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Where are you currently based?
I’m currently based in Sydney. Thankfully now that COVID has settled down I’m starting to pick up some gigs in the greater Sydney area.
I got my first guitar for my third birthday so my hopeful father started trying to teach me at a very young age. I really started writing in high school when I wrote “Lillooet” off my upcoming EP and decided this is what I wanted to do. Since then, I have been writing and learning every and any facet of the music industry that I can get my hands onto.
Just been preparing to release the next few songs in the lead up to the EP. Starting work on some songs for later 2021 and 2022 but at the moment I’m really trying to beef up my social presence and audience.
Thankfully COVID was actually a really productive time for me. It gave me the time to sort out production for the EP and connect with some really influential and knowledgeable people in the industry.
I wrote this song when I was 17 and so I wrote it with a massive influence from Ed Sheeran who was and is a massive inspiration of mine. When trying to find the sound we thought about what context you might find this song in. We landed on quite a full, cinematic approach which turned out really great.
Despite being a 5 minute song it was one of the quickest songs to write. After having a bit of writers block I decided I would lock myself in my room and gave myself 1 hour to write a song. The song was based around a little crush I had in high school but knew she would never like me back, so I just experimented with the idea of unrequited love and after about 30-45 minutes ‘Atlantis’ was written.
We recorded this one at LoveHz Studios in Leichhardt with my producer and engineer Jordan Leonard, we then shipped of the vocals for time alignment with Clay Agnew over in Nashville and got the track mastered by Seth Munson in Colorado. So we had quiet the team behind this track, this was the same process for 4 out of the 6 tracks on the EP.
Luckily Jordan knows Michale Carpenter who owns and runs the studio so we were able to book in some after hours sessions. This session was my first recording session in the studio and so I think this session took about 6 hours.
This song was initially inspired by some of Ed Sheeran’s music, as the writing was, but we started to drift away from that a bit towards a more cinematic style. It certainly didn’t turn out how I thought when I was originally recording the demo, however it turned out much more epic than I could’ve ever imagined.
I’m starting to get a few more gigs in Sydney so performing band practicing is taking up a fair bit of my time at the moment. I love going to the gym, my schedules been a bit hectic recently so I haven’t had a whole lot of time to go but I try to go 3-5 times a week at the moment. I also study music at JMC Academy in Sydney. And aside from that I work at a pub to help fund the passion and continue to keep releasing music.
In 2020 I started getting into a lot of different artists. I really got obsessed with Lauv’s and Jeremy Zucker’s stuff. Aya Yves is also starting to shoot up in the Dark Pop game and I’ve been all over her new EP. Also super keen for Justin Bieber’s new album after some of the singles he’s released in the lead up to the EP.
Not really any one artist in particular but I’m still starting to find a look I really like and feel comfortable with. I love the new trendy baggy clothes in circulation at the moment and I also love the old classy look so still trying to find a middle ground between those two, but I may end up completely ditching that in favour of something different. Whatever I truly land on is something I need to feel super comfortable with.
More writing, more recording, and releasing the EP. My main focus is the EP, I am really excited about putting out these songs into the world and get as many ears onto it as possible. I really think the best is yet to come, some of the songs I’ve written this year alone have me really excited for what I’m gonna be releasing in the next 12 months.
There’s this phenomenal pub near uni, it’s predominantly for the uni students, but the food for the price is unreal. It’s hard to eat healthy when I can get a schnitzel and chips for less than $10.
It is with great excitement that Soothsayer share ‘Siargao Dreams’, the latest track from rising Melbourne-based musician, Juno Mamba (aka Vinci Javier) and the hypnotic follow up to his acclaimed debut EP Light Echoes which was released early last year.
Premiered as the Chillest Record feature on Sian Eleri’s BBC Radio 1 show on Sunday, Eleri described ‘Siargao Dreams’ as “Truly stunning…Not exaggerating when I say that might be the best track I’ve heard in 2021…”
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Photo Credit: Marnie Vaughn @marnie.net.au
What is your name and role within Full Power Happy Hour?
G’day I’m Alex, I’m the lead singer & play rhythm guitar.
Where are you currently based?
Brisbane/Meanjin
How did you first start playing music?
I’ve been singing in choirs since I was like 5, but it wasn’t until my older sister bought me an acoustic guitar for my 14th birthday, that I started writing songs and playing music.
How did the band form?
