Music Interviews

We really just wanted to use a song from the EP as the title. We ended up choosing “You Couldn’t Even Wait” as it is the conclusion to the EP. We felt this title represented the feelings we all felt after listening to the EP in full.

The demos, which were just instrumentation, were quite dark in tone and we wanted to continue this theme. After writing lyrics and vocal melodies, the songs started to take shape and become the embodiment of the emotions that we wanted to portray.

We believe each song is individual in its category of emotion whilst still greatly revolving around the feelings of grief and loss.

When writing for this concept, we felt it best we keep our distance from those involved for a few different reasons. The first being anonymity to the families affected by the topic matter.

The second reason was that distance enables anyone to fill the shoes or stand in the face of being affected by tragedy. We did not use any names of people, places or genders to help support both the prior mentioned points.

Everyone in Goodbye, August is a huge fan of the catalogue of bands that The Brain Studios has worked on! Most notably for us however, was the EP “Slowly Dying With You” by Whatever, Forever. We all agreed that we had to go where that record was produced as it had the sound we wished for our EP to take influence from. We collectively felt that The Brain Studios would suit the best for us and we’re so thankful with not only the team as people, but the work they produced for us. Endless gratitude.

When creating the concept for the EP, rather than tell a story of an event, we wanted to tell a story of perspectives. We chose each song to be a different person’s perspective of the accident as a whole.  Let’s use “I Let The Sorrow Fill Me” for this example.  Emotionally this song was written in the form of ‘shock’ to a person. We have an upbeat chorus as in a timeline of events, the accident in question isn’t known yet. But in each verse the perspective of the song changes upon realisation of what a person is facing after witnessing the accident. Thus leading to the pre-chorus where the perspective changes to someone knowing that they are unable to help the person(s) infront of them. The bridge of the song is written to let all the emotion in upon moving on from the ‘shock’ factor.  This helped us with lyrical writing and using the bridge as an ‘acceptance’ of the situation, we used the line “I Let The Sorrow Fill Me” to portray that feeling.

The evolution has been fantastic! Andrew and Josh are both great people and share the ambitions that Sean and myself (Mitchell) have set out to accomplish. The direction that Andrew and Josh gave the band helped affirm what Sean and I initially wanted to do and they helped build our ideas into something greater. Without them, “You Couldn’t Even Wait” would be a completely different record and non distinguishable to what it is now.

Using the Brain Studios was key to helping us blend these genres. The guitar and bass tones help us set the stage for the genre of music we wish to portray. The drums are another example of not tonally sitting in one genre more than another. We do not wish to be a strictly ‘X’ genre band and The Brain Studios helped us sit in all genres without clear definition.
Regarding bands that played a significant role in shaping our sound and songs, Whatever, Forever, Basement and Endless Heights are major influences to us.

We chose these two songs as singles because we felt that they captured the genre and sound bending we have throughout the EP. ‘Letterbox Pills’ being very broody and chord based with lots of ambience and ‘Where’d You Go Without Calling’ being very open in sound and utalising more vocal range.

There were definitely a lot of emotions and challenges faced with initially writing this EP.  A band Sean and I were in had just broken up along with another band falling through. Not long after these two events I was in the Lismore floods and lost my house and job along with my possessions.  I ended up writing the first iterations of the EP on my dads old work laptop from around 2012 with a pair of earphones and a cheap guitar that wasn’t too water damaged.  It was a different experience as the gear I had was limited but it was also the perfect time to write music after going through previous band breakups and a natural disaster.  It helped portray the emotion that eventually became “You Couldn’t Even Wait”.

The EP delves into personal experiences of grief and the aftermath of a tragedy. How do you hope listeners will connect with and interpret the stories shared in your music?

We hope that everyone can find comfort in knowing the challenges they face after a tragedy aren’t inclusive to themselves and we hope that our music can be some form of comfort for the grieving process and reflection.

We had a bunch of memorable moments hanging out with Clay and Angie from The Brain Studios. I think some favourites would be seeing who could pet Squee the cat without getting scratched which I think Sean succeeded and Josh failed at! The team along with studio hand Declan from Sydney emo hardcore band Brooklyn Comic made our experience the best it could have been and we can’t wait to finish writing new songs so we can go back and see who has the worst jokes over lunch. Josh’s redemption arc for petting Squee will still probably end in defeat though!

