback blizzards of ‘Befriended Fallen Angel’, ‘I Was Cruel’ and the title track, the album also winds through the subtle, eerie strains of ‘Dylan’s Lullaby’, the Eno-esque nightmare ‘Fear’ and the warped, but winning, ‘Shovel’. Meanwhile, ‘Sparrow’ is almost the (hit) single the band could have if they’d just relax…” – John O’Donnell, Juice (1996)

“…this is as good and as purely cathartic as art-damaged, noise-mongering, amp-frying rawk gets…” – Matt Ashare, The Boston Phoenix (1996)

“…there’s plenty of torn and fractured beauty, an excellent understanding of light and shade, and passages of almost frightening intensity – sometimes whispered, sometimes screamed…” – Tracks (1996)

“…don’t listen to this album by yourself with the lights out…” – Barry Divola, Who Magazine (1996)

“…the Dirt…simply go for the heart – and then have your jugular for dessert…” – David Fricke, Rolling Stone US (1997)

Today Magic Dirt announce the reissue of their acclaimed 1996 debut album Friends In Danger, out Friday 9th July via Emergency Music / Remote Control Records. 

In early 1995, with the success of the Life Was Better EP creating a massive industry buzz around the band, Magic Dirt began writing their highly anticipated debut album, Friends In Danger. In addition, after much international record label attention, the band finally inked a deal with Warner Bros U.S. But amid the dazzling momentum, the band were also faced with picking up the pieces after the departure of lead guitarist, Daniel Herring. Dave Thomas (Bored!), godfather of Geelong punk rock, who had managed the band in the early days, was then recruited. With their swag of newly sketched out songs, the band set up camp at Megaphon Studios in Sydney, with renowned producer Paul McKercher (The Cruel Sea, You Am I) to record to warm, analogue tape. The band were keen to keep experimenting with sonic textures and to also, for the first time, capture their live sound with minimal overdubbing. As rock journalist, Ian McFarlane noted, “…the album matched the band’s fearless experimentation with a dark, unhinged sound that went from moments of eerie near-silence to full-tilt guitar noise…” (Encyclopedia of Australian Rock and Pop, 1999). Dave Thomas also brought his own firebrand style of guitar playing, as Adalita remembers, “…Dave…got a lot of really weird pedals, like…a Golden Throat which Peter Frampton used…that helped us create a darker, weirder feeling on the album.” (David Trethewie, Forte Magazine, 1996)

Released in September 1996 and peaking at number 25 on the ARIA Charts, Magic Dirt‘s debut album, Friends In Danger, ushered in a heavier and darker edge to the band which also polarised some press and fans alike due to the band’s previous chart topping more melodic offering with Life Was Better. Says Adalita at the time, “…It’s not like we set out to be different…we were always just doing it our own way”. Adds Dean, “When we started we were just doing what we thought was fun, rather than doing what you do to be successful. And I just thought that was how every band did it.” (John O’Donnell, Juice Magazine, 1996)

Nonetheless, Friends In Danger garnered the band a new hardcore cult following with industry heavyweights like David Fricke, senior editor of Rolling Stone US, rating the album in his Top 100 records of 1997 and saying, “…howzabout the ragged-feedback glory and souped up riff theater of this mighty Australian foursome?” (Rolling Stone US, 1997). Blunt Magazine gave it a rave in their 50 Greatest Australian Albums edition describing it as “…a moody and powerful collection of tunes…that act as battlefields upon which melody and feedback clash in splendiferous fights to the death.” Daniel Johns of Silverchair rated it as best album of 1997 in Alternative Press and promptly invited the band as main support on their national Summer Freak show tour that same year.

Magic Dirt would like to dedicate the Friends In Danger reissue to Dave Thomas, who sadly passed away in March 2020. His legacy will live on and Magic Dirt would like to acknowledge his incredible contribution to the Australian music scene and are especially indebted to him for his support and encouragement of the band in their early years.

