LISTEN TO ‘ACOUSTIC – UNUSUAL’ HERE
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Photo Credit: Amaya Lang
Where are you currently based?
On Gadigal land of the Eora nation aka Sydney.
How did you first start playing music?
When I was little I copied everything my older sister Jeanie did. She brought a guitar home one day when I was 10 and I adopted it. I was painfully shy back then so I started writing songs as a way to communicate.
What’s been happening recently and how has your Covid experience been so far?
As weird and depressing as a lot of things have been politically/globally/
In terms of music though, I have missed playing shows and watching live music a lot. Having an imposed break has made me really appreciate it. Now when I go see live music you can hear a pin drop because everyone is so focused on the music. The audience is soaking up every note. I haven’t played a live show since I left Australia in September 2019 which is weird after playing every week or so for years. Can’t wait to get back on stage.
You were overseas in 2019 and then came back to Australia due to Covid, please tell us about what you got up to:
I had wanted to live in Europe forever and got a three year working visa for the UK in 2019. So I released my second album Hysteria! in September 2019 and a week or so later I left. I spent three months in London, three months in Paris and three months in Athens walking 20 kilometres a day exploring the streets, parks, music, galleries. I taught myself a music recording program called Logic and wrote songs every day and demoed them in Logic. I was basically by myself working on my craft with jobs on the side to fund adventures.
Then in Athens, I was working for an NGO supporting LGBTIQ refugees and the situation politically got pretty scary – there were anti-refugee riots and people started burning refugee camps in Lesvos. They had to shut the shelter I worked at due to threats so I lost my job. The next day I got an emergency text from the Greek government saying a lockdown was going to happen because of COVID and no-one could leave their house without a permit. Trump announced he was closing the US borders. My family called and said Morrison was about to do the same. I had to make a very quick decision. I didn’t even have time to tell my landlord I had to leave and threw all my shit in a bag, went to the airport and got the first plane back to Sydney I could. It was the right decision – it would have been hard to stay living alone in the current climate. And now seeing all these stranded Australians still trying to get home 14 months later.
Your new single ‘Waiting For Time’ will be out on Feb 16, what influenced the sound and songwriting?
I wrote this song walking around London with a heart that fell full and empty at the same time. When I left Australia I had just fallen in a terribly timed romance. I decided to leave anyway with the hope and a promise they would join me eventually. This song is about feeling in limbo, wondering when and if I’d see them again. Talking to them on the other side of the planet at odd times of day and night due to the time difference.
In terms of the sound, I penned the term Stargaze for this new collection of songs I’m releasing this year. Think shoegaze but instead of looking down you look up at the stars, trying to absorb and reflect the sound of their beauty, darkness, silent noise, infinite space, twinkling hope in the distance. I’m always using the stars for inspiration.
How did you go about writing Waiting For Time?
I wrote it in winter in London when I was feeling pretty lonely but also experiencing a weird long-distance love bubble. I didn’t have a guitar at the time so I wrote it on bass with lyrics and melody and stitched the rest together in a kind of patchwork from random recording sessions in Paris, Athens and Sydney.
Where and when did you record/produce/master and who did you work with?
When I got back to Australia during the first wave of COVID, I did a (socially distanced) session at Harvest Recordings in Marrickville to get the bones of the song down. Kat Ayala laid down some beautiful lush guitars for it. And Sarah Fenn-Lavington smashed out drums. I co-produced the song with Ben Moore (Harvest Recordings), who also added his guitars and synths. We kept layering things on, rearranging, adding things and taking them away. It was the first time I’d worked on a song in this way and the first time I’d worked closely with a producer. It felt so good to collaborate creatively like this in a safe place – my living room mainly. We did vocals in my bathroom and Ben mixed it too. I got Casey Rice in Melbourne to master. I’m really proud of where it ended up sonically.
Who are you listening to at the moment?
RVG, Vagabon, Arlo Parks, Spiritualized, Sol Seppy, Brian Eno, Grouper.
What do you like to do away from music?
Spending time in nature mainly. Solo swims at the beach, exploring rock pools, I love going on ferry rides in Sydney and taking my dog for walks near water. Also I love my friends and laughing as much as possible with them.
What’s planned for the remainder of 2020 going into 2021?
