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Can you walk us through the process of creating the music video for “Heartstrings”? What were some of the key concepts or themes you wanted to convey visually?
For the “Heartstrings” music video, I wanted to convey feelings of empowerment, fun, urgency and excitement while showcasing the vibrant energy of Vancouver. I incorporated elements of goofiness and spontaneity to highlight the joy of being a music artist and performer. The key concepts were to capture moments of tension and excitement while running around the city, ultimately creating a visual representation of the song’s themes of empowerment and enjoyment.
How did your personal experiences, particularly in navigating the aftermath of an abusive relationship, influence the creation of “Heartstrings” both musically and visually?
My personal experiences, particularly in navigating the aftermath of an abusive relationship, deeply influenced both the musical and visual creation of “Heartstrings.” Through the song, I aimed to show the journey of going through a difficult time and emerging stronger and more empowered than ever before. Visually, I wanted to showcase my thriving and well-being, emphasizing that despite past struggles, I am now in a positive place.
A significant aspect of the music video was the inclusion of my ex-partner, who portrayed a role in the video (not who the lyrics were written about). This choice was intentional and held personal significance. It aimed to illustrate that not all relationships end in dramatic confrontations; sometimes, people can transition from romantic partners to friends amicably. By featuring my ex in the video, I wanted to challenge the misconception that individuals are to blame for being in abusive relationships and highlight that the responsibility lies solely with the abuser. It was a statement about the possibility of ending a relationship and still maintaining a healthy, supportive connection.
You mentioned that songwriting became your sanctuary during difficult times. How do you feel music, and specifically your own creations, can aid in healing and empowerment?
Music, especially my own creations, has been instrumental in aiding my healing and empowerment during difficult times. Song writing has served as a form of therapy, allowing me to express and process my emotions in a safe and constructive manner. For me, singing has always been a way of connecting with something greater than myself; whether it’s a divine energy or a source of inner strength.
When we put words to music it has the ability to turn into something of a mantra. My hope is to create something catchy and empowering to act as a mantra that listeners can internalize for a positive benefit. This ability to instill empowerment and positivity through the power of song is truly remarkable and highlights the transformative potential of music in healing and empowering individuals.
“Heartstrings” combines elements of house, bass house, and pop. Can you talk about your creative process in blending these genres to create a unique sound?
“Heartstrings” represents a fusion of house, bass house, and pop, which are all integral parts of my musical identity. These genres resonate with me on a personal level, as they reflect the diverse range of music that has influenced and shaped my musical journey. Growing up, I was exposed to various genres, from house to pop, and each has left its imprint on me.
In blending these genres, my creative process is driven by a desire to infuse the best elements of each into a sound that is uniquely my own. It’s about capturing the essence of what resonates with me from each genre and weaving them together to create something fresh and distinctive. Ultimately, “Heartstrings” embodies the culmination of my musical influences and experiences, resulting in a sound that is authentic and true to myself.
How does “Heartstrings” connect thematically to the rest of your upcoming album?
“Heartstrings” serves as the starting point for my upcoming album, both thematically and musically. It sets the tone for the depth and exploration that I aim to achieve throughout the album. With “Heartstrings,” I’ve begun to explore themes of empowerment, resilience, and personal growth, laying the foundation for the overarching narrative of the album.
As the first glimpse into the album, “Heartstrings” hints at the emotional depth and complexity that will be further explored in subsequent tracks. It’s a starting point—a catalyst for the deeper journey I intend to really get into with this album.
What can listeners expect from the album in terms of sound and message?
Listeners can expect a sonic experience with the album, characterized by healing frequencies and a diverse range of sounds. Each track will feature powerful lyrics that delve into meaningful themes of personal growth, empowerment, and resilience. Through metaphors and a touch of humor, I aim to create music that resonates with listeners on a deeply relatable level.
Overall, the album will deliver music with a message—one that uplifts, inspires, and encourages self-reflection.
As a former synth pop artist and international model, how has your past experience influenced your approach to electronic music production?
My past as a synth pop artist and international model has greatly influenced how I approach electronic music production. I’ve always been inclined to jot down my thoughts and experiences in journals, often finding inspiration for songwriting and poetry in them.
Even during my modeling days in Miami, I made time to work on music. Whether it was scribbling lyrics during breaks from model events or setting up a makeshift recording booth in a closet, I was determined to pursue my passion. I even had some fun recording sessions documented for a reality show and filmed the music video for Bad Karma in one of the model houses we lived in.
