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Music Interviews

Phoenix Rein Debut Single "Spinning Around" Out June 28th
Music InterviewsMusic News

Spinning Around: Phoenix Rein’s Journey of Love and Music

by the partae
written by the partae

Congratulations on your debut single “Spinning Around,” set to release on June 28th! How are you feeling as the release date approaches?

I feel like it’s a dream and sometimes I have to pinch myself, I feel both nervous, and excited along with a bunch of other feelings….

Can you tell us about the inspiration behind “Spinning Around” and what the song means to you personally?

The Inspiration is Love. Love of music. The love of being in love. The love of whatever makes us happy. For me, Spinning Around is a new beginning, freedom, laughter, joy, happiness, following our dreams and making them happen. 

Spinning Around started out as a beautiful concept about falling in love and falling in love with the music because music is the drum of romance.

What was the creative process like for “Spinning Around”? How did you come up with the lyrics and melody?

Well there was sort of a humming thing that happened in the studio, then The MD J Laws started playing around on the keys and I was like, “yeah that one”. The sounds on the keyboard reminded me of a time with my boo.

 The team Dank and Cybin felt the energy, then it started growing from there. It blossomed as a song about my love for DJ’s and falling in love while the music was playing and poof we had it. We re worked it a couple of times then we kind of nailed it. 

“Spinning Around” is a vibrant fusion of Disco Pop. What drew you to this genre for your debut single?

We felt the love of modern music in terms of popular music, is the new disco. So, I asked for some elements of disco because I really love the Bee Gees and Cher; big fan of both so I really wanted to fuse the two

How did your collaboration with the renowned producers Dank and Cybin come about, and what was it like working with them on this track?

Well it started off when I was introduced by a friend of ours and it was like Magic the Synergy was out of this world. 

When I met DJ Cybin, we immediately hit it off. I played him some music and he said “hey, you have a unique tone I’ve been searching for a tone like that for years” and he said he would get back to me. 

I honestly didn’t hear much back until 2 months later. Then we started working, and the whole crew has been amazing! 

It’s a vibe shout out to Dj Dank aka Riley for always pushing me as a singer.

You have a rich background in jazz, blues, and soul. How did these influences shape the sound and vibe of “Spinning Around”?

I really do. I honestly would listen to James Brown, Rick James and Nina Simone religiously and just go nuts and really have an amazing time hitting each of there wild and obscure cadences and belts. 

They all shaped this record for sure. Rest in peace to those greats. I’m eternally grateful . 

Can you describe the emotion and energy you aimed to capture in “Spinning Around”? How do you want listeners to feel when they hear it?

Well there really is two meanings to the song, with one emotion in common; love. I really wanted the listeners to re-fall in love with music and remember that falling in love with a person is similar to falling in love with a song.

 “Spinning Around” brings that enchanting feeling that really connects your ears and your heart. It’s similar to your lovers voice, you hear it and it touches your heart.

Growing up in Jamaica in a family of musicians, how has your upbringing influenced your music and your approach to creating “Spinning Around”? 

Spinning around really took me back to my roots of heavy bass and really hard hitting drums, it made me remember being in studio with Sly and Robbie. 

And then the beat brought me further back, I remembered, when I was a little kid, my Mom and my Aunt were always singing in the house. Even my Grandmother; I would wake up to the sounds of her singing. They would have the radio playing all the time and music of all genres would be booming from the living room. When I was hyper and running around dancing and singing, my momma always use to say I’m spinning like a top.

So when the words Spinning around hit me, and the melody exploded, we were saying yes this is it.

You’ve received numerous accolades for your performances and songwriting. How do these achievements impact your confidence and expectations for your debut single?

In my past, despite my achievements and performances, I was on a restricted path. Back then, I think no other producers were able to pull out my true talent and work with me like J and Riley. So, I was in a sense, still a blank canvas. Working with Dank & Cybin in studio really pulled out my studio performance and turned it up times 10.  

Also, this time I really got a chance to work with the true business side of things. I’m being taught the business from the inside out. Back then, I was lacking the experience, this time I’ve unleashed my true inner beast.

Really it’s nice to receive your flowers when you’re here, it lets you feel special and sort of gives you that confidence boost that reminds you of your special talents. I really write my heart out, now there’s the difference so I know that this single will touch the hearts and ears of many listeners for decades to come, and I can’t wait to perform it live for fans.

How does the experience of recording and releasing “Spinning Around” compare to performing live at prestigious events and festivals?

There’s this feeling that comes over me when I hear “Spinning Around” and when I was recording it, that’s the same feeling that bubbled out on the record. It’s Euphoric and contagious, it makes me smile every time. That’s the same as the experience of performing at live events; I want the audience to feel good, to have fun and to tap into the euphoria. 

With “Spinning Around” being your debut single, what message or impression do you hope to leave on new listeners and your existing fan base?

I hope for my fans and listeners to really take the song with them where ever they go and just have a good time. I want it to be the kind of happy song you hear and just allow it to set the mood for your day. I want the song to remind you of how sweet the love of music is and bring the listener back to a moment of remembering a time they fell in love with either a song or person and for some people even a pet or item.

What can fans expect from you next? Do you have any upcoming projects or releases planned following “Spinning Around”?

Yes!!! absolutely. Fans can expect to hear the sequel to spinning around called “Married by the Rhythm”

I will be releasing new music every month so fans and listeners can expect a new joint to drop often. My hope is that as I grow as an artist, my fans and listeners grow along with me. I also hope that they have good personal growth and prosperity within there lives.

 

Instagram: 

https://www.instagram.com/phoenixreinn

YouTube:

https://youtube.com/@phoenixreinn

TikTok:
https://www.tiktok.com/@phoenix.rein

Facebook:

https://facebook.com/100093598561639

 

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Mark Howard on the Inspirations Behind 'The Light Behind Us'
Music InterviewsMusic News

Mark Howard on the Inspirations Behind ‘The Light Behind Us’

by the partae
written by the partae

Mark, your new single “The Light Behind Us” is set to release soon. Can you tell us about the inspiration behind this track and the story it tells?

The song is about making the desire to create radical change in your life.

You described a bird tapping at your window as the catalyst for writing “The Light Behind Us.” How did that moment influence the lyrics and overall feel of the song?

The image of the bird seemed so innocent as does the twinkling star I also reference in the song. I wanted those images juxtaposed with the thought of being blinded by the sun and a mushroom cloud to convey a loss of innocence.

“The Light Behind Us” is about the desire for radical change and escaping life’s complexities. How do these themes resonate with your personal experiences?

We all experience grief and sorrow in our lives, and I hope people can see these challenges as opportunities to make meaningful change in their lives or to create something beautiful out of despair.

The track blends coastal rock with authentic storytelling. How do you approach combining these elements in your music?

People like to put things in boxes and label them. It’s all expression and music to me, but you’re welcome to slap a genre on it if it helps.

Your upcoming album, ‘Deep Dark Blue,’ features “The Light Behind Us.” How does this single fit into the broader narrative of the album?

Staring into the Deep Dark Blue can be terrifying, but more often than not something beautiful emerges from the depths and not the gaping maw of some monster. Face your fears and embrace change. The Light Behind Us explores this idea as do many of the other songs on the album.

You’ve compared your sound in this track to artists like The Cure and PJ Harvey. How do these influences shape your music, particularly in “The Light Behind Us”?

You become so emotionally attached to your songs sometimes it’s difficult to know exactly what they’ve been influenced by or sound like, so I get other people to tell me.

Working with Dave Prideaux and Andy Stewart, how did their contributions impact the final sound of “The Light Behind Us”?

Dave Prideaux was particularly influential. He helped me workshop the song, experiment with different keys and tempos, and discover new sounds that we felt enhanced the song.

You’ve performed in 45 countries and shared many stories through your music. How do your global experiences influence the themes and sounds in “The Light Behind Us”?

I’m not sure exactly, but it all gets filtered through experience.

Your last single, “Scarlette,” saw great success. How do you think “The Light Behind Us” will build on or differ from that track?

Scarlette helped build my audience and I hope the new single will reinforce their faith in my music.

The chorus of “The Light Behind Us” is described as anthemic. What was your creative process in crafting such a powerful and engaging chorus?

It took hard work and a fearless approach until something felt right.

https://www.instagram.com/markhowardmusic/

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Electrifying Inspiration Behind Vermantics New Single Unveiled
Music InterviewsMusic News

Electrifying Inspiration Behind Vermantics New Single Unveiled

by the partae
written by the partae

Can you tell us about the inspiration behind your new single ‘Don’t Think Twice’? What themes or personal experiences influenced its creation?

Jack: I guess ‘Don’t Think Twice’ is about the rush you get when something is new and exciting, and you’re so caught up in it you don’t care about whether it’s actually good for you. The music came first and it just felt like that kind of story fit the song. I don’t think it’s about any one situation but I’m sure everyone has been there before.

Your collaboration with producers Tom Leach and Phil Threlfall brings a lot of industry expertise to your track. How did these collaborations come about, and what was it like working with them?

Stefan: Both of these collaborations came through the power of the internet. We met Phil five years ago when we were based in Melbourne and worked closely with him in tracking the parts for ‘Don’t Think Twice’. It’s always an exciting process!

We’ve recently met Tom in London, he has added a really exciting edge and spark to our music. It’s been great exploring the next chapter of the band with Tom!

Julian, you mentioned that ‘Don’t Think Twice’ leans into the big energy you have when playing live. How did you capture that live energy in the recording process?

Julian: All of us have grown up watching huge acts on big stages and festivals around Australia and I think we’ve all fallen in love with the energy that a live show brings. That’s become a big part of our performances – and more recently is something we’ve tried to add into our recording and writing process. So with ‘Don’t Think Twice’ you’re hearing those caveman drums and fat guitars!

The song delves into the complexities of pleasure and pain, passion and obsession. How did you approach these intense emotions in your songwriting and performance?

Stef: Like we were saying before, the music tends to come first when we write, so when it comes to writing the lyrics we’ll sit around and talk about the emotion or the vibe the song gives off and get ideas from that.

Jack: The music had this reckless intensity so it seemed right that the words would lean into that.

Stefan and Daniel, as brothers in the band, how does your sibling relationship influence your music and dynamic within Vermantics?

Dan: We’ve been playing together ever since we were little kids. It’s so natural to be in the same project together. It feels like we’re always bouncing off of each others ideas and influencing one another to come up with cool ideas for the project. We also grew up listening to the same music, so we feel our musical background helps contribute to the Vermantics sound.

Jack, your guitar work is a key part of Vermantics’ sound. Can you walk us through your approach to creating the riffs and solos for ‘Don’t Think Twice’?

