What are your names and roles within Sametime?
Sam Aitken – Vocalist
Tim Aitken – Vocalist, Keys/Synths, Guitar

Where are you currently based?
Caloundra, Sunshine Coast
How old are you both now?
Tim (22) and Sam (19)

How did you first start playing music?
We started by busking at the local markets here in Caloundra. We would set up out the front of a nail salon and play from 8am to 1pm, almost every sunday at the ages of 12 and 9. We entered any busking competition that we could and won, using the prize money to buy better gear.

What’s been happening recently?
We’ve just released a new song called ‘Moving On’ which is on the EP we are releasing on September 2nd. We’ve been fortunate enough to play some gigs during COVID here in QLD but we are very used to booking gigs, cancelling, rescheduling and cancelling again.
We are doing what most small independent artists are doing post-release, hitting refresh and hoping people listen to our song.

Please tell us about the instruments you play and how you came to play multiple instruments:
Tim: I was about 10 years old and my toy batman quad bike broke so my parents bought me a guitar and put me in lessons. When we started busking, guitar lessons became the hour every week that I could learn new songs for busking. I was never taught anything technical on the guitar, I just learnt songs and from those songs I learnt the chords/shapes.

We also had this crappy keyboard at home that my Dad would play. He taught me some basic chords and how to use a sustain pedal. I taught myself the rest of what I know by just experimenting with chords and notes and playing till something sounded good.

Sam: I used to bang two paintbrushes on everything when Tim would play guitar so I was put into drum lessons when I was about 7. When we started busking I played the Cajon but when we started playing in pubs, I moved to a stand up cocktail drum kit. This was so I could still be at the front of the stage as a lead vocalist but also be the drummer of the band.

You write and collaborate with numerous producers and musicians, how do these collabs come about and how do you usually approach the process?
Before COVID we would fly/drive down to Sydney for a week and do sessions organised by the Sony publishing team. Every collaboration is different, everyone is unique with their songwriting approach in one way or another. We always go into a session with songs to reference, recent projects to give direction (if needed) and a big fat smile on our face because our job is to make music.

You both signed a worldwide deal with Sony Music Publishing at 14 and 16 years of age, how did this come about and how has the experience been?
We had just done a charity concert that was filmed and recorded properly. We played most of our original songs, one being our first ever single “Where The Wind Blows”. Dicko (our manager) was in Sydney catching up with the team at Sony Music Publishing and showed them the video of us playing the song. Two weeks later we met them in Brisbane and signed with them that week.

The experience has been great, we were allowed the time and resources we needed to develop our sound into what it is today. Without Sony we wouldn’t have met a lot of our friends and close collaborators. We wouldn’t have had the session with Fletcher Matthews that led to ‘Get To Know Ya’ and then the rest of the EP.

The team at Sony Music Publishing are the best and we are so thankful for everything they do. One of our goals is to become the most versatile songwriters on their roster in the next couple of years.

You’ve been playing together for ten years, how has your musical relationship evolved over that period?
When we were younger, playing music together was probably the only thing we liked to do together. We used to say it was the only time we got along, which could’ve been true but back in our prime busking days you would’ve thought we were the best brothers.

Playing music together for so long means words are no longer needed, we both know each other’s patterns instinctively, we both know what to do if the other is struggling to sing. You wouldn’t expect a 22 and 19 year old to have a decade of gigging experience under their belt but our live shows prove it to you.

Off stage, the relationship has evolved from Tim being the primary songwriter to now both of us. We are both good enough at producing that we can make our own good quality demos. Music is no longer our hobby, it’s a full time job for us so we both want to make this work and one can’t do it without the other.

You’ve just released disco infused gem ‘Moving On” how did this track come about?
I think it was when we were exiting the eye of the COVID storm when we wrote this track. We are all booked and ready to go down to Sydney to work with Fletcher on writing two more tracks and finish the EP. The borders were then closed due to another outbreak and we were forced into yet another Zoom session. By then we had a streamlined process when writing and recording via Zoom as we had to do it for two tracks earlier in 2020.

