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Tahdig

by the partae
written by the partae
Where are you currently based? Brisbane.
 
How did you first start playing music? I’ve had a passion for hiphop/rap music from a very young age. I grew up playing the guitar until the age of 13 before becoming interested in hip hop dancing. Throughout my childhood and adolescent years I’ve had a huge interest in hip hop culture and would listen and dance to hiphop/rap music. In 2021 I took the initiative to start making music. I’ve always had confidence that I could rap and make music, therefore in October 2021 I recorded my first 3 singles under the title, Humble Beginnings.
 
What’s been happening recently? This year I’ve been busy recording my debut EP. I contacted Gene Castillo who is a sound engineer and producer at Six Degree Studios located in Tarragindi, Brisbane. I found Gene through mutual contacts on Instagram and reached out to him in December 2021 to record my first initial track for the EP. From mid January 2022 until the end of March I was in the studio recording and finialsing the tracks for the EP.
 
Your debut EP ‘Truth Be Told’ is coming out very soon, what influenced the sound and songwriting? When I write music or come up with concepts I try to relate it with experiences I’ve encountered in my life. Truth Be Told is an EP where I get to express my feelings and thoughts towards certain themes such as love, friendship, family, and so on. Since I’m making a debut into the music scene in Australia, I’m still in the process of finding my sound in making rap music. My EP features producers from different parts of the world which provides me with an opportunity to explore different sounds in urban music.
 
How did you go about writing Truth Be Told? Truth Be Told was written in collaboration with lyricist/songwriter Nathaniel Hamilton from Canada. I’ve been working with Nate since my first release and really love the way he writes bars. I provide Nate with a concept for a track and together we collaborate in writing lyrics. The style of rap that I admire the most are tracks made by J.cole, Kendrick Lamar and Wale. Since working with Nate, I’ve been working towards finessing my flow in rapping and writing bars.
 
What does this EP mean to you? This EP is a huge deal for me. It has allowed me to work with close friends and professionals to create tracks that represent me as an artist. This EP is an opportunity to showcase my skills in making music and introducing myself to the music scene in Australia.
 
Where and when did you record/produce/master and who did you work with? I recorded my EP at Six Degree Studios with Gene Castillo who is a member of Rush Hour Studio. Gene mixed and mastered my tracks. I worked with producers Ramoon, Fewtile, Dillygotitbumpin and JustDan.
 
How did you approach the recording process? Once I finished writing my lyrics I would source beats that I like and then worked on my flow. This process would take a few try’s until I got to a point I was happy with. Before I went into recording I made sure I had practiced my flow for each track and the approach I wanted to take. After my recordings were done, Gene and I would go through a reviewing session where I would share my ideas for the mixing process.
 
What do you have planned for Truth Be Told? My plans for this EP is to get my tracks over a few thousand streams on spotify and apple music. I hope that my music reaches a broader audience and that people enjoy the tracks I’ve produced. Ideally it would be awesome to be signed to a label so I can continue making music that people enjoy.
 
How does it feel to release your debut EP? It has been a really cool experience thus far making music. To be able to release this EP with the help of close friends has been fun. I’ve learnt a lot and I cannot wait to hear what people think.
 
Who are you listening to at the moment? At the moment I’ve been listening to Burna Boy’s new album Love, Damini. I’ve gotten to love all sorts of music genres besides hip hop and rap. My recent favourites have been afrobeat and dancehall.
 
What do you like to do away from music? When I’m not making music I’m either designing or playing basketball. Currently I’m doing my Masters in Secondary Teaching as I’m working towards becoming a teacher.
 
What’s planned for the remainder of 2022? For the remainder of 2022 I have a music video planned for my track Immigrants. I’ll be working with my close friend Devina who is a filmmaker and producer.
 
Favourite food and place to hangout? My favourite food of all time is chelo kebab which is chargrilled meat with rice. It’s every Persian’s favourite. My favourite place to hangout is at a cafe with good beats and good company.

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Luciano Santos Releases Summer song ‘No Sense’

by the partae
written by the partae
Where are you currently based?
I am currently based in New York City/ New Jersey- USA.
 
Please tell us about your new career in music and how this new path for you has come about:
It has always been a dream of mine to be an entertainer. I remember wanting to be on the Disney Channel when I was a pre-teen. Music has always been a part of my life since I was a little kid. I was involved in school and church choirs. In my early twenties was when I seriously decided to pursue a career as a musician in the church world. But it was late last year that I decided to shift gears and decided to become a pop singer. It felt natural to do that because I started to write music that wasn’t religious and started to write more about my own personal experiences in life.
 
What was the driving force behind your new musical path?
My passion for performing and connecting with people through music was the driving force. It was not about becoming “rich and famous”. It is about putting music out there to touch people’s lives.
 
Your second single ‘No Sense’ will be release on July 17, what influenced the sound and songwriting?
I already wanted to write a song with the theme ” No Sense”. I had to make a decision that at the time seemed like a no-brainer. But later that decision made no sense at all. It wasn’t what I was expecting. So one day I was listening to some upbeat tracks and I thought it made perfect sense to write sad lyrics with a happy sound. 
 
How did No Sense come about?
I kinda answered that in the previous question haha.
 
What does No Sense mean to you?
“No Sense” means that I will always make decisions that I’m going to regret because that’s part of human life. We are always evolving and changing and sometimes we don’t know what we really want. But the beauty is that we can learn from our mistakes and by learning what we don’t want, we can be redirected to pursue the things that we actually do want.
 
Where and when did you record/produce/master and who did you work with?
I recorded in New Hope, Pennsylvania with my producer Bhauraw. He also produced my previous single “Glimpses”. It was also mixed by him. It was mastered in Australia by Nicholas di Lorenzo from Panorama Mastering.
 
How did you approach the recording process?
I just wanted to have fun while recording this tune. I made sure that it had good vibes only.
 
Who are you listening to at the moment?
I’m listening to a lot of Niall Horan. I’m a big fan of him.
 
What do you like to do away from music?
I like to be outdoors in nature. I enjoy taking walks in the park and playing volleyball at the beach.
 
What’s planned for the remainder of 2022?
I plan to release more music! An EP. So stoked!
 
 
Favourite food and place to hangout?
Whatever I am in the mood for at the moment. Just kidding. Usually margherita pizza or a steak with french fries.
I’m a beach guy, so I’ve heard of your amazing beaches in Australia. I’ll make sure I’ll come for a vacation and not just for shows haha. 
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Anieszka

by the partae
written by the partae

Where are you currently based?