Jack: The riff that kicks off the song was actually a thing Stef came up with. He was sitting at the drums and started humming this two note rhythmic thing and playing along. It had a great energy and was so simple, so as we were writing the rest of the song there was a conscious effort to keep the guitar parts as simple as possible. I think it gives the song a really cool hypnotic, rolling out of control feel.

You’ve recently opened for iconic Australian bands like The Superjesus and British India. How have these experiences shaped your growth and performance as a band?

Julian: Playing alongside bands with 20+ years performing together is always a good learning experience, seeing how they engage with the audience and each other on stage is something we take note of. There’s sometimes some handy advice about the industry, and we get to hear some pretty sick Rock N’ Roll stories!

With plans to make moves in the UK and European music scene later this year, what are you most excited about regarding this international expansion?

Stef: We’re super excited to branch out to the other side of the world and share our music with lots of new people. It’s been a big goal of ours since we started the band!

Dan: There’s so much music history in the UK and Europe, we’re really keen to tap into that.

Jack: I’m just excited for the fish and chips…

Your music has been described as having expansive melodies and a high-energy presence. How do you balance these elements to create your signature sound?

Dan: We don’t really think about it that much when we’re writing, but usually the songs we like the most or think are the strongest have the best balance between melodic and high energy.

Julian: I think the high energy part comes naturally to us because of the music we all listened to growing up. Stef and Dan came up in the pop punk scene and we all grew up listening to drummers like Bonzo (Led Zeppelin) and Dave Grohl so the rhythmic side of the songs is always gonna be big!

How has Vermantics evolved since your formation in 2021, both musically and as a group?

Jack: Our journey as writers has probably been about finding that balance between light and shade. The perfect mix of heavy and soft, loud and quiet, sad and hopeful. To me that’s become a signature part of our sound. There’s always a twist in there, a moment where you see the other side. As a group we’re very close, we know each other’s strengths and I think you get to see a part of each of our personalities come through in the music.

What challenges have you faced while producing and promoting your music during the pandemic, and how have you overcome them?

Stef: We started during the pandemic so it was frustrating for us as a new band, just like it was for everyone else.

Jack: The silver lining was that it gave us time to write and craft our sound and our image. There was a lot of stop/start going in and out of lockdowns but it definitely gave us time to assess what we were and what we wanted to be. Maybe without that downtime we wouldn’t have developed into the band we are now.

Looking forward, what can fans expect from Vermantics in the coming months, beyond the release of ‘Don’t Think Twice’? Are there any upcoming projects or tours you’re particularly excited about?

Stef: We’ve got so much music that we want to share with everyone and the plan is to release new material regularly for the rest of the year. We’re always excited to play live too, so keep an eye out for some shows in the back half of the year!

https://vermantics.com

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Music InterviewsMusic News

Yves Larock on Inspiration, Evolution, and ‘Another Day’

by the partae
written by the partae

Yves, your new single “Another Day” has just been released. Can you tell us about the inspiration behind this track and how it came to be?

As usual, I sit behind my piano and look for a chord progression. Then I search for a vocal melody. With this vocal melody, the words ‘another day for love’ immediately came to mind. Since English is not my native language, I have been getting help with the lyrics from a friend for years. Then I was looking for a singer, and I fell in love with Maryne’s voice. She recorded the vocals for the track… and it was a wrap

You mentioned that you composed “Another Day” four years ago but only recently found the perfect sound. What was the journey like to find that perfect sound?

Even with experience, I can’t always tell if a song is good, but I can now tell when it’s not great. For this track, I had an amazing vocal and a beautiful chord progression, but I couldn’t find the right version. I must have made 20 different versions… slower, faster, different styles, but I was never satisfied. So, I let it rest for a long time. Six months ago, I revisited it, and finally, I found what it was missing… it all comes down to tiny details

“Another Day” captures the essence of summer and love. How did you go about incorporating these themes into the track?

Honestly, I don’t really think when I’m composing a song. I never know where it will take me; I just go with the flow. This time, it led me to a summery, energetic sound that ultimately fits the music. Maybe that’s why I didn’t release it earlier; I didn’t have that summer vibe

Reflecting on your massive hit “Rise Up,” how do you feel your music and style have evolved since then, particularly in “Another Day »?

I hope so, because as Einstein said, “Life is like riding a bicycle. To keep your balance, you must keep moving.” The same goes for music. That’s why I question myself every day, learn something new daily, and work with other people. The young producers I work with push me to surpass myself, and that’s amazing.

Your tracks, including “Another Day,” often feature rhythmic piano and infectious vocals. What draws you to these elements in your compositions?

As I mentioned, I always start my compositions on the piano, but often it’s just a starting point, and then I arrange them differently. However, this time, I felt the piano was fitting and needed a vocal over it. I also compose tracks for clubs without vocals, but this one felt a bit more commercial to me.

“Rise Up” topped charts worldwide and became a defining moment in your career. How do you feel about the legacy of that track and its impact on your career?

I owe everything to this song. It propelled me to the forefront of the scene. Without it, I don’t think I could have made a living from music for the past 15 years. I’m still amazed that people keep requesting it, so I always have to play it in my sets.

You’ve taken a brief hiatus from the spotlight before returning with “Another Day.” What have you been working on during this time, and how has it influenced your new music?

After “Rise Up,” I toured extensively around the world. But first and foremost, I’m a composer, so I wanted to slow down and return to the studio. I worked on many different projects, not at all related to dance music (rock, pop, etc.). Now, I am full of energy and inspiration for dance music again. Additionally, I had a daughter and wanted to see her grow up.

Your new single is set to be the soundtrack of the summer. What do you think makes a song the perfect summer anthem?

Music needs to be joyful and sexy, and the lyrics should be easy to remember. However, music isn’t an exact science, so I never know if people will like it. I haven’t yet found the secret formula

You have a strong global following. How do you think your international success with “Rise Up” has influenced your approach to creating “Another Day »?

I created “Rise Up” by following my instincts, just to have fun. After such success, I tried to recreate the same “recipe,” but I never succeeded. In recent years, I stopped overthinking and just made music based on my feelings, without any expectations, just for my own enjoyment. I believe that’s the best approach

With the current trends in house music, how do you ensure your music stays fresh and relevant, as seen with “Another Day »?

I listen to new releases every week, and it inspires me a lot. It’s important to stay up-to-date. In recent years, house music has made a comeback, bringing back the groove, which is where I come from. There was a long period of EDM, which I liked, but I couldn’t produce it well.

You’ve released music on your own label, Millia Records. How does having your own label influence your creative process, especially with tracks like “Another Day »?

It allows me to be more free, to make music that I feel without any stress, and also to release tracks from young artists that I like. However, I still sign songs on labels. I have several that will be coming out soon.

What can your fans expect from you in the near future? Are there any upcoming projects or collaborations following “Another Day” that you’re excited about?

So, I always have a lot of projects in mind. I’ll continue releasing plenty of dance tracks while also working on other musical projects. Most importantly, I’ve found the desire and energy to hit the road again.

 

 

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Interview: Slinkee Minx on Reviving 'This Is Your Night'
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Interview: Slinkee Minx on Reviving ‘This Is Your Night’

by the partae
written by the partae

Why did you choose ‘This Is Your Night’ for your first major release of 2024?
It has always been a favourite of ours and is a classic 90s club anthem for a reason! It’s a dancefloor filler, has a strong hook and a great energy and vibe. We knew we could bring something special to it and are excited to introduce this song to a new generation of listeners. 

What inspired you to give ‘This Is Your Night’ a modern spin?
We’d been listening to a lot of dance and electronic music from some of the bigger international artists and liked how these producers were taking a classic track and flipping it on its head with new melodies and arrangements to create something edgy and modern for today’s audience.  With that in mind, we felt ‘This Is Your Night’ would be the perfect track for us to rework, as it lends itself to that big room vocal which we love, as well as inspiring some new melody lines and vocal parts.

When planning a re-do of a classic, how do you decide which song to tackle next? Can you walk us through the process of selecting a classic song and transforming it into something fresh for today’s audience?
From the outset, you need a clear direction of where you’d like to take the track. We personally also need some sort of connection to the song we have selected, whether it’s the melody or lyrics or both. The beauty of music is that a song can be reimagined in various styles and genres and this is the exciting part for us and where the magic happens – taking the original melody in new directions, playing with tempo, adding new harmonies and vocal arrangements etc to make it your own. 

How did you approach putting your own spin on the vocals for ‘This Is Your Night’?
When we listened over and over to the track, we could easily hear little chants, new harmonies, ways of delivering the vocals that came naturally to us – that added a different flavour, or that suited the vibe of the musical direction our producer James Ash was starting to take. Often the vocals inspire music but the music also inspires the vocal direction and this was a work in progress along the way which was so fun!

What are some vocal techniques or styles you incorporated to make the song distinctly Slinkee Minx?
People who know our sound will often hear very uplifting, powerful vocals – extra lyrical parts, chants and hooks that aren’t always words but are notes held or sounds we create using the voice, adding a really subtle effect. It can be very understated sometimes or obvious depending on the track! From a production point of view, we also enjoyed incorporating the use of vocoders to give the song that modern vibe.

What’s the studio process like for Slinkee Minx? Can you give us a behind-the-scenes look at what happens during a recording session?
Ha, how long have you got? Studio sessions for us are so much fun and where we get to be the most creative. There’ll not only be writing, recording, sitting around playing with sounds, beats and musical parts, but there could be dance offs, a LOT of laughter, cups of tea, glasses of champagne, filming, photos and more laughter. We love the studio process more than life itself!

How long does it usually take to get the vocals just right for a song like ‘This Is Your Night’?
Sometimes vocals come together so easily – the tone and the pitch just lands perfectly – the delivery comes as it should to suit the vibe of the music. Other times, we can get stuck on how we deliver a line because we are perfectionists and we listen back and think it isn’t quite right. ‘This Is Your Night’ came together pretty quickly because it suited us so much – so probably only 4-6 hours all up!

Were there any particular challenges you faced while reworking this song, and how did you overcome them?
There are a lot of words in the song so it was finding the balance of ensuring we could get everything sitting nicely in harmony with the beat. It meant we decided to drop a few lyrics here and there that we felt didn’t need to be included in order to really hit the mark of this track!

Given your history of creating dance hits, do you have plans for any remixes of ‘This Is Your Night’?
We sure do! There is one coming out soon by the talented Australian production duo Double Dipped who have created an amazing club mix for us. There may be one or two more – we get asked a lot about mixes (people approach us to remix our tracks) so you’ll have to watch this space!

