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Music Interviews

Music InterviewsMusic News

Miller Roberts

by the partae
written by the partae
Where are you currently based?
I’ve actually just moved from my hometown Newcastle to Sydney in Australia!

How did you first start playing music?
I’ve played music for as long as I can remember. My dad is incredibly creative and was always dragging myself and my 4 siblings around to play at any event he could wrangle
I remember getting piano and guitar lessons sporadically but my dad always taught us to play music by what we hear. I have this distinct memory of him handing me a guitar and telling me to play along to the song we were listening to. I remember whinging that I didn’t know how to play it and he told me to keep playing chords until it sounded right!
That is something that definitely influenced how I write and play music even to this day.

What’s been happening recently?
I’ve been in writing mode for most of this year. My latest EP ‘All the things I could never say’ has had such an incredible response which I’m so excited about, but I’m looking at taking a slight change in direction for my next record so I’ve been buried deep in that!

Your latest single ‘Rhiannon’ will be released on the 26th of August, what influenced the sound and songwriting?
I am a huge fan of Fleetwood Mac. Rhiannon is a song that’s up there in one of my all time favourites, so I was really excited to cover this song.
I wanted to put a fresh spin on the original sound while still keeping true to the essence of the song. The vocal swells in the chorus were the most pivotal part for me, so it was really important to keep them just as central to the song.
I’ve always been heavily influenced by folk that came out of the 60s and 70s so my sound has always been more folky. I’ve definitely leaned into more pop sensibilities for this track which is really exciting for me.
I guess modern influences for this song would be artists like LEON, Gordi and Bon Iver.

How did you go about recording this track?
I recorded this with my dear friend and producer Jackson Barclay.
We started by laying the piano and vocals down as a base, then slowly added layer upon layer onto the track.
We always have such a fun time in the studio, experimenting with different sounds and instruments. A lot of the percussion for this song was recorded using bits and bobs around Jackson’s studio (think an old toolbox, a bicycle wheel and some kitchen cutlery).
Trent Dobson mastered this track as well! We love Trent.

How did you approach the recording process?
I love to go into recording with a couple of days rest behind me. I try to go in with a clear head so I’m open to experimenting and pushing my own boundaries a little bit.
Coffee is a must, and Jackson and I love a cheeky gin and soda break somewhere in the day!

What does this single mean to you?
For me, even though I didn’t write this iconic song (I wish!), it represents a change in direction for me. I’m excited to step into something new and fresh in terms of sound and style and Rhiannon is the first step in that journey.

Who are you listening to at the moment?
I’m absolutely loving Widowspeak, a duo based in Brooklyn. Big fan of Orla Gartland’s new album ‘Woman on the Internet’ and I’m probably permanently listening to Adrianne Lenker’s album called ‘songs’ released in 2020.

What do you like to do away from music?
I’m a bit of a bookworm, so I love to read! I’m also (supposed to be) studying interior design as well as music. I’m super into thrifting, so always pottering around my local op shops looking for fun, quirky pieces of clothing, furniture or nic nacks!

What’s planned for the remainder of 2022 going into 2023?
I’ve got a whole lot of writing planned for the rest of the year. Hopefully a handful of shows where I can, and definitely recording the next record is a top priority. I’m so excited for 2023. It’s going to be a great year!

Favourite food and place to hangout?
I could eat dumplings for the rest of my life and at the moment, my favourite place to hang out is my new apartment! I’m absolutely in love with the process of setting it up as my new home.
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Tetsuians

by the partae
written by the partae

Where are you currently based?

Melbourne.

How did the band form?

Tetsuians formed out of the ashes of a previous band The Wireless, with Andrew Jackson and I (Trent Price), teaming up with Amber Craske on bass. That line-up lasted for two albums.

What’s been happening recently?

The addition of Chris Corvetti (lead guitar) and Luke Guan (bass) has been pretty revelatory. The sound we imagined we could produce with a full line-up was realised almost immediately. It’s a credit to their innate ear for what works musically.

You have a new album on the way which you are launching on Saturday September 3rd @Mama Chen’s Footscray, Melbourne. What do you have instore for this show?

We have Melbourne band Billy Cart supporting us, who have promised to bring some interesting visual effects and undisclosed ‘surprises’, so not to be upstaged, I guess we’ll have to execute some upside-down drum solos. Failing that I’ll probably have to nail myself to a gantry or something.

What influenced the sound and songwriting for this album?

A lot of Supergrass, Wild Flag and Teenage Fanclub. So if you love them you’ll probably hate us.

How did you approach the songwriting process?

It’s become almost clichéd now but 90% of this album was written in lockdown, but I had a pretty serious hospital scare last year which gave me a lot of downtime to hone the lyrics, which in retrospect was kinda useful. I wouldn’t recommend it as a regular writing technique though.

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

This is our second album with Brad Jackson at Supersonic Recordings, who’s been brilliant to work with. One of the easiest guys to work with but he has a subtle way of pushing you to do better, so there’s no risk of getting too comfortable. The album was mastered by John Ruberto at Mastersound. What’s great is that John wasn’t going for overall volume and really focused on bringing out the textures of the recordings. It’s still a punchy record, but it steers away from the current trend towards waking the dead. Streaming has had a massive influence (largely negative) on that type of recording.

Please tell us about the recording process:

We did basic tracking in early 2021, then went away to muse on how the finished product might sound. You always have an idea, but sometimes it’s good to let it gestate and experiment a bit. Being in and out of lockdown meant we had a mixture of home and studio overdubs. We were recording the same time as our mates the Maggie Pills were recording their new album, so we saw a lot of them and got to hear a lot of sneak previews. It’s gonna be sick when it comes out!

What do you have planned for the remainder of 2022 going into 2023?

After our album launch at Mamma Chen’s we’re going to be supporting Grups for their residency at the Tote on September 17. The vinyl for our new album is running a bit late, so while we’ve got CD’s we’re likely to have another special vinyl launch on the next month or so. We’re also in talks about some gigs on the Apple Isle in January so stay tuned…

Who are you listening to at the moment?

‘Cockroach in a Ghost Town’ by Slang and ‘Chomp’ by Pylon.

Favourite food and place to hangout?

If you like chocolate and records, you can’t go past Oh! Jeans Records in Fitzroy. The have the best collection of NZ artists and confectionary you’ll find this side of the Tasman Sea and probably the best coffee in Melbourne. It’s also run by two of the loveliest people you’ll ever meet.

Socials

Facebook

https://www.facebook.com/Tetsuians

Instagram

https://www.instagram.com/tetsuians/

Spotify

https://open.spotify.com/artist/3asjMtKj3yCeZ3Lg2hVl4m?si=AoNbQV0yTyOm7QlWx0Gang

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Cousin Tony’s Brand New Firebird

by the partae
written by the partae

Where are you currently based?

Living in Thornbury, Melbourne. Teaching creative writing in Primary Schools all over town.

Your latest single ‘Red Dirt Angel’ is out now, what influenced the sound and songwriting?

Sonically, much of it came from this world of Australiana bush electronica. I think of Tornado Wallace’s Voices and Hunters & Collectors When The River Runs Dry when I consider the song. 

How did you go about writing Red Dirt Angel?

