What is your name and role within Spillage?
Tony de Pasquale and I’m the bass player
Where are you currently based?
Essentially Brisbane but Sam lives on the Goldie and Nathan on the Sunshine Coast. David’s in Brissie too.
What’s been happening recently?
Just finished recording the new album. It’s getting mixed now. We had a single launch (You Said No) a few weeks ago at the Greaser that went really well. We’ve got our 2nd single launch (Unawares) at King Lear’s Throne on the 14th of August.
How did the reunion after two decades of not playing together come about?
Asho (from Footstomp) suggested it to Sam one night and he asked all of us and we all jumped at it. There’s nothing like being in a practice room making noise with your mates.
Please tell us a little about your history as a band:
Well…..in a galaxy far far away………it feels like that sometimes.
We were a 3 piece back in the 90s. Sam and I are brothers so we grew up playing music a lot. (My first instrument was an accordion when I was 5!) Played a lot of gigs with a lot of different bands. The main venues back in Brisbane were The Zoo and The Orient, the Roxie, The Funkyard and Metropilis. We played pretty much every other week for a few years. We put an album out in 94 and it sold about 14 copies. We were big in Ballscratch, South Australia.
Your live shows are as tight as ever, was the chemistry right where you left off?
We were a bit rusty at first but it came together pretty quickly. It helps that we’re not super stoned all the time like the old days.
We asked Gorky (David Gaukrodger) to join. We always wanted to be a 4 piece with the extra guitar. We’d known each other for years and he fit right in.
Your single ‘Unawares’ is out now, what influenced the sound and songwriting?
I think you’d have to say the influence for the sound came from one of our fave bands of the ages: Husker Du. The lyrics are about living in a drug fuelled fog and wondering why your life is such a shit sandwich. Then turning it around and really seeing that the world can be a beautiful place.
How did you go about writing the track?
Sam came in with the song and we all added our little sparkles. It just seemed to get better and better and when we recorded it, it really jumped out. It goes off when when we play live as well.
Where and when did you record/produce/master?
We recorded with Jeff Lovejoy at Blackbox Studios and the mastering was done by Matt Gray at Matthew Gray Mastering
What can we expect from your upcoming album to be released in October?
A mixture of songs. Although our roots are rock/punk/grunge there’s a few different sounds emerging. A few of the tracks are from the old days but the majority are all this century.
How did the new grunge sound come about?
Similar to the old grunge but new and improved!! I think as you get a bit older and you listen to a whole lot of different music, your taste widens and you can draw from a wider sound palette. Our roots are still guitar based rock but we like to throw a few spanners in the works to make it exciting.
Who are you listening to at the moment?
I can’t speak for the other boys but 2 bands I’m into at the moment are Badflower and Cleopatrick.
What do you like to do away from music?
I like to spend time with the fam. I’m a Dad so there’s always sport with the kids on the weekend. I coach my daughter’s Netball team and my son’s cricket team. I like to get out and see local bands and comedy when I can.
What’s planned for the remainder of 2021?
We’ll finish mixing the album, get that released and hopefully get a little tour going (Covid permitting).
Plus we’ve already got a bunch of songs for the 2nd album so we’ll keep working on them.
Favourite food and place to hangout?
Being Italian I’m a big pizza fan. But a close 2nd is Vietnamese food. Fave hangout would have to be the praccy room with the crew. As far as clubs/bars go – Greaser Bar and the Jolly Roger in the Valley. Plus Blutes on a Sun arve.
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Where are you currently based?
A) The village of Canning, Nova Scotia in Canada.
How did you first start playing music?
A) 12 years old, acoustic guitar, learning Beatles tunes.
What’s been happening recently?
A) Parenting, pacing, hovering, drinking, stewing, and whining.
Your new album Dusted III is out on the 23rd of July, what influenced the sound and songwriting?
A) I wanted to capture a handful of songs, to sort of cleanse them from my busy mind. I wanted them to be recorded simply, naturally, the way I play them at home. The songs and lyrics come from a ten year period of my life, but the final selection seems to have an overarching feeling. It went well with all the transitions in my life- moving, returning to the province of my youth, saying goodbye, and embracing something new.
How did you go about writing Dusted III?
A) I write all the time, so this selection was more to do with curating a digestible handful of songs. I didn’t overthink which ones I picked. I still have a few more records like this that I hope to finish. This is a step towards that goal.
What does the album mean to you?
A) Leaving things behind, and stepping towards the unknown.
Where and when did you record/produce/master and who with?
A) I booked Palace, a studio in Toronto, ON, the first few days of March 2019 and recorded everything there, live-off-the-floor, engineered by Chris Sandes. It was mostly vocal guitar, but also bass and wurlitzer. I then brought the album with me to Nova Scotia where I finished it in a makeshift home studio. A final drum and horn session was booked again in Palace when my other band Holy Fuck went to Toronto to do a CBC session. That was just before the pandemic began. I sat with it for a few months doing nothing, just settling into a weird time. And then I got cracking on the mixes. I sent them around to a few people, but luckily found a guy named Shuta Shinoda to do the final mixes. I have one song mixed by Dave Newfeld and one by Jarvis Taveniere.
How did you approach the recording process?
A) We set up many mics, more than we’d need, but that allowed me to go through and select the few that I liked for the mood and tone, depending on the song. I like field recordings, demos, very natural and unadorned recordings, so I just followed that instinct. The benefit to finishing this in a peaceful environment in Nova Scotia, Canada, was that I got to capture the sounds around me to give the album a sense of space and time – birds, rain etc.
Who are you listening to at the moment?
A) I had a DJ gig last week where I played a lot of my old disco and breakdance/ hip hop records. Last night I played a board game with my folks listening to Black Sabbath. The usual I guess.
What do you like to do away from music?
A) Escape to nature!
What’s planned for 2021?
A) Get this record out and hopefully play shows! I have another thing, a four piece called Quilting, that is hopefully releasing something, definitely playing shows in the fall, and maybe some Holy Fuck thing.
Favourite food and place to hangout?
