My kitchen. I would never leave if I didn’t have to. Maybe to stock up on food…eggs. Love me some eggs!
Music Interviews
Where are you currently based?
The Cookin’ crew are spread out across inner northern and eastern parts of Naarm/Melbourne.
What’s been happening recently?
We’ve been hard at it pushing the word out for this brand spankin 7 inch vinyl release. Cookin’ On 3 Burners are pretty DIY these days, running their own label Soul Messin’ Records and building on our community of funk and soul lovers worldwide.
How would you describe the band’s sound to a first time listener?
Sweet soul and dirty dancefloor funk.
Your latest single ‘I’m Comin Home To You’ featuring Stella Angelico is out now, what influenced the sound and songwriting?
We wanted to write a stomping soul banger that makes the most of combining our classic organ trio breakbeat sound with Stella’s 60s vocal leanings.
How did you come to work with Stella and how was the experience?
So great! We’ve been collaborating with Stella for the last couple of years live and she totally kills on stage. This new single was an awesome opportunity for us to capture some of that fire on record. The writing process was pretty sweet too, Stella got on a great vibe lyrically and was into all the musical ideas we put forward – we actually got four tracks written and recorded over that period.
What does this single mean to you?
Coming home to where the goodness is – where it’s been all along.
Where and when did you record and who did you work with?
We recorded the guts of this tune live to analog tape at our own Soul Messin’ Studios. Our Hammond organ player Jake Mason was on tracking and mixing duties and we all co-produced it. Once we had the mix feeling sweet, we took it to local legend Lachlan Carrick for mastering. We had the vinyl pressed in Germany and it’s super warm and punchy.
You’re playing on Friday 15 September at the Northcote Social Club in Melbourne, what can we expect from your show?
We are going to do a banging instrumental funk set and then a full set of vocal tracks with Stella Angelico. We also have the fabulous HAYCH playing support with her new band and PBS FM’s own Miss Goldie holding it down on vinyl duties between sets.
Who are you listening to at the moment?
Lotsa local legends Surprise Chef, Menagerie, Izy, Thndo, Steady Weather, Elle Shimada, Joelistics – get across them!
What’s planned for the remainder of 2023 going into 2024?
A hot new full length album, some feature shows and some festival spots.
Favourite food and place to hangout?
Marios Brunswick Street – so old school, so good!
‘I’M COMIN’ HOME TO YOU’ is out now.
Official Website | Facebook | Twitter | Instagram | YouTube
Where are you currently based?
We are from Melbourne, Australia!
How did the band form?
Lily and Pearl met at the hospital just after Pearl popped out of the womb – we’re sisters! Henry joined the band on drums a couple of years ago after we’d been playing with a range of different drummers and is now very much a part of Hot Glue, the band wouldn’t be the same without him.
What’s been happening recently?
We just released our debut album ‘Hatchet’! The whole process has been super exciting, including making our first music video for ‘Roadkill’ as well as launching it with a show at The Gasometer. The album has been a long time coming so it has been really awesome to finally share it with everyone.
Your debut album ‘Hatchet’ is out now, what influenced the sound and songwriting?
Thematically the album focuses on forgiveness in its many forms; grudges, apologies, burying the hatchet. We realised halfway through recording that the whole album was about forgiveness as we’d unintentionally been writing about it for the last few years. Sonically we’re very attached to our fuzzy guitars and sisterly harmonies, possibly brought on by our love of The Breeders. While recording we tried out different sounds but always found ourselves drifting back to how we play it live with our simple three piece.
How did you go about writing Hatchet?
‘Hatchet’ is made up of songs we wrote over time after releasing our debut EP as well as a couple of other singles. Once we had about seven songs, we decided to turn them into an album and realised the songs we were writing were mostly about some form of forgiveness or resentment. We went into writing the last couple songs for the album with this in mind. Some of the songs we would write individually then bring to the band, or would be written together.
Where and when did you record/produce/master and who did you work with?
We recorded ‘Hatchet’ at Hothouse Audio with our dad Craig Harnath who also mixed and mastered the album.
How did you approach the recording process?
Pretty much all of the songs we had been playing live for quite some time before we went to record them. We enjoyed coming up with new ideas and parts for the recordings, but ultimately kept them pretty close to the way we play them live. We love crunchy, fuzzy guitars and really embraced this on the record. Recording this album with our dad was really special, we already all hang out together a bunch so it was fun to make a record at the same time!
What does this album mean to you?
It feels amazing to have a full piece of work out in the world, especially one we love as much as Hatchet. Releasing feels like permission to forgive, be forgiven and move on. The songs are so cathartic for us, to play live and to have recorded, so it feels like an immense relief to finally have it out in the world.
Craig Harnath is the father of the two sister vocalists within the band, Craig has worked with loads of big bands over the years (Jet, Kylie Minogue etc) how has this musical connection affected your music and the band?
We’ve been really lucky to grow up in a family where music is celebrated, it’s always been such a big part of our lives and so many albums our parents love have soundtracked our childhood and influenced our own songwriting. Playing music has always been encouraged by our dad, but he very much allowed us to find our own path to starting a band.