I’m in Sydney, Australia

How did you first start playing music?

I started singing when I was about 2 years old, and basically never stopped (haha). I picked up a bit of keys when I was 8 and taught myself some guitar when I was 12. Music has always been the one constant in my life, people told me that when I grew up I wouldn’t want to be a singer anymore but it never changed.

What’s been happening recently?

2022 for me has been lots of gigs, writing with other artists/producers and getting this EP and EP Launch show ready.

Your EP “Human’ is out now! What or who influenced the sound and songwriting?

It’s truly an amalgamation of my childhood and growth as a person and artist. People have been dropping names like Summer Walker, Sza, Jhene Aiko, Sabrina Claudio, Cleo Sol, Alicia Keys – they’ve definitely played a part but I genuinely feel like these songs came from a personal, deep and unique place. I’d say its main influence is life and connecting with my inner self.

How did you go about writing this EP?

I started writing it 2 years ago, I had ideas and songs I’d written from earlier on and the process started with Chelsea Warner and the song Presence. From there I started to flesh out what kind of music I wanted to make and what it is I wanted to say. I had pretty strong and clear ideas going into it so I was really grateful to work with people who wanted to help bring those ideas to life.

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

Some of the songs were recorded in studios, whilst some I recorded at home. On this project we have Chelsea Warner on production for Presence, True, Human and Bittersweet (she also vocal engineered Human and Bittersweet) as well as some instrumentalists from Mauritius on the song Human. We have Lui Mateer on production for Choices and Within, Stefan Iyapah on production for Senses – who is also my cousin and lives in the UK (I hope to head over there soon) and Marley Rooney – who’s also my keys player – on piano for Worthy. All the songs were mastered by my ride or die engineer Diego Raposo who is based in the Dominican Republic. As you can see I’ve taken it International.

How did you approach the recording process?

I really enjoy recording with a vocal engineer, it’s great to have someone throw ideas and help with the recording process. I worked with Charlotte Rochecouste, Chelsea Warner and Matt ‘Gambino’ Borsos. I usually do a few takes of the whole song then work on each part as needed. When I record by myself at home it’s a more meditative experience, depending on the song.

Your single ‘Human’ was recently released, what does this track mean to you and how did Human come about?

Human is a very special song to me. It’s the first time I’ve put traditional Mauritian elements into my music and the blend is just divine. From the ravanne (drum) to the ‘oh-la-la-eh-la-la-ile’ harmonies, it represents my connection to my culture. I remember telling Chelsea, ‘Chels I want to do a Mauritian Sega/R&B song, you down?’ and we got into the studio and created it together. It was magic. The concept of the song rings true to all of us – we are human, we are flawed but we are powerful and loving beings. I wanted to remind people of their strength and beauty.

Who are you listening to at the moment?

Brent Faiyaz dropped ‘Wasteland’, that’s been on rotation for me

You’re playing on Wednesday 13 July at Mary’s Underground Sydney, what can we expect from your live show?

It’s the biggest show I’ve done so far, and I’d definitely call it a show rather than a gig. I have a full band and a Mauritian twist to end the night – it’s going to be a very very special night and I’m so excited to bring my songs to the live stage, some of which will be for the first time. I also have ELISHIA and Melkior opening the night too, I’m hyped! This one is not one to be missed, I’m going all out.

What’s planned for the remainder of 2022?

More writing, more collaboration, more new music, more growth, more shows.

Favourite food and place to hangout?

Sushi for sure, and I love being by the sea or in nature, it always centres me and helps me reconnect.

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

 

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GIGEE

by the partae
written by the partae

Hi GIGEE, thank you for joining us! How’s life for you right now?

Heeeey there! Thank you for having me 🙂

Excellent! Excited to be back on tour, loads of new music coming out, and my family and friends are safe and in a good shape. Life is good 🙂

You had multiple different interests in your upbringing and decided on a career in music. Was this a tough decision as a youngster?

As a child, I used to have a highway of ideas, that is very true. A blessing and a curse at the very same time. Although, music has always been a major part of my life since I can remember…. I always had the best tapes, vinyls, or CDs that everyone wanted to borrow from me haha, but as a kid, I was also very into sports, especially tennis and football. I was taking football seriously in particular, but due to a nasty injury the professional career obviously never happened, and you’d never guess I had anything in common with the sport before! So I guess I’m in the right place, and I don’t regret the path I’ve chosen. This is my passion, this is my destiny and I couldn’t love it more.

What challenges did you face when you began your career as a DJ/Producer and what was the ‘breakthrough’ moment for you?

Well, when I made my first track around 2011 I didn’t take it seriously (I still have it some place on my computer but I’m afraid to listen hehe). I’m harsh on myself and always strive to improve, even when it’s not needed. So it took me a while to really believe in myself and start to realise that I’m capable of making it in the music industry. Back in the days, It was more of a place for my innermost fantasies but somehow I managed to get myself together and try…then I tried once again and again and again, and after few years, after many rejections, self-doubts and more to eventually end up in the place where I am now. I would say it’s rather a process of cultivating the „get up and try again” attitude rather than a single breakthrough.

You’ve enjoyed excellent releases on the likes of Mobilee & Katermukke recently, two imprints who have consistently supported you. How did these relationships come about and what makes a great artist/label relationship?

Yes, I will be eternally grateful for their support. We started as strangers, and music brought us together, but I strongly believe there is no such thing as coincidence. After a few years of collaboration and getting to know each other, our relationship began to evolve in a variety of creative directions. I recently joined Kater’s in-house agency for the GSA region and couldn’t be more thrilled about our long term plans, not to mention mutual trust, respect, and unwavering support. All of that makes it feel like a second family:)

How do you feel your sound is evolving as you progress in your music career?

Electronic music is a hell of a sound spectrum. Not sure which moment should I call the „beginning of GIGEE sound” because I constantly have lots of new ideas that I tend to implement into new releases but maybe that is the way we should put it. I finally started to feel confident and happy with my studio work, my approach, and sound designing. Still experimenting but not too much as I now know where to put a dot and where my signature is. This is exciting but it was also a process that didn’t come overnight.

 Who are some of your favourite music artists currently?

