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Self-taught newcomer Plastix is a young producer and multi-disciplinary artist emerging from the isolation of his bedroom studio in Adelaide with debut single ‘Wholesome Punks’, the first release from his extensive solitary body of work. Speaking of the song Plastix elaborates “This is a song about love. Realising that love cannot heal someone or fix someone. The dialogue present in the song is not between two people, but between a person and their mind.” With influences ranging from Bowie to J Dilla, ‘Wholesome Punks’ lays down a low tempo groove, monotonous vocals and dreamy sonic textures that belong to that final hour before the sun comes up.
Made possible through funding from South Australia’s Music Development Office, Volume 1 of the Singles Club will feature 3 x split 7” singles available via parttimerecords.com as well as digitally. The vinyl release features cover artwork by Adelaide illustrator Luku and each copy is individually hand-numbered and pressed on coloured vinyl. The first release from the series is out now and includes singles from Siberian Tiger and Tiles.
Join the PTR Singles Club at www.parttimerecords.com/shop/
Wellington-based indie-pop artist Jack Panther returns with yet another breathtaking rnew single ‘Blue Boy’, the fourth single to be released from his upcoming EP ‘this dream i had’. The EP will be released on Friday November 13. ’Blue Boy’ follows the release of ‘This Dream’, ‘Headlights’ and ‘Sleep’ which all saw strong media support from his native New Zealand and European media.
“There’s an element of tension in each moment of Headlights…..It’s a clever piece of writing;” – kiwi listen music blog
‘Blue Boy’ is a summer-y and peachy pop song. Its glittery verses and pop production disguise the hidden turmoil behind the song: falling in love with someone else. When speaking of the track, Panther states: “I took a break from writing this track to head to the beach with my friends. Whilst dipping my feet in the water I wrote the chorus lyric ‘lover swimming in the deep blue’. Everything about this track reminds me of summer, hell I even wrote it at the beach.”. He
further reflects: “Blue Boy has sort of got two sides to the song, summer-y and melancholic. I felt so stuck at the time, so many conflicting emotions of love and guilt because I fell for someone else.”
It’s clear 2020 will see an even bigger year for Panther with the release of his debut EP ‘this dream i had’ on November 13. The EP is a collaboration with UK based producer, Ian Barter who has worked in developing artists like Amy Winehouse, FKA Twigs and Paloma Faith in the past. The concept of the EP was inspired by one of Panther’s vivid and complex dreams, in particular, a dream about the future of himself and his now ex-partner.
About Jack Panther:
Jack Panther is a queer indie-pop artist born in Auckland, but now based in Wellington. From the first to the last track on the EP, Jack tells a narrative story of summer love, long distance relationship and heartbreak. His writing intertwines personal experiences with relatable feelings, which reveal Panther’s own unique style of vulnerable and brooding indie-pop.
https://www.facebook.com/jackpanthermusic/
‘Where They At’, the new single from Snotty Nose Rez Kids (SNRK), is equal parts creative flex and moment of optimism for artists and fans alike. A fired up collaboration with fellow First Nations rapper Drezus, the single is a powerful glimpse into the wealth of talent creating music in this specific area of the globe.
The single that shines light on success regardless of obstacles and negative energy, ‘Where They At’ is SNRK and Drezus proudly stepping forward and letting people know that despite 2020 forcing a pause on normal life, they’re powering on through.
Recorded at Nova Studios in Vancouver, SNRK and Drezus each bring distinctive flow and presence to ‘Where They At’. Trap beats meet reflective lyricism, delivered straight up with wordplay and quick wit both well in effect. A song inspired by their journey as a duo and the effects – positive and negative – change can bring, ‘Where They At’ is definitive of SNRK; their energy and approach to music and life.
“A lot has changed in our lives over the years. At the end of the day, we do our best to keep our heads high and keep moving forward. ‘Where They At’ was inspired by just experiencing life. We’re letting you know we’re doing alright through all the madness.” Yung Trybez, SNRK
Working with a talented crew of animators and illustrators, SNRK paired the immersive vibe of ‘Where They At’ with a fitting visualiser. Characters designed by Shayla Duval, edited and animated by Anthony Craparotta, with illustrations by Storm La Bass, Darren Dunn and Jess Robert, the ‘Where They At’ clip is a feel-good moment where the viewer can see SNRK and Drezus cruising in animated form.
