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

Hey Rashid, congrats on your latest release, your TOR label debut! For our readers who might not have heard it yet, can you describe each of the tracks in three words/a sentence?

That’s a good question ! I would say…

“Never Knew” is soulful, nostalgic and raw.

“Chasing Ghosts” is industrial, haunting and warm. 

“Still Think of You” is melancholy, lush and dreamy.

You’ve had a really strong 12 months with releases on the likes of Tale & Tone, TOR, XYZ… What do you think was the reason behind this exciting collection of new tracks? Have you been having an extra creative phase?

I think these tracks came from a desire to create during lockdown. I had a few months of creative focus in which the tracks came together. They each have their own story and meaning behind them, but in the end they worked quite nicely as a collection, even though this was not what I initially intended. 

Where do you usually get your inspiration from, and has lockdown affected that (either in a good or bad way)?

My inspiration comes from nature, art and mainly from experiences in my life. But when it comes down to it the inspiration comes from within and is at a deeper level. It comes from being in the moment of creation fully. 

Where would be your dream gig or show when the world opens back up properly again?

My dream is to tour the world and play in multiple countries, meet new people, and have unique experiences. 

What’s next for you? We’ve heard that you’re big into NFTs and artwork, and are working on some cool installations… can you tell us more about that?

I will be launching my first NFT collection soon. It consists of 6 pieces all with unique visuals and music. I’m very excited about it and I really enjoyed the project! I’m looking at many new artistic projects that involve bringing together art, music, film and immersive experiences. Stay tuned for more updates!

Rashid Ajami’s ‘You Don’t Know Me’ EP is out now on Tale & Tone. His ‘Never Knew’ EP is Out Now on TOR, get it here.

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 https://www.instagram.com/rashidajami/

https://www.facebook.com/rashidajamiofficial

https://backl.ink/146802140To celebrate the release of Have Like Like that on Off Leash Records, we sat down with Lucas (PKA Health Club) for a chat about where things are for him and the music, right now.

Greetings Lucas, for those that don’t know about Health Club, how long have you been at this project and how would you describe the music?

Hello! I’ve been writing music under Health Club for around 3 or 4 years now.  When I first started the project I was listening to and influenced by a lot of soul, funk and neo soul, which led me to this sort of pop/neo soul output.  I’ve always really enjoyed lower tempos; they leave a lot of space between the beats and allow for more explorations in groove.

This new track of yours “Have It Like That” on Off Leash Records, is a funky, soulful record. The vocals remind me a little of early UK dance, but then there’s an almost American style janggly hip-hop beat plus some very Australian usage of the saw synths. Is it deliberate for you to merge styles or is that something that just happened organically?

I think initially I had leaned into some more of the UK feel on an earlier version – using some parallel harmony, 909s n what not but at some point, I just started from scratch and played with a new, more soulful angle.  It all just unwound from there and I found myself throwing a slap bass in the chorus.  I do love intentional use of juxtapositions or clashing of ideas but in this case, I think it just happened.

Are there specific influences that contributed to the tone of this track? If so, who are they?

Pharrell is always a massive influence, and if you get down to it a lot of the more current influences would also lead back to him too.  People like Lynda Dawn, kaytranada, Mndsgn & Toro y Moi; are very key components of the sound I’ve created with this release.  Can’t forget to mention Patrice Rushen, I don’t think I could go a couple days without listening to her.

Some of your more recent singles have been closer to a house/disco tempo. Are we gonna hear you stick around in these more open grooves for a while?

Definitely.  I’ve been DJing a lot over the past year or two – more than I have in years.  I’ve been listening to and playing heaps of late 80s and 90s stuff, especially Italo and Dream House.  I think I’d like to explore writing some actual club music very soon.

For the production nerds out there, are there any favourite instruments, plugins or tools that can be heard on “Have It Like That” and what do you like about them?