For 2024, we wish to play a bunch of shows and get some attention from radios, national and if we’re lucky enough, international acts.  We’ve started writing for EP 2 but I think that will happen later down the line as we are all super stoked on “You Couldn’t Even Wait” and wish to tour it throughout the year. Our next show is January 27th at Greaser Bar in Brisbane which should be announced shortly!

Thank you and we hope you enjoy our debut EP, “You Couldn’t Even Wait”.

What inspired Annoying Neighbours to explore a new direction in their sound with the single ‘The Plea’?

I think it came down to just wanting to try something different other than having the amps fully loaded and screaming into the microphone the whole time. That, as well as being interested in exploring the psychedelic genre as a whole. It was nice to put something different in our musical catalogue.  

How does ‘The Plea’ differ stylistically from Annoying Neighbours’ previous work, particularly their last two EPs?

Stylistically it delves into the world of psychedelia a lot more. Putting emphasis on melody, texture, dynamics and expressive devices overall. Leaving us with a chill starter and finishing it off with a euphoric release.

How does the band describe the lyrical theme of ‘The Plea’ and what emotions does it aim to evoke in listeners?

I didn’t think too much about the lyrics, it was one of those songs I wrote words to in like 5 minutes. But emotionally I wanted to create a ‘safe space’ for people to sit in and have a ponder. Then they can bust out a big boogie in the last section.

What makes the psychedelic rock genre unique, and how does Annoying Neighbours contribute to this uniqueness with their music?

The psych rock genre is super rad! I personally believe that it’s showing the artists true spirit of what they are inside, though you could probably argue that for every artist, musician or genre. Sonically, it usually involves lots of ‘movement’ whether that be through phaser, wah, delay, reverb or chorus effects. This makes it very easy to get caught in a trance and ‘sit in’ the song as I described earlier, which is something you don’t really get with other genres. I believe we make the cut because we too are just showing our true spirit in the music and the songs reflect our personalities. We’re just being ourselves and trying to make some music for people to enjoy and get wrapped up in. 

Can you elaborate on the collaborative process within the band during the evolution of ‘The Plea’ and how each member contributed to its development?

I (Jaidyn) wrote the song and had a pretty good idea of what that ‘little world’ should sound like once we all played it together. Luckily for me, the other blokes in AN are very like minded, so expanding on that world was light work. Everyone learnt their parts and then added their own twist onto it. Pickers and Campbell added more melodic elements to the song overall by creating new guitar parts. This filled out some of the empty space we had in the demo. Tom just nails it every time with drum parts and we’re usually on the same page of how the drums should sound. Casper is just a musical wizard and could probably play any instrument that you throw at him. His bass parts on the track fit the song perfectly and it gives us guitarists an excellent playground to fiddle around on.

Where was ‘The Plea’ recorded, and who were the key individuals involved in the mixing and mastering process?

We did that with our mates from New Brain Communications! Dhare Labbe was the mastermind behind recording and mixing our song. He made the whole process super enjoyable, plus he’s a great hype man! We recorded the song live. All instruments in the same room, mic’ed up, playing at the same time.

After we got the recording and mixes done by Dhare, we sent them off to Joe Carra from Crystal Mastering to get mastered. 

How do you describe the development of ‘The Plea’ from its original demo to the final track, and what elements were added during this process?

I would say that it doesn’t stray too far away from home, which I think is pretty cool. We all thought the demo had something special about it and we wanted to capture that. I believe we did, but better. After rehearsing the song and playing it live, we kept adding new parts and harmonies (guitar sections, effects, vocals, a MEL 9 choir) to really emphasise the emotions that we wanted people to feel.

What does the band mean by “special sauce” in the context of developing ‘The Plea,’ and how does it contribute to the track’s overall sound?

It’s some kewpie mayo mixed with habanero hot sauce. Really gets that creamy, hot tang you want from a track. You can really hear it in that last section of the song in full force.

What is the significance of the statement, “We’re more than just a punk band from Brisbane. We can explore, we can expand, we can be ourselves,” as expressed by Jaidyn Harrison?

I feel like a lot of bands, artists and musicians get categorised into being one genre, which really never made any sense to me. Even from when I was in high-school, I wanted to write different types of music. I think this release in particular is us beginning to show our true colours on how we want to approach music.

How did Annoying Neighbours initially start their musical journey, and how have they evolved from playing in backyards and house parties to becoming a noteworthy presence in the Australian music scene?