How was it collaborating with James Ash from Rogue Traders on this project? What did he bring to the table?
James is incredible – his attention to detail, to take on our feedback and direction, to be on top of current sound trends and what is happening globally, is honestly extraordinary. He is amazing and we are so lucky to work with this world-class music producer, songwriter and performer. We consider him one of our best colleagues and friends!

What do you hope new and longtime fans will take away from your rendition of ‘This Is Your Night’?

We hope it’s a song they’ll have on repeat – that makes them happy and connects, and that they cannot help but find themselves singing along to… an earworm, if you will. We loved creating this track and we hope you all love it too. Thank you to everyone who supports us!

PLAY/LISTEN

Website: https://www.slinkeeminx.com/

Facebook: https://www.facebook.com/slinkeeminx

Instagram: https://www.instagram.com/slinkeeminx

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Interview with Curly Hendo: Journey, Challenges, and Wisdom
Music InterviewsMusic News

Interview with Curly Hendo: Journey, Challenges, and Wisdom

by the partae
written by the partae

An introduction to being an independent musician, how you got started, and how you ended up where you are?

From the age of four, I was immersed in the world of competitive dance, training in ballet, hip-hop, jazz, and tap. This early exposure to the performing arts instilled in me not only confidence but also a profound understanding of what it takes to captivate an audience—skills that helped set the stage for my music career and have become invaluable in business ventures.

My entrepreneurial journey in music began at the young age of eight when I first picked up an electric bass. This early passion led me to pursue the highest international qualifications in bass guitar while still attending school, complemented by formal studies in business. At just 18 years old, I established my own entertainment company, aiming to showcase exceptional musicians and deliver top-tier performances coupled with stellar customer service. My enterprise flourished, expanding to include a roster of over 30 musicians. We have performed at numerous leading venues and events, including corporate functions and cruises across the South Pacific.

Simultaneously, I continued to advance my career as a session bassist, performing alongside acclaimed artists across Australia, Asia, and the UK. This international exposure not only helped my performance skills but also enriched my business acumen, making every stage and interaction a part of my continuous learning journey.

What has been one major challenge you have overcome, provide a real example of this?

At the age of 19, I faced one of my most significant challenges when I moved to Boston to attend Berklee College of Music on a scholarship. This marked my first time living abroad alone, a stark departure from my home in Sydney, Australia. Simultaneously, my entertainment business was expanding, requiring me to manage rigorous music studies and performances while overseeing a growing company from another continent.

This period was transformative, instilling lessons in resilience and the critical importance of stepping beyond one’s comfort zone. Berklee offered a unique opportunity to collaborate with some of the industry’s most talented individuals, enhancing my musical skills and broadening my professional network, which was instrumental in shaping my career and entrepreneurial spirit.

Living alone in a foreign country at such a young age presented challenges, from navigating daily life without the immediate support of family to balancing intense academic and business responsibilities. Managing these dual commitments demanded meticulous time management and a laser focus on my long-term goals. Throughout this journey, I learned the value of self-reliance and resilience. Staying focused on my objectives helped me navigate through these challenges, reinforcing my confidence and ability to back myself in future decisions. This experience underscored that with determination and a clear vision, one can overcome even the most daunting of circumstances, ultimately shaping me into the entrepreneur I am today.

What has been your greatest personal achievement in your journey and how did you achieve this?

Navigating my entrepreneurial journey as an independent international artist under the stage name Curly Hendo has been a comprehensive masterclass in entrepreneurship. Operating independently means I am wholly responsible for every aspect of my career—from marketing to accounting, bookings, and overall management. This dual role of artist and entrepreneur demands a relentless drive and a multifaceted skill set, closely mirroring the challenges of running my own entertainment business where similar skills are paramount.

The culmination of this hard work and entrepreneurial spirit was vividly displayed when I performed last year with the exceptional artist RAYE at the packed Wembley Stadium for the Capital Summertime Ball. This performance was one of my career highlights amongst many memorable performances with various artists at festivals, concerts, and on television. The exhilaration of live performance and the opportunity to influence others through my music are the driving forces behind my endeavours.

My greatest personal achievement is my role as an international ambassador for a leading music institution which enhances my ability to impact the music industry further. In this capacity, I mentor emerging talents, offering them guidance on navigating the complexities of the music and entertainment industry with practical, strategic advice. This blend of personal achievement and contribution to the development of others encapsulates my greatest accomplishment in my entrepreneurial journey, showcasing the synergy between self-reliance and community support in achieving success.

Can you give a word of wisdom to a fellow independent musician?

Define your goals with clarity and pursue them with unyielding passion. It’s crucial to implement straightforward strategies that focus primarily on people—be it your team, collaborators, or customers. Don’t shy away from challenging your comfort zones; embracing new experiences can lead to greater opportunities and enrich your journey. Remember, the broader your horizons, the greater the rewards.

https://www.instagram.com/curlyhendo/

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Interview: Olivia Penalva On Her Debut Album 'Spiderwebs'
Music InterviewsMusic News

Interview: Olivia Penalva On Her Debut Album ‘Spiderwebs’

by the partae
written by the partae

Congratulations on the recent release of your debut album Spiderwebs! What inspired the title and the overall theme of the album?

Thank you so much! The title was inspired by the idea of getting stuck in the webs of life or rather the messiness of life and struggling to find your way out. This album explores themes of loss, heartbreak, and control, and how those things can mess with your emotions and views on the world. At the time I wrote it, I was trying to navigate my way through some past traumas, and you can feel my mood in a lot of the songs. I wanted to show how unpretty our thoughts and emotions can be when we feel misplaced.

“Spiderwebs” is an engaging collection of 11 songs that explores the highs and lows of love and self-discovery. What was your songwriting process like for this album, and did you draw from personal experiences?

The songwriting process was really fun for this album because for the majority of it, I started writing by myself in my room and it all kind of just happened so naturally. All these songs are an accumulation of feelings or experiences that I or people close to me have gone through to show how sometimes messy and ugly life can be. I was really drawing from the idea of growing up and being in your little naive bubble as a kid, to then being exposed to the harsh reality of the world as a young adult and how that can sometimes lead to a loss of identity. It explores all the feelings and emotions that we uncover as young adults that show us that although life is beautiful, it can also be really painful.

The opening track and first single, “Spiderwebs,” produced by Ryan Stewart, deals with losing your sense of identity in a relationship. Can you give us the lowdown on the creation of this song and what it means to you?

When I reached my early twenties, I found myself in a relationship where I had no control over myself or my life. It was very isolating and hard to navigate the world after feeling like I was stripped of my identity. This song was an outlet at times when I felt like nobody would understand me or what I was going through. I had it in my back pocket for almost three years before I decided to finally share it with the world, and I am so glad that I did because in releasing it, I have found how many other people could relate to what I had experienced. This song means everything to me because it was the catalyst in taking back my power and creating this album that I am so proud of.

Since dropping your debut single at the age of 13, you’ve evolved into a versatile artist with over 25 million career streams. How has your musical style and approach to songwriting changed over the years?

I think there is a lot that has changed and a lot that hasn’t. My one thing I’ve tried to hold onto is my storytelling and the authenticity behind it. A lot of songs I write are about my life, but a lot of songs are also inspired by people in my life or things I wish I had experienced. There have been times I have definitely stepped outside of that box to cater to what’s current or what would play well on radio, and as proud as I am of all my songs, doing that taught me that the best stuff I write and the stuff that means the most to me are the songs that come from my heart, and I feel like this album really shows that.

Your hit single “Love Me” earned a Top 20 spot on Canadian radio and became the #2 most-added song at CHR Mediabase. How did that success impact your career and your approach to this new album?

I am so proud of that song because we had such a fun time writing it, so to see people love it the way we do as writers and creators made me very happy. Being a Canadian, the support from Canada was so amazing and pushed me to want to create and share more of myself with everyone. As artists, it’s really the public that decides if your music is good or not, so to get that kind of love and feedback allows me to continue doing what I love, and I am very grateful for that.

With tracks like “Ex’s” making it to the Top 20 on CHR and Hot AC radio in Canada, and also breaking into the US market, what challenges and opportunities have you faced in expanding your audience?

‘Ex’s’ was the first time I ever had a song break US radio, so that was a very cool thing to experience. It’s such a different market in so many ways, and as a Canadian independent artist, it can be so hard to break through that wall and get your music out there to more listeners. At the time that it did, I was lucky enough to be signed with a US label and have that support. One thing a lot of people don’t know is the cost of putting your music to radio. In Canada, it is more cost-friendly and easier to try. Although just because you hire a radio promoter, doesn’t mean your song will make the cut. US radio is a whole other ballpark. As an unsigned artist, I’d say that one of the biggest challenges is often finances, so you just have to make music you love, stand by it, and hope that when people find it, they will see how talented you are, with or without a label backing you.

“Spiderwebs” covers a range of emotions from toxic relationships to self-acceptance. Which song on the album is the most personal to you, and why?

It’s so hard to choose because each song is personal to me for different reasons. I’d say ‘Spiderwebs’ for sure because it was the catalyst for creating this whole album and a way for me to take back control over myself and my art. But if I had to name one because it’s my absolute favorite song on this album, it would be “Paper Rose”. It was the first song I had written by myself for the first time in a few years, and I am so proud of that. It reminds me of all the things you wanted but couldn’t have, and although it’s a sad song, for me, it gave me a lot of hope and confidence to keep writing by myself and tell the stories that are often hardest to tell.

As a rising pop star in Canada, what message do you hope listeners take away from your music, especially from the songs on “Spiderwebs”?

When people listen to this album or any of my songs, I hope they feel heard and understood. We all crave that connection and need to be related to. I think it’s a good reminder that although we may have different experiences, we can all relate to many of the feelings conveyed on this album. More than anything, I hope it reminds people to never let someone else dim your light and take away from the thing that makes you who you are.

Twitter: @Oliviapenalva

Facebook: /OliviaMusicLive

Instagram: @oliviapenalva

Website: https://oliviapenalva.com

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Rediscovering Connection: Bae Baracus on 'Lost Touch
Music InterviewsMusic News

Rediscovering Connection: Bae Baracus on ‘Lost Touch

by the partae
written by the partae
Your new song “Lost Touch” dives deep into post-punk vibes and heavy themes of anxiety and emotional pain. Can you tell us what inspired this track and what it means to you personally?

Dolly: The world is in a lot of turmoil and it’s taking its toll on us all. Part of that turmoil is social disconnection, people are losing meaning, losing a sense of belonging. “Loneliness Epidemic” is a term you hear a lot now. Even if you don’t feel it, you’re affected by it.

Lin: This was the first track we wrote after a break of over a year. Clef started jamming the chords on the guitar, and I quickly built a beat around it so I could then switch to laying down some keys. We work fast in the studio, and while we were doing that, Dolly was singing ideas straight down, through a vintage echo unit. I kept that echo track in the song, as it had this kind of claustrophobic “locked in a box” sound to it, which seemed in keeping with the theme of the song.