A) I haven’t really lucked out with that here. I miss traveling. The Valley in Nova Scotia, where I live, is known for vineyards, but the dining scene is geared for students and tourists, but has shit-hours. Nothing is open late, so I mostly put on my headphones and walk around my backyard in the evenings when my daughter finally sleeps.
Twitter: @totallyDusted
Facebook: @totallyDusted
Instagram: @dusted_brianborcherdt
Where are you currently based?
I’m living in my hometown, in Orillia, Ontario.
How did you first start playing music?
I started playing piano when I was 6, and singing in school talent shows a couple of years after that. I got a guitar for Christmas in the eighth grade and taught myself how to play so I could write songs with it. It wasn’t until high school that I started playing my own songs in front of people, which quickly became my favourite thing to do at every coffee house/ open mic I could get myself on the sign-up sheet for!
What have you been up to recently?
I have been pretty consumed with getting my new EP ready to release– making videos, doing photoshoots and all of the administrative stuff that comes along with being an independent artist. It’s pretty all-consuming, but it’s been really exciting for me! I’m also starting to write again and enjoying some time in the sun hanging by the lake!
What influenced the sound and songwriting on your new EP Enough?
I started writing this EP right around the time that I was dropped from my previous label deal. I felt like I hadn’t gotten personal enough in my prior releases and really wanted to get uncomfortably honest in my writing. All of the songs are relationship-focused and autobiographical– covering breakups to being in love again. I went into recording just focused on making something I was excited about, and wanted to try new things and have fun in the process. The sound was born out of a mix of contemporary pop influences with pop punk influences that I grew up with.
How did you go about writing the music?
I write about my own experience and that’s always been important to me. I fell in love with music because I found solace in the words of other artists who wrote really personal lyrics. Growing up, I was always posting song lyrics to my MSN status and Facebook wall about how I was feeling *SO CRINGE*.
Now, if I’m writing for myself, I like to use songwriting as a way to sort through my head and whatever I’m going through… (call it cheap therapy). Most of my songs start with a few lyrics, or a small poem in my notes app that I’ll eventually revisit and turn into a song when I am a little more removed and have a clearer headspace to sort through the feelings/ emotions.
Where and when did you record/produce/master, and who with?
Some of the songs were written as early as 2018, but I started recording these songs in 2019. The EP is 100% female produced– Hill Kourkoutis produced ‘Unsolicited Contact’, ‘I Don’t Trust Anyone Anymore’, and ‘Darkside’ in Toronto, and Robyn Dell’Unto produced ‘We Might Break Up’, ‘I Don’t Hang out with My Exes’ and ‘Enough’ in Nashville. They’re both so amazing at what they do and it was a dream working with them. Jason Dufour from Toronto mixed the EP, and Emily Lazar did the mastering.
How did you approach the recording process?
I had worked with only male producers previously, so I wanted to work with female producers on this project (especially because it came from such a personal, female perspective). It was such a different experience being in the studio with all female energy. Hill and Robyn are so talented, and I felt really comfortable to just be myself and try new things. I felt free to be creative, experiment and be vulnerable, which was crucial for this EP and made it so much fun to work on.
What does this EP mean to you?
“Enough” is a collection of songs that focuses on relationships, and explores both dealing with heartbreak and finding love. I understand that, thematically, the two don’t go together, but I’ve found in my experience that love and heartbreak aren’t sequential. It’s entirely possible to experience feelings of heartbreak and longing while being completely in love with someone new.
In the case of the title track, it’s about finding love and wholeness—acknowledging that real love, above all else, is enough. In the songs about heartbreak, the title is more about closing the door behind me and saying things that I didn’t have enough courage to say before. It’s about saying enough is enough to those feelings.
This project also acknowledges my journey as an artist and all of the self-doubt that has come along with my experiences. Throughout the making of this EP, I was able to remind myself that I could in fact do things my way, and that the work I created— despite my fears— has always been good enough. That I’m enough.
Who are you listening to at the moment?
My favourite band right now is Winnetka Bowling League– I love all of their songs and think Matthew Koma is a lyrical *genius*, but ‘On the 5’, ‘are you okay?’, and ‘Slow Dances’ are probably my favourites… It’s the type of songwriting that makes me want to be a better, more honest writer.
What do you like to do away from music?
I love spending time with my friends and my extended family– that’s where I’m happiest (and also why this last year has been particularly difficult for me to manage). When I have free time I love sewing, crafting, and getting active– playing tennis, rollerblading, and running.
What’s planned for the remainder of 2021?
A) Lots of fun things to come alongside the EP release — a couple more videos and even some merch. Beyond that, I’m excited to take a bit of a breath and recharge after the release. I’m looking forward to writing more again, doing some travelling, and hopefully making up for some lost time with my friends and family!
Favourite food and place to hangout
I have the biggest sweet tooth… anything baked. There’s a place called Mariposa Market here in Orillia and if it was acceptable to eat donuts for breakfast, lunch and dinner, I would eat their Texas donuts until I literally turned into one.
I’m not the biggest fan of going out– although after this year I’m sure my friends and I will be doing lots of that… But to be honest, my favourite place to be is at a friend’s house– hanging out and having a few drinks (and a lot of laughs) with my favourite people around a table, on a basement couch, or on the living room floor. Can’t wait to get back to that!
Twitter: @cassiedasilva
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Potato cakes but they don’t exist in Canada. So probably coffee. Best coffee in Vancouver is at this little window on the east side, called Iktsuarpok. Favourite place to hang out is the North Shore Mountains.
What is your name and role within Chutney?
Cal Hughes, lead guitarist of Chutney.
Where are you currently based?
I live in Burleigh Heads in our hometown of the Gold Coast, QLD.
How did you first start playing music and how did Chutney form?
I began playing music from a very young age, playing cello, trumpet and bass guitar within the different classical and jazz bands in primary/ high school – I began teaching myself guitar when I was twelve so I could start making music that better reflected my personal tastes, and formed Chutney with Matt & Pat in mid-2019 after playing in a variety of different bands throughout our early twenties. Matt and I were playing in another local GC band Hot Coffee when Matt began writing a collection of rock songs that didn’t quite fit the electronic/hip-hop sound that Hot Coffee was known for, and I was very keen to form a new group that featured myself on guitar and matched the guitar-driven indie rock that the two of us primarily listened to – we quickly recruited Pat into the mix and began to write Matt’s songs into full band arrangements when we realised we had something special brewing. Andy was added as the final piece of the puzzle on drums and it’s been full speed ahead since then.
