the partae

Alt-pop is a term that seems to have organically woven itself into the music scene. How do you define alt-pop, and why do you think it resonates so strongly in Melbourne right now?

I love the label ‘alt-pop’. It’s just really inclusive to this kind of genre-less world we’re living in. To me it means music that is well-crafted, catchy, emotive and full of hooks, and makes you want to listen again, like pop, but with a ‘caveat’ – like a slightly off-kilter quality that makes it interesting to the ear, whether that’s a dissonant guitar, an odd time signature or some really abstract lyric – just a little something that could create a barrier for entry for the fairweather listener, that’s it – like, you can have free tickets to the fun fair but you have to enter through the haunted house.

There’s a sense of nostalgia in this new wave of alt-pop, with a return to organic connection and even physical releases like vinyl. Do you think this is a reaction to the digital overload of music consumption?

I think so, there’s definitely a craving for a sense of reality in times that are becoming so surreal. I’d agree its a reaction to digital consumption coupled with technology acceleration, and it’s not just music either – it’s like everything became so convenient so quickly we didn’t have to own anything anymore, we didn’t need products, we could just subscribe to services, keep everything in the cloud, make our small spaces seem bigger through minimalisation, and then all of a sudden you have a new generation of people growing up without anything tangible and thinking “Wait, I think I would like to try having “stuff”. Stuff is cool. It’s unique. Anyone can own the same digital “asset” (I mean NFTs let’s not even), but when something is real to the touch it carries a special meaning associated to it that only you can feel.

Galaxy Music’s triple A-side vinyl release is both retro and forward-thinking. What was the inspiration behind this concept, and how did the artists respond to the idea?

Thanks, yeah definitely, it’s kind of like I touched on before, I think technology democratised everything to the point that anything is possible, and while that sounds like utopia, it makes it more difficult to find things that are meaningful. We are at a point where anyone can release anything online, you have digital services that can get you thousands of streams, you can buy a million YouTube views. There are countless instagram gurus offering artists quick-fix dopamine hits, cookie-cutter advice that is basically ‘post lots of reels singing your song’ or ‘mention an artist you sound like and say you wish you had seen them before they were famous and that’s what I am’ and it’ll generate lots of streams, but actually it’s just automated playlist hacking, and so you have social feeds full of identikit content and every year you see artists posting inflated Spotify wrapped metrics, but really having gained no actual fans or long-term progress towards their goals. I hate to see it, and it’s so common, that’s why I kind of lean into the ‘traditional values and artist-first’ thing with Galaxy – it’s intentionally old-school, and it’s about thinking long-term, not over-promising and under-delivering, just creating great stuff and experiences and enjoying the journey. The inspiration was labels I grew up with like Kitsune – which if you’re familiar with the fashion label, each year they released a ‘Kitsune Maison’ compilation vinyl, and it featured collaborations and remixes of some of the coolest European artists of the year that were exclusive to the record, it just had this incredible brand halo effect, brought communities of artists together and became like an annual taste-maker. Or like DFA records,, Def Jam, or even going way back to Factory records from Manchester in the UK, that had a real DIY ethos – no contracts, just great music, building a scene, creating a vibe. In fact, their first release (Joy Division & Cabaret Voltaire) was called Factory Label Sampler – which is exactly where I stole the name for Galaxy’s first release. It’s like, let’s create something meaningful. Something that isn’t about vanity metrics – it’s not about a million impressions, but a lasting one. The artists totally get it, I mean, it’s not an easy sell, when you could just pay for streams and views but you have someone saying “trust me, we can do that, but let’s do this personalised stuff first and see what the reality is.” We’re doing digital stuff too of course, we’re not off-grid. We’ve got a big organic digital content plan post-release, but I don’t want to just hype up a vibe that doesn’t exist yet, we’re still in the manifestation period, we have to give people reason to believe. Look, I’m far from a luddite, I’m an early adopter of most technology, but seeing how far we’ve come makes you realise what gets left behind.

Each track on the release has its own distinct identity—Lovy’s raw energy, Asia’s introspective storytelling, and Mia Savannah’s sleek pop polish. Was there a common thread that tied these songs together under the alt-pop banner?

