Music Interviews

Dyno is a techno DJ and producer based in Italy whose been releasing music since the ‘90s, and worked with labels ranging from UMEK’s 1605 to Coyu’s Suara. He also runs a label called Dyrwalk and via the imprint recently put out a new deep, dark and hypnotic release called Selva Oscura, which featured two of his own tracks. Excited to learn more about him, we invited Dyno to run through a few questions…

Hi Dyno, it’s great to be talking with you today. Where are you currently based? 

Hi everyone, nice to meet you. I’m based in Pesaro, Italy, which is a small city between the sea and hills. In the beginning of my career, I moved my studio around between basements, garages and other buildings, but now I’ve a permanent set up in the hills near my home.

Could you describe your sound and style of music? 

I’m very attached to analogue and old school sounds, but also blend in new digital sounds.

Mainly I produce techno, but my style is not always focused on just one style, especially when I’m experimenting with my analogue synths. Usually, my tracks are quite dark with a lot of energy, but I’m open minded, and make what feels right in the moment.

How did you first discover electronic music, and who are some of your main influences?

When I was a child, I loved listening to radio stations using my headphones. I was always excited by electronic sounds, which I later discovered were made using synthesisers. Around this time, my favourite song was “Stripped” by Depeche Mode. Even today, I still get goose bumps when listening to it, especially at two and half minutes, where it’s so good that I completely lose my mind. I also got influenced by other tracks such as “Radio Ga Ga” by Queen, “Save A Prayer” by Duran Duran, “21st Century Boy” by Sigue Sigue Sputnik, and lots more…

One day in a local music shop, I asked for them to recommend me some CDs of good electronic music. It was this point when I first heard “Phaedra” by Tangerine Dream, and from then I had no doubt that electronic music would be my future passion.

I understand that you recently dropped a new EP called Selva Oscura, could you tell us about the tracks and concept?

Selva Oscura consists of two deep and dark tracks with solid reverberation, searching for a deep and detailed sensation to impress the listener. This production was born from reminiscing about my passion for vinyl, and thinking about the illegal raves I DJ’ed at in the ‘90s.

What’s your studio setup like, and what are your favourite bits of equipment?

I’m now stable in my new studio located the middle of the hills, and I’m so happy that hopefully I won’t have to move it again.  I design it meticulously, taking into account all the acoustic details plus shape of the room. It’s a pentagonal room with a 32 channel analogue mixer, three different sets of studio monitors, Audioscope Spectrum analyser and several original analogue synthesisers from Roland, Korg, Moog, Yamaha and others. I also use multiple effect pedals plus some other outboard gear, and I like using my analogue sequencer and modular synths. To complete the setup, behind my studio seat is a wall with thousands of vinyl records.

Can you tell us about your label Dyrwalk, as I’d live to know when you set it up, and which artists you have worked with?

Dyrwalk was a project started in 2010 with the aim of mainly releasing my own tracks. The label is a place where I could release music that I wanted to release without having to make tweaks or changes requested by other people, and have the freedom to experiment with new sounds and ideas. I’ve also released with many other labels, and across all those imprints I’ve worked with UMEK, Oliver Koletzki, Max Cooper, Sisko Electrofanatik, Solee, T78, Alex Dolby, Meat Katie, John Fleming, Khainz, Alex di Stefano and many more…

What other labels have you worked with, and what’s the release you are most proud of? 

I’ve worked with lots of labels in my career including 1605, Suara, Bush Records, Traum, Yoshitoshi, Global Underground, Gain Records, JOOF Recordings, Mondo Groove, Hell Yeah, Mantra Vibes, Incorrect and many others…

To be honest, I’m most proud of two publications that are not actually techno. I like to call them my two tripping albums, as they are both very atmospheric, and I dedicated a lot of time to working on them. I’ve listed them both below…

Dyno – Pic Nic Nello Spazio – Hell Yeah Recordings

Dyno – Synthònia – Mondo Groove

What do you like to do away from music?

I’m a passionate collector and player of vintage videogames, so whenever I’ve some free time, I start to play!

What’s planned for the remainder of 2021 going into 2022?