What’s been happening recently?
Working hard on new releases! As consumers of music ourselves we understand how hungry the public is for new music and we have been focussing on finding the line between quality over quantity – providing artistically consistent music while still keeping the momentum rolling from release to release. With this in mind, we are planning for two further releases by the end of the year, as well as maintaining our live performance output with a number of significant headline and support slots over the coming months.
Your latest single ‘Talk’ is out now, what influenced the sound and songwriting?
The sound of this track is what we consider the quintessential “Chutney” sound – riffy, bass-driven verses transitioning into a layered guitar-led breakdown, and culminating with a euphoric and atmospheric chorus with soaring, singalong vocals. In terms of the vocal approach, Matt opted for hip-hop laced verses to match the high energy feel, before kicking into the harmony-laden melodies of the pre-chorus and choruses.
In terms of the lyrical content, Talk is about looking out for your mates when they’re having a hard time – about how everyone has struggles from time to time, and how you are so much more important than you may ever realise. It is a song about mental health and the importance of leaning on those close to you in times of need. We wanted to create an uplifting, euphoric song that tackles sensitive subject matters while providing a positive ending – your mates will always be there for you, and having that talk is the first step to making a positive change.
How did you go about writing Talk?
The song began with Pat writing the bass riff that is featured heavily throughout the song, and Matt writing out the chordal arrangement and vocal melodies on his acoustic guitar with this riff in mind. The track then fell into my lap to build out the song in terms of forming a fully-fledged band arrangement, and I added a number of guitar elements which took the song from the hip-hoppy Gorillaz feel that the original demo takes on into more of that guitar-driven Chutney sound. Andy then provided the rhythmic energy that makes the track so dynamic, adding in a diverse drum part with multiple feel changes that gives the song its motor.
Where and when did you record/produce/master and who with?
The track was recorded at Lovestreet Studios on the Gold Coast and produced by our longtime collaborator Scotty French, whom we view as such a valuable contributor to our sound and output to date. Mastering was handled by Matt Bartlem who did an unbelievable job at making the track sound exactly as we wanted it, giving it a huge and raw sound while still maintaining the polish.
How did you approach the recording process?
The recording process for this track was quite seamless, which was surprising as we had only written the song about a month prior to recording – generally with our previous recordings we’ve had the song in the tank for months and months before getting into the studio and laying it down, but with Talk we knew from the moment we wrote it that it was going to be the next single. I have been guilty in the past of entering the studio with guitar solos and lead lines not yet written and improvising my parts while the recording tape is running, but for Talk we ensured that all of our parts were written prior to entering the studio, and it made a drastic difference in terms of efficiency and ultimately, quality.
What or who inspired the concept for the music video?
The concept for the music video was championed by Andy who took on the role of co-director as well as writer for the clip. The story of Matt waking in an unfamiliar location after a big night out and navigating his way throughout the day is not dissimilar to some of the situations that all four of us in the band have found ourselves in following our many wild nights together, and we wanted to represent our hometown of the Gold Coast with the locations used throughout the clip.
The clip opens with Matt waking up on the beach at sunrise after a big night out, and continues to follow him as he navigates the day without a cent to his name and one goal: get to the gig. Showing that even with a rough start, you can still make a day your own with the right attitude.
Where and when did you film?
The video was filmed over the course of one day in May and featured a number of locally-loved GC locations such as Alfred’s Apartment and Seven & One Studios in Mermaid Beach, and Mo’s Desert Clubhouse in Burleigh Heads.
What did you find most challenging and rewarding during the creation of the video?
The clip was filmed, directed and edited by Nick Stevens of Fastback Studios and he was incredible in terms of his creativity, professionalism and ease to work with. The bulk of the performing within the clip was placed upon Matt, and as he is naturally very comfortable in front of the camera everything moved along smoothly. We also recruited the services of a number of our friends to take part in the video as extras, and they were all so helpful and generous with their time – we are forever grateful to everyone who contributes their time and energy whenever required.
Please tell us about any upcoming live shows.
We just played a headline sold out capacity crowd at Burleigh Bazaar for our single launch last Saturday which was amazing, and have a number of exciting support slots upcoming, including:
- Sat 24th July: Nightquarter (Sunshine Coast) supporting Kingswood
- Thurs 5th August: Wooly Mammoth (Brisbane) supporting Vanilla Gorilla
We are also booked for two very exciting festivals; firstly, we are headlining the Brisbane Indie Winter Project at The Zoo on 13th August, and later in the year we are very excited to be playing as a part of the Gold Coast’s Springtime Festival alongside heavy hitters such as Ball Park Music, Ruel, Hermitude and Sycco in September.
Who are you listening to at the moment?
I personally have been listening at length to Puma Blue’s ‘A Late Night Special’ live album, Arlo Parks and Big Red Machine’s new releases, and local Aussie’s Eliza & The Delusionals and Eluera.
What do you like to do away from music?
I love to watch and play sport with my mates, drink beers and enjoy the Gold Coast sunshine.
What’s planned for the remainder of 2021?
We will be playing a number of exciting support shows as previously mentioned, as well as getting our first taste of big festival slots and putting together a few more big headline shows to compliment our upcoming two releases which we’ve scheduled to drop before the end of the year.
Favourite food and place to hangout?
I’m a sucker for a steak sandwich and schooner at my local Burleigh Hotel or Nobby’s Beach Surf Club, and the yakitori and ramen at Iku in Burleigh is unbeatable.
What’s planned for the remainder of 2021?
For one, trying to take a holiday! Wrapping up and writing my next project, and continuing to show my face more through acoustic videos or livestreams.
Definitely a good simple Pasta Aglio e olio and Cacio e Pepe or just a good sourdough bread with some fine extra virgin greek olive oil… that always hits the spot. Always love hanging out at those brewery / bodega bars in Copenhagen. They’re not super classy but they’re super vibe-y!