A lot of the lead and mono sounds on this one are from an sh101 remake.  The original was my first synth and when they brought the modern remake out, I had to get it.  I’ve used Soundtoys ‘Crystallizer’ for some of the lush background sonics too, definitely worth giving that thing some praise.  And, on every song, I’ve used the prophet 08 – in this case, for the big saw pads in the chorus.

No doubt, Electronic music is in a strange place worldwide with limited capacities and not much of a festival scene. How has Queensland been of late? Are you and your contemporaries able to go out and play shows? How do they feel?

It’s taken some time but we’re back to what feels like normal.  The limited capacity is still in place of course, and is quite a point of tension, with other areas of society seemingly “immune” to covid safety restrictions and procedures. Friends are throwing shows nearly every weekend, to smaller and maybe more dedicated crowds.  People are aware of the limited release, so the tickets are bought up quick and the attendance is always in high spirits.  I’ve even caught some shows from international artists which seems crazy.

On, that; If you could play support to any international headliner, who would it be and why would that be an awesome show for Health Club?

Probably someone like Erika De Casier or Toro y Moi. I feel like any show they would do would be awesome regardless of my involvement, and would be great to be a part of it.

What about in the studio? Who would be a dream collaboration for Health Club and why do you think it would work?

Adam Bainbridge (Kindness) or Joseph Mount (Metronomy).  They’re not exactly current influences on the music I’ve released but they’re two of the biggest contributors to my high school obsession with music.  They’re both artists that I feel pushed pop music in really interesting directions and reference some great records in their own ways.  I’d like to think over the years I’ve found a lot of the same influences that drove them to make their work and would hopefully have a common ground to draw inspiration from.

What’s next for Health Club is there anything you’d like to leave us with?

More music, and hopefully soon.  Earlier this year I played a live show with my friend Millie, the first I’d played in years.  It left me excited to work on it further and look into performing more live shows in the near future.

PLAY/DOWNLOAD

https://www.instagram.com/health_club__/

What is your name and role within Rat City?

 My name is Lasse Michelsen, and I’m a producer/songwriter and a member of Rat City.

Where are you currently based?

 Oslo.

What’s been happening recently and how has your Covid experience been?

 Right now, I’m on daddy’s leave, so it’s all about getting through the day with my nine month old daughter. It’s a lot of fun! Covid-19 hasn’t really affected our daily work as much as other businesses. We’re used to being stuck alone in the studio.

Your new single ‘Rather Be’, a collaboration with Isak Heim, is out now, what influenced the sound and songwriting?

 The sound is based on what we have released earlier, horns, live bass etc. Kind of an organic sound mixed up with house/disco-vibe. I have no clue what to call it… Since there are so many songwriters involved, I can only speak for myself, but I think it’s about cutting loose from a bad relationship or person.

How did you come to collab with Isak and how was the experience?

 We have worked with Isak on several previous releases, so it was very natural for us to ask him to sing on the song. He has an amazing voice!

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

 All recordings are done in our own studio in Drammen (Norway). Phil Tan (U.S) on the mix and Sing Master on the master.

How did you approach the recording/production process?

Like we always do, press record and use your imagination.

What does ‘Rather Be’ mean to you?

 A lot! It’s one of a few records that we still love to listen to.

Who are you listening to at the moment?

 Kamara, she is really talented.

What do you like to do away from music?

 Fly Fishing, hunting and hiking in the mountains.

What’s planned for the remainder of 2021?

 Make more music!

Favourite food and place to hangout?

 A nice meal in the tent on the tundra after a long day of fishing.

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Where are you currently based?

 Hollie – I live between two places – Northcote and Ocean Grove, Victoria. Basically, part time city, part time coast life.
Joe- I am based in Brunswick, Victoria. I made the move to Melbourne almost five years ago from rural NSW.

How did you first start playing music?

Joe – I was always fixated on music from a very young age. I’d set up pretend microphones and make my family gather around for living room concerts, singing along to CD’s. When I got my first guitar, I was about eight years old. I’d lock myself in rooms and just listen to notes ring out for hours.