In a few weeks, I’ll be releasing an EP on Gain Records with four new tracks, then at the end of the year I’ll be putting out a collection of my favourite productions from 2021, which will also include two previously unpublished tracks. In 2022 I’ll start to work more on experimental electronic music, which I’ll do in parallel to my new techno releases.

For anyone visiting your hometown, can you recommend a good place for food and favourite place to hang out?

If you want to eat good, and genuine Italian food, then here are my suggestions for good restaurants in the hills near my home Osteria del Giogo, Il Pergolato dalla Maria and La Vacchia Cantina. Nearer the sea, you can also find several good fish restaurants. I also love going into the some of the small taverns in the historical centre of Pesaro. If you want to have get some scenic views of the landscape, then you should also visit port side of the town.

Thanks for chatting today, is there anything else you would like to add before we finish?

Thanks for the interview, greetings also to all The Partae readers, and of course to people that support my music. It was a pleasure. Thanks Again.

https://www.beatport.com/release/selva-oscura/3467536

Dyno | Facebook

Dyno | Instagram

What’s been happening since we last spoke?

Since my debut single ‘See You Again’, I released my debut EP Time, in 2019, in collaboration with Melbourne producers Jerome Farah (Baker Boy, KIAN) and Aman Bayatly (Adrian Eagle) which received strong reviews, support from triple j unearthed and new audiences, and I was nominated for “Best Regional/Outer Suburban Act” Music Victoria Awards 2019. I continued to build my experience as a performer with regular gigs in Melbourne and regional Victoria, then during 2020 lockdowns I spent a lot of time writing new songs and did live-stream events. This year I’ve been busy in the studio with producer Julian Steel (JAYDEAN, HANNAH) releasing ‘Mind the Gap’ as the first taste of my upcoming second EP. 

Your new single ‘Mind Gap’ is out now, how does this track relate to women’s current global movements?

The opening of the song is set with the voices of female protestors chanting “my body, my choice” and I sing about the issue of getting unwanted attention from men, connecting with the ‘Me too’ movement. There is an overrepresentation of men in the music industry which means “He’s making decisions for me; he’s leaving me out”. “He don’t have to dress up before leaving the door” touches on the different expectations put on male and female artists. A man can be on stage in a t-shirt and jeans without judgement. But women in the music industry have been marketed through sexualisation for so long that when an artist doesn’t adhere to this, it’s hard to sell them.
I also address the gender pay-gap in the track “He be out here making more than me; Even though I work just as hard” – statistically women will earn 20% less than her male peers in Australia. At the end of the song, I declare the motto, “Enough is enough”. 

Please tell us about this new social/political aspect to your music:

‘I won’t be quiet about it’ and ‘we’re still not equal yet’ focus on female empowerment, females having more of a voice and developing confidence, what has influenced this new direction in your music? 

Women in music, the ‘Me Too’ movement, and Brittany Higgens speaking out publicly with the help of more women in the media now, supporting her, influenced me. I really believe that encouraging young girls to have confidence to pursue the path of their choice, and to speak up about injustices, builds resilience and determination. Even when there are knockbacks, if women have the self-belief and strength of character to persevere they will be unstoppable in whatever they choose to do. 

What was the process behind developing the production ideas/concepts for ‘Mind the Gap’?  

I wrote ‘Mind the Gap’ a couple of years ago and was looking for a female producer to work with on the track but it was hard to find one as male producers outnumber female producers 47 to one. I needed someone who would best suit the style and understand the genre. Earlier this year I began to work with Melbourne producer Julian Steel. We combined my signature 90s R&B inspired tone and Sade influenced pop/jazz: the smooth tones of the saxophone, with Julian’s live instrumentation of laid-back guitar, reggae nuisances in the organs and rhythm, and groovy bass. 

You have been writing and recording during lockdown, how did you go about writing the music?

I write all my music from home at my keyboard. The concept behind ‘Mind the Gap’ started by wanting to write about a global social/political topic. I usually write from personal experiences, as a healing process, but I wanted to say something that had a bigger meaning to a bigger audience. The song grew from a place of feeling fed up with how women are treated by some men, but also how the topic relates to me personally. And I think more anthem songs are needed. I was inspired by 60s and 70s revolution songs, about civil rights and women’s liberation. Songs like Helen Reddy’s ‘I am Woman’ and Aretha Franklin’s ‘Respect’ were influences for ‘Mind the Gap’. 