Who are you listening to at the moment?
Some bands we’re loving at the moment are Juice Webster, Alex G, Slow Pulp and Noah and the Coldmen.
(Here’s a link to our current favs playlist: https://open.spotify.com/playlist/0i6yft1BV9ehNSeHgpTrEU?si=28c0033227bc473f)
What’s planned for the remainder of 2023 going into 2024?
We have a couple of shows lined up around Melbourne on September 22nd supporting Ally Mac at The Catfish, on September 29th supporting Noah and the Coldmen at Mamma Chen’s and on September 30th supporting Carla Geneve at The Night Cat. We’re also planning to release another music video for one of the songs off the album very soon.
Favourite food and place to hangout?
Northside we LOVE the burgers at The Retreat, especially pre-show. And we are also devoted patrons of The Banff in St Kilda and thoroughly enjoy their pizzas.
Linktree: https://linktr.ee/hotgluetheband
Instagram: https://instagram.com/hotgluetheband/
Facebook: https://facebook.com/hotgluetheband/
Your EP “Respire” will be out on September 1, what influenced the sound and songwriting?
I think in terms of the overall sound, Respire was mostly influenced by artists such as Missy Higgins, as well as including my own fairly obvious flare. I love how Missy writes with such authenticity and also includes particular instruments into her songs, which add to the overall feel of the Track, specifically the use of strings.
In terms of song writing, I almost always write from a place of lived experience. I think we are all united in our journey through this world, although with obvious slight difference to accommodate individuality. I think being a musician allows for such an amazing expression of life and the overall human experience, to which I aim to stay true to by writing straight from my heart in order to connect with my audience.
How did you go about writing Respire?
This EP was written over a number of years, and as with the changing of life, so too the track evolved into what you hear today. My intention was to continue with the utmost authenticity, and in order to do so, some songs needed to be changed/added to. Once in the studio, I sat with each session musician and shared my vision and together we created each component to each song. Overall it was a tough, ye incredibly rewarding process!
What does this EP mean to you?
After being hit by a drunk driver and losing my daily functions, including losing the ability to play music, or even remember my songs to begin with, this EP is the culmination of many years of personal hard work. It serves not only as a personal “up yours” to the many who told me I wouldn’t amount to anything since my Brain Injury, but also as an example of how powerful you can be when you simply decide to choose the life you want. It is an extremely personal triumph for me and so very clearly means quite a lot!
Do you have any live shows coming up?
For the moment I don’t have any live shows planned, after tackling some relatively recent and lasting health issues, I am focusing on all the many other facets to being a musician! That said, there has been some talk of international shows on the horizon, so stay tuned!
What do you have planned for Respire?
I plan to get that bad boy out into the world and to use it as a means to spread a message of hope and inspiration to many! I am a regular person, from a regular background, I simply chose not to let the dire circumstances I found myself in, dictate my future. My hope is to show people that they too can overcome whatever difficulty they may face, and I stand with them.
You have been recovering from a traumatic brain injury after a car accident 7 years ago and relearning to play music, please tell us about what you have learned about overcoming obstacles and your passion for showing people that they can get through anything:
You can CHOOSE. The most beautiful and incredible power we all have, is the power of choice. My favourite thing about having the ability to choose, is that if by some chance you don’t like whatever it is you have chosen, guess what? You can choose again! Haha nothing is ever fixed, even if at first it does not seem it. It all starts with a thought.
I grew up with a saying on my bathroom wall that I never really took much notice of, until my life taught me its significance. It said “HARMONY – What happens to you does not matter. What you BECOME through those experiences is all that is significant. This is the true MEANING of life.”
What a blessing it is to be able to choose how to respond and come to understand how powerful each of us are!
Who are you listening to at the moment?
At the moment I am listening to a completely random mix of songs that I have been collating over the period of years! I don’t have any particular style of music that I mostly listen to, I love to keep my ears surprised with every banger from every kind of genre! Music is LIFE in all of its array!
What are some of the things that you enjoy about music?
I love how music has the ability to really get beneath your skin. I don’t believe music simple goes into our ears, I believe it goes smack bang like a shot from cupid to the heart! That’s why when we really hear a song we love, our body reacts with covering us in goosebumps! That is what it’s all about, the feeling of the song! So powerful! Makes life all the more enjoyable to experience!
Where are you currently based?
Now I live in Toronto, but before that I lived in Vancouver, London (England), and Bulgaria, which is where I was born.
How did you first start playing music?
I’ve been in performance groups and choirs since I was a little girl, so I’ve been singing since day one. When I got a little older I started writing poems and such, and then when I joined a band in high school is when I started to dip my toes into actual songwriting.
What’s been happening recently?
It’s been a really exciting, crazy time actually.. Late last year I released a single called “Friends” which ended up charting #13 on the CHR/Top 40 chart in Canada, and it also earned me my first two Billboard chart placements with my own music, which was insane. I’ve been lucky enough to earn a few #1 Billboard Chart plaques for the writing I’ve done in the KPop world (“Black Mamba” by aespa specifically), but when you chart with your own music it really is an entirely different feeling of accomplishment.