At the age of thirteen I began teaching myself songs on the guitar and jamming with a friend from high school, he was becoming a great guitarist, so in order to start our band I scored a drum kit scholarship at the Clarence Valley Conservatorium to be able to afford lessons and got my chops up on the kit.

Hollie – Yeh! I was pretty similar actually, I grew up in a family of performers so I was always surrounded by people performing music, dancing etc, basically a lot of big personalities. I started learning the piano with my Nanna, but quickly became uninterested in playing covers and wanted to write songs of my own. I would have books and books of little poems with this monophonic 80’s Casio that only played one note at a time but it had a recording function so I would layer parts for hours over the best/worst beats you’ve ever heard. I was probably 13 when I started having a crack at writing songs on guitar, dad bought me an SG shaped black Ibanez electric guitar but I never played it because I had my eye on his 70’s acoustic guitar that I still play to this day.

What’s been happening recently and how has your Covid experience been?

Joe – As you know Melbourne has just endured it’s fourth lockdown. This time around I have personally lost one The Stained Daisies show, of which we rehearsed for months in advance training extra band members, one Tug show on the 12th and we are still holding our breaths about whether we will be able to do the launch for DEA on the 18th of June.

Covid sucks.

Hollie – Thank goodness for the daily quiz.

Your new single ‘Dea’ is out now, what influenced the sound and songwriting?

Joe – I was at the back end of writing my last album “Songs to Track Down To”, a very mellow bunch of folk songs, when I decided to start writing and recording something that completely polarised what I was pushing out at the time. I began working on the “Queen of Smiles, Blues & the Devil” concept. I had planned that it was to be a straight up rock album with the same kind of poetic value that the previous album had, only yelling it this time. So I guess the sound and energy I was pushing in Dea was a product of me somewhat challenging myself to embrace an essence of anger whilst I worked on something very peaceful.

How did you approach the song writing process and how did you come to work together?

Joe – I approached Hollie online with the instrumental version of the track and asked if she would like to contribute some kind of vocal layering to flesh out the groove. Once she had done that we decided it wasn’t finished and Hollie agreed to throw some words at it. She was given the album name “Queen of Smiles, Blues & the Devil” and came back with what is now “DEA”.

Hollie – I remember constantly sending you updated versions of little clips being like, “do you like this?” “what about THIS?” until I realised you just wanted me to do my thing haha.

Joe, how was the experience working with Hollie?

Joe – Working with Hollie was everything you’d hope for in a collaboration. It was a great mix of fun and serious as we dipped into each other’s worlds for a moment.

Hollie, how was the experience working with Joe?

Hollie – Same! Working with Joe was just so easy considering we didn’t really know each other before this. I agree, a healthy amount of being ridiculous and then working hard.

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

Joe – The Instruments were all recorded and mixed by myself at my home studio in Brunswick. All of Hollie’s parts were recorded and mixed by Hollie on top of the instrumental track. It was then mastered by Aidan Bateman.

How did you approach the recording process?

Joe – My zoom R24 is my writing tool. I’ll have a riff or a groove and just keep adding layers of instruments into the recording device, and that is the product you hear. That’s how Joe Terror music has always worked.

Hollie – I basically imported the track Joe sent me into logic and just wrote everything directly in producing and mixing as I went along.

Who are you listening to at the moment?

Joe – This week I have been listening to “Still Sad”, a playlist by Mikey Young & Anthology records, a follow up to the 2019 “Sad About The Times”. It’s brilliant. Also, Big Thief Live at Bunker Studio, Pig Lib by Stephen Malkmus and the Jicks, Hurtsville by Jack Ladder and a heap of Sarah Mary Chadwick.

Hollie – I’ve been getting stuck into the album “On” by Altin Gün, Pete Drake, but mostly the song “forever”, The Kevin Fingier Collective and Imarhan.

What do you like to do away from music?

Joe – I enjoy working in the country and being in the bush. I have also recently taken a liking to bartending. It can be a fun social environment and somewhat keeps me out of trouble.