Being part of Fan Death, the synth pop band, was pivotal for me. It was my first taste of professional recording and production, teaching me the basics of what I would need to know to produce my own music. Collaborating with fellow models-turned-bandmates added to the excitement and creativity of the experience, shaping my journey in music production.
What drew you to the EDM genre, and how do you see your sound evolving within it?
What drew me to the EDM genre is its vastness and versatility. It offers ample room for experimentation and growth. Typically, I start by making an acapella song and then transform it into an EDM track. This approach allows me to explore various sonic landscapes within the EDM genre, constantly evolving and pushing the boundaries of my sound. With EDM, the possibilities are endless, and I’m excited to continue exploring and evolving within this dynamic genre.
Could you share some highlights or memorable experiences from performing at the Rifflandia Music Festival in 2023?
Performing at the Rifflandia Music Festival in 2023 was truly unforgettable. Playing alongside a live band was a highlight, and the reception from the audience was incredible. One review even described our performance as “a breath of fresh air,” which was incredibly rewarding to hear. It was also really cool to have fans approach us after the show, asking for photos. Overall, the entire experience was amazing and left a lasting impression on me.
You’ve formed creative partnerships with various individuals and labels. How have these collaborations shaped your artistic journey?
Collaborating with various individuals and labels has been an enriching experience that has greatly influenced my artistic journey. One notable collaboration was my role as the lead producer for the first all-women’s label, Powher Sound. I had the opportunity to produce for several talented artists. I’ve also worked on collaborations with a diverse range of artists throughout my career.
These partnerships have not only been enjoyable but also valuable learning experiences. They’ve provided me with new perspectives, techniques, and insights into different styles of music. However, as I continue to evolve as an artist, I’m now at a point where I feel compelled to focus more on my individual style and explore my identity as a solo artist. While collaborations have been instrumental in shaping my journey, I’m eager to delve deeper into my own creative expression and establish my unique musical voice.
In what ways do you hope your music resonates with listeners, especially in terms of offering healing and empowerment?
I aspire for my music to have a positive impact on listeners’ lives, whether by offering solace, empowerment, or simply brightening their day. By sharing my own vulnerabilities through my music, I aim to create a space where others feel comfortable to open up and share their own experiences. As Paul McCartney once said, “For you know that it’s a fool who plays it cool, by making his world a little colder.” I believe that by being authentic and vulnerable, we can foster connection and understanding.
I also have been really enjoying infusing healing frequencies into my music. Beyond serving as a stress reliever and spiritual experience, music has the potential to heal our physical ailments as well. It’s fascinating to explore how music can have tangible healing qualities, and I hope that my music can contribute to this process of healing and rejuvenation for listeners.
How do you balance vulnerability and strength in your songwriting and performance?
Balancing vulnerability and strength in my songwriting and performance is an ongoing journey for me. I find that I often lean more towards vulnerability, as I believe authenticity is key to creating meaningful connections with my audience. While it can be daunting to expose my innermost thoughts and emotions, I’ve come to realize that being true to myself is more important than trying to please everyone.
At the end of the day, if my music doesn’t resonate with someone, that’s okay. I’ve learned to accept that I can’t please everyone. I focus instead on connecting with those who appreciate and understand my artistic expression. It’s about staying true to myself and my vision, trusting that the right audience will find and appreciate my work.
Can you discuss any specific symbolism or imagery used in the “Heartstrings” music video, and how it ties into the overall message of the song and your artistic vision?
Running down the street in the video represents a sense of urgency or escape, reflecting the emotional turmoil conveyed in the lyrics. Having an ex as my co-star adds a layer of complexity, symbolizing past relationships and how not every ex ends because of toxicity or drama. The backdrop of Vancouver serves as both a setting and a symbol of personal history and growth.
The use of my name, KASIA, in lights and the camera angles zooming in and out around my face create a sense of prominence and scrutiny, highlighting the intensity of emotions portrayed in the song. Putting my name in lights is also a symbol of my refusal to be intimidated by others in the music industry. The serious expressions on my face and my direct gaze add raw emotion and vulnerability.
In the lyrics, the act of writing in my journal with my left hand symbolizes finding light in the darkness and embracing the unconventional path. The phrase “pulling on my heartstrings” signifies emotional manipulation and vulnerability, echoing the themes of pain and hurt explored in the song.