Celf: The riff was the first thing that came out when we hit record. The drive and the grit I think inspired the moodiness of the track, but to me what stands out is how much it captures in few words. I often think about what it means to be real, to be me, if there even is such a thing as “real” versus unreal, fictional, tangible. So I get a lot from the lyrics, but it was Dolly who wrote them, haha.

The video for “Lost Touch” just dropped on YouTube via Boomsmack Records. What was the creative process behind the video, and how does it add to the song’s message?

Dolly: French cinema has done amazing things with visuals since the beginning. We used scenes from Feuillade’s Les Vampires where a woman playing a vampire becomes a victim to demonstrate losing connection, losing touch with who you thought you were.

Lin: We put the live performance take down while we were in a rehearsal for our debut show..  Our time together as a band is always brief, and I was like “let’s get a couple of quick takes for the video”. I love what Dolly did with the edit, interspersing us with that great vintage footage.

Clef: Dolly made the video too and it’s smashing! DIY and juxtaposed with classic footage, super cool. The video has very good use of the Kuleshov effect, where juxtaposed and unrelated video elements played in sequence communicate an emotional state.

Your new album “Release” is set to drop on May 31st. How does this album build on your previous work, and what can fans expect in terms of new sounds and themes?

Lin: For me, this album shows an evolution with us feeling even more comfortable leaning into our moodier vibe, which is there is some of our earlier tracks, if you dig, but more at the forefront here. While there’s still tracks to make you dance on this new record, we’ve drawn more on edgier guitar tones and post-punk moods, blending with our signature synths and love of electronic music.

Clef: The album was made much the same way as our EPs, recorded in a weekend and perfected by Lin, Dolly and I in small steps afterward. I moved away for a year and wasn’t sure I was coming back, but decided eventually that I had to be home. I think the songs on this album were less concerned about what the Bae sound was, which is why it sounds the most authentically Bae to date. I like that we can explore so many sonic avenues.

Dolly: An intentionally darker mood than previous Bae Baracus records, ‘Release’ explores the double-edged themes of liberation and the ennui that accompanies it. Like a 3am coffee, the album is both energetic and angst-ridden. Filled with nocturnal post-punk dance, it abandons all hope of sleep and embraces the night.

Clef created a unique collage for the album cover of “Release.” Can you walk us through the inspiration and creation process behind this artwork, and how it ties into the album’s themes?

Celf: I wanted to make a cover that was a physical piece of art rather than a digital one. When I make a piece of art, I tend to land on a process that is very stream of consciousness. My ADD went full hyper focus on this one, and I ended up making the whole thing in about 6 hours, starting around 8pm. I asked Lin and Dolly to send me personal photos and I decided whatever I got would be my full collage palette. The result is weird, but satisfying to look at. And now the collage is being de-constructed for art’ sake!

Lin: We knew we wanted something special for this album’s cover, and when Clef suggested he do a collage, Dolly and I were totally up for it. I love what he did, it’s so unique and feels really meaningful.

After “Release” hits the shelves, what’s next for Bae Baracus? Any upcoming tours, collabs, or projects you’re keen to share with your fans?

Dolly: We have another video coming out for ‘Move into the Sea’ – the final track on Release. As for tours, we’re really a studio project but we will be doing a super rare one off hometown show in August.

Lin: When this album drops, we’ll have a total 21 songs in our repertoire, not bad for a band who’ve only been in the studio a total of less than 3 weeks together! We recently played our first show and people absolutely loved it, so the focus will be a switch to live shows. Between us, we have a lot of commitments with day jobs and families, so while a full blown tour might not be on the table just yet, we’re definitely up for one-off shows when we can.

Clef: We have a gig in the summer to celebrate the release of ‘Release’, and from there who knows! I think it’d be cool to play a city show at some point, lots of travel and timing to consider. But Bae is strong!

“Lost Touch” delves into feeling disconnected and finding your way back to yourself. How does this track reflect your band’s evolution and current artistic direction?

Dolly: ‘Release’ is darker, as said. But Bae doesn’t stay on the same trajectory for long. We zig, then we zag. You’ll see with our next video, which goes in a very direction from ‘Lost Touch’.

Clef: Interesting question. I am deeply concerned about the spirit of artistry in the music industry these days, because it feels as though more and more of what I see is for feeding the algorithm. But it’s so much worse than trying to be popular or a hit, because obviously artists have egos and want to see their art exist, but this current age is more like the music CAN’T exist without being referential, nostalgic, captivating, technically and proficiently excellent and visionary. It’s like the bar has gotten so high it’s almost inhuman. And yet, the AI machines are getting exponentially better at making music that sounds like human music. So, how do we connect with art on a meaningful level? Is meaning still meaningful? My only answer to this is to wave off the question and keep playing, because it’s fun and I know how to do it.

The themes of “Lost Touch” speak to the disconnection we feel in today’s interconnected world. How do you reckon your audience will resonate with these themes, and what message do you hope they take away from the song?

Clef: I think the audience will see or hear what they want to see or hear in the song. If there’s someone out there who listens to this song 1,000 times in a row because they think it’s a love song, I’m here for that interpretation!

Dolly: I’ve no doubt that it will resonate with many of those who hear it. The simple message to take away from the song is “I see you. You’re not alone in your loneliness.”

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Gloam Discusses Growth and Change in 'Hinder'
Music InterviewsMusic News

Gloam Discusses Growth and Change in ‘Hinder’

by the partae
written by the partae

What inspired the theme of growth, progress, and navigating change in your latest single, “Hinder”?

I’d say that the song itself kind of sparked that. Our creative process is heavily a music-first, vocals-second kind of process. So essentially, I listened to the song on repeat (after Oli and I had workshopped it to where it is now) for a while, trying different melodies over different sections, and deciding what felt right. Before long, I had begun associating certain feelings and memories to the track, which then began to influence the words that ended up being sung on the track. Overall, I wouldn’t say there was a moment where I decided “This is what the song is about,” more of an overarching theme that I sort of connected to these emotions after the fact.

Can you elaborate on the internal conflicts portrayed in “Hinder” that hinder the actualization of self-fulfillment?

It’s tricky to put my finger and explicitly say it was ‘this’ or ‘that’, but I’d say it mostly refers to the stagnancy that comes as a consequence of anxiety and depression. it’s easier to sit with what you have and where you are than it is to get up and create the change that you so badly know you’re craving.

How does “Hinder” differ thematically or musically from your previous work, such as your debut single “Merchant”?

Hinder features quite a fast and driving energy throughout the whole performance, which began as a core element in the songwriting process before there was even any drums or vocals attached. I feel like with this track there was less focus on having a big contrast in dynamics within the song, and more emphasis placed on making a fun, driving, high energy piece of music. 

Could you share any anecdotes or stories from the creation process of “Hinder,” particularly regarding its lyrical development?

I wouldn’t say that there was any particularly noteworthy moments in writing the lyrical content for Hinder, so apologies for that. However, I did find myself questioning myself and whether the lyrics I was writing down may have been too cryptic to make any linear sense to listeners. But I guess some self-assurance came from the self-reminder that this is Gloam’s artform, and there is little to no obligation to typical song conventions. I would encourage any other songwriters or artists to take the same mindset; it was quite liberating and really feels as though once you do away with writing to certain deliverables, true creativity starts to occur. At least that has been my experience thus far.

What role does introspection play in your songwriting process, especially when addressing themes as complex as fear, discomfort, and personal growth?

I would say, it plays quite a vague role. I’ll rarely have a specific time, object, or event in mind when writing lyrics. Quite often they tend to be very abstract, with contemplation seeing them revised. It is usually at this step in the process; when I have a clearer idea about how I feel about the songs and what they mean to me, that I’ll attach any sort of meaning or theme to the tracks. This very much applies to the songwriting process of Hinder.

You mentioned drawing inspiration from shoegaze icons like Slowdive and Whirr. How do you infuse your own unique style into the genre, as showcased in “Hinder”?

While we’ve drawn inspiration from lots of the big names in post-rock and shoegaze, we’ve also taken influence from a wide range of bands outside these genres. Oli spent a decent chuck of time around writing and editing the first demos of “Hinder” listening to Death Metal and Post-Black Metal bands such as Suffering Hour and Deafheaven, and I think an amalgamation of all sorts of different sounds make their way into our tunes and help shape our sound in strange ways. 

“Hinder” was mixed and mastered by long-time collaborator Cameron Murphy at Opaque Studios. How does Murphy’s involvement contribute to the final sound of the track?

Cam’s input, I feel, is likely to be quickly overlooked. I think we all feel quite ‘new’ to being musicians, in the sense that we aren’t conforming to anything typical of a genre or ‘scene’; we’re writing to a taste that we haven’t done before and is everchanging. Consequently, this can blur the lines between what’s working and what’s not working. Cam has been a great filter along the process to bluntly tell us what is, and what isn’t working. Of course, with a grain of salt though. He’s always on board with our wild ideas, drawing from an array of references that you mightn’t typically put together.

With only a brief tenure on the live circuit, how do you feel your experiences sharing the stage with international and local acts have influenced your musical journey and the sound of Gloam?

The live performance experiences we’ve had over the last couple years have shaped our ambition and drive in huge ways, and have been quite essential in keeping the Gloam music-machine rolling. We’ve been able to experiment and hone into our sound and performance, as well as learn and take inspiration from some really great bands. Big touring groups like Touché Amore, Deafheaven and Movements have been incredible to share the stage with, and have felt like a masterclass in high energy performance and positive attitude, not to mention attention to detail. Though in saying that,  I think we have also learnt just as much from these big international support opportunities as we have from the local bands in the Perth scene. Getting to see how bands around us are growing and shaping their live performances has been hugely motivating and exciting, and is often what pushes us to work harder on how we present and perform our music. 

“Hinder” debuted on triple j Unearthed TOPS, showcasing your unique blend of ethereal soundscapes and relatable lyrical theming. How important is it for Gloam to connect with listeners through both musical and lyrical elements?

Strangely enough, I feel that the music is the most powerful vessel in any existing Gloam song, by quite a margin. Because the feeling of each song largely determines the lyrics that follow, it becomes the beacon of the track. We expect that the listener resonates more with the soundscape of the tracks, rather than the literal words being sung.

Can fans expect a similar thematic approach in your upcoming releases, or do you plan to explore new territory with your music?

One of the main takeaways for us from this last writing and recording process is how exciting and rewarding it is to venture into new territory musically. Now that we have established ourselves with a solid foundation in our sound, it’s going to be really exciting to see where we can take it, as well as discovering new tools and strategies to get us there.