Hollie – I’m usually chipping away at something, whether it’s in the garden, or writing something, painting, drawing, cooking etc. I also tend to plant my feet either in the dirt or by the water.

What’s planned for the remainder of 2021?

Joe – I’ll be trying to tackle as many Joe Terror shows as I can in the next couple of months along with another few singles from the album. For the majority of September, I will be back in the country looking after a bunch of goats and recording some new stuff. Most of October I’ll be touring the East Coast with The Stained Daisies. Then maybe in November I can finally have the full album out and see out the year with Joe Terror shows.

Favourite food and place to hang out?

Joe – Space food sticks. On the moon.

Hollie – Wait woah, I want to be on the moon too so naturally I’ll also need some space food sticks, if you have any.

Joe Terror IG HERE

​Hollie Joyce IG HERE

Spotify link HERE

Hey Felipe, thanks for taking the time to speak with us! How are you?

I’m fine, even with this pandemic I try to remain calm, positive and focus on my productions, it’s a pleasure to talk to you.

Where are you in the world right now?

I’m in Presidente Venceslau, the city where I was born in the countryside of São Paulo, Brazil

How has the last year been for you in lockdown? Have you been able to take any positives from it?

It’s been a time full of ups and downs, in many moments it’s very difficult because I’m not sure when or how the return will be, but whenever is possible I always try to keep positive thinking, and like it or not, I ended up having more time to spend with my family and myself, I have used this creative leisure to inspire me even more in the productions that are going full steam.

You’re one half of the acclaimed duo Dashdot. What was your journey like to become a successful producer and DJ?

It’s been an amazing journey, where I collect memories and beats from the most different places and tracks. I’ve made countless friends, met wonderful people and had the pleasure of producing some of the soundtracks that are part of many people’s lives.

What is your favorite memory as Dashdot?

It’s hard to choose a particular memory, but I’ve always enjoyed the international tours, we’ve had the chance to play around Europe, Asia, Australia, North and South America 

What made you want to start your solo project FFLORA?

I was at a time in my life looking for more independence and a slightly more specific sound line, I already had the idea of ​​creating a parallel project, and this whole pandemic ended up accelerating this idea.

What was the inspiration behind the new track on Ame Records?

There were some incredible inspirational vibes that kicked in from time to time during these lockdown moments, and Colors is definitely one of my favorite quarantine productions. I hope that I can sign other tracks on Ame, a brand that I identify a lot with.

How was it making with no chance to play it out or have any crowd interaction?

This is one of the biggest differences on my production process, I’d always tested my songs countless times before releasing the final version. However, I had to adapt and somehow teleport myself into the minds of different people in the crowd pretending to be listening to the track. 

What would be your dream first gig back?

To tell you the through, I just want to be able to play again. Of course there are some special places and festivals, Like Ame Club itself, Warung, Green Valley, Lollapalooza, Rock In Rio and etc… But what I really want at this moment is to be able to play, doesn’t matter where.

What’s the thing your most excited about when we can return to live shows?

I’m looking forward to testing my quarantine productions, there’s a lot of music that I really believe in!
I’ve probably made more that 50 tracks these last months. 

Have you discovered any records in lockdown that you’re dying to play out?

I don’t think there’s a specific track, but there’s a lot of good stuff that was produced in quarantine, whether from Brazil or abroad.

What else have you got coming up?

I have a lot of news ahead of me, from new releases and lives sets and the development of an own label.

https://www.beatport.com/release/colors-feat-dcw-extended/3396530

https://www.instagram.com/fflora_music

Where are you currently based? 

Hey there, I’ve been back and forth between New York City and Los Angeles for many years and have finally settled permanently on the west coast. Due to some unforeseen circumstances during the pandemic, I moved my studio to Ojai – about 90 minutes north of LA.  It’s a beautiful area. Very peaceful.

How does the sound of your new album Refolded – Waving at Airplanes Remixes differ from the original Waving At Airplanes album?