Pre-order Magic Dirt – Friends In Danger https://magicdirt.lnk.to/friendsindanger

magicdirt.com

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MARLO DELIVERS RAVE ANTHEM 'NO OTHER ALTERNATIVE' ON CENTRAL STATION RECORDS [OUT NOW ON CENTRAL STATION RECORDS]
Music News

MARLO DELIVERS RAVE ANTHEM ‘NO OTHER ALTERNATIVE’ ON CENTRAL STATION RECORDS [OUT NOW ON CENTRAL STATION RECORDS]

by the partae
written by the partae

BUY/STREAM: MARLO – NO OTHER ALTERNATIVE

Australian-based producer MaRLo has crafted the perfect tune for dancefloor reunions this summer in the form of his thumping rave anthem ‘No Other Alternative’.

The tune kicks off with a staccato synth siren before the hypnotizing vocals take over. ‘No Other Alternative’ quickly shifts into high gear with quaking bass thumps, but lets listeners catch their breath during soft synth breaks.

“I always felt this melody was incredible and has the type of energy in it that makes you want to crank the volume as loud as it can go. I wanted the beat to match that same sort of power.”  – MaRLo

MaRLo has become synonymous with a sound and a feeling that has electrified crowds worldwide. The globally in-demand DJ and producer has worked relentlessly to evolve his signature “MaRLo sound,” cementing his reputation as a genuine musical powerhouse.

In recent years MaRLo has taken his performances to the next level with his concert series Altitude, a nine-city series of sold-out shows. With an annual audience of 15,000 people in attendance at the Altitude events, plans are in the works to host more Altitude events in larger venues and in more cities around the globe. In combination with the massively popular events, MaRLo has also launched his own label “Reaching Altitude” and is dedicated to recognising and nurturing the next generation of talent.

With a busy touring schedule and performances at world-renowned events such as Tomorrowland, A State Of Trance, Ultra Music Festival, EDC, Creamfields, Transmission, Waterzonic, Springwave, Summersonic, Electronic Family and Beyond Wonderland, it’s clear that MaRLo is a superstar who has done it all. The excitement of what the future holds is what drives MaRLo to always progress and maintain his status as a global name.

‘No Other Alternative’ is out now via Central Station Records.
For more info on MaRLo, visit:
WEBSITE | FACEBOOK | TWITTER | INSTAGRAM | YOUTUBE
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NICE BISCUIT 'PASSING OVER'
Music News

NICE BISCUIT ‘PASSING OVER’

by the partae
written by the partae
Brisbane riders of the ether Nice Biscuit return armed with the thrilling new jam Passing Over (out July 7th) and word of a brand new EP.
Nice Biscuit’s idiosyncratic brand of psych rock gets another revision on Passing Over, their collective kaleidoscopic lenses in sharper focus, with more space and time given for the music to stretch out and explore.
Nice Biscuit are now crafting a driving and immersive wide-screen sound, where repetition suggests the sound of worn tyres kissing the road on a long journey onto destinations unknown.
“Passing over was really fun for us to work on. After writing darker and higher energy music in Create Simulate, we really wanted to dial it back a bit and focus on making music that was a bit more groovy and easy to dance to. Coincidently, this was when we were starting to play shows again as restrictions were easing. This song matched our excitement to be playing and sharing music again with everyone. I guess we really just wanted to dance with everyone again.”  
In a year that has already seen them gaining national radio nods from their Create Simulate EP with the songs ‘Candle’ and ‘Limbs’, their forthcoming EP, Passing Over, suggests Nice Biscuit have more gems waiting and aren’t wasting time looking back as they push forward on their inspired search for new sounds.
The EP shows a softer side of the Biccies, delving into the worlds of personal growth and emotional intelligence, breaking down the barriers of change, and entering new stages of life. They find solace in playful chords and melodies, warmer tones, laid-back grooves and enchanting vocals, sung by Grace and Billie. Four songs complete the EP, each creating a fresh colour palette and showing the band’s natural ability to create songs together. Recorded by Alistar Richardson and mixed by Sam Joseph, the EP will be released in late August with the first single and title track Passing Over dropping on the 7th July.
The first single Passing Over follows the passage of a sunset, gradually cloaking the landscape in darkness, and with it bringing a sense of relief and separation from the bright light of the daily grind. Slowly as darkness and quiet takes over, we ‘soak into the shining stars’ and give ourselves space to process the days’ intensity to give a sense of renewal and rest. The light filters in and the sun passes over us again, starting the next day anew as the cycle begins again.
The track came about from combining two half-written songs by Nick and Jess – the guitar and bass lines naturally interlocked, hit their stride and travelled down the open road together. The swinging drum beat filled the space between the guitar and bass lines to create a repetitive groove that evolves as the track progresses. Finally, an old 70’s organ in the studio was harnessed to its full capacity in order to add depth.

