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Music Interviews

Music InterviewsMusic News

Interview: Luna Returns on “Guardians of the Multiverse”: A Cinematic Beginning, a Mythic Universe, and a Continuum Beyond Music

by the partae October 16, 2025
written by the partae
“Guardians of the Multiverse” feels more like the beginning of a cinematic saga than just a single, how did this concept first come to life for you?

It started with an awareness, a need to understand ourselves and to express emotion in a way that truly connects. Guardians of the Multiverse became that outlet, a reflection of the battles we all face internally. It’s more than a song; it’s a statement of self-recognition, of letting what’s buried rise to the surface in sound.The mythology around the Guardians and the Architects is rich and complex. What sparked the creation of this universe and its deeper story?

Guardian III had a dream, Luna spoke to them. They shared that vision with the rest of us, and from that moment, the world of the Guardians and the Architects began to take shape. The lore wrote itself through that inspiration, and the rest, as they say, is history.The Resonance Manuscript plays a big role in this project. How does the written lore shape the way you approach the music?

The Resonance Manuscript was written by Guardian III to serve as a foundation, a guide to help us understand Luna’s evolution and the purpose of the masks. It’s not just a story; it’s a reflection of the emotional and spiritual architecture behind what we create. Every line in the book connects to a sound, a lyric, or a visual. It gives the music meaning beyond melody, it gives it memory.Your decision to stay masked strips away the individual identity behind the art. What does anonymity allow you to express that you couldn’t otherwise?

Anonymity frees us. It removes ego, expectation, and pressure. Behind the masks, we can fully immerse ourselves in the purpose, not the performance. It allows us to write without thinking about how we look or how we’ll be perceived. Instead, we focus purely on the message, the energy, and the emotion we want to deliver. It’s not about hiding, it’s about becoming what the music demands.There’s a powerful tension between aggression and atmosphere in the track. How did you strike that balance in the studio?

We wanted to demonstrate both our musicianship and our production depth. Forrester Productions gave us the foundation to shape our sound, but ultimately, we built it ourselves. Once we understood the story we were telling, the balance came naturally, the aggression of collapse against the serenity of rebirth. The synth motif became Luna’s voice throughout, threading the chaos together into something cohesive.Each element, from the drums to the synth layers, seems to serve the story. Can you talk about how sound design became part of the narrative?

The music always came first. Guardian III created the initial concept and shared it with the others, letting the sound sculpt the story before lyrics were even written. Every instrument had a role to play, the drums as the heartbeat of the universe, the guitars as the pulse of creation, and the synths as Luna’s lingering presence. Once the emotion was built sonically, the lyrics followed to anchor the lore and the feeling together.You describe Luna Returns as more of a vessel than a band. What does that philosophy mean to you in practice?

Luna Returns is not a collection of individuals, it’s a channel. A vessel that carries messages from a place beyond ourselves. The three Guardians represent aspects of that energy, but Luna is the constant, the guiding consciousness. In practice, that means everything we create is done with purpose and intention, as if we’re receiving rather than inventing. We’re simply conduits for something larger than us.The song explores ideas of collapse and rebirth. How do those themes connect to the current moment in your own life or in the world at large?

We all face moments where the world feels like it’s falling apart, personally, globally, spiritually. Guardians of the Multiverse is about finding light in that collapse, seeing that destruction isn’t always the end but the beginning of understanding. Pain, grief, and struggle can all lead to awakening. It’s universal, and we wanted that message to resonate no matter who’s listening.For listeners diving into this project for the first time, what do you hope they feel or question by the end of “Guardians of the Multiverse”?

Whatever they need to feel. Whether that’s anger, peace, sadness, or defiance, any emotional response means connection. We don’t want people to force themselves to like us; we want them to interpret the music in their own way. The meanings are flexible. The song becomes theirs the moment they listen, that’s the true essence of resonance.How far ahead have you mapped out this universe, and how do you see the story evolving across future releases?

This is only the beginning. What’s been released so far is just the prologue to something much larger. The next chapter arrives on October 31st, 2025, diving deeper into Luna’s fractured state of mind. Guardian I takes more of a lead on that release, while Guardian II steps back vocally to shift the focus. We’ve already built the foundations for two to three albums, each connecting to the next through lore, music, and message. Luna Returns is not a moment. It’s a continuum.

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October 16, 2025 0 comments
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Music InterviewsMusic News

Interview: LUX – ‘Mirage’ A Dreamy Exploration of Love’s Illusions and Realities

by the partae October 16, 2025
written by the partae

“Mirage” feels both intimate and expansive. How did that vision first take shape when you sat down to write it?

Honestly, it started really naturally, more as a feeling than an idea. Tomcbumpz and I were just vibing in the studio. I told him I wanted something that felt psychedelic but still emotional, something that pulls you in. He started playing around with melodies on the Prophet 6, I added more layers, he added drums, and then I freestyled, singing it in one take. The first demo came together super fast, and it just had that dreamy, floating energy that I connected to right away.

You’ve described the track as psychedelic R&B. What draws you to that sound, and how do you make it your own?

I’ve always loved R&B, but I’m also obsessed with texture — sounds that feel hazy or surreal. Psychedelic R&B lets me merge those worlds. I think what makes it my own is how I build space in the production. I love layers, harmonies, and ambient synths that make you feel like you’re in a memory instead of just listening to a song.

Tell us about your creative dynamic with tomcbumpz — what clicked between you two in the studio?

We actually met through Instagram. I had taken him to a rooftop to shoot some photos since I also do urban photography. I told him I make music, and we ended up hitting the studio after. He has a great ear for synths and I loved his sound design, so it felt easy to create together. The chemistry was instant — I think we just understood each other’s creative language.

The song dives into the complexities of personal relationships. Was there a particular moment or experience that inspired those lyrics?

Yeah, “mirage” came from a past relationship I was in. There was still love, but everything felt uncertain, like we were trying to hold onto something that was already slipping away. The lyric “We went back and forth back and forth for days / Trying to display our love / But it was never the same yeah never the same” really captures that. It’s about the exhausting push and pull, the moments where you’re giving your all, trying to make it work, and yet realizing deep down that the connection has shifted. It’s that feeling of repeatedly trying to show love, but knowing that things can’t go back to what they once were. The song is about acknowledging that truth while still holding on to the memories and emotions that made it meaningful.

You mixed and mastered “mirage” yourself, which is rare. What does having that level of control mean to you as an artist?

It means everything. I’ve been producing since I was 8, and I grew up around music — my grandpa is an audio engineer, so I learned from the best. I’ve always cared about every detail, from the vocals to the smallest reverb. Mixing it myself lets me protect the feeling of the song. It’s not just about making it sound clean, it’s about making sure it still feels the way it did when I wrote it.

The visuals — from the Queensborough Bridge to the subway tunnels — feel like an extension of the music. How do you see the relationship between your sound and your visual storytelling?

For me, visuals and sound are one and the same. I see music in images, colors, movement, places. Climbing the Queensborough Bridge and shooting in the subway tunnels was my way of showing the duality of “mirage.” It’s about illusion and perspective, and I wanted to capture that visually — the beauty and the chaos coexisting. The bridge represents distance and longing, while the tunnels represent being trapped in his maze, running and trying to find a way out. I like using real environments to reflect emotional states, because my world and my art are deeply connected. Every location tells part of the story — it’s not just where the video takes place, it’s what the emotion feels like.

You’ve cited artists like Jhené Aiko and SZA as influences. What have you learned from their work that shaped this track?

I think Jhené and SZA both taught me how to blend softness with strength. They create such emotional worlds through sound; it’s honest but still dreamlike. That inspired me to embrace vulnerability in my music, but also to not overthink — to just flow.

The studio where you recorded “mirage” seems to hold special meaning for you. How does the space you create in affect the final result?

Totally. Tom’s studio in Brooklyn has this cozy, safe energy. It’s warm and low-key, and that makes it easy to be creative. I’ve made a lot of good memories there, so the environment definitely shaped how open I was when recording.

You’ve said music is a reflection of life’s illusions and realities. What illusion are you exploring most deeply right now?

Lately, I’ve been exploring the illusion of connection — not just in love, but with friends and family too. Especially since I just moved, I’ve been feeling the push and pull of relationships, and just trying to make sense of everything. In “mirage,” that illusion shows up in the push and pull of love that’s fading, when you’re trying to read someone’s eyes for a truth that isn’t there anymore. It’s that space between what you wish something was and what it’s actually become.

What do you hope listeners feel or think about after they’ve heard “mirage” and watched the visuals?

I hope listeners reflect on their own relationships, especially if they’re caught in that in-between, illusion state — the back-and-forth where you’re chasing something that feels real but keeps slipping away. The song and visuals are about facing that truth and recognizing the reality of shifting love. Even when love changes or fades, the emotion was still real, and I want them to recognize that sometimes love changes, and even if it will never be the same, that doesn’t make it any less meaningful. I want listeners to feel the weight of that — the ache, but also the acceptance. I hope they feel encouraged to face the complexity of love with awareness and to find growth and meaning even in the moments that may not last.

Website: linktr.ee/luxsyel

YouTube: www.youtube.com/…uxsyel

Instagram: www.instagram.co…uxsyel

TikTok: www.tiktok.com/@…uxsyel

October 16, 2025 2 comments
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Music InterviewsMusic News

Bobo Gogo on Shooting Stars, Retro Hooks, and “Wish On You”

by the partae October 13, 2025
written by the partae

What’s the most unexpected place or situation where a lyric or melody for “Wish On You” first came to you?

The main melodies in this track are almost a decade old. Melodies come to me all the time — while out on runs or in line at the café. I record them quickly and file them away for safekeeping. I took several out of the archive for “Wish On You,” and the lyrics came to me quickly. I wanted to write a song that blurred the lines between sincere relationships and parasocial relationships, and while trying to work it out, I took my dog outside that night and saw a shooting star — true story!! — and knew that was the perfect allegory.

If “Wish On You” were a movie scene, what would be happening on screen when the song plays?

Oh, definitely someone screaming at their television or throwing something through it. I’m a big fan of drama like that!! This song is pretty messy and hyper-dramatic, but I use that to mask the real emotions in it. I’m my most sincere when I’m being ridiculous!