I’m working on and releasing a bunch of new songs this year and going to work with a director for a special music video or two. Mostly I’m excited about rehearsing a new set with a new band and getting back on stage on on tour as soon as possible/
Favourite food
Where are you currently based?
All four of us are based right here on the Gold Coast within about 20 minutes of each other.
How did Chutney form?
Chutney formed in late 2019! We all had our own separate musical projects that we had been part of. I (Matt) wanted to try a different sort of genre from what I had been focusing on at the time and wrote a few indie-rock numbers. I had brought these songs to Cal (Guitar) and Pat (Bass) and we decided to form this little project. Andy (Drums) came on board after a few of the first songs were written out and the rest is history.
What’s been happening recently and how has your Covid experience been?
We were only really just starting out as a band when COVID first bared its teeth so our mentality was to use that time to get all the structures in place for a successful post-COVID world. We tried to work on refining our sound, building a brand and creating an image… as well as write lots and lots. As things opened back up we snatched up any and every gig and it’s honestly worked quite well.
Our focus recently has been writing the years worth of music out and getting ready for our Invisible tour.
Your new single Invisible is out now, what influenced the sound and songwriting?
I wrote the basic chord structure and lyrics after watching Elton John’s Biopic “Rocketman.” I was particularly taken aback by one quote – “Real love is hard to come by. So you find a way to cope without it.” I thought it was kinda sad that there are those who feel they aren’t worthy enough to be loved. I thought it was a pretty heavy notion, however its those sorts of ídeas/moments that I love writing about.
How did you go about writing Invisible?
My little moment of inspiration came halfway through the movie so I made a little voice memo and got to it later. I had some pretty chords I was playing with so I wrote the whole song that afternoon. That same week we came together and played it as a band and pretty much had it 95% complete, it was one of those ones that just falls into place I suppose.
Where and when did you record/produce/master and who with?
We recorded with our long time collaborators Scotty French from Love St Studios and Paul Blakey for Mastering. We’re always happy with the sound we achieve with these two and honestly recording with Scotty is such a good experience.
You have a tour coming up this February, where are you headed?
The tour is just a small one to showcase our single so we are doing 2 shows in Brisbane and 2 shows in our hometown. You can find us at Black Bear Lodge (18th), Elsewhere (19th), Vinnies Dive Bar (27th) & Greaser Bar (5th).
How do you prepare for live shows and what can we expect?
It’s pretty much just about getting into a rehearsal space a few times before a gig and making some noise. We have an array of music, from faster numbers to ballads, but I think for the tour we are gonna keep it as energetic as possible. We also have a bunch of new music to test out which is exciting.
Any new music on the way?
Yes yes! We have around 10 tracks done; it’s just about choosing the right ones at this point if you know what I mean. There’s about 3 of them that are worthy of being the next single… time will tell which one we pick.
Who are you listening to at the moment?
I’ve been getting around the local scene ALOT recently. Beddy Rays, Sycco, Girl and Girl and Local Safari come to mind. I’ve also been absolutely smashing Fontaines DC recently. Absolutely love their sound.
What do you like to do away from music?
We are all quite a close group of friends; so just hanging out on weekends and playing any sport we possibly can or having a bit of a drink. We also love checking out any of the local artists that we can. There’s so much good music coming out of the Gold Coast, you don’t need to leave the city to enjoy an amazing show.
What’s planned for 2021?
The next thing will be our follow-up to Invisible and the tour. We want to get out to a couple of the major capitals of Australia (COVID pending) but really we just love playing shows and writing music – so we will continue to do that.
Favourite food and place to hangout?
Definitely our local pub the Lonestar Tavern in Mermaid – or perhaps Options for Andy 😉 We may spend a bit too much time there.
DADA LIFE PARTNER WITH REVEALED RECORDINGS TO LAUNCH NEW LABEL ‘CRASH & SMILE’ AND DROP FIRST SINGLE ‘RUMBLE SLOW’!
Launch date: Out now!
Stream here: revr.ec/RUMBLE-SLOW
Swedish duo Dada Life are renowned for their fun sensibility and broad view of nonsense and surrealism. So, fans of their sound and ethos will be excited by the news that the Dada revolution continues to gather pace with the arrival of their own recording label – Crash & Smile – and a new single with ‘Rumble Slow’.