Then Amazon Music chose me as their Breakthrough Artist this April and put my face on a big ol’ billboard in downtown Toronto, which coincided with my birthday so it was the absolute best birthday gift I could’ve asked for!
And now I’m releasing a brand new single called “That Song” which I adore because it’s very much a redemption anthem for all the songs that my past relationships have ruined.
Your new single ‘That Song’ is out on August 25th, what influenced the sound and songwriting?
I wrote “That Song” with Ali Milner and Joel Stouffer (who also produced it), and from the get go I knew I wanted to write a feel-good, rhythmic song that makes you want to bounce along. I have this thing where I tend to put lyrics that aren’t necessarily happy on top of bouncy, up-beat instrumentals because I feel like in that way I don’t have to be sappy about whatever I’m going through. For a while I’ve been wanting to write a song about how all my favourite songs have been tainted because they’re so connected to memories of past relationships that now I can’t enjoy them fully. Ali and Joel were totally on the same wavelength as me and I’m so grateful that this song fell into their hands to help craft and shape it into exactly what I wanted it to be.
What does ‘That Song’ mean to you?
It feels very empowering to me because like it says in the song, I get to create new melodies and shape new memories for myself now; free of negative associations of the past. I’m reclaiming the joy that music brings me. It’s very therapeutic, actually.
Where and when did you record/produce/master and who did you work with?
Ali, Joel, and I wrote and recorded at Sony Music Studios in Toronto earlier this year, and I instantly fell in love with it and wanted it as my next single. That Song was mastered by Joao Carvalho, who’s also absolutely amazing.
How did you approach the recording process?
We actually originally wrote the song in a slightly lower key than the final version, but when I got in to do the final vocals we decided to play around and take it up a little bit. That ended up being the total right move because it added that extra bit of energy and sparkle.
Who are you listening to at the moment?
I am absolutely rinsing Tori Kelly’s new EP “tori”. It’s the perfect EP and I can’t wait for her to release more. When I like something, I absolutely obsess over it and listen to ONLY that, all day, every day, until I throw up.
What’s planned for the remainder of 2023?
I’ve got more music coming this year, music videos, and shows! More to come 🙂
Favourite food and place to hangout?
I could eat tacos and sushi every single day for the rest of my life, and die happy. Now give me that, put a book in my hand, and put me on the new couch I just bought, and you’ve got yourself the happiest camper you could ever imagine. I get wild, I know.
Instagram: @itsniiva
Twitter: @itsniiva
Facebook: /itsniiva
Website: https://itsniiva.com/
Jane & I started a Pixies tribute band, Proxies, in about 2007, Spike joined us, bringing his Clash & Who chops, and we turned our cover chemistry to our own songs in 2010. Drummer Mark joined in 2013, we did a run of gigs through to 2016. Steve joined us on bass in 2020 and we quickly got busy again, writing, performing and recording over the last 3 years.
We’ve been releasing our first set of singles and playing live in Wellington and surrounds. We’ve got two singles so far this year – ‘Gravity’ and ‘Calling Out’ – with two more scheduled over the next couple of months. We’re getting great playlist & feature pickup from UK & US indie channels, and some really encouraging reviews. And we’re now working with producer Scott Seabright to prepare for more recording in November, plus more gigs through the year. Exciting times.
‘Calling Out’ was written by Spike, he’s got his own set of influences and stylistic ways. He brought it to the band as a ready piece, and we’ve all built our own parts through rehearsal and review. It’s one of those songs that the band has revered from the start, we all play it with great delicacy and the love to make it count!
A man, his guitar, and time for reflection on a dark time.
We recorded at Massey University School of Music in 2021, with Mike Gibson and assisted by Robbie Pattinson. Mixing and finishing got massively disrupted by the pandemic – lockdowns and rescheduling – but our label Plasticgroove HQ brought studio guru Scott Seabright into the picture and he’s mastered the Massey recordings for release, and is now taking an active production role for future projects.
We’re pretty varied in approach. Previously myself, Spike & Jane had brought already written songs, and we’ve made them our own as a band. In the last year or two, Jane & I have done a lot of writing together, but often ideas have come from jams together, then workshopping by Jane, Steve & I to get new material in shape for the whole band to realise.
Personally I’ve been listening to several Wellington bands, enjoying the local live scene again and listening to what’s out in release, for example Lung, This Silent Divide, Column of Sand, Mister Unit, Electric Tapestry, Tower of Flints, Dream State Empire. I’ve got a pretty eclectic library of music on my phone, a lot of Pixies, Faith No More, Queens of the Stone Age.
We’ve just played the much-sort-after Lovelands music club in Porirua on 26 August, next is Wellington’s Valhalla on 28 September with Electric Tapestry to launch our next single ‘Falling All Over’ out on 29th September. We’re teaming up with Electric Tapestry again at Meow in Wellington CBD on 8 December.