“The video shows SNRK and Drezus rolling through our old neighbourhood and on the open road. The dog next to me is actually my dog, Chauncey, who died recently. He was a real mascot for SNRK and featured on our first album cover art and has appeared in our music videos. You can hear him barking at the start of our song, ‘Aliens vs. Indians’.”
Yung Trybez, SNRK
Drezus has been a known and respected artist in the Canadian First Nations scene for over a decade. Part of both the Muskowekwan and Cote First Nations peoples, and born in Saskatoon, the rapper has brought together the traditional narratives and stories of his people with fresh sonic influences. For SNRK and Drezus to collaborate on a track like ‘Where They At’, it was a no brainer.
“Drezus is experimenting more with his musical direction and I thought it’d be a great fit for us.”
Young D, SNRK
“‘Nishtaw’ means ‘brother-in-law’ in my language. I take these guys [SNRK] as my Nishtaws because our relationship with music brought us here. They’re fuckin’ killin’ it.”
Drezus
Prior to COVID-19 restrictions coming into play globally, SNRK were set to embark on their debut headline tour of North America in support of their latest EP Born Deadly. Having to postpone their original plans, the duo is currently working on their forthcoming new studio record, due for release in 2021.
The release of ‘Where They At’ is a timely reminder that SNRK may be chilling off-road right now but best believe when restrictions lift, fans are in for a real treat. Along with its release, SNRK are rolling out a limited edition merchandise line that fans can get their hands on at their official merch store.
The release of ‘Where They At’ is a timely reminder that SNRK may be chilling off-road right now but best believe when restrictions lift, fans are in for a real treat.
“It’s a banger. We want you to enjoy it more than anything. The ‘Where they at?’ line is tongue in cheek. We’re saying, where are the people who turned their backs, who hate online, who didn’t support us? It don’t matter ‘cos we got our braids on and we built a team of real ones. We got all we need.”
Young D, SNRK
PRAISE FOR SNOTTY NOSE REZ KIDS
“Deconstructing perceptions of First Nations people with intelligence and responsibility, hip hop duo Snotty Nose Rez Kids are at the forefront of Canada’s indigenous renaissance.”
The Line of Best Fit
“…raw truths and sharp rhymes, repping for Indigenous youth who rarely see themselves reflected in pop culture.”
Now Toronto
“Haisla Nation duo Snotty Nose Rez Kids thrive on subverting stereotypes and preserving cultural traditions. With fierce rhymes committed to the cause of decolonization, Young Trybez and Young D simultaneously nod to the contemporary hip-hop sound they employ and to environmental issues directly affecting Indigenous people.”
Complex
“Kinetic and cartoonish chemistry similar to Flatbush Zombies, as well as a bold confrontation of white supremacy with classic hip-hop tropes.”
The Fader
“…a well-produced hip-hop album that borrows influences from the likes of the Wu-Tang Clan, Kanye, Jay-Z and Childish Gambino, but in terms of the themes and lyrics, it is an album that could only come from an indigenous experience.”
Canadian Beats
‘Where They At’ is released Friday, October 23rd.
Official Website | Facebook | Twitter | Instagram | YouTube
As public gathering restrictions begin to ease around the country, Dashville is excited to be able to share some forward movement with the announcement of the first four acts for heavy music event Thrashville, an event destined to be held 13th February 2021.
After taking a year off in 2019, Thrashville was set to make its return as a ‘slightly heavier’ music festival in September 2020 but due to the pandemic, it suffered the same fate as all of Dashville’s festivals and was postponed to 2021.
Since the festival’s inception in 2017, Thrashville has proven to be a valuable outlet in a very sparse and challenging ‘heavy’ live music landscape, with the event proving to be one of the few grassroots outdoor heavy music festivals in existence.
Given its rarity and strong interest from heavy music fans across regional NSW, organisers are eager to ensure punters that we have full intention of the festival going ahead in 2021 in whatever form is achievable.
Ahead of further artist announcements, please welcome four hand-picked acts for Thrashville in 2021.