I had a heap of songs that I’d written a while ago that didn’t fit with my other bands, so I was playing them solo for a while. One day I decided I wanted to record them with a band and set about finding some people to record with. I’d played with Caroline and Joe in other bands before so got them on board, then did a call out for a lead guitarist and Grace put her hand up and became our resident shredder. I missed my friend Finn, and thought if he joined the band I’d see him more regularly. He played drums, but the drummer role was already taken by Joe, so Finn agreed to come on board as our tambourine player and also filled the role of resident hype person quite nicely. It began only as a recording project, but then people asked us to play shows so we did, and that’s how we became Full Power Happy Hour.
What’s been happening recently and how has your Covid experience been?
We didn’t see each other for about 4 months when we initially went into lock down, which was tough, but we were lucky that before Covid hit we managed to record our album. Basically the last 6 months or so have been all focussed in getting this album out. We signed with Coolin’ By Sound which was bloody amazing, and we are so grateful for their help with all of this. It’s been almost normal here covid wise, we are very lucky that we’ve been able to play some gigs to help promote the album, and we got to make a film clip a few weeks ago on a cute farm.
How did the transition from playing in the Brisbane punk scene into indie-folk/alt-country realms come about?
Folk and country were my first loves, I was a tween when I started listening to all the 60s folk songstresses like Joni Mitchell, Joan Baez, Peggy Seegar, which was probably really weird for a 12 year old in the 2000s but I was really into them so my songwriting was influenced by that whole vibe. So that was always at the back of mind, that one day I wanted to play that kind of music again. The only reason why I started off in the punk scene was because the first band I was in was a punk band. But in the background I’ve always been writing songs, and they just so happen to fit now into the folk/country genre. It wasn’t really an active decision. I suppose I don’t see that much difference between punk and folk except I was way more tired screaming in a punk band than I am now in Full Power Happy Hour!
Your album will be released on March 19, what’s it called?
Full Power Happy Hour
What influenced the sound and songwriting?
Friendships, growing up, getting rid of toxic people out of your life, nature, mental health, climate change, shit politicians. Musical influences include Joni Mitchell, The Clean, The Weather Station, The Pogues & Paul Kelly.
How was the album written?
I wrote these songs a while ago, over about 8 years. A lot of them started off as poems then I put them to music, and played them solo for a while. When I formed the band, I just brought these songs to the rehearsal room, and we spent a year working through them, we were really focussed on working hard on the songs for as long as it took for us all to be happy with them.
Please tell us about the lyrical themes/threads for the album:
Hmm there’s not really an overarching theme…I suppose what they have in common is that they all came about through my processing of various experiences of friendships, mental health issues, learning to grow as a person, and being absolutely sick and tired with the status quo in this country- the apathy and inaction on climate change, women’s safety and First Nations rights.
Where and when did you record/produce/master and who with?
We recorded over a few weekends with Nell Forster at The Moon Room here in Brisbane/Meanjin. She honestly was kind of a producer too, she definitely gave us heaps of coaching during that time. Then we sent the tracks off to Chris Chetland, at Kog Studio in Aotearoa/New Zealand, who we got recommended by Holly Arrowsmith (who we played a gig with when she came here) as we really liked the sound of her album.
How did you approach the recording process?
We rehearsed for about a year and then when we thought we were happy with the songs, we went into the studio. Often you don’t really know what a song sounds like until you hear it recorded, so there was some tweaking that happened with the help of Nell, who was kind of like our band coach for those weekends as well as recording engineer!
How did the band end up with two drummers in the ranks with one (Finn) taking up the tambourine/backing vocals role?
So Joe was already on board as the drummer, but as Finn is a mate of ours, we wanted to have him in the band too, I think he was originally gonna to just come along as a back up vocalist, but I think he needed something to do with his hands, so we thought he could play some extra percussion. I think a tambourine was all we could afford to buy at the time, so that’s how he ended up with that role, and we haven’t’ really expanded since haha
Your live shows are really fun with a lot of laughs, is this intentional or just the band’s default demeanour?
We’re just vibin.
Who are you listening to at the moment?
The Stress of Leisure, Bad Sext, A Country Practice, Loulou, King Stingray, Madboots, Megan thee Stallion, JK-47, The Weather Station’s new album Ignorance.
What do you like to do away from music?
I’m at Uni studying Early Childhood education which I’m really liking, but I also like to go for walks to see some nature, reading books, eating food with friends, netflix & chill.
You’ll be playing in Ballarat and Melbourne this weekend, what do you most enjoy about playing interstate?