Preparation for recordings with Scott Seabright producing in November, and get booking for next year. And we’ve got another handful of new songs to bring into the repertoire, so more rehearsal and planning together.
Again purely personal, bacon & eggs, and I love Fidel’s Cafe in Wellington’s Upper Cuba Street.
CALL OUT ‘MORE WOMEN IN BLUES’ – OZI BLUES WOMEN PRESENTED BY DOUBLE TROUBLE BLUES SESSIONS THIS SUNDAY 20.8.23 ATRICHMOND CENTRAL CLUB HOTEL FROM 3PM
TICKETS
How do you know each other?
Bronnie recalls, “Kal and I met through the Melb Blues music scene, I can’t recall whether it was at MBAS or Hume Blues it was quite some time ago, since then we’ve supported each other in music whenever possible.“
Marion states, “We had the pleasure of working with Kaliopi at Beneath Drivers Lane a few months ago and enjoyed a positive and supportive connection between us all.
What drew you into the blues scene?
Marion Turner says, “since the age of 14 , a school teacher took an interest in my vocals and introduced me to a couple of Blues songs. He would play the tunes on the school piano and put me into the school concerts, even a TV Talent Quest, that’s when I knew I wanted to sing the blues which I took up professionally later in life when I started working with Steve Plater”(Both from Salty Dog Blues Band are performing duo for this event as well as joining in the Jam).
Bronnie shares, “I was raised singing jazz, later switched to covers, when I moved to Perth I found the blues dare I say that was 40 odd years ago I’ve veered off a couple of times to pursue other genres in original music but I always come back to the blues it’s in my blood!”
How do you find opportunities for women in the music industry and the blues scene in particular?
Marion accounts, “I personally didn’t find it hard working in the music industry in cover, cabaret bands until I decided to go for broke in the blues scene with very much to learn about performing the blues in front of Blues audiences, definitely hard slog being mostly a male dominated field then. Am grateful that we women are accepted and more recognised in the Blues now days.”
Bronnie believes, “There is always room for more women in blues!”.
Lisette Payet, keyboard player for Kaliopi & The Blues Messengers, recalls, “I was initially introduced to the ‘Women In Blues’ through Kelly Auty and Jen Hawley when it first began and I have to say I’m a little disappointed after the MBAS competition to witness not much progress for the women in blues. Maybe we need more of these shows for Women in Blues.”
How do you feel being invited to be a part of the Ozi Blueswomen show for Double Trouble Blues Sessions?
Bronnie Gordon says “I’m loving being involved in the Ozi Blueswomen show, there hasn’t been a lot of time for rehearsal but when it’s happened it’s been a great vibe. This is a great concept, I’m looking forward to sharing the stage on Sunday!”
Marion added, “I feel honoured to be gracing the stage with Kaliopi and the Blues Messengers and all the very talented women participating in the show”.
Crafted within the intimate embrace of a seven-day sojourn at the enigmatic Weird Church nestled in the heart of Cumberland BC, emerges “The History of Gunpowder” like a radiant gem polished in the crucible of artistic passion. This opulent creation unfurls a rare and exquisite tapestry, a symphonic evolution that sees their sonic identity pirouette gracefully toward an acoustic sensibility. Here, the tempestuous maelstrom of distortion gracefully surrenders its throne to the opulent caress of velvet textures, while the once tumultuous growls metamorphose into resounding howls that echo with profound emotion.
In this avant-garde opus, the group ingeniously harnesses the architectural splendor of the historic 19th-century pipe organ that adorns the church, intertwining its melodious resonance with ethereal choral infusions that cascade like celestial whispers, embellishing the core musicians’ sublime artistry. The outcome of this symphonic alchemy is nothing short of a grandiloquent masterpiece – an intimate behemoth that embarks on profound voyages into the realms of community, music, and artistry.
As the cinematic curtain rises on this enchanting odyssey, the film unveils not only the group’s latest, yet-to-be-unveiled opuses, but also interlaces these potent live performances with a series of visual vignettes – mini-cinematic tapestries that dance as interludes, their original soundscapes finely woven into the very fabric of the band’s creative essence. This audacious and atypical format serves as an homage to the art of creation and the embrace of community that nurtured these melodic odes, captured meticulously throughout the week in a documentary panorama that breathes life into their artistic genesis.
In a triumphant crescendo, “The History of Gunpowder” unveils itself as an entrancing, singular opus that beckons the viewer to traverse its multidimensional landscape. It encapsulates not only the mere act of bearing witness, but rather envelops the observer in the very spirit of the congregation, inviting them to bask in the euphoria of sculpting sound within the graceful embrace of a resplendent, cavernous sanctuary. This magnum opus, an orchestration of human experience and symphonic prowess, resonates as a mesmerizing testament to the boundless realms of artistic ingenuity.
Crafted within the intimate embrace of a seven-day sojourn at the enigmatic Weird Church nestled in the heart of Cumberland BC, emerges “The History of Gunpowder” like a radiant gem polished in the crucible of artistic passion. This opulent creation unfurls a rare and exquisite tapestry, a symphonic evolution that sees their sonic identity pirouette gracefully toward an acoustic sensibility. Here, the tempestuous maelstrom of distortion gracefully surrenders its throne to the opulent caress of velvet textures, while the once tumultuous growls metamorphose into resounding howls that echo with profound emotion.