What’s one thing about your creative process that would probably surprise people?

When I’m writing my lyrics, I prefer total silence. I know the melody and notes in my head, and I write better in silence with the lights out! I’m a failed poet at heart, and my music is just another avenue for my ironic, angsty poetry!! Call it “performative masculinity poetry” or whatever — it works for me!!

If you could time-travel back to the peak blog-era days, which artist or band would you want to collaborate with and why?

OOOF, so many to choose from. I used to work for a college radio station during this era, and we were sent so many promotional tracks from amazing, truly indie artists. It was such a formative time for me, so I’m going to end up leaving so many out!! I think the top of my all-time-collab-dream list would definitely be Metronomy, Phoenix, Hot Chip, and Neon Indian!! They all have such an amazing approach to their music and lyrics — there’s something to all of them that feels almost hyper-real!! If any of them or their reps are reading this — you know where to find me!!

What’s the strangest or funniest reaction you’ve had from someone hearing your music for the first time?

My dad is probably my biggest fan, and I owe so much to him for curating my taste in music since I was an infant. He loves my music but likes to remind me that I sing like “Weird Al” Yankovic and that “Wish On You” really highlights this! Definitely not an insult in the least bit. I’ve often thought that when Weird Al retires, he’d be able to pretty easily pass the torch to me. He was my first concert growing up, and I have a pretty gosh darn good taste in polka!! Myron Floren? Come on!! Though that’s hardly a hot take.

How would you describe Bobo Gogo’s sound if you had to use three completely random objects instead of music terms?

I don’t want to spoil anything, but my sound is definitely going to change drastically and constantly. I have some things planned for 2026 that are… pretty wild!! I think the distinct through-line of all of my tracks is my approach to melodies and lyricism, and the objects that really capture my perspective are: an empty giant soda cup from a cliché American gas station, an unfinished crossword puzzle (Sudoku is an acceptable substitution), and infinitely tangled corded headphones that are more wound together than the Gordian Knot.

What’s a piece of pop culture — a film, a meme, a video game — that secretly inspired this track?

A lot of my little melodies and hooks are always going to sound a little retro video-gamey, especially for my first few singles. I get a lot of inspiration from Nintendo 64 soundtracks — they all have such a bright approach to instrumentation and composition that can’t help but excite you!!

If someone made a cocktail called “Wish On You,” what would be in it?

I’m actually a hardcore non-drinker — the people’s straight-edge pop star!! So I think the “Wish On You” would be a Sprite with sour mix and a ton of cherries. That’s my go-to drink when I’m out on the town, and it’s so zippy and sweet that it can’t help but get you into a manic state (which is pretty much required for this song).

What’s a lyric from the song that hits you the hardest when you perform it, and why?

“Can’t even watch a show without you on my TV screen” is the standout lyric to me in this song. It really captures the inescapable feelings you have for someone — whether you’re literally seeing them on screen because they’re now super famous (perhaps I’m talking from experience, perhaps not), or you’re figuratively projecting someone you miss onto characters in a show. Then all of a sudden you’re in your feelings about Michael Scott in The Office or something.

How do you want people to feel after blasting “Wish On You” on repeat?

Oh wow, I hope people listen to my music a lot, but maybe this isn’t good for the psyche!! I think “Wish On You” is an intense song that can evoke a lot of feelings, but by the end I hope people are releasing all of those pent-up emotions and dancing them away!! Or head-bopping or foot-tapping!!

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October 13, 2025 0 comments
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Music InterviewsMusic News

Interview: Redspencer on Growth, Balance, and Finding Joy in the Everyday with New Album ‘Primal Urges’

by the partae October 10, 2025
written by the partae

Primal Urges feels both introspective and lighthearted — what kind of headspace were you in while writing this record?

I’d say the blanket headspace was just being open to whatever came through, and a lot did – but there’s about an album’s worth of other songs that didn’t make it out of demo territory for good reason!

You’ve said the songs are more “outward focused” this time. What shifted in your perspective compared to Dreamworld?

I didn’t have the low hanging fruit of breakups or singledom breakdowns to pick from this time around.   Dreamworld was full of that stuff and it’s easier to write so it was nice to open up a bit and let other things in a bit more.  Speaking of – my partner Becky who does all the visual art for us have been juggling having baby born and raising him through all this.

There’s a warmth to this album that feels lived-in. How did you balance humour and melancholy without tipping too far either way?

I want the songs to be able to wash over the listener without the lyrics slamming them in the face, but if you want a bit more there is more.  It’s a part of that balance I think.

Working with Alex Markwell seems to have brought a certain polish while keeping your charm intact. What was that collaboration like in the studio?

He’s a lot of fun. He has a way of being so relaxed by doing all studio tasks at wizard pace.  We didn’t talk much about tones or anything, we all just did our thing and it worked pretty naturally.

“Blue Horizon” dives into an imagined love story between a bushranger and his lover — where did that idea come from, and what drew you to that era?

Ahem.. not imagined!  The part that is imagined is Frank convincing his lover to escape with him after the heist.  They did exactly that so one would assume there were convincing convos a plenty.

The album moves from hazy nostalgia to something almost cinematic by the end. Was that progression intentional?

Not at all but thanks for listening to it. I tried to put catchiest ones at the start so by the second half you feel obligated to stay on board.

You’ve been praised for your clever, observational lyrics. Do you start with words, or does melody usually lead the way?

Almost always chords then a loose melody then lyrics.  I’d love to change it up and do lyrics first but it hasn’t happened much yet. Maybe next time.

After your return to live shows with “Blue Horizon,” how did it feel reconnecting with audiences after a few quieter years?

A lot of fun. We’ve had Liam Gough on drums for this run of shows and we’ve never sounded better. I’m on the guitar for a change , so for Aiden (guitar) and Riz (bass) and I it’s been a Breath of fresh air and I think that translates live. People seem to enjoy it!

You’ve cited everyone from The Clientele to early Madonna as influences — how do you blend those references into something uniquely Redspencer?

I think I’m so locked into my songwriting style now that it’s hard to make anything that doesn’t sound like Redspencer.  So I guess I’m a blender.

Looking ahead, what do you hope listeners take away from Primal Urges — and where do you see the next creative chapter leading?

I want people to feel positively charged after hearing it, I tried not to write any filler moments in there, nothing too challenging. It’s a pop album and we’re very proud of it . I’m not sure what happens next because we are all so busy these days with kids and running businesses ect – so we’ll just enjoy this era for now and see what happens naturally!

Primal Urges is out now, with vinyl available for pre-order HERE

Listen on:

Spotify

Apple Music

YouTube Music

Amazon Music

Connect with Redspencer

Instagram | Facebook

 

 

October 10, 2025 0 comments
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Interview: Pretty Little Saturday – “Tangerine” — The Real-Life Moment Behind Its Emotional Core

by the partae October 10, 2025
written by the partae

“Tangerine” feels both intimate and cinematic — what moment or emotion first sparked its creation?

Oddly enough, the song was inspired by my best friend’s daughter, who was just days away from giving birth to her first child at 20. I remember sitting there, listening to the music I had so far, searching for a melody and lyrical direction. I started thinking about her—how brave and terrifying it must be to face something like that so young—and that’s when the first verse and the seed of the chorus, “Who’s gonna love you,” just kind of appeared.

The song wrestles with vulnerability and the fear of falling apart. When you were writing it, were you reflecting on a specific period in your life?

Yes and no. I was reflecting on my own life and how I tend to handle difficult moments—my craving for connection and community, especially when things get tough, and a time when that support wasn’t always there. That experience pushed me inward, to learn how to have my own back and give myself the love and reassurance I needed. In that way, the song became a personal reflection on the question, “Who’s gonna love you when you’re falling apart at the seams?”—something I think many people can relate to.

You’ve described “Tangerine” as a plea for unconditional love and support. What does that look like to you in real life — who stands by you when things unravel?

The phrase “You’re lucky if you can count your real friends on one hand” definitely comes to mind. I’m grateful to have a few solid friends who’ve stood by me through so many ups and downs. Over time, life has really whittled that number down, but I’ve learned it’s all about quality over quantity. And honestly, my little orange cat, Cali, has been a huge source of comfort too—an emotional support furball in every sense.

There’s such a vivid contrast between the song’s warmth and its emotional heaviness. How intentional was that balance between beauty and ache?

The overall vibe of the music came first—it naturally carried a sense of sweetness and warmth. The melody and lyrics came later, and while I didn’t set out to create a contrast between beauty and ache, it started to reveal itself as the song developed. In the studio, as we refined the instrumentation, the vocal delivery and harmonies really helped the lyrics define that balance between beauty and ache. One of my favorite moments is the bridge—it feels like a breath of fresh air, more uplifting and encouraging, almost like it’s saying, “Don’t be so hard on yourself. Keep going. You’ve got this.”

You wrote this track between Asheville and Los Angeles — how did those two worlds influence its sound and tone?

At the time, I was traveling back to Los Angeles often for work—(I do video game audio as wel)l—and ended up staying in my old stomping grounds in Venice Beach. I’m so glad the melody and lyrics for this song began there. Venice is pure magic to me. I lived there for ten years, and it will always be my happy place—the spot where I feel most creative. The raw, gritty, colorful, and free-spirited energy of Venice absolutely influenced where my mind went while writing. It’s a place that feels safe enough to be deeply vulnerable.

Asheville, on the other hand, has become my second home. Collaborating with my producer and some incredible local musicians here has really helped me find a creative community that values connection and collaboration. Recording the vocals, harmonies, and final instrumentation in Asheville brought a warmth and organic texture to the song that perfectly balanced the edge and grit I felt in Venice.

Working with Patrick Doyle and Phillip Shaw Bova brought some serious pedigree to the production. How did those collaborations shape the final version of “Tangerine”?

Patrick Doyle is incredible at what he does. You can tell he genuinely cares about his craft as a producer and engineer. I feel so lucky to work with someone who’s also a master of harmonies — something that’s still relatively new to me. Every time we added harmonies to Tangerine, it helped highlight the vulnerability and delicateness of the lyrics. Patrick is truly one of a kind, and I’m so grateful to have him helping me shape my sound as a new artist. 