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Head Of Clouds is a Spanish artist and record label project based around cinematic sounds and compelling melodies both poignant and uplifting. Their first release “Almond Eyes” is out now and their second release “When Magic Happens” is out on the 12th of July. Excited to learn more about this stunning project, we decided to catch up with Head Of Clouds and ask them a few questions…
Where are you currently based?
I am based in Barcelona, Spain.
Could you describe your style for those who have never heard your music before?
I would not define my music with any concrete style. This is why I would tell those who have never listened to me to forget for a moment what is established, not to think of any musical style, simply to feel the music and enjoy the experience. I understand my music as a language, a different way to express my perceptions.
How did you first get into electronic music?
I have been familiar with electronic music for as long as I can remember. I grew up in a home where luckily Enigma was one of the classics. That says it all.
All that love for electronic music that I have been experiencing over the years awakened in me an early concern to explore the world of music production. At the age of 13, I started creating my first tracks.
What’s your local music scene like at the moment?
After this pandemic year, the scene has been really affected economically and emotionally. This emotional change has been reflected in the music, from productions to the musical criteria of the DJs. I think this change made an improve to our scene, since many artists have been able to remove the standards from their heads and finally do things with their hearts. Let’s not forget that music is art and not maths.
What inspired your artist alias?
When I began to articulate the project, I had in mind that the artistic name had to reflect in some way the essence of what I want to convey. I was constantly looking for inspiration in different artistic fields. Coincidentally, on a visit to the Dalí museum in Figueres, the inspiration I needed came in a painting form. When I saw “Man with his head full of clouds” I felt instantly identified and felt that the project should mention this beautiful piece and Dalí’s philosophy.
Have you released music under any other names?
Yes, but I prefer that no one knows that Spiderman is Peter Parker haha.
The objective of this project is to bring all the focus in the music and not on the artist identity. I do not want there to be any kind of prejudice for whoever is willing to listen to me.
How did you approach the recording/production process?
To compose each track I base myself on a perception of reality, how can I capture it through music and how can I cause this feeling to the listener. I am never thinking if the listener will like my music, I am just worried about if the listener will understand what I want to express.
Once I have the track in my head, I sit at the piano to find the chords that make me feel what I want to express. The rest is simply transferring the instruments in my head to the DAW.
There is no element in my songs that is randomly placed, everything has a meaning and a reason. And that’s how the creative process of these two tracks has also been. For the nerds, in my social networks I will go into the details behind Almond Eyes and When Magic Happens.
For finalizing the process of both tracks, I needed a very concrete texture, a full-bodied, sweet and creamy compression that I could “only” achieve with a Fairman TMC. So this is why I decided to visit The Mars Citizen Studio, who has one of the exclusive units we can find in the world. David, the owner, was also in charge of mastering the two tracks, and the result speaks for itself. He is one of the bests.
What equipment is in your studio?
My setup it’s very simple for now. The digital tools are very powerful.
Universal Audio Apollo Quad Firewire (Audio interface)
Casio Privia PX-S1000 (Digital piano)
Adam Audio SP-5 (Headphones)
PRS Standard 24 Limited Edition (Electric guitar)
2 x WARM AUDIO EQP WA (Analog Pultec style EQs)
JOEMEEK SC2.2 ver. 4 (Photo optical stereo compressor)
You recently launched your new label, could you tell us more about the project?
Head of Clouds is not only my artistic identity, it’s also a way of perceiving and expressing art. The alias and the label are merged with the intention that Head of Clouds Records will only release my music not focused on the dance floor. Each track is released with a piece of art made by another artist in his field, expressing his/her perception about the track concept. This artist can be a graphic designer, a photographer, a poet, a filmmaker or whoever makes art.
What do you like to do away from music?
I love doing myself reiki, it’s just a space where I can have a date with me. Nowadays we spend lot of time with other people and we forget ourselves.
I am also a big fan of riding motorcycles and travelling.
What’s planned for the remainder of 2021?
During this year the main project is and will be continuing making music with different artists, which result will be able to start listening from 2022. With these collaborations I intend to bring naturalness and new sounds to electronic music.
From September a monthly single will be released until the end of the year.
Stay tuned! 🙂
Where are you currently based?
We are based out of Nova Scotia, Canada’s Ocean Playground.
How did you first start playing music?
Music and entertaining was something I enjoyed since I was a young kid. I picked up the guitar at age 12 when a couple of my good friends started learning guitar and bass while my best friend has been playing drums since he was five. Shortly after that we started a band writing our own material and covering songs from rock n’ roll heavyweights like Rush, Guns N’ Roses and Motley Crue.
What’s been happening recently?
A few weeks back we released our final single “Homesick” before the album release. This song features Christopher Thorn of Blind Melon and has been getting great reception from radio, and our loyal and new fans. We have also been busy planning and prepping for the album release. This includes rehearsals, social media connection, booking gigs, and lots of press. We recently had our song, “Overtime” off our new album play on the NHL Stanley Cup Playoffs during a montage going into OT during game 4 where the Montreal Canadiens (our favourite team) won the game.
After a long hiatus where entertainment wasn’t allowed because of the pandemic we are thrilled to be able to start playing shows again in support of our new album.
Your new album ‘No Fools No Fun’ will be out on July 9, what influenced the sound and songwriting?
I had an interviewer a few weeks back ask a similar question. He said very animated, “Where did you come up with this sound?!” Then began to describe what he was hearing to me in a perfect way. The interviewer at the time noticed the 60s Brit Rock vocal stylings combine with the 70s and 80s rock n’ roll attitude that was blended with a 90s image and 90’s/2000’s pop/rock sound. That was all mixed in with some doo-wop style vocals and harmonies that could work for a country band. This can be called, “Grease Coast Rock N’ Roll” which is our signature genre that is easiest describe as “Southern Power Pop Rock.”
How did you go about writing the album?
The album is all based on experiences I’ve had in my twenties. A huge growing decade where in the second half I found out who I really was and why the places I’ve been were so instrumental (pun intended) to the journey and my growth as a person. Songs like “Homesick” highlight my life on the road as a musician and sheet metal worker while “Sympathy Card” and “Read Between The Lines” are songs that are a “look in the mirror” kind of tracks; take ownership of your wrong-doings and don’t put blame on anyone but yourself. It’s an album of hard work, perseverance and to make sure you have fun in the meantime while doing all of this.