I still keep in mind my teenage time gurus, such as Paul Kalkbrenner, Carl Cox, David Guetta, Avicii and Vitalic, but I’ve learned to find inspiration in many different aspects of being a musician. There are so many new talents nowadays with astounding sound and strong personalities that it would be a shame not to acknowledge them. For example, I admire how Charlotte de Witte has evolved over the years. I am a huge fan of Joris Voorn’s sound, and I am constantly moved by Ben Bohmer’s melodies…

You’ve had some huge support across the music industry, including some recent BBC Radio 1 plays in the UK, have you had time to reflect on your success’?

Thank you! I’m really gratefull for this awesome feedback, that’s true. I had a wonderful dinner with my closest ones to celebrate the recent happenings  but there is still a lot of work to be done, and I choose to prioritize that. Hopefully there will be a time to fully raise the glass soon 🙂

You also enjoyed your US debut in Los Angeles last month, how exciting was this and are there any other countries you hope to play at in the future? 

Los Angeles and California in general hold a special place in my heart, so this was a highly emotional and extraordinary experience. Luckily I’m coming back in July for two gigs with The Fluffy Cloud – Burning Man crew, the first one in LA, the second one in San Diego. Should I mention that I caaaaaan’t wait for this? 😀

My bucketlist with spots and venues that I admire is constantly getting bigger and bigger. We don’t even have enough wine to start this conversation hahah :)))

What would you say has been the proudest moment of your musical career so far?

It’s hard to pick only one but I would say that I’m the most proud of being consistent and moving forward every year. Thinking about where I was 5 years ago and where I am now is motivating me to keep working and pushing my boundaries every day. 

What else is coming up for GIGEE in the rest of 2022?

Hopefully busy touring schedule till the end of the year and I’m currently working on a new EP for one of my music mentors; I can’t announce it yet, but we expect to release it this fall. Then I’ll be doing few remixes for a well established label, but I’ll have to keep that a secret for a while as well – BUT – you’ll be the first to know:)

FB: http://www.facebook.com/gigee6

IG: https://www.instagram.com/gigee6/

SC: https://soundcloud.com/gigee6

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Kelaska

by the partae
written by the partae
Where are you currently based?

I am from a small town in eastern Connecticut!

How did you first start playing music?

I’ve been singing my whole life. I started writing songs around 10 years old and picked up instruments like piano or guitar around 17.

What’s been happening recently?

I’ve been working a lot on writing lately. I’ve been in a little bit of a writer’s block while writing for the next single, so it’s just been a lot of brainstorming until something sticks. I want to release something I’m proud of, so it has to be right.

Your latest single ‘Honey’ is out on July 1, what influenced the sound and songwriting?

Honey was mostly written because we wanted to write something fun after the last single,Tightrope. We were inspired by MUNA and the 1975 which I think really comes out in the synths. The storyline is pretty in your face with this one, no crazy metaphors or twists. Just a simple song about how it feels to hear your ex regrets leaving you. It’s a little flawed to admit, but it always feels great to know you’re missed.

How did you go about writing Honey?

I wrote Honey with Mackenzie Christensen, my producer. We started out by coming up with sounds and chords we liked. Initially we liked the idea of a “fake chorus” and thought it should have a little bit of sass to it. On my way home I started to come up with the story and by the time I parked I had most of the song written.

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

Since High & Low came out in 2021, I’ve worked with Mack on every release. We usually work together to plan out the structure of the song, unless we’re using one I’ve already written. After that I go home to put on a melody or lyrics to it, and he works his magic from there. He handles the mixing and mastering as well. We work really well together so we get together and talk or hang out while we try to add different instruments or sounds to make the songs feel complete and authentic. We record at his house most of the time.

How did you approach the recording process?

This process was pretty easy going. We had a lot of the melody and structure written in one day. The lyrics came within the next couple days and then it just took some trial and error to record the rest of the instruments.

Who are you listening to at the moment?

I tend to stick to a lot of 60s/70s music so it’s a little hard to break me from the classics. Lately it’s been Joni Mitchell or Paul Simon, but for current artists I’ve been admiring Harry Style’s new album or Carol Ades’ new single “26.”

What do you like to do away from music?

I really love to bake! I spend a lot of my free time doing that or binge watching TV shows. My favorite thing to bake is flavored cinnamon buns and the show I’m currently catching up on is Better Call Saul.

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

For the foreseeable future I’ll just be here releasing singles! I have two more planned for 2022. I hope to play out a lot more in 2023 so I’ll probably be preparing for that too.

Favourite food and place to hangout?

My favorite food is sushi! I could eat it every day. McDonald’s is my guilty pleasure though; gotta love those cheeseburgers. My favorite place to hang out is definitely my bed, but the drive in is pretty fun too.

https://kelaska.com

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Matthew Gilbert

by the partae
written by the partae

Where are you currently based?

I’m currently based in the far northern suburbs of Melbourne and have just moved with my wife Sarah and two dogs Alfie and Kora to Briar Hill

 

How did you first start playing music?

I started playing music like most people do, at school. What really inspired me to write and consider it as a career though, when one day a wonderful man, Ben Abraham, came to our school and played for the everyone. It was the first time felt that ‘This is what I want to do with my life’ vibe!

 

What’s been happening recently?

Like I mentioned above… Quite a lot. ‘Getting Over All Of It’ really signifies the change of a season in life. Sarah and I moving out of our house-sharing house (which we love and will dearly miss) into a little two bed room to prepare ourselves to be parents, to give just one of a few. Music wise though, I’m currently preparing for the album launch at The Wesley Anne on the 30th of July with a 15-piece band. It’s going to be epic!

 

You’ve just released your sophomore album ‘Getting Over All Of It’ what influenced the sound and songwriting?

So many things influenced this album! Sufjan Stevens, Gang Of Youths, Kings Kaleidoscope, Bon Iver and S. Carey to name a few artists. The songwriting was all inspired by the difficult situations that were happening around me at the time. Stories of broken relationships, church struggles and learning to grow through difficulties.

 

How did Getting Over All Of It come about?

Like I mentioned above, ‘Getting Over All Of It’ came about really as a way for me to process and fully experience the things that were happening around me. I’m generally not a super emotional person, but theres just something about music that can bring me to my knees. I think that’s why I wrote it so I could start some sort of therapy process to heal.