Being the fourth song we had written together, there was a level of trust and respect there that led to getting more personal. We told Fletcher a couple of things that had happened to us over the last couple of years, one being the story that would then become ‘Moving On’. It was another ordinary night out when someone made a decision that would result in something far worse than a hangover the next morning. The song is about moving on from that time in our lives.

Your EP ‘Maybe We Can Get High’ will be out on September 2, what influenced the sound and songwriting?
We took a lot of influence from acts like Daft Punk, Parcels, Jungle, Dua Lipa, Troye Sivan, Years & Years, PNAU and many more. The high falsetto group vocals are a big trope of disco pop and something that we really enjoy the sound of. We wanted our music to physically move people so every song has a big fat drum and bass.

How did you go about writing the EP?
At the start of 2020 we took a trip to Sydney where we had our last few in-person writing sessions and on our last day there we wrote what was our first single off the upcoming EP ‘Get To Know Ya’. After that everyone went into lockdown and the only way we could have sessions was over zoom. So this whole EP was written and recorded over zoom, which we think is pretty cool.

Where did you record/produce/master and who with?
We wrote and recorded everything via zoom from our house in Queensland with Fletcher Matthews who was in New South Wales. Fletch did an amazing job with the production of all the songs and Paul Blakey did the mastering of all the songs.

How did you approach the recording process?
It was definitely a whole new way of recording, but was something we had to adapt to pretty quickly if we wanted to collaborate with others because there was no other way of doing it. We managed to get used to it pretty quickly which helped a lot when making these songs.

What’s planned for the remainder of 2021?
We are just like every up and coming band trying to make it in this crazy industry, we just want to get out there and play live as much as we physically can, make people dance and have a good time doing it. We are going to keep writing and recording new music and start thinking about the next project.

Who are you listening to at the moment?
Between the two of us here’s some artists we are listening to at the moment together or separately;
The 1975, LANY,. Anderson .Paak, Troye Sivan, Phoebe Bridgers, Luke Hemmings, Holly Humberstone, Rich Brian

What do you like to do away from music?
We are polar opposites which is kind of funny, I (Sam) love to hang with mates at the beach, play golf, and party. Tim loves to sit inside and play video games with the occasional basketball game.

Favourite food and place to hangout?
Sam- The list could go on forever but i do love a good KFC feed and then go hangout at the beach.
Tim – Mexican food….I could eat Mexican food every day for the rest of my life, I’m a big spicy food person. Home is my favourite place to hang out, whether it be alone or with my friends. I’m a hermit and proud.

EP: Maybe We Can Get High? is out now – Play/Listen

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Hey Cold Smack Attack, great to talk to you! How are things? 

Glad to join you!

Can you give us a bit of an intro into this new artist project?

Cold Smack Attack is an project that’s here to bring back the fun in electronic music, it’s here to break musical barriers, to add a little help to the world recovering from this sad times.

What was your journey into producing and DJing to begin with? 

Dedicating my life to music has been the best decision I’ve ever taken. I’m a musician at heart, so I really enjoy what I do, alone in the studio and in front of thousands, I enjoy both things a lot. 

How have you dealt with the pandemic, what’s it been like for you?

It’s been rough for everyone, but I took everything on the music, and Cold Smack Attack was born. Music is my escape and this time was no less. I speeded months on lock in the studio and it definitely paid off. 

Have you been able to take any positives from the last year?

Definitely, it’s a mind state, I used this weird ass times to get away to music, and it turned into a whole new project that brings me and the listener a brighter day.

Tell us about your 8 releases in 8 weeks, why that number?

We are just launching the project and I’ve made so much amazing music that I wanna share with the world so we figured out that we throw a single out every week for 2 months, just to let people hear and understand the project. It’s a long way to go but we kicked off hard, most tracks entered the Beatport charts, so we here.