Overall, these symbolic elements and imagery enrich the storytelling in the music video, deepening the viewer’s understanding of the song’s themes and enhancing the overall artistic experience.
Social Links
Instagram: @KASIASMusic
Facebook: @KASIA.OFC
X: @KASIAMusic_
TikTok: @kasiamusic_
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Date: 3rd-6th July, 2024
Location: Lake Balaton, Zamárdi, Hungary
Adam Beyer, Amelie Lens, Stephan Bodzin (live), Reinier Zonneveld (live), Mathame, FJAAK, Mind Against, Maceo Plex, Miss Monique and hard dance techno stars Sara Landry, Trym and 999999999 all star while a very special Q-dance takeover will also feature at the beach festivalOne of the largest open-air lakeside events in Europe returns when Heineken Balaton Sound plays out from 3 – 6 July 2024 at its sublime setting by the gorgeous Lake Balaton in Zamárdi, Hungary.
Now it has unveiled a raft of superb new names including Amelie Lens, Adam Beyer, Maceo Plex, Stephan Bodzin live, Reinier Zonneveld live, Mathame, FJAAK, Mind Against, Vintage Culture, Miss Monique, hard dance techno stars Sara Landry, Trym and 999999999, plus a special Q-dance take over on the Main Stage. All this comes on top of a huge first wave that included the likes of James Hype, Purple Disco Machine, Paul Kalkbrenner, John Newman, Marshmello, Lost Frequencies and many more. 4-Day Passes are available for just €225 from https://balatonsound.com/
Heineken Balaton Sound is renowned for its stunning location right by Lake Balaton, a perfect holiday spot that allows you to relax and soak up the sun as well as dance the night away. It plays out across plenty of stages that all have their own look and feel and no other event in Europe does things on quite such a scale across the Main Stage with its vast LED wall; the house and techno oriented B my Lake stage and many more intimate stages that all come with high spec audio-visuals, lights and serious sound systems.
“With the newly announced performers, our goal is to offer a wide selection from the electronic music scene that is now clearly visible for the attendees of Heineken Balaton Sound,” started Anna Filutás, the festival’s project manager. As such, the festival will showcase both the mainstream elite of electronic music and the best of underground electronic music, significantly strengthening the lineup with increasingly popular hard techno and hardstyle artists with these newly announced names.
Secure your tickets now for Heineken Balaton Sound 2024.
Heineken Balaton Sound
Tickets: https://balatonsound.com/
ELECTRIC GARDENS MUSIC FESTIVAL ANNOUNCES SECOND PERTH SHOW!
Presented by: T1000 Events
Melbourne – March 30 / Sydney – March 31 / Perth – April 6 & 7
ELECTRIC ISLAND PERTH SATURDAY 6 APRIL 2024
2ND PERTH SHOW ANNOUNCED!
Due to overwhelming demand for our Electric Island Sunday show on Cottesloe Beach, we are excited to announce we will be doing a 2nd show on Saturday 6th April 2024 headed up by UK based house music heavyweight Sonny Fodera joined by Cristoph, Ferreck Dawn, Little Fritter, Sneaky Sound System and Yorp DJs.
The Electric Gardens franchise returns to the festival landscape with a one-stage, open-air experience. Priding itself on booking the very best in the electronic music scene, artists who break boundaries and DJs who read crowds, the next edition features a line-up that boasts some of the greatest house and progressive DJs & Producers of our time.
“There has been an overwhelming demand for tickets to the Sunday Electric Island show so we thought why not make a weekend out of it and do the Saturday as well with a completely fresh line up. As soon as I saw Adelaide house music sensation Sonny Fodera was keen to play, I knew this was a match made in heaven on Cottesloe Beach!” Damian Gellé – Promoter T1000 Events / Electric Island
Melbourne – Electric Beach
Easter Saturday | 30 March 2024
South Beach | St Kilda
(A-Z)
Armand Van Helden
Franky Wah
Late Nite Tuff Guy
Roger Sanchez
Sasha
The Oddness
Sydney – Electric Gardens Returns
Easter Sunday | 31 March 2024
Royal Randwick
(A-Z)
Armand Van Helden
Franky Wah
Kristen Knight
Roger Sanchez
Sasha
Perth – Electric Island – NEW SHOW ANNOUNCED
Saturday 6 April 2024
Cottesloe Beach
(A-Z)
Cristoph
Ferreck Dawn
Little Fritter
Sneaky Sound System
Yorp DJs
Perth – Electric Island
Sunday 7 April 2024
Cottesloe Beach
(A-Z)
Armand Van Helden
Franky Wah
Kristen Knight
Roger Sanchez
Sasha
In the heart of Zanzibar, where the turquoise waters meet the golden sands, an electrifying musical experience is set to unfold – Zanzibar Gathering, powered by Butik, Lighthouse and Why?Not. Nestled on the Southern end of the enchanting island from February 15 to 22, this electronic music adventure promises to be a sensory journey like no other, blending beats, underground culture, and natural beauty in perfect harmony.