Philip Shaw Bova is an amazing mastering engineer, and I was thrilled he agreed to take on my project. Having someone who’s worked with artists like Feist, Bahamas, and Lake Street Dive add his final touch to Tangerine — and the record as a whole — was such an honor.

The name Pretty Little Saturday has such a poetic, nostalgic feel. What does it represent to you as an artist and a person?

As I mentioned earlier, I spent ten years living in Venice Beach, CA — a vibrant melting pot of people, art, and energy. Those were some of the best years of my life. I’d wake with the sun, play beach volleyball with friends for hours, watch every sunset I could, and share family-style meals with travelers passing through. I rarely left my little ten-block radius of sun-soaked paradise. I walked, biked, and skated everywhere. Life was simple and spontaneous — it didn’t need much planning, just presence.

Pretty Little Saturday is a tribute to that time and place that shaped me so deeply. It captures the spirit of those days — light, free, and full of connection and creativity.

“Tangerine” explores isolation and the search for connection — how do you personally find grounding or stillness when life feels chaotic?

I find grounding and stillness in a few different ways. Recently, I’ve gotten back into meditation and yoga, which have both been really helpful. I’ve also started a habit of burning incense and putting on a calming playlist as I wind down in the evening.

Limiting my time on my phone — though it’s definitely a challenge — has helped open up more space for daydreaming and reflection, especially when I’m searching for lyrics or trying to understand what I want to say in a song. And lately, spending time with a new instrument has been grounding, too. Getting to know the Weissenborn guitar has helped me hear music in a fresh way — it’s brought me back to a beginner’s mind, and that’s been really inspiring.

Looking back at your debut and now this release, what’s changed most about your creative process or what you want to say through your music?

I’m already back in the studio working on my second album while continuing to promote singles from my debut and preparing for a big social media push leading up to the full album drop in early 2026. 

This next record leans more heavily into live drums, gritty guitars, and synths — a sound I’m really excited to explore. Also, As I mentioned earlier, I’ve been frothing over a new instrument: the Weissenborn guitar. An incredible luthier named Tim Kill is currently building a custom one for me in Australia. I’m hoping to fly over to pick it up in person — it’s been a dream of mine to visit Australia, and I can’t think of a better reason for a first trip. I plan to feature the Weissenborn on this second album; it has such a unique emotional character and brings a whole new texture to my sound. 

As for what I want to say with Album 2, I’m trying to stay open and let the songs guide me. Each one has its own story and energy. As long as I’m making music and pushing my creative boundaries, I’m happy.

You’ve hinted that “Tangerine” is a taste of what’s next — what can listeners expect from the next chapter of Pretty Little Saturday?

My debut album, Long Overdue, hasn’t been fully released yet — Tangerine is the second of two singles I’ve shared so far.

Since this is all new to me, I wanted to take some time to release a few singles first and really learn the ropes of putting music out independently. It’s been a great way to understand the process and connect with listeners along the way.

I’m planning to release a few more singles throughout the year, with Long Overdue set to arrive in full in early 2026.

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October 10, 2025 0 comments
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Music InterviewsMusic News

Interview: Thunder Jackson Returns with “Heart Attack” and a Bold New Era

by the partae October 10, 2025
written by the partae

Photography @jared.kinley

You’ve just dropped ‘Heart Attack’ — can you take us inside the moment you knew this was the right song to mark your return?

After record two, I was searching for a new way to approach songs, a new tone, a fresh sound. ‘Heart Attack’ was one of those songs that just jumped out at me immediately. It felt like a new chapter had begun, the page turned.

‘Heart Attack’ feels both propulsive and vulnerable. How did you find that perfect balance between emotional storytelling and infectious energy?

I think I’m sort of obsessed with duality at the moment. I love blending the opposite spectrums of reality. This song is sort of a good example of that. I wanted the lyrics to feel vulnerable, but the song is this sort of driving force that counteracts with the melodies.

You worked closely with Taylor Johnson again on this track. What is it about your creative partnership that brings out your best work? 

When you get to make music with one of your best friends in the world, it creates an environment of encouragement and honesty where we can be real with each other. There’s no reading between the lines. He’s also an evil genius of sorts, Taylor. He is single handily the best musician I have ever been blessed to encounter in this life.

Cian Riordan’s mix gives the song a big, cinematic feel. How important was that mix in shaping the final sound? 

After we finished the track, I went on a deep dive search for a mixer. I was listening to all kinds of records; searching for this exact sound I was after. Cian’s name kept popping up as the mixer for a lot of the records I was listening to. He’s the perfect balance of this sort of 70’s saturation, whilst keeping the song sounding current with the times. I couldn’t have asked for a better mix. Cian is a legend.

HELLO STRANGER has been such a pivotal record for you. How did the experience of making that album influence this new chapter?

I poured my soul into ‘Hello Stranger.’ It was not an easy record for me to write. I was going through an identity crisis at the time and felt like I was in a constant fight with myself and the person who I wanted to be for the world. Once I came out the other side of that record, I wanted to create from a different perspective, I hate to this say this but I wanted to have fun again making records… And fun we did have again.

You’ve been named one of SXSW’s “Best 15 Acts” and sold out shows across the globe — how has the growing audience changed the way you approach live performance? 

The live show is everything to me. I write the songs based on how I am going to perform it live. The more the audience has grown, the more energy I feel like is being put into these songs and live shows. The songs have grown and changed as the crowds have grown and changed. It’s a beautiful ride to be a part of.

The HELLO STRANGER tour has been high energy. What’s been your favorite live moment so far this year? 

It has to be playing the SWR3 festival in Baden-Baden. It was a pretty surreal moment to sell that venue out to that size of crowd. I’m a kid from a small town in Oklahoma. It warmed my heart to look up to that crowd with my best friends behind me. It’s a moment I will never forget. Mom & Dad, I am really living my dream!!

This upcoming run includes both Europe and West Coast US shows — what can fans expect from the setlist and overall vibe of these gigs?

Sweat, tears and electricity.

With over 50 million streams and counting, what excites you most about where Thunder Jackson is headed next? 

The possibilities of the sound of Thunder Jackson are infinite. I want to continue to create and challenge the listener, with something fresh and something different. I’m about to start writing record three… prepare for a wild ride.

THUNDER JACKSON’S HELLO STRANGER TOUR

WEST COAST USA DATES
OCT 29 – The Parish (Anaheim)
OCT 30 – El Cid (Los Angeles)
NOV 1 – Brick & Mortar (San Francisco)
NOV 4 – Barboza (Seattle)

For more information, go to:

THUNDERJACKSON.COM
LINKTR.EE/THUNDERJACKSON
SPOTIFY // APPLE MUSIC // INSTAGRAM // TIKTOK // VERO
October 10, 2025 0 comments
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Music InterviewsMusic News

Interview: ZOCO ignite a new era of rock with their electrifying debut ‘Restless’ — a fusion of rebellion, rhythm, and brotherhood

by the partae October 8, 2025
written by the partae

“Restless” is such a powerful debut. Can you take us inside the first spark — the moment you knew this song had to exist?

Thank you very much for the compliment, we appreciate it. It’s a pleasure to be with you today.

The original riff came from messing around on my travel Martin while living on 443 Kipling St. in Palo Alto during my Stanford days. I remember being lost in thought, playing around with a G to open C chord progression that felt a bit burlesque, almost cartoonish – like Johnny Cash meets Alan-a-Dale from Robin Hood. I loved the hypnotic back-and-forth/marching band quality it had, but it felt too pretty and predictable to me, so I added that B7 strummed aggressively to take us somewhere else, which instantly reminded me of Joshua’s guitar strumming in Songs for The Deaf (Queens of the Stone Age).

I then jammed it with my dear Australian friend Louis Stenmark at a dorm hangout, and in his phone notes I saw the words “Rest Less.” It instantly clicked – sonically it fit, emotionally it captured the tension I was chasing, and I thought that the juxtaposed wordplay of “I need to rest less, and I am feeling restless” would be a fun twist. A few nights later after hanging at the Patio, I showed the riff to my other dear friend Jack LeVant, and he started freestyling over it with this Mattafix-style flow. That is when it all made sense to me – hip-hop had just walked into the room. I saw country & big band rockabilly on the verses with a Hip-hop flow, then Green day, Social Distortion and Marshall amps on the choruses. I demoed it that night on my laptop on Logic Pro, my Les Paul, my Martin, MIDI drums & bass and my iPhone voice notes for vocals. Little did I know at the time, Rockabilly legend Slim Jim Phantom of the Stray Cats would end up actually playing drums on Restless with us for the final master recording.

When my brothers Paolo Zocco and Matteo Zocco heard the demo, they immediately helped shape the structure and lyrics, and added the grand piano, synth layers and vocal ideas. The guitars gave it drive, but the synth injected that manic edge – the sonic equivalent of being on a carousel spinning, which we would later literally use in the Official Music Video shot in Geneva, Switzerland. Critically, Matteo later came to me and said “It needs something more, like a woah or another vocal hook at the pinnacle”, which then became the Woah stadium chant hook from 2:19-2:31 in the track, which is one of my favourite moments in Restless.

At its core, Restless came from the universal tension between comfort and change. We wrote it in a period where we felt electrified by the idea of escaping and personal, societal or creative limitations. The song encapsulates the adrenaline rush of being restless not because something is inherently wrong, but because you’re striving for more and you’re ready for the next leap forward. To us, it is a fusion of freedom, rebellion, and creating your own path.

The track was a true family affair, co-written with your brothers Paolo and Matteo. How does creating music together shape the emotional core of ZOCO?

The heart of ZOCO is a familial bond. Making music with my brothers is deeply satisfying and organic. Growing up we always were obsessed with music, both creating and playing ideas to one another. Paolo is my closest day-to-day collaborator, an instinctive songwriter and pianist with a gift for melody and cinematic arrangements. Matteo, currently a master’s student at Stanford, has a brilliant sense for harmony and top-line composition. His contributions often take a track from great to timeless.