What was the inspiration behind the record?

Music from all different genres is the key. I listen to all sorts of music, specially all sorts of black music, and I translate the message to the dance music world. I like to bring inspiration from at least 3 different genres into one of my tracks when I’m cooking, learned that from Quincy Jones, and I truly believe that to make music reach a higher level this is key.

Did you create the tracks with the vision of playing them out? 

No doubt, and the way I do that is picturing myself on the dance floor, this is truly how I listen to music, how I produce and how I Dj. I cook what I wish for, that’s basically the idea.

Is it weird making music with no DJing and no crowd interactions?

Not really, it gave me a lot of space for freedom not having that constant pressure of having to create the next big banger that sounds inspired by the last big hit or the last record that I’ve been blasting on my sets, this time was definitely different in that sense, inspiration came from other places like I said, and the results speak for themselves.

What have you missed most about not partying and playing live gigs? 

As an artist, if you don’t share with others your art you are nothing, its all about sharing, so that’s obviously the part that gives me a bit of anxiety, not being able to share my passion for music with the crowd. Seems like this period its ending so I can’t wait to start rocking again!

What else have you got coming up?

We will release 2 tracks every month until the end of the year to make sure everyone understand the musical concept of Cold Smack Attack, and lets take it from there… one step at a time.

https://www.beatport.com/artist/cold-smack-attack/991226

What happens when you take emerging artists from the most isolated city in the world and pair them with local composers and a string quartet to reimagine their songs in the height of a global pandemic? Enter Perth’s latest innovative experience, Tender is the Night. Birthed by local multi-disciplinary artist and stalwart of the Perth music industry, Leigh Gardiner, in collaboration with creative consultant and composer, Rebecca Erin Smith, Tender is the Night is a series of performances that bridge and blur the lines of classical and contemporary music.

Gardiner had been brewing over the idea of synchronising support for his composer and musician friends for some time, but it wasn’t until the initial COVID lockdowns of 2020 hit that it was finally put into motion. In September 2020, the inaugural Tender is the Night event took place in a suburban backyard to a private audience of friends and family in a relaxed picnic setting. One year on, with the support of the City of Melville and a generous grant from the Department of Local Government, Sport and Cultural Industries under its belt, the event is thrilled to announce the imminent arrival of its first ever public edition with Tender is the Night volume five on Sunday 12 September. We were lucky enough to have a chat with both of the acts which will be performing at the event: headliners, Simone & Girlfunkle and support act, Tanaya Harper.

Hi Tanaya and Simone & Girlfunkle, hope you’re having a nice week! First up, let’s get to know you. Can you give us a little introduction into who you are and the type of music you each create?

Simone & Girlfunkle: Hi! We’re close friends of many years who share a love for singing in close harmony. We were once described as “Picnic At Hanging Rockcore” and yep, that sums us up.

Tanaya Harper: Hello! Well, I’m a Western Australian singer who loves hiking, and I’m also studying Nursing so I feel like I’m living a double life of creative brain versus policies and procedures brain. It’s hard to summarise, I guess the type of music I create is rather solemn, and usually has a lyrical focus on the experience of anxiety. It’s always been about internal struggles rather than the outside world and politics, but I have felt a recent shift where I’m writing more about the greater human experience rather than my own mental health journey. 

You’re both set to perform at the upcoming Perth event Tender is the Night, can you tell us a bit about how Tender is the Night began and what it’s all about?

S&G: Oh we are not qualified to answer this one! But what I can tell you is that it’s Leigh’s passion project. He has created some absolute magic. The string arrangements compliment the contemporary songs and add so many feelings. We went to the first one to see Tanaya and I was genuinely moved to tears by how beautiful the music and experience was.

TH: Well, Tender is the Night is the brain-child of local musician Leigh Gardiner. He would be best to answer this question, but from my understanding for a few years he had the grand idea of having a string quartet playing original arrangements written by a variety of local composers 

What can audience members expect when they attend Tender is the Night on Sunday 12 September at the Melville Main Hall? Tanaya, we understand you’ve performed at a previous event before?