The eclectic lineup headlines two of the hottest Berlin wonders: Ogazón and Sedef Adasi, whose versatile sets are sure to ignite the dance floor with their signature blend of acid, spacey techno and house. Joining them are the dynamic Doudou MD and the SlapFunk crew, who are ready to bring their unique infectious grooves of tribal-infused house to the shores of Zanzibar. And that’s just the tip of the iceberg – with more familiar faces from the Lighthouse and Butik festivals adding their magic to the lineup.
Zanzibar, with its pristine beaches and lush landscapes, sets the stage for a visual spectacle that complements the sound experience. As the sun dips below the horizon, the festival grounds come alive with a vibrant energy that goes beyond the ordinary, creating a magical atmosphere that will leave a mark on your memories forever.
This isn’t just a music festival; it’s a journey shared with an intimate group of music aficionados coming from all over the world. Don’t expect the usual festival locations, the whole experience will take place at different spots across the Southern coast of Zanzibar around the cities of Paje and Jambiani.
From wild times at the legendary Why?Not Club and its poolside area, to hangouts at the DarMar’s lush garden, to moonlit parties at the Masai Mara Villa standing on a cliff topping the ocean, culminating in a sandbank party and a catamaran musical cruise, be sure you won’t be short of breathtaking moments.
Don’t think you will get bored during the days off. If you’re not ready to relax after all the parties, set off for adventures to explore the Jozani forest, swim with dolphins or discover Zanzibar’s rich cultural heritage and biodiversity on a spice tour.
The Zanzibar Gathering is set to be an intimate paradise, where the rhythms of the ocean dance in perfect harmony with the beat of music. So, pack your dancing shoes and your sense of adventure, and prepare to reconnect with yourself, nature, and the music that moves you.
Dates: February 15th – 22nd, 2024
Location: Paje and Jambiani, Zanzibar
Your debut single ‘Now You’re Gone’ seems to encapsulate a sense of maturity in your sound. Can you walk us through the evolution of Slim Jimz’s music leading up to this release?
We were always influenced by bands like Ocean Alley from the beginning so at the start we were trying to write songs like that but over time our different influences have become pivotal in the evolution of our sound as we have begun to experiment with different music styles.
The song explores themes of closure after a relationship ends. What inspired you to delve into this emotional territory for ‘Now You’re Gone’?
At the time I was dealing with the closure of a relationship. It’s the feeling of wanting to say something to someone but knowing you can’t. It all started with the intro chords and the melody.
Could you elaborate on the creative process behind ‘Now You’re Gone’, particularly in terms of how you navigated through different musical genres and elements to create a cohesive piece?
This track took a long time to shape because there was so many different genres and elements and I think it all comes down to the fact we were all individually were listening to a lot of different genres of music.
Working with Jack Nigro and Darren Ziesing on mixing and mastering, how did their contributions shape the final version of ‘Now You’re Gone’?
Jack Nigro is the main reason Now You’re Gone was turned from an idea into a song. We couldnt seem to figure out the structure of it ourselves, it wasnt till we were in the studio with him that the structure became solid. Darren Ziesing always does a solid job of mastering, the best in the biz.
Sonically, ‘Now You’re Gone’ combines elements of funk, indie-rock, and punk vocals. How do each of your individual musical tastes contribute to the overall sound of Slim Jimz?
We’re a band that loves to jam out ideas in a room so I think when we’re jamming a lot of our influences come out to play. This is defs one of those songs we jammed for a while to try and figure out. I think the fact that we have different individual tastes in music means you can’t put us in any box.
‘Now You’re Gone’ has been described as a song that builds slowly to a powerful second half. Can you discuss the intentional structuring of the song and how it enhances the emotional impact?