ASTRODEATH
Astrodeath are a duo born in 2018 as the heavy-hitting, sludge-grunge brainchild of Timmy Lancken (guitar and vocals) and Yoshi Hausler (drums). Their self-titled debut album is a concoction of tormented vocals, heavy slabs of evil riffage and titanic drums that will slap you right across the head.
BATTLESNAKE
Featuring a litany of incredible 80’s metal rock riffage and a light show to expel the retinas out the back of your head, the renaissance of Rock and Roll is here when Battlesnake annihilate a stage near you.
SCABZ
SCABZ are a driving force behind Australia’s punk scene, serving up direct and unapologetic protest in songs like ‘Feel Good Summer’, next to tales of drunken nights out with Australian Fast Bowler Brett Lee with ease. SCABZ are closing in on a full, reckless and energetic sound that no other act in Australia can match.
PurEnvy
PurEnvy hail from the steel city of Newcastle, NSW. Fusing elements of thrash metal with harmonies reminiscent of the New Wave Of British Heavy Metal, PurEnvy have been perfecting their craft for many years, appealing to a wide range of heavy music fans, and attracting a loyal following along the way.
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https://www.instagram.com/Dashville101/
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Where are you currently based?
I’m originally from Auckland but moved to Wellington 5 years ago and have been loving it ever since! I live right on the beach and very close to the CBD too. It’s a magical hotspot for developing creatives – the music scene especially. I’ve been so lucky to live in NZ during covid times, my band and I are back gigging, planning tours and going to a bunch of shows every week.
How did you first start playing music?
I started writing poetry when I was about 15 or 16. I looked back at some of it recently and the parts where I didn’t cringe I actually felt a bit touched. I listened to a lot of music at that age and it drew something out of me. I began by finding chords and writing poetry to it, then it was the bones of a song.
For a few years when I was 8 or 9 I played a little bit of piano – nothing substantial, I got bored from lessons. Later I taught myself through YouTube, learning my favourite tracks and discovering how each note related to each other etc. It was quite an organic experience for me.
Like many teenagers, I tried guitar lessons but it didn’t stick. I’m still sort of teaching myself (slowly and only to try to look as hot on stage as Julia Jacklin with a guitar).
What’s been happening recently and how has your Covid experience been so far?
This year has been WILD. First off I’m sooo lucky to have recorded in the UK in November last year before Covid hit.
I’m pretty lucky, I had a pretty stable 7 week lockdown with my best friend and her family. They were so welcoming and I felt like family. It was a wonderful space for me to get the drive back I needed and begin the work on my EP ‘this dream i had’.
I’ve been fortunate to be back working with my awesome band, working on our live set for an upcoming release show (and maybe even working on a 2021 tour).
We filmed a music video a few weeks back and I’m dying to share it with you guys, collabing with the incredible, stylish director Veronica Crockford-Pound (Vogue, i-D).
Also have quite a few projects cooking up in the studio at the moment – it’s sort of my fun safe space.
How did you go about writing Blue Boy and what influenced the sound and songwriting ?
Blue Boy was quite an intense song to write. I was so infatuated by this person I had just met, nothing beats summer love. Then he moved away, I remember sitting on my bed on a summery blue sky day and feeling so numb. That’s when I wrote the chorus. I wrote it on ukulele and took a break from writing to head to the beach with my friends. Whilst dipping my feet in the water I wrote the chorus lyric ‘lover swimming in the deep blue’.
The song gets complicated because my life was seemingly complicated. I was seeing someone else at the time. It wasn’t working and I knew it wasn’t after falling in love with someone else. I felt so stuck at the time, so many conflicting emotions of love and guilt because I feel for someone else. For two weeks straight the sky was this incredible shade of blue. I tried bathing in this new feeling of summer love and despite spending most of the time and the beach, there was an overriding sense of guilt because I didn’t know how to tell my partner.
Sonically I was so influenced by the sound of summer. I wanted it’s romantic verses to be surrounded by glittery, pop production then as the pre-chorus kicks in for it to progress into turmoil and melancholy. I was listening to a lot of Father John Misty, Sufjan Stevens and Harry Styles at the time. They somehow must’ve helped shape Blue Boy’s direction.
Where and when did you record/produce and who did you work with?