This combination of different talents is essential to complementing my songwriting. It gives our writing the emotional layers you hear. In my view, the fusion of our individual talents gives us depth, authenticity and emotion in our songs, and being so close as brothers means we can work honestly and efficiently together towards making the song as good as we can.

You’ve said “Restless” is about breaking free and living spontaneously. How do you personally press pause on autopilot in your own life?

That is a great question. Honestly I’m not sure that I pressed pause enough before I started to craft this debut record of ours (LUMANISTA) 2 years ago. I suppose we all dedicate our time to things to a point where it becomes a form of living autopilot i.e without intentionality, but to me as long as it’s intentional and you are aiming at something you are passionate about, that is the goal. Perhaps I conceived Restless as a reminder to myself to consciously choose to allocate my time towards making my dreams happen and creating a timeless album, as challenging as that would be, instead of losing time in the inertia of the day-to-day autopilot habits that, while comfortable, make you restless. This is because they are ultimately an opportunity cost, and not aligned with the self-actualization your spirit yearns for.

Since doing what I love full-time, my “autopilot” has changed. When it comes to my creative side, I have found that I am overly-obsessive with regards to my art, sometimes  to a fault. It is difficult for me to press pause on this day-to-day. I am constantly thinking about how to improve a song, an artwork, or a video concept, even once it’s clearly finished. When you love what you do it hardly feels like work, and it is deeply fulfilling, but now my challenge is avoiding burnout and making space for the other pillars of my life, namely friends and family. I am still working on an answer, but I have found that the best thing to help me pause my creator headspace is for someone in my circle to pull me out of it with a proposal for a hangout or an event. And ultimately, continuing to live is what fuels my writing, so I know that I need to strike the balance between building and living regardless of how caught up I may get in finishing a project. I could never or would never do this career alone for that reason. I thrive off collaboration and sharing the journey with others.

The all-star lineup includes legends like Carmine Rojas, Slim Jim Phantom, and London Hudson. How did those collaborations come together, and what did each bring to the song’s character?

On Restless specifically, we recorded with the great Carmine Rojas, Slim Jim Phantom, and London Hudson. It’s the only song on LUMANISTA (and maybe even in modern rock) that features two iconic drummers from different generations. Slim, synonymous with rockabilly as the drummer of the Stray Cats, brought that authentic rockabilly swing to the verses. London, from Return to Dust, to me represents the best of modern rock drumming, bringing power, space, wisdom in choosing what to emphasize rhythmically, and incredible natural talent.

I had originally demoed all the parts for Restless and the LUMANISTA album with my brothers and JJ Wallace, and it was our mentor Kerry Brown who first connected us with Carmine and Slim. I later met London through my dear friend and engineer for LUMANISTA, Jake Pace, who had a sixth sense that he would be a perfect fit for the final drum takes. When we called London to see if he could play on the record, I remember he only had a few days to learn the whole 9-song LUMANISTA record. And over 2 days, he played the whole album in 2-3 takes each, all in great spirit. I remember looking at Jake in the control room and thinking “Wow man, he is on another level”. His energy never flagged; he welcomed feedback, pushed himself, actively worked with me to come up with the best parts for each song, asking me between takes what I was hearing or wanted more of, and suggested awesome ideas.

I remember when he first did that La Grange style fill before the chorus of Restless, we both looked at each other and laughed – ZZ Top reference! I cannot say enough about London’s professionalism. He was an absolute pleasure to work with and his talent, professionalism, and kindness were inspiring. We are very happy to have him on the record and I am grateful to call him a friend. His band Return to Dust is crushing it right now on tour with Breaking Benjamin and Three Days Grace – definitely go check them out.

Then there’s Carmine. I’d be remiss not to emphasize how priceless Carmine’s mentorship and input was on the production and arrangement side too. Beyond playing nearly all the bass parts on LUMANISTA, including Restless, Carmine spent countless hours guiding me on how to sharpen my songwriting and arrangement choices. His musical knowledge is immense – his experience as the rhythmic backbone of Bowie classics like Let’s Dance and Modern Love was evident – yet he could effortlessly draw from different styles. On Restless, for example, he contrasted a straight bassline with a Motown-inspired walk and even a jazz upright outro, giving the song layers of flavor. He was incredibly generous, always challenging me to refine the presentation of my hooks, and reminding me: “You have to imagine it live – how people will see it on every level, visually and sonically, and don’t give away too much right at the beginning.” I feel deeply grateful to call him a mentor and friend, and want to thank him here for taking me under his wing on LUMANISTA.

That high bar carried through the rest of LUMANISTA. We brought in Gunnar Nelson (Nelson) and Kerry Brown (Smashing Pumpkins) on production, Stephen DeAcutis (Gladys Knight, Cyndi Lauper) on mixing, and the legendary Howie Weinberg (Nirvana, Beastie Boys, Metallica) on mastering. Our thinking was simple: if we want to carry rock forward, why not do it alongside the architects who built the foundation—while shaping a sound for 2025 and beyond?

Working with Gunnar Nelson and Kerry Brown must have been a unique experience. What was it like having their creative fingerprints on your debut?

Gunnar and Kerry have been nothing short of transformative for us. Gunnar brought in an exceptional legacy of melody, vocal harmonies, and rock craftsmanship. He approached our project with candor, fresh energy, and professionalism – treating our work with the seriousness of seasoned musicians even though we were new.

I recorded all the vocals for our LUMANISTA album with Gunnar in just a few days at his Nashville studio, and we wrapped Restless in only a few hours. His instincts were razor-sharp, knowing exactly which of my ideas added to the song and which were superfluous. Beyond being a gifted artist, he’s a phenomenal vocal producer. I’d always liked to octave layer my vocals à-la-Arctic-Monkeys and play with my range, and Gunnar saw the vision instantly. As a perfectionist myself, having a mentor of his caliber guiding final production decisions, and sitting in the room with me to actually cut the final takes – was invaluable. Vocals, harmonies and hooks are his bread and butter, and it was an honor to watch his wisdom elevate Restless and the entire LUMANISTA project as both producer and vocal producer.

Kerry is visionary, and as executive producer he helped scope the bigger musical picture and aided in bringing on Gunnar to help carve the song into its final form. He is fantastic in imagining and translating raw ideas into a polished, authentic final form. He knows exactly how to get the magic in the room. Together, both Kerry and Gunnar as collaborators and mentors, pushed us to elevate Restless beyond a great pop rock song into somewhat of a global anthem.

The track was recorded across Los Angeles, Milan, and Nashville. Did working in such diverse locations influence the sound or feel of “Restless”?

I’m really a product of many cultures. I have three nationalities, a ridiculously diverse music taste that runs from classical to electronica to death metal, and I grew up in Geneva, a city where almost two-thirds of residents have more than one citizenship. That international identity is baked into the ethos of ZOCO. So in true ZOCO fashion, Restless and the whole LUMANISTA record carry the imprint of people and places across the world, from the earliest sketches to the final mixes and masters.

Working in different locations absolutely shaped the sound, as it meant being able to collaborate with different artists internationally. In Milan, at Massive Arts Studios, we laid down the first skeletons of the songs with our fratello JJ Wallace (Jorja Smith’s drummer and 2018 UK Young Drummer of the Year). JJ is one of the most technically gifted drummers I’ve ever met. He hadn’t recorded much straightforward rock before our Milan sessions, so he brought this jazz-infused style that gave the early demos a very technical and unique flavor – ideas London would later re-interpret for the final takes. I still have those demos with JJ’s parts, and who knows, maybe they’ll see the light of day if enough people want to hear them.

Los Angeles was where the production really came alive. At Kerry Brown’s Rolling Live Studios, we recorded all our parts and the other instruments, and working with Carmine Rojas and Jake Pace on arrangements took everything to another level.

Finally, Nashville was the finishing touch. Gunnar Nelson helped re-record all of my final vocals, layered his own harmonies that gave the songs arena-ready power, and helped me find a vocal chain that brought out the best in my baritone. That was the icing on the cake that made Restless feel complete.

You’ve blended alternative rock with pop, metal, electronica, and blues. How do you strike the balance between technical musicianship and emotional storytelling?

That’s another great question, and something I think about constantly. As a true music lover, I’ve always been influenced by many genres. My classical background gives me an ear for simple, beautiful melodies, while my rock/metal guitar side pushes me toward technical intensity – so the emotional and technical side often complement each other naturally.

On the technical side, I see each genre as having its “incontournables” – those essential elements that define its character to me: phrygian runs in Flamenco, the clave in Latin music, distorted power chords in rock, crisp synths in electronica, or rhythmic vocal accents in hip-hop. I love pulling these colors together and painting around a musical idea like a canvas. The key is making it feel organic, so it doesn’t feel like a lazy crossover attempt. You cannot just throw sushi on pizza and call it great fusion food, it has to work toward a clear vision. With ZOCO, the idea always comes first, the genre touches only matter if they serve it.

Then emotionally, I always focus on the hook. Technique, arrangement, dynamics, and all of that should support the delivery of the hook, as the hook carries the emotional gravitas. Great melodies are infectious and are the perfect delivery vehicle for whatever message or feeling you want the listener to carry with them.

The EP LUMANISTA (Part 1) is on the way. How does “Restless” set the stage for the sound and themes we can expect from the full release?

I want ZOCO to be a conduit between past and future guitar-centric music, reimagining a sound fit for the red carpet in 2025 and beyond. To do this, the ZOCO sound needs to authentically homage the greats while bringing in our modern eclectic take, and so it was very important to us to actually feature some of the progenitors of the greatest records on every ZOCO record.

Our 2025-2026 debut album LUMANISTA, which features Restless, achieved this on the whole. It includes collaborations with Carmine Rojas (David Bowie, Tina Turner, Joe Bonamassa), GRAMMY-winner Theron “Neff-U” Feemster (Michael Jackson, Dr. Dre), London Hudson (Return to Dust), Katja Rieckermann (Rod Stewart), Guy Erez (Alan Parsons), Slim Jim Phantom (Stray Cats), JJ Wallace (Jorja Smith) & more across different songs.