S&G: They can expect something unlike the normal gig experience. The beauty of the strings lick your earholes whilst you feast on picnics. I can’t recommend it enough.

TH: Tender is the Night is the most beautiful gig I’ve ever played, hands down. It was such an honour to have a professional string quartet playing professional arrangements over my music, and I get to do it again! The first Tender was performed in Leigh’s backyard so it wasn’t heavily advertised which meant some friends and fans who would have wanted to come but missed out. The only thing that could possibly be better than the last gig is the fact that I get to sing in Melville Town Hall!! I sense another career highlight coming.

Can you tell us a bit more about the collaborations between yourselves and the composers & string quartet? How do you each approach reimagining your songs with these classical artists? What does that process look like?

S&G: For us, choosing the right songs to be arranged was quite difficult. We’ve been playing together for so long, we have so many songs we’d love to hear arranged for string ensemble. But I think we chose the right bunch! We had to omit some of our poppier favourites and pick some we thought might lend themselves to strings a little better. As far as collaborations between the arrangers and ourselves – we did a dodgy demo of the stripped-back songs and then left it to the pros! On the day as they play will be the first time we’ll hear these interpretations of the music. It’s a little nerve racking but also we’re pretty honoured, and of course excited to hear what the arrangers come up with.

TH: Pretty much what S&G said. I sent some very basic voice memo’s to Leigh who then forwarded them onto the composers. They did an incredible job with their arrangements. There are no rehearsals with the quartet, we purely test the intro’s and outro’s at soundcheck and then bam, we play the full set to the audience. It’s very serendipitous. I intentionally chose what I felt would be the most suitable songs (solo) – the only full band song is Don’t Go Outside, and I’ll also be performing an additional arrangement for my new single ’Montreal’. 

What are you most looking forward to about performing at Tender is the Night?

S&G: Hearing Tanaya’s set again! Performing in the centre of all that string sound loveliness. Also cheese picnics!

TH: Hearing Simone and Girlfunkle! And experiences what it sounds and feels like to perform in a Hall. I think my heart will melt.

What’s next for each of you? Any upcoming releases, other live performances or collaborations on the horizon?

S&G: We move like summertime slugs, so we’re taking our time working through a mountain of new material, trying to shape it into something beautiful and record-shaped. A few of our crew have recently become parents, so we’ve put no upcoming deadlines or pressures on ourselves at this moment in time. Everything will fall into place when it’s destined to, as it always does and we have something to share very soon.

TH: I have a new single (and EP) coming out very soon called ‘Montreal’. I’m very excited to release this one, it’s very close to my heart. It will be accompanied by a video clip filmed by Annie Harvey and Yardley Smeaton. The EP Launch will be on October 2 at Lyric’s Underground, with supports from Grace Sanders and Julia Wallace. 

I’m also going on a road trip to perform in the Great Southern; Ravensthorpe on September 17 and Esperance on 19th. I’m currently working on my debut album, so I might write some songs while I’m down there.

And finally, where can we keep up to date with your work? Give yourselves a plug!

S&G: Here are our links @simoneandgirlfunkle or Facebook

Or our music sits on Spotify, Apple Music or Bandcamp

TH: Instagram, Facebook, Bandcamp, Linktree, Spotify

Tender is the Night – Simone & Girlfunkle

Sunday 12 September 2021 

City of Melville Main Hall

10 Almondbury Rd, Booragoon, WA 6154

Support: Tanaya Harper

Tickets: $30 + BF via Trybooking

BYO food, drinks as well as rugs and cushions to sit on

Doors at 5:30pm

How did you first become involved with music?