Thinking back, not much has changed really. Except the amount of members. We started off as a 3 piece and have doubled it to 6 now. But I believe our ethos hasn’t changed. We just love playing music, hanging out with each other and providing our fans with a safe space to enjoy themselves. Whether it’s to 20 people in the backyard or a few hundred at a festival. We just always go out, give it our best shot and have fun. I might add though, I think we are definitely a lot better now than when we first started.

Can you provide details about Annoying Neighbours’ previous EPs, ‘Waterhole’ (2020) and ‘The Void’ (2022), and the reception they received from both tastemakers and fans?

‘Waterhole’ (2020) was released during a strange time in our world, with Covid-19 ramping up across the globe. We recorded the EP in January of that year and were waiting to release it. We had nothing better to do and decided to release it over the first initial lockdown periods. Playing to people sitting down was a fairly big change compared to drunken 18-20 year olds at house parties. We released the first single off that EP, a song called ‘Skyn’, and it did what we would consider really well. We had heaps of people booking us for shows, it was played on some local radio stations and is still our most popular song on streaming services. We also did a show to celebrate the release of the EP and it ended up selling out.

‘The Void’ (2022) ended up being the first step in a direction sonically that we would later persue (something we didn’t realise at the time). A lot of those songs were written when we first started releasing songs from the ‘Waterhole’ EP, so they have similar characteristics I’d say. But then there are songs that break that mould, for example ‘Chicken Joe’, ‘Parallel Convergence’ and some parts of the title track ‘The Void’. The first single off that EP was played on Triple J which was a first for us and really cool. The reception by the fans to the songs was really strong as well!

Both EPs have songs on them that are staples for our bands setlist now. It’s always awesome and bewildering to hear people sing the words to our songs with us live. 

In terms of live performances, what festivals have Annoying Neighbours participated in, and which notable Australian bands have they supported on stage?

Some of our favourites so far have been Best Night Ever with Violent Soho (2021), Spaced Out Fest (2022) and Summer Fest (2023). Some notable bands include Wolfmother, DZ Deathrays, The Bennies, The Delta Riggs, Luca Brasi and The Terrys. We’ve been so fortunate to play with and meet these extremely talented people! Here’s to more great shows down the road!

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From down under in Australia and New Zealand to the lively streets of Berlin, TIAHI keeps creating music with a decidedly sunny vibe. We sat down with him to talk about his latest EP ‘Sing Some More’ and the eponymous title track, a true anthem to positivity, written during times of pandemic and lockdowns. Pack your best vibes and join us on this wanderlust journey! 

The Partae: We’re excited to have you TIAHI – you’ve lived in both Australia and New Zealand, the Netherlands, Spain and now you’re based in Berlin – is this going to be your final destination?

TIAHI: [Laughs] Probably not, but I very much appreciate Berlin for what it is, the opportunities, the people from all around the world, and the entrepreneurial spirit. A lot of things come together making Berlin as attractive as it is, even without beaches or warm weather year round.

The Partae: Your music does not immediately remind us of Berlin or Germany indeed. We hear a lot of positive, summery vibes in your tracks, what is the inspiration behind your music?

TIAHI: Winter has never been for me to be honest. I always felt the urge to explore the world and stay close to the sea, so I ended up spending quite some time in San Sebastian and in Spain in general growing up and when I finished high school I had decided I needed to see what’s out there behind the horizon. One of my uncles is from New Zealand, so as soon as I got the chance to go on a big trip that’s where I went. Then I basically kept traveling and living abroad for the next 5 years, chasing the sun and soaking up energy in a lot of countries, never straying too far from the equator.

The Partae: Let’s talk about your new EP ‘Sing Some More’. Can you describe the sound and vibe of the EP in a few words, the underlying emotions you want to transmit to your listeners?

TIAHI: The vibe of the EP is of course positive [Laughs]. No, in all seriousness – the songs are all about staying positive or appreciating the good things we got in life, and that’s exactly what I wanted to transmit with the songs. I felt they were calling for a lighthearted, organic production and sound that was capable of conveying that type of warm and positive energy.

The Partae: Could you give us a glimpse into your creative process? Did the pandemic impact your songwriting process for this EP?

TIAHI: For sure. I had started writing 3 of the 4 tracks that made it onto the EP during the final months of the pandemic or shortly after. The lockdowns had taken its toll on me like on everyone else, and with all my shows being canceled I fell into a bit of a hole and music and writing helped me stay positive. I wanted to create something uplifting but also meaningful that would age well, like my first track “Free”, which I have been told really grew on people during the pandemic. “Rough Day” and “Sing Some More” are down the same alley, telling every-day stories with a bit of magic injected. “Shooting Star” on the contrary is a classic result of spontaneous co-creation. We were at hanging out at our usual summer spot one evening, my buddy Gerald played something on the guitar and I started singing while looking at the stars and realizing how quickly this moment or moments like this could be over. “Hennessy” is a song about the people and the memories that got us onto our way and to where we are now, which I wrote after a trip visiting family and friends in late 2021. It was after the pandemic though, in 2022, that I finished writing the songs and finally got to producing the EP.