As the song progresses, each section builds on the previous section adding intensity with new layers, funky guitar leads, overdrive on the bass, more in your face vocals and drums. The end of relationships are often highly emotional, sometimes chaotic and messy, even when things ‘end well’ and there’s no bad blood between the two parties. The words ‘feel the impact’ at the end, combined with the more aggressive guitar strumming is a reminder to equally embrace the highs and lows of life and hopefully both people can come out from this sad situation stronger.
Your previous track ‘Enjoy The View’ received significant attention from various radio stations. How do you think ‘Now You’re Gone’ builds upon the momentum of your previous releases?
I think Enjoy The View was great rock tune with feel good energy. I think Now You’re Gone will be received differently as we were showcasing a different side to our songwriting. Our individual influences in this one demonstrate that we have a lot of variety in what we like to write as a band.
Throughout your career, you’ve had the opportunity to support several notable indie rock bands. How have these experiences influenced your approach to music-making and performing?
We have been honored to share a stage with bands like South Summit and The Vanns in the past because we are big fans of their music which makes it an amazing experience. We learn a lot and get inspired from watching these artists and local bands. Music is about community and theres so much gold out there if you look for it.
With ‘Now You’re Gone’ marking the beginning of an extended rollout of material, what can fans expect from Slim Jimz in 2024 in terms of sound and thematic exploration?
Sonically there is a lot of variety in all the songs we have recorded for our upcoming EP release. Some of the songs are about relationships and others are about realizing what you really want out of life.
The Australian music community has shown immense support for Slim Jimz. How does this support fuel your creative process and aspirations for the future?
We love doing this because we know there are people out there that are into our music. We write music because we love doing it but the fact that there are people want to hear more is a great inspiration to want to write as much as we can.
Comparisons have been drawn between Slim Jimz and bands like Ocean Alley. How do you navigate these comparisons while maintaining your unique identity as a band?
I’m not surprised at all as a few of us in the band were big OA fans in our early 20s. Still are today. Big compared to OA is a good thing I think but after this latest release I think we’ve showed that we cant just be put in a box and we’re not just a band that plays music in one certain genre.
Looking ahead, what are your goals and aspirations for Slim Jimz both musically and in terms of reaching new audiences?
We want to keep writing songs that get stuck in peoples brains and we want to keep exploring different styles of writing music. We would love to start doing more and more shows outside of Sydney and build our fanbase in different cities.
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TICKETS
Marlon is taking to the stage to launch his latest track, ‘Blood in the Water’ on the 17th of February.
Written in protest to many of the injustices that indigenous Australians feel in modern society, and how many who live in privileged positions tend to ignore and avoid these issues.
“‘Blood in the Water’ is a record written in reflection of the reality in the Australian society when it comes to the mistreatment of Aboriginal and Torres Strait Islander peoples. It represents the mentality that we as a country hold, knowing of the injustices that takes place towards people of colour, yet many of us are content to live on in our day to day lives as if these injustices are non-existent.”
MARLON MOTLOP
Marlon has had an incredible career thus far, spanning across multiple industries. Initially a professional AFL player for Port Adelaide between 2008-2011, Marlon moved onto a music career during his final year in 2011. Since then he has supported the likes of Midnight Oil, A.B.Original, Pete Murray and Xavier Rudd. He has been impressing crowds across the country, playing at WOMADelaide, Bass In The Grass, Party In The Paddock, Dark Mofo, Spin Off Festival and more throughout his career.
Marlon brings an intimacy filled with charisma and thought provoking lyrics. Marlon’s music has always been an important part of his life, a place he can reflect on his own experiences as well as those that play out around him. Born and bred in Darwin, Northern Territory, Marlon is of Aboriginal Larrakia, and Thursday Island heritage.
Can you tell us about the inspiration behind your new single “Pray” and how it differs from your previous releases?
Pray was always intended to be a fresh take for listeners of Bad Party and something to turn the heads of anyone who has never heard us before. Instrumentally, we went faster and heavier with more bells and whistles than our previous tracks, and vocally we wanted to be strong, aggressive and showcase Dale as our new vocalist with his performance and lyrical content that steered away from our usual subject matter.
How did the collaboration with Dale Dudeson of Revoid come about for this single, and how has his addition influenced the band’s dynamic?