 

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

Haha, It was messy. A lot of the recording was done by me and through all the lockdowns and was spread over 2 years. I had some international musicians to help me out with all of the strings parts and then worked remotely/locally for all the core instruments like drums, bass and electric guitar. I had sooooo many people involved in this album though, 20 people all up. In no particular order; Graham Christopher King – Drums, Jacob Sells – Electric Guitar/Percussion/Mixing, Gordon Lewis – Bass, Marlene Bellissimo – Violin, Jiro Yoshioka – Cello, Steve Giddings – Pedal Steel Guitar, Joshua Dobson – Cello, Jack Hunter – Vocals, Daisey May – Vocals, Sarah Young – Vocals, Maddy Bialecki – Choir, Sam Gorfine – Choir, Justine Healey – Choir, Katie Lapp – Choir, Michael Smyth – Choir, Matt Wandon – Choir, Sarah Young – Choir, Kate Sells – Choir, HANA – Choir, and Adam Dempsey – Mastering. CRAZY!

 

 

 How did you approach the recording process?

I approached this album very differently. The biggest change was working remotely with people. We tried zoom for quite a bit, BUT it was a little jenky for music, so musicians listen up… Check out Sessionwire! Well worth it. Apart from that, the biggest difference from this album to the last though is that I really wanted to focus on the instruments and not my voice. You’ll notice that I sing quite softly through a majority of the album. This was intentional.

 

Your album was completely funded via your fanbase on Kickstarter, please tell us about how this helped you:

Close, I actually funded a lot of it myself and then my fanbase funded all of the promotion and the launch of the album. Without them we wouldn’t have been able to work with the wonderful people at Beehive PR and we wouldn’t have been able to push advertising of the album either. Massive help in the release of the album.

 

Who are you listening to at the moment?

Literally listening to Maverick City Music right now, but on any given day you’ll see me listening to; Sufjan Stevens, MARO, Organ Freeman, The Magic Lantern, Luz and Peter Sandberg

 

What do you like to do away from music?

I don’t really do a lot apart from music as I work as a music teacher, BUT when I’m not doing that you’ll see me involved in church, doing some sort of filming and spending time with our dogs.

 

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

‘Getting Over All Of It’ album launch at The Wesley Anne on the 30th of July and then hoping to set up some more performances and then start doing some more recording with other artists around Melbourne.

 

Favourite food and place to hangout?

Ooooo I’m pretty open for food. My regular stomping ground is Burger Road out where we live. My favourite is some sort of ribs…Mmmmmm.

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Late 90s

by the partae
written by the partae

Where are you currently based?
Perth, WA.

How did Late 90s form?
Elliot (drums) and twin brothers Zaac and Brody (lead guitar and bass) have been in bands together since primary school and added Steve (vocals, rhythm guitar) to form LATE 90s in 2020.

What’s been happening recently?
Heaps of time in the studio lately as well as playing shows with the incredibly talent rich W.A music scene.

Your latest single ‘Die To Heal’ is out now, what influenced the sound and songwriting?
Die to heal was heavily influenced by Silverchair’s Neon Ballroom.

Where and when did you record/produce/master and who did you work with?
We recorded at Hopping Mouse Studios with our producer Matthew Templeman and Simon Struthers mastered the track.

Who are you listening to at the moment?
Idle Eyes, Turnstile, Basement, Satin Cali.

What do you like to do away from music?
Surf, Footy and Basketball.

What’s planned for the remainder of 2022 going into 2023?
More music, More shows.

Favourite food and place to hangout?
Indian Ocean Hotel and El Grotto in Scarborough.

Facebook | Instagram | YouTube | Triple J Unearthed | Website

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Bec Sandridge

by the partae
written by the partae

Where are you currently based?

I’m currently in Thirroul, a small sea-side town in New South Wales. 

How did you first start playing music?

In year 9 I bought a blue acoustic guitar off Ebay, and a guy across the road taught me all of Blink 182s back-catalog and the rest is history… 

What’s been happening recently?

I just put out my first single Cost Of Love, the first music I’ve put out in three years and I’ve also been studying my Masters in Music Therapy which has been pretty fun, interesting and wild. 

Your new EP ‘Lost Dog’ will be released on October 7, what influenced the sound and songwriting?

I’m very excited, it’s been a long time coming. I think it definitely feels a lot meatier and grittier than my previous work. I listened to a lot of atmospheric German club stuff whilst making it and also some strong 80s bangers like Tears For Fears. 

How did you go about writing the EP?

I wrote a lot of the EP with my pals Dave and Lucy at their apartment in Clovelly and I was lucky enough to collaborate with so many great people I’ve always wanted to work with including Andy Bull, Geoff Swan, Japanese Wallpaper… 

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

We did a lot of the recording in Dave’s apartment but also kinda all over the shop. We did some drum tracking at Dorny Mayes studio, some stuff at Golden Retriever and I did a couple of vocal takes in my own bedroom. We also had additional production by Tony Buchen and Gab Strum (Japanese Wallpaper) and had Geoff Swan in the UK onboard (who is my dream mixer- think Charli XCX, Haim). 

Your latest single ‘Cost Of Love’ is out now, how did this track come about?

COL was kind of formed off the back of a relationship that soured… We both started to lose ourselves so the question of “how much hard work should a relationship be?” kind of came to the service and that messaging is the crux of the song.  

How does it feel to release new music after 3 years?

It feels pretty darn scary and pretty darn exciting. It feels good to create something so wholeheartedly. We’ve done the whole thing independently too which I’m incredibly proud of. 

You’re going on tour in August, what can we expect?

It’s a whole new band, all gals, all queer. It’s going to rule. 

Who are you listening to at the moment?

Maggie Rogers new record, Patsy Cline, Frank Sinatra and Angel Olsen’s Big Time. 

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

Writing another record, hopefully a visit to UK/Europe and more touring…

Favourite food and place to hangout?

At the moment, I love Cafe Paci. Such good pasta – oof! And I quite like just hanging out at Sandon Point dog beach or Camperdown oval. So beaut, so many doggos!

 

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Floozy

by the partae
written by the partae

Where are you currently based?

Dre and I are both based in Melbourne Aust. We live 5 mins down the road from each other on the north side.

How did Floozy form?

We did a song writing session together for a European producer and had heaps of fun together. We were both complaining about being stuck writing sad music and wanted a change so we started getting together with the goal of making fun, light music.

What’s been happening recently?

Just releasing music and trying to shoot, direct and edit our own music videos. We are doing a marketing course online too to help with our releases. Dre and I are also preparing for some zoom sessions as we will be living in separate stated for the winter. Looking forward to seeing what that brings to our process.

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

We tried to listen to what the production was making us feel and started fleshing out the story. There was something distinctly cheeky and flirty in the way the bass moved with the beats but also something mysterious in the pulse of the pads and textures. Almost like a question being asked.