Where and when did you record/produce the album, and who with?
We recorded the album at Chalet Studio in Uxbridge, Ontario. A beautiful, secluded spot in the country that included our lodging for the duration of tracking. We began recording in the spring of 2019 where we tracked half the album then and the other half in fall of 2019. The album was produced by Brian Moncar (Alice Cooper, Our Lady Peace) and had guest producer John Angus MacDonald (The Trews) who produced ”Sympathy Card.”
How did you approach the recording process?
We wanted to create an album that best represented the energy we bring at our live shows so we did the album live off the floor with everyone tracking together at the same time. The vocals were overdubbed afterwards so there wasn’t any bleed into the tracks. This is definitely the way we’ll be recording for the rest of our career because it is the most genuine representation of who and what we are as a band.
What did you find most challenging and rewarding during the creation of the album?
The most challenging thing was holding off on releasing the album. We had initial release plans of a Spring 2020 release, but the pandemic put that to a screeching halt so we had to go back to the drawing board. We worked hard to stay creative to not only to keep momentum but build our fanbase while not being able to perform live. We had the intention to release the album to go hand in hand with our live show so naturally that meant touring the album. With the world opening back up and our new release date of July 9th it seems that our patience will be worth the wait. The most rewarding part about it all was having a dream come into fruition. We collaborated with a slew of fantastic industry professionals on this album and the end product is something we can be proud of forever.
Who are you listening to at the moment?
The latest Foo Fighters album, “Medicine at Midnight” has been on heavy rotation for me for the last few months. They’re such an inspirational band. The good guys in rock n’ roll who we strive to be like. Good role models, amazing vibe and fantastic music.
What do you like to do away from music?
Honestly music consumes my brain a good 90% of the time. When I’m not doing music, I like to create posters/graphic work (that usually is for the band or my own solo work…whoops, haha.) I love to adventure and see what nature has to offer. Living in Nova Scotia we have such a beautiful landscape where hiking, road trips, and one-off breweries pop up from town to town. Adventuring would be my favourite pass-time besides music.
What’s planned for the remainder of 2021?
The remainder of our year consists of touring Canada in support of the album release. We’ll be doing multiple dates in the Maritimes all summer before heading to Ontario in September for gigs and some unfinished business. This trip will also include planning for album number three and a live album in between the two studio releases.
Favourite food and place to hangout?
I just moved to a place called Stellarton in Pictou County and coincidentally down the road from my house is a spot called, “Andre’s Pizza.” I obviously was intrigued because the spot had my name which isn’t a popular one in the area so the first day here I stopped in. It turns out the restaurant is a music themed place that has a jukebox from Elvis’ Graceland collection, some of my favourite records displayed on the wall autographed and the best pizza you can sink your teeth into. I’ve been back there more than a handful of times and know it’s going to be another home for me, haha. On the other side of things about 10 minutes in the opposite direction is the studio we rehearse at called, “Sea Level Sound.” The band has been going here since 2016. It inspired a lot of songs from the album; “The Swedish Motel” and “Labels” in particular. The owner, Gord Stensrud is a great friend of ours and was also a guest on the “Labels.”
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Releasing a full collection of music can be daunting for any artist, though dropping an album like this after the year we’ve all just been through feels cathartic – how are you feeling about the whole process, now you’re at the end of it?
I think yes to a lot of people, the idea of dropping any type of work during or post covid is a bit of a weird one. For me the concept of releasing my own album was something I thought I’d be delving into years down the line. I wouldn’t say my project was the sole consequence of covid, but it did play a big part. Like many I was out of a job, I had moved back home, and it gave me a chance to listen to a lot of the music/demo’s I had done over the past three years. About half of the songs on the project are a result of this study and the rest of the songs came through time and as the world kind of grew back together. Whilst I’m super proud of the album itself, I still feel a sense of imposters syndrome about it all. ‘How have I even put this together?’ etc etc. In saying all this, the album to me was about my personal growth, and has been a really good basis in the new music which I’m writing everyday.
We’ve heard some tops singles already from the album – how do you think they represent who Oly Sherman is as an artist in 2021?
I think with any of my work but particularly my singles off the album, they quite literally depict my life in those circumstances. Songs such as ‘Madness’ and ‘In The Summer’ are lyrically, pretty accurate representations of my emotional and physical state within the perspective. Whilst saying all of this, my taste and musical writing continues to grow. This album is definitely a representation of myself, but also a chance to show my growth. I’m even more excited to show what I’ve been cooking after the albums release.
And within the wider scope of the album, what is it about these recent singles that represent the energy of the whole album do you think?
I think in regard to a ‘wider scope’, these singles best represent my first few years of song writing as a whole. I was and to some respect, still am super familiar with writing those types of songs. The album is definitely a representation of that type of writing process that I felt comfortable with.
What has it meant to you that you’ve been able to have music as an outlet to concentrate on as we’ve had to grapple the pandemic?
I think its necessary to firstly say, that I was definitely a lucky one during covid. I was very, very thankful to have my family there as a support and know that a lot of other people weren’t so lucky in those respects. For me music and writing of music will always be a personal thing. I’m lucky enough that I can somewhat place that on an empty canvas and share it with the world. It’s a creative method which seems both easy and ‘nonchalant’. Rather than a distraction, I used my music as a means of perspective. It was present every day and kept my mind on what made me mentally healthy.
For people who might be coming to your music for the first time with this music, is there a particular song/s off the record that you’d say are the one/s you’re most connected with now (and why)?
Different for me, as some of the songs from the project I love in certain ways, and some songs which the band and I have performed I love in different ways. I think for someone coming to my gig for the first time, the main message from me is just to just focus on having a good time. I think especially when comparing it to covid related things, everyone coming back to gigs just want to be happy and share the joy of live music again. I want nothing more than that in my live shows.
This album is one of those records specifically made to be listened to front to back: was this an element you always had wanted to implement?