In this avant-garde opus, the group ingeniously harnesses the architectural splendor of the historic 19th-century pipe organ that adorns the church, intertwining its melodious resonance with ethereal choral infusions that cascade like celestial whispers, embellishing the core musicians’ sublime artistry. The outcome of this symphonic alchemy is nothing short of a grandiloquent masterpiece – an intimate behemoth that embarks on profound voyages into the realms of community, music, and artistry.
As the cinematic curtain rises on this enchanting odyssey, the film unveils not only the group’s latest, yet-to-be-unveiled opuses, but also interlaces these potent live performances with a series of visual vignettes – mini-cinematic tapestries that dance as interludes, their original soundscapes finely woven into the very fabric of the band’s creative essence. This audacious and atypical format serves as an homage to the art of creation and the embrace of community that nurtured these melodic odes, captured meticulously throughout the week in a documentary panorama that breathes life into their artistic genesis.
In a triumphant crescendo, “The History of Gunpowder” unveils itself as an entrancing, singular opus that beckons the viewer to traverse its multidimensional landscape. It encapsulates not only the mere act of bearing witness, but rather envelops the observer in the very spirit of the congregation, inviting them to bask in the euphoria of sculpting sound within the graceful embrace of a resplendent, cavernous sanctuary. This magnum opus, an orchestration of human experience and symphonic prowess, resonates as a mesmerizing testament to the boundless realms of artistic ingenuity.
Where are you currently based?
I’m based in London, United Kingdom and have been all my life, can’t really imagine living anywhere else currently!
What’s been happening recently?
I have literally just landed back from my Australia/New Zealand tour where I was away for a couple weeks so feeling a bit rough as that journey shouldn’t be underestimated! Had such an incredible time so well worth it.
You have a new collab with Michael Sparks called ‘Magic Carpet’ – out Aug 4th, how did this collab come to be?
We’ve spoken about it for a while since we both supported each other’s music at shows. I managed to meet Michael when he was over in London last year and since then we’ve done a few tracks together, with “Magic Carpet” being the first one we release.
Please tell us about the song writing process:
The idea was originally Michael’s, started out as a general melody idea that can be heard in the final track with some drums. I took this idea and added my own take on it, added some more of my bass sounds, drums and musical elements to tie it all together. Finally Michael added some vocals which are actually just processed vocals he did himself and think they turned out great and captured the vibe and energy instantly. It was actually a very easy process!
What or influenced the songwriting?
It definitely takes Middle Eastern influences which is quite a strange one for both of our previous work. We were keen to create something different and approach this track from a different angle to usual – it’s maybe not exactly what people would expect a track between us to sound like!
Where and when did you record/produce/master and who did you work with?
We both live either side of the Atlantic so in person production wasn’t possible for this. Michael sent be stems (individual parts to the idea) and I put them into Ableton on my end. From there I added all of my production and sent it back to him for final mastering. Again, all a very streamlined process and find the less you go back and forth on ideas, the better the final outcome.
What does this track mean to you?
This track means a lot in the way that it’s a different take on bass music to usual with the Middle Eastern elements and unique sounds we made for it. Also on a personal level it’s always great to make tracks with people that you genuinely have friendships with and push each other musically. Also with it releasing on Spinnin Records, probably the biggest and most renowned dance music label globally, it gives it the best chance for success.
Please tell us about your shows in OZ + summer touring:
The Australia and New Zealand shows were up there with some of the best experiences i’ve had. It’s always a bit daunting travelling to the other side of the world to a new audience and not knowing exactly how your music and shows will be perceived but I was so relieved to see such engaged and knowledgeable crowds who genuinely loved the music. Adelaide at Electric Circus was a special one for me especially after seeing the club and engaging with them since pre-covid, it was always a target to play there one day and it didn’t disappoint – dark, sweaty, intense lights, huge sound system. Absolutely everything I love!
What can we expect from your live shows?
My live shows are based around my music, whether that be released or unreleased specials for shows. I also play lots of music that influences me from other producers I love such as Knock2, Chris Lorenzo, TS7 and anyone pushing out the best bass music. Depending on the situation I also delve into some of my other favourite genres such as Garage, Dubstep and Drum & Bass where I have more freedom to do so. Expect high energy music and crowds!
Please tell us about your collaboration with AC Slater:
I don’t think it’s any secret if you follow my music that the track is a reworked and revamped version of a remix I did for shows of Missy Elliott “Lose Control”, a track I absolutely love and needed to do my own NuBass version of. I played this at shows for about a year and posted on social media but never had any intention of releasing. AC and I have been good friends for a long time through his label Night Bass and have been speaking about doing a track together for ages.
He was keen to have a go reworking the track into an original and he did a great job adding his unique sounds and offering a fresh take on the structure. Kaleena Zanders was the final piece to the puzzle who recorded vocals over the top in person with AC in Los Angeles and it all came together great.