All the artists are totally unique in their styles, how they sound, their influences, how they write, their aspirations and what they dig sonically, and I love that because it’s opened up new worlds for me as a producer. I think the thread is what I mentioned earlier – they all write such incredible pop songs, but they have this kind of ‘taste level’ that, yes they want their music to sound great, but you know, also “different” – but not quirky for the sake of it. Lovy is really experimental with arrangements, Asia can pull a hooky, syncopated melody I never would have thought of out of thin air, and Mia is just a songwriter so dedicated to the craft and that really comes through – the attention to detail is what sets it apart, it’s almost like the things that you don’t even hear. I think the common thread, yeah, is that they all have the talent already to easily do ‘good’ music, but they all have the curiosity, growth mindset and aspiration to do great music, to experiment, evolve and go beyond ‘good enough’ and to me, that’s like thrilling to be a part of that. It stretches me and I love it.

Lovy’s ‘Rage’ blends electro, indie, and even rap elements. What was the creative process behind such a genre-fluid track? Was there a particular mood or moment that inspired it?

Lovy’s arrangements are crazy, but they work. It’s what makes her music so unique. And, believe me, ‘Rage’ is the tip of the iceberg! With a lot of Lovy’s demos I could instantly hear the quality, the great song, the melody, the chord structures. For me it’s kind of like decoding it, understanding it, and then we rebuild it together. Rage was one of those songs that, and this never happens, we kind of used some of the first synth sounds we recorded guides with, because they sounded “right”. Obviously we spent ages trying out a lot of other things but came back to what first got us excited. Lovy is experimental in a way I have never encountered. In a thrilling way. She will rap, shout, sing like an angel, and each session comes in with new ideas, and I am always open to them. And they usually work. It means all her songs are like a tapestry of cool stuff that evolves over time. It’s my job as a producer to try and fit things into an accessible, listener-friendly box in a way, but unfortunately as a person I am really open to experimentation too, so if someone with Lovy’s talent and intuition wants to try something I’m all in! So, yeah, Lovy’s music, and Rage is a good entry point – expect the unexpected!

Asia’s ‘One Thing’ delivers a powerful message about focus in a world full of distractions. What personal experiences influenced this song, and how do you hope listeners connect with it?

The way me and Asia write is quite unique, and I love working with her this way. It’s always like a conversation where Asia talks about a situation she has been in and the feelings she experienced during that period. Which sounds pretty basic. But, Asia looks at it from all different angles, it’s not” this happened and I felt this”. She employs like a critical-thinking mindset, seeing things from all sides. She sets the scene so we have like an environment to put our words in, and then it’s like “So this happened, and I felt like this, but then I probably should have felt like this, but is there a reason I didn’t? And how would others view me now? They probably expected I would act more like this, and imagine how that made them feel.” – and at the same time we’re both with notepads trying to capture all those feelings and find the words to pull it together. It’s a great process and so it’s really personal but also really open. For ‘one thing’ I remember the breakthrough for us lyrically was when, after a while talking through some of those voices that go round your head, we realised that Asia was kind of giving herself advice, trying to give herself permission to feel a certain way. So there’s a lot of introspective imagery in those words that capture that feeling of self-talk, speak to yourself as you would a friend. I connected instantly with what Asia was describing and I am sure everyone can on some level, we all talk to ourselves and overthink what the right thing to do is, what the cause and effect is of all our decisions. And this is almost like a mantra of “Nope. Stop staring at the map – just start in a direction. Go.” 

Mia Savannah’s ‘GHOST’ has been described as ‘Kate Bush and Dua Lipa duetting on a Stranger Things finale.’ How does she feel about that comparison, and what was the driving force behind this track?