To be honest at the time, no but I think projects and music grows naturally into ways you didn’t expect them to prior. I’ve listened to the album a number of times and am pretty confident the order shares my mind state throughout.
Land of All Pretend is out now.
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Where are you currently based?
Melbourne, Australia 🙂
How did you first start playing music?
When I was 5 I started singing in a choir! I started playing professionally at 15 by pretending I was 18 and getting into bars.
What’s been happening recently and how has your Covid experience been so far?
I just released my new single “Can’t Do Anything Right” and I have some huge things happening in August you should keep an eye out for. Covid has been a roller coaster for many artists but I’ve persevered staying positive and active, I released a full EP called Normality in 2020, another single “Welcome” in 2021, a film clip and sold out my show at Howler.
Your new single ‘Cant Do Anything Right’ is out now, what influenced the sound and songwriting?
I was frustrated! I felt like I couldn’t do anything right for myself or live up to everyone else expectations even though I was trying my hardest. It sort of just came out in 5 minutes.
How did you go about writing ‘Can’t Do Anything Right’?
I vocal looped it, did some pretty harmonies, a beat and a heavy simple bass line then I just started singing how I felt; “I can’t do anything right, trying my best, help me if I look left or I need my rest”. Then I added some instruments to thicken it up this time.
Where and when did you record/produce/master and who with?
I wrote the song at home in my room, on my looper after receiving an email I was frustrated at in about April and recorded it in May, produced it Michael Cooper and Mastered it Nicholas Di Lorenzo, Panorama Mastering.
How did you approach the recording process?
I always have my own demos, phone recordings and all my ideas stored in my looper, then I smash it all out in the studio and add the cherries on top with extra layering or effects.
You’re playing Chapel Off Chapel on the 31 of July, how do you prepare for shows and what can we expect?
Yes I am! I will be looping, might play some guitar, I will also have some friends joining me on stage.
Who will you be playing with?
I will be solo with my looper and special guests.
What do you like to do away from music?
I’m pretty music obsessed, but I love a red wine over dinner or exercising.
Who are you listening to at the moment?
Fresh Finds Australia and New Zealand playlist on Spotify because Spotify just added “Can’t Do Anything Right” to that Spotify playlist!
What’s planned for the remainder of 2021?
Can’t say too much yet but SO much, keep an eye out as you won’t be missing it. Expect an album in 2022.
Favourite food and place to hangout?
Shujinko Ramen, Russell Street, Melbourne
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Where are you currently based?
I am usually in between LA and Sydney but with the travel restrictions I am based in Sydney, Australia for the time being
How did you first start playing music?
I’ve always loved to sing! I remember my first time singing in front of my family was when I was 8 years old at my sisters birthday party
What’s been happening recently and how has your Covid experience been?
When Covid really started to get serious I was in LA, and had to rush home to make it in time just before the lockdown. I was meant to be back in LA after just a few weeks but haven’t been back for over a year and a half now. At first it was really hard to adjust to the shift in environment. Being in LA it is really non-stop, and being home especially with lockdown it was super slow.
A lot of my projects were pushed back because everything planned in LA couldn’t go through, (shooting visuals etc). So I really took the time to meet with the creatives here in Sydney and find people I enjoy working with. I learned a lot more about engineering my own vocals, and about directing. The good thing is that with technology I am still able to work closely with my team in LA. Its been really fun diving into different parts of the industry that ultimately have helped me grow into a better artist!
Your new single ‘Trap House’ is out now, what influenced the sound and songwriting?
I love telling stories, and really finding melodies that carry the emotion of the lyrics I am singing to it. That is always my priority!
As for the inspiration behind the story, being in this industry can be very tricky. Theres a lot of smokey mirrors and blurred lines. I was offered a deal whilst in LA that seemed amazing but something didn’t feel right. I was back home in Sydney when I had to make a decision. As I was reflecting on my journey so far, the inspiration just hit. All those feelings of fear, chaos and belief started to write the song for me. The lyrics reminded me to trust myself. So I said no.
Where and when did you record/produce/master and who with?
The song was just living in my notebook, until I was in LA again a few months later. I was singing at a live music venue when I caught the attention of My guy Mars. He mentioned that he wanted to work with me. So we went to his studio and I showed him the song I had written called “Trap house”. He instantly loved it & agreed to produce the record for me.
How did you approach the recording/production process?
Being in the studio with mars was really mind blowing. Watching him in his element just create with so much passion and ease was insane. He had the first demo done within an hour session. I had a few elements I still wanted to add so we had another session working together and finalising the production. Once that was done we went to Sound Factory Studios, and I worked with Austen Lux chandler on the vocal production. He was great to work with and really helped to get the best vocal performance & he created some awesome harmonies too!
How did the concept for the music video come about?
While searching for someone in Sydney to direct the music video, I was so lucky to come across Connor O Connor. She is a genius. From the first time meeting her I knew she was the right woman for the job. We had a few conversations about the meaning behind the song & the story. We worked very closely throughout the entire process but it was really important to me that she had creative freedom. She had created the concept, and the creative direction for every scene.
Where did you film and who did you work with?
We filmed the video at D1 Studios in Marrickville, Sydney.
Connor O’ Connor (Director) put together the entire team / crew.
What did you find most rewarding and challenging whilst creating the film clip?
It was very challenging organising the shoot with the covid 19 rules changing weekly. We wanted to make sure everyone was safe & that we followed all the rules correctly.
The most rewarding part was being able to play the video to my family.
Who are you listening to at the moment?
I am always listening to different music, I can never narrow it down to one artist haha.
What do you like to do away from music?
I love hanging out with my family !
What’s planned for 2021?
My plan is to just keep releasing music, keep making music !
Favourite food and place to hangout?
My families restaurant Villaggio for both!
( I promise my dad didn’t make me say that) haha
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Hi Ban! The vibe of the track is dope – were there any specific sonic influences you were vibing with when making this track?
YOOO TY MY G and yes WAP was definitely a huge influence, I think both conciously and subconsciously. That track was everywhere at the time so you know you couldn’t escape it, therefore I felt like I wanted to make something that would just bang from top to tail you know?