This really guided the theme of the song: Everyone’s had the experience of being out somewhere and locking eyes with someone magnetic and mysterious, only to have them disappear into the crowd like smoke; Someone who everyone knows of, but no one really knows. Who are they? Where do they go? Who are they with? Did they notice me in the same way?

How did Craving come about?

In coming together as a duo, we always said we’d go for fun and spritzy. This doesn’t always happen in the writing process but Craving definitely landed true. The track started with a sunny arvo studio session together, where Dre brought in this sick beat and bassline to work off. We started bouncing around the studio having a laugh and Leigh almost instantly started singing the chorus hook.

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

Recorded in Fitzroy North with Xavier Dunn, mixed by George Nicholas and mastered by George Georgiadis.

How did the concept for the music video come about?

The music video was an absolute dream. Late last year, we were driving down St Georges Rd in Fitzroy North and saw this vision of a person gliding down the concrete sidewalk, dancing in their rollerskates. We were so taken by them, that we stopped the car and hailed Dylan down in the middle of the street. We both knew when we saw them, enigmatic in their signature blue get-up, catching the eyes of every stranger in sight, that they were ‘Craving’ incarnate. Dylan was thrilled at our ideas and shortly after exchanging contacts, we were texting excitedly about the shoot.

This is the first shoot that we’ve filmed, directed and edited alone. We both have strong creative vision, so the process was strangely easy. We kept looking at each other and saying “surely something’s gonna go wrong any second”. We used Andréa’s DSLR camera with some serious rented lenses, and used Leigh’s Skateboard for all the motion shots with the skates. We even snuck off for a cocktail at the Everleigh to break up the shoot.

Dylan was an absolute pleasure to film; so smooth and magnetic in their glowing skates. They were so naturally enthralling that we ended up with a mountain of amazing, usable footage to choose from. A good problem to have, but it meant we had to be very cut-throat during the editing process. To make sure that most of the incredible daytime shots didn’t go to waste, we ended up deciding to repurpose it into a separate lyric video.

Where and when did you film and who with?

We shot, directed and edited it ourselves.

Who are you listening to at the moment?

Dijon, Dominic Fike, Tom Misch .

What do you like to do away from music?

Leigh surfs, reads lots of books and studies Spanish. Dre teaches yoga and looks after her giant rabbit.

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

We’re gonna continue rolling out our music and filming music videos. We have a lot of material we made through covid and can’t wait to get it out and seeing what sticks.

Favourite food and place to hangout?

Japanese, Monties Bar Fitzroy North, Black Cat in Fitzroy .

Facebook | Instagram | YouTube | Triple J Unearthed

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RIP Youth

by the partae
written by the partae

Where are you currently based?

West Hollywood, California

How did you first start playing music?

When I was about 9 I wrote some really bad songs and made people watch as a friend and I performed them. REALLY bad! Good beats no structure and crap lyrics

What’s been happening recently?

Working on my EP and launching an NFT community

You’ve partnered with Peloton and R3hab, please tell us how this came about and what you’ve done together?

I was flown by Playboy Down to a party in Miami to launch Centerfold and the party was fun, Charlie XCX was dj’ing but nobody was dancing except this one really cool lady. So I went up and started dancing with her and exchanged numbers. Turns out she was the SVP of music and content partnerships for peloton, (Gwen Riley) I asked if they’d be interested to place product in my next video and she said let’s go bigger and do a Peloton edit of one of your songs and launch it for gay pride. I was thrilled obviously, we had spoken about who we’d get to do it and I had previously worked on a song with R3HAb and JOJO that wasn’t released but I loved what we did. By chance R3HAB’s manager had reached out in January to Gwen to find something to do with Peloton so it was meant to be.

At first Peloton’s DJ John Michael and I spoke about what would work in his room’s . He knows the Peloton following and what they needed to work best with the ride’s so that was interesting to hear how dynamic and functional the song needed to be. We tossed around reference’s and let R3HAB work his magic as he does. Was cool to see the song take on a new life in such a different way.

Please tell us about your other song writing placements with both international and local artists:

I got lucky , The first real producers I worked with were the Aussie DNA boys. Before they were multi platinum hit makers they are now. We were working on some songs for me and at the time, I was always like “how am I working with you guys …and you’re making music for h2o tv show about mermaids was there biggest ticket item at the time. They were so talented and still are ! … anyway,  I used to go to this bar in woolomolloo where I met UK singer Brian McFadden after a recording session one day. We became friends and one day I asked his opinion on one of my songs. One in particular he liked was a song called “Chemical Rush” said he liked it and the next day I get a call out of the blue saying he had shown his A&R manager at Universal and wanted to release the song for himself , so I went back to DNA and told the boys , they were thrilled obviously and that went on to become my first commercial release and aof my first gold record that hit #2 and got nominated for APRA dance work of the year.

Later I went on to work with Delta Goodrem and working with international; artist JoJo was a career highlight. Her voice is on Mariah Carey’s level and she takes her craft so seriously. A perfectionist at its best. So cool to witness that angel sing and ask my take on how and where she should take the song vocally was insane.

Aussie artist Nat Dunn is another Highlight, similar stance on her. I always tell her it’s your duty to over-sing everything because you have a voice that only few people on the planet possess.. “so sing into the shell little mermaid “ !!! I always joke that’s how I’ll steal her voice.

How did your creative partnership with Playboy and Cardi B come about?

As it always seems to happen with random LA moments… I literally moved into a building and started hanging out with the marketing director, Holly Ruprecht and she had instagramed me on her story, her boss Reena had seen me and asked her if I’d be into becoming a founding creator of Centerfold. Just like that!

What did you create?

I was shot by photographer Maddie Cordoba who has shot for Selena Gomez, Kris Jenner, Jessica Alba etc so that was cool, paid a fair bit of cashola and started creating and planning out events to promote being content creators who could connect with fans and monetise their videos, photos, host podcasts, live stream and all that good stuff. I was flying blind as I suck at all that but I’m learning and thank god they’re teaching me as we go and are planning more partnerships as part of an ongoing relationship. Love my playboy peeps.

Who are you listening to the moment?

Earth wind and fire . Going old school.

What do you like to do away from music?

Working on a radio show at the moment here in LA that will be a weekly gig chatting starting in July.

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

Working on my EP and radio show. RIPYouth tour would be cool and I am hoping to get back to Australia.

Favourite food and place to hangout in LA?