Haha I love this. I love the production on GHOST. I mean, the song is so perfect and Mia’s voice is unreal, it would be hard to mess it up whatever kind of backing it had. But, the word ‘Ghost’ obviously makes you think something haunting, but like, not on the nose. The stranger things connection is so weird because a number of people said that and it’s likeh a funny in-joke (to me only). I wanted it to have a Kate Bush kind of vibe, that kind of Linn Drum Machine retro vibe and analogue synthesisers, and I really wanted to find what I always called the “dog synth” that is on Bush’s “Running up that hill” (you know that sounds like a reverby bark?). At this point was not in any way thinking of stranger things. But no-one said to me “It sounds like Kate Bush” they said “It sounds like it could be on stranger things, which I realised was because Running up that hill is all the way through stranger things, and so me stealing Kate Bush’s “Dog synth” for a vibe, made people connect the song with a popular show that is pretty “Ghosty”. That’s just kismet. I love GHOST – it’s just like the first time I heard it, I knew. And so will anyone the first time they hear it too, I reckon.

Live performances seem to be a major part of this movement. With the April 3rd showcase at The Workers Club, what can attendees expect from the night?

It’s going to be an experience, and a coming together of different networks and communities. We’re all about real experiences, live music that goes from minimal, organic, rocking band music to full on electro bangers (but still live). And then finishing the night off with some incredible DJs in Noise Business, because I really personally think there should be more of a blend between live music and DJs. I think it’s a natural way to end the evening on a big buzz. There should be more talented DJs given a stage, more DJs watching live bands, more “musicians” in clubs appreciating DJs craft. I mean, fore sure that all happens, but I also want to be a part of helping it happen too. It shouldn’t be go to a gig then a club. I like the blend. The night is going to be a journey.

Do you think the rise of Melbourne’s alt-pop scene is shaping the broader music industry in Australia? Are major labels taking notice, or is this an entirely independent movement?

Oh I am really too small in the scene to comment, I mean, in my bubble, I see it, I hear it, I feel it. And I want to be amongst it. its so wide-reaching and there’s so much opportunity for crossovers and collaborations I can see it growing if everyone lifts each other up. I think that’s the key, and it’s certainly something that’s important to me and the label.

What’s next for Galaxy Music after this triple release? Can we expect more showcases, new signings, or even a full-fledged alt-pop movement taking over?

After this release we’re going to really promote it, like it’s a bit different these days with digital releases, the promo is better to do after the release, and it’s important not to just put it out and move on, but equally important is forward momentum. We’ve got a few songs in the bank from our sessions and so each artist will be doing a fast-follow single in a month or two, building out their own brands and finding their voice and audience. Just keep building. And yeah, more shows, definitely more artists, I am working with a few people I’d love to release and I am doing some remixes and collabs and just getting out there and meeting cool  people and making cool things happen. I’m a big manifestation person so one of my north star goals is a Galaxy showcase at Bigsound. We’ll apply, once we’ve got the evidence to back up why we should get on the bill 😉  If the alt-pop movement happens I definitely want to be aboard that ship and I’ll happily help row or steer it.

Your new album, “Above the Clouds and On the Ground”, marks a shift from your familiar commercial country sound. What inspired this change in direction?

The biggest inspiration for this change was personal growth. I got sober about five years ago and experienced an immense shift in my approach to life. I got married, became a father, and have a new outlook on what’s important in life. Musically, I wanted to break free of the constraints of writing for radio and instead write music that meant something to me with the hopes that it would move people in the same way.

You’ve had a successful career in Canadian country music, earning national recognition over the past 15 years. What was the biggest challenge in stepping outside that sound for this record?

I think that the biggest challenge was leaving the music that I identified with in the past. It’s very easy to do what you’ve always done, especially when it’s worked for you in the past, so this was a huge leap of faith, but I couldn’t imagine continuing on any other way. It’s been very difficult to be vulnerable in the lyrics, but that is a part of music and songwriting, and it’s important to be truthful in your music because I feel that it shines through.

Chris Burke-Gaffney, known for his work with MacKenzie Porter and Chantal Kreviazuk, produced the album. What was it like working with him, and how did he help shape the new sonic landscape of this project?

Chris and I met back in 2014 when I was selected to showcase at the Americana Music Festival in Nashville. He was one of the industry professionals that was on the panel. Afterwards we chatted because he liked my voice and the songs that I had showcased. I’d never worked with him in the studio but we had written a couple of songs together and had some success with those tracks.