This doesn’t happen often, but it stemmed directly from a dream I was repeatedly having. I was following some faceless person leading me endlessly through the Australian outback and I woke up with the phrase “red dirt angel” on the tip of my tongue. I also like to riddle our music with references to the TV show Round The Twist – Red Dirt Angel includes this line about the Gum Leaf War, an episode set in the bush. These disparate puzzle pieces snapped into place and the song was done in a day or two.

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

In line with this whole Australiana bush theme, we booked Echidna Studios out in Christmas Hills, deep in the bushy hills outside of Melbourne to explore the songwriting, producing it all myself with our live sound engineer Guy Faletolou behind the desk. To polish the songs off in a more realised studio aesthetic, we went to Stephen Charles at The Aviary in Melbourne to approach it through a fresh lens. Our previous albums were produced by sonic wizard Matthew Neighbour who mixed the majority of these songs from LA, and mixed them well.

How did you approach the recording process?

It was all about embracing the essence of the band members. They’re such unique performers, but my fastidious approach to songwriting hasn’t always allowed room for them to shine within the recordings. ‘Smiles of Earth’ was all about songwriting in a way that left room for them to explore.

Please tell us about your new album that’s being released on August 26:

Our previous album New Romancer was a deeply personal collection of songs that were written and recorded in a deeply insular way. A couple of years later, despite the ever-present pandemic, I found myself in a place of spiritual peacefulness. I wanted to write songs from this place. No matter what the subject matter is, Smiles of Earth asks the question of how we can view or experience it from a place of gratitude. How do we celebrate this experience rather than lament it?

You have a massive Tour coming up, where are you headed?

All over the east coast of Australia with a smattering of festivals to bookend the tour.

Any shows that you are particularly keen to play and why?

Brisbane’s a really bright beacon right now. My family’s from there originally. We’ve always been shown so much love up there and it’s been so, so long since we played there.

What can we expect from your live show?

Inclusivity and a lot of love. We’re all such tight-knit friends and it’s often said how much this shows while we play. I like to think that permeates the audience’s experience in such a way that we all feel like friends.

Who are you listening to at the moment?

Vulture Prince by Arooj Aftab has been my album of the year. Pakistani born, raised in Saudi Arabia, lives in Brooklyn. The album reflects that. So worldly and so other-worldly at the same time. Beautiful.

Dragon New Warm Mountain I Believe In You by Big Thief is a smasher. So many songs and all them so profoundly good. I also have a soft spot in my heart for a long-ass title.

What do you like to do away from music?

I teach story and creative writing to children/ teenagers which keeps me reading a lot. I spend so much time in fantasy and sci-fi worlds. That kind of world building just blows my mind every day. Spending a lot of time in the garden these days. Bit of carpentry to keep the dirt beneath my fingernails. Gonzo (band-mate Francesca Gonzales) and I spend a fair whack of time at the nail salon which undoes the aforementioned nail-dirt.

What’s planned for the remainder of 2022 going into 2023?

It’s obviously been an insular couple of years so the plan is just to get out there. Tour Australia, tour America, tour the UK. Tour anywhere that’ll have us, basically. I’d love to make another album next year but we owe the ether many shows before that happens. 

Favourite food and place to hangout?

Picante Cafe in North Fitzroy, Melbourne. It’s totally unassuming and I love it for that. I’ve been going there religiously for 10 years. It’s where I return to when my creative page is blank. I like the simpler places, unadorned places. I love sitting at shitty airport cafes for that reason. Something about places that aren’t really trying to be anything else allows for my creativity to flourish. Real world places.

 

PLAY/LISTEN

 

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Soma 

by the partae
written by the partae

Where are you currently based?

Sydney, Australia.

How did you first start playing music?

Growing up with an array of different instruments and records from around the world was like a musical playground for me. I began to explore my own sound and style from a young age, picking up the piano at the age of 5 and then moving onto saxophone, singing and dance at the age of 8.

What’s been happening recently?

The past year I have put my head down and honed into my writing. I have been playing piano and producing again, always finding new tools to stay inspired. I have surrounded myself with like minded creatives who share the same hunger to create and collaborate on many different levels and artistic avenues. I have now completed an EP set to be released 2023.

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

I think my mood was the biggest influence, coming out of a dark mental state, but also feeling a sense of empowerment and growth as a woman. When we started writing ‘Alien’, everything just poured out of me, all the emotions I had gone through the previous year coming out of lockdown and everything that surfaced when you are forced to be with yourself and face the things you can usually run away from with distractions in the city, always being on the move.  It was a rebirth of the new me, leaving behind old habits and moving toward a bright new path. I wanted the song to give a euphoric, psychedelic feel, giving the listener a sense of space, ambience and colour.

How did Alien come about?

I began writing this story a while back and once we started creating the music, everything just flowed. The lyrics came out so naturally, it was the perfect fit. We finished the song in one session, sometimes these things are just meant to be.

What does this single mean to you?

‘Alien’ weaves a story about the pressures of life in the city and how we survive it. It is about the darkness that pulls you in, the devil on your shoulder luring you into the abyss and how easy it is to forget who you are and why you’re here. It is a universal story, but also a personal story of altering my conciseness and numbing the pain and traumas that were longing to be healed.

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

‘Alien’ was recorded, produced and mastered at Bodega Studios, written by me and produced by Tom Elliott from the duo Korky Buchek.

How did you approach the recording process?

We recorded ‘Alien’ in the space of one day. The idea quickly translated with the music and I was able to fully formulate and structure my verses. I was lucky enough to spend a lot of time at Bodega studios during the midst of covid. It was a safe environment for me to try out new ideas and let my creative juices flow with no judgement or distraction.

What or who influenced the concept for the music video?

I had a vision of playing with imagery of an otherworldly creature, my alter ego, luring me deeper into the unknown. I wanted to weave a narrative using the metaphor of dreams, intertwining this with creating fantasy to escape reality. ‘Alien’  embodies rebirth; I shed my skin to seek my emancipation. I am on a journey of empowerment. Samuel Barrie Wrote the final script and Freddie XX directed the video, both having strong influences in the conceptualisation of this piece of work.

Where and when did you film and how did you find the experience?

‘Alien’ was filmed at various Sydney locations. I found the experience to be a transformative learning experience. I was lucky to manifest the team that so naturally came together to execute this idea for ‘Alien’. Each member played such a significant role and went above and beyond their roles to assure this project would grow to be a masterpiece. With time constraints, unexpected weather changes, and the usual few happenings that seem to surprise you on set, the team and I were able to overcome these obstacles, always keeping a positive mindset and having clear and open communication, most importantly remembering to enjoy the process. Everyone’s energies aligned to create a safe space where thoughts and ideals could be exchanged, communicated and agreed upon, something which doesn’t always flow in creative spaces.  It is such an incredible experience working with creatives who are truly passionate about what they do and the art they want to share with the world.

Who are you listening to at the moment?

This is always a difficult question for me, as my inspiration stems from an array of musical genres, from old to new.

I think my biggest influences of recent who encompass my artistry and have impacted me and my music would be:

BEAM, Little Simz, Isaiah Rashad, Mick Jenkins, Saba, Andre 3000, Outkast, Kendrick Lamar, Asap Rocky, Smino, EarthGang, J.I.D, Blue Room Mafia, Pa Saleiu, Ramirez, Shakwell, Pouya, sza, I could go on but the list would be never ending.  In recent years I have been getting into a lot of alternative hip hop and future soul. One artist that I can’t stop listening to and continues to amaze me: BEAM, Jamaican born, Miami raised and mutli talented. His production and songwriting skills are beyond our time, and ability to churn out so many varying genres, whilst interchanging his vocal style and tonality has me guessing if it’s the same artist through his albums.