The Partae: Can you highlight any specific musical influences that played a significant role in shaping the EP’s sound? 

TIAHI: I listen to a lot of uplifting music across genres, funk, reggae, hip hop and pop, some electronic music too. If I had to name a few I would definitely put some older artists like Jack Johnson and Jason Mraz on the list, but also up and coming acts like Bobby Alu and Goldkimono. I also love what Tai Verdes is doing, blending acoustic instruments and samples in such a smooth way. Besides the musical influences I feel Berlin and the pandemic also shaped the sound of the EP to a certain extent. Compared to my previous releases, “Sing Some More” sounds a bit less beachy and a bit more urban I would say.

The Partae: The title track, “Sing Some More,” seems to be a central focus of the EP. What’s the story behind it? We took a look at the video and it looks as if it is based on a true story?

TIAHI: Yeah, it is [laughs]. In a nutshell I was having a not so good day and decided to jam at my place, nothing crazy. One of my upstairs neighbors didn’t like it and came down all the way from the 4th to the first floor to complain. Being the Berliner he is (known for their directness, some call them rude) he didn’t waste any time with pleasantries but started shouting at me the moment I opened the door. I tend to be a pretty composed person, but having had a rough couple of days myself, I responded in equal measure. No resolution was found and we left on bad terms. When emotions had cooled down a few hours later I tried to understand his perspective and went up to the 4th floor to sort things out. This time we had a much better conversation and agreed we had both overreacted and shook hands. Thankfully we’re on very good terms now and he loves the song and that he contributed to its creation in this rather original way [laughs].

The Partae: Tell us about the production process of this EP. Earlier you mentioned that you produced the EP yourself. Did your band play any role in it?

TIAHI: Yes, that’s right, I played all instruments on the record myself, except drums. I was fortunate to record with my friends at Riverside Studios and Condor Studios in Berlin. My drummer Daniel introduced me to the sound engineer of the Colombian funk band El Caribefunk, who did a good part of the mixing and a few other friends helped me out at various stages during the production process – shoutout to my man Juan. I learned a lot and am happy I decided to produce the EP myself, for future productions I am looking forward to working with other producers though, freeing up more of my time to play live.

The Partae: Looking ahead, what are your aspirations for the coming year in terms of your music career? Any exciting projects or collaborations in the pipeline?

TIAHI: I am currently finishing writing the tracks of the follow-up EP and looking for the right producer for the final touches. Besides that I will spend the winter in Tenerife and got a few projects lined up there which I can’t wait for.

The Partae: How do you see your music evolving in the future, and are there any genres or styles you’d like to explore further? 

TIAHI: Playing live and working in the studio are my two primary points of influence and what I love most, besides listening to a lot of music. Playing with my band will definitely continue to have an influence on my musical journey, but also more studio-oriented collaborations. Regarding the upcoming EP nothing is set in stone yet, but it will be a bit funkier, a bit more danceable than “Sing Some More”.

The Partae: Are there any dates that your fans should mark in red on their calendar? Like releases, concerts or gigs?

TIAHI: Right now the focus is the production of the new EP for 2024. We got a studio live session planned for the coming weeks though, to get some live footage of the current EP. Other than that we’ll use the winter to get our show ready for the coming summer and festival season.

Follow TIAHI

Instagram: https://www.instagram.com/tiahi.music/

Youtube: https://youtu.be/kQBPt_DBw0Y 

Streaming: https://ffm.to/sing-some-more 

Website: https://tiahi-music.com/ 

Answered by: Mish Sharma – Vocals and Piano, Luke Kleinschmidt – Guitar, Bass and Synths, and Jordan Miller – Drums and Percussion.

Where are you currently based?

Luke: We are a Brisbane based alt rock/metal band.

Please tell us about the inspiration behind your latest single “Martyr”?

Mish: Martyr is written about the specific moment you realize that you need to break out of a narcissistic abuse cycle. I wrote the lyrics after a therapy session which was focused on processing the aftermath of leaving a narcissistic abuse coercive control relationship.