When I approached him about writing this album, he expressed interest in producing it especially when I discussed the content and the approach of a more Americana-style album. Working with him in the studio is like no other. He truly brought all of the songs to the next level. His input on the lyrics, the vocal stylings, the vocal melodies, and the instrument arrangements was second to none. This album would not be what it is without his expertise. We had a vision and a focus, and he dialed it right in.

The album blends Americana, country, folk-rock, and folk-pop influences. Were there any particular artists or albums that inspired this fusion of styles?

The Bros Landreth out of Winnipeg – they had an incredible album they released a couple of years ago and this had a big impact on me. Donovan Woods, another Canadian artist, is a big inspiration both lyrically and musically. And I would be remiss if I didn’t mention Vince Gill who is my all-time favorite artist. He’s a beautiful songwriter and obviously an excellent musician.

Your personal milestones—marriage, fatherhood, and sobriety—played a big role in this album’s creation. How do these experiences come through in your songwriting?

I think I went into the album with my family and my sobriety in mind. I wanted to have a nice mix of songs that included these elements in some capacity. I think if you listen to the album from front to back, you get a sense of what I mean. There are some songs that are sad yes, and some are based off experiences I’ve had with my wife. But the inspiration comes from those tough times, nonetheless. Again, it’s important for me to be truthful in the writing and I believe that will shine through and connect with others.

You’ve performed at major events like the Grey Cup, Canadian Country Music Week, and the Americana Music Festival in Nashville. How do you think your live performances have evolved with this new music?

I think a lot of those performances in the past were based on presenting a product which was the polished music and a polished performance. If I look back, a lot of the performances were based on an image I was trying to uphold. The performances now focus on emotion and the delivery of the songs themselves.

Looking back on your journey in the music industry, what lessons have you learned that influenced the way you approached this album?

Some of the biggest lessons for me were making sure that I was prepared for the album and that I had a plan for it some cohesiveness between the songs. I think for my 2015 album, I was able to get better at that than the previous 2009 album but overall, for this new album, I felt that these songs all make sense together and they are intertwined. Some of the songs on the album are from ten years ago, while others are from two years ago, but they are all close to my heart for one reason or another.

With the shift in sound, do you feel like your audience has changed? Have longtime fans embraced this new direction?

There have been a few longtime fans that have embraced this new sound. I can feel a bit of distance between other fans of my music which, although it’s uncomfortable, it is expected. Simply put, you’re not going to please everyone!

The title Above the Clouds and On the Ground suggests a balance between dreaming big and staying grounded. How does this theme play out across the ten tracks?

I think there’s a nice blend from the first track to the tenth track. There are songs about dreaming big – being up in the clouds madly in love – while other songs bring you back down to the ground and talk about the harsh reality of sobriety and making amends with the people that you love and haven’t been there for.

I’ve tried to maintain cohesiveness with the songs between one another. If you look at the first 3 songs, they are more about that harsh reality and about sobriety, followed by more upbeat pop style songs about love, well the next few songs again bring you back down to ground level about love and loss.

What’s next for you? Will you be touring with this record, and are there any collaborations or projects in the works that fans should keep an eye out for?

I plan to tour around to promote the album, dates are yet to come. The plan is to perform in intimate settings, house parties or coffee shops.

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“Gucci Body” blends hip-hop and pop with sultry vocals—what was the creative process like when bringing this track to life? Did you have a specific vision from the start, or did it evolve naturally?

I wanted to create a song that makes people feel amazing no matter where they are on their journey. In this context, “Gucci” isn’t about luxury—it’s a mindset, a reminder to know your worth, carry yourself with confidence, and put in the work to be your best self. I’ve experienced moments of self-doubt, and I know many struggle with self-worth. Listening to Sexy by Rae Sremmurd and Rude Girl by Bantu, both of which radiate unstoppable confidence, inspired me to capture that energy. Those songs reference luxury brands, but I wanted to shift the focus away from material things defining our worth. Gucci Body is about giving yourself the absolute best—because you deserve it. It’s an anthem for empowerment: walking with your head high and stepping into your main character moment.