Follow Nice Biscuit online:

New Website!

Facebook

Twitter

Soundcloud

Bandcamp

YouTube

Nice Biscuit are:

Billie Star (vocals, keyboard, percussion)

Grace Cuell (vocals, keyboard, percussion)

Nick Cavendish (bass)

Jess Ferronato (guitar, vocals)

Kurt Melvin (drums)

 follow on Twitter | friend on Facebook

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DVBBS Release "Losing Sleep" - Fusion of Alt-Punk and Electronic Music In Collaboration With Powfu
Music News

DVBBS Release “Losing Sleep” – Fusion of Alt-Punk and Electronic Music In Collaboration With Powfu

by the partae
written by the partae

Artists: DVBBS & Powfu
Title: Losing Sleep
Label: Ultra Records

Download / Stream

DVBBS team up with fellow Canadian and alternative sensation Powfu for their new track “Losing Sleep,” which sees the duo experimenting with a masterful blend of alt-punk and electronic music. Opening with mellow instrumental melodies, Powfu‘s heartfelt vocals shine through as “Losing Sleep” laments on a lost lover. DVBBS‘s influence comes in soft basslines during the culmination of the track, which is guaranteed to pull at any listener’s heartstrings. Powfu has been riding the wave of his TikTok popularity from “death bed (coffee for your head)” song, which got him signed to Columbia Records and just surpassed 1 billion streams on Spotify alone. “Losing Sleep” is the latest from DVBBS‘s forthcoming album “SLEEP” and follows their recent “Lose My Mind,” for which they sampled Yebba, and “Fool For Ya” – a dancefloor filler, which announced the forthcoming LP. You never know what kind of sound this adventurous duo has up their sleeve next, so stay tuned for more from the new album!

“‘Losing Sleep‘ is the definition of fresh, we’re excited to share this one.” – DVBBS

“‘Losing Sleep‘ is an acoustic idea I wrote a few years ago and posted on my IG. It’s really cool to see DVBBS take it to the next level” – Powfu

Only a few producers have risen to the top in the electronic music scene as quickly as DVBBS, who captured the industry’s attention with hits like “Tsunami” and “Not Going Home” and never let it go. The Canadian brothers Alex and Christopher have been continuously cultivating their sound since their debut in 2012 and have racked up an impressive display of collaborations with renowned names from diverse musical backgrounds, such as blackbear, 24kGoldn, Jasmine Thompson, Belly, NERVO, Juicy J, and more. DVBBS continue to prove there’s nothing they can’t accomplish. Their hits such as “La La Land,” “Gold Skies,” and the breakthrough “Angel” are staples in every dance music fan’s library. Prior to the global pandemic, DVBBS performed a staggering 250 dates per year at some of the world’s hottest music festivals and top-tier clubs, including Tomorrowland, EDC Las Vegas, Ultra Music Festival, Hakkasan Las Vegas or Ibiza‘s Amnesia, and Ushuaia. Throughout their career, DVBBS has proved they are relentlessly dedicated to expanding their global footprint and bringing cutting-edge new music to their listeners.