How does the process of crafting a single like “Hinder” inform or influence the direction of your future releases and overall musical evolution as a band?

I would say it doesn’t really. We have an EP coming out later in the year which includes “Hinder.” This full record feels a lot more creatively ambitious than what we’ve done previously, some songs sounding similar to Hinder, or our previous self-titled EP and others being far more left-of-centre. Moving forward from this upcoming record, writing has already begun and I think we’re collectively embracing our experimental tendencies a lot more, not just in the songwriting area but with varied tunings, keys and guitar pedals. We’re excited about the musical journey ahead!

Finally, what message or feeling do you hope listeners take away from “Hinder,” and how does it fit into the larger narrative or vision for Gloam’s music?

I think, that we’d hope our listeners feel a sense of calmness after listening to this track (or any of our music). Hinder is a melancholy song that we all feel very at-peace with when performed live and throughout the recording process, despite it’s heavy overtones and distorted characteristics. I don’t think I’d hope our listeners take away any specific message, I’d like to think that they might associate their own message or lesson from the track – something I personally love about consuming music.

https://www.instagram.com/gloam.band/

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Interview with Monique Angele on the Inspiration Behind 'Dreaming'
Music InterviewsMusic News

Interview with Monique Angele on the Inspiration Behind ‘Dreaming’

by the partae
written by the partae
Can you tell us more about the inspiration behind your upcoming single, “Dreaming”? 
The inspiration behind my new single comes from daydreaming. The song is about going into a dreamlike blissful state of mind where there are no stresses at all. In the real world where you are trying to find yourself and know what to do it can be overwhelming. It’s about following your dreams and heart and being where you want to be to make you happy.

What prompted you to explore the theme of daydreaming and introspective reflection in this song?
I decided to write about the theme of daydreaming and introspective reflection because I often do this myself. I try my best to be the best I can be and be happy but it’s not always easy. I struggle with depression and anxiety and I have to work on myself to feel better every day. This song is a reminder to be kind to yourself and let your dreamlike happy state of mind take over sometimes. Let your imagination run wild. It’s ok to be a free spirit and to just let go.
 
Your music is often described as transcending conventional genre boundaries. How would you personally define the genre of “Dreaming,” and how does it fit into your broader musical landscape?
I would define my genre of “Dreaming” as operatic piano pop, however it’s nice to hear what people think my music sounds like. I don’t think I really fit in a particular genre. To be honest I’ve had people tell me they can’t define what my genre is and I’m completely content with that. I’m just creating music organically and seeing what comes out. 

The opening of “Dreaming” features soft piano keys, setting a serene atmosphere. How did you envision this introduction, and what role does the piano play in conveying the song’s message?
The piano intro is like the awakening going into the daydreaming state of mind. The piano is like the rhythmic heartbeat of the song. I honestly don’t really think too much when I write the piano part of a song. I just play the piano how I’m feeling at the moment and then something comes of it.

As the song progresses, it transitions into a full-band arrangement with various instrumental layers. How did you approach the arrangement process to ensure that each element complements the others while still allowing your voice to shine?
I really like building a song to a climax. I do like to add layers everywhere but I also like to still keep the vocals and piano as the main focus of the song. I always love adding and singing harmonies to the melody. My amazing producer Sean O’Sullivan from Highway 9 Productions was great in collaborating ideas on how to build the song and make everything sound balanced. 

Collaboration plays a significant role in the production of “Dreaming.” Could you share your experience working with Sean Peter O’Sullivan and Joseph Carra on this project? How did their contributions enhance the final product?
I loved working with Sean O’Sullivan and Joseph Carra. They really know how to make my music come to life and know exactly how I want my music to sound. 

Your music is known for its emotive delivery and captivating storytelling. How do you balance vulnerability and strength in your performance, particularly in a song like “Dreaming”?
I try to be true to myself and genuine whenever I write, record & perform my music. It always comes from the heart and soul. I think creating anything is very vulnerable as you are showing your true self to the world. It takes courage and strength to create something and make it public. You are putting yourself out there for the whole world to hear your music and see it in performance or video. I think the only way I am balancing vulnerability and strength in my music is just being very true to myself, that is when the magic happens. 

Can you take us through your creative process when writing the lyrics for “Dreaming”? 
The lyrics came to me from what I was feeling at the time. I usually write songs when I’m feeling some kind of emotion or need to release my feelings somehow. So I started to write about falling into a blissful state of mind when you feel overwhelmed. Whatever your blissful state of mind is, just go there and forget about your worries. To be carefree and to dream is a beautiful thing sometimes. 
 
Did the words flow naturally, or did you encounter any challenges along the way?
The words flowed pretty easily for this song. It didn’t really take a long time to write the lyrics as I write my feelings based on the state of mind I’m in. I was thinking to myself why do I like to dream and where does it take me and how does it make me feel? It’s almost like journaling my thoughts on paper but in poetry. This was a fun song to write!

Your influences include musicians like Kate Bush, Tori Amos, and Queen. How do these artists inspire your own musical style and approach to songwriting?
These artists are very unique in their songwriting and live performances. I really feel that they are really true to themselves in how they want to express themselves through art. I’m also drawn to classically influenced music and these artists have classical elements in their songs.

From your childhood in Ottawa to your travels in Australia and beyond, how has your journey influenced your artistic perspective and the themes you explore in your music?

I have learned various styles of music for piano & voice and that has definitely influenced my music. Having a background in various solo piano and voice repertoire, opera, musical theatre, and dance has shaped how I write, record and perform my music. Gaining new experiences while traveling and living in different places has also influenced my music quite a bit. New experiences lead to new creations. I am constantly learning and growing which helps me create new music.


“Dreaming” aims to transport listeners to a world of imagination and introspection. What do you hope listeners will take away from the song, particularly in terms of finding solace amidst life’s challenges?
I hope this song brings some peace, joy & comfort to the listeners. I hope this song makes people feel something. I hope that this song brings out their inner free spirit and people can let go of their stresses and worries.

Beyond the release of “Dreaming,” what can fans expect from you in the coming months? 
I’ll be performing various live shows, writing and planning to record & release new music soon. Stay tuned to my upcoming projects and performances from my website www.moniqueangele.com 
 
Are there any exciting projects or collaborations on the horizon?
Yes, I’ll be recording & releasing new music soon! 

Finally, if you could sum up the essence of “Dreaming” in a few words, what would they be, and why?

Close your eyes, breathe and be in your paradise.

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Australian singer songwriter Emily Barker returns home and turns her lyrical gaze inwards on filmic new album
Music InterviewsMusic News

Emily Barker on Music, Migration, and Fragile Humanity

by the partae
written by the partae

Welcome back to Australia, Emily! After living in the UK for 20 years, how does it feel to return home and share your music with your roots again?

Thank you very much! It feels so good to be home after such a long time away. I’m loving being close to family and the Indian ocean! Until now I’ve not released any of my albums whilst living in Australia so although I’m in the UK right now at time of release (because it’s where most of my fanbase is) I’ll be back shortly after to do a series of West Australian, then east coast, tour dates.


Your new album, “Fragile as Humans,” explores deeply personal themes. Could you tell us about the inspiration behind this shift towards more introspective storytelling?

It was an introspective time because the UK was in lockdown and Western Australia so firmly shut its borders so there was no way of getting back. Touring stopped and life became smaller. There was time to think, to go deep, to read, to witness and sit with sides of myself that I hadn’t previously had time for. Alongside the discomfort of self reckoning was a whole load of beauty though and I came to see the time as a gift. I think despite the songs being introspective, they’re potentially far-reaching in that so many people could relate to what I’m exploring lyrically.


“With Small We Start” is the opening track on your album and seems to set a warm, acoustic tone. What was the creative process like for this song, and why did you choose it to kick off the album?

‘With Small We Start’ felt like a light entry to an album that contains some weightier content and in some ways the song is more akin to some of my previous work in style (whereas I think some of the other songs are more of a departure stylistically).  I had the verse melody for this song kicking around for a while. I kept coming back to it but couldn’t match it with a chorus / other section. I finally found the rest of the song when I was on a writing retreat in Stroud and going for really long walks through the woods on the grounds of Hawkwood. I actually had two choruses and couldn’t decide which one was working best so decided to use both – that’s what you hear at the end with the faint backing vocals singing ‘northern lights’…


“Feathered Thing” addresses themes of grief and loss, inspired by personal experiences. How did you approach translating such intimate emotions into your music?

Sometimes I write more on the nose but at the time of writing this song I’d just had a miscarriage and found it too painful to write about directly. I was reading a lot of Emily Dickinson and kept coming back to her poem ‘Hope is a thing with feathers…’ This idea of hope manifested in the image of a bird, stuck with me and became central to the lyrics in ‘Feathered Thing’. I’d just seen the devastation of some bushland in the southwest of Australia and a tiny blue wren sifting through the ash which to me symbolised life after tragedy.


Your collaboration with producer Luke Potashnick on this album seems to have been quite intensive and collaborative. Can you share with us a bit about that process and how it influenced the final product?

I’ve never worked with a producer in this way before where he became my editor as well. We put each line under the microscope and it was brilliant because sometimes as a writer you go…”well, that’s good enough for that line I think” – he spotted every one of those I’d done and asked me to dig a bit deeper, be persistent. I loved that. I think it’s ultimately made the songs stronger even though it was just a few tweaks here and there. Sonically, I trusted Luke’s vision and musicianship from the get-go. We seemed to be on the same page immediately and both felt the songs had a cinematic feel to them that the production should push. I’m so pleased with what the songs became, couldn’t be happier.


The album features a mix of solo tracks and full-band productions. How did you decide which songs would benefit most from a fuller arrangement?

We knew it would be an album of roughly half solo(ish) and half band. I think the only one that changed was ‘The Quiet Ways’ which started without drums but I think the drum sound on that track might be my favourite thing about the record! So yeah, we had ideas on this before and also it was partly to fit with budget, but it was cool that there was the possibility to respond to the moment and change tack.


Your single “Wild to be Sharing This Moment” has a cinematic quality to it. Can you elaborate on the production choices behind this song and how they contribute to its atmosphere?

This album has a lot of drones, Wild to be Sharing perhaps has the most. That means there’s constant tension and release throughout as the drone notes sit more comfortably within certain chords and then more awkwardly in others. I feel this creates a cinematic atmosphere. Also, we wanted to really push the dynamics to give it scale. There’s so many quiet, quiet moments on the album that we contrast with epic ones.


You mentioned experimenting creatively throughout the album. Could you share an example of a moment where you pushed yourself outside of your comfort zone during the recording process?