Playing to new people and making new friends, playing with bands we’ve never played with before, and just seeing what music scenes are like in different places, cold weather!
What’s planned for 2021?
Getting this album out, recording some new stuff, touring interstate some more, and fingers crossed covid pending an Aotearoa/New Zealand tour later this year!
Favourite food and place to hangout?
Burritos in my house.
@coolinbysoundAU
“A snarly, string-streaked rocker that sounds more like Queens Of The Stone Age than anyone could’ve expected.” – Stereogum on “Love In The Time Of Covid”
“Elfman has forged a lasting career on his singularly irreverent and offbeat compositions, and this one is no different.” – Rock Cellar Magazine on “Love In The Time Of Covid”
Clocking in at barely over two minutes, Danny Elfman has released “Kick Me” today, a swift and pummelling new track with lyrics that simultaneously dismiss and seek approval from their audience. Directed by Petros Papahadjopoulos and featuring animation by Joe Pascale, the song’s new video features Elfman – utilising inverted photography in many amorphous shapes and colors – delivering the track’s frenzied lyrics directly into the camera.
Watch it HERE.
“I was feeling particularly mellow one day last summer. I decided to write this very chill song for everyone who wants to put something on that will really help them zone out and relax. Enjoy!” Elfman explains.
Papahadjopoulos said of “Kick Me”: “This video is a statement on image and, to me personally, a fullfillment of seeing a wild, raw performance from Danny Elfman after a lengthy hiatus from the stage.”
“Kick Me” features vocals, guitars and synths by Elfman, drums by Josh Freese (The Vandals, NIN, Devo), guitars by Warren Fitzgerald (The Vandals, The Offspring, Dweezil Zappa), bass by Stu Brooks (Dub Trio, Lady Gaga, 50 Cent), percussion by Sidney Hopson (LA Philharmonic), Joe Martone (Hollywood Chamber Orchestra) and strings by the Lyris Quartet (Kraftwerk, Ben Harper).
Throughout this year Elfman will continue to release songs on the eleventh day of the month. The number 11 has always had significance to Elfman, with his name Elf meaning “eleven” in German.
Last month Elfman released “Love In The Time Of Covid”, a song that tells a bizarre story of longing for intimacy in today’s socially isolated world in a unique way. The song’s video features Scottish transgender performer Shrek 666 who wears extensive makeup and prosthetics. Elfman also appears in a few surprise cameos in the video. Directed by Sven Gutjahr, watch it HERE.
At the beginning of 2020 Elfman released “Sorry”. “The anger-fueled track pulls from industrial and prog-rock influences to create an uneasy atmosphere that’s made even more unnerving with a jarring video animated by Jesse Kanda,” said SPIN. Kanda (Arca, FKA Twigs, Bjork) originally created the video’s intricate animation as a visual backdrop for Elfman’s live performance of the song for the now postponed Coachella 2020. Watch it HERE.
A four-time Oscar nominee and Grammy winner, Elfman has scored over 100 films including: Milk (Oscar nominated), Good Will Hunting (Oscar nominated), Big Fish (Oscar nominated), Men in Black (Oscar nominated), Edward Scissorhands, Batman, The Nightmare Before Christmas, Spider-Man, Silver Lining’s Playbook and many more.
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Image: Aaron Marsh
Praise for ‘ERRA’ LP:
“This is the sound of a band on career-defining form.”
Metal Hammer
“Head-spinning, neck-snapping… packed with technical riffing and dynamic melodicism.”
Revolver
“ERRA have carved their niche on the veneer of metalcore. There’s a special madness here.”
Alternative Press
“…an atmospheric, escapist listening experience, even if the songs like ‘Divisionary’ are rooted in a very real dystopian fear.”
Consequence Of Sound
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Determination and steadfast dedication have defined ERRA’s path, forging a unique connection with an ever-growing audience, without the advantages of traditional recognition. On their career-defining fifth studio album ERRA, the band confront depression, anxiety and desperation throughout. They take listeners on a near-out-of-body journey to Aokigahara, the infamous Suicide Forest of Japan; into episodic storytelling that would make Black Mirror writers proud; and into the literary works of Cormac McCarthy and Hubert Selby Jr.
ERRA was recorded, mixed, and mastered by Grammy-nominated duo Carson Slovak and Grant McFarland. It’s a definitive mission statement for guitarist Jesse Cash, vocalist J.T Cavey, drummer Alex Ballew, bassist Conor Hesse, and guitarist Sean Price, each of them already well-respected players revered for their inspiring technicality and raw, natural talent.