LUMANISTA Part 1 is the opening chapter of a larger story we hope to share in full by next summer. The title itself is a wordplay on the Italian L’Umanista (“humanist”) and luminate (“to bring light into”), and that captures the heart of the record. It explores timeless values our generation needs to hear – romance, living more physically than digitally, and the search for purpose in 2025. Thematically, it leans toward optimism, balancing light and joy with wake-up calls and cautionary tales that push listeners to reflect on their own path.

Sonically, it jumps between genres and moods, with the guitar always at center stage. This EP will have a wide variety of different songs, as I want every record to be a diverse vintage, different shades and tones like in a fresco, collectively forming the larger story line of LUMANISTA. In Restless, we “painted” with country, rockabilly and punk brushstrokes on the sonic canvas. Once a style and idea is explored, I like it to stand on its own and move so they can never place us, I like to explore new territory. This sets the stage for ZOCO to not take on one distinct form but to pull and showcase different aspects of our musical variety.

You often play multiple instruments and take on writing, producing, and performing duties yourself. What drives you to keep such a hands-on approach to every part of the music?

Honestly, I’m a perfectionist. I want everything to reach the highest level possible. That instinct naturally leads me to take on multiple roles in writing, producing, and performing. For me, it’s about ensuring that what we create feels handcrafted and intentional, with real artistry and quality behind it. I cannot do it any other way.  I only strive  to make timeless records, not elevator music. I want to make songs that become part of people’s lives, that bring people together, that might even spark movements, especially at a time when music is so commodified and plentiful.

Of course, that doesn’t mean every experiment I try is “right,” but if an idea comes to me, I feel compelled to see it through. For example, while I was recording the guitars for LUMANISTA, I suddenly thought it would be amazing to layer 12-string parts to brighten certain melodies and add a Led Zeppelin-like shimmer. That led me to record and double every rhythm and lead part across the album (which took forever, lol). Not all of it made the final cut, but the textures added a new dimension and shine to the songs that I couldn’t have achieved otherwise.

Now that I’ve completed the first ZOCO record, I better understand what my perfectionist influences – artists like Prince or David Bowie – must have felt: that relentless urge to refine until the work feels complete. Being a multi-instrumentalist helps me quickly try out these impulses on my own before deciding what’s worth keeping, which makes the process both demanding and deeply rewarding.

ZOCO feels both international and deeply personal. Where do you see the project going next — sonically, creatively, and geographically?

ZOCO is about breaking borders – musically and culturally. Sonically, we’re blending rock with global textures; creatively, we’re pushing into cinematic storytelling; and geographically, we see ourselves performing everywhere from our roots in Geneva to the biggest stages worldwide.

One of the main reasons I’ve dedicated my life to launching ZOCO is to perform live – to create unforgettable shows for audiences that raise the bar on every level. The LUMANISTA record itself was conceived with the stage in mind, from the dramatic dynamics and genre twists within each track to the full album’s arc, which plays almost like a concept record.

To me, you don’t go to a concert just to hear and watch the songs being played live – you go for an earthshattering experience. Expect endless energy, dancing, drama, crowdsurfing, passion, headbanging, philosophy, cinema, and unity at a ZOCO show.

We would like to extend a heartfelt thank you to the Partae team for your time and interest in ZOCO. We’re delighted to share our journey with you today, and are excited to share more about our future releases with you again soon. We are releasing around 1 song from the LUMANISTA album a month for the next year, so many more updates to come.

Warm Regards, Marco & ZOCO

INTERVIEW

October 8, 2025 0 comments
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Festival NewsMusic InterviewsMusic News

Interview: Ian Pidd on Curating Connection, Community and Creativity at Wanderer Festival

by the partae October 2, 2025
written by the partae

The Wanderer arts program has become a defining feature of the festival. What was your vision when curating this year’s program, and how does it build on past editions?

We really go out of our way to create a unique experience at the festival.  The arts is not an “add-on” or a side dish.  This year there is a concentration on physical performance and LOTS of interaction and participation.  So we have Circus Trick Tease coming, who were such a crowd favourite in the first iteration, doing a brand new show. But each of the members of that troupe are also incredible solo performers in their own rights, so we’ll see them doing “street” style shows in the Lost area.  Lost is where to go to get your surprises!  The hobby horse gymkhana, lots of dancing, tug of war, plus our various workshop things including the I Wear Wanderer  fashion experience. Legendary local venue Sam’s Caravan is there too. Oh and FLING doing flashmobs.  It’s going to be great at Lost.

This year’s lineup features everything from circus to physical theatre and interactive installations. How do you strike the balance between spectacle and intimacy in the program?

The way we do it is pretty simple.  We put together a weekend that WE would like to go to! Big things, smaller things, things to do, things to see. Things that you know about, and things you’ve never dreamed of.  Plus a bunch of things that we don’t tell anyone about, that just unfold. 

Wanderer is known for being as much about community and connection as it is about entertainment. How does the arts program foster that sense of shared experience?

The Big Lost Band I think really exemplifies how we celebrate community and connection.  140 community musicians meet on the four Sundays before the event and rehearse four bangers.  The gig (on Sunday at 2.30 at Sam’s Caravan) will be really something.  Maximum rock and roll.  But simply working with that group of people has been bliss in itself, show or no show.  I’m also really thrilled that we have the exceptional local choir Riverbend singing three songs with Missy Higgins. Good on Missy for saying yes to that!  That’s going to be pretty special.  Both these projects are incredible acts of creativity, but are also good community process . It helps that the community here on the coast is so strong and creative and up for making things happen.

The inclusion of acts like Circus Trick Tease, Hannah Cryle’s Giant Wheel, and Josh Phillips’ Giant Ladder suggests a strong focus on physical performance. What excites you about showcasing these kinds of works?  

Physical magnificence, great wit, cheekiness, gobsmaking ability. These folks are the best in the country.  It’s a privilege to present them. 

Interactive pieces such as Wheel of Fortune Karaoke and Hair by Mouse blur the line between performer and audience. How important is interactivity to the Wanderer experience?  

I am a huge believer in breaking those two categories down.  I like to say that some folks will leave the festival saying that their favourite part was something they did themselves. It may have been  line dancing with May, walking the catwalk in the fashion show, coming third in an event at the Hobby Horse Gymkhana or, indeed, singing with the live band at Wheel Of Fortune Karaoke.

The festival is held on the Sapphire Coast, a region known for its natural beauty. How does the setting influence the arts programming you design?

Well we can’t compete with that beauty. But we DO love the work of our amazing decor team, who seek inspiration in the colours and shapes of the beach.   What we can showcase, of course, are the wondrous locals artists and volunteers. They really make a difference to the vibe.  If you come along you’ll feel it.  I promise! 

Wanderer celebrates both established artists and emerging talent. What opportunities does the festival provide for up-and-coming performers to showcase their work?

We have local physical youth theatre FLING back with us, at Sam’s Caravan we are featuring multiple youth bands and musicians (watch out for the pretty fabulous Banana Sliders – average age 8!), The Big Lost Band has a strong though representation.  We’re always looking out for the up and comers.

The arts program also includes cultural experiences such as the Welcome to Country and Smoking Ceremony with the Duurunu Miru Dancers. How do you ensure the festival respectfully integrates First Nations voices and traditions? 

We have spent a lot of time listening and talking with the local mob.  We take our lead from them. Especially in regard to ceremony and protocol.  We’re very lucky to be able to create this festival on this beautiful Country – Yuin Country.  Also over the course of the festival we have featured lots of local indigenous voices.  Also this year, for the first time, we have a group of indigenous young people being mentored by our mainstage production crew.  

What’s one moment, performance, or surprise in this year’s arts program that you personally can’t wait for audiences to experience?

One??! I’m going to say The Big Lost Band’s version of Creep. But honourable mention to the moment when the local choir sings “Everyone’s Waiting” with Missy.  And the second runner up in the Hobby Horse Finals receiving their ribbon. Not a dry eye!

Tickets are selling fast, get yours now from www.wanderer.com.au

Wanderer is biennial so it would just be too long of a wait until the next one in 2027 if you miss out!

October 4th-5th Wanderer Festival Pambula Beach, NSW
3rd-5th Oct Onsite Campground

Subscribe to www.wanderer.com.au and follow us on socials to stay up to date.

Wanderer Festival is supported proudly by the NSW Government through its tourism and major events agency, Destination NSW

Reconnect. Explore. Discover. Be a Wanderer.

Wanderer: Official Website | Facebook | Instagram

 

October 2, 2025 0 comments
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Interview: Hiroko Mina – Beyond the Silk Road: A Journey of Classical Crossover and Cultural Fusion

by the partae October 1, 2025
written by the partae
Beyond the Silk Road feels like a true journey through time and culture. What inspired you to weave together classical, tango, folk, and gypsy traditions for this album?

My concerts have always been filled with the music I love. I’m simply sharing on stage the music that has been close to my heart since childhood. For this album, I especially featured Noh, the traditional Japanese performing art, and connected it with the Silk Road — a place that left a deep impression on me during my travels around the world.

With over 3,000 concerts performed worldwide, how has performing for such diverse audiences shaped your approach to composition and performance?

Interestingly, even after performing thousands of concerts worldwide, I have never felt audiences to be truly “different.” No matter the country or region, when faced with music, their reactions are the same, and the bond of the heart is universal. That’s why I have never changed the way I compose or perform depending on the location.

Classical crossover has been your signature for years — how do you continue pushing the boundaries of the genre while staying true to its roots?

I spent many years studying classical music and mastering its techniques. Using those skills to embrace the diverse music I have loved since childhood brings accessibility and excitement to my concerts. When the audience discovers a joy of living through my music, that becomes my greatest joy as well.

Your education spans both Musashino Academia Musicae and the Moscow Conservatory. How have those experiences influenced your sound and artistic identity?

At the Moscow Conservatory, I was able to learn techniques and forms of expression that I could not acquire at a Japanese music university. While I was there, a coup took place that marked the end of the Cold War, yet my professors continued to give lessons without showing the slightest concern. From that, I learned that dedicating one’s life to music — even at the risk of life itself — and love for music surpass everything else.

You’ve released 14 successful albums — what makes Beyond the Silk Road stand apart from your previous work?