I pushed myself harmonically in these songs in terms of chord progressions and extensions. I wanted to favour the odd and unexpected but pull it together melodically. I think with Luke’s taste too, he pushed some of the production sounds beyond what I might have thought safe and I’m soooo glad for it. They’re now my favourite sounds on the record.


“Call it a Day” reflects on your experiences living in the UK for over two decades. What aspects of your time there influenced your songwriting the most?

I think it influenced me topically. I couldn’t stop writing about “home”. What it means. Is it the people? The place? The story? But I think also the sound here, there’s an introversion here that has always appealed to me and allowed me to access the quieter, more vulnerable sides of myself.


Your upcoming shows in Perth must be exciting after returning home. How do you envision these performances reflecting the themes and energy of your new album?

Yeah I can’t wait to gig this record on homeshores! I’ll be doing a range of solo, duo (with Lukas Drinkwater on double bass), and also full band shows. I think, in keeping with the record, I want to make sure there’s loads of dynamic range and lots of drones.


As you prepare for these live shows, are there any particular songs from “Fragile as Humans” that you’re especially eager to perform live, and why?

‘Wild to be Sharing This Moment’ feels particularly pertinent at this time and, having performed it live quite a bit already, I can see that it moves and connects people in the crowd. That feels like the hugest honour.


Finally, if you could convey one overarching message or emotion to your audience through “Fragile as Humans,” what would it be, and why is it important to you?

I’m glad you asked. In a word: compassion. We desperately need more of it to navigate this complex and polarising world in which we find ourselves.

www.emilybarker.com

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Tell us about your journey from construction to chasing music dreams
Music InterviewsMusic News

STONNII – An Interview on Crafting ‘Better’ and Chasing Musical Dreams

by the partae
written by the partae
Tell us about your journey from construction to chasing music dreams:
 
I have wanted to be a singer since I can remember, but somewhere along the line I started telling myself that was an unachievable dream. In high school I actually wanted to be a doctor, so began the medicine career path, but was so burnt out after year 11 that I decided to aim for psychology instead. I enrolled in psychology and nursing at uni, and dropped out in three days after having an epiphany mid-biology lecture that it just wasn’t for me. I changed to a double degree of architecture and construction management after seeing what one of my housemates got to do in her architecture classes. I lasted three out of five years, studying full time and working almost full time as a contract administrator/office manager. My mental health was steadily declining due to the intense workload I tried to juggle alongside keeping up with my family who live hours away, long distance relationships, making new friendships and maintaining old ones, and my very standard (but still ridiculous) uni student partying habits. I was stressed, depressed and helplessly lost. I failed my first ever unit (first time I failed anything) and I did not take it well. One day, after crying in my closet for a couple of hours, I saw an ad for a local music course, called and enrolled for the next intake within half an hour. It was the best decision I ever made, and led to the creation of ‘Better’ and my current career as a musician and artist – my lifelong dream. 

How did being stuck in lockdown and dealing with personal stuff shape “Better”? Was it like pouring all those emotions into the music?
 
To be totally honest, having this project during lockdown was the only driving force that got me through. Over the course of 2020-2021, on top of the lockdowns that impacted us all, I was also faced with several health complications, went through a breakup and received a heavy mental health diagnosis, all while navigating what seemed like a thousand challenges within my family. I was so incredibly lucky to have my course offerings deemed by the government as requiring face-to-face classes to be viable, so I was able to leave the house a few days a week to rehearse (face-masked and social-distanced of course) with my classmates. Without this interaction and the driving force of a huge creative project, I really think I might have lost the plot. ‘Better’ was a cup and I was pouring every thought and feeling into it – which is the only way I know how to make music.

So, why “Better” for the EP title? How does it vibe with the themes you’re exploring in your tunes?
 
‘Better’ was the first title that came to me when I was picking the name. It was going to be released under my band name ‘Orange Butter Club’, which sounds really nice beside ‘Better’. I was thinking about what linked the four distinct songs to one another, and when that word came to mind I thought it was perfect. ‘Better’ encapsulates the enduring theme that each song tackles in a different way; both a deep longing for better days, a better environment, better feelings, and a promise that all badness is temporary, and betterness is coming. 
 
Your music’s got this cool mix of indie pop, neo-soul, and Aussie soft rock vibes. What got you vibing on that blend?
 
When making ‘Better’, I wasn’t setting out to fit any particular genre; I just made the music that came out of me when I played. My mum gigged as a country music singer when I was small, and I was heavily influenced by Missy Higgins, Kasey Chambers, Shania Twain and The Chicks, which shaped my voice a lot. As I got older and developed my own taste (which is extremely broad), I found myself gravitating towards neo-soul and indie-pop acts with strong lead vocals and powerful lyricism. Some of my favourites include SZA, Lauryn Hill, Joss Stone, Dominic Fike, Still Woozy, Angie McMahon and Julia Jacklin. The sound of the EP is also heavily shaped by Leon’s taste and his guitar style back in 2020/2021. What we created feels like a true expression of my thoughts and ideas as an artist, and I am so proud to be able to say that I made music that I just really liked, and not music in the pursuit of trying to sound a certain way or emulate someone else’s vision.

You mentioned each track on the EP’s got its own flavor, but they all fit together like a tight playlist. How’d you piece that puzzle together?
 
Luck? I’m not sure I have a good answer to that!! Before recording, we had a set of about 7 original songs, and a couple of covers. When choosing what to put on the EP, ‘Sunny’ and ‘Monday’ were our first really obvious picks. I can’t remember what influenced our choices of the other two – I think they just felt the strongest and most developed of our tracks. We couldn’t have planned for how well they would sit together, and how that underlying message would flow seamlessly through the body of work, but I feel so grateful that it came together so well. 

Tell us about teaming up with your buddy Leon Antonov. How did that duo dynamic play out when you were laying down tracks?
 
Leon and I hit it off pretty soon after we began studying together. His guitar skills improved so rapidly, it was seriously impressive. We ended up in a band, and when we jammed things just came together so effortlessly and naturally, I knew it was something special. The 4 tracks were made differently from one another; I wrote ‘Sunny’ and ‘Monday’ on my guitar at home, and brought them to rehearsal for Leon, Liam and Zach (bass & drums) to add their magic to. ‘Cake’ was developed from a riff that Leon sent me, I sang over it at home and constructed the melody, before bringing it back to the band. ‘Bad Days’ came together out on the street outside the recording studio (Don’t Poke the Bear); Leon was mucking around on my acoustic guitar, and I just started freestyling and soon later we had most of the track. We have the producer, Chris Wheelwright, to thank for helping bring the bridge section and some of the other details to life. 

“Sunny” and “Bad Days” are like sunshine and rainbows in song form, even though you wrote them during some heavy times. How’d you turn those tough moments into feel-good tunes?
 
I think that making music with others is what made the final result a positive one. Back then most of my writing was super dark and sad, but I didn’t want to drag Leon or anyone else into my shitstorm of negativity. So, I tried to flip it and create the music that I needed to listen to at the time – reminders that it’s not all bad, that you’re not alone, that you need dirt for flowers. It’s super ironic to me that I made such uplifting tracks during one of the most tumultuous periods of my life, but I guess something within me just knew that people needed hopeful messages – I needed hopeful messages at that time. 

What hurdles did you face turning the project into a solo gig after hitting some roadblocks? How’d you slam dunk those obstacles?
 
The biggest hurdle I’ve had to overcome is my own silly head. I had a lot of doubts, and kept going back and forth on whether I should release at all, and whether I even thought the songs were any good. Some weeks I’d listen and be convinced the whole thing was terrible and I should chuck it out. I didn’t listen to a single track for over 6 months, and I think that space really helped, because when I listened back with fresh ears I realised I’d been being a bit dramatic (this may or may not be very typical of me). It also took me a while to build the confidence to do it on my own, and I won’t lie, I was a little sad to be continuing on without Leon by my side. Forging ahead as a solo act meant trusting myself to make the right decisions with every aspect of the release (especially since I have done it 100% independently). This has been scary, but now I am incredibly grateful to have listened to my gut, because now I wouldn’t change any of it.  

Walk us through your EP track list game. How’d you pick the tunes and line them up to tell your story of chasing brighter days?
 
The track list order is; ‘Sunny’, ‘Monday’, ‘Cake’ and finally ‘Bad Days’. This is actually different from the original order that we decided after recording. I have ‘Sunny’ first because I think it’s a beautiful opener, and it primes the audience well to experience the rest of the EP. ‘Monday’ brings the energy up, but the mood down, as I rant about my non-existent work-life balance, and then ‘Cake’ follows as a reflective side note that acknowledges my fears and my sadness, but also reminds me that hating my birthday is a bit frivolous and it’s okay to laugh at myself. ‘Bad Days’ is the longest track, and it really wraps it all up. I put it last because the message behind ‘Bad Days’ is really the essence of the EP – shit happens and life can be stupidly hard, but that’s kind of a universal human experience; knowing that you aren’t alone can be the light at the end of the tunnel.

How do you see your music hitting home with listeners, especially those who are battling their own storms and looking for a musical lifeline?
When I think about my mentality before making ‘Better’ versus now, it reminds me of that ‘Two Guys On A Bus’ meme, where they are both saying ‘nothing matters’ but their perception of that phrase is different based on their mindset.
Both of these dudes still exist within me, I just try a lot harder to be the guy on the right, and remind myself that even when it doesn’t feel like it, it will be okay. Gratitude and grief are two sides of the same coin, and I want my music to help people remember that and even just attempt acceptance. I’m not saying that bad stuff should happen – life can be so cruel and so unfair and I wish it wasn’t; but being aware that I am not alone in my struggles, and that they have helped me to make art and fight harder for a joyful life, softens the sting of grief and regret whenever I find myself confronted with those emotions. I hope that by being honest and vulnerable and sharing my art and my stories, I can help others find solace and strength through their own personal struggles. I want my music to make people feel empowered to acknowledge their own pain and express it in healthy ways, and I hope that doing this will help them to come out of dark places.
Any standout moments from crafting “Better” that you wanna shout out as extra special or meaningful?
 
One of my favourite writing moments would have to be making ‘Monday’; I literally came home from work, feeling like I was at a breaking point. I sat on my bed, and started angrily scribbling in my notebook. I had the lyrics in about 10 minutes, which I then sang while strumming the first few chords that came to mind. It felt like a moment of pure expression, so uncomplicated and as natural of a process as I can get. As for the recording, making ‘Better’ was my first formal experience, which made every moment feel so, so special to me. We took a week to record the EP, and it was the most fun, exhilarating and exhausting week of my life. I have so much appreciation for everyone involved. Shout out to Chris Wheelwright and Dave Weir for taking all my ideas on board, trusting my vision and making it happen. 