I recorded ‘this dream i had’ over 2 weeks with Ian Barter over in the UK. I was in the UK for around 4 weeks overall, doing meetings over the other 2.
I was so honoured to work with Ian, I was pretty damn nervous entering the studio on the first day, to me he was this producing god.
He has this beautiful, well kitted home studio just outside of Reading. Being out by the countryside was pretty unbelievable and a great spot to get fresh air and take breaks from the studio when it was very much needed.
What programs/instruments did you use?
It was all recorded and mixed on Logic Pro and put through a lot of the hardware Ian has in his studio.
One of my favourite things about working with Ian was his guitar skills, he’s incredible. 5 out of the 6 tracks on the EP all had electric guitar as a main instrument. To me there’s something so sonically colourful and moody about the guitar. The rest were a lot of layered drums, synth pads, electronic textures and the occasional vocoder.
How did you approach the recording process?
I let Ian take the reins with a lot of the recording process. We started around 10:30 every morning, which gave us both time to wake up, go through notes and come up with a game plan for the day. We mostly worked by doing a track a day, a surprisingly fast process for me! We’d then go till about 6pm each evening.
The hardest part was already done, I had written the tracks already so it was very much just getting straight into it and laying down the parts. We started with the chords, then did drums and bass, then guitar followed by electronic textures. After that we’d then record the vocals.
Your video for your single ‘Blue Boy’ will be out on December 4….
It sure is. I’m SO excited for it too
How did the concept for the video come about?
Blue Boy was the first song for me where I wrote so openly about my sexuality. I thought I needed to find a way to do it justice, explore myself more creatively and push myself further with my different aesthetic directions.
Where and when did you film and who with?
Blue Boy was filmed in Kingsize Studios in Auckland, it’s well known as the place to shoot a lot of fashion shoots etc.
We had an incredible, stellar team on the shoot. It was directed by one of my favourite directors and collaborators, Veronica Crockford-Pound (aka Pictvre), shot on 16mm and Super8 film by Veronica and the incredible Joseph Griffen.
Featured in the video is myself and the icons Rob and Roxie. Rob also styled us all, wearing stunning brands such as Penny Sage, Zambesi, Rick Owens and more.
Make-up by Global Senior Artist M.A.C Cosmetics and sweetheart Kiekie and Hair by the wonderful Sophy.
How was the filming experience from concept to the final edit?
I’m actually still mid filming experience hahaha, I’m yet to see the first edit! It’s so exciting working in film though as I have no idea how it’s going to turn out.
Filming and coming up with the concept with Veronica was so much fun, probably my favourite part.
Please tell us about your EP which will be out on November 13, what can we expect?
Like it’s namesame, ‘this dream i had’ all began from an intense, vivid dream I had about the partner I had at the time, which also inspired the track ‘This Dream’. I wrote this EP spanning over 9 months, during the time I was in a toxic, long distance relationship. The tracks from start to finish tell the story of different epiphanies I had during this time. The EP begins with love songs, travels through into the complications that come with a long distance relationship and ends with ‘Crawl’, an intimate song about realising that the ball is in someone else’s court to act better. It’s accepting your situation, remembering it’s a two way street.
Who are you listening to at the moment?
Recently I’ve been super fueled by listening to the likes of:
Joji’s new album – fave tracks include High Hopes, Upgrade, Afterthought & Tick Tock
LEON’s new album – faves are Die For You & Crazy/Stupid
Omar Apollo’s new EP – faves include Kamikaze & Hey Boy (it’s SO refreshing to hear a major artist talk openly about their sexuality in their music)
Lianne La Havas’ new album – tracks to look out for Please Don’t Make Me Cry & Courage
Special mention to BENEE, very excited for her debut album, the singles are incredible
I’ve been listening to a lot of R&B influenced pop and it’s certainly rubbing off on me..
What do you like to do away from music?
I love spending time with friends, going for night drives and getting out of Wellington to go on walks. My weekends usually get a bit chaotic as I love going out for drinks or to parties but I guess that’s just part of being in your early 20’s…?
The older I’ve gotten the more I realise that my closest friends and I always seem to talk about philosophical things. Partly I think it helps us try and understand us as these confused creative children are suddenly forced to grow up pretty quickly.