For the original album, I set up parameters to use specific sound sources which were a modular synth, piano and some acoustic guitar.  I wanted the tracks to have a continuous, sonic thread beyond the vocals of Natalie Walker and Merz. For the new remixes, we had the freedom to experiment with different musical styles so, while the originals are somewhat subdued, the remixes are more immediate, beat-heavy, and venture into some darker territory. 

What initially inspired you to remix the album?

The pandemic put a halt on in-person collaborations so I thought a great project would be to revisit the songs from Waving At Airplanes and come up with some new interpretations. Normally, I would farm out the remixes to other producers, but I was playing around with the vocal tracks and was really keen on doing some myself.  I asked Mike Lindsay if he wanted to remix one of the songs and he was up for it so I was thrilled to have him involved. 

How did the collaboration between Natalie Walker and Merz come about, and how do the two feature on the album?

I worked with both Natalie and Merz way back on the Dive Index album, Mid/Air which was a wonderful collaboration.  They both are phenomenal talents and I was so honored to work with them again on Waving At Airplanes.  I sent them both a handful of demos and they picked multiple songs so the album ended up being just the two of them. We alternated the track order – Natalie, then Merz and so on – which created a nice dialog between their voices.  As far as the remix album, it really came down to which vocals were ‘remix-able’, if that makes sense. And some worked better than others so the selections came together organically. 

Can you tell us a bit about the original production of the EP? 

Since I used mostly modular synth, piano and acoustic guitar on the original versions, I made a conscious decision not to use those instruments at all for the remixes. This was to make sure there was a clear distinction of sound sources used for each version.  When I was packing up my studio to move, I rediscovered a few pieces of gear that I haven’t used in quite a while. Mostly analog synths from the 80s like a Roland JX3P and an Oberheim Xpander.  It was great to get reacquainted with these old friends. 

What’s the creative process like behind a Dive Index release, and how does this differ from your other projects such as Plumbline?

Plumbline is primarily an instrumental project and Dive Index is vocal oriented with somewhat traditional song structures so that’s the main difference between the two. Working on Plumbline material is more of a solo affair, except when working with Roger Eno. And since I know the Dive Index songs will ultimately have a vocal track, I have to approach those songs with that in mind and leave room for the voice within the sonic space. 

What are your favourite tracks from the new album, and why?

Oh geez, that’s like asking a parent which kid they like best.  I know this isn’t fair, but I truly like each one for different reasons. And the ones that I felt weren’t working, didn’t make the cut.  Now that said, Mike Lindsay’s remix of ‘She’s Exploding’ is certainly a stand out for me simply because Mike took it to a place that I wouldn’t normally go. And it’s wonderful to get lost in all of his sounds. 

What does the rest of 2021 hold for Dive Index?

I hope we can do some shows in the fall. Nothing is booked at the moment but thankfully things are opening up so live music is alive and well.  Finally!  

Buy Now here On Bandcamp

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Georgia’ for those who might be coming to the band for the first time – how do you think this song represents the central core of the McDermott & North sound?

I would say that the sound of ‘Georgia’ is more of a change of pace with our sound. It’s a song you could slow dance to. It’s intimate, slow and romantic.

Can you tell us a bit about how the genesis of the song has matched the final result?

When we first wrote the song it was much slower and on an acoustic guitar. It has definitely changed a lot since the original version, hopefully for the best.

What significance does this song in particular hold for you as a songwriter now?

This song is significant because it was the beginning of a run of Bluesy-sounding songs. After writing Georgia, we went on to write a bunch of songs with the same Blues rhythm and feel.

As an indicator of what we’re still to hear from McDermott & North – what makes ‘Georgia’ such strong single to lead into this new chapter with?

It’s a strong single for the new chapter because it’s a taste of something different. We’re trying to keep our sound as diverse as possible through different types of songs.

What was 2020 like for the two of you creatively? How did you find navigating that last year as a duo?