Dale was referred to us by our friend Monica from The Last Martyr, after we mentioned we were in need of a new vocalist after Henry had left. Having Revoid’s catalogue to listen through we knew that he would play the part we were looking for in our evolution as a band. Dale’s vocal ability has allowed for us to extend further than we could in the past, for this release and what we have planned in the future.
The music video for “Pray” has a dark and provocative atmosphere. What was the concept behind it, and how does it complement the themes of the song?
I’ll go into a little more detail on the lyrics later on, but we presented the song to Colin Jeffs from Ten of Swords Media with an idea of how we wanted the video to look based on the concept of the song. We’ve always wanted to work with Colin, but waited for the right song that we knew would match the quality of his output. The video itself really just brings the track to life, setting the dark and euphoric club-scene, playing out the inner-monologue of Dale’s disturbed and insolent character, while allowing the band to tear-up the scene with maximum energy. Ultimately the video visually represents the songs controversial content perfectly, while simultaneously allowing the band and all our friends who were involved to bring as much energy to the room as we could.
What was your experience like working with Callan Orr at Avalanche Studios on the production, mixing, and mastering of “Pray”?
We’ve been fans of Callan’s work for a while now and so we wanted to take the leap getting him on this release. We actually flew him up to Brisbane and worked together in Dale’s living-room, setting up a pseudo-studio for the week. Watching Callan work was pretty inspiring from a workflow perspective, his super fast-paced style kept us moving on all cylinders but worked perfectly for us. We (mainly I) have a tendency to be pretty specific with what the end result of a song should look like, and Callan worked with us to get there until the end – we’re stoked on how the song turned out and will be working with him again.
In “Pray,” you explore the power of human connection. Can you delve deeper into the message behind the lyrics and what you hope listeners take away from the song?
The title ‘Pray’ is a bit of a play on words, as it is a homophone of ‘Prey’. The song’s lyrical content paints a picture of what might go on inside the mind of an incel-type individual, which unfortunately is all too common in the music scene, let alone the nightlife in general in Australia or anywhere else in the world. The fictional character’s perspective in ‘Pray’ is so catastrophically narcissistic that in the setting of a nightclub or party, they think that their obsessive and objectifying nature is what will attract another person – then turn to resentment and anger as that object of obsession rejects or ignores them. It’s sad that I, and the other band members, have met a lot of people who are so out of touch like this, but are also oblivious to why their pattern of thought is wrong, and in this case entirely misogynistic as they prey on women and expect them to find their intimidation or sense of dominance, attractive. TLDR; we’re calling out these people, we’re making you aware of them, and we will always stand against them.
“Pray” touches on the theme of unrequited infatuation. How did you balance the seductive tone of the song with addressing the more serious issue it presents?
I guess from the perspective of someone who truly does not understand that what they’re doing is inherently wrong, whether that be due to a chemical imbalance or from the way they’ve been raised and influenced etc. the obsession of a person or ‘object’ is sexualised and kind of taboo in a way that turns them on. Glorifying that behaviour would be making the song more sensual and attractive, but instead we went for an aggressive and relentless barrage of sections that create a sense of chaos. It’s not okay to be thinking, feeling, and acting on these desires; doing so should at the very least raise an internal conflict within that type of person and prompt the questioning of their motives. If the song provokes the thought “yeah but who is really out at the club thinking like that”, the reality is that in this day and age it’s all too common and people, especially women, shouldn’t have to come face-to-face with these people and call them out. It’s our job as a community to protect each other.
Your previous EP, ‘Beyond Repair,’ received significant attention. How does “Pray” represent the band’s growth since then, both musically and thematically?
When Beyond Repair was written we were still finding ourselves as a band and exploring the music we wanted to create. There has been chatter amongst the group that it might not be there for much longer as we’ve grown and don’t believe that it’s the best representation of where we’re headed, particularly now that we’ve made significant lineup changes that have opened us up to further growth and development beyond what we thought was our best work at the time. Listening to that EP compared to Pray, it’s a stark difference in quality of songwriting and mix. We’re very focused on quality and refinement as we move forward, so for now our catalogue tells a story of growth.
“Want It” was a successful single for Bad Party. How do you feel “Pray” compares, and what new elements do you bring to the table with this release?