The track was produced by Deep Jandu, who has worked with major artists like Karan Aujla and Sidhu Moosewala. What was it like collaborating with him, and how did his production influence the final sound of “Gucci Body”?

I owe a huge shoutout to Deep Jandu for taking a chance on me when I walked into his studio with nothing but raw passion. He was incredibly patient, fun-loving, and downright talented—he really understood the vibe I was going for. I envisioned Gucci Body as a high-energy, sexy track with a pop vibe layered over a deep hip-hop beat, and Deep brought that vision to life with signature touches like a crisp clap before the chorus and an intro piano that really made the song come alive. His production gives the track an infectious energy that has you hyped even before the lyrics kick in.

You use “Gucci” as a metaphor for self-worth and confidence rather than materialism. What inspired this theme, and how does it reflect your personal experiences or journey as an artist?

Great question! For me, “Gucci” symbolizes “good”—it’s a way to express self-worth that goes beyond material things. I wanted the surface to be fun and uplifting, while the deeper message is about self-respect, confidence, and treating yourself with the absolute best care. It’s a reminder that what you wear doesn’t define you—how you feel about yourself is what really matters. It took me a long time to fully appreciate myself and know my worth. I used to act like I had everything figured out—tough, confident, unbothered—but inside, I was insecure, confused, and unsure of who I wanted to be. Gucci Body is symbolic of my personal growth—not just as an artist, but as a woman and a mother.

Growing up in Malvern, a culturally rich and diverse neighborhood, how has your upbringing shaped your musical style and the stories you tell through your songs?

Growing up in Malvern was a formative experience—it’s a neighborhood bursting with culture, energy, and resilience, though not without its challenges. I had to mature quickly and navigate life largely on my own. The incredible diversity there exposed me to a mix of sounds—soca, reggae, hip-hop, pop, R&B—which naturally found its way into my music. More importantly, Malvern taught me to stand strong, trust myself, and push through any doubts. That spirit of self-made confidence is at the heart of everything I create.

You’ve cited Aaliyah, Monica, Britney Spears, and Brandy as inspirations. How have these artists influenced your sound, and do you see their impact on “Gucci Body” or your upcoming projects?

Each of these incredible women has influenced me in her own way. Aaliyah and Brandy with their smooth, effortless vocals, Monica with her raw emotion, Britney with her ability to create timeless, infectious pop music. They taught me that you can be both soft and strong—that your presence can be gentle yet powerful. Their influence shows up in my melodies, storytelling, and song structure. You can hear elements of that in Gucci Body, but even more so in my upcoming single Down, which leans heavily into an R&B vibe reminiscent of the music I grew up loving.

You’ve spent years refining your craft as a songwriter. Can you share a moment or breakthrough that made you realize you were ready to step into the spotlight as an artist?

The turning point came after I wrote Gucci Body and a few other tracks. The lyrics, melody, and vibe were unlike anything I’d created before—I knew I had something special. Listening back, I realized I couldn’t live with myself if I didn’t share my music with the world. It took time to get here, but every step of my journey has shaped me into the songwriter I am today. Gucci Body is the perfect debut—a powerful anthem of confidence, strength, and inner love that marked my leap into the spotlight.

You took the unconventional route of completing two graduate degrees before fully committing to music. How did that journey shape your approach to your career, and what ultimately made you take the leap?

My academic journey taught me discipline, strategy, and how to move with intention. Music is art, but it’s also a business, and my background gave me the mindset to approach it seriously. I learned the power of persistence—nothing happens overnight; you build it step by step. That same mentality drives me in my music. I’m not here for shortcuts; I’m here to make quality music. I had a huge aha moment when I started writing music again. My lyrics, my melodies—something had shifted. I couldn’t just sit on them. I knew I had to take this leap.

As an emerging Canadian pop artist, what are some challenges you’ve faced in the industry, and how do you navigate them while staying true to your artistic vision?