I spend a lot of my money on going out for food too… Dinners and brunches… it’s dangerous being a good friend of mine
What’s planned for the remainder of 2020 going into 2021?
Very busy couple of months ahead, VERY exciting though. It’s just jumping from one project to another. It’s great though, I love to keep busy.
May or may not be releasing a music video Dec 4th. May or may not be releasing a couple of stripped back versions of tracks from ‘this dream i had’. May or may not be planning a tour early 2021. May or may not be releasing a new single early 2021. May or may not be recording new content this coming couple of months….
As I said, busy but so exciting, I reckon this EP is just the beginning.
Favourite food and place to hangout?
I’ve been vegetarian for around a year or so. It’s kinda new to me still, so it’s exciting finding ways to keep it exciting for me, working with lots of different alternatives and recipes.
Ooooh I am a sucker for Italian food (like fresh four cheese ravioli mmmm…), Mexican food (with 3 glasses of Mezcal pleaseeee), Indian food (with a garlic naan ofcourse).
In Wellingtonhere’s this incredible vegetarian restaurant/cafe called Aunty Menas. Their roti chani (with soy slice) absolutely slaps… it’s on Cuba St, in the heart of the city. I’d recommend if you’re ever visiting!
For coffee I love Swimsuit. IT’s a great little relaxed cafe with great coffee and it’s super chill to meet friends and catch up.
Most Wednesday’s I go to the gig night called ‘Eyegum’ at San Fran. It’s free and features some of the best up and coming musicians in Wellington. $5 beers too, can never go a miss…
Weekends I’m pretty all over the place…
Looking for a righteous tipple this summer? Your prayers are answered with the independently-owned and locally-produced, Saintly Hard Seltzer. The brand is coming in hot, with an irreverent attitude, ready to freshen up your summer with a bold new drink, without the usual sugar, carbs or calories.
Health-conscious drinkers are already turning to hard seltzers like Saintly with liquor chains recording a sharp rise in interest for seltzers* in Australia these past few months. Described as naturally-flavoured alcoholic sparkling water, hard seltzers are seen as better-for-you options outside of traditional wine, beers and spirits.
At 62 calories for their 4% ABV and 89 calories for their 6% ABV, Saintly has zero carbs and zero sugar. In addition, it’s gluten-free, vegan-friendly and made from all-natural ingredients, so there’s a lot to love. With a tagline of “God It’s Good,” and a guiding principle of “just the right amount of wrong,” Saintly is destined to lighten up the party as well as your palate.
Australian made and backed by the same team (Chilli Marketing) who were responsible for Rekorderlig Cider’s global success, Saintly Hard Seltzer aims to crack the new seltzer market wide open in Australia. Rekorderlig’s meteoric rise to a top ten global cider brand, means that when Saintly predicts a heavenly future for the seltzer category in Australia, their word could be gospel.
After a 15-year release hiatus, System Of A Down have dropped 2 brand new songs Protect The Land and Genocidal Humanoidz as well as an official video for Protect The Land.
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On September 27, the combined forces of Azerbaijan and Turkey (along with Isis terrorists from Syria) attacked the Republic of Nagorno-Karabakh, which we as Armenians call Artsakh. For over the past month, civilians young and old have been awakened day and night by the frightful sights and sounds of rocket attacks, falling bombs, missiles, drones and terrorist attacks. They’ve had to find sanctuary in makeshift shelters, trying to avoid the fallout of outlawed cluster bombs raining down on their streets and homes, hospitals and places of worship. Their attackers have set their forests and endangered wildlife ablaze using white phosphorus, another banned weapon.
And Why?
Because over 30 years ago in 1988, the Armenians of Nagorno-Karabakh (which at the time was an Autonomous Oblast within the USSR), were tired of being treated as second class citizens and decided to declare their rightful independence from the Azerbaijan Soviet Socialist Republic whose borders engulfed their own. This ultimately led to a war of self determination by Armenians in Karabakh against Azerbaijan that ended in a cease fire in 1994, with Armenians retaining control of their ancestral homelands and maintaining their independence to the present day. Our people have lived there for millennia, and for most families there, it’s the only home they and their forefathers and mothers have ever known. They just want to live in peace as they have for centuries.