The most significant milestone is that this is the first time one of my albums has been released in the United States. Another is that the legendary Ron Carter participated in it. And perhaps most remarkable is the combination of Japan’s traditional performing arts with the highest level of jazz — something I had never attempted before.

As director of the Hokuriku International Music Festival, how does curating music for others inform your own creative process?
At the festival, our mission is to bring 100% satisfaction to audiences of all ages. Conveying the joy of music in an accessible way and making it popular has influenced me to compose simple, heartfelt melodies. It also made me more conscious of seeing myself reflected in others.
Your autobiography became a bestseller. If you were to write a new chapter today, what story from the making of Beyond the Silk Road would you include?

Compared to the struggles of my past — searching for ways to live as a musician, enduring war, poverty, and raising a child alone — the new chapter would be about letting go of ideals and discovering a world filled only with love, the joy of music, and the joy of life.

This album is streaming globally — what do you hope listeners around the world will feel as they experience it?

Since this album is a journey along the Silk Road, I hope listeners enjoy the exotic atmosphere it brings. With Ron Carter’s jazz added, it transcends even the Silk Road, creating a space that is truly “beyond.” In the final track, I want listeners to feel so light it’s as if they are being released into the universe.

Collaboration is often key in music that blends cultures and genres. Were there any unique instruments, musicians, or techniques that made this project special?

That is exactly what defines this album. It features Noh chanting — often called the world’s oldest form of opera — the pinnacle of jazz bass, the unique Mongolian khöömei throat singing (one person producing two voices simultaneously), whistling, and the Romanian pan flute. These are all extremely rare and unique, requiring special techniques that few in the world can master.

Looking forward, what’s next for you artistically — more genre-blending, or perhaps an entirely new direction?
I’ve never really planned ahead for what’s next (laughs). My direction always depends on inspiration and encounters in the moment. I often play the piano while simultaneously performing on the melodica, so perhaps there will be a chance for audiences to experience that in my future concerts.

 

October 1, 2025 0 comments
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Interview: Midnight Pool Party on ‘NEVER GONNA GIVE UP’: Reviving a Lost Track, Finding the Right Moment, and Turning Heartache Into Disco

by the partae September 29, 2025
written by the partae

‘NEVER GONNA GIVE UP’ was written years ago but only just made it out into the world. What was the moment you knew it was finally time to share it?

To be honest, we just went with our gutt feeling. Everytime we re-visited it, we love it but felt more connected to the other tracks we were working on at the time. But this time round, we just knew it was time to get it out into the world.

You’ve said you kept coming back to ‘NEVER GONNA GIVE UP’ and reshaping it over the years. How different is the final version from the one sitting in your vault all that time?

As producers, we have just gotten better over time, So if you listen back to the earlier versions, just the details of what sounds we used changed over time.

‘NEVER GONNA GIVE UP’ captures that emotional rollercoaster after a fight in a relationship. How did you tap into that feeling and turn it into something so danceable?

Back in the 70’s there was a lot of disco tracks that are such a vibe to dance to, but when you stop and listen to the lyrics they are quite sad haha. “Young Hearts Run Free” is one of our favourite songs, and when it comes on, the whole room dances. But if you ever take the time to research what that song is about and why she wrote it, its incredibly sad. I think the formula works, dancing and music is an escape for many people.

Disco-pop is having a serious revival right now. Where do you see yourselves fitting into that scene — and how do you make sure your sound stands out?

We’ve been doing our thing for many years, and we’ve been sticking to our sound and vision. Disco always come back one way or another. We jsut try to make our music as catchy as we can.

You’ve called ‘NEVER GONNA GIVE UP’ special for its melody and emotion. What was the breakthrough that finally made it click for you creatively?

The chorus. Soon as the chorus was written, that’s when it clicked. We thought it was catchy, and felt groovy with the beat.

After so many releases together, how do you keep challenging each other and staying inspired as a duo?

It definitely is challenging. But to be honest, alot of it is just a feeling for us. We’ve been doing this for so long, we can put together a song in 20 mins, and write a bunch of songs in a week, but theres this thing that just happens, where we both know which one feels right and feels good and we flesh that idea out more. We both have to love it, before we can move on.

The lyrics carry a sense of redemption and holding on. What do you want listeners to take away emotionally when they hit play?

That love and relationships are exrelmely complex haha but you have to work through it together.

With ‘NEVER GONNA GIVE UP’ setting the tone for 2025, what’s next on the horizon — can we expect a run of new music, collaborations, or a big live return?

At the moment, we have 1 more single top drop this year, Then we will pause to write a bunch of songs for next year 🙂

Stream:
https://bfan.link/never-gonna-give-up

Socials:

https://linktr.ee/MPP_PoolBoys

September 29, 2025 0 comments
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Interview: Mia Savannah on “Which Way to Go?”: Turning Pain Into Art and Finding Clarity Through Songwriting

by the partae September 26, 2025
written by the partae

Which Way to Go? explores mental health and decision-making — what was the moment or experience that first inspired you to write this song?

I wrote this song when my mental health was at a very low point. Everything felt difficult during this time and songwriting was truly one of the only things I wanted to do. Songwriting for me is my emotional release and has truly helped me to get through some of my toughest times. I always feel better after I write a song about a situation/how I’m feeling, it sort of makes everything clearer to me and provides a sense of closure.

The lyrics are deeply personal and vulnerable. How do you balance sharing your own struggles while making sure your listeners can connect with the song?

To be honest, I don’t know if I do a great job at that. I just write what I feel. What I’ve realised through releasing my music though, is that a lot of people can relate to my struggles and have experienced the same or similar feelings. Through my writing, I have realised how common these experiences actually are and naturally people have connected to my music without me needing to consciously change my lyrics.

Sonically, the track has this gentle yet powerful indie-pop feel. Can you walk us through how you and your team built the soundscape around your vocals?

Yes, it started with just the piano riff that I wrote around my melody and lyrics, and that played throughout the whole song. Then I took that demo to Lee Jones, the producer and label owner of Galaxy Music, and he instantly liked it and had a vision for it. He did an incredible job producing it and truly created a masterpiece. We hired a cellist, which took the entire mood of the song to a whole new level of heart-wrenching. I like that the song opens with its original, raw format of just voice and piano. Then by the second verse the whole party is in with the cello, guitar, bass, and drums. I like that the piece has a steady build-up of textural dynamics but then also has its moment of minimalism post bridge. I think we did a great job at making it dynamically interesting. I’d also like to pay a special mention to the four-part harmonies in the bridge, it’s so difficult for me to not add harmonies to my songs, they feel incomplete in my brain without harmonies.

You’ve been open about themes like comparison and low self-worth in your music. How has writing about these topics helped you personally?

Writing about my feelings helps to get them off my chest and into the air. But also, like I mentioned before, through releasing my music I have realised that this is actually a very universal experience. It’s very common to compare yourself to others and struggle with self-worth, especially in your younger years while you’re still learning to love yourself. Growing up I have always been an open book, someone who wears my heart on my sleeve, and a chronic over-sharer. In fact, I would find it weird when the people around me weren’t quite as open about themselves and I would almost take it as an insult thinking they didn’t trust me. What I have learnt the past couple of years is that not everyone feels comfortable expressing their emotions and sharing personal things, and that is not a reflection on me. But through this, I have also realised that EVERYONE struggles and just because they don’t talk about it, doesn’t mean they don’t experience mental health struggles too. So back to your question, writing about these topics has helped me by understanding that I am not alone, and I am not as ‘strange’ and ‘different’ as I thought.

Your last single Ghost was a playful pop banger, while Which Way to Go? feels much more introspective. How do you decide which side of yourself to explore with each release?

Honestly, I took Ghost to Lee Jones at Galaxy Music not thinking much of it, but he loved it and saw what it could look like post-production. He has these insane creative visions of things and took the piece to a level I never knew was possible. All of my previous releases were mellow, solemn, indie-pop pieces so the playful, big-production, pop song is an area I had never touched before. But I think it was nice to change up my sound stylistically and do something different. People have reacted well to it which is nice.

When you listen back to Which Way to Go?, is there a particular lyric or moment in the track that still hits you the hardest?

Probably “I hear the rain fall in the morning, don’t wanna get up for another day”. That was a deep state of depression where I didn’t want to get out of bed because of how bad things were. So that was a scary place to be in. The whole song is pretty heart-wrenching though.

Many fans say your voice has a “velvety clarity” that really pulls them in. How do you approach vocal delivery to get such emotional impact?

For a song like this, I wanted a very close-to-the-mic, gentle vocal delivery, to go along with the vulnerable, raw nature of the lyrics. I kept my vocals super breathy to add to that mood as well. However, the breathiness pulls back at the bridge and the final chorus to create a louder dynamic and a stronger vocal tone. When recording, I get myself into the mental space that I was in while writing that song to really capture the emotion. I really think about each lyric that I’m singing and how it felt to experience that. I was also very conscious of where to have clear diction, so that the listener doesn’t miss the wording, and where it was okay to relax with it.

The song tackles universal feelings of being stuck or uncertain. What would you want someone who’s going through that to take away after listening?

That they are not alone, that it’s a very universal experience, and that they are not the only one struggling. That there is always a light at the end of the tunnel. That it’s okay to speak openly and vulnerably. And it’s okay to seek help. And that everyone moves at their own pace, regardless of age.

You’ve now released two singles this year. What’s next for you — will we see an EP, album, or perhaps some live shows on the horizon?

I’m releasing another single called ‘Merry-go-round’ very soon so that’s exciting! Early next year I will also be releasing my second EP. I have a live show coming up on November 9th at The Retreat hotel in Brunswick, Melbourne. And a possible Halloween show is in the works too.

If Which Way to Go? could soundtrack a scene in a film, what would that scene look like?

Probably a scene of a character with depression or anxiety laying in their bed staring up at the wall. E.g. Marcus in Ginny and Georgia.

Or a scene of a character who has to make a big life decision and doesn’t know which way to turn. The song also works really well with someone walking to it – like a dramatic scene of a moody, angsty walk.