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

I recorded ‘Mind the Gap’ in Melbourne, in 2021, with producer Julian Steel and Panorama Mixing & Mastering mastered the track.  

How did you approach the recording process?

As I’m in regional Victoria, I had to go to Melbourne for four recording sessions with Julian over a six-month period because of lockdowns. Firstly, Julian laid down the live drums, organs, bass and guitar. I came in for two sessions, one for the main vocals and another for the backing vocals. I got Bella Winter to feature on saxophone in a separate recording. We had one last session to add the final touches such as the protestors chanting.  

What’s it been like living and being a musician in regional Victoria (Castlemaine) and commuting to Melbourne for recording and performing?

I grew up in Castlemaine, a great arts community, and I love the space and quiet here. However, as a musician, the amount of venues are limited and there are less opportunities to progress my career. I’ve been lucky to not have been in as many lockdowns as Melbourne but it’s hard to build momentum as a performer as most of the gigs and work I need to do as a musician relies on going to Melbourne. It can be tiring going back and forth but I enjoy the scenery on the drive and listening to music in the car. I’m very grateful to have the cultural centre so close to me. It’s very rewarding going to the city to develop my career. 

What’s planned for the remainder of 2021 going into 2022?

When things open up and I can get down to Melbourne next I will finish the recording and production of the remaining songs on my upcoming EP. I’ll be releasing another single and the EP hopefully late this year or early 2022. Can’t wait for you to hear it! 

How was it recording your second EP of introspective songs written in the 2020 lockdowns?

During 2020 I had to find non-public ways to express myself creatively. There was a lot to process about the pandemic and it was hard not being able to see my partner because of lockdowns, and losing a loved one. I got through this time by putting these stories into songs. I turned my wardrobe into a vocal booth and recorded and self-produced a song about struggling through these unprecedented times. I released ‘Home’ last year and filmed moments spent at home to accompany the song. Recording the other songs I’d written during 2020 with Julian in Melbourne and actually being back in a studio was pretty special.

Who are you listening to at the moment?

I’m listening to Sinead Harnett, Snoh Aalegra, Little Simz and Victoria Monét. 

Stream/download ‘Mind the Gap’ here: https://gyro.to/MindtheGap  

Website: https://mayaofficial.com/

Facebook: https://www.facebook.com/officialmayarose/

Instagram: https://www.instagram.com/maya.rose.music/

Twitter: https://twitter.com/maya_rose_music 

What made ‘Not For Sale’ the natural fit for Thunder Fox to come out the gate with, as an insight to the new album?

We felt that “Not For Sale” was a great introduction to the record as we were able to inject some of the new sounds we’ve been leaning into whilst maintaining Thunder Fox’s signature groove. Consider “Not For Sale” a tantalised little toe dipped in the chocolate river that is “Sanctuary” and, if it’s warm enough, everybody will wanna dive in.

What were your inspirations for the music we’re about to hear on the full album?

I think one of Thunder Fox’s biggest drawcards is the eclecticism we try to maintain throughout all of our projects. It can be a blessing and a curse that the five of us come from such a myriad of musical backgrounds and influences so, with Sanctuary, we wanted to try our best to create a cohesive record whilst holding on to our eclectic magic. Instead of drawing so much from musical influences, we aimed to paint a picture conceptually, touching on topics that were prevalent in our lives at the time and trying to hold on to it for the most part of the album.

Describe how this record captures the vibe of the band moving forward into 2022?

This record is a display of our metamorphosis after a number of line-up changes and a ton of development over the last couple of years. With our sound maturing, we’re also becoming more confident on the production side of things and enjoying being more creative in the box rather than just trying to excel at our instruments. Don’t get me wrong, it’s still a wild ride but, when I listen to Sanctuary, it sounds like Thunder Fox is all grown up. I think it can only be yet another milestone towards our eventual world domination.