There is an immediate need for global citizens to urge their respective governments to not only condemn the actions of the corrupt regime leaders of Azerbaijan and Turkey, but to also insist world leaders act with urgency to bring peace to the region and rightfully recognize Artsakh as the independent nation it is. Most importantly and urgently, we humbly implore you to donate, in sums small or large to provide desperately needed aid and basic supplies for those adversely affected with what are ever growing accounts of crimes against humanity.
The music and lyrics speak for themselves. We need you to speak for Artsakh.
Peace,
Daron, Shavo, John and Serj
Since releasing their ARIA-nominated album, High Risk Behaviour in March this year, one could be forgiven for thinking that The Chats had returned to the bong shed with a ute-load of ‘Chats Goon’ to ride out the covid shitstorm of 2020, but our dropkick mates from the Sunny Coast have hit the studio and returned with a new single, ACϟDC CD, a tribute to one of Australia’s most successful and beloved rock bands, ACϟDC.
On the track, vocalist Eamon Sandwith says “When I was 10 years old my dad took me to the Sanity in Logan and I purchased my first CD with my own money, which was Back in Black by AC/DC. I was utterly blown away at how hard this band could rock, and I played it in the car every day to and from primary school. I still fucken love Acca Dacca so I wrote this song as a tribute to one of the world’s rocking-est bands.”
Of course, there’s a new video to mark the release of the track. Directed by Natalie Sims, the heavenly homage to ACϟDC features a cameo from Eamon’s nanna, hooning around the streets of Melbourne with the boys after their never missed attendance at Sunday worship.
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Acclaimed Scottish Dream-Folk outfit Constant Follower release their double sided single ‘I Can’t Wake You’ today.
Self-released it preludes their debut album ’Neither is, nor ever was’ on Shimmy Disc / Joyful Noise Recordings having just signed a deal with the label behind countless seminal records from the likes of Sufjan Stevens, Deerhoof, Dinosaur Jr, Kishi Bashi, and Yo La Tengo. The album is being produced by the internationally renowned Kramer.
Moments last forever, but you’ll sleep through it now,” McAll’s voice carries the wistfully bittersweet lyrics with a unifying sense of sincerity in I Can’t Wake You. The track is underpinned by the sentiment that, not only do things stay with you forever, but more significantly that in a moment of grief or great pain that time seems to stop.
The second track is more instrumental, floating over haunting strings and finger-picked guitar. Inspired by the area of Hamburg where McAll’s partner and bandmate Kathleen grew up, Altona means “all too near” in German. “It’s okay,” he says throughout the track, “It’s okay…”
Where are you currently based?
We’re based in the tiny city of Stirling in Scotland. It’s a great wee place with a beautiful castle on the hill and the mountains within walking distance.
What’s been happening recently and how has your Covid experience been so far?
The lockdowns have been hard because of not being able to play live shows. I miss that. And I miss seeing other live music. I’ll be quite happy to never see another livestream again! Ha! But I think one thing the livestreams have shown us is that the people on stage are only a part of what makes live music so special. When you lose the audience and the setting, it just feels empty. I’ve put the time to good use – working on making this album special and reconnecting.
How did you first start playing music?
I asked to learn piano when I was about 6. My parents were recommended a teacher who took lessons in a nearby church when there weren’t services on. One of my only childhood memories relates to this. I remember walking in for the first time – all the lights were off in the church except a dull light over the grand piano in the far corner. This old guy was hunched over, playing something very sad that filled the room. I remember the smell of candles and damp. I loved going to that old guy. My parents say that he was often drunk when we went and short tempered and grumpy. But I loved him. And, though his problems caught up with him pretty soon after we started together, it was that small handful of lessons with that troubled old guy that started me off playing music.
When was Constant Follower formed?
I‘d been writing some songs for a couple of years and played them out once. Which went well but I felt like I wanted to be able to present the songs in a fuller context. Kurd started playing guitar with me after we got talking at a gig a few years ago and the band has expanded since then to include Kessi and Amy as well as a few other collaborators like Kenny Bates who plays guitar on a few songs on the album. The band around me is a fluid entity, always with the key purpose of serving the songs.
Your single ‘I Can’t Wake You’ is out now. What inspired you to write this track?