All of your material is pretty groove and rhythm-heavy, where does your love for production and this sort of music come from?
Damn I think it all really stems from spending alot of time listening to soundcloud back.
when it first started like 2014 or something. There were so many “backyard producers” and “cloud rappers” like Flume, WhatsoNot, Lido, Major Lazer, Chance the rapper, Yung Lean, Spooky Black, Asap Rocky?!?! who were just posting certified banger after banger. Alot of that early soundcloud vibe is what keeps me making music and evolving I feel. Big shoutout to my homie Hatch for putting me onto soundcloud and for teaching me how to use Ableton. Honestly if you get a chance check out @hatchbeats on ig mans is a G
What makes a song like Anime Eyes the perfect jam to get to know you through?
Content wise this track isn’t deep enough to get to completely know me through BUT it is a decent introduction, and it hopefully pushes first time listeners to check out the rest of my
catalogue and really get a feel for who I am and what my music is.
Can you tell us a bit about what’s coming next for you this year?
Ofcourse! I’m working on a lot of new music and have a couple really dope colabs, from some hella dope local acts to some awesome international artists. I’m also looking to drop a couple more singles this year too, after that I’d say an ep than an album. My homie and I are talking about starting up a podcast too, you know, whole lotta unpopular opinions and hot takes on Music/Anime/Movies etc. So look forward to that too at some point.
How crucial has songwriting been for you through lockdown?
It’s been everything honestly, I’d say if I didn’t have this “gift” through the whole of 2020/21 I might of gone mad. I would’ve spent the whole time playing ps4, watching anime getting fat(ter), worrying about how I’m gonna pay the rent and feeling sorry for myself. Without getting too deep, being able to write songs and make beats and put those out into the world whilst being locked down has been UBER crucial.
Have you discovered any new artists or music that you can’t stop listening to atm?
Hmmm yeah actually I recently watched Eurovision 2021 and there was this artist from Iceland, Dađi Freyr been bumping his tracks alot, other than him I’ve been jamming alot of Brent Faiyaz, ¿Teo?, Emefbnx an aussie rapper/producer from Syd absolute heaters from him and Reggie Banks an
aussie producer from Sans Souci where I grew up dudes such a G shoutout to him. Oh and I’ve had ‘The Off-Season’ on repeat since it dropped.
Written collectively as King Brown
Tell us a bit about the genesis of this EP – when did writing begin and how do you think it stacks up in terms of the band’s song writing now you can look at it as a full record?
Out in the Desert is a showcase of our collective songwriting spanning from our beginnings up to the time of release. The opening track Moto has been with the band for a long time, whereas tracks like Matter of Time and Oyzo were written specifically for the EP.
The EP is our musical offering showcasing the band’s creative range both of songwriting and our sonic palette. The songs each have their own distinctive sounds but still meld together throughout the record to form the King Brown sound.
Are there any particular songs on there that still stand out as favourites for you (and why)?
Moto stands out for its sheer energy and power. The song has been with us a long time but still is a favourite for both us and for audiences when we play it. It tends to charge the crowd up when we let it loose live. That feeling is also heavily present throughout the song thematically too, hitting the open road and letting it rip.
Way Down also stands out, it’s been really popular and is super fun to perform. The song was waiting in the wings for a long time, not quite pieced together. It is amazing seeing it released and people enjoying it. We were able to fill in the pieces and put a bow on it with the extra time that the first lock down gave us.
How has the last year been for the band; how crucial has music been for you during the weirdness of 2020?
Our music has given us a sense of direction and purpose during COVID. While it’s been tough for the music scene we used that time to work on getting this record together. The shows we have been able to play were amazing because you really get to appreciate them and not take them for granted. It’s also been good in a sense for the whole WA scene, people didn’t have the option to see east coast acts so they discovered all these great local bands, it’s grown the whole scene.
Can you tell us a bit about the band’s current creative and sonic influences? How have they changed?
We each bring our different musical influences with us to King Brown. At the start our songs had a more surfy vibe which has now progressed to show more of a rock and blues influence. The different influences show in each of our instruments, creating our unique sound.
Our musical influences within the band range from acts like Oasis, CCR, Skegss, and Allah-Las, however the influences that reflect through to our music would be Led Zeppelin, Rolling Stones, Stevie Ray Vaughan, …etc.
What did you learn about yourselves as musicians during the writing and recording of this EP?
We learnt that we have the ability and skills to get a lot of things done ourselves. Ben has put in a lot of time and effort recording the EP, without that we probably wouldn’t have been able to get it done. Shaun has been instrumental in creating all of the artistic elements and graphic design for the band, and also filming and editing our music video for Way Down.
We have also learnt that as a band we can rely on each other to bring whatever is needed for our music. One of us can bring in a song or an idea and everyone adds their piece to make a unique collective creation.
In terms of live performing, what’s exciting you the most about eventually being able to tour a record like this?
We are really excited about getting the chance to play our new music that people have heard and become familiar with. It makes it that bit more special when you perform a song and the crowd engages with it so much more because they know it.
It’s a great thing when people react to us playing a certain song or shouting out requests for songs. It is the payoff of a lot of our time and effort spent making this EP.
What’s coming up for King Brown for the rest of the year, that’s getting you pumped?
Our next main goal is to release an album. We are excited to get stuck in to challenging ourselves to write and record a lot of new material for people to experience. Each one of us will bring our own ideas to the group, and from that a King Brown album will be made. That is a pretty amazing concept.
Out In The Desert is out now.
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Where are you currently based?
At the moment, I’m in this really beautiful, quiet spot in the Grand Teton National Forest over in Wyoming, it’s absolutely wild out here!
Oh man, such a funny thought. Going to a small elementary school in southern Vermont, it was sorta an unspoken requirement to give some sort of musical instrument a try. I think in 1st grade my mom rented me a trumpet, but after a few months of absurd sound making, she returned the trumpet and came back with a snare drum. The rest is history. I stuck with playing the kit my whole life. I’d say the last 3-4 years I’ve really focused more on producing, but drums will always be closest to my heart. But yeah, I was lucky to have that push from my parents at an earlier age to grab something and see what happens.