Undoubtedly moulded in a laboratory of madness, Dada Life has spawned Crash & Smile to be a buoyant, grin inducing imprint that will not only serve the full on, big room anthems that fans have come to expect! But it’s also going to be an environment for building and support a new generation of artists that share Dada Life’s focus for top notch productions and big bass lines.
When pinned down to reveal why Crash & Smile came to be, Dada Life responded: “We’re super excited to start a new chapter in Dada Land with the Crash & Smile label. It’s a natural step since we’ve felt something is missing in the music space. We felt there must be more people than just us that want to crash with a smile on their face! Big melodies and high energy are the essence of what makes us feel happy! We’ve been working a lot with Hardwell and Revealed, so to be able to do this label with them feels amazing! We can focus on finding great music, like our new release ‘Rumble Slow’, and being creative!”
In partnership with Revealed Recordings, Dada Life and their newly formed Crash & Smile have international reaching aims for the label. Utilising the esteemed Dutch powerhouse’s long experience and in-house personnel, Crash & Smile seeks to climb musical mountains with its output. From being the source for all things Dada Life, the record label shall also be a springboard for other artists and music releases.
Dada Life’s manager Toby Benson added: “I’ve had the pleasure of working with the Revealed team for many years across a number of projects, so it was an obvious next step to partner on launching Dada Life’s new label ‘Crash & Smile’ together. This deal gives Dada Life the creative freedom to release their unique style of music and also a platform for them to sign and develop talent under their own imprint.”
Olle Cornéer and Stefan Engblom are the Stockholm duo that embodies Dada Life in the physical form. Every piece of sound, sweat and swirling idea comes from them. They are known for their anthemic hits such as ‘Kick Out The Epic Motherf**ker’, ‘One Last Night On Earth’, ‘Happy Violence’, ‘Born To Rage’, and ‘Feed The Dada’. The Dada Life boys has also been a prominent feature at large scale events over the years showcasing their crazy antics, including declaring their own nation, at mainstages everywhere from Electric Daisy Carnival, Ultra Music Festival, Creamfields and Tomorrowland.
Commenting on the partnership Revealed’s Managing Director Massimo Baudo said: “We have all heard Dada Life’s iconic songs played in clubs and festivals, on the radio and tv all around the world. These guys have always been pioneers and their music will continue inspiring fans in the future. Everybody within the team is thrilled to be working with Dada Life and be part of this new adventure, so we couldn’t be happier they have chosen Revealed as the home for their new Crash & Smile label.”
Revealed Recordings have been on the frontier of music experience since its launch in 2010—a hotbed for artists such as Maddix, KAAZE, Dr Phunk, and Sick Individuals. Revealed has also welcomed into its family established names that include Steve Aoki, Tiësto, Jason Derulo, Craig David, Austin Mahone, Afrojack, Quintino, KSHMR, Timmy Trumpet and Snoop Dogg.
The first release on Dada Life’s new Crash & Smile label is ‘Rumble Slow’ out now!
For information check:
Crash & Smile
Facebook – https://www.facebook.com/
Instagram – https://www.instagram.com/
YouTube – https://www.youtube.com/
Soundcloud – https://soundcloud.com/
Spotify – https://open.spotify.com/user/
Dada Life
Facebook – https://www.facebook.com/
Instagram – https://www.instagram.com/
Twitter – https://twitter.com/dadalife/
YouTube – https://www.youtube.com/
Soundcloud – https://soundcloud.com/dada-
Spotify – https://open.spotify.com/
Revealed Recordings
Facebook – https://www.facebook.com/
Instagram – https://www.instagram.com/
Twitter – https://twitter.com/
YouTube – https://www.youtube.com/user/
Soundcloud – https://soundcloud.com/
Spotify – https://open.spotify.com/user/
Where did it all start for you? Is there a particular artist you can remember first hitting you with inspiration to start exploring music as a career?
.I’ve always been intrigued about music and the art of performing but I think it kicked off after high school, learning how to make beats with goals to perform the stuff that I make one day. I grew up in Ghana so a lot of my influences came from Ghanaian musicians. i then got heavily into Tinie tempah and then also got into Christian rapper Lecrae. I also vividly remember discovering Miracle (who goes by Blessed now), and like another Ghanaian brother making music in Australia, I was so inspired and introduced more to hip hop and music than ever. After that is when the discovery of the j Coles and Kendrick Lamars came into picture and solidified the inspirations more.