We spent a lot of time in our van busking around Australia, going to small country towns, so we were fortunate to spend a lot of time playing in front of people even if that was just busking. We also spent a lot of time writing while in lockdown, which is always nice.

Had you been listening to any particular artist / band who has influenced you throughout the last year?

Not too many new artists to be honest, besides Phoebe Bridgers. We have been listening to a lot of her stuff. Her lyrics are pretty potent while also being tongue in cheek, it’s a pretty effective mix I feel. We constantly find ourselves drawing from the 60/70s and still finding some brilliant bands we haven’t heard before. 

What do you think you learned about yourself as a songwriter and about one another as a group?

The importance of perseverance as an artist! It has been inspiring to watch the industry quickly adapt to the unprecedented state of the world during the pandemic, as well as the rebirth of the local music scene and gigs.

What’s exciting you about new music moving forward into 2021?

I think what we’re most excited about is getting out there and playing some live gigs around the country, playing our music to new audiences. As for new music, we have a few tunes up our sleeves, and we’re going into the studio with some exciting people too! We’re truly excited to share it all with you when it’s done, we think it’s going to be a great year. 

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When and how did you first get into making music? 

I first got into rapping at 7 years old, my sister was the one who convinced me to do it. Music had been around my family since I can remember so when it came to making it, it was second nature, it helped that I used to mimic all the rappers I saw on tv, that’s where I got my style and swag from and copied everything they did. Otherwise when it came to writing and recording my sister played a big part in that. 

How would you describe your music style to someone who doesn’t know You? 

I would say my style is very melodic and energetic with most songs, I use auto tune in ways to captivate and maintain a particular mood whether it’s dark or uptempo. A lot of the tracks I’ve been recording today just seem to be very catchy and easy to remember, something that goes a long way especially when made simple. In other ways my sound is very out there, I like to experiment with everything. 

The best way I can describe it is, imagine yourself in a space shuttle swerving through meteors at light speed, but everything you hear sounds like an echo and far away, even if it’s right next to your ear. At the same time your booster is powered by a 24 inch chrome spinner with a sub attached to it powered by koolaid, that’s me, that’s Perry P. 

Your new single ‘On The Low’ comes out on the 4th of June, what does the song mean to you? 

To me it’s a realisation that the life I wanna live is only a step away, that all the work being put in will soon pay off in the biggest ways. Throughout a lot of my songs, this track in particular I manifest and speak all of the things I want to happen in life into existence. 

The title ‘On The Low’ represents the quiet grind I’ve been on to make things happen, me having my head down trying to piece things together, and that I won’t allow any outside thoughts and opinions to enter my inner matrix on my way up. 

Another good example of this is the cover art, a young me with a crown on my head, meaning whatever successes happen, it was meant to. Shoutout to Ish for coming through with the sketch. . 

What’s the first song you remember liking? 

The first song I remember liking is Black and Yellow by Wiz Khalifa. There are plenty that I liked before that but this particular track hit me in a different way. I was around 7 or 8 when I first came across it, to this day it remains my favourite song of all time. 

Who are your biggest influences? 

I could go on and on if I was to really name all of my musical influences but growing up I was listening to every genre there was, not just hip hop, but in this case the ones that

influence my music the most today are, Kendrick, Schoolboy Q, Travis Scott and drake. They all influence me in a different way, whether it be on delivery, style or flow. 

I’m one of those people that really listen to music, not just listen, if you know what I mean. I guess it’s just the musical ear I’ve been given, being able to pay attention to the small and minor details and learn how to take and then turn them into my own thing. I really study the ones that come before me, it’s helped me evolve into the artist I am today, so I’ll always be learning, from Adele to Jay Z, my thoughts will always be focused on how the great ones did it and how I can apply that to myself and be better. 

Who is Perry P outside of the music game? 