I’ve been playing music for as long as I remember. I grew up with an upright piano in my house and was writing songs on there before I started walking. Throughout high school I played trumpet in my school’s various ensembles like concert band, jazz band, orchestra, pep band and I also played guitar and trumpet played in a ska/funk/rock/jam band (we had an identity crisis) outside of school with some friends. I initially went to the University of Minnesota to study classical trumpet and music education, but realized very quickly that path wasn’t for me. I started performing around campus as a singer/songwriter and transferred to a contemporary music industry school studying music business and songwriting. I got in and out in 3 semesters and realized very quickly that everything I was taught in school about the music industry was outdated and irrelevant (this was around 2005).

I was taught in school that the only way to be a successful musician was to get signed to a record deal. They never taught me how to get a deal, just that I needed one if I wanted to succeed. So I had two options: 1) sit around and wait for this record deal to magically appear in my lap or 2) start to figure out how to make a music career happen on my own. I chose the latter.

What’s been happening with recently with the New Music Business podcast?

I just had Imogen Heap on discussing how she envisions making the future of music metadata, credits and payment more transparent and equitable for musicians through blockchain technology. That was really interesting conversation. Also, recently I chatted with Ritt Momney who found success from his song going viral on TikTok. And I had the pop-punk, Australian band Stand Atlantic on the show who offered great perspective on how they build their fanbase live – in an internet driven industry. Very recently I had the pleasure of chatting with Nigerian Afrobeat guitarist Fiokee who gave me some insight into how the Nigerian music scene operates. And one of my favorite interviews most recently was with Cory Wong of Vulfpeck who discussed session musician and band leading etiquette. You can check out all the episodes here. 

How has the changing landscape encouraged emerging musicians? 

It is the best time in the history of the music industry to be a musician. Never before in the history of the business could a musician create a sustainable, life-long career without the help of a record label. Artists these days can choose to maintain 100% of their ownership and have wildly successful careers. But we’re also seeing a wider “middle class musician” class emerge. That’s the most exciting part to me. It’s no longer either you’re a superstar or a starving artist. There are literally thousands of artists who are making music careers happen in their own way. There’s nothing wrong making a healthy living doing what you love – even if you’re not famous. That’s not what a music career is about anymore.

Please tell us about you involvement with Fender Artist Playbook:

Fender and I have similar missions: to empower musicians with the tools to succeed. Fender approached me to write the Playbook because we align on our values and mission. It’s a natural partnership and I’m happy I’ve been able to work with them to get this super helpful resource out into the world and into the hands of musicians.

How does the Fender Artist Playbook help musicians navigate the changing landscape?

There is no longer one way to make a music career happen, there are literally as many ways to make a music career happen as there are musicians.

In the Playbook I outline a few of the ways musicians can make a music career work these days. This Playbook is a great starting point for any musician at any stage of their career to understand some of the avenues they can pursue to find success in 2021.

Who are you listening to at the moment?

Bill Withers. Always.

What do you like to do away from music?

In the winter I like to ski. I really enjoy acting. And I can also make a mean Frittata.

What’s planned for the remainder of 2021?

I just wrapped up an immersive 1970s funk/soul concert theatrical experience Brassroots District. We performed 16 shows in Downtown LA (outside). I’m just about to start writing the 3rd edition of How To Make It in the New Music Business which is slated to come out Fall 2022!

Favourite food and place to Hangout?

Favorite food = Canters Pastrami Reuban. Favorite place to hangout = Hotel Cafe in Hollywood.

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Where are you currently based and what are you up to?

I just wrapped up shooting a Rom-Com movie called My Fake Boyfriend in Toronto yesterday, so I’m headed back to LA and into my full time music headspace. It’s harder to focus on it all when I’m on set for 14hr days, so i use the late nights and weekend where I can – thankfully I was able to find a dope studio and engineer here in TO to record my next release.

How did you first start playing music?

It started with dance really. As a kid I would edit my music for certain stage performances, i loved mixing songs together by splicing from multiple cassette tapes. Eventually, I learned computer programs to get finer cuts & more dynamics, and then in high school at about age 14 I started constructing original songs on my laptop & recording vocals. Once I started getting into actual recording studios at about 16yrs old it was all over for me – I knew I’d be hooked for life.