What’s the story or message you’re trying to convey in the lyrics of “Martyr”?

Mish: This song is very much based on my own experience. The lyrics explore the victim grappling with the reality of the situation and deciding to leave; even though the trauma brain is persistent about staying because it feels “familiar”. I was in a vulnerable place when I wrote my parts (like always I bare it all in my music), particularly because narcissistic abuse is a complex multi-layered beast, it can happen to anyone in any type of relationship. There is so much unlearning of false beliefs, grieving, and integrating fractured parts of yourself, but it all starts with someone gathering all their courage and deciding that they will no longer accept this treatment. The message is that it can happen to anyone, and it doesn’t make the victim “weak,” “broken,” or “a problem”; your physical and psychological safety is more important than what anyone would think of you.

How did the creative process for “Martyr” differ from your previous work?

Luke: This song was made from 2 separate ideas I was working on simultaneously. I wanted to write a riff around an “ambient guitar” and I added layers around that for the intro and verse; whereas for the chorus I wanted a kind of staccato-esque start to it, to make it punchy.

Mish: I had written the verse and chorus vocal parts for a completely different song, I was singing those along to the demo track for Martyr as a joke but it worked so well that we decided to keep it. Usually I write my parts from scratch.

Were there any challenges you faced while recording “Martyr,” and how did you overcome them?

Mish: The writing process was quite seamless, we tend to do a lot of work remotely and then get together to arrange/fine-tune our parts. We worked with Kalen Austin Productions to record this track and our previous single ‘Damaged’ over three days. On the day we were tracking vocals for Martyr, I had missed my antidepressant dose which gave me brain zaps and I also had a chronic pain flare up. This combination helped me deliver a really vulnerable performance, sometimes you just have to lean into however your mind, body, and voice is presenting. Kalen was really helpful in making the most out of the situation and even ended up singing harmonies on the chorus to give it an extra dimension. This inspired us to use Luke’s vocals live and now our set has multiple songs where Luke and I both sing.

How has the response from your fans been to “Martyr” compared to your previous releases?

Mish: So far we have been getting a lot of love on Martyr which we are so grateful for. It’s been very similar to our last single Damaged that came out in August. I think people are really enjoying the heavier instrumentation and the songwriting styles in both new tracks, compared to the previous releases.

General Band Questions

How did the band Torizon come together, and what’s the origin of the band’s name?

Mish: It started off as a bunch of song ideas after taking a short break from music to recover from a vocal cord injury. These ideas became more solid over time with the help of friends and session musicians who helped launch the band in 2019. Covid threw a lot of spanners in the works shortly after, but I am really proud of where we are now, it’s been amazing to see the band evolve since then.

The name is derived from the words torsion and event horizon in black holes. From a personal point of view, when life is difficult, it can feel like you are being sucked into a black hole but it’s important to remember that there is a horizon at the end of it all.

Could you describe the musical style and influences that shape your sound as a band?

Jordan: We have coined the term “petalcore” to define the two new singles and the EP we just finished writing – It’s alternative metal with pop sensibilities. As a collective we have a range of influences from metalcore to pop punk to alternative rock, emo and hip-hop which we draw from.

Luke: I feel that our sound comes from our own interpersonal styles. I’m influenced a lot by metalcore and modern metal. Whereas the others are influenced by alt rock, punk, pop… so it came together organically by blending those. I’d say we are definitely pop-metalcore or “petalcore” as we call it.

What is the most memorable live performance or concert experience you’ve had as a band?

Mish: Crowbar, Sydney with Opehus Omega and Triple Kill. We all drove together, it was a blast. The boys are hilarious – we made up silly tour games. Our set and sound was definitely one of the best it has been.

Luke: I would say, our Sydney show at the Crowbar. Great crowd, great sound guy, great bands – it felt like being in a room full of friends. The drive down and back and staying also helped in really cementing that show as my favorite at least.

Can you tell us about your songwriting process and how you collaborate as a band when creating new music?

Luke: Generally I start off with some riffs, sometimes even the full guitar structure, then add bass and synth. Mish and Jordan would then go through and add their magic. We then get together in front of the recording session, and go back and forth with what works and what doesn’t, and any ideas that we come up with. After that we will go through and re-record our parts – rinse and repeat the process until we are happy. Then we will practice it live in our rehearsal space a few times to see how it feels and make any last tweaks. I think the biggest help in our collaborating to finish a song is that we are open to hearing criticisms and ideas, and we leave egos at the door, and just care about the music.