Rising from Alabama, ERRA’s dedicated fanbase and online community organised around the band’s dense music and heady but relatable lyrics have helped further their mission, resulting in multiple No. 1 Heatseekers placements on Billboard. Previous ERRA albums Impulse (2012), Augment (2013), Drift (2016), and Neon (2018) saw the band spotlighted on tastemaker playlists, as the band’s Spotify plays soared past 72 million. And with vigorous worldwide tours under their belt, ERRA have rightfully earned a sprawling audience devoted to the Alabamians’ catalogue, eager for each new missive.
As their music finds the balance between the crushingly heavy and the headily melodic, its members seek to find harmony between the needs of the individual and the natural flow of this shared reality. ERRA, as a band of brothers and creative force, strive to live in alignment with the present moment. ERRA, the album, represents redemption for the band, who emerged from the creative process with renewed focus, confidence, and certainty of self.
Pre-order ‘ERRA’ album +
Stream ‘Shadow Autonomous’ now:
http://unfd.lnk.to/erra
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WATCH: ‘the craziest thing i’ve ever done’ (Official Video)
“When we were writing ‘the craziest thing I’ve ever done’, lyrically we wanted it to capture all this insane, extravagant imagery and then juxtapose that with something we usually see as ordinary, which is love,” Max says of the release. “The catch is that love IS the craziest thing we do. It’s painful and terrifying, and yet we put ourselves through it over and over again.”
Where the breadth of previous releases ‘5‘ and ‘Malleable‘ straddled contemporary music-making with old school influences, Leone’s new single is a leap further in pop stardom. Since emerging last year Max Leone has broken through as a rising star, boasting over 5 million streams to date; acclaimed by Billboard, Pigeons & Planes, PAPER Magazine, NME, Earmilk, Ones To Watch, Pilerats, and many more plus rotation at triple j for his discography to date, including ‘5‘, ‘Malleable‘, ‘The Beach‘, ‘Cautious‘ and ‘First Grade‘.
Throughout his debut EP, Leone tells his story of navigating a new city alone while chasing a potentially far-fetched dream. He explores themes of self-doubt, longing for anything familiar, and coping with ‘modern isolation’: keeping up appearances on social media while silently suffering. Max Leone‘s brand of pop represents the marriage of formal musical training with an affection for contemporary alt-pop and R&B, a craft honed carefully over hours spent uploading bootleg remixes to Soundcloud, based on YouTube tutorials he obsessively studied after school. Stay tuned for Malleable and its nine tracks that will land in the next coming month.
‘the craziest thing i’ve ever done‘ is out now via the Darkroom,
buy/stream it here.
Stay connected with Max Leone:
Twitter | Instagram | Youtube
PHOTO CREDIT: ROBIN LAANEN
After the worldwide successful pre-order launch of the box-set LA REALIDAD DE LOS SUEÑOS, which immediately sold out, we’re happy to announce another highlight from The Mars Volta.
The mythological album, the unfinished original recordings of De-Loused In The Comatorium, known as LANDSCAPE TANTRUMS will be digitally available on April 23.
The recording of LANDSCAPE TANTRUMS reveals a sound that is more raw, more emotional, more tightly coiled. “Anyone listening to these tracks will get a glimpse into that time, into Omar’s soul” explains Johann Scheerer from Clouds Hill, who produced the box- set in collaboration with Omar. Rodríguez-López responded to the end of his post-hardcore band, At The Drive-In by founding The Mars Volta, but the LANDSCAPE TANTRUMS sessions reveal a confidence and sensitivity that brings this legacy into The Mars Volta. “It is a central part of the band’s history” reports Johann Scheerer, “the recordings prove just how much this band had to share, even so soon after its founding.”
The single Inertiatic ESP will be the only digital single taken from the album Landscape Tantrums, digitally available worldwide on March 26.
Pre-save the single here.
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SUPPORT FOR ‘OK BOOMER’
“Ragged and brash stuff from KAI CULT, I’m feeling it in every pore of my body.”
Declan Byrne – triple j (AUS)
“It’s another masterclass in unhinged, eccentric punk.”
Hysteria Magazine (AUS)
“Delivering a chaotically warped and colourfully explosive new video that’s a fiery reminder of the debt-riddled dystopian world we’re currently living in.”