The Canadian music scene is underrated—it’s tough to break through because we don’t have the same resources and opportunities as bigger markets. As a mom of two, a wife, and an artist, finding the time to do shows and establish myself in the scene is nearly impossible. Could I do it? Yes. But at what cost? I love music more than anything, but I also love my kids. Music and being a mom are the two dreams I’ve had for myself, and I don’t want to neglect either of them. Creating music in Canada is also challenging because my style—pop with R&B and hip-hop influences—isn’t as common here. Finding producers, agencies, and industry people with experience in my genre has been tough. Luckily, I’ve crossed paths with some amazing people, and they’ve been a blessing.

With “Gucci Body” marking your debut, what can listeners expect from your upcoming music? Are there any exciting collaborations or projects in the works?

Gucci Body is just the beginning—I have so much more music coming, and I can’t wait to share it. My next two singles will show a completely different side of me. Both are pop, but one leans into an R&B vibe, while the other brings a high-energy dance/EDM feel. I want listeners to really experience my versatility and see that I’m not confined to just one sound. No collaborations in the works at the moment, but this is a big year—I’m just getting started.

What do you want fans to take away from your music, and how do you hope to inspire listeners with your artistry?

I want people—especially the ladies—to feel empowered, confident, and unstoppable when they hear my music. My sound is fun, sexy, and full of energy, and I want that to translate into how my listeners feel. Whether it’s dancing in the mirror, hyping yourself up before a night out, or just needing a reminder of your worth, my music is here to lift your spirits and remind you to own your power. If I can make someone feel even a little bit more confident, then I’ve done my job.

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What inspired this album, and how does it represent your personal journey over the past few years?

All of my albums are inspired by my life experiences.  This album was very reflective for me as I have been focusing on being more OPEN to change, ideas and the world around me.  By disarming myself, I feel like my creativity was able to flourish and it was very inspiring.

You mention wanting to open yourself up to new ideas and perspectives. How has that influenced your music and composition process?

Good question.  I think it has made me approach music from a more natural and relaxed point of view.  Sometimes composing can feel forced and when that happens, the music suffers.  This album came about very organically which I think added depth to the stories.

What was your approach to composing this album? Did you have a particular theme in mind when creating each piece?

My compositions are very “of the moment”, meaning something has to inspire me to write.  By opening myself up and approaching this over a longer period, I think was able to give myself the room with which to create these amazing songs.

The album features a Steinway S Grand Piano—what drew you to this specific piano, and how did it shape the sound of the album?

This is the same piano I have recorded all of my albums on.  I really enjoy the sound of a Steinway in the studio, and the S is a very controllable size piano for me.

Your music falls into the solo piano and new age genres. Are there any artists or composers who have particularly influenced your style?

I have been inspired by a number of pianists like David Lanz, but George Winston is the pianist that caused me to want to play piano.  I taught myself how to play at the age of 12 listening to DECEMBER with a little cassette player and pushing play/rewind until the tape would break!

The tracklist includes titles like Faith, Changes, and Once Upon a Time. Can you share the meaning or inspiration behind one or two of these pieces?

I try not to speak to much on what my songs are about as I really like the listeners to hear the title and the music and make their own stories to them.  I can say that FAITH is exactly what is sounds like and is my hope for a better tomorrow for all of us.

Girl in the Painting is an intriguing title—what’s the story behind this piece?

Ok, I’ll talk about this one.  We have a painting in our house given to us by my wife’s grandfather and it so beautiful and haunting at the same the time, that I wrote that song as the background to what I think the woman’s life would have been like.  It’s difficult to describe, but I write music as though the subject is a film and I can see the story unfold as I write.

You worked with producer Matt Holmes and other creatives like Karla Colahan and Nelson Hill. How did these collaborations shape the final product?

These three are the best and I have done all of my albums with them.  I can compose, but they help bring it all to life and I am eternally grateful for their friendship and talent.

Wild Sound Recording Studio was your choice for recording. What made it the right space for this project?

They are my go-to studio to record. Matt is amazing, and it’s as if I am recording with my brother in my living room.  Very comfortable and very easy.

This album is about self-awareness and inner peace. What do you hope listeners take away from it?

Hopefully people are able to listen and reflect on their lives and the paths they have chosen.  Challenging ourselves to look beyond our comfort zones can be very liberating and hopefully this album challenges people to do that and to find peace in their lives.