Pace Restaurant in Laurel Canyon. Always a vibe, cool not pretentious place that you’d find the likes of Johnny Depp in a corner reading a book or someone smoking a Joint and drinking a glass of red whilst drawing on the walls or tables – that’s allowed, it’s a very creative space!

@weareripyouth @james_maas

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Kieran Christopherson gears up for release of debut record Grand Mote

by the partae
written by the partae
Where are you currently based?

I live in Lancefield in Central Victoria, which is on the lands of the Wurundjeri and Dja Dja Wurrung peoples.

How did you first start playing music?

I’m self taught, and cut my teeth in lots of shabby punk and emo bands while at high school in Frankston.

What’s been happening recently?

Doing too many things at once and stressing about all of it. Finalising the release of my record Grand Mote. Releasing season 1 of my podcast Grand Mote Radio, scoping out pre-production for season 2 of that. Working as a horticulture teacher part-time. Trying to be a good husband and a good father to our one year old daughter.

You’ve just released your new album ‘Grand Mote’ what the hell does Grand Mote mean?

There’s a great War on Drugs line about ‘the grand parade’, which I’ve always loved. That inspired me, but a parade felt too lavish. I searched for a term to juxtapose grandness and found ‘mote’, which means a spec of dust or single particle. I produced the record myself in the first instance, so it was about allowing the relative insignificance of my life experience to express itself as fully as I could.

What influenced the sound and songwriting?

Guy Faletolu, who I have worked with a lot in live music with Cousin Tony’s Brand New Firebird, co-produced and mixed the record with me. His love of RnB and the 80s is all over it, but in rather inconspicuous ways. He helped me find the palette. The sound is built on my love of folk rock, americana, and classic guitar music, but I try to add a little more ambience to it all. Not quite shoegaze, but I’m a heavy pedal user so headed in that direction.

How did you go about writing the album?
I took a fairly mean hiatus away from writing songs through the middle of my 20s. I was lost, depressed, and trying to decide who I wanted to be. When I left Cousin Tony, I found space that enabled me to slowly crank the wheels into motion again. I write simple songs, lyrically driven, but try to turn them around in interesting ways. I keep it earnest, and try to find the universal in that. Most of it was written in my living room at the piano my mother in law gave to us.
 
Where and when did you record/produce/master and who with?
I did the bulk of my recording on it at home in Lancefield, often at night after my wife was in bed. We had a child on the way, so time was of the essence. I then started collaborating with Guy and we did some work at Sunset Pig Studios in Collingwood. There is fairly big cast of characters that contributed in their own home environments too, Nick Reid played drums, Matt Hayes and Tyler Millott played bass, Lachy Rose played some keys, Peter Corrigan played a gorgeous piano part on ‘Get That Money’, Chris O’Neill composed some string parts on ‘I don’t know why I’m angry all the time’ that made me cry when I first heard them, Victor St Clair played some bonkers sax on half of it, and Guy put some perfect touches on a few songs and mastered it.

How did you approach the recording process?
I was rediscovering who I was an artist. I used to do some home recording when I was younger, so I’d had some experience, but nothing I would call capital ‘p’ production. I wasn’t even setting out to make a record at first, which was kind of liberating but also meant I had to re-track stuff that wasn’t up to scratch. It was an experiment that turned out way better and way more serious than I ever could’ve dreamed. My second full-length Tangerine is going to be a much sharper product. Grand Mote is scrappy, and sometimes unsure of itself, and I’m proud of that vulnerability.
 
What was it like self producing during lockdown?
I could’ve definitely done with some help. It was a long process, but I was heartened when I emerged from it that the people I showed the music to were fully blown away by how it had come together. Unless something significant changes in my financial situation, I’ll be self-producing forever, I’d love to set up for a month in a nice studio, but there’s no way I could manage it. I want to develop a permanent space up here instead of recording guitars in my living room.
 
Please tell us about your latest single ‘Get That Money’:
I wanted to find a way to reflect on the universally oppressive nature of our economic systems, while being conscious of the reality that I’m a white male from the middle class that owns property because people helped us. It started as a sweet ditty on an acoustic guitar, and became this big guitar jam. It’s a cool driving song, and hopefully one that people can relate to when they’re stuck on a train going to work for the man.
 
You’ve released the record with an accompanying podcast, Grand Mote Radio, please tell us about this and plans for the future: 
I had always wanted to try podcasting, I felt it would bring together much of my professional experience. In season 1 I interviewed the people that played on my record about their work, their life experience, and the modern music industry. It’s a long form interview, and I play a track from the record at the end of the episode. It was stressful to do both at once, I don’t know that I’d do it that way again. But the podcast has become quite a thing, so I’m now working on season 2. GMR will now explore the records of other musicians, and who they become through the process. I’m planning to expand the format, maybe do some live recording in front of an actual audience, and maybe get into a bit of Web 3 music territory. Nura sponsored season 1, which I was very grateful for.

How’s it been returning to solo work after 6 or 7 years co-founding Cousin Tony’s Brand New Firebird?
Leaving Cousin Tony was one of the hardest decisions I’ve had to make. Lachy and I co-founded that band, and it was our dream to play in it forever. But life changes, and now that I’ve adjusted to it continuing without me, I realise that it was never going to be forever. I needed space to do my own thing, and Cousin Tony was in many ways an apprenticeship in the music industry. I feel hyped and focussed on what I want my career to look like, and I’m loving watching it slowly reveal itself.
 
Who are you listening to at the moment?
The new Kevin Morby record is one of the coolest things I’ve heard in forever. I also loved the new Kurt Vile record. One of my best friends Nick Reid released his debut Kitsch Kitchen record last week, and it’s honestly some of the most amazing music I’ve heard come out of Melbourne this year. He is an incredible producer and multi-instrumentalist, and ‘Technicolour’ kicks in the door to what could possibly come out of his gorgeous mind. Also the new Moderat record was something I’ve been hanging out for. I saw them in Paris, sober, and it was still utterly mind blowing.
 
What do you like to do away from music?
I’m a gardener. I teach horticulture in a high school so I spend lots of time thinking about plants, and working in our garden at home. I’m also a new father, so I spend as much time as I can with our daughter, that’s been a trip.
 
What’s planned for the remainder of 2022?
I’m launching the record at the Brunswick Ballroom in Melbourne in July so prepping for that. Otherwise, teaching kids about plants, dad life, and working on the podcast. I’ll keep writing tunes for the next record, and maybe do some work on an EP in the near future. I’d like to make something ambient, lots of guitars, minimal time signatures.
 