ABC’s Rage (AUS)
Multiple video clips added to rotation on ABC’s Rage
Melbourne-based post-punk DIY artist KAI CULT has just revealed his apocalyptic new EP ‘OK BOOMER’ – recorded in his share house bedroom and mixed and mastered by Ashwin Rao of Singaporean garage-rock band Knightingale.
‘OK BOOMER’ is five tracks of riveting post-punk that drips with aggression and angst, creating a dystopian sonic world through the use of raw instrumentation and KAI CULT’s commanding vocals. The record’s in-your-face nature makes it wholly unable to ignore, as its politically charged lyrics reference issues from immigration to the worldwide pandemic.
KAI CULT talks about the inspiration behind ‘OK BOOMER’:
“’OK BOOMER’ was written as a response to the events of 2020. It is a satirical take on the disturbing disconnect that continues to widen between the younger and older generation as society is increasingly becoming more politically aware and activated. Many questionable decisions were being made by people in power that effected, marginalized, and caused great suffering for many members of society, and thanks to the internet, many bore witness to the various acts of ignorance, cruelty, and greed committed in varying degrees, all over the globe. In an event as horrific as what we just experienced, it can be exhausting to detail the who’s and what’s of every event that happened during 2020. Sometimes you simply just need to say, ‘OK BOOMER!’”
Opener ‘LET ME STAY’ is a surging pocket rocket, sucker punching the listener with two minutes of searing guitar solos and wailing screeches, rising like a tidal wave of distortion, as KAI CULT screams, “why can’t you let me stay, I got friends around, and I’m doing ok”.
Second single, ‘CIGARETTE BURNS’ then immediately kicks into actions with splashing guitar chords, frenetic drums and KAI CULT’s megaphone-like vocals as the track builds and crescendos towards a chaotic ending. Lead single ‘MASSIVE CHECKS’ is next up with grinding bass lines, commanding sung-spoken lead vocals and atmospheric guitar vibrato that forms a mutated, captivating party punk anthem.
Crash cymbals wash across the arrangement of fourth track ‘TIME’, intertwining with echoing drums and reverberating guitar to form an intense partnership as KAI CULT sings about loss and the desperation behind a sick family member simply trying to ‘borrow time’.
The fifth and final track, ‘FOR REAL’, closes out the record with booming kick drums and spoken word vocals, mixing a hip-hop aesthetic with KAI CULT’s trademark chunking bass and harsh guitar riffs, showing off his dynamic range and setting the stage for his intriguing musical future.
Singles off ‘OK BOOMER’ have been widely embraced by triple j Unearthed and Australian radio stations 3RRR, 2SER, 4ZZZ, PBS FM, 2XX and Radio Adelaide. They’ve also received support from blogs CVLT Nation (USA), Hysteria Magazine, HEAVY Mag, The AU Review, The Music, Backseat Mafia (UK), Milky and The Soundcheck, with both accompanying video clips being added to the ABC’s Rage and ‘MASSIVE CHECKS’ being featured as their esteemed Wild One of the week.
‘OK BOOMER’ is available worldwide now
EP Track Listing:
2. CIGARETTE BURNS
3. MASSIVE CHECKS
4. TIME
5. FOR REAL
FOLLOW KAI CULT
FACEBOOK | INSTAGRAM | TWITTER | SOUNDCLOUD | SPOTIFY | APPLE MUSIC
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SUPPORT FOR SINGLES OFF ‘GRANADA’
“With ‘Pomegranate’, Silky Roads have delivered a psych-rocker draped in jazz-funk accoutrement that is sure to ‘capture the darkness and mystery that hits that certain spot for music lovers’.”
Atwood Magazine (USA)
“There is something thrilling about ‘Pomegranate’; I love the swagger and the vibe that Silky Roads brings.” – 4/5 stars
Nkechi Anele – triple j (AUS)
“Certifying this vibe. The band spools out this swampy surf rock broth and the vocals bellow richly through it.” – 4/5 stars
Dave Ruby Howe – triple j Unearthed (AUS)
“Infectious downbeat psychedelia that’s bursting with groove.”
Deafen County (AUS)
Sydney-based indie-rock quartet Silky Roads have just revealed their idyllic debut EP ‘Granada’ – produced by Yossif Kay.
‘Granada’ is five tracks of groove-laden surf-rock, filled to the brim with a sun-soaked aura, the sultry vocals of lead singer Guy Richards and the bands effortless instrumentational pulse.