Any other new music on the way?
I have a collaboration with Legacy out in September on Night Bass – always love releasing on there as they give me a lot of freedom to try new sounds regularly. That’s a more groovy house track with big switches in the drop to heavier bass music, another very unique track!
Aside from this, I am working on my first studio album, not many details worked out yet but already have a few tracks finished and the general concept is coming together. Really excited to get it finished!
Who are you listening to at the moment?
Within bass music, I usually listen to Knock2, MPH and Hamdi at the minute. I actually tend to stay away from listening to too much music to stop myself aiming for other peoples sound and go more into Drum & Bass – really into Jungle at the moment and the older gritty style to it. Definitely influences some of the sounds and grooves I use.
What’s planned for the remainder of 2023?
I’m playing in Japan for the first time in a couple of weeks. That will be incredible! Otherwise there are a few more shows to round up the year here in the UK and Canada announced for the moment but lots more to share soon. Away from touring, I am planning to get really stuck into production again as travelling has meant that lower on the priority list so I can hit the ground running in 2024.
Favourite food and place to hangout?
Always Asian food, Sushi, Thai Green Curry, Katsu Curry – anything with rice and spice. Here in London, it’s with friends and family on the weekends. I’m not out of the country catching up over a/several pints at the pub!
Where are you currently based?
I’m based in London, United Kingdom and have been all my life, can’t really imagine living anywhere else currently!
What’s been happening recently?
I have literally just landed back from my Australia/New Zealand tour where I was away for a couple weeks so feeling a bit rough as that journey shouldn’t be underestimated! Had such an incredible time so well worth it.
You have a new collab with Michael Sparks called ‘Magic Carpet’ – out Aug 4th, how did this collab come to be?
We’ve spoken about it for a while since we both supported each other’s music at shows. I managed to meet Michael when he was over in London last year and since then we’ve done a few tracks together, with “Magic Carpet” being the first one we release.
Please tell us about the song writing process:
The idea was originally Michael’s, started out as a general melody idea that can be heard in the final track with some drums. I took this idea and added my own take on it, added some more of my bass sounds, drums and musical elements to tie it all together. Finally Michael added some vocals which are actually just processed vocals he did himself and think they turned out great and captured the vibe and energy instantly. It was actually a very easy process!
What or influenced the songwriting?
It definitely takes Middle Eastern influences which is quite a strange one for both of our previous work. We were keen to create something different and approach this track from a different angle to usual – it’s maybe not exactly what people would expect a track between us to sound like!
Where and when did you record/produce/master and who did you work with?
We both live either side of the Atlantic so in person production wasn’t possible for this. Michael sent be stems (individual parts to the idea) and I put them into Ableton on my end. From there I added all of my production and sent it back to him for final mastering. Again, all a very streamlined process and find the less you go back and forth on ideas, the better the final outcome.
What does this track mean to you?
This track means a lot in the way that it’s a different take on bass music to usual with the Middle Eastern elements and unique sounds we made for it. Also on a personal level it’s always great to make tracks with people that you genuinely have friendships with and push each other musically. Also with it releasing on Spinnin Records, probably the biggest and most renowned dance music label globally, it gives it the best chance for success.
Please tell us about your shows in OZ + summer touring:
The Australia and New Zealand shows were up there with some of the best experiences i’ve had. It’s always a bit daunting travelling to the other side of the world to a new audience and not knowing exactly how your music and shows will be perceived but I was so relieved to see such engaged and knowledgeable crowds who genuinely loved the music. Adelaide at Electric Circus was a special one for me especially after seeing the club and engaging with them since pre-covid, it was always a target to play there one day and it didn’t disappoint – dark, sweaty, intense lights, huge sound system. Absolutely everything I love!
What can we expect from your live shows?
My live shows are based around my music, whether that be released or unreleased specials for shows. I also play lots of music that influences me from other producers I love such as Knock2, Chris Lorenzo, TS7 and anyone pushing out the best bass music. Depending on the situation I also delve into some of my other favourite genres such as Garage, Dubstep and Drum & Bass where I have more freedom to do so. Expect high energy music and crowds!
Please tell us about your collaboration with AC Slater:
I don’t think it’s any secret if you follow my music that the track is a reworked and revamped version of a remix I did for shows of Missy Elliott “Lose Control”, a track I absolutely love and needed to do my own NuBass version of. I played this at shows for about a year and posted on social media but never had any intention of releasing. AC and I have been good friends for a long time through his label Night Bass and have been speaking about doing a track together for ages.
He was keen to have a go reworking the track into an original and he did a great job adding his unique sounds and offering a fresh take on the structure. Kaleena Zanders was the final piece to the puzzle who recorded vocals over the top in person with AC in Los Angeles and it all came together great.
Any other new music on the way?
I have a collaboration with Legacy out in September on Night Bass – always love releasing on there as they give me a lot of freedom to try new sounds regularly. That’s a more groovy house track with big switches in the drop to heavier bass music, another very unique track!