What’s been happening recently and how has your Covid experience been so far?
So much has been happening! I’ve sorta packed up my life for the next 6+ months and just recently hit the road. We’ve been on the road for 28 days today and very much still acclimating to the go-go-go lifestyle. But we can talk more about that in a bit. As far as my Covid experience, it’s been waaay easier than others, which I’m grateful for. I was lucky to spend the majority of the thick of it in VT, where there was plenty of space and a pretty conscious community who’ve taken it seriously. Knowing buddies down in NYC and hearing about the extreme isolation, I’ve had it way easy. Dogs also help haha.
Your new single ‘Fulgurant’ is out now, what influenced the sound and songwriting?
How did you go about writing Fulgurant?It all started with this really cool synth I accidentally fell into. It was one of those random small plugins that came with a bundle I bought a while ago through Native. It blended so many washy layers together, so after telling myself to stop tinkering with it I had a really cool chord progression put together. From there, I knew I wanted to do some sort of vocodery layering as well, so I spent a ton of time working on that and trying not to overdo it with the amount of synth and vocal layers. Percussive textures are always something I focus a ton on, so getting those super crisp and clear was the third piece of Fulgurant. I spent a while looking for the perfect harp plugin, which was so hard to find, and sorta funny thinking back on it now. There’s this one small section where I have this huge strum from a harp that leads into the bridge type section, and the harp sorta handles the whole transition there. It took me a while to get that sounding right haha, but so worth it! Lyric wise, I didn’t know what the song was going to be about until I really took a step back and had a bit of a realization about some pretty heavy stuff, life and death, that kinda thing. For Fulgurant specifically, it’s all about seeing a family member age, and face some pretty serious dementia. Something a lot of people face, but never really confront outright. At the end of the day, we just have to be there for eachother, and that can be hard to do too.
Where and when did you record/produce/master and who with?
I’d say 75% of the song was written out of my small corner studio space in my living room at my old apartment in Burlington, VT. For the vocals I actually just brought my gear into a practice room at this spot called the Burlington Music Dojo. I’d rent out a weekly spot for practicing drumming mostly, but the room was treated super well, and I thought I might get a better take trying to record there. Seemed to work decently well! I finished the latter part of the track down at my childhood home in southern VT. Once I had it sounding the best I could, I sent it over to a good friend and amazing engineer Nick Squids, who did the mix and master and really took it to another level. Guy is a genius.
How did you approach the recording process?
I always feel pretty amature when it comes to recording live tracks in my songs. I don’t have anything fancy, but it always seems to end up clean and clear enough. I have a 2 track audio interface and a cheap condenser mic I use for just about everything. Outside of vocals, I recorded some guitar – I have this baby taylor that can’t hold a tune to save its life, but I love it so much. I always leave it in some random open tuning, and I just set up a mic in my living room while I was plucking a few chords that ended up working really well with the song. I also have this beautiful black tele, that I love adding huge held out chords with. I usually throw a fair amount of effects on the guitar stuff, you can get some really cool sounds that way. But yeah, it’s always recorded in the middle of my apartment type of thing.
What programs/equipment did you use?
I ended up using a combination of plugins between native, output, arturia for my synths, bass, and other instruments. There’s honestly way too many options out there these days haha. I feel like I could probably do more with less, but yeah, I’ll typically throw on a handful of effects from waves or soundtoys to really start distorting and manipulating the sound. I’ve been a huge fan of the soundtoys crystallizer and some of the maserati plugins from waves. I think my favorite part of the whole set up on this song was midi tracking my drum samples into this little electric kit I got off craigslist. It was the first time I was able to actually record what I was playing with a Teulu track. I feel like it gives it a better groove, and a good groove is so important. Even if it’s dragging or maybe off a bit.
I hear you’re living out of a converted 1989 Chevy van! How and why did this come about and how has the experience been so far?
Aha yes! It’s been a wild ride so far, that’s for sure. I think the whole idea started from a huge feeling of not really knowing where to go next. I moved back east with plans to move into the city, but COVID hit and sorta threw everything out the door, like it did for so many others. Not long after that, my girlfriend and I found this cheap, old 1989 chevy van that was already gutted, and we got to work building it at the beginning of the year. It then sorta morphed into “oh, we could really cut down on our consumption while doing this, and really minimize our overall footprint.” So not only could we figure out where the next home might be, but we could consume less, and waste less in the process. I also set up a pretty cool mobile studio, more to come from that soon though. It’s really easy to romanticize this idea of living on the road, which partly can be totally true. There’s also a lot of adjusting and acclimating to be done, and we’re still going through some of that now. Especially with two dogs along for the ride, haha.
Who are you listening to at the moment?
Oooooo, so much good music just dropped! I’m halfway through the new Tyler album, and he’s crushed it again. I just love his beats and all of his production, it’s so unique and good. I’ve also been really into this artist On Planets, wicked good lyrical cadence and his writing is really inspiring to me as of late. Oh man, and don’t get me started on the new Porter record. Another really good record just dropped from rum.gold that I’m super into.
What do you like to do away from music?
I’m a huge fan of winter, so taking the pups out snowboarding is something I do pretty often. Also a sucker for a good (and bad) scary movie, but you gotta have popcorn with it. Sorta random, but I picked up leather tooling from a good buddy over in Portland, OR, and really enjoy making simple leather goods out of recycled scraps. Anything that helps pull you out of the daily routine, and get you to think about bigger picture type stuff, I love.
What’s planned for 2021?
Crazy to think we’re already halfway through it! I’ve got a few more tracks to release, which feels good. I’m still a bit slow at finishing songs, so a big goal is to write a ton of new music while being on the road. And yeah outside of music, I’ll be on the road for the rest of the year, checking out some new potential spots to call home. The biggest thing I think is just trying to really focus on living as minimally as possible and recognizing what a privilege this all is.
Favourite food and place to hangout?
Oh man, tough question! Since I just spent the last week in Bozeman, MT, I’d say that’s been the coolest spot on the road so far. I was lucky to land there during a few Pride events, and the community there is so great. The food there is pretty awesome too, I had Bibimbap for the first time over there and it really hit the spot. Shout out to Whistle Pig.