Links:

Facebook:

https://www.facebook.com/mia.savannah.music

Instagram:

https://www.instagram.com/mia.savannah.music

TikTok:

https://www.tiktok.com/@mia.savannah.music

Website:

https://www.galaxy-music.net/

Spotify:

https://open.spotify.com/artist/5IdbVbYDLNBjdOEWGaXRXV

YouTube:

https://www.youtube.com/@miasavannahmusic/releases

Soundcloud:

https://on.soundcloud.com/szyvMqEsDpHJrCteaa

Apple music:

https://music.apple.com/ca/artist/mia-savannah/1524306139

Amazon music:

https://music.amazon.com/artists/B08D9RDRXT/mia-savannah?marketplaceId=A15PK738MTQHSO&musicTerritory=AU&ref=dm_sh_bUP3CqjoMHnLEtaDv6vChX4kG

Deezer:

https://link.deezer.com/s/318KlDn92ZhZe3rcho27h

September 26, 2025 0 comments
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INTERVIEW: To Octavia: MELODRAMA, Identity, and Turning Anger into Anthemic Power

by the partae September 23, 2025
written by the partae

“What’s My Name?” feels raw and full of urgency — almost like a demand to be heard. What was the spark that lit this track, and how did it evolve in the writing room?

‘For me it came with the chorus, it was a callout to all the frustrations and confusion I feel hearing about catastrophes abroad. The victims of atrocities become nameless, even with the details in the news. It’s not political, it’s personal, as I was inspired by the frustration I feel trying to highlight these issues with people who don’t care. It’s my attempt to (albeit vaguely) convince them that these issues are important no matter how much it stings to acknowledge them.’

You’ve described the song as channeling frustrations with the state of the world. Was there a particular moment, event, or feeling that tipped this into music, rather than just anger?

‘I would say the concept of “What’s My Name?” originated with my own contempt of people claiming to know me, that don’t know my name, let alone could deadname me. But with the state of the world it evolved into an anthem for people fighting for, and marching for, peoples around the world who stand up for the nameless victims of cruel regimes.’

To Octavia has always been known for blending heaviness with melody — but on MELODRAMA the darker tones feel more unapologetic. How did you decide to push further into that heavier space?

‘Really, the heaviness of MELODRAMA comes from our mental states while writing. It’s as simple as that. We were angry and hurt and sad and all of those things during the writing process. We wanted to make an album that represented us as a collective at this specific point in time, and this is the result. It’s darker, heavier, and more of a middle finger up to everyone than we’ve ever felt brave enough to do.’

Working again with Chris Lalic, who knows your sound inside out, must give you both comfort and challenge. How did he shape the sonic landscape of this record compared to your past releases?

‘I would say this was the release he was most “hands-off” with, in terms of writing. We came to Lalic with more songs almost fully formed than we ever had before and I think just having him there for guidance was a tool in our belt that we exploited as much as possible, while being able to completely maintain our own vision and concepts for the album.’

Nav Jay officially joined the fold during this album cycle. How has his addition changed the band dynamic, both creatively and personally?

‘Nav joining gave us a wholly outside perspective which we had never had before internally of course. It’s been a pleasure getting that perspective and working with it. We couldn’t have done what we have with MELODRAMA without him.’

Your journey from Somewhere in a World, Not of the Dream through Wonderland to MELODRAMA feels like a steady escalation in conviction. Looking back, what do you think you’ve shed or outgrown as a band to get here?

‘What we’ve shed is worrying about what will sell, or what songs will be the most popular. We have just pushed forward the tunes that we like and have made an album with which none of us can agree on a best song. It’s a smorgasbord of bangers that we love, and all we can hope is that our fans love them too.’

Merry, your vocal contribution to Sonic Frontiers reached a global audience far beyond the alternative scene. Did that experience influence how you approached writing and performing on this record?

‘The short answer is no. The longer answer is that writing to a criteria set for you, is a LOT easier than coming up with the concept by yourself. So writing for the album was a complete ordeal compared to writing for the Frontiers theme song.’

With triple j support, festival appearances, and now over a million Spotify streams, you’re steadily carving out a national and international footprint. Do you feel the momentum building differently around MELODRAMA compared to past releases?

‘Yes, it has been such an unexpectedly successful release so far. Only unexpected in the way that the releases have done far better than we ever could have hoped. We are so incredibly grateful to our fans and all new listeners for consuming To Octavia this way.’

The title MELODRAMA suggests heightened emotion, tension, and maybe even theatre. What does that word mean to To Octavia, and how does it tie the whole record together?

‘The record is a series of stories all filled with heightened emotions, drama, conflict, and resolution. Therefore, “MELODRAMA” perfectly encapsulates the energy of the album from start to finish.’

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September 23, 2025 0 comments
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Interview: Jairic on Cannes, Caribbean Grooves, and Creating Without Compromise

by the partae September 20, 2025
written by the partae

Your new single ‘Don’t Let Me Put A Track On You’ is fiercely defiant and sonically bold. What was the spark that led to writing this particular track in the south of France?

Musically, I kept vibing with sea, the beach, and walking along the Croissette in Cannes. It has this energy and pulse to it, it’s contagious. Lyrically, a family member was going through a tough time and catching a lot of heat for it. It started to spill on to me because I was supporting her… my response… “Don’t Let Me Put A Track On You” – they don’t want none of this.

You’ve performed in some remarkable locations — Château Les Alouettes, Villa Balbiano, and even the Paris premiere of Azur. How do these unique settings influence your creative process and live performance style?

Travel and diversity is so much to what I do. I like to explore, to push boundaries and be vulnerable in these unique atmospheres, it adds to the growth process. There is so much to learn, the more I learn the more I realize how much I don’t know.

Your music blends hip hop with cinematic sound design, funk, rock, and film score elements. How do you decide which influences to weave into a track without losing your signature sound?

I walk into the studio with ideas loaded and start creating. Instinct first, guardrails second. The beat leads; I layer textures. If it drops the energy, it’s gone. I set a tempo and let it carry me wherever it wants. Maybe that sounds crazy—I just go. Everything I’ve lived and everything I’m feeling rushes in, a haze that snaps into focus when the groove hits.

You mentioned there’s a “Caribbean pulse” beneath this track. Can you walk us through the production choices and instrumentation that brought that vibe to life?

The Caribbean pulse lives in the low end. I built it on a reggae-leaning bassline that gives the whole track that swaying feel. When the back half of Verse 1 hits, I open the arrangement—steel-drum colors and percussion kick up the dust. That’s straight Bahamian Junkanoo energy: parade vibes, celebration, movement, color. It’s party and pursuit at the same time—the groove invites you in, the chaos keeps you on your toes.

Storytelling is a key part of your work. When you sit down to write, do you think in terms of lyrics first, visuals, or soundscapes?

I start with sound. The tone and personality of the beat set the mood, the pace, and the point of view. I see pictures first—scenes, camera moves, colors—and then I write the lines that fit that frame. The lyrics chase the groove. If the beat feels like a party, I aim for movement; if it carries edge or weight, I sharpen the language and tighten the cadence. This track blends lanes—party energy, raw aggression, and real heart—so the story flips between celebration and pursuit without losing the signature voice.

Being completely self-written, self-produced, and self-performed is no small feat. How does that independence shape the authenticity of your music?

Thank you. That answer is pretty simple: I do what I want—and I own it. I write it, produce it, perform it, so the record never loses its face. No filters, no detours, just a straight line from my gut to the speakers.

Detroit’s underground scene clearly shaped you. How does your hometown continue to inspire your art, even while living in Cannes?

Michigan-made, Detroit-wired. The hustle and resilience from home run through everything I make. Midwest grit with Riviera glam — that’s the mix, every record.

The single features a calmer bridge with female vocals before exploding back into intensity. How did you approach that dynamic shift and the collaboration process for that section?

I had to let the song breathe. I’d written that section for another record and shelved it, but I was still in love with it. The way I catalog ideas, I knew right where to pull it from—and it fit perfectly here. The female vocal brings a calmer texture, but it’s the same message, same pulse. We give her space to carry it, then slam back in so the final hit feels earned.

Your music feels like it belongs in films and luxury campaigns. Do you see yourself expanding further into film scoring or fashion collaborations?

Absolutely. I don’t really “branch out” so much as integrate—sound, style, and cinema on one frequency. I’m already developing a feature where the music is the spine: a sexy, seductive love triangle told through shifting POVs, with the score driving the tension from first glance to fallout. I’m already in talks with filmmakers in New York, France and Prague. In fashion, I’m stepping in deeper: a capsule collection and an on-stage runway-meets-performance in Mumbai in March 2026 tied to a brand collaboration, where I handle the soundtrack and creative direction so the visuals and the music hit as one. That’s the lane—films you can feel, campaigns you can hear.

With nearly 2 million streams already, what’s next for you? Can fans expect an EP or full-length project following this single?

I don’t plan on slowing down. “Stick Figaro” lands Oct 10, then “YOLO 2 Yoga” drops in early November. In December, the full n=40 EP arrives—eight tracks with eight cinematic videos, one for each record. I’ll be performing across Europe this winter, then bringing a runway-meets-performance to Mumbai in March 2026 tied to my capsule collab. In Spring 2026 I drop L’Americain—a world of its own—with a live moment around the Cannes Film Festival in May, and I’m shooting videos for it across Europe, L.A., India, and the Caribbean. In parallel, I’m finishing a feature scored with 20+ originals—a seductive love triangle told in sound and light. EP now, album next, and a whole ecosystem to go with it.

Follow Jairic:

Website – Instagram – Soundcloud – Youtube – Spotify

September 20, 2025 0 comments
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Interview: Maddy Jane on Clear As Mud Pt. 1: Finding Power, Identity, and Hope in the Mess

by the partae September 4, 2025
written by the partae

Clear As Mud Pt. 1 feels like a really personal and transformative project — what was the headspace you were in while writing these songs? 

It has felt like that for sure. These songs initially came from a place of picking myself back up and when it came down to it, it was up to me to make what I want to happen, happen. The headspace I was in started as coming out of the pandemic with no team and a lot of uncertainty about the industry and was about not giving up. It felt like I could either throw in the towel or take stock of where I’ve come from, what I’ve done and have the chance to really do it how I want to. Experience in the music industry has helped me know what I want to do and what I don’t align with. I started out on my own with gaul and belief, things got weird, burnt out and clouded but now I have the chance to take my power back. It was a kind of nothing to lose moment and songs just started coming out. Then writing songs on top of the songs I already had with Alex Burnett, was when the real empowerment started to come out, really embracing myself and coming back to my most unapologetic self but with even more reason to be other than just being young and naive.