What have you been enjoying the most about creating music with Thunder Fox?

When I think of the benefits of music creation in the band, I could go on for hours about how cathartic and life-altering it all can be. With that said, a couple of things really stand out. Firstly, there’s a magnetic kind of fulfilment that I always chase when I try to sing better, play better or write better lyrics. I can never quite reach the end goal but soldiering on towards it every day is my dream come true. I always want to outdo whatever I did last time. With that said, when it all comes down to it, even if the music sucked it would all be worth it for the camaraderie and friendship I’ve found with my bandmates and Dan, our engineer/producer wizard. I love the guys with all of my heart and had the time of my life writing and recording in our little Nambucca Air BnB over a couple of weeks. It was pure bliss.

It’s been a bizarre time for musicians to stay creative – how has Thunder Fox managed to keep it together over the last year and a half?

There’s no doubt the past couple of years have been incredibly taxing and, it would be easy to say all of the drama just gives us more fuel to write and record awesome songs about how fucked life is but, it ain’t always that easy. I think being in such a state of limbo, isolated and bored can often lead me, personally, to a place of genuine languishing. In that state I can lose motivation so quickly and I feel I can’t write beautiful things when I’m in such a potato state. It comes and goes in waves though and, if anything, I’m just so proud to have achieved or created anything at all during all this craziness, let alone the best album of all time.

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

Where are you currently based?

I am currently based out of Toronto, ON.

How did you first start playing music?

I’ve been singing since I was 5 years old. I was also a competitive figure skater and dancer so I grew up performing. I knew there wasn’t much opportunity for me living in a small-town, so at 18 I decided to move to Toronto to pursue my music career and go to college. Since then I’ve been performing all over the province, song writing, releasing music, and constantly growing & developing my passions.

What’s been happening recently?

Recently I’ve released “Momma’s Boy” and the music video for it. I’ve also been really diving into learning more about important issues that the Desi community faces. Because I am not actually Desi myself, I know how important it is for me to be educated on all aspects of their culture, including the not so pretty parts. I learn something new every day and I am so grateful to be able to be a voice and an advocate alongside them. I think music brings people together and I hope people can find comfort in my songs and realize that although we come from different parts of the world, we have a lot of similarities that make us one and we are not all that different. 

Your new single “Momma’s Boy” is out now, what influenced the sound and songwriting?

“Momma’s Boy” is actually a mashup of Country music and Punjabi music. I’m not sure it fits perfectly into a genre right now which is kind of cool, but we’re calling it “desi pop-country”. The song is about my experience being in a relationship with someone who was a “Momma’s Boy”. The lyrics talk about cultural differences and how hard it is being in a relationship with someone who’s family has a lot of expectations… I think that can be really hard on a relationship and no matter what your background is, I think a lot of people have probably been in a similar situation.  

How did you go about writing “Momma’s Boy”?

“Momma’s Boy” wasn’t the original title of this song. It started out as “Switch It Up” when I took it to Vipneet. It was a similar concept and we had finished the song, but when we took it to Mark and Erik, they thought it could be even better. So the “Momma’s Boy” idea came up and we just went with it without looking back. I’m so happy with how it turned out. 

Where and when did you record/produce/master the song and who was it with?

We finished this song at the end of March 2021. It was produced by Mark Schroor and Erik Fintelman and I wrote it with Vipneet Kaur. 

How did you approach the recording process?

The recording process for this song was a lot of fun and a lot more work than my other songs. Because I’m singing in Punjabi, we really had to make sure my pronunciation was as good as it could be, so we had multiple sessions before actually recording the song where I would just practice saying and singing the words. 

Who are you listening to at the moment?

I am listening to a lot of Mitchell Tenpenny because he just put an album out. I’m also listening to Sidhu Moose Wala because he just keeps releasing songs and they’re all great! 

What do you like to do away from music?

I really love vlogging. I also love being on the water. I really enjoy water sports and being up at the lake is very calming and relaxing for me. It’s like my sweet escape. 

What’s planned for the remainder of 2021 going into 2022?