https://open.spotify.com/album/6RzE3h2wJzjU6U1CdpLsRg

More info on DVBBS / Powfu / Ultra Records:

 

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Sam Blacky Turns Up The Heat This Summer With Positive Club Anthem "No More." Out Now on Stabby Records
Music News

Sam Blacky Turns Up The Heat This Summer With Positive Club Anthem “No More.” Out Now on Stabby Records

by the partae
written by the partae

Artists: Sam Blacky
Title: No More
Label: Stabby Records

Download / Stream

Multitalented Sam Blacky returns with her newest single “No More,” the perfect track to be your anthem to turning a new page and living it up this summer. It bears her signature tech-house style, running on a deep, driving bassline that incorporates plenty of rhythmic shakers and synths, complete with soulful and captivating vocals. Like most of Blacky‘s music, “No More” feels right at home being played at clubs or festivals in some of the world’s most beautiful venues, since she draws most of her inspiration from her worldwide travels. Out on her own imprint Stabby Records, the single follows up Sam‘s latest “Paradise.” With the pandemic rapidly receding in many areas of the world, keep an eye out for where Sam might be making appearances in the coming months.

“‘No More‘ is super special to me not only because of the message in the lyrics, but also because this song can empower those who hear it and sing along in an almost cathartic way, saying goodbye to past negativity. It’s all about moving forward and realizing what you’re worth. I definitely feel “No More” being played out in clubs and festivals this summer as a sort of ‘f*ck you’ anthem to anyone or anything that has hurt you.” – Sam Blacky

Samantha Black is a multitalented DJ/producer, model, and influencer professionally known as Sam Blacky. Originally from San Diego, Sam spent several years in Australia, where she first fell in love with producing music and performing live. Since moving back to Los Angeles, music and performing have taken a front seat in her life. In addition to her hectic modeling schedule, Sam has performed live across the world from 2017 to 2021, from Mexico to Ibiza to Bali, racking up over 120 gigs a year at some of the premier electronic festivals and clubs on the planet. With the global pandemic in 2020, Sam released a series of videos on Youtube called “A New World,” where she streamed live sets from some of her favorite places in Mexico, giving viewers a taste of vacation vibes even while staying safe at home. Before all the music, her modeling portfolio included brands such as Nike, L’Oréal, Galore, Marie Claire, Superdry, Guess, Sports Illustrated, Malibu, and Playboy, giving her a unique creative perspective to all types of cultures and styles to bring to her music. With the launch of Sam Blacky‘s label, Stabby Records, and her first releases, 2021 is set to be a breakout year for Sam as she expands her artistic brand.

More info on Sam Blacky:

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SRUJANIKA
Music InterviewsMusic News

SRUJANIKA

by the partae
written by the partae
Where are you currently based?

The city of cyberpunk vibes and neon signs; my home away from home… Tokyo, Japan. What’s good?

How did you first start playing music?

Technically I used to play the flute quite diligently in my elementary school band but my real interest in music developed when I was going through a period of writer’s block in my late teens. No poetry was coming out, so I decided I needed a new outlet to express myself or I was going to combust. Then I discovered DAW’s and made little secret songs on my Apple Laptop with loops, beats and samples. It wasn’t until 2017 when I had a keyboard workshop in college where I really started to learn about music theory. A lovely professor from Yamanashi taught me about chords and how to play Fly Me To The Moon by Frank Sinatra. Finally in 2018 I got myself an Akai Mini and I was just blown away by the limitless possibility of musical creation. I’m telling you, it felt like the sky was the limit!

 
What’s been happening recently?