~ Pink Floyd

~Missy

What do you like to do away from music?

I love to travel, spend time with my family and my loved ones, and focus on other creative projects besides music. I think its important to constantly be informing myself of what’s happening in the world around me and learn about the ever-changing environment I find myself in. I find it almost detrimental to escape the city as often as I can, I venture out into nature where I can breathe fresh air, see the stars, swim in the ocean, and immerse myself in mother nature.

What’s planned for the remainder of 2022 going into 2023?

The remainder of this year will be spent finishing music, creating new works, meeting and collaborating with other creatives, and trying to help as much as I can with other people’s creative dreams and endeavours. I would like to perform my new material in new spaces and take my music all over the world.

Favourite food and place to hangout?

Nothing beats mum’s cooking. Having lived out of home for so long, I have been craving family energy and a home environment, the love and warmth it brings doesn’t compare to anything. I always feel realigned and inspired after spending time with the fam.

https://www.instagram.com/somasutton/

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Introducing… CLEMENTINE

by the partae
written by the partae

Barcelona-based, multi-national indie 4-piece CLEMENTINE are back with their second EP ‘Point Be’. The four tracker, which marks a shift in mood for the guys, is out now on Spanish imprint Siete Señoritas Gritando.

A headline act since 2019, CLEMENTINE’s debut ‘REC.’ was supported by BBC Introducing, Amazing Radio and beyond. They’ve been playing some notorious shows in their home town at some of the city’s most iconic cult fave music haunts, but their music is catching attention worldwide thanks to their trademark shimmering guitars, driving rhythm section and strong, soulful vocals.

We caught up with the band around the new release, check it below…

 

Hey Clementine, thanks for speaking with us! Where are we catching you today?

Hey Partae! Thanks for the interview! You’re speaking to Paul from CLEMENTINE, and right now it’s 30-something degrees in Barcelona, but the skies are looking grey and ominous. I think we’ve got a storm on the way, so it’s unlikely I’m gonna leave my apartment today.

You’re a multinational band all now living in Barcelona – how did you all meet/how was the band formed?

So Julian (guitarist) had been working on a home recording project when we first met through a mutual friend. He was wearing a jumper with the band Foals on it. We instantly bonded over a mutual love of the same kind of music and became friends. I played guitar when I was younger, but hadn’t played for about 10 years. Julian gave me his old guitar and told me to learn again so I could help him record. I was starting again almost completely from scratch, but I worked on my technique and then we started writing and recording together at his house on Carrer de Rec in the El Born neighbourhood of Barcelona. That’s where we got the title for our first EP.

Not long after, Vince (singer/bassist) moved to Barcelona for work. Vince and Julian have been friends since they met at college in France. They’ve played in bands together for years, including when they both went to live together in Colombia. So they’re pretty experienced playing together and know each other really well. After that, we found Raul online, invited him to come and play with us and we had a great chemistry straight away.

You’ve just dropped your new EP, ‘Point Be’, featuring four new tracks. This marks a shift in sound from your debut 2020 release ‘REC.’ How would you describe the REC sound in comparison to the Point Be sound for someone new discovering your music for the first time?

‘REC.’ was the first music we had ever recorded as a band outside of Julian’s apartment, so it was quite a new experience for us. At this point we had played a few live shows and we chose the songs that resonated with the crowd at the shows the best to represent us. I think ‘REC.’ is a more varied release in terms of sound, while with ‘Point Be’ there was more of an effort to keep a consistent sound and theme throughout. We wanted 4 songs that complemented each other perfectly, while still showing a range.

Personally I think that ‘Point Be’ has more anthemic choruses and an overall darker sound, but still has the same energy that you would find in a song like ‘Setback’ or ‘Horror’ from the first EP.

Do you think this shift in sound is a conscious choice or just a natural evolution as you continue playing gigs and writing music together?

In my opinion it was a conscious choice for this EP. Some of these songs are old enough to have appeared on ‘REC.’, so it’s not so much that our sound has changed overall. We still sound like CLEMENTINE, but we’ve chosen tracks for this EP which complement each other to keep a running theme throughout.

We’ve always had a dark and rhythmic sound, and we’ve always written big choruses. But I think that the 4 tracks on ‘Point Be’ definitely showcase some of our most anthemic and ambitious songs yet.

Rumour has it you spent 4 days solid recording the EP outside of Barcelona – what would you say was the best part of such intense studio time, and what was the worst?!

Yeah, the place was in the middle of nowhere, but it was such a great experience. We recorded with a producer named Marco Morgione, who recorded REC. EP. He knows the band well by now and we get on with him so well, which made the whole weekend feel like a holiday. His hospitality and the stunning location were definitely the highlights. We were surrounded by amazing mountainous countryside and the sun was out all weekend, so when we got a break we could spend it on the terrace, or having a barbecue.

The worst thing, for sure, was the cold which struck once the sun had gone in. If we record there again I’m gonna make sure to pack extra blankets.

What helped you guys stay sane in that time of recording? Was there much downtime/snacks/private jokes/team sports or activities that got you through?

We had a pretty strict schedule which we stuck to as well as we could. This allowed for downtime in the evenings where we could cook, eat and drink together. This helped us unwind while still feeling productive.

Marco knows our band and our sound really well, so he was on-hand to suggest things to us as we were recording. He has this amazing stash of old guitars, synths and other gear which he let us play with. I could’ve spent days just going through his pedal collection if I’m honest.

We also had plenty there to keep us busy while we weren’t recording. Marco had an old PS2 with Pro Evolution Soccer, which was a favourite pastime. We also made great use of his ping pong and subbuteo tables.

Do you have a favourite track on the EP? Or was there a track that came together easily from the beginning? And what about one that was a bit tougher or took a bit more time to nail?

The Streets Will Always Be Ours has an interesting backstory. We had been working on the instrumental for the song for a while under a different name – which is our usual process if we don’t have lyrics straight away. I always thought the rhythm of the guitars in the intro and verses was very similar to the Catalan independence chant Els Carrers Seran Sempre Nostres, which translates into English as “The Streets Will Always Be Ours”.

I wanted to do something a little bit different, so instead of writing a political song, I wrote a song about love, and feeling invincible in the face of adversity when you’re with someone who makes you feel secure and loved, but made it sound like it was a political song, with a huge chant at the end, and the megaphone at the beginning.

We recorded the instrumental to that in one session, and the lyrics came a week or so later. I was so excited to write it, but wanted to be careful to get the balance right.

On the other hand, we actually added Flight Tracker to the EP quite late. We originally planned to record another song, but Julian wrote the lyrics to Flight Tracker using an old instrumental that he had recorded years ago. It took a little while for us to get this one right, but it’s one of our most ambitious songs, and the synths really thickened out our sound.

What do you think has been the biggest highlight so far for you as a fresh band on the scene? Any career moments that really stick out?

The time spent recording this EP was a really unique and special experience, and one which I’ll always have really fond memories of, but my personal highlight was the gig we played at Bar Ceferino last summer.

We were still in the midst of heavy COVID restrictions, so we were only allowed a small number of people, but our curfew was over and bars had begun hosting concerts again. It had been so long since any of us had seen live music, that even though it was a sanitised version, playing a gig in front of anybody felt like the most exciting thing ever.