Aside from this, I am working on my first studio album, not many details worked out yet but already have a few tracks finished and the general concept is coming together. Really excited to get it finished!
Who are you listening to at the moment?
Within bass music, I usually listen to Knock2, MPH and Hamdi at the minute. I actually tend to stay away from listening to too much music to stop myself aiming for other peoples sound and go more into Drum & Bass – really into Jungle at the moment and the older gritty style to it. Definitely influences some of the sounds and grooves I use.
What’s planned for the remainder of 2023?
I’m playing in Japan for the first time in a couple of weeks. That will be incredible! Otherwise there are a few more shows to round up the year here in the UK and Canada announced for the moment but lots more to share soon. Away from touring, I am planning to get really stuck into production again as travelling has meant that lower on the priority list so I can hit the ground running in 2024.
Favourite food and place to hangout?
Always Asian food, Sushi, Thai Green Curry, Katsu Curry – anything with rice and spice. Here in London, it’s with friends and family on the weekends. I’m not out of the country catching up over a/several pints at the pub!
Where are you currently based?
We’re currently a bit scattered! We’re all originally from Sydney but Henry (drums) and Alex (vocals and guitar) buggered off to Melbourne and Tasmania about 1-2 years ago. Zach (vocals and bass) and Ben (guitar) are still kicking it in Sydney.
How did Subrosa form?
We’ve been making music together on and off for about 5 years. We spent a good portion of 2021 jamming and performing around Sydney once Covid had simmered down a little. We were keen to head to the studio to capture that period of time before a few of us were due to head back overseas. As we worked on the songs we arrived at a place that felt new and different to how we’d been playing live and so it felt fitting to start a new project – thus SUBROSA was born!
What’s been happening recently?
We put out our first single – GALAXY – at the end of last year and have just released another – NO COMPLY. We’ve been starting to play live again and managed to squeeze onto Beastmode’s ‘Back on the Map’ Pre-show back in June which was a lotta fun. Currently we’re getting things into gear and trying to prepare for our EP Launch show that’s round the corner!
Your latest single ‘NO COMPLY’ is out now, what influenced the sound and songwriting?
A couple of us are big fans of DIIV and the very first jam that sparked the original ideas – the bones of what’s now the verse – felt to us to have come from that inspiration (enough so that we saved the scratch recording of it under that name). A few of us grew up on punk and hardcore so I think we have a tendency to want to want to bring that energy in at times and the chorus was one of those times.
This energy also kind of naturally influenced the initial angst and anti-establishment nature of the lyrical content. At the same time coming out of COVID as we we’re heading back to parties and raves we found ourselves thinking about the importance of community and places of gathering that we’d so missed and so all these influences and sounds kind of collided.
Where and when did you record/produce/master and who did you work with?
We recorded with our dear friend Elliot Gallart at The Chameleon Studios. We’ve worked with him in the past and he’s definitely got a knack for bringing the best out of us. This was towards the end of 2021 and we spent about a week or so in there with him. He recorded and produced it for us and we sent it to the don Alan Douches of West West Side music to get mastered.
How did you approach the recording process?
We came in with around 8 demos with the intention to record 5. We showed them to Elliot and asked his opinion of what he thought could work well as a cohesive piece of work. Refreshingly some of the tracks that we thought were shoe-ins weren’t at the top of his list and he was keen to strive towards a more concise and bigger sound to what we’d planned/anticipated.
This led to the recording process being a lot more dynamic and collaborative and it really brought the best out of the tunes (whilst being a hell of a lotta fun). Elliot works with a lot of heavier bands and he was able to tap into that heavy influence that we grew up on but often keep a little too at bay. It was super gratifying to lean back into that side of things.
What does this single mean to you?
It’s a really great summation of our sound and where we’re at. It has this nice balance of our eclectic influences whilst still being all tied together in a cohesive way to a degree that we’ve always kind of wanted to achieve. As for the meaning of the track itself, whilst definitely a reaction to some pretty oppressive times a couple years back, it also represents a message looking to the future to keep fighting for our passions and the things that make us feel connected and free.
Please tell us about your upcoming EP:
We’re super excited to finally have it out there as we’ve had it sitting now for a little while. We titled the record ‘SPACE ON EARTH’ as each of the tracks felt like their own little worlds to us. Whilst inspired and set in places of familiarity, they also ponder what things could be like ‘elsewhere’ and the notion that this elsewhere may not be as far away as we think. Similar to each of the singles, the record as a whole branches off in a few different directions and we can’t wait for people to join us for the brief but packed little ride.
Where and when will the EP launch show be and what can we expect?
EP Launch is on the 28th of August at the Botany View in Newtown! Our friends Dead Routes and Sprinter are opening for us and it should be quite the evening. We’re itching to go so one should expect some kind of release of pent up energy.
Who are you listening to at the moment?
A couple off the top of our our domes and in no particular order…Nabihah Iqbal, Kali Uchis, The Smile, Yves Tumor, Larry June, George Clanton, Beach Fossils, Fliptrix
What’s planned for the remainder of 2023?