You have been involved in not just music, but different artistic mediums – was this a natural progression of interests for you, or did you find being involved in one thing (music, say) led to another (photography, say)?
Photography and film became something I picked up over time and realised I was good at it. For a couple of years, these were the more professional side of me but I worked closely with a lot of musicians and artists. Music has always been around but I never felt ready as I was still learning. I think music then overshadowed as I realised there’s a stronger passion and there’s more room to learn and grow. I think with Photography and film I did it well for payment but with music, I made it regardless of what it could bring.
It’s been interesting but the good thing is that now, Music is the centre and every other creative endeavour surrounds it.
The latest single with Tawanda marks a slight change up in vibe and execution when it comes to the music we’ve heard from you. What makes ‘Test Drive’ a significant entry in the new body of work you’re set to unveil in 2021?
Test drive solidifies my ability to be versatile. I never saw myself going this lane with the music I make and I think after that I realised I could jump and make any track and still keep it Yaw. Every other release including features has also been slightly different. I guess Yaw really does it all
You’re based in Sydney – what’s the scene like there at the moment when it comes to the support for fresh hip hop names on the come up? What’s exciting you the most about being part of it all?
The scene is interesting. I think there’s way too many talents available that the people are not ready for so it’s taking time. I think I cherish content more and I think the noise sells more than the developing talents and creativity that is coming up. But also I think we’re such a growing scene so there’s hope for what it could be. I’m just glad to share my art with the city and world
Do you think your aims for making music and art have changed heaps/any from when you first started? If so, in what ways?
I think it’s changed a bit. I’ve always wanted to perform on big stages and I think that is bound to happen. But I think I’m more focused about purpose and enjoying what I do now and impact more than being heard. And that’s is definitely a growth that changed my goal
2020 was trash all round, but what did you learn about yourself and your artistry as a result?
I learnt that the time to be great is now. And also the time to create is now. There might not be the freedom to do what you wanna do.
We’re no doubt going to be hearing more from Yawdoesitall as 2021 rolls on out; what’s surprised you the most about the way your artistry has developed and how are we set to hear that in the music?
What surprised me is the kind of music I’m making. I never thought it could branch and be this huge thing that has multiple hands involved. I think I’m more than just a rapper and you’re gonna feel it.
The faces of Australian hip hop look hella different now to how they did even 10 years ago – which is really exciting. Do you think this change is permanent?
Yessir, I think change is important. Perhaps not permanent but its evolving and I’m here for all of it.
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“Produced by Julien Lopes (aka Ramzoid), and written by Haddad – “On The Low” is her introduction to the music world. “I wanted to explore my words, feelings and musicality through the creation of a song that fused my love for R&B and Pop,” says Haddad. The new single is a testament to her burgeoning musical flair, one that is modern, progressive and distinctly her.
A resident of PEI, Haddad has been involved with a myriad of community arts projects ranging from starring in the Charlottetown production of “Stan Rogers: A Matter of Heart” to lending her talents to good causes such as the “Beacon of Light” candlelight vigil commemorating the victims of the 2020 Beirut explosion. With a future that is full of unlimited potential, Nadia Haddad is an artist to keep an eye on.
SOCIALS
Title: Too Late
Label: Stabby Records
Release date: February 12, 2021
LA-based DJ/producer Sam Blacky makes an explosive debut with her brand new single “Too Late,” which serves as the world’s official introduction to Sam’s underground-influenced house and techno sound. “Too Late” opens with disco-inspired vocals and a kickdrum driven bassline, quickly setting the stage for a late-night vibe that perfectly reflects her DJ sets; listeners can imagine themselves taking part in one of her “A New World” series, dancing underneath the stars of some of Mexico‘s most beautiful locales. The single is out on Sam Blacky‘s label Stabby Records, which will deliver cutting-edge house music from Blacky herself and other artists, representing the same sonic vision. Sam and Stabby Records have plenty of surprises and new music in the works this year, so keep an eye out for what’s next!
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.
Where are you from and where are you currently based? Born and raised Australian, from Western Sydney. Sacrificed the sun and moved to East London, 8 years ago!
How did you first start playing music?
From a young age I was given a “thing” by my parents, something to keep me preoccupied and out of trouble. Some get sports, others dancing, it was singing for me.