We played two sets that night, by the time the second set came, everybody had loosened right up and the energy in the room was incredible. That gig was officially the launch show for our REC. EP as we were unable to play live for months after its release due to COVID restrictions and curfew. I think we gave it the launch it deserved.

What’s next for CLEMENTINE?

Right now we’re just so happy to get this EP out that we’re gonna take the summer off. After that we’ll look at what our next steps could be. We’ve got tons of songs still to record and release, so watch this space!

CLEMENTINE ‘Point Be’ is out now, get it here: https://clementinebcn.bandcamp.com

 Bandcamp | Spotify | Facebook | Instagram | Youtube

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Hozho

by the partae
written by the partae

Where are you currently based?

Aveiro, Portugal.

How did you first start playing music?

I started my journey as a producer. Back in 2012, a friend of mine presented me a music production program, something I’d never heard of. So, I started experimenting and taking the first steps in FL Studio, which is the DAW I still use these days. I started producing hip hop beats, then I went to drum and bass and I ended up in minimal techno. Then in 2015 I created Hozho. Over time, I improved my own music style, in order to create something unique. Starting to perform as a DJ was a consequence of music production.

What’s been happening recently?

Recently I’ve been focusing on the release strategy for my upcoming EP together with my team. Also, I’m going to start a world tour soon and I’ve been getting ready for that. In the midst of it all, I try to find some time to produce songs for my next album.

What or who influenced your latest single ‘Troubles in Paradise’?

This track was developed from one of the dozens of projects I started in FL

Studio but I never finished. One day I was listening to the unfinished projects I had and this one stood out from the others, it had a bassline that I loved. At the time, the name of the project was Troubles In Paradise so I decided to keep that track ID and create a story around that name.

How did this single come about?

Well, one would think that now that I have gigs all over the world, tracks with millions of views and streams on digital platforms, that everything is fine and that I live a good life. But it’s not always like that. We all have everyday problems. This particular track focuses on the problems of a romantic relationship and that’s the main message of the track.

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

After the release of my single Honey Trap in February 2022 I started working on Troubles In Paradise. I think by the end of March I already had the track done because I played it for the first time in Bangkok on April 9th. The track was produced in my home studio and was mastered by Pobla Studio with whom I have been working for a few years now.

How did you approach the production process?

It’s like writing a book: you’re not gonna start putting random words on a paper and hoping they make sense. I had a clear idea in my mind about the story I wanted to tell and the emotions I wanted to transmit in Troubles In Paradise, related to breakup, that even when everything seems to be going well, problems end up happening. The challenge was to try to reproduce this message in an electronic music track, with just a few vocal lines, using the power of basslines, melodies, pads, groove, etc. The instruments, the samples, the VST’s… all of that is secondary. What matters is that at the end of the day, the music manages to awaken the emotion I was looking for. Because for me music is not just music, it’s a story. In the same way that the Mona Lisa is not just a woman smiling. There is something else.

Please tell us about your love for the Breaking Bad series:

What can I say… for me it’s the best TV series ever because it has a message that I identify with. Aside from the drugs and all that, the series focuses on a man who knows he’s going to die because he has cancer (spoiler alert). It’s interesting how we start to live our lives when we’re given an “expiration date”. We start doing today what, in a normal situation, we would only do tomorrow (or never). What Breaking Bad tells me is that we should start living the life we deserve, stepping out of our comfort zone, doing things we’ve never done before, to truly enjoy life and live it in accordance with our own terms, before it’s too late.

You’ve risen fast as an emerging act in the melodic techno/house scene, what do you attribute to this fast success?

As Charles Bukowski said: wherever the crowd goes, run in the other direction. I truly believe that the music I produce is different, unique and I think a lot of people can relate to it. When your music is good and you work with a professional team that supports you, that helps you promote your work and gets you the best shows, your name and your music starts to be recognized worldwide.

How do you feel now as a prominent emerging artist?

It feels good to be recognized across the world. It feels good to be able to make a living on music. It feels good to be able to travel the world, visit amazing places and meet amazing people, doing what I love. For all this I am very grateful. But let’s not make a big deal about it. I’m still Joel, that boy who grew up in a small village in Portugal and who had a knack for music. I’m still a working progress and I want to believe that the best days are yet to come.

Please tell us about your self-styled genre ‘Melodark’ and what it means to you:

For me Melodark goes beyond being just a music genre. Since its inception, it has become an artistic movement with an emotional, motivational and overcoming message. For me it’s a lifestyle and a philosophy. Musically speaking, Melodark is characterized by the symbiotic contrast between the beautiful melodies (melo) and the darkness surrounding the synths and basslines (dark), mostly based on a minimal techno beat.

Who are you listening to at the moment?

Hozho. He’s a great artist!

What do you like to do away from music?

I like to read, watch TV series and movies, play tennis, travel and be in contact with nature.

Where and when are you playing next?

At the end of August I will start my tour in the United States and Latin America.

What’s planned for the remainder of 2022 going into 2023?

In 2022, I plan to release my second solo album – Psychological Issues – and recorded my fourth DJ Mix. A collaboration with my friend and artist Droplex will also be released, a single track called Sitting In This Cage. Apart from the releases, I expect a big tour until the end of the year, with nearly 30 shows all over the world.

Favourite food and place to hangout?

Favourite food: Pizza.

Place to hangout: Any place nearby the beach.

Follow Hozho:
Instagram | Facebook

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Lady King

by the partae
written by the partae

Where are you currently based?

Gadigal Country (Sydney).

How did you first start playing music?

I started singing and playing the piano when I was 10 then picked up cello soon after. I was mostly studying classical music and playing in orchestras which I’m eternally grateful for but I found the strict parameters of classical music to be uninspiring so I studied sound and audio engineering after school whilst playing cello in a few local bands. It took some time for me to figure out my love for writing, performing and teaching music but I’m glad I got there..

What’s been happening recently?

I’ve been writing and working on a LADY KING record whilst teaching and performing in a bunch of different projects including Velvet Trip and EJ Worland. Staying busy (maybe too busy) and really enjoying collaborating with new people 🙂

Your latest single ‘Play It’ will be out on August 18, what influenced the sound and songwriting?

I’m a sucker for old soul records where stacked vocal harmonies, big arrangements and live instrumentation are non-negotiable like Aretha Franklin, Bill Withers and Al Green. I can’t hide the classical geek in me so I made a point of capturing big strings and harmonies. This track blends classic soul with a neo-soul twist similar to Raveena, Joy Crooks and Snoh Aalegra.

How did Play It come about?

I wrote this song a few years ago after I was slut shamed by a friend. The situation was made more difficult as this person had more feelings for me that I did not reciprocate. Rejection hit him deeply and as a result I was villainised. My sexual receipts were used to divide and pit my community against me. It took a while for me to come to terms with it all but through healing I realised that gender roles perpetuate harmful sexual double standards in society. Traditionally men are granted more sexual freedom than women and women are often penalised for being sexual so I wanted to highlight this issue and the effects this has on women. I also felt sorry for my friend for not being able to express his emotions in a healthy way so this song was how I processed it. I hope this song can open up conversations about sexual double standards and the damaging effects of slut shamming.