Perry is a pretty quiet and private guy to say the least, just a hardworking lowkey individual. That changes when I’m around my friends though, I turn into a demon at times, especially if there’s loud music playing, crazy energy that can’t be tamed, it’s just my thing. But I’m your average joe, get along with everyone and just like to have a good time. One thing I pride myself on is bringing up the mood of the people around me, no matter the time or place. So if you ever find yourself in the same vicinity as me, gear up for action. 

What’s your outlook on Australia’s music scene at the moment? 

For a while now I’ve felt that the scene in Australia is gonna be crazy once it pops off, in my mind all it’s gonna take is for one person to really take off and that’s gonna open doors for so many others, especially within Perth. Right now we are doing our thing but it’s not yet at that stage where we’ve got the world’s attention on us, that’s what we’re striving for. Collectively we are destined to do amazing things and individually there are key names to look out for. 

Personally within my city, besides myself I feel like those guys are Young Pascal, Yourboymars, Trapboii and Nabiiou$, just to name a few, guys I see really pushing the bar, these are my peers so when I see them doing well it only motivates me. Give it a few years and Australia is gonna be a hotspot, I truly believe that! 

Who do you want to work with in the future? 

There are plenty of people I want to work with in future but to be honest I’m more excited to work with the same guys I’ve been working with currently, five years from now and onwards. Coming up with the same people you started with is a different feeling when you’re all together at the top, something I can’t wait for. 

Any shoutouts…. 

Shoutout to my mum for keeping my head straight and my siblings for playing MTV everyday when I was a kid, I took notes, now it’s about to take us a long way. 

Instagram: http://instagram.com/perrypleasurre/ 

‘ON THE LOW’ by Perry P will be out on all streaming platforms on 4th June, 2021.

What significance does this record have to you now, that it’s out there and you can look back on it as a completed record?

The record loses significance in some way to me after it’s been released. When I’m writing and recording it seems like this mammoth task and I imagine once I finish it I will feel really accomplished. But it kinda turns out the other way. I won’t listen to the record for maybe 2-4 weeks after it’s been released, then I’ll hit it up and kinda feel like ah well that’s kinda cool I guess?? What do I do now..? What’s next? It’s a weird rollercoaster of emotions.

How long did the recording of this EP take and if there was, what was something you learned about yourself as an artist during that process?

Roughly 18 months I think. There was a lot of delay due to lockdown here in Melbourne. Every time I’m involved in some kind of recording or record or whatever I seem to learn to be less and less hard on myself. I’m learning to take my foot off the gas when an obstacle comes my way. Instead of doubling down and hoping for the best. 

Is there any one song that stands out to you as a favourite (and why)?

Life In Hollywood is definitely the track I want people to hear. It’s something new for me with the guitar taking the backseat and letting the vocals and synth drive. It’s new territory for me and I want people to notice that more than anything else. 

Was there a moment when making this EP where you thought, ‘This is turning into something that I wasn’t expecting’ – did the initial vision you had for it change in the final product?

As soon as I started recording Life In Hollywood I was like, ‘Holy shit I haven’t been here before.’ I was trying to work out what the guitar was supposed to do, but it became obvious early on that it wasn’t needed. Homage Part 1 & 2 were going to be one bigger song but at some point got split up and book ending the EP. 

Was much of the material written pre-lockdown or during?

About 50/50. I wrote the bassline for She Wants You about 4 years ago. Life In Hollywood came in the depths of lockdown.  

Thinking about the music you’re wanting to make in the future, how does this EP capture this energy?

I’m excited about playing more synth and keys for sure, to broaden my knowledge a bit. This EP in particular I have really grown to love writing and playing bass, so I think these instruments that usually take a back seat role will come to the forefront in future recordings. 

Being in Melbourne, how much of an escape has music been for you over the last 12 months?

It’s been an escape and a prison. I had more time than ever to sit down and write and record, but it was almost the only thing I did during lockdown. Writing and recording is usually my happy place but during lockdown I didn’t really have any other place to escape to. Music felt like a chore at times.

The Life In Hollywood EP is out now.

PLAY/LISTEN

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