What’s next on the horizon for your music journey? 
 
I am performing an acoustic set at Unassigned Gallery in Brunswick as part of Crockpot Poetry on May 9th, a Sofar Geelong set at a secret location in Anglesea on May 16th, and a second EP launch in my town is in the works! That’s all I have planned, but if you know me you know I tend to plan as I go, never turning down an opportunity, so I hope to be booked up to my ears in no time. I’m still deciding whether to enlist some new band members, so that might be my next big goal to reach. 
 
Where do you see yourself heading after dropping “Better” on the world?
 
My goal with ‘Better’ has been to get it out, work as hard as I can alone and see where that takes me, while learning as much as I can about the release and marketing processes. I mostly just wanted to have music on streaming services for my friends and family, to show them what I’d worked so hard on for so many years, and to share my passion and my art with loved ones. I got to play an impromptu set in Hong Kong after ‘Sunny’ came out, and I have a Japan trip planned for August, so hopefully I can play live there! There aren’t many opportunities to play overseas that I wouldn’t leap at; I adore travelling. I also have dreams of a regional Australian tour – I’d especially love to hit my hometown Katherine, plus the other towns I lived in growing up; Buderim QLD, Glen Innes NSW and Hamilton VIC. We’ll see what happens!
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DENMARK'S MOST CELEBRATED LGBT+ ARTIST ASBJØRN RELEASES ’HE'S DANCING SO WELL (I'M BETTER)’
Music InterviewsMusic News

Interview – Navigating Friction: A Deep Dive into the Creative Journey of Asbjørn from DIY Labels to Genre-Bending Sounds

by the partae
written by the partae

Can you share a bit about your journey in the music industry so far, from starting your own label at a young age to where you are now with your fourth studio album?

This is gonna be a deep dive, huh? Let’s do it. Basically, I started my own label at 19 to have complete creative control and freedom. Despite all the attention I was receiving, every label I talked to wanted to change something about me, whether it was my sequined wardrobe, my weirdo dancing or the sound of my sampled breathe-snares. Luckily, I am stubborn as fuck and following a mere possibility of quick success has never really been an option in my head.

Establishing my own record label enabled me to “license” my music to other international labels, while still being in creative control. I did that on Pseudo Visions, Boyology and also had my very brief major-label-crash-and-burn-moment with ‘Nothing 2 Lose’ and ‘We & I’ in 2018. I worked with brilliant people along the way and appreciate their hard work – but with this forthcoming album, I needed a reset, to explore pop music completely freely again, without my own or anybody else’s commercial awareness = your boy is completely independent, yet again.

‘He’s Dancing So Well (I’m Better)’ is a captivating track with a unique blend of sounds. Could you tell us more about the inspiration behind the song and its production process?

I am obsessed with juxtapositions, how lyrical and musical elements can create confusion to a point where you have to stop trying to “figure it out” but just go with your body and your immediate emotional response. I love to write on the guitar because I suck at it and that pushes me to be less analytical and more intuitive. For some reason, I also hate my own voice on top of a guitar, so after writing ‘He’s Dancing So Well (I’m Better)’, I immediately made the string arrangement. I’ve always dreamt of doing a string-based dance song, like ‘Cloudbusting’ (Kate Bush), ‘Be Mine’ (Robyn), ‘Viva La Vida’ (Coldplay) or ‘Hyperballad’ (Björk) and this song seemed like the right fit. I took the song and string-arrangement to Steffen Lundtoft, he accidentally pushed a shuffle button on his drum machine and suddenly the loneliness and melancholy of the lyric and strings had a freaky, out-of-control and uplifting counterpart. It suddenly provided a possibility to dance with the sadness of losing him.

Your upcoming fourth studio album is highly anticipated. What can listeners expect from this new project, especially in terms of its sound and themes?

This album is a body! A body that dances, protects itself, goes WILD, rests, moves forward, injures and gets back up again. First and foremost, I’ve always strived for a kind of bodily presence in my music but this time I made it my whole approach; instead of producing the songs so I could dance to them, I danced my way to the productions, translating the movements my body made into sounds.

Thematically, I guess there’s a lot of liminality, which in many ways has been a constant in my life. Being an artist and being gay is a pretty intense combo and though I’ve accepted long ago that I can’t follow many pre-paved paths, I think I’ve dared to look into my doubts about belonging, both to places, people and in the world on this album.

Collaborating with Steffen Lundtoft from Lowly for your new album sounds intriguing. How did this collaboration come about, and how has it influenced the direction of your music?

MASSIVELY, oh my god. On Boyology I challenged myself to give in to the sonics of mainstream pop music that I grew up with, while juxtaposing it with almost unpleasantly direct and diary-like lyrics. I worked on that album for 5 years and I had a hard time coming out of the more structured and controlled approach to production that I’d practiced on that album. Steffen, on the other hand… he’s a firework of freedom, playfulness and never really knows what he wants to create, before it’s suddenly there. I was deeply provoked by that in the beginning of our collaboration but I knew that he was what I needed; a friend who could bring me out of control in a way that felt safe (Steffen has been my drummer for 12 years, since I started my career).

You’ve been announced as a performer at Roskilde Festival, which is a significant milestone. How does it feel to be part of such a renowned event, and what are you looking forward to the most about the experience?

Yeah, it’s a bucket list moment, for sure. Somehow I am really happy that it took 12 years to get that slot, cos I got to find myself as performer before standing that test. I can’t wait to give back to the audience what I, myself, have received from my heroes on that festival.

Your music has been described as genre-busting and unconventional. What drives you to push the boundaries of pop music, and how do you balance experimentation with accessibility in your sound?

I’ve thought about whether there could be an anthropological explanation, having to do with queerness and the whole ‘belonging’ theme… The genre-thing and unconventionality are not things I strive to do, I simply just can’t conform. And just as that can be frustrating on a personal level, so has it in my career, you know… sometimes wishing to be more “normal”, whatever that means. Ultimately it comes down to self acceptance and music has been THE place I could find that, always.

“Friction is freedom” is a powerful statement you’ve made about your music. Could you elaborate on what this means to you personally and how it manifests in your creative process?

On Boyology I had to repeat this sentence over and over again. In continuation of your last question, that album was at times pretty uncomfortable to make, cos I chose to explore conformity in the sound as an artistic approach. The only way I could do it was to create a friction, a counterpart in the lyrical approach. In other words, knowing that friction is always where I’m heading, I can “forgive myself” for going 100% Backstreet Boys in one part of the process, cos I know I’m gonna create other nuances at a later point.

As someone who interacts with teenagers through your high school concerts, why is it important for you to discuss topics like sexuality and identity freedom with young audiences?

Well, I’m just trying to make things a little bit better than when I was a teen, so I’ve played around 200 concerts and high schools the past years. The teens often start out pointing at me, laughing and whispering to each other, some yell “gayyyy” and try to bully me off stage. I am confronting my own school-trauma and overcoming it every time, though it can be intense. By the end of the show it has opened up a dialogue, some of them become huge fans and others have just met a different type of man (me) and they experience that I’m not dangerous. My hope is just that it creates a fundament of understanding and acceptance between them.

Your music videos have garnered millions of views and have been praised for their visionary quality. How do you approach the visual aspect of your music, and how does it tie into the overall storytelling of your work?

I mean, you can’t take the MTV out of a 90s kid! Every time I visited my grand parents, who had the channel, I’d stay up all night watching videos. Madonna, Michael Jackson, Britney, Destiny’s Child, George Michael, David Bowie and the list goes on. I didn’t even understand English but I understood what they wanted to express through those videos. The music video can be such a powerful tool to expand the universe of an album, which is what I’ve attempted to do on all my albums. The current consumer-climate has put the format in a difficult spot though and I’ve heard many business peeps claim that the THE MUSICVIDEO IS DEAD. I don’t believe that but I do believe we all, as consumers, need to choose patience, focus and poetry very actively, cos we’re so affected by the high pace of things online.

With your diverse musical influences ranging from classical to pop, how do you incorporate these varied elements into your songs while maintaining your own unique style?

Friction is freedom, baby! Music is just a playground, a laboratory, a bathtub full of plastic stuff to shove up your butt and try how it feels; it most likely won’t hurt you but sometimes it just doesn’t work and that’s cool. Then you try a different combination and suddenly it feels like you opened a new door in yourself.

Collaborating with artists like Tessa and Danny L Harle in the past, how do these collaborations shape your approach to music-making, and are there any dream collaborations you’d like to pursue in the future?

I find myself in a really interesting position career wise. The fact that I’m hard to place for people mixed with my curiosity for music experiments, enables me to navigate pretty freely and collaborate with both mainstream superstars like Tessa, left-pop-pioneers like Danny and Planningtorock and of course making the album with Steffen, two old friends in a dark studio in my hometown. They all inspire me so much. And when it comes to dream collaborations… well, let’s just say you won’t have to wait long.

Looking back on your previous album, Boyology, and considering your evolution as an artist, how do you feel you’ve grown creatively since then, and what lessons have you learned along the way?

I learned to measure success in new ways. Boyology was a commercial FLOP, none of the songs or videos gained the numbers I’d been so lucky to experience from the beginning of my career – and honestly, that was a tough blow – but an important one too. That’s when I checked my “popstar values” and realized that I needed to create healthier and more sustainable criteria of success for myself. I initiated the school concerts to try and make a direct difference, that I could see in a room, instead of looking at streaming counts. I began working mainly with close friends again to make sure every aspect of my career creates long-lasting memories and relations, that makes me happy when I listen to the music, watch the videos or play shows. In that way, the music can flop all it wants but it will still be meaningful.

https://www.instagram.com/asbjornmusic

                        

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Navigating Shadows and Light: Chiara Dubey’s Journey Through ‘CHANDANI’ – Exploring the Interplay of Empowerment and Self-Reflection in Music

by the partae
written by the partae
Your singles “How To Save Myself” and “30” offer listeners a glimpse into your upcoming album “CHANDANI.” How do these singles reflect the overall theme and mood of the album?
 
The first ideas for the album started to blossom about a year ago. There was something different about that moment. I felt at ease, just fine, and I’ve never felt “just fine” for such a long period of time, there was always some trouble, some darkness in the background of my head.
That sudden inner-calm felt new and beautiful; I wanted to hold on to it, write abut it, so it ended up becoming the seed from which CHANDANI started to grow.
To me the album is a personal celebrating this fortunate chapter, and at the same time a way to look my shadows in the eye, before letting them go. Like a ritual.
The first single “How To Save Myself” is one of these shadows: the lack of self love, and the inability to put myself first, set boundaries, and the second single “30” (because I turned 30 this year!)  is really about this liberating change I’ve been noticing, in the way I feel in my own skin.
“How To Save Myself” explores themes of self-worth and love, while “30” delves into self-assurance and empowerment. How do these complementary themes intertwine throughout “CHANDANI”?
I feel that the album is like a passage, or a portal, with an old version of me on ne side and a new one on the other side. As if I was standing right in the doorway. So it’s a place with a mixed back and forth of both empowerment and self-awareness feelings and darker feelings, memories, like the ones of “How To Save Myself”.
 