Jordan: Luke is a riff machine. He generates a lot of the ideas then Mish and I come in with our parts and we shape the structure as a band. We all have our own home studios which speeds up the writing process.

Are there any upcoming projects or albums in the works for Torizon that fans can look forward to?

Mish: Yes we spent 8 months writing our next EP. We will be recording it in early 2024. Expect an overall heavier sound, a deeper guitar tuning, breakdowns as well as soft and raw passages. We are also booking interstate shows so definitely expect some tours.

How has your music evolved since you first formed as a band, and what direction do you see it heading in the future?

Luke: The sound has gone through a couple of changes in.

What’s planned for the remainder of 2023 going into 2024?

Jordan: We have one more show (unannounced) to finish the year off where we will be debuting some of our newest material. 2024 will see us recording a new EP, touring, writing more songs so we are at least a couple of releases ahead. Really excited to show what we have been working on behind the scenes.

https://www.facebook.com/torizonband

Jake, can you tell us more about the inspiration behind “Late Nights” and how the song came to be?

So the song was kind of taken from a couple of different instances, and then we just made it a tad more extreme. It was inspired by a culmination of events from both my past and Josh’s that we just turned into one story. The song came to be as we were a bit unsure of what to write about that day, and after changing to that opening guitar line, we immediately started to talk about the topic of who wins the breakup.

The song is about the need for victory after a breakup. Can you elaborate on the emotions and experiences that influenced the lyrics?

Yeah, the experience was more so just based on that awkwardness between mutual friends when you recite the story to them, and they inevitably take sides. We went through a whole bunch of scenarios when writing the song to really put ourselves into the situation in order to write a relatable song.

“Late Nights” seems to touch on the idea of ‘winning’ a breakup. What message or perspective were you trying to convey with this concept?

The perspective we were trying to convey was about the mutual friends who are left to take sides in the messy situation. It highlights how someone’s reputation can be so easily tarnished by a breakup like this and the desire to almost cover ground in ensuring you haven’t lost friendships out of all of this.

The song opens with a meandering guitar line and a sense of heartbreak. How did the musical elements contribute to the overall mood of the track?

The musical elements contribute greatly to the mood of the song. We actually started that day making a completely different song which was piano-based. Eventually, we moved to the guitar, and we wrote a completely different song in the end. The overall mood of that guitar line completely changed the trajectory of the day; we were a bit lacking in energy for the first hour or so, and then after that guitar line came in, it changed our whole outlook, not only for the song but for the day ahead. The lingering sound of the guitar helped us develop some themes straight away such as hindsight and lack of closure.

Could you share some insights into the creative process of working with co-writer/producer Josh King on this song and how it contributed to the final product?

Working with Josh is great, not only have I now got a great mate out of all this, but we have some great songs to come. We tend to start our songs with a lead instrument and then we go straight to the drawing board where we list all the themes we want to talk about in the song. Throughout the sessions, we are known to take a few breaks during the day to do the necessities such as Basketball, Soccer, and footy along with getting food. Josh and I like to bounce a lot of ideas off one another and often just follow the process of elimination when deciding what melodies we will use in certain sections. For “Late Nights,” we were incredibly focused on ensuring from start to finish, the song had an easy-to-follow storyline. While we wrote the song pretty quickly for the most part, every word was contemplated and had its place.

The chorus of “Late Nights” appears to be a moment of emotional release. What was the thought process behind this part of the song?

That’s exactly how we envisioned it as well, this kind of letting go feeling in the chorus. We wanted the chorus to be bold straight from the start, and that’s why there’s that big moment right away. This triumphant moment is echoed through the words ‘tried to let it go’ which are sung in the chorus.

Can you walk us through the writing process and how it evolved in the studio?

As mentioned earlier, we look to create themes and topics for the song straight away so we know exactly what we want to delve into. For instance, with “Late Nights,” we were really focused on the ideas of fragility and closure, which allude to the question we base the song around of who wins the breakup. While writing the lyrics, we often just play the section on loop and freestyle a melody we like and add some words in as we go.

You worked with mixing and mastering professionals to bring “Late Nights” to life. How did their contributions impact the final version of the song?

Yeah, in the mixing process, we really saw “Late Nights” come to life; the song started to really come together, and the sound we were pushing came across really nicely. It was the same with mastering; after we got it back, we knew the song was ready to go, and we were stoked with the outcome.

What did Blake Malone and Leon Zervos bring to the table in terms of enhancing the song’s sound and quality?