A) I am excited to focus on “Momma’s Boy” and push it to its full potential for the rest of the year. We have a lot of big plans for it and I’m so eager to watch everything play out. In 2022 I will be getting back in the studio to finish recording my second EP and hopefully will have a summer full of shows lined up. 

Favourite food and place to hangout?

My favourite food is lobster. And my favourite place to hangout is probably up at the lake, on my parents back deck. The sunsets at their place are gorgeous. 

Twitter: @SarahWickett 

Facebook: /SarahWickettOfficial

Instagram: @sarahhww 

Website: www.sarahwickett.com

Where are you currently based?

Currently calling North Vancouver, Canada home. 

What’s been happening recently?

This summer, I released my second single to the country music world called Floatin’! Co-written and produced by Mitch Merrett. In the spring, I released another tune called “Over A Drink”, so it’s been a fun year releasing this music after touring and playing shows for the past few years. 

How did you first start playing music?

My entire life has been on a stage. I went to a fine arts school, did musical theatre, played piano, and was a dancer for fourteen years. When I was around the age of 13, i naturally started writing songs and playing them for my friends and family. I got to perform a song I had written at a Christmas recital in the 8th grade. From there, I was addicted to singing live music. 10 years later, I’m able to do country music as a career! 

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

I’ve always had this idea of wanting to write a song about floatin’ down a river. I feel like there were so many summer country songs, but nothing strictly about one of the best things to do on the hot river days, Getting your favorite people, some inflatable tubes, and a couple of drinks and river float! 

Mitch Merrett, co-writer, and producer of the song liked the idea and we rolled with it. We wanted to capture a swampy country style. Inspired by the grit southern rockers The Cadillac Three and taking similar inspiration from Little Big Town’s smooth sound as well. 

Please tell us about your experience with working with Mitch Merrett (who co-wrote and produced the new single).

Mitch is someone who I’ve been connected with and friends with in the music industry for a few years now. In 2020, we started working together on a few different projects. His experience in the industry really brought this song alive and I learned so much throughout the process.

Where and when did you record and produce it?

Back in February, we wrote the song. Then started the recording process in May! Pretty quick! 

How did you approach the recording process?

When writing the song, we had a drum loop that I was writing to. In the writing session, he laid a simple draft guitar and I sang a rough vocal to that. We bounced around with the pitch and speed of the song for a little bit. Also spent some time exploring different ways we could add colour to the song! From there, he got the skeleton of the song done, and I came in for a day of vocals, sent it off to the rest of the guys, and here it is! 

You’ve released two singles this year – “Over A Drink” and “Floatin’”. How has this experience been?

Really exciting! It’s been a long time in the music industry of playing shows, writing songs, and recording what I’ve been a part of. It’s simply just wonderful that I can finally share the music that I’ve got for people to listen to! 

Who are you listening to at the moment?

Hailey Whitters, Lainey Wilson, Olivia O’Brien and of course, the new Olivia Rodrigo album. 

What do you like to do away from music?

I love cooking and baking. Hosting special dinners like Christmas or Thanksgiving brings me so much joy! Also, living in BC, we have such a beautiful backyard. So I love being able to do lots of hiking and camping. Really any time spent outdoors, and by the water makes me very happy. 

What’s planned for the remainder of 2021?

Currently recording a special song baby of mine. It’s a bluesy ballad, which is a very different approach then the other singles that I’ve put out this year. I’m really excited to share this softer, more vulnerable side. 

Favourite food and place to hang out?

Mexican food! Love me some fresh pico on anything. Always in the mood to have tacos in my life. – Favourite place to hangout, depends on the day. Either a dingy dive bar or by the river!

Facebook: @NicoleSumerlyn
Twitter: @NicoleSumerlyn
Instagram: @NicoleSumerlyn
YouTube: smarturl.it/NicoleSumerlynYT 

Instagram:  https://www.instagram.com/vanbergmusic/

Triple J Unearthed Link: https://www.triplejunearthed.com/artist/van-berg

What is your name and role within Black Pontiac?

My name’s Matty Mclaren and I’m the lead vocalist for Vancouver Black Pontiac.

Where are you currently based?

Currently I’m riding out the 2nd year of our ‘two week’ pandemic lockdown from Vancouver, Canada.