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

I recorded this song at Forces and Fury studios in Marrickville in 2020 before the pandemic and then covid put a pause on everything. Plans changed and the song landed in the hands of my dear friend Glenn Hopper (aka LEN20). Glenn is a seasoned multi-instrumentalist, singer-songwriter, producer and has been doing incredible things, making sound beds and unique loops. In recent years Glenn has been working closely with Take a Day Trip, producing cuts for artists including Mary J Blige, Kid Cudi and Lil Nas X to name a few.

In the past year, Glenn and I have worked on producing and mixing the track. It’s been through many incarnations with lockdowns and life obstacles but we’ve managed to bring it together and I’m super proud of how it’s all come along.

How did you approach the recording process?

I usually track my songs live and then work with a producer adding layers and sound design etc. When this song was first recorded it featured horns but we eventually replaced them with strings from Lydia Swaries (violin), Ida Warhole (Harp) and myself on cello. The guitar solo worked seamlessly with the rest of the band but was in fact recorded from a separate session with the incredible Hilary Geddes (The Bouys) before I got the band (Midground) in the studio.

I sat with my friend IMI (Joseph Liddy and the Skeleton Horse) to write and record backing vocals and between the two of us we layered the vocal harmonies. Both IMI and I appreciate gospel and choirs which prompted the idea of more voices so I brought in Annalina and Ellen Mara to sing some harmonies before sending it off to Andrew Edgson (Studio 301) for Mastering. These wonderful collaborators each provide extra warmth and colour to the track and I’m inspired by all of them.

Any shows coming up?

I’ve got an exciting show at the end of the month at one of my favourite Sydney venues, Ramblin Rascal. Come through on the 27th of August. Did I mention it’s free?

Who are you listening to at the moment?

It’s always so hard to decide one – I like listening to a broad range of music from baroque to pop and everything in between but my top three artists this month Eddie Chacon, Francesca Fulmini and LOONY

What do you like to do away from music?

I love making food, playing pool and getting out – big nature fien.

What’s planned for the remainder of 2022 going into 2023?

Finishing this record. I’ve also got a bunch of shows lined up with a few tours to come and hopefully I’ll tick off my London dream and head over in 2023.

Favourite food and place to hangout?

Roti from the Thai queens at the Marrickville markets and hanging out beach side by any shore that meets the ocean.

 

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ZZADE

by the partae
written by the partae

Where are you currently based?

I am based in Meanjin (Brisbane), Australia.

How did you first start playing music?

I have been pretty musical all my life. My early home videos are of me banging on pots and pans and singing to hi-five. I first started writing songs when I was about ten and then started learning to play bass when I was eleven for the primary school band. My Dad played bass and I wanted to be just like him. I used to jam with my Dad and started writing songs and riffs on bass shortly after I started learning to play.

What’s been happening recently?

A lot! I have been busy planning and organising for this release, shooting a music video and making sure everything’s up to my perfectionist standard. I have also been recording new music and am in the process of finishing my next single as we speak. I’m always plotting and scheming something.

Your debut single ‘Hollywood Ending’ will be released on August 19, what influenced the sound and songwriting for this track? 

I first had all the lyrics written for this song but no melodies or riffs yet in mind. I remember sitting down and purposefully trying to tell myself to be open minded to whatever ideas may come because usually I am quite judgemental of them. I didn’t have a specific sound in mind writing this song other than the “ZZADE” electronic pop but still heavy sound I had been trying to curate. I think production and the main bass riff really transformed the song into something I really liked.

How did Hollywood Ending come about and what is the meaning?

Hollywood Ending came to life from two things – a therapy session and a bad dream. Out of feelings of “life is unfair” and “life sucks” bla bla, I remember telling my therapist that I wished life could be like a Hollywood movie – where the good guys always win in the end. I remember saying the words “Hollywood Ending” and thinking to myself that it sounded like a great line for a song. That night I had a dream…more nightmare…about a boy I used to (unfortunately) be involved with. I woke up confused but inspired to pick up my bass and write a song about how I hoped he got his “Hollywood Ending”. The brain is a funny thing and although that dream was a shitty reminder of that person, I couldn’t be more proud to release this song.

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

The original demo of Hollywood Ending was produced by Aaron Shanahan who I was working with at the time. He helped curate some of the poppy production elements and the base of the song. A couple of months later I took the song to my good friend and current producer Tom Megalos for the finishing production touches and mixing. It was then mastered by Matthew Gray.

How did you approach the recording process? 

I walked into the studio with the song written and a few notes on some of the ideas I had for production. The whole song came very naturally and after about three hours, Aaron and I had drums, synths, bass and vox down. That original vocal take is the same take you hear now in the song. Tom and I tried to re-record another take but I couldn’t top my first one. My overall approach to recording the song was to once again keep an open mind and try new things. I tried not to limit myself by thinking things like “it’s too poppy” or “it’s not ____enough”.

Please tell us about your early days in alternative punk band The Blockades and how it developed your songwriting and stage energy from such a young age: 

I had played in The Blockades from ages 14-18. In that time I probably played over 100 local gigs, a few sold out shows, and the climate strike rally of 5000 people. I think playing so many shows so young really helped me develop a strong onstage persona. I learnt early on to be able to feed off my own energy. Whether the crowd be 5 people or 50, I would be able jump around as if it was Madison Square Garden. I also learnt to observe the crowd and how different songwriting styles would be able inspire different crows behaviour. I now always keep that in mind when writing, I ask myself “Will this be fun to play live?” or “Can this be sung along to?”

Who are you listening to at the moment?

I feel extremely late to the party but the Yeah Yeah Yeahs have been on repeat this week because they just released two new singles that I love. I’ve also been vibing with locals Full Flower Moon Band and a couple of their new singles.

What do you like to do away from music?

I currently work in childcare and babysit so when I’m not making music I’m hanging out with toddlers. My class I like to think is pretty musical because of me. I write songs for them and play my guitar while they each shake little egg shakers I made for them. I also like to ride dirt bikes on the weekend with my family and am working on my jumps. Other than that, I really don’t do much of anything else but music.

What’s planned for the remainder of 2022 going into 2023? 

I have a few more gigs planned already, including supporting SOAP this Saturday at Black Bear Lodge. I’m also already in the process of recording and planning another single release.

Favourite food and place to hangout? 

Fav food is definitely nachos or anything from Netherworld. I have a lot of food allergies so Netherworld is always a safe bet for me. Fave place to hang out would be Black Bear Lodge or the studio.

Instagram

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Thunderfox

by the partae
written by the partae

What’s been happening recently?

It’s exciting to think we’ve actually got an answer for that question now! After years of, essentially, a hiatus through COVID and everything in between, we’ve been busy trying to regain our momentum touring and writing. We’ve played a few headliners and small festivals around the East Coast this year and have dropped our first music of the year with “Hard Times” to boot, so we’re definitely well on our way to reaching our former glory.

You’ve just released your killer new track ‘Hard Times’ what influenced the sound and songwriting?

This track was initially written between myself and Pat Byrne aka Beso Palma in his studio in Coogee. We were just jamming to be honest since we admired each other and wanted to see what we could create. We spent about an hour listening to 90’s Michael Jackson before actually doing anything so that definitely worked its way into the sound. Once I brought it to the band, we were able to imbue it with our usual cacophony of influences.

How did Hard Times come about?

Hard Times was born out of that jam with Pat. We just laid down a million layers of percussion and tried to make a danceable groove to just sit in. Lyrically, I love to delineate a funky, upbeat instrumental with a little darkness so, I did just that in the studio on the day and they flowed thick and fast.