In the song is the phrase “moments last forever”, which is kind of about how our perception of time is completely relative to what is going on in the moment, but also about how momentary events stay with you indefinitely. We’re all aware of how time seems to stand still in moments of shock. I was attacked from behind one night and had a bottle smashed over my head. I remember seeing the sparkling shards of crystal tinkling past my head onto the ground in slow motion. They kind of hung in the air before time sped up to normal again and I realised what had happened. Stopping time like this, it’s a superpower!
Tell us about the accompanying video for the track?
The video was made by this fiercely creative Swedish/German artist called Nathalia van de Kerst. Nathalia was helping a friend clear the basement of an old house in Froseke when they came upon a box full of glass negatives from the earliest days of photography, depicting life in old Sweden. The images seem to marry to the music in a very special way.
What’s your songwriting process like?
There’s no process really – I just try and play guitar a lot so that I’m ready whenever a song starts to come. Every now and then a small phrase pops into my head that seems like it has something attached to it; I’ll sit down and sing it, then the next bit will come and on and on in a kind of linear fashion until there’s a full song. Most often I don’t know what I mean by the song in the moment, only later do I attribute meaning in the same way someone else does when they hear it. And that meaning changes when things in my life change. I don’t ever try to force a song out – they just come when they’re ready.
What instruments and equipment is behind Constant Follower’s sound?
Well, there are no drums to worry about – that makes it a lot easier to play live! That rhythmic element comes from my fingerpicked acoustic guitar, which is most always at the centre of the arrangements. Over that I layer synths and guitar parts from Kurd and Kenny, both of whom have very different styles. Kurd has these incredible floaty, swelling, lush sounds that fill out the acoustic guitar perfectly. But I think the most important element in the ‘sound’ if there is one, is Amy and Kessi’s backing vocals. There’s just something about the way they each sing. Amy has the most beautiful and unique voice.
What’s the inspiration behind the title of the debut album, ‘Neither is, nor ever was…’, due to be released in March?
That’s a long, and personal, story…
Can you tell us a bit about the album’s production?
We initially went into the studio with a Glasgow producer to make the recordings for the album. But the studio environment didn’t suit the intimacy of the songs. I wasn’t very happy with the performances – don’t get me wrong, the recordings were lovely, but there was something about the ‘feel’ that wasn’t right. So I decided to improve my own studio and have another shot at the songs, which has paid off. I learned that if I’m sitting writing these songs late at night while my daughter sleeps in the next room, then the best way to capture that feeling is to make the recordings in the same way. We’ve been very lucky that Kramer, the producer who discovered Low and Daniel Johnston, heard my music through a mutual friend and offered to mix the record.
How do you spend your time when you’re not making music?
I get outside into nature as much as possible. The hills are so near that there’s really no excuse not to spend a lot of time there. Being a musician is hard work for no pay, so it’s essential to nurture your mental health in any way you can – being in nature is the best cure.
Who are you listening to at the moment?
I’ve been listening a lot to the Cinder Well record. Man, it’s beautiful… devastating, but beautiful. I’ve also been improving my knowledge of Mark Tranmer’s music. He lives locally now and we’ve been meeting for coffees and music chats. He and Roger Quigley were The Montgolfier Brothers. Roger’s recent passing has brought new attention to their incredible work ‘Seventeen Stars’, which is just the most wonderful record and well worth getting to know.
Following on from a stunning remix by Dutch genius CESQEAUX and a hugely popular Future Rave rework, David Guetta and Sia’s ‘Let’s Love’ gets a vibey house treatment courtesy of the legendary Robin Schulz. Known for his chart-topping remixes, the German DJ and producer excels with his newest gem.
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LISTEN TO SNAKEHIPS REMIX HERE
GORGON CITY – ‘BURNING’ FEAT. EVAN GIIA (SNAKEHIPS REMIX)
POSITIVA
OUT NOW
House music heavyweights Gorgon City have recently released their latest single ‘Burning’ featuring vocals from rising Brooklyn based singer Evan Giia. They continue to blaze a trail with a series of strong re-rubs including their own ‘Terrace Dub’ and new ‘Ben Hemsley’ remix which are both out now.