How did Black Pontiac form?

The band formed after myself and Mac Riddell (who plays guitar like no other) started hanging out and writing songs together. Eventually we added Mac’s brother Sam into the equation on drums, and after a revolving door of bassists we found our guy in Avery John Shoesmith. The name comes from the old Pontiac Sunfire that Mac used to drive. We used to hop in the back of that tiny thing and just mob out all over the city.

What’s been happening recently?

We’ve been putting the last finishing touches on our debut album “From Bad to Worse (and Back Again)” that we’re hoping to put out later this year or early 2022!

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

I think the pop elements and storytelling nature of the song definitely came from the band Peach Pit. Neil Smith (the lead singer) has a way of crafting incredibly vivid stories that elicit this tender, bittersweet emotion from the little moments in life we often take for granted. He went to my high school and was a big reason I wanted to be in a band in the first place.

How did you go about writing “Island Honey”?

Like most of our best songs, it typically starts with Mac and I getting together and hanging out. He pulled out this chord progression he’d been playing around with. It wasn’t actually meant to be on the album but we ended up finishing it during pre production and figured we might as well.

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

We recorded the song a few months ago with our boy Matt Dipomponio out of Echoplant Studios in Port Coquitlam, BC. He’s been a de facto 5th member through the process of engineering, producing, and mixing our entire record. The album is currently being mastered by Brock Mcfarlane of CPS Mastering.

How did you approach the recording process?

We came to Matt with the idea, and he told us we should finish it. Once we had decided we were including the song on the track list, we tracked all the drums at once. We then switched between bass, guitar, some synths specifically for Island Honey, and eventually vocals. It really depended on how we were feeling when we went into the studio in the morning. The process was super laid back and we had a lot of fun doing it.

What did you find most challenging and rewarding during the recording process?

We went into this process with the intention of getting weird with it; essentially throwing ideas at the wall and seeing what stuck. While it was incredibly rewarding being able let our creativity shine through in the studio and trying every dumb idea we had, I’ll admit it could also be a hinderance when we needed to finish something or make a decision on how a certain part was supposed to go.

Who are you listening to at the moment?

I know Mac and Sam have been really into Frank Zappa for a while. Avery’s still bumping Meatloaf in his Honda Civic and recently I’ve been into this LA band called Momma – they put out an album last year called “Two of Us” that combines soft bedroom pop vocals with a 90s alt rock that I think is sick.

What do you like to do away from music?

Lately I’ve been reading a lot of poetry. I recently finished a book called Black Abacus by a Canadian-Nigerian poet named Ian Ketteku. He bends the English language to his will in a way I’ve never seen or felt before, covering topics like race, time, love, religion, and identity  through an often painfully candid lens. It’s given me a fresh perspective on music, creatively speaking. 

What’s planned for the remainder of 2021 going into 2022?

The album drop (it’s gonna be wild), more outdoor shows, more songwriting, and hopefully a tour somewhere down the line.

Favourite food and place to hangout?

Lucy’s Eastside Diner on Main Street in Vancouver! That place has seen me at my best and absolute worst.

Twitter: @BlackPontiac_

Facebook: /BlackPontiacMusic

Instagram: @blackpontiacmusic

TikTok: @blackpontiacmusic

Website: https://www.blackpontiac.com

Where are you currently based?

Currently based in Wollongong. I moved down here a year ago from Sydney.

How did you first start playing music?

My mum had me on the piano as a young child which was a little on the enforced side. I eventually picked up the guitar and started writing songs in my early teens as a bit of a coping mechanism.

What’s been happening recently?

I’ve completed the studio recordings for an upcoming EP of which the two singles I’ve released this year, including ‘Travel Companion’, will feature on. I’m aiming to bring that out sometime later this year.
Aside from that, I’ve invested a bit of time and money in my own home recording studio set up. I’d like to hone in on those skills a little more for future work and recordings. 

You’re described as a folk music artist, is this accurate? Why or why not?