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

Once we’d rehearsed the tune as a band and made some tweaks between us to make it more unique to our sound, we headed into the studio with Pat to put down the instruments. The song was produced primarily by the band with a few naughty home sessions to build the soundscape after the main elements were put down. It was subsequently mixed by our long time collaborator and daddy, Daniel Willington.

How did you approach the recording process?

We took the elements of what we liked from the original session i.e. the percussion and guitars and built on that structure with our live instruments. We started with Bass and Drums, then horns on our studio day and vocals, along with some other auxiliary synths were done at my place using the tracks we came home with.

What or who influenced the concept for the music video?

We’ve got a bit of a reputation for funny videos, bordering on completely ridiculous so, the general consensus was to match the darker tone of this track with something a little moodier to show a different side of the band. Jesse had been doing dance lessons so was in touch with a great choreographer in Jess Innes so he had the idea to just get in a room with our instruments and some sick backing dancers to do something nice and professional for once.

Where and when did you film and who did you work with?

It was filmed earlier in the year at the Egg studios. The video was directed by Nick Allen, shot by Matty Ower and choreographed by Jess Innes. We also were lucky enough to get our hands on some custom outfits designed by my good friend Romon Yang as well as some makeup looks by Georgia Vierod. All of the crew were friends so we felt very lucky to be so close to such talented, hard working creatives.

What did you most enjoy about creating the film clip for Hard Times?

For me, personally, it was surprisingly pleasant to put down the guitar and try not to make a fool out of myself in front of the camera without my usual on stage armour. Considering I’m a notoriously awkward and uncoordinated person, I did much better than I thought I would.

Any upcoming shows/tours – When/where?

As always, we’ve got shows aplenty coming up through the year. We’ll be hitting a few festivals like Relish Festival, Jungle Love and Young Henrys Fringe Festival which we’re so excited for and will most definitely be hitting a city near you to bust out a face melting headliner.

Please tell us about any new music that’s on the horizon?

As we SPEAK we’re whipping up a jam the likes of which have never been seen. We’re aiming to release in the coming months with fame and fortune following shortly after.

Official Website | Facebook | Twitter | Instagram | YouTube | Triple J Unearthed

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RinRin

by the partae
written by the partae

Where are you currently based? 

I’m from Perth.

 

How did you first start playing music? 

One day Dad came home from a weekend garage sale with an old classical guitar. I was the first one to run outside and asked my dad if it was for me. He said yes and that was it!

 

What’s been happening recently? 

Just the usual crazy stuff I suppose. Writing music, gaming and preparing for Bigsound.

 

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

I was cramming a school project one night. Because we are using Ableton in school, the song ended up having more electronic elements in it than my previous songs. The lyrics were actually sitting in my phone for a while and I decided, “f$%& it, let’s use it”.

 

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

I recorded the song within the span of three weekends in March this year and I worked with Ryan Botha of Audax Studios here in Perth, who also mixed and mastered the song.

 

How did you approach the recording process? 

I will send the full demo to Ryan. He will then program the drum and bass parts from the demo, we then record all guitar parts. Upload the synth’s from the demo and then comes the hardest part – vocals.

 

What does Guns and Grenades mean to you? 

When I think about the song, I think about two people standing on opposite sides of the battlefield told to fight to the death. These people are having their love torn apart by other people’s selfish interest. 

 

You’re playing at Bigsound 2022, how are you feeling? 

Scared and nervous but excited! It’s my first time flying to somewhere else to perform so it’s a really big milestone in my career so far.

 

What do you have planned for this epic showcase? 

I’m excited to play “Guns And Grenades” live!

 

Who are you looking forward to seeing also play at Bigsound 2022? 

To Octavia, The Last Martyr, Future Static. 

 

What do you like to do away from music? 

PC Gaming (especially Valorant), spend time with family and my cat Mimi and also drawing.

 

What’s planned for 2022? 

There may be more singles still to come and I’ll continue writing in the meantime 

 

Favourite food and place to hangout? 

The restaurants in China Town are bussin, and gamers like me hangout virtually online with other gamer friends.

 

Facebook here

Instagram here

Website here

Twitter here

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Kaipora 

by the partae
written by the partae

Where are you currently based?

San Diego.

How did you first start playing music?

Ronnie and Kevin met in advanced band in middle school. Kevin playing the saxophone and Ronnie in percussion.

What’s been happening recently?

Recently we’ve just been playing bigger and bigger shows and showing people the possibilities of live electronic music.

Your latest single ‘Hold On’ will be soon, what influenced the sound and songwriting?

Our friend McFiddles had this vocal he jammed over a track we were making and it turned into this deep banger.

How did Hold On come about?

It was one of those songs that just started happening with one idea and kept falling into place. Started with the vocals.

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

We wrote and produced this about a year ago with McFiddles at our studio.

How did you approach the recording process?

Our approach is to let it record, jam and choose the best and groovy parts.

Any shows coming up?

We having burning man coming up and same same but different festival.

Who are you listening to at the moment?

At the moment we’ve been listening to thundercat, kaytranada, and lots of bass music.

What do you like to do away from music?

We like to explore the outside and play the occasional video game.

What’s planned for the remainder of 2022 going into 2023?

The plan is to keep grinding and recording more tunes. We are about to release a full length album of all bass hip hop vibes.

Favourite food and place to hangout?

Burritos and beach.

@kaip0ra
KAIPORA.net
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Vlade Kay

by the partae
written by the partae

Where are you currently based?  

It’s hard to name one place, now I’m focusing on writing new music and recording it, that’s why  we travel a lot with my team to work with different songwriters, producers and meet people from  industry all around the world. For example we had writing camps in LA, Dubai, London, south of  France and by the way, I’d love to be in LA now. For sure we will go there soon. 

How did you first start playing music?  

Music has always been a major part of my life. Mostly because I come from a musical family, my  father is a drummer and my mother is a singer, so I spent my childhood on the backstage and  from a young age I was singing and playing piano and flute. Also back then, every week we were  making small concerts at our place for all the neighbors. It was a great time! 

What’s been happening recently?  

Recently I’ve been recording a lot and preparing new materials, we finally finished the EP, so I will  release it very soon, right after ‘Dynamite’. For me it was really important to choose right songs  and get all details close to perfect. 

Your new single ‘Dynamite’ is out on August 5, what influenced the sound and songwriting?  The lyrics are based on my own experience. 

It’s about feelings that burst out and cannot be controlled. I’m sure that everyone can relate to it. So I just wanted to share my feelings with people. 

How did you go about writing Dynamite?  

Honestly, it was a team work, definitely magic happened! 

We were in studio for a couple of days songwriting. Dynamite was written 2 years ago, that time  we tried to find the right sound, but I didn’t feel that version should be released as it was. 

And recently we got back to the song again and finally made it the way you hear it now. We caught the right moment, my team was inspired by the song again, the melody got stuck in  my head for days so I realized, it’s a time to drop it.. 

Where and when did you record/produce/master and who did you work with?  I’ve been working with the same crew for the last 4 years, we kinda feel each other so it’s  definitely a match. I see how they also get inspiration from what we do together, and they believe  in me, it’s very important feeling.  

How did you approach the production process?  

We changed the song few times and then realized that it would be cool to make a rock ballade  format. We got inspired by greatest rock bands and decided to use Lenny Kravitz guitar style 

As a rising artist you’ve already collaborated with DJ Snake and Dimitri Vegas & Like Mike,  how was each experience and who would you like to collaborate with in the future?  I still can’t believe that we did it together, it is a big-big honor for me!  