Silky Roads talks about the message behind ‘Granada’:
“‘Granada’ is a culmination of our excitement in starting to write music, a blooming friendship between four lads, and a bunch of wild world events that have changed the way we interact as human beings. We want to introduce the world to ‘Granada’, and ask everyone out there to take a listen so that we can continue to document our perspectives through the thing we love most, and that’s music.”
Opener ‘Pomegranate’ immediately captivates the listener with its muted guitar picks, fluidly intertwining with silky bass and steadfast drums to give the track an all-encompassing lift. This introduces track two ‘Caramel Slice’, a slow-burning jam of carefree indie-rock, showcasing rich melodies and gliding choruses.
The third track ‘Traffic Jam’ slowly unfolds with reverb-soaked guitars, before launching into fascinating rhythms and an unexpected tempo change, keeping the listener consistently surprised. Expansive bass lines and funk guitar chords introduce fourth track ‘Rashida’, as it frequently changes pace and flow keeping the listener off-guard and entranced.
‘Granada’ closes with reflective number ‘Keep Up’, comprising beautifully arranged guitars and Guy Richards’ croons, concisely wrapping up the EP with the band’s now trademark style of surf-rock.
Singles off ‘Granada’ have been widely embraced by Australian radio stations triple j, triple j Unearthed, 2SER, SYN FM, 4ZZZ and Radio Adelaide. They’ve also seen support from online blogs Atwood Magazine (USA), Deafen County, The Soundcheck, Forte Magazine, AAA Backstage and Something You Said.
While they’ve only been a band for a short period, Silky Roads have shown themselves to be prolific up and comers. The four songwriters take inspiration from the likes of Ocean Alley, Lime Cordiale and Mako Road, creating a unique blend of indie and psych-rock.
‘Granada’ is available worldwide now
EP Track Listing
1. Pomegranate
2. Caramel Slice
3. Traffic Jam
4. Rashida
5. Keep Up
FOLLOW SILKY ROADS
FACEBOOK | TWITTER | INSTAGRAM | SOUNDCLOUD | SPOTIFY | APPLE MUSIC
SAYCET – FATHER
STREAM / PURCHASE HERE
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Parisian musician, composer and producer Saycet today releases the next EP ahead of his anticipated new album, Layers. Featuring new remixes from Irène Drésel and S8JFOU, FATHER EP is out now via Météores Music. The EP is now available to stream/purchase and will be released on vinyl on Record Store Day – 12th June.
Over recent months, Pierre Lefeuvre’s Saycet project has continued to reach impressive and new artistic maturity. As Saycet prepares for the release of his fourth album, September of 2020 saw the Parisian multi-instrumentalist entice fans with opening single MOTHER. Driven by experimentation, today’s new single FATHER, was born from a desire to remix, reimagine, and unravel the creative mechanisms behind his own work. FATHER is a rework of MOTHER but formed as an original piece of music in its own right. As a counterpart to the original, the track proposes a more minimal, gentler and luminous take on the synthetic, melodic and powerful compositions, built around elegiac vocals. This new, unmistakably Saycet single features remixes from Irène Drésel and S8JFOU and is completed by an instrumental and ambient-infused track titled Neige, which is available exclusively on the vinyl version.
At first glance, Saycet’s journey may seem peculiar but in reality, it is extremely fluid. A backward evolution away from our current era, which churns out artists non-stop – a path that has made Pierre Lefeuvre, the brain behind his Saycet project for the last 15 years, a key figurehead in the French electronic music landscape.
After release his first album, 2005’s One Day At Home, Saycet built upon a genre that had fallen into relative disinterest. Deliberately melancholy, errant electronic music made somewhat more accessible by pop melodies and experimental sounds. An outsider by nature, he was nonetheless spotted by influential media outlets, finding an international fanbase that would remain faithful to him through the years.
With time, Saycet’s creative work became more refined, and his influences merged into a highly personal approach that succeeded in linking cerebral music with an opening to a wider audience. 2010’s Through The Window and 2015’s Mirage continued the project’s evolution towards a more timeless sound that shone through its arrangement work and an asserted versatility. Tours of Asia and collaborations (with Juliette Armanet and Yan Wagner among others) helped Saycet grow further (yet still outside of the mainstream’s radar) nonetheless finding his niche on the international music map. His approach to live performances cemented his place as an innovator, always in search of new aesthetic grounds, with stage shows that implemented video projection as a source of lighting rather than as mere visual illustration, creating a truly immersive experience in the process.