I just got my very first gig to perform my original music in the coming months and I am so nervous yet excited. Something about singing songs that I personally wrote as opposed to acting as somebody else just sends chills up my spine. But I think that’s what turns me on, because creativity is a high-risk energy. Will I fail or fly?

Your new single ‘Rise’ is out now, what influenced the sound and songwriting?

More like who. My producer and homegirl is an artist from Russia who goes by the title MILIAH but I call her by her first name, Emilia. She has been a wonderful creative collaborator and business partner whom I trust. I sent her a demo which had a street-like Travis Scott beat and she transformed it into this mystical, dream indie-pop, shoegaze rock hybrid that blew my mind. “This is how I imagine your song,” she told me. I just adored the little details she added to it which made it sound otherworldly, and I’ve been blown away by people’s response to it which has been overwhelmingly positive.

Often during our production phase, she asks me: “What do you want?” which instantaneously puts me in touch with my true desires for my art. Every instrument and effect is chosen just for me, and I fall in love with music a little harder. God do I need my guitars and 808’s! I’ve learnt a lot about communicating my artistic vision effectively to others which is a skill. It can get really specific sometimes, and leaves no room for “oh yeah that’s fine.” Nobody needs that. What is expected of me is to be nothing short of a bad bitch who knows what she wants and how to get it.

 
How did you go about writing Rise?
There is a book that has become my Bible. It’s called The Artist’s Way: A Spiritual Path towards Higher Creativity. In it, it has an exercise called Morning Pages where we’re supposed to write 3 pages straight from one’s stream of consciousness into a notebook. This is done to kill the censor within, or the inner critic, which had dominated my life for years. I didn’t even know if I was a real artist. I judged myself and my work too heavily to even create, let alone show people what I made. But once I was able to put pen to paper with no B.S excuses getting in my way, I began to write dozens of songs like never before. I had made music in the past, but not quite like that. I lost my mind and broke down crying in the process. I was a force of nature; a wildfire or a hurricane. The Dark Night of the Soul that I endured for months to see my end goal, which was creating a body of work, come into fruition was not in vain.

I finally emerged like a classic Phoenix from the ashes, and that’s when I wrote the lyrics to Rise in my journal at what must have been 3AM.

Where and when did you record?
It wasn’t until the end of November 2020 where I was half-alive yet somehow more fiery and alive than I’d ever been.

I was in my bedroom recording Rise on my phone. I didn’t even have a home studio back then, and this jerk producer told me that he’d stalk me like ‘A’ from the TV show Pretty Little Liars, sarcastically wished me good luck and that I wouldn’t find anyone to work with me and my ‘pseudo’ talent. I swear that just made me work ten times harder. Another producer whom I looked up to didn’t really respond to my request when I asked for the STEMS to his beats, unfortunately. But being told no is not the end. No is just the beginning of a creative career. I’ve gotten immune to it. There is a saying that rejection is God’s protection and that there is a better plan for you. So I don’t get disheartened anymore at seemingly lost opportunities. It’s important to never lose sight of the end goal and keep going no matter what.

These guys led me to think: “Why are there so many male producers? No shade, but where are the women in music? I want to work with a female creative in particular.” It was through the internet I googled specific communities and found She Is The Music, and it was there I was able to connect with Emilia. I listened to her song Wild and loved the production on it, so I reached out to her via Instagram DM’s. So in the end, I’m thankful for the doors that closed on me. I’m lucky to have built my goddess gang since then.

How did you approach the recording process?

It was honestly very simple, smooth and straightforward. Since I didn’t even own a mic back then, I actually just recorded three vocal takes on my Android phone (which goes to show how much technology has advanced) and emailed it to Emilia’s friend Dmitriy, who did the mixing and mastering on the track. It was as though all the obstacles that I had faced were finally removed and things started opening up for me.

How did the concept for the music video come about?

I thought I was going to leave Japan in May, so I wanted to capture the essence of the title ‘The Land of The Rising Sun’ by putting in a sunrise. We had the idea to shoot one day at night, and another during the day to showcase the video moving from darkness to light which is what the song is about.