Favourite food and place to hangout?
I fricken love this pizza joint in Lancefield called Slice of Perfection. The dude is a freak and I can’t believe we can get pizza this good in a town this small. There’s a brewery getting built here as well, so that’ll be cool when the weather warms up a little.
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Planisphere

by the partae
written by the partae
Where are you currently based?
 
We’re currently based in the thriving scene of Brisbane/Meanjin.
 
How did Planisphere come about?
 
The band started out originally under the name ‘Canondrome’ as a two piece, chasing that more rawer fuzzy rock garage sound. Then unfortunately Sam [drummer] had to relocate to Melb, and with the addition of Jai [synth] and Kane [drums] we are where we are today going for that electronic influenced heavy rock.
What’s been happening recently?
 
Heaps! The new EP came out last week so we’re still stoked about that, and we’re tuning up the live show for the joint release event on 22/07 with our mates Dad Fight at Black Bear Lodge.
 
What’s the title of your new EP?
 
The new EP is called ‘Fame or Tragedy’.
 
Please tell us about what influenced the sound and songwriting?
 
The sound and songwriting is a bit of a melting pot of modern rock/metal, electronic and punk music we’re listening to and each track was sort of influenced by a different aesthetic/sound. Commander is very 80’s synthwave ft a guitar solo.  Underneath came from a punkier Death From Above/drum & bass place, and Fury was more inspired by recent danceable rock by bands such as Royal Blood.
 
How did you go about writing the music?
 
For these tracks and most others the process generally starts with a jam and a single theme/idea/beat that we latch onto, and build the song around that! Underneath and I’m Not Trying to Be Mean were quite older ideas that we picked up from the archives and dusted off, so it’s great to see them come to fruition.
 
Where and when did you record/produce/master and who with?
 
The EP was recorded and mixed by Brock Weston [Bugs], and mastered by Joe Carra at Crystal Mastering in Melbourne.
 
How did you approach the recording process?
 
The recording process itself was pretty simple once we got to it.  Over 2 days we tracked all drums and 90% of guitars.  Then Lorcan & Jai went away and recorded the vocals, synths, remainder of the guitars and any other overdubs separately at home and sent them in to be mixed with the rest of it.
 
What does this EP mean to you?
 
For us this EP represents the transformation of our sound from the rawer rock sound into something more refined with the incorporation of electronic elements to broaden the sound.  It’s the first step in that journey and although we’ve already written more material with what we see as constant improvement, we’re still very proud of the body of work.
 
What’s your favourite track on the EP, where do the ideas come from for that track?
 
One of our favourites is Red Eye.  We feel it’s a great change of pace on the EP, and features Morgan Francis singing the 2nd verse from the band Lost Goat Found.  It started out as a simple idea on acoustic guitar, inspired by early Methyl Ethyl with their ethereal plucked guitars drenched in reverb creating such a haunting atmosphere.  There was also a fair amount of influence from electronic acts like Rufus, within the synth pads that swell around through the whole track, helping lift and lower the energy with the vocal while the drums just keep the groove going.
 
What do you like to do away from music?
 
Vinos & fine dining, plunge ourselves in the ocean and cut aggressive shapes on the d-floor.
 
Who are you listening to at the moment?
 
Lorcan is listening to alot of Australian metal at the moment, such as Thornhill, Northlane etc. Apart from that we’re also loving new albums from Florence + The Machine, Foals, Jack White, Slumberjack, Kendrick & Flume.
 
What’s planned for the remainder of 2022 going into 2023?
 
Play lots of shows, record some more music and write more dance punk heaters!
 
Favourite food and place to hangout?
Tomcat (best local band venue in The Valley) or our rehearsal space. Food has gotta be GYG.

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Tommy Charles

by the partae
written by the partae

Where are you currently based?

I just recently moved to South Langley, BC. I wish to give myself the freedom to move this year and to be wherever the music takes me.

How did you first start playing music?

My mom, I have to admit, is often the starting point of anything great in my life. She was the one who detected I had the itch for it and the passion. When I was a teenager, I started singing with a local big band (ballroom music), and then I got a band of my own with some friends. Around the same time, my father bought himself a blues electric guitar, which he barely ever played with! I ended up picking it up and taught myself the songs I was listening to.

What’s been happening recently?

As I am doing this interview, I am about to be done with my second teaching contract. It has been a great journey with some amazing teenagers. Now, I am planning my trip to BC, where I’m moving to very soon. It’s going to be my first drive through Canada, coast to coast. I’m excited!

Your debut single “Lookin’ Like That” is out now! How did this song come about and what do you hope new fans take away from it?

The song is written by Drake Milligan, Jim Beavers and Deric Ruttan. When I first heard it, it was an instant favorite. There is something so easy going and funny about the lyrics and the mood of it seems to be taken straight out of a Brooks and Dunn album from the 90s. Really, I think it’s about not taking ourselves too seriously when it comes to our relationships, and to be grateful that we get to spend time with amazing, funny, and, in this case, VERY good looking people. It’s about the magic you feel and the butterflies you get in your stomach when you spend a night dancing and partying with someone you really like. Mitch Merrett was the one who recommended the song to me, and I’m sure glad he did.

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

The song was recorded at Armoury studios with session players: Flavio Cirillo, Jay Beuttner, John Ellis, Rob Becker, Simon Kendall, Gord Maxwell and David Dorn. Mitch Merrett is the producer and the brain behind it all. Finally, the song was mastered at Barrytones studios by Jason Barry. It was a blast working with all of them. It’s amazing how such talented people are so down to earth. They’re a class act, really. 

How did you approach the recording process?

I just wanted to have fun, really! On the other hand, I felt the need to show my label I was 100% dedicated and committed to this first record, and I was anxious to perform well. All the while, I wanted the song to be true to what I am, and to the music I love. The question ‘’Would you listen to it in your car, on your own? ‘’ really stuck with me all along. 

What does this single mean to you?

When Mitch proposed it to me, I fell in love with it instantly, and so did the guys at the label. It makes you smile, and it has that Brooks and Dunn rock n’ roll shuffle feel we are all craving now. It makes us want to be together and enjoy life while we’re here. In this sense, it is very true to country music: it is simple and it brings people together to enjoy simple things.

“Lookin’ Like That” draws on classic country with an old-fashioned charm. What about this sound do you find most appealing?