They are huge professionals with strong teams in all aspects from music to management You need to learn from the best, right? 

Soon I will drop a new collaboration with another big name, for now I keep it a secret! The song is massive, I’m sure people will love it. 

Who are you listening to at the moment?  

I listen to different music, lately I have a lot of pop rock songs in my playlist, like Maneskin, Harry  styles. 

Can’t wait to hear some new names in the same style! I love it! 

What do you like to do away from music?  

For efficiency, in every sphere it’s important for me to switch activities.  

Currently I focus on improving my music performance. 

Everyday I have dancing classes, vocals, studio, rehearsals etc.

What’s planned for the remainder of 2022 going into 2023?  

I will release my first EP and few music videos soon. 

Planning another album, preparing new shows – can’t wait to perform on stage again!

Instagram | Facebook | Spotify

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Thousand Fingers

by the partae
written by the partae

Welcome to The Partae! How is everything in your world after the pandemic?

Everything is going much better than I planned, actually. My brands are growing fast and getting great feedback from the scene. 

Why did you start Follow The Fingers records? What was the inspiration? What was the aim?

It became one of my life goals after spending many years in the industry. I wanted to create a record label & recording studio joint brand where like-minded artists can freely express themselves.

How important is artwork and format do you think in 2022?

At the end of the day, you are selling music, but the image is important too. It should definitely reflect the total concept of the release and also link to the format of the record label. In Follow The Fingers, we work with different designers for the releases. Most recently, we worked with Italian artist Elisa. She explains of her art that the images were originally an experiment. “I wanted to explore the relationship between music and abstract visuals, and I wanted to investigate the role of technology in the production of art. I used Frax, an open source app that allows users to create their own fractals, infinitely complex patterns that are self-similar across different scales. I also wanted to modify my fractals even more, so I manually modified colours, light and movement in each picture. Finally I used Runway ML, a machine learning software that allows creators to explore different uses of Artificial Intelligence. By feeding the archive of images I had from Frax into Runway, I was able to obtain new and totally unique graphics.”

And what about videos and social media? Do they play a role in getting the label out there?

Of course!

What is the signature sound of the label? What defines it musically?

Our sound draws on an image of a post-apocalyptic future, but it’s not a simple replicate of the Mad Max theme. It is more modern and in harmony with machines. It respects every theme and area of post-apocalypiıc life. There’s the post-apocalyptic love story, the post-apocalyptic world of vikings…limited by imagination only.

Tell us about the new VA. How did you select the artists for this?

A few of the artists have releases on Follow The Fingers already. However, I am always finding new artists on the internet and reaching out. They are people who I’ve come across on music streaming or download platforms.

How has the label evolved since you first started it?

The label is constantly growing its roster and getting more recognition with each release. When it comes to the releases, originality is giving us a big distinction from other labels. Every release gets a new blog feature, premiere, radio play or gesture of support from top artists. 

How do you manage that while staying true to the original and core sound?

You just work with the right artists at the right time. The industry evolves/changes all the time and I should be listening to a lot of music and foresee where the scene is going. That’s how I can pick original creatives on my same wavelength.

What have been the best releases or the ones you’re most proud of so far?

I’m proud of all our releases but my favourite three are Into The Mist EP, Poison Lips EP, and She Said EP.

What else are you doing forward to/have you got coming up?

Oh, we have a lot of exciting sounds coming along! Apart from that, nowadays, I am working on a new compilation of ADE.

 

 

FOLLOW THE FINGERS // RECORDS & STUDIO

www.followthefingers.com

SOCIALS 

Landing Page – https://biglink.to/thousandfingers

Instagram – https://www.instagram.com/thsndfngrs/

Youtube – https://www.youtube.com/c/ThousandFingers

Spotify – https://open.spotify.com/artist/6pDwIptiCrEeRzTfc7mLrn?si=5JqNVA38RWCM_6WrpwCNoA

Apple Music – https://music.apple.com/us/artist/thousand-fingers/1474256556

Soundcloud – https://soundcloud.com/thsndfngrs

Facebook – https://www.facebook.com/thsndfngrs/

ResidentAdvisor – https://ra.co/dj/thousandfingers

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Sheph.ART & Barry Saleh

by the partae
written by the partae

Where are you currently based?

Hey! Great to be here today, we’re currently based out in Southwest Sydney, Liverpool to be specific!

 

How did you two come together to create music?

Sheph.ART: We actually met years ago, both on a construction site as electricians! One day, we were working on a large job together when I played some of my own music on the speakers. The conversations that brewed since then have never stopped! We went on to create music together, open our own Music Studio and have lots more in the works.

 

What’s been happening recently?

Barry Saleh: As we’re both producer and artists, our lives revolve around music 24/7! At this very moment, we are working on some large scale EPs for the artists that work with us as well as planning our next release.

Sheph.ART: I mirror what Barry said! Our publicist always tells us that we need more coverage of us outside our studio, but it’s the music that drives us forward, whether it’s learning, creating or executing on what we’ve set out to do. We have a lot more in works as business owners working in the music industry. Currently, we are also expanding our team of producers, finding more talent to work with and expanding our portfolio of music!

 

‘Action’ is your debut single together, what influenced the sound and songwriting?

Sheph.ART – “Action’ is a reference to the people who have doubted my musical, creative and business abilities, always being nowhere to be found when crunch time was imminent and now would like a seat at the table to bear the fruits of my labor. I specifically made the production as gritty as possible without losing its melodic essence in order to take the listener through an emotional rollercoaster to feel the hunger that I felt going through the motions of being able to get to where I am today and looking to go forward from here.”

Barry Saleh –  “In the opening verse I wrote through the eyes of my brother and the experiences that I witnessed him live through. I paint a picture of unhealthy memories in a reminiscent/braggadocious manner and take listeners all the way through to the present moment of growth and obstacles that are faced when it comes to people doubting and having ill intentions. The first person writing approach we took throughout the track strengthens relatability and understanding as it allows listeners to consume our lyrics as if they are the personas living the narrative or as if we are speaking directly to them in conversation.”

 

Please describe your collaborative process?

Sheph.ART: As Barry and I work together on a daily basis as producers, we have nailed our collaborative process down to the tee. From a production standpoint, we both have areas of expertise that we like to give to each other, for example, I love laying down the Melodies on keys and Barry is a killer guitarist! We both decide on the vibe of the track and go from there. Action’s instrumental is gritty yet melodic and takes the audience through a journey so for us as musicians, it’s all about what the track needs, we let go of any ego and do what’s right for the record.

Barry Saleh: In regard to the collaborative process for writing, we always go off the feeling of the beat, usually when we start writing together, we always end up writing about the same feeling, but if we don’t whoever nails the hook first, we go off of that as the topic. Sheph and I have had similar yet different experiences in life and so we tackle that topic from a different perspective. I agree with Sheph, when it comes to the record, we are a means of delivering a message, but if the message doesn’t sit right for the record, there are no hard feelings, you scrap it and move on. We’re tough critics of each other and so will challenge each other.