Where did you film and who did you work with?

Through a Facebook group for filmmakers & videographers in Tokyo, I was able to connect with Guillaume Tauveron, a French director & filmmaker who was so sweet, kind and hilarious. Since he has shot in all the popular locations, we wanted to go somewhere unique so we shot at Makuhari Beach which was so much fun and made me grateful to be this free-spirited independent artist filming by the ocean. I want that beautiful time back. I used to fantasize about making a music video since FOREVER. It’s a dream come true not only to have made one but also put it on YouTube and have my own little artist channel. I used to pray for this. I’m really lucky.

You have an EP coming soon, please tell us about it:
YES! Some of my favourite rappers and rockstars have had alter ego’s like Megan Thee Stallion’s Tina Snow and David Bowie’s Ziggy Stardust. I wrote this song called Heart Candy which has S-A-S-S-Y lyrics like “you’ll never find a girl like me I’m hard to replace.” I was like, who is this girl? Sasha Fierce? There is a cute yet dangerous dolly sound on it that made me come up with a name for my very own alter ego & EP title Gothic Lolita Gem, which is more inspired by the Japanese fashion style than Nabokov’s novel. I don’t think I need a persona to create music, though. Everything is 100% me. I’m a shapeshifter though, so that might confuse people. One day I’m like a noir film and another I’m technicolor. I’m constantly changing, like a chameleon.

I’ve experimented with a lot of different sounds and styles on the EP and I have a feeling I’ll always be doing that. I can’t wait to release it! Stay tuned for it to drop sometime this year.

Who are you listening to at the moment?

Eve’s album Scorpion. I was born in the late 90’s so I’ve been having nostalgia for 00’s music. The track Stronger by Kanye West. I’m on some what doesn’t kill me makes me stronger type of energy. A Little Bit Dangerous by CRMNL, because I’ve been in villain mode after people came for my neck and failed. And I think the duo RHYME SO are sick. Their 360 video for ‘Hot’ with the virtual club was a visual experience to remember.

What do you like to do away from music?

The social isolation of the pandemic has really put me in an introspective state for the last 18 months. During this time I’ve become a 200 Hour YTT Kundalini Yoga practitioner which has brought me a lot of inner peace along with Deepak Chopra and Alicia Keys’ Divine Feminine meditation series. That reminds me, I need to complete my goddess Kali yoga challenge! She is a Hindu deity that embodies Shakti and despite her associations with death, doomsday, sexuality and violence, she is actually considered to be the loving mother of the universe. I am all about spirituality, liberation and raising consciousness. But I’m not one of those fake good vibes only type of people. I’m a lightworker and a shadow healer.

I love manifestation candles, crystals, divination, essential oils etc. I used to hide that side of me because I was scared people wouldn’t take me seriously, but I’ve learnt that when I step into alignment with my authenticity and everything I thought was ‘weird’, that’s where my people are. Spiritual babes are some of my favourite kinds of people because I know they’re committed to personal growth. I almost decided not to pursue music in favor of a more strictly truth-seeking path like a tantrika or a dakini, whom I have been told I was in a past life, until I remembered a quote by Marilyn Manson: “Music is the strongest form of magic’. My vibration increases tenfold when I’m creating songs – it’s so much fun!

What’s planned for the remainder of 2021?

I signed up for the Institute for Integrative Nutrition’s one year program this March so I’ll be continuing to study the modules for that course. Plus I just sent in my college applications for the fall semester so I’m hoping things go according to plan during these unprecedented times. I’m also learning how to DJ.

Favourite food and place to hangout?