Each of your singles seems to carry a deeply personal narrative. Could you share how your own experiences and emotions shape the storytelling on “CHANDANI”?
 
In general, I think writing music and sharing it with others is a wayfor me to elaborate, and process all that I experience. I guess we all have our ownl way to do that. So yes, all of my writing, including CHANDANI, is the rephrasing of a personal story. 
“How To Save Myself” for example, was a way for me to let go of a recent toxic, romantic relationship I was involved in, one where I got hurt. There is always a story behind every track.

Collaboration has played a significant role in your album’s creation, with contributions from notable names like Chris Tabron and Robot Koch. How did these collaborations influence the sonic landscape of “CHANDANI,” especially in comparison to your previous work?

They literarily showed me new worlds of possibilities. I feel like Chris Tabron’s mixing made my music braver, proud of all the emotions I packed it with. He was a precious addition to the project, and I hope it won’t be our last collaboration. The same goes for Robot Koch: I have been a big admirer of his work for a long time, and I still can’t believe he has agreed on making music with me. His additional touch gave our track a new depth, a beautiful new atmosphere I would have never created alone. Many other inspiring artists and musicians contributed to this album, and I am very grateful to all of them!
As a multifaceted artist, you blend modern classical elements with electro/art-pop. How does this fusion of genres manifest across both your singles and the wider scope of “CHANDANI”?
 
I come from a classical music background, but my heart also beats for electro and pop music, so I decided not to give up on any of these contrasting sides of me, and instead try to make them coexist in my own little universe. I am probably making things more difficult for me – certailnly for my label team! – but so be it. It’s fun, and it’s authentic!
The album ranges from pure string orchestra pieces to edgy and experimental electro-pop songs. These are the extremes, and in the middle are several combinations of these two worlds (some tracks have more orchestral textures than others, and some are more vocals or electronic driven).

“How To Save Myself” and “30” showcase your versatility as a singer, composer, and producer. Can you shed light on your creative process for these singles and how it evolved during the making of “CHANDANI”?
Writing and arranging for strings and vocals is what comes easiest to me. I feel confident with it, even if one can go on learning to infinity. Music production is a newer skill for me instead: I am having lots of fun with it, and I am very hungry for knowledge. CHANDANI was a great music production playground. It gave me the chance to practice, experiment, and challenge myself. The difference between the first and the last demo I wrote is huge!
Especially for  “How To Save Myself” I was helped in the production by one of my best friends, Jakob Eisenbach, who worked with me on several album tracks. I owe him!

Your career has seen support from various media platforms and successful live performances. How do these experiences inform the storytelling and sonic exploration on “CHANDANI”?
 
I can’t say for certain, but as playing live is one of the most rewarding, extatic feelings I’ve known so far, I guess all past live performances fed more and more my urge to make music, and encouraged my writing and my sharing. Like a (wonderful) drug. Without that drive, there would be no new album.

With the release of both singles, you’ve initiated a significant marketing campaign for “CHANDANI.” How does this campaign aim to capture the essence of the album and engage with your audience?
 
I wanted the album to like a little microcosm, with a message, an aesthetic, and a visual identity. The marketing campaign is aligned with it and guides the public along the release journey, which started in February with “How To Save Myself” and will end in September with the album, always revealing a little more about its world.
This project will also be my first step into the Meta-verse,  with the creation of a NFT collection and possibly concerts in the Meta-verse. For the visual part, I have to thank the artist behind the beautiful artworks, Adso Piñerúa, an incredibly talented Argentinian photographer, whose visual universe is very close to mine: a blue, dark, dreamy, surreal one.

“CHANDANI” is described as a celebration of a fortunate moment in your journey. How do you translate this sense of gratitude and introspection into the overall atmosphere of the album?
 
It’s hard to explain… Lyrics help, of course, but I don’t always use lyrics. I guess there just are some soundscapes and some harmonies, some patterns, sounds, textures that sound like “relief”, or “gratitude”, or “euphoria” to me. It’s the way they make me feel. So I try to find them and use them as a tool to translate this femotion and hopefully making someone else feel what I feel. This is the connection I love the most.

Through your music, you aim to convey messages of self-love, empowerment, and acceptance. How do you hope listeners will connect with these themes as they experience “CHANDANI” as a complete body of work?
Even if the album is inspired by my personal experience, I really think we are all more similar than we think, and after all, we all encounter the same monsters along the way. So I would like it to be a message of encouragement and express, in some way, that we are all on the same boat, and nobody is alone.
 

Can you share any behind-the-scenes anecdotes or memorable moments from the creation of “CHANDANI” and the recording process of both singles?

 
The months spent in the studio with my co-producer Jakob. It was so intense. We spent together so many hours, I felt like we could understand each other without speaking. We were friends before, but I think it brought us loser. One night (we were pretty tired, that kind of tired that makes you laugh about everything) we started to make up a fake language for “How To Save Myself”. So every time I hear the song I hear the fake words we made up (like “aiwishainü” – I wish I knew,  or “yüdusimee”– you to see me). It sounds ridiculous now, but at that point it was really funny!

Looking forward, what do you envision for the reception and impact of “CHANDANI” following the release of “How To Save Myself” and “30”? Are there any future projects or collaborations on the horizon that you’re particularly excited about?
 
I am very much looking forward to playing the album live. I am right now planning a little tour, starting from my home town to some European cities!

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Interview – Unveiling Musical Journeys: A Conversation with Julia Sound

by the partae
written by the partae

What inspired you to pursue a career in music production and composition, and how did Julia Sound come to fruition?

I became obsessed with music as a young kid, and learned the piano, and later also orchestral percussion. I segued into recording and mixing in my 20s, which naturally led to writing and producing . I spent years producing for other artists, and then when the pandemic hit, it seemed a good time to focus on my own art – Julia Sound is like the cumulative result of all of that.


Could you elaborate on why you chose to create “Julia Sound” as a project, and what sets it apart from your other musical endeavors?
I’d always loved electronic bands like Massive Attack, Chase & Status & Leftfield, who have the core band members but feature different vocalists on many songs, and I wanted to emulate that model. I had a ton of beats, snippets of tracks and ideas, and wanted to complete the songs, so I decided to reach out to different singers and rappers to see if they wanted to be a part of this collective. The project snowballed and now I have three full albums of material.

What led you to decide on making “Julia Sound” an instrumental album rather than incorporating vocals?
I love working with singers and rappers, in fact, I think that’s one of my strengths as a producer. However, for this album I wanted to get a little more experimental and also give myself the challenge of a fast turnaround on the tracks, and as such didn’t want to be thinking about lyrical themes. The result is an instrumental album, and the pieces are more of an improvised study in synths and beats than my other work. 

As a female musician, how do you perceive the role of women in the music industry, and how does that influence your work with Julia Sound?
I’ve been in the industry a long time, and for many years I was pretty much the only woman on the engineering and production side, in whichever studio and whichever city I was in. I’m really encouraged to see this has been changing over the last decade or so, with many more women entering the field from the technical side. I think it’s important all ‘voices’ and ideas are heard, and for so long, our industry has been the domain of men. I decided to make Julia Sound a 100% female (and non-binary) project to make space for this different sound and approach.

Can you share some of the key musical influences that have shaped the sound of Julia Sound, particularly those from 90’s and 00’s British electronica?
I think the 90’s and going into the 00’s was an incredible time for electronic music, and the scene in the UK was absolutely bursting with the creativity of brilliant electronic bands – Chemical Brothers, Underworld, Portishead, Massive Attack, Faithless to name a few. All these bands had tracks, albums and live shows that really resonated with me. Even if I listen to these albums less these days, they made an indelible impression on my musical tastes, so I think Julia Sound naturally leans into these influences.

How do you approach blending old synths with new plugins in your production process, and what do each contribute to the overall texture of the album?
I have a couple of old Roland synths (Juno 60 and JX3P) that I’d just got fixed, so they form the basis of some of these tracks. I also have a Korg Minilogue which is the key tone on ‘Quatre-Vingt-Quinze’. I tried not to get too prescriptive about what I used on each track, but I did find that blending a bunch of newer Native Instruments plugs, as well as Re-FX Vanguard with the analogue synths got me the results I was aiming for. 

In what ways does “Julia Sound” reflect your growth and evolution as a composer and producer since your earlier releases?
I think the project has given me the confidence to see myself as an artist and composer, whereas until then, I was more a producer for other people. It’s also given me the flexibility to put myself out there as a creator of music for visual media as well.

What inspired you to incorporate trip-hop elements into Julia Sound’s music, and how do you feel it enhances the listening experience?
As mentioned above, I think the trip-hop elements from some of my earlier musical influences naturally come out when I’m creating downtempo tracks. I also love listening to hip hop, so there’s crossover there from a beats perspective too.

Could you discuss the decision to introduce harder beats into “Julia Sound,” and how it adds to the overall aesthetic of the album?
I had leaned into some cool Native Instruments beats plug ins, with the Butch Vig drums forming the basis on a couple of the tracks. I wouldn’t have leaned into these tones on the first two albums, but they just seemed to fit this time round, probably because I was not focused on supporting any vocals and felt I had more freedom to increase the edge drum-wise as a result.

What significance do mellow synth pads, sound design, and smooth arpeggiators hold in creating the atmospheric moods of Julia Sound’s music?
I also listen to ambient music, and all these elements form the basis of that genre, so naturally become part of the melting pot of tones that I draw from.

What challenges did you encounter during the production of “Julia Sound,” and how did you navigate through them?
A goal I set for myself was to turn this album around super quickly, which in itself I guess could be considered challenging, because, as any music creator knows, the temptation is there to endlessly noodle and tweak. If I found myself going down a rabbit hole, I quickly stopped the track and moved onto a new one.

Looking ahead, what are your upcoming goals and aspirations for Julia Sound, and how do you envision the project evolving in the future?
One reason for setting myself the challenge of working fast was that I’d love to get into more composition for film and TV, and I know that turnaround times can be tight in that field. I think this project proved to myself I can create compelling music that would work well for visual media, so that’s something I’m going to explore. Also, now that I have a large body of Julia Sound tracks to draw from, I’m planning live shows. There’s a big appetite for live music of all kinds where I live (on the West Coast of BC) so I’m looking forward to taking some of these pieces to live audiences.
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