I really liked the demo we had of “Late Nights,” but at the time, it didn’t feel special until we got the mix back from Blake, and we were both a bit shocked. All the elements of the instrumentals, the ambience, and everything else we had built started to come together, and it was a little bit surprising. Blake gave us a really great mix that so many people compliment when hearing the song, and he was a great third opinion on the song. Leon was great as well, the quality of sound after receiving the master back was second to none, once again just enhanced the song.

You mentioned that “Late Nights” is a collaboration with Josh King. Can you tell us more about your ongoing partnership and what we can expect from future collaborations?

For sure! Josh and I have been working together for around 1 and a half years now after someone connected us, and “Late Nights” is the third song we worked on together. We have many to come still, we’ve completed a fair few and aim to release them all over the next little period. Josh and I have really tried to create a signature sound which is reflected in all of our collaborations to come, and I’m very excited to release them one by one.

How do you see “Late Nights” fitting into your overall musical journey and the evolution of your sound as an artist?

“Late Nights” is my first real demonstration of my new refined sound. After not releasing and more or less starting from scratch over the last few years, I feel “Late Nights” fits the build really nicely of the sound I intend to keep going with. I only hope to go up with my music quality from here, and I feel the next release does that. “Late Nights” was the perfect song for me to step back into the world of releasing music again and to re-establish myself as a musician.

“Late Nights” is now available on streaming platforms. What can listeners expect from this track, and what other projects or releases can we anticipate from you in the near future?

Listeners can expect to hear an uplifting break-up song that you can really sing along to. Next year you can expect a couple of new singles coming out pretty early on in the year.

When and where are you playing next?

I’ve got nothing booked at the moment, but I’m sure there will be something coming up in the near future.

What’s planned for the remainder of 2023 going into 2024?

For the rest of 2023, I plan to just really get the most out of “Late Nights,” and then early into 2024, I’ll be coming out with more singles which will eventually lead into an EP.

Socials – Instagram – musicbyjakestone

Where are you currently based?

I’m in a quiet suburban area in the Melbourne’s south-east. Nature is my biggest creative inspiration so in a perfect world I would live by the coast and/or lots of bushland.

How did you first start playing music?

As a reluctant yet talented child dragged by my mother to weekly piano lessons. I hated practicing but I loved music and even started composing and writing my own songs from about 9 years old.

What’s been happening recently?

In my little corner of the time-space continuum, I have been rehearsing lots with my band, recording and producing more new music and brainstorming how to film a music video which is set in a lounge room submerged in a swimming pool. Stay tuned!

Your latest single ‘Kitschy Coo’ is out now, what influenced the sound and songwriting?

I wrote the song very quickly – or it wrote itself, as sometimes happens – after a late night watching a gig. Someone I idolised was up on stage and seeing them perform was a reality check for me as I realised they were nothing like I had imagined.

What does this track mean to you?

The track has grown in meaning over time and it’s sound has changed; it became groovier, more fun and light-hearted. I still have no clue why I started singing ‘kitschy kitschy coo’ for the choruses but it stuck! Now the song serves as a cheeky reminder to beware of unfounded infatuation with people you only know from a distance.

Where and when did you record/produce/master and who did you work with?

I recorded ‘Kitschy Coo’ over the last year with Simon Rigoni from 2-Inch Tape at his Room 29 Studio. I think things took a long time because we were getting used to each other’s working process and figuring out the best way to produce the track.

How did you approach the recording process?

This song definitely took a journey to end up where it is now! We started with the basic guitar tracks and a scratch vocal and then added, added and added some more. At some point I felt I could hear some strings, especially through the bridge which needed a lush, majestic treatment. So I wrote parts for a 6-piece string ensemble and played them all myself. Other parts included congas, a 12-string guitar, multiple backing vocals, synths and organs.

Simon complained (probably justifiably so) a lot about the number of tracks – it made mixing somewhat challenging!

Any shows coming up?

Yes! On October 15^th we’re doing a huge launch show at Shotkickers in Thornbury from 2pm. Crumbe are launching their debut album; 2-Inch Tape are launching the single ‘What I Need’; and Fawkner Walking Society are launching their single ‘Cheddar Road’. They’re calling it ‘the launch party to beat all launch parties’.

Who are you listening to at the moment?

I love Eloise’s album Drunk on a Flight. The production and the song-writing as well as her voice and those keys are just divine. Also I’ve been roller-skating lately to a soundtrack of 1950s doo-wop swoon nuggets.