They now add to the package inviting fellow DJ producer duo Snakehips to present their inimitable take on the release. Snakehips need little introduction, the London producers Oliver Lee and James Carter burst onto the scene with 2015’s “All My Friends” (featuring Chance the Rapper and Tinashe). A release that went on to be certified platinum in several countries and won them an Ivor Novello Award for best contemporary song. They went on to amass hundreds of millions of streams and record sales. Since then they have worked with Zayn, MØ, Anderson .Paak. and Joey Badass continually evolving their sound and always remaining fresh and innovative.
Here they take Gorgon City’s ‘Burning’ and rework it in their own style, giving it a breezy pop dance feel. Still effectively retaining a house flavour, it features a smooth and funky electronic baseline, incorporating elements of R&B, floating vocals and a definite summer sounding vibe.
Rounding off the package perfectly and displaying their outstanding production experience Snakehips deliver a version that will surely peak in steaming playlists everywhere.
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Where are you based?
Montreal, Quebec, Canada
Your debut album ‘The Second Renaissance’ will be released November 6 2020, what influenced its sound?
Every emotion in my body and my love for Metal. In this album, the tracks are made anywhere from a couple of months ago to 8 years ago. Older tracks I revisited and cleaned up. The sum of it all tho is a collective of my emotions that express me.
What is the inspiration behind the title of the album?
It expresses change, understanding one’s past, and moving forward in a new light. A lot of the inspiration came from the animated series The Animatrix. We are entering a new era.
How did you approach the recording and production process?
Considering it was all done over an extensive amount of time there were many different processes at the beginning full digital and eventually a healthy mix of analog, vst, and samples.
How did you first start playing music and how did this evolve into electronic music?
I first started playing music when I was 6 learning the piano, I eventually moved over to drums, later I joined a metal band called Bleeding Halo. We did some small shows and “tour” which was just one other province but In Montreal, we had many shows. From there I moved over to electronic music which became my obsession.
What’s your creative process like?
I like to start my day with music. I open Ableton on an empty canvas and usually start with a kick. I take some time with the kick as the kick brings different emotions, heavy bass rumbling kick reminds me more of aggression as a small light kick with attack may bring something more melodic. From there I complete the drums and focus on the leads and hooks. All this is layered until I have the peak of the track. Once that’s done I move over to layout.
Your label Starskream is named after DJ Starscream – Slipknot’s turntablist. How much do bands like Slipknot influence the techno you create?
An incredible amount, a large portion of my day is listening to Metal, I get so many ideas that I want to incorporate in my techno, from guitar riffs to drum rolls, screams, effects, and song titles.
Why did you decide to start your own label?
As much as I love finding new music to share with the world, I wanted to do the same with talent. I wanted to be a platform for individuals to have a shot at showcasing their art. As well, I wanted a label that represents metal, healing aggression.
How has 2020 felt for you creatively?
It has had its ups and downs, full of doubt, second chances, and ambition. Each day is never the same but I push through. I also have 2 alias which helps me stay creative. Melora is synthwave and Three Faces Of Eve is faster-paced techno.
What artists are you most excited about right now?
Remy-X has been on my radar for some time I’m loving his music, Alexander Wittenby is swimming in talent, and Aahan another artist I’ve been watching climb to the top. These 3 are the first to come to mind.
Available now on Beatport: https://bit.ly/
Created by Lin Gardiner, Julia Sound is a BC music collective that is 100% female written, performed and produced – with further diversity focusing on Bi-POC and/or LGBTQ2S+ artists. For this debut single, Gardiner created a lighter sounding hip hop beat, which has a melancholic undercurrent. Megasonic appears on the track, and the featured hook singer, Keely Halward, added her soulful folk voice for a memorable chorus. For the EP, Gardiner collaborated with different singers and rappers for each song, creating a collection of evocative, ethereal, electronica-based, vocal-led music. Gardiner has always been drawn to and influenced by bands like Massive Attack, Tricky and Leftfield, and has followed in their footsteps with this approach of different featured performers on each of the tracks.
Inspiration for the project’s name is from ‘Julia Sound’ – an unexplained sound discovered by scientists in the 90’s, most likely created by the shifting of an iceberg on the ocean floor. The sample that exists of that sound is mysterious and dark.