My roots are in folk/singer songwriter, however I enjoy the ebb and flow. I very much enjoy having the freedom to move around in genre and style. The sound is very dependent on the dynamic, whether I play solo, with my band or a percussionist or a violinist which is usually determined by the venue or availability of the musicians I like to play with. When I play with my drummer and bassist for example, the sound is much rockier/groovier.

I like to describe myself as Alt Folk for that purpose. 

Your new single ‘Travel Companion’ is out now, what influenced the sound and songwriting?How did you go about writing ‘Travel Companion’?

I was at a stage in my songwriting where I was writing for the band. I wanted to strip it back down to a singer songwriter level again and the song itself was influenced by that reason. I don’t usually write with an idea or theme in mind, I generally have the vocal accompaniment roughly arranged and then spend a couple of hours singing lyrical nonsenses until an idea has brewed. I had recently been on a solo road trip and I guess that experience combined with the ones preceding cut the mustard for the topic!
I took the song into the recording studio!

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

I recorded the song with producer Guy Fenech at Rolodex sound which at the time was in Leichhardt, Sydney. The track was mixed by Nick Franklin, also working out of Rolodex Sound.

 How did you approach the recording process?
I had a demo track of ‘Travel Companion’ from a previous recording attempt. Guy and I collaborated on our ideas and a lot of the music, aside from the main vocal and acoustic guitar,  was created in the studio. Ella Carstein played the violin and Guy himself played a little percussion.   

What inspired the music video?

Maisie Cohen directed, filmed and edited the video. It was her idea to take the video out onto the road to capture the wonderful rural architecture of the iconic colonial buildings as well as capturing the arid landscapes of outback NSW, which aids in portraying the notion of isolation associated with the song and travelling on the road in Australia in general. 

The music is a waltz once the violin part kicks in, so it was important to me that we captured a little bit of dancing!

Where did you film and who did you work with to create the music video?

The video was filmed in various locations in NSW. We travelled from Wollongong to Mungo National Park, stopping at various towns and locations along the way. The road trip was undertaken in a week with the help of videographer Drew Norley and friend Ariki Hita. Collectively we all contributed our ideas for the video.
We also filmed part of the video at ‘The Servo’ in Port Kembla where we recruited dancer Kiera McGillion as well as my younger sister and her partner. My 4 year old niece also features in the video.

What did you enjoy the most about creating the video?

The road trip was so much fun! I was very impressed and humbled by our ability to maintain the balance of professional and personal relationships with each other.

Please tell us a little about where you live and do your surroundings influence your music?

I live in a lovely little suburb in Wollongong, sandwiched between the escarpment and the beach and I absolutely love it. I’m finding it more challenging to write at the moment because I’m feeling happy and healthy as a result of being here in combination with personal life matters though, so creatively it might not be a good thing! It’s the sad songs that sell right? 

What do you like to do away from music?

I must get out into the bush for walks and plant ID regularly. I’m learning how to surf and to speak Serbian and German. I’m also studying environmental and plant related things stuff with TAFE/uni.

This is majority covid era compensation though – once the pubs and live music venues reopen, I’ll be at the bar having a sing, dance and a healthy yarn! 

Who are you listening to at the moment?

Big Thief released some new music. I’m a huge fan.

What’s planned for the remainder of 2021 going into 2022?

I’m taking it easy for the remainder of the year. I’m going to continue as is and re-evaluate when time becomes a little less uncertain. 

Favourite food and place to hangout?

Sweet potato fries and donuts are the best. I don’t mind where I hang out, it’s the company that makes it special.

PRAISE FOR RITA B

“An acoustic track that will appeal to listeners of Stella Donnelly and Julia Jacklin, ‘Travel Companion’ offers touching lyrics that paint a fragile picture of escapism, isolation, and loneliness.”

Scenestr

Travel Companion “…the video may be a pretty literal interpretation of the track and its thematic elements”

The Music

“At first, I thought the folk band was there to soften the Stella Donnelly-like frankness of Rita B’s badass lyrics but now I realise they are as much the bark as they are the bite. Killer!”

Nkechi Anele, former Roots ‘n All  presenter, Triple j

“relatable, funny and just downright entertaining” 

Divide and Conquer

Website | facebook |Instagram| Youtube | Triple j Unearthed