What’s been happening recently for you and how has your Covid experience been so far? I managed to put out a record through the pandemic, so most of 2020 was based around that. Kinda think it was a good thing, kept me busy in what was a really difficult year. Always trying to see the silver lining, I learnt a lot last year and was forced to think outside the box creatively.
Your new single ‘Revolution’ is out now, what influenced the sound and songwriting?
Revolution was written in 2019 about the person who brings out the best in you, encourages a change within. I love the Woodstock era, empowered female singer-songwriters like Joni Mitchell and Janis Joplin. I suppose they inspired the sound in many ways. Some songs go on to have more depth as they exist in the world, the more I lived with Revolution the more meaning it had. In light of 2020 and the shift in global conversation about equality across race, gender, environmental justice – Revolution was that song I put out to help face the days with.
How did you go about writing Revolution?
I took in the concept, I’d seen a street sign in capitals saying “Revolution” on the way to write. Small things sometimes funnily inspire songs. I wrote it with Paro Westerlund and Professor P in Sweden. Professor P specialises in lyrics predominantly, I was working on my storytelling at the time and it really helped to have those two to bounce ideas off. To take such a grand concept and make it into something relatable and close to home – that was tough. So happy with how we managed to make it work though!
Where and when did you record/produce/master and who with?
Revolution was written in Sweden, but produced over in LA. I’ve always been really lucky to have people believe in my songs and get on board because they’re excited by it and wanna see me win. Onree Gill produced the track and got the gospel choir Ella + Q to record over it. Onree’s worked with Alicia Keys, John Mayer, Gwen Stefani and Ella + Q with Prince and Whitney. I mean, I’m just a small town girl from Western Sydney so pretty mind blowing! We then had additional production done by a Maestro The Baker, a Grammy award winning producer here in the UK.
How did you approach the recording process and what did you find most challenging and rewarding?
I executive produced my album “Hunger” alongside Joe Garrett and my managers, I think getting 12 songs and bringing them into the same sonic world proved to be our biggest challenge. Even now there are a few different sounds across the album, but we managed to get them all sounding like they lived in the same world. No one ever prepared me for listening to 7+ mixes per song, but it was so important for me to be a part of that process.
Who are you listening to at the moment?
I’ve started to rehash some 2000’s power pop women Robyn, Gossip, Florence. Also I’m always listening to Bon Iver, James Blake, Ólafur Arnalds.
What do you like to do away from music?
I spend a lot of time away from music walking in nature, which helps me to clear my mind.
What’s planned for 2021, what other projects / releases do you currently have in the pipeline?
I’m taking this new found down time to focus on writing songs for other artists, I have a few features I’m excited about coming up! I’m also working on a side project in the dance world which is nothing like anyone’s heard from me before called AR/CO, so watch this space.
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“There’s certainly nothing light-hearted or funny about Covid, but I can still poke a little fun
at the crazy way social isolation has changed our lives in every way shape and form…” – Danny Elfman on “Love In The Time of Covid”
Just in time for Valentine’s Day, composer, singer and songwriter Danny Elfman is sharing his new song “Love In The Time Of Covid”. The short film accompanying the track is directed by German filmmaker and photographer Sven Gutjahr and Elfman’s creative director Berit Gilma. It tells a somewhat bizarre story of longing for intimacy in today’s socially isolated world in a very unique way.
Filmed in Berlin, the video’s main character is played by Scottish transgender performer Shrek 666 who wears extensive makeup and prosthetics. The non-human form echoes the universal surrealism of life during lockdown. Elfman also appears in a few surprise cameos in the video.
Listen and watch it HERE.
“There’s certainly nothing light-hearted or funny about Covid, but I can still poke a little fun at the crazy way social isolation has changed our lives in every way shape and form, and that’s what “Love In The Time of Covid” is about,” Elfman explains. “An expression of the borderline madness that so many of us have been experiencing. Lord knows I have. I wrote it from the view point of a young man going crazy in his apartment. Creators Gutjahr and Gilma had the idea to turn the lead character into a green skinned animal-like creature. As many us feel completely alienated in this insane new world we live in, and I thought it was an interesting idea.”
“Love In The Time Of Covid” features vocals, guitars and synths by Elfman, drums by Josh Freese, guitars by Nili Brosh, bass by Stu Brooks, percussion by Sidney Hopson and strings by the Lyris Quartet. It was executive produced by Laura Engel and the project producer was Melisa McGregor. 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 “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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