Somewhat accidentally, Lefeuvre opened the doors to composing via images – a logical, uncalculated continuation for this production artisan, whose composition work is nourished by visual art and cinematic culture. He created his first score for the 2019 feature Un Vrai Bonhomme and started making headways into the circle of pop music composers who collaborate with filmmakers.
Most recently, Saycet composed the music for the Canal + documentary Bastard Lion along with La Révolution. Aired last year, La Révolution is Netflix France’s latest historical drama series set to the backdrop of a fictionally revised French Revolution – 1787. Composed by Saycet and also featuring four new reworks including of Haendel’s Sarabande, the official soundtrack is available to stream and purchase here.
Soon to be revealed, Saycet is also slated to be in residence in 2021 for a one-of-a-kind creative project built around the Château de Versailles’ architectural heritage and instruments.
Tracklist – Digital:
1. Mother
2. Father (Mother Saycet Rework)
3. Mother (Irène Drésel Remix)
4. Mother (S8JFOU Remix)
Tracklist – Vinyl:
A1. Mother
A2. Mother (Irène Drésel Remix)
A3. Neige
B1. Father (Mother Saycet Rework)
B2. Mother (S8JFOU Remix)
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The self-titled Destiino album will be released via Chloé’s Lumiére Records in April
DESTIINO – VENEZIA (CLOSING)
LUMIÈRE NOIRE RECORDS
OUT NOW
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Destiino, the tormented alter-ego of French electronic artist Yuksek, announces debut album on Chloé’s Lumière Noire Records. Sharing the melodically enchanting first single, Venezia (Opening) which is released today, the self-titled Destiino album will be available to stream/purchase via all DSP’s and vinyl on April 16th of this year.
Commencing in the dawn of the early 2000’s, Yuksek is an artist who has released a remarkable catalogue of productions ever since emerging onto the scene. A sound which encompasses everything from disco to pop, dark electronic tones and more, Yuksek has also composed remixes for and collaborated with the likes of Gorillaz, Phoenix, UGOD, La
Never intent with the comfort of his own creative spectrum or success, the origins of Destiino revert back to 2017, when the Rheims-born electronic producer was invited to take part in a unique experiment – a residence at visual artist Xavier Veilhan’s Studio Venezia. The installation, as part of The 57th Venice Biennale, invited musicians to make use of its instruments in order to compose live in front of an audience.
Inspired by the spontaneity and improvising nature of the experience, Yuksek returned home with a new sonic focus to push the limits of his artistic boundaries, break conventional creative processes and surrender to spontaneity by recording improvised tracks in one sequence on his armada of analogue machines.
“Destiino is Yuksek’s alter ego, it came out straight from the synthesizers PCB, without over thinking. It’s the result of lonely recording sessions when I pushed the ‘stop recording button’ when exhausted. It also came out of public recording sessions at Xavier Veilhan exhibition in Venice Biennale. I could hardly describe the style, but I can only say that it’s most of the time one shot recording, nearly no editing, like sur-realist’s automatic writing, like joy in the machine.” – Destiino
Along with label boss Chloé, who shares an equal love and inclination towards shifting away from club formatted sounds and holding a deep appreciation for narrating stories with music, Yuksek created edited versions of his recordings which withhold the desired raw musical feel. As time-progressed and ideas between the two artists were exchanged and flourishing, the Destiino project was born.
Destiino first arrived in February of this year with opening single and 4-track EP, Afsila, demonstrating the darker atmospheric tones and frantic melodies of Yuksek’s creative psyche. Opening EP tracks Sine, Afsila, La Jungle and Terreur Nocturne introduced Destiino i
The self-titled Destiino album will be released on April 16th 2021 via Chloé’s Lumière Noire Records both digitally and on vinyl.