Well, it’s the real deal! I’m reminiscent of a time when people knew how to have fun with simple things, like dancing on a Friday night. There is something so classy and authentic about the 60s-90s, that really inspires me as an artist. I feel like if I had been a young adult in the 60s, I would have been in honky tonks all the time !

Who are you listening to at the moment?

I recently dusted off an old Junior Brown album called Semi Crazy, which I think is pure songwriting genius. I’ve been listening to Spirits Having Flown by the Bee Gees quite a bit these previous weeks, as well as The Other Side by Cam, which is one of my favourite modern female artists. Boy can that girl sing !

What do you like to do away from music?

I love to be around horses, to be in the great outdoors and to learn new languages. I’m a language nerd, and I am currently working on my Persian. Hopefully I will make some new Iranian friends in Vancouver to practice with!

What’s planned for the remainder of 2022?

Some touring here and there is on the menu to start meeting the fans across North America for sure. I also wish to step up my songwriting game and make new collaborations with some fellow songsters. Also, new music will be out soon. Don’t miss it!

Favourite food and place to hangout?

Tough question! Indian food is usually my go-to-treat, and anywhere out in the bush is where you’ll find the happiest Tommy.

Facebook: /tommycharlesqc

Twitter: @TommyCharles_

Instagram: @tommycharlesmusic

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Felix Raphael

by the partae
written by the partae

Hey Felix Raphael, thanks for joining us! How’s things with you?

Hey guys thank you for the invitation and have a little chat. Having live back to normal again and some sunny festivals, feels pretty good at the moment after having such long time in the studio. Bringing the music on stage.

You were thrown into the music world at an early age, how did this benefit you when starting your career?

In general I think you’re never too old to start and there is always room for improvement but of course starting early is not a bad thing.

You don’t limit yourself to just DJ/Producing, by using your own vocals and live performances, how important has this been for you?

As my musical background depends a lot on playing instruments and singing it has always been a matter of time to stop dj and start playing live and involve my musical roots.

How do you feel your sound has progressed over the years?

Coming from the singer songwriter genre to electronic music obviously progressed or changed a lot but to be honest I stopped dedicating my music to one specific genre. I like to call it electronic crossover. Technically of course I think a made some steps to have more and more quality outcome with every session I have.

You began your label YION with friends, what inspired the idea and how has the journey been so far?

We decided to start our new label to be more independent and able to have the full control of the whole process: Artworks, graphics, bios and of course music. All in all creating something new and on your own was always interesting for us doing that with other talented artist who are also friends can sometimes be challenging but in the end you have a nice way to work and be together and creating something even more personal. We are all very happy with the development of the label having some of the most influential artists releasing on YION and getting that much early support from the platforms in less then a year is really satisfying.

What future plans do you have for the label?

First and foremost keeping the quality of the art is the most important thing for us. Managing the label is kind of a weird thing because before I was always on the artist side of releasing music since having YION I got to know the other side of the business and of course it is a lot of stuff to explore and especially learn. I think it is very important to get a more detailed perspective of the whole business. My personal plan for YION is to release the most of my own music on the label to have my fingerprint on it even more. And of course influence the sound of the label with that.

You collaborated with Peer Kusiv on ‘Hold You’ which is now being remixed by Yubik. Talk to us about the original and how the remix came about for this?

I was in contact with Peer Kusiv through our publisher and as we both tend to make melancholic and melodic music we decided to try something out and this is how Hold You was born. We both have been huge supporters of Yubik’s music over the years and thought he could bring the track even more on the dance floors then the original. And as tunic and myself have been in contact before I have requested him to do a remix for it.

What are the differences between collaborations and producing tracks on your own?

For me producing tracks on my own is more stable and faster because obviously I don’t have to talk things through within the process. Collaborations on the other hand can be super powerful when sharing different talents and skills but can also be very demanding when you are not on the same vibe and then you try and try and try but it doesn’t work out.

With the label and your own music, do you have much down time to reflect?

The issue with having a job that you used to have as a hobby makes it hard to take regular breaks even more if you work with friends and you want to support everyone. It is really important to be structured, which is not the easiest for me to be honest.

What else is coming up for you & the label in 2022?

I don’t want to reveal too much on the music side but we extended our team and will also focus on higher quality videos and also start on event in the near future.

 

 

Buy link for Yubik remix: https://yion.lnk.to/hold

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Kassandra Clack

by the partae
written by the partae

Where are you currently based?

I’m based just outside of Vancouver BC and collaborate with writers and producers near and far in search of the next top tier sound in music!

How did you first start playing music?

I’ve always had a song in my heart. Being on stage from an early age in my life with singing competitions, lessons, concerts and dancing I quickly recognized that connecting with people during these moments through music, was what I am all about!

What’s been happening recently?

With the shift of the industry following the pandemic, I went to school and got myself a music business degree. Recently, I’ve been really immersing myself in the adaptation of the new age market. After just landing a FACTOR JSR Grant for a debut album I am currently hard at work in the studio to bring you the best music supported by an International Tour in 2023. 

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

This all season-getaway anthem was written by incredible Sony Writers Karen Kosowski, Emma-Lee and Femke Weidema. This song’s influence is a pop groove with southern instrumentation that will facilitate the vibrant feeling of being on vacation harnessing a loving escape any day of the week. 

What do you hope listeners take away from the new song?

Post-pandemic we are all craving that getaway and very few of us can afford it. However, this song brings vibrancy, joy and uplifting energy to make you feel light as a feather anywhere you are with your significant other. The person who makes you feel as high as ‘Airplane Champagne’.

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

This song was produced by Grady Saxman in Nashville, TN in April. The amazing session musicians in the studio worked tirelessly to really build the heir of being high up in the clouds in love.

How did you approach the recording process?

The recording process was approached remotely at BCCMA Award Winning studio ManicDown Music (Dan.Swinimer) for vocals and then fully-produced by the brilliant Grady Saxman in Nashville, TN.

Who are you listening to at the moment?

At this moment I am really loving Alicia Keys, Morgan Evans and Keith Urban!

What do you like to do away from music?

I love traveling! It feeds my soul! I also love to bake, scrapbook and garden. With life being so hectic these days I get those bubble baths whenever I can get them in!

What’s planned for the remainder of 2022?

For the remainder of 2022 we will be in the production of my debut album, tour planning and filming music videos for the album.

Favourite food and place to hangout?

Anything chocolate and pasta! Place to hangout? Our couch.

Facebook: /KassClack

Instagram: @kassandraclack

Twitter: @KassandraClack

Website: www.kassandraclack.com

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