What’s planned for the remainder of 2023 going into 2024?

Launching ‘Kitschy Coo’ and the music video is my major milestone for this year and still an ongoing project. I’m planning to get out and be gigging more over the summer, solo, in my duo Duxie & Luxie, and with my band. I will also continue working on recording and production for the other songs I’ve got in the pipeline. And of course I will spend an inordinate amount of time at the beach and in a swimming pool.

Favourite food and place to hangout?

A perfectly cooked authentic Italian pasta with lots of oil, salt and cheese! Also, bubble tea.

Favourite hang-out is my secret underground roller-skating car park.

https://www.duxiefranklin.com/

https://www.instagram.com/duxiefranklin

Where are you currently based?

I am based in Penticton, British Columbia in Canada.

How did you first start playing music?

I grew up with a piano in my home, and I would always fiddle around with notes, so my parents then got me into piano lessons. I eventually started looking up my favourite songs and finding the lyrics and chords, and then I would play and sing them. I have videos on my childhood iPad of me singing and playing with the iPad propped up on the piano shelf right in front of my face. The videos are pretty hilarious and precious at the same time. Good memories – haha!

What’s been happening recently?

For the past 7 months, I’ve been working on my 5-song debut EP ‘Yours Truly’ with Brian West and Ryan Stewart. It’s been a very exciting and inspiring time recording music and being in the studio working with such talented producers.

I just released the first single off the EP, “Mr. Super Fine”, and the rest of the songs will be released over the next 6 months .

Your latest single “Mr. Super Fine” is out now, what influenced the sound and songwriting?

I wanted to create a fun-loving story with a bubbly, very pop sound.

“Mr. Super Fine” is influenced by young love and my experiences with it so far. I’m only 19, so I don’t have tons of experience, but what I do know is the feeling of meeting someone new and having the feeling of curiosity, being hopeful, and excited. It’s such a fun feeling finding someone you click with and hoping they feel the same way and want to keep getting to know you.

How did this single come about?

I was sitting at my piano in my studio just fiddling around with chords and melodies and then randomly came up with the line “Mr. Super Fine, when can I call you mine” and thought that was a pretty good catch line so built upon that.

What does “Mr. Super Fine” mean to you?

“Mr. Super Fine” means someone who I feel like is my Prince Charming. In the moment, when you just meet someone, everything feels so shiny and new. You don’t know much about this person, but what you do know is how you feel around them. Nothing is complicated yet, it’s just exciting. So to me, “Mr. Super Fine” means the feelings of fun, exciting, hopeful young love.

Where and when did you record/produce/master?

I recorded “Mr. Super Fine” in April in Vancouver with Ryan Stewart, who produced the song. It was mastered by Bradley from Mr. Smith Productions.

Please tell us about your experience with producer Ryan Stewart:

I’ve worked with Ryan Stewart before and he’s always such a pleasure to work with. His studio environment is relaxing and comfortable and it’s such an inspiring space. He is super organized and we get down to creating right away and the process is quite quick when things are rolling.

Ryan is very creative and it’s very cool seeing him put the beat to the song and all the additional sounds to make it come to life. The whole studio experience is amazing and I love it so much.

How does this track fit in with your debut EP that’s coming in 2024?

My EP “Yours Truly” targets many subjects such as body image, mental health, some young love as well as some of the struggles with love.

“Mr. Super Fine” fits well in my opinion as it’s a fun loving, happy track that brings some light to the EP and contrasts some of the other more serious topics.

Any live shows coming up?

Yes! I am beyond stoked to be opening for the Juno Award-winning Good Lovelies on October 26th at The Creekside theatre in Lake Country.

How has Taylor Swift inspired you to play music?

I went to the 1989 tour in Vancouver with my mom and Taylor put on an exceptional performance. I saw the way she interacted with the crowd, her stage presence, her energy, and the whole environment was surreal.

I knew after watching that concert and seeing her passion for music come alive and light up the stage that I wanted to pursue a career in music.

Who are you listening to at the moment?

At the moment, I’m listening to Tate McRae, Taylor Swift as always, Sia, and Jamie Fine to list a few. I’m always listening to many artists though.

What’s planned for the remainder of 2023?

For the remainder of 2023, I’m performing at venues throughout the Okanagan, planning and filming music videos for the next singles getting released and – as always – writing new music!

Favourite food and place to hangout?

My favourite food is probably fries. My favourite place to hangout would be either the beach during the summer with my friends , or if I’m by myself, it would definitely be my home studio.

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