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![Photo by Jamie Timony PRAISE FOR PURIENT "Meet [one of] the women reshaping Australia’s electronic music scene" i-D "A slick dark number, her voice floats seamlessly over the gritty production, taking the track everywhere from icy coolness to blistering heat" Purple Sneakers "Charged with acid house hypnotising, the dizzying layers of 'Memories' traps its listener in a trance-inducing rave charged with an adrenaline rush of exhilarating electronica" Sniffers "Sounds like a long walk, a slow kiss" STACK Magazine "EBM style productions with melodies that drift in and out" Triple R Producer-vocalist Purient today returns with 'Fantasy', teasing her upcoming debut EP Memories out on March 26 via Burning Rose / Pelvis. Listen + watch HERE. Heavier on the deep house and IDM train than the acid inflected 'Memories', 'Fantasy' invites listeners to pause and take a breath. "Let me show you, you are home" Purient sings, painting another side to her craft through staccato percussion, moody synths and fleeting guitar lines. 'Fantasy' illustrates moments of tension; the study of someones features while hiding eye contact, accidental brushes against the body whose mark lingers longer than the initial touch - the moments your connection with another builds deeper and deeper. Written one evening where the artist had decided to trust her instinct and stay home, Durman shares that 'Fantasy' is "a very heartfelt and special song to me, and is telling of the excitable butterflies and romantic feelings that were consuming me at that time. I was beginning to grow closer to someone who made me feel safe and loved. I had no set intention when writing/producing it, but the feelings were there, so it all unfolded on its own. This is my favourite track of the Memories EP." Visually, Purient returns to her collaboration with director and creative Jamie Timony, using the vision of waves crashing too and fro shot along Queensland's Gold Coast, to signify the ebb and flow of a growing relationship and finding clarity in their arms. Watch below.](https://thepartae.com/wp-content/uploads/2021/03/PURIENT-DROPS-NEW-SINGLE-FANTASY-1170x658.jpg "PURIENT DROPS NEW SINGLE ‘FANTASY’")
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On her forthcoming debut EP Memories, the producer-vocalist rounds out the previously released title track and ‘Fantasy‘ with the electro, nu-disco leaning ‘Sad‘ and remixes from Eartheater, aka NY-based Alexandra Drewchin, and Varg²™, Swedish producer Jonas Rönnberg. Their take on ‘Fantasy‘ and ‘Memories‘ pushes Durman’s music further into another dimension, while still giving space for Purient to arrive as a fully formed creative force.
‘Fantasy‘ is out now via Burning Rose / Pelvis,
buy/stream it here.
PURIENT
MEMORIES EP
March 26 via Burning Rose / Pelvis
Pre-order here.
TRACKLIST
Fantasy
Memories
Sad
Fantasy (Varg²™ Remix)
Memories (Eartheater Remix)
Stay connected with Purient:
Facebook | Instagram | Bandcamp | SoundCloud
Listen / share HERE:
https://www.youtube.com/watch?
New album ‘Like a Stone’ out April 23rd
Pre-order now from Father/Daughter Records (US) & Big Scary Monsters (UK/EU)
Pitchfork“The type of music that you can imagine getting sentimental about years from now, rock songs that will make you feel both homesick for who you were and excited about who you might become.”
The Fader
“Full of sharp, sweet insight and heart-tugging hooks.”
Rolling Stone
“Remember Sports spits out speedball jams that chronicle the uneasy uncertainty of youth – lost loves, giddy crushes – without getting too down about it.”
NPR Music
“Perfect slices of adolescent punk, full of clever and biting songs with catchy hooks and a whole lot to say.”
Stereogum
‘Like a Stone’, the new album from Philadelphia’s Remember Sports, is all about breaking away from old versions of yourself. Vocalist Carmen Perry (she/her) rummages through feelings of doubt and spins them into an imperative to treat herself more kindly; her experiences growing up with Catholicism and later studying religion, as well as living with an eating disorder, provide a visceral lens for the literal blood-and-guts self-scrutiny she writes through.
A gorgeously anxious ballad about avoidance, their latest single, ‘Materialistic’, finds Perry working her way through forgiveness. It provides a plaintive centrepiece for the record, as well as an astonishing outlet for guitarist Jack Washburn’s time-bending, scale-redefining solos.
“It’s about the feedback loop of me caring about my possessions because they hold special memories, and alternately thinking I’m a bad person for caring about a mostly meaningless pile of junk,” Carmen explains.
“This song is special to us because we left a lot of room for Jack to do what he does best, and Nadia Hulett of Nadine made us all cry when she laid down her unimaginably angelic vocals in one take.”
The songs on ‘Like a Stone’ are about insecurity, but they’re also about optimism—emerging from an intrusive thought with a new way to perceive and care for yourself, represented in spectacular denouements made possible by the closeness between the band members. “We’ve grown up together and grown to trust each other,” says Carmen. In recording, Jack felt drawn to music that’s “communal and loud and cathartic, but also kinda confidential and private. I hope we achieved something similar, where you can hear the influence of each of us in the album.” Carmen seconds that; “It feels seamless. To me, Jack and Catherine’s writing feels like an extension of my own.”
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