The EP dives into themes of identity, queerness, and rural womanhood — were there particular moments or experiences that shaped those stories? 

There are three main things I think that shaped this; coming to terms with being queer and actually allowing myself to experience that, working through emotions of leaving it until I was nearly 30 to address that in myself, what that means as a girl who grew up in a rural area and alongside all of that, navigating self esteem, neurodivergence and how denying myself a part of my identity was a big thing that was holding me back in really accepting myself fully and therefore being able to express that. I think there is a strength in being a woman from a rural area and a determination to make something more for yourself. But that has also meant a realisation that I didn’t allow myself to fully be and needed experiences like I’ve had living in a city where queerness is celebrated and nurtured more than where I’m from.

You’ve said playing live is where it all makes sense — what do you want audiences to feel when they hear these songs in an intimate venue? 

It’s where it connects, straight from me to people who care about these songs. It shows me right in my face that this doesn’t have much to do with me and the songs belong to the people who have connected their own feelings and related their own lives to them. It means the world to see first hand that these songs give back and mean something to someone else! That’s what I get out of it. But I want them to feel better about something that was bringing them down, lifted up, or feel like I encapsulated their hurt, feel understood, relate, feel like they can take on the world and stand up for what they believe in. Feel alive.

The record was produced with Alex Burnett and Oli Horton — how did that collaboration influence the sound and direction of the EP? 

The production style of both of these great humans comes with a whole lot of passion and attention to detail. Working with them has made for really thought out production where everything has a reason and a purpose whilst not being over done or over complicated. There is a simplicity to the production of this EP because of that. The Bruny Island Tasmanian roots became a big part of the story and the sound too, an example of that being like a backing vocal that sounds like howling wind or an edgy guitar part that makes you feel like you’re bracing for the cold. It was also all about the feeling and bringing the main goal back to how it makes you feel.

Tasmania clearly grounds a lot of your artistry. How does being from Lutruwita/Tasmania shape the way you tell your stories? 

It will forever be ingrained in me being from the island off the island off the island and through a slow journey I’ve really come back to being passionate about telling that part of the story through the music again. In a really honest way, Lutruwita and being from there comes with a lot of contrast. I think the contradictions are a part of being Tasmanian. It’s beautiful but isolated, feeling like I belong but the land does not belong to us, a sense of light with a dark past and heavy energy that is always there, connection and longing for understanding, quiet, leaving you with only your thoughts whilst being raw and unforgiving, forcing you to face it. These are all themes of these songs. It’s the honest, winter, cold, windy version of Lunawanna alonna, that no matter how harsh she is, is still full of beauty. In a raw, unapologetic way.

This is the first of a two-part project — how does Pt 1 set the stage for what’s to come in Pt 2? 

Putting Pt 1 out first has allowed this project to lay the foundation of all these themes. I love how the songs we ended up putting on Pt 1 all have a moment and are all kind of different from each other but together form the journey of those themes, this is the start and first part of going through hurt, embracing the mud, pulling yourself out of the mud and accepting yourself whilst accepting you’ll never have it all worked out. Pt 2 will expand on these themes with even more self assurance and awareness and really kind of lean in to addressing hurt and embracing the lesson because I no longer fear it. If Pt 1 was the foundation, Pt 2 is where it all really makes sense, without having all the answers. So you can just let go and laugh at life in the end. Because THAT is clear as mud!

You’ve built a reputation for grit and honesty in your songwriting. Do you ever feel pressure to hold back, or is rawness something you fully lean into? 

I normally don’t have trouble being honest. I’ve always been an open book. Sometimes that has gotten me in weird situations being so open in my personal life, so it has probably made me think about it. But when it comes to songs, I’ve found the more honest the better. I’ve always gotten something out of feeling like the person that will say the thing you’re thinking but won’t say or don’t know how to put it into words.

Each of the venues on this run — The Tote, Altar, Waywards — has its own kind of cult status. Was it important to you to choose those kinds of intimate, character-filled rooms? 

For sure. I wanted it to be intimate but feel like a great venue that you want to be in so we can do a proper sweaty show full of vibes whilst still feeling intimate and special.

You’ve spoken about reclaiming identity and place in this chapter — does it feel like a new beginning for you as an artist? 

It definitely does. It was important to not just keep doing the same thing over and over but grow and learn. It’s also just true to where I’m at and what has happened since I started out. This is a new kind of direction but at the same time it’s more driven, focused and more true to me than ever.

When people walk out of these shows, what’s the one thing you hope they carry with them from the experience? 

As corny as it is, hope. Hope that can help them take on the world, feel understood, heard and powerful. And if they carry merch out that would be great too. Haha!

 

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September 4, 2025 0 comments
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Interview: The Comfort on ‘Blossom’ – Breaking Burnout, Finding Balance, and Creating From Love

by the partae August 28, 2025
written by the partae

“Blossom” feels both deeply personal and sonically expansive – can you talk us through what inspired the song and how it came together?

‘Blossom’ was born out of frustration and feeling disenfranchised or disconnected with the music industry. Liam sent me a short clip of the riff at the start and I immediately felt like I was ready to write a chorus. I got him to send over everything he’d done and I looped the riff and wrote the chorus on the spot. I felt like I’d been betrayed by the industry and I’d suddenly had the rug pulled out from underneath and finally seen it for exactly what it is.

You describe “Blossom” as a reflection on creative burnout and rediscovery – what helped you push through that phase and reconnect with your passion for making music?

To be honest, the thing that helped me personally push through it was redefining my role within the band. For the last album, Marcus wrote most of the music and I’d contribute here and there with leads and basslines, but for this one, Liam wrote 90% of it and I was able to accept that my strength this time around was in my role as as lyricist and vocalist and my strength laid in writing melodies and bringing the songs to life. In short, my best friends in Liam and Marcus helped me push through the burnout with their creative desires.

How did working with Callan Orr influence the final sound of “Blossom”? What did he bring to the table as a producer?

Working with Cal is absolutely incredible and we feel like we’ve made a new best friend or an unofficial member of the band. On ‘Blossom’ in particular, we sat there for probably 2 hours, just trying to rewrite a lead guitar for the chorus because none of us were happy with the one we had. Between the four of us, we bounced back and eventually landed on one I was writing and from there, Cal shaped it into the lead you hear in the track now. Cal is also a wizard at synths and building songs out to sound as gigantic as they do!

There’s a real dance-tinged energy to “Blossom” that still sits in your darker, alt-rock world – was that a conscious direction or something that came out naturally in the studio?

Definitely conscious! Liam set out to write some faster songs for this record and I guess this is the result of trying to do that within the constraints of what your band actually sounds like. We aren’t the heaviest band in the world, but we also don’t shy away from heavy songs, so I guess this is what happens when you put all of those things together and you get a poppy, dancy, heavy track with a lot of emotion!

You’ve just wrapped up a national tour with Chasing Ghosts – what were some standout moments or cities from that run?

Brisbane! Usually Melbourne is the highlight, if not just for the delicious vegan food we get to eat on the off days, but this time Brisbane shone through all of them. Maybe it was the fact that we weren’t expecting much from a Brisbane show, or the fact that by the time we got to the end of the tour, we loved the guys in Chasing Ghosts so much and had learnt so much from them that we were just ultra confident in what we could do to put on a good show. Either way, it wrapped up the tour perfectly and it was so nice to do that in our home town.

How did it feel debuting “Down” and “Blossom” live on tour? Did any particular crowd reactions surprise you?

It’s always interesting playing unreleased songs on tour, but ‘Blossom’ was definitely a personal highlight for me. It’s such a fun song to play and it just has an energy about it that really brings something to the set. ‘Down’ was also so much fun to play and it was very rewarding to hear people singing it back in a few of the cities.

You’re set to play Converge Festival in both Melbourne and Brisbane this September – what are you most looking forward to about the festival?

Our look for Converge Festival is changing slightly. For the first time ever, I’m not going to be playing bass. I’ll just be playing the role of front man! I’m super excited and it has so many unique challenges that I’m pumped to tackle. We’ve been rehearsing this last week and there’s been a few changes to our set that I feel really are going to make a big impact live. I’m really really excited!

With over 7.3 million streams and international recognition, how has your relationship with your audience evolved over the years?

Our relationship with our audience has always been a little bit strange! In the best way possible, I should add. Over the years, we have had fans fly across different cities to see us and even from the United States. Our fans are spread out all over the world, and while that makes it hard to have a base of fans that we can play to regularly, we have many many fans that we are so lucky to call good friends now. We ourselves are quite shy and introverted people, and that often seems to draw more shy and introverted people out as our fans. I love that. I love that we are giving people like us a space to feel seen, heard and loved.

You’ve shared the stage with huge acts like Thrice, Saosin, and Circa Survive – how have those experiences shaped your own performances or ambitions?

Sharing the stage with those three bands in particular have been the highlights of being in a band for me. They’re all bands that I wouldn’t be playing music without them. Meeting Anthony Green back stage more than once and have him watch my band and bang his head along is a memory I will never forget. I’m not sure how those experiences have shaped my ambitions as such, but they’ve certainly made all of the sacrafice worth it.

“Blossom” touches on letting go of expectations and creating from a place of love – what does success look like to you now, compared to when you first started The Comfort?

Great question! Success to me is being able to do these things I love with the people that I love. I’m so privileged to be able to make music with my best friends 12 years on and still have thousands of people listen to it and care. Even though The Comfort might not be as successful as they were 8/9 years ago, the fact that we still get to do this thing and tour the country a couple of times a year is kind of mind blowing. I think when we first started The Comfort, like any young kids we were so ambitious that all of the wins got taken for granted to some extent. Over time, I think I’ve learned to stop expecting things to happen, and just to appreciate every little thing that does all the more.

TICKETS

 

August 28, 2025 0 comments
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