After the EP Launch we’re playing another couple of shows here and there til the end of the year. We’re also trying to squeeze some more time back in the studio before the year is out to keep the ball rolling!
Favourite food and place to hangout?
We do tend to give the Marrickville Bowlo a lot of patronage as it’s just round the corner from where we rehearse – it would be patronage to say anywhere else really but if there was a gun to our heads we may blurt out something along the lines of Pastizzi Cafe…
Nottingham.How did you first start playing music?
I was always into music. I first started playing piano in Littleover Derby when I was 6.
Just had my first release party and it went way better than I imagined. I was really stressed about it and wanted people to enjoy themselves and looking at the videos back it looks like they did.Your latest single ‘Antidote’ is out now, what influenced the sound and songwriting?
A lot of influence from Dave’s album Psychodrama. But I actually wrote the 8 bar break in the middle (the antidote bars) 2 years ago in Lockdown when I think everyone was struggling with mental health and loneliness.
How did you go about writing Antidote?
I wanted to write a song which is relevant to what I’ve been seeing more recently, regarding social media, mental health and politics. I wanted to shed a light on all the lies that the Tory government are giving out and the pure stupidity of the past prime ministers who have been in power most recently, for example Boris Johnson. I truly hope we escape this period of inflation right now and the world changes for the better. I want people to relate to what I’m saying and if they do or not I don’t mind but I appreciate anyone who takes the time of their day to play one of my songs.
Where and when did you record/produce/master and who did you work with?
The track was produced by The Deadrose Music Company, a very good friend who’s a talented producer and engineer and also a big inspiration to me. I recorded the 1st draft vocal of antidote in a home studio and realised it had a lot of potential. So then took it to Elementz studio in Nottingham to get a better, more clean recording. The engineer in Elementz was Andy Zoutr, another good friend and a talented producer/ engineer. The master was done by Gawp music (a good friend of Deadrose).
How did you approach the recording process?
I delivered the vocal with more energy and feeling, compared to my other more laid back flow. I felt that more expression in the vocal was needed due to the topics I talk about in the song.
I wanted to show a different and more vulnerable side to my music hoping people would connect with my songs more.
The upcoming singles are bangers, a couple more collaborations coming up as well…Who are you listening to at the moment?
I’m listening to a lot of Jhus at the moment, he just dropped a project and I’m a big fan of it.
What’s planned for the remainder of 2023?
This year I want to and will stay consistent with my music and releases.
Favourite food and place to hangout?
When I’m home I love eating boiled eggs with toast. But when I’m out having food at the moment I like getting a spicy chicken burger and chips lol, it’s just peng. And honestly, my favourite to hang out is my room, because I have everything that I need there…. my music setup and a TV, couldn’t ask for more.
Nottingham.How did you first start playing music?
I was always into music. I first started playing piano in Littleover Derby when I was 6.
Just had my first release party and it went way better than I imagined. I was really stressed about it and wanted people to enjoy themselves and looking at the videos back it looks like they did.Your latest single ‘Antidote’ is out now, what influenced the sound and songwriting?
A lot of influence from Dave’s album Psychodrama. But I actually wrote the 8 bar break in the middle (the antidote bars) 2 years ago in Lockdown when I think everyone was struggling with mental health and loneliness.
How did you go about writing Antidote?
I wanted to write a song which is relevant to what I’ve been seeing more recently, regarding social media, mental health and politics. I wanted to shed a light on all the lies that the Tory government are giving out and the pure stupidity of the past prime ministers who have been in power most recently, for example Boris Johnson. I truly hope we escape this period of inflation right now and the world changes for the better. I want people to relate to what I’m saying and if they do or not I don’t mind but I appreciate anyone who takes the time of their day to play one of my songs.
Where and when did you record/produce/master and who did you work with?
The track was produced by The Deadrose Music Company, a very good friend who’s a talented producer and engineer and also a big inspiration to me. I recorded the 1st draft vocal of antidote in a home studio and realised it had a lot of potential. So then took it to Elementz studio in Nottingham to get a better, more clean recording. The engineer in Elementz was Andy Zoutr, another good friend and a talented producer/ engineer. The master was done by Gawp music (a good friend of Deadrose).
How did you approach the recording process?
I delivered the vocal with more energy and feeling, compared to my other more laid back flow. I felt that more expression in the vocal was needed due to the topics I talk about in the song.
I wanted to show a different and more vulnerable side to my music hoping people would connect with my songs more.
The upcoming singles are bangers, a couple more collaborations coming up as well…Who are you listening to at the moment?
I’m listening to a lot of Jhus at the moment, he just dropped a project and I’m a big fan of it.
What’s planned for the remainder of 2023?
This year I want to and will stay consistent with my music and releases.
Favourite food and place to hangout?
When I’m home I love eating boiled eggs with toast. But when I’m out having food at the moment I like getting a spicy chicken burger and chips lol, it’s just peng. And honestly, my favourite to hang out is my room, because I have everything that I need there…. my music setup and a TV, couldn’t ask for more.