 

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

Sheph.ART – Being artist/producers, Barry and I, produced, tracked and engineered in our own studio BeatsWithSheph. I find that being a producer makes me a better artist and being an artist makes me a better producer all allowing me to have the flexibility to tell many stories in the one record. For example, Being a producer/artist, I used the melodies in the chorus and my verse of “Action”  to tell a story in itself. Although the beat and the main vocals can sound upfront and in your face, the listener has the option to listen a little more in depth and find that there is a flow of movement in the record that showcases the euphoric feeling of success through grit, hunger and hustle.”

 

How did you approach the recording process?

Sheph.ART – There are a few ways that I like depending on the feeling of the beat, sometimes, I will record melodies first and comp it together and write and record from there. Other times, I have the lyrics written, memorised (always memorised) and then when I record, it’s all about the delivery. This is not just something I hold for myself as an artist, but something I talk about with the artists that I engineer for. Engineering starts during the recording process and focusing on the delivery is everything.

Barry Saleh – Sheph and I take our engineering experience into the studio when we record, whenever we are tracking for each other, we understand even as seasoned recording artists, there are still nerves at the start of any recording process, getting that out of the way is when the recording really starts. From there it’s about finding every take that has been delivered the best. Making sure that our engineering vocalware is catered for the vocals of the artist (even if it’s ourselves), choosing a mic that suits the voice of the artist and the tone of the record.

 

What do you have planned for Action?

There is so much happening for Action! We have quite a few blogs, radios and endorsements coming our way for this record and the love is appreciated! We aren’t stopping here though, there is going to be another record dropping shortly for you all to bump to and a few other projects in the works! Keep an eye out!

 

Who are you listening to at the moment?

Sheph.ART – I’ve been bumping KAYTRANADA and Anderson.Paak!

Barry Saleh – I love listening to Burna Boy, JID and a range of Arabic music!

 

Any live shows coming up?

Barry Saleh – “At the moment, there are a few live shows in the works and will be finalised in the coming months! Performing has always been part of my life since a young age and there is no feeling like performing and seeing your fans in the crowd singing the words of your records!”

Sheph.ART – “Touring is definitely on the to do list, but right now, for me, it is more about creating a strong digital presence and growing my skills for when it’s time to perform.”

 

What’s planned for the remainder of 2022 going into 2023?

We love this question!

Currently, we have a fair few projects in the works, not just for our artistry, but for business! Keep an eye out for “Sheph Division” “BeatswithSheph” and everything that encompasses it! Our organisation has doubled over the past few months and we don’t plan to stop, so if you’re an artist, producer or engineer who is looking for the next step in there career, we’re on the hunt to find you and help you grow!

For our records, we plan to come out with more records that are just going to blow you away!

 

Favourite food and place to hangout?

Sheph.ART – I’m an avid cook so I love a good home cooked meal, but I like to spice it up so I cook at my BeatswithSheph studio haha!

Barry Saleh – Love me good meal from Classic Burger! Can’t go wrong there! With our busy schedule sometimes ordering Uber Eats is time efficient and having great options open till late in Liverpool is a plus!

 

PLAY/LISTEN

Sheph.ART  Instagram | triple j Unearthed

Barry Saleh  Instagram | triple j Unearthed

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Music InterviewsMusic News

Tied Down

by the partae
written by the partae

Where are you currently based?

Tied Down is currently based in Perth WA

How did the band form?

We had a pretty funny startup: Deano (drums) & Kado (rhythm guitar) have been mates since they were about 4 years old and always jammed together. I (CJ – vocals) played footy with Kado and decided to head around to jam with the both of them and covered The Comedown by Ocean Alley. As soon as we finished the song we kind of looked at each other like, “ahh that was actually pretty good” haha. Steve (lead guitar) was the wild chance meeting as the boys met him on the roof of a hostel in Tokyo while over there for Fuji Rock Festival which still is pretty unbelievable how that panned out. Papa D (Dolsy – bass) was the last pickup as he went to school with Kado. They hadn’t seen each other for a while then saw each other at a local hardware store and Kado gave the invite to come have a splash with us!

What’s been happening recently?

Gigs, gigs, gigs. We’ve been on a massive run of shows in the last couple of months playing our Undefeated single launch, two gigs alongside Gyroscope and sold out shows with South Summit & Saviour! It’s been an unreal run of gigs and we’re thankful for the opportunities!

Your latest single ‘Undefeated’ will be out now, what influenced the sound and songwriting?

Undefeated as a whole to me is a powerful anti-suicide note. We wanted to make an up-tempo, uplifting track about pushing through all the shit you have to go through in everyday life and not giving up no matter what. This track pulled a lot from our heavier influences like Title Fight, Trophy Eyes and Basement while keeping our trademark punk rock sound. We couldn’t be happier with the way it turned out!

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

We rolled this one through our mate Matt Templeman again as we did for our last single Slow.
Temps is great to work with and provided a lot of the drive for the track. We also had drum tech extraordinaire Fraser Cringle and riff king Scott Kay work with us then had it produced by Simon Struthers. Such a great time working with all of them and they really helped us get the most out of the track.

Please tell us about how important it is to you to touch on deeper topics through your lyrics:

Great question. For me, I determine what I want to touch on once I’ve completely immersed myself into the roots of the song musically. I heard the shell of Undefeated and knew instantly what I wanted it to delve into. Like I said, this song is a fuck you to suicide and all the mental breakdowns that can try and push you towards breaking point and being able to have the resilience to say, nah not today. As a collective, I think all of us at TD believe in writing meaningful music and really don’t want to be putting out standard tracks talking about the same old shit.

Please tell us about your process of lyric writing:

Haha, lyrics are a funny one for me.
I listen to the shell of our music at its birth then I generally take it home with me on earphones and start listening on repeat. I’ve always had a knack for writing hooks and melodies really easily so I’ll normally start singing made up words in the order I want them to go. At any given time I probably have 5 different topics with some choruses ready to go so I’ll place the one in there that fits the music the best and then send it to the boys, get some feedback and work on it from there. I won’t stop until I know I have the right combination of words and that I’ve packed as much meaning and punch that I possibly can. Apart from all that, the most important part of the lyrics writing process is probably coffee haha.

Who are you listening to at the moment?

We’ve got a big mixture going on at the moment. The Tied Down playlist is a mixed bag of artists and genres but I’ll namedrop a few that we’re on at the moment: South Summit, Posseshot, Angie Colman, Speed, Lilos, Joan & The Giants & Ratsalad to name a few!

What’s the Perth music scene like right now?

The place to be baby! Sick shows every week, new singles every week, loads of radio play, bands heading over east. It’s literally all happening and it feels like it’s long overdue!

Plans for the remainder of 2022 going into 2023?

We’re knocking up a solid end of year run including another show or two with South Summit in September, heading up to Geraldton with Ratsald in October and then hitting Sydney for a couple shows in November as our first trip to the East Coast! We’ve set some time aside for writing and recording so we can hopefully spoil everyone with some new bangers shortly!

Favourite food and place to hangout?

At the moment I can’t stop smashing the pizza. Should probably have shares in my local pizzeria the way I’m flying through it aha. I love hanging out in any creative space – jam rooms, small time acoustic gigs or literally just an air BNB with a good crew and a couple instruments. Creativity breeds creativity yo!

Facebook: www.facebook.com/tieddownaus
Instagram: www.instagram.com/tieddownaus
Youtube: https://www.youtube.com/channel/UCLa31m60YjREMf7JeFBR1wg
Triple J Unearthed: https://www.abc.net.au/triplejunearthed/artist/tieddown/ 

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