Your girl is a true foodie who loves to travel. I just had the most delicious butter prawns and chilli crab from Singapore Seafood Republic for Father’s Day so I’m still basking in that post-meal glow. I am flirting with Ayurvedic recipes since I’m trying to up my wellness, but if you would have asked the old me, I’d have probably said strawberries with Godiva chocolate and Italian spaghetti. Things are slowly changing now. I switched up my pasta in favor of zucchini noodles, or affectionately called ‘zoodles’ which I thought were pretty delicious.

The pandemic has me fenced in, so when I’m craving fresh air I like to go to Kasai Rinkai Park and chill near the water and BBQ tables.

LISTEN/WATCH

https://www.instagram.com/srujanikamusic/

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MEET NZ VOCALIST MOLLY PAYTON WITH NEW SINGLE 'HONEY'
Music News

MEET NZ VOCALIST MOLLY PAYTON WITH NEW SINGLE ‘HONEY’

by the partae
written by the partae

Photo by Taylor Mansfield

“One of my favourite new artists”
Arlo Parks

“Modern rock anthems…’Porcupine’ is a breakthrough moment”
Pigeons & Planes

“Her songs are rich, accomplished and instantly relatable”
Dork
Introducing Aotearoa / New Zealand via London singer songwriter Molly Payton who today shares new single and video ‘Honey’, her first music of 2021.

The London-based 19-year-old is currently in her homeland of New Zealand, where she completed the track remotely with her frequent collaborator Oli Barton-Wood (Nilüfer Yanya, Porridge Radio, Sorry), as well as Grammy-award winning producer Jimmy Hogarth (Sia, Amy Winehouse) and British songwriter Benjamin Francis Leftwich. ‘Honey’ follows Payton’s breakout EP Porcupine, released last Autumn to wide critical acclaim, which led to her being flagged as one to watch by the likes of Pigeons & Planes, Dork, The Line of Best Fit, Steve Lamacq at 6Music and Jack Saunders at BBC Radio 1. It also caught the ears of fellow artists, including Arlo Parks, who chose Payton to appear alongside her takeover of Spotify’s ‘Our Generation’ playlist, commenting of Payton’s music “there was just this sense of rawness and earnestness that really reminded me of things that I’ve lived myself.”

Where Porcupine celebrated the freedom and chaos of Payton’s young adulthood, navigating her new city of London in her first year after high school, the introspective tone of ‘Honey’ hints at a coming of age. In her words; “Honey is about that moment in a relationship where things stop working as well as they used to. This song was me taking responsibility for my part in the decay of it all, acknowledging that I’d been distant and that I’d keep trying to make things work. I think there’s also an undercurrent of frustration with myself for letting my past interfere with my present. Like most songs I write it was mostly just me working through my own mind and emotions, but I guess the message of this song would be to make sure you’re not giving too much of yourself away. Take time to make sure you’re ok so that you can support the people you love.”

The thematic shift is one that mirrors Payton’s return to her roots. Originally intended to be a short stay, her time in New Zealand was extended as UK lockdowns prevailed. As well as spending time with the friends and places she left as a teenager, it also fuelled her resolution to reconnect with the memories and tribulations of her past, and process them through her songwriting. Revolving around  the adage of looking back in order to move forward, she describes her coming output as “honest, reflective and hopeful.” Her time back home also allowed her to rediscover the catharsis of playing live, with Payton performing a series of full-capacity headline gigs against the backdrop of New Zealand’s low Covid rates and eased restrictions.

Molly Payton’s first offering came in the form of her debut EP Mess, which was co-produced with Oscar Lang (Dirty Hit), who she met at her new school soon after relocating to the UK at age 16. This was followed up by 2020’s Porcupine, which saw her strike up a new songwriting partnership with producer Oli Barton-Wood, embracing a fuller sound, a direct reflection of her contemporary experiences in London and changing tastes. Praised for her evocative lyricism and evolved songwriting, ‘Honey’ doesn’t compromise any of Payton’s edge, yet offers a more personal look into the workings of the young songwriter, and forecasts bright things for Molly this year.

‘Honey‘ is out now, buy/stream it here.

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