‘Want It’ was our transition from the EP era to now, in the way that it was allllmost what we were aiming for but we had a few setbacks during its’ conception and release. Our previous vocalist Henry was considering leaving the band around that time and there was a lot of uncertainty surrounding our next moves. The fact it was our most successful release to date was definitely a key motivator for us to just keep pushing on. Henry played a big part in the songwriting of our music until his departure, so continuing meant I really had to step up my game to fill the space he left, and encouraged us to be more collaborative as a group. We poured all we had into ‘Pray’ to make sure we would return to the scene stronger than before, and combined with Dale’s diversity and strength as a vocalist, we’ve come out super proud of this track, and that makes all the difference to us.
What role do you think Bad Party plays in the Australian alternative community, and how do you aim to further solidify your presence with “Pray” and future releases?
We’ve always wanted Bad Party’s presence to be edgy, dark but at the same time casual and able to have fun if that makes sense? There are plenty of people out there that listen to music which doesn’t necessarily match their energy or personality as a person, they listen to it because they enjoy it. While we can write heavy, sad, angry, and everything in between, we’re also just friends that have big aspirations in the scene and are keen to meet a tonne of new friends along the way. We want our music to be unique, but true to us, and we want the people we meet to know we’re all out here trying to do the same thing, have fun and hit new highs – so lets all enjoy the journey. We hope that Pray shows the Australian alt community that we’re serious about our music, and they should be as excited as we are for what comes next.
Can you share any insights into the creative process behind “Pray”? How do you typically approach writing and composing new music as a band?
The songwriting process starts instrumentally with me at home just putting together riffs, tones and sounds that I like altogether, without too much consideration for the ‘rules’ of songwriting. My foundations are as a drummer who picked up guitar when I wanted to be able to write full songs, so I tend to come at writing with a rhythm first, and fill in the notes as I go. Pray actually started as a chorus and all the other sections were built around it, but vocals always tend to come last in the ‘production’ phase, so that the music can further be built around them.
I used to be very in to my EDM and so have always loved the power and grit that comes with the heavy drops, sub bass, and pulsing kicks – I want to integrate those influences in to metalcore but continue to push the boundaries a little and make something that anyone can enjoy regardless of musical preferences. Bad Party doesn’t intend on sticking to one ‘vibe’ either; the music we’ve been writing for future releases are looking to be quite a spread, but building on the ‘Bad Party’ brand rather than fitting into a sub-category of metal.
What can fans expect from Bad Party in terms of future releases and upcoming projects following the launch of “Pray”?
Following Pray we plan on a few more single releases this year, building the ‘scope’ of our sound and what to expect from us as we’ve rebranded. We have a bunch of new material to play at shows to further build that new atmosphere, while still keeping our biggest hits from the past.
As a band with diverse influences, how do you navigate blending different genres in your music, and are there any particular genres or artists that have had a significant impact on your sound for “Pray”?
The four of us have a pretty unique spread of music that we like and listen to, but when the framework of a song is finished I’ll put it to the boys for their thoughts and influences. Based on what they like and don’t like about a first draft, that then sets the direction for the rest of the process, but we don’t tend to reference other bands or songs specifically. There is definitely music that I’ll listen to which births the idea for something else, but those initial ideas generally end up in the bin or sound too similar to something else, and naturally parts get recycled into something more unique over time. If we had to honourably mention 1 influential artist each, I’d say: Periphery, Bring Me the Horizon, Whitechapel, and Mick Gordon.
Photography: Nate Hill
Photography: Aiden Joseph
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Klangkuenstler, Mall Grab, AZYR, Charlie Sparks, MRD, SNTS, Funk Assault. Horsegiirl, Dyen, KI/KI, Adiel, Hannah Laing, Kobosil, Kettama and many more
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Terminal V just won DJ Mag’s best British Festival award for 2023 off the back of years of insiders leading events at home in Edinburgh, Scotland. Each one brings 40,000 people and hundreds of DJs together for one of the UK’s most electrifying experiences. Now all that is coming to Croatia and will offer the sort of innovative techno never before seen in the region.
Tisno’s blissful Garden Resort is a natural sweeping bay with beautiful beaches, lush green pine forests and stunning views out over the glistening Adriatic sea. For 5 days and nights it will become a secluded and private adult playground with plenty on offer, from dancing under the sun or stars to adrenaline pumping water sports, unmissable boat parties and late night afterparties. It is also a place to soothe the soul and enjoy relaxing hours spent soaking up the vibes and a fine array of local food and culture.