Your new single Rhythm & Music is out now, what influenced the sound and songwriting?

Definitely an MJ influence within the music and writing. I wanted something I could really break out and dance to, not just bop around but like really give every bit of feeling to. In terms of writing, I felt like I had too much love & music in my heart, and I always felt like the people I dated were wanting me to contain it for them… this was my rebellion, and invitation.

How did you go about writing the single?

Same way as most of the tracks on the album, my producer / roommate at the time Louis Futon just recorded at the house, it probably started with me venting about relationship patterns and desires… Usually he’d pick up an instrument, play around on it, and then I’d start singing a melody and lyrics inspired by the sound and the conversation… or vis-versa.

Where and when did you record/produce/master?

Recorded mostly in my house in Los Angeles, and also at Steakhouse Studios in North Hollywood. Masters were done also in LA with Michael Freeman.

What influenced the music video?

Our main influence vibes were Michael Jackson, Dirty Dancing, Kanye’s “Fade” video with Teyana Taylor, Flashdance etc. And the location was chosen because of my dance competition background, I was always in a hall like that most weekends growing up… in fact it’s likely that I’ve performed in that same hall before at some point ha, I really wanted to call back to my dance roots.. this song was the perfect choice for that.

Where and when did you film and who with?

We shot back in June 2020 at Balmain Town Hall. The entire crew had a history of dance as well, we had worked together many years earlier before I moved overseas.. so the whole project felt like this beautiful reunion. Cat Santos choreographed, Rowena Rasmussen directed along with husband Joel Rasmussen who was DP, Jason Lewis produced, & Dylan Mahoney was first AD as well as assistant creative director. Adam Saunders played my love interest, we’ve also known each other for many years through dance music and film in Sydney.

What did you most enjoy about creating the music video?

It was a family affair with my Aussie dance community. Getting to create back home again in Sydney with best friends and peers who’ve known me for over 10 years.. during a pandemic at that, was really a dream come true & massive blessing. I loved getting back to my roots as a dancer & pushing hard, there’s nothing quite like it and I never wanna forget that part of me again.

What do you like to do away from music?

Oooh.. I like to game from time to time. I’ve started getting into martial arts this year which I really enjoy. And I chill with my friends, I’ll kick it at a rave party every now and then, or go to a music festival. But to be honest, music always finds it’s way into every thing.. and I love it.

Who are you listening to at the moment?

Past couple weeks it’s been Joyner Lucas, Obongjayar, Peter Collins, and James Fauntleroy. I’m about to get into Kanye’s Donda.

What’s planned for the remainder of 2021 going into 22?

Is alllll about the rhythm & music baby ️‍ we got 3 other music videos to share & I have more to shoot, got a big live show I’ll start rehearsing for pretty soon & am currently planning out the creative for, and I’m also back in the studio writing new magic and finishing what we’ve worked on this year. It’s a dream year.

What’s your favourite food and place to hang out in your down time?

 I love me some chocolate and I love hangin at home – I do so much travelling so at this stage my home feels like the vacation. Either solo or having friends over, it’s peaceful.

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Indie singer songwriter Neeko returns with her first single of the year, ‘How Deep?’ – the stirring title track of her anticipated debut EP. Weaving folk-laden pop melodies that gently buoy listeners into a state of utter serenity, Neeko sees music-making as a deeply cathartic practice. Her debut single ‘Deep Sea Diver’ was released independently last year, captivating audiences with its siren harmonies and spacious production that uplift Neeko’s impressionable voice as one to be celebrated. Now, the rising artist is thrilled to share the track’s sister release, ‘How Deep?’ and announce the exciting news of her forthcoming EP of the same name, just around the corner.

No stranger to the Melbourne music scene, Neeko has played countless shows around the country, sharing stages with the likes of Danika Smith, Allysha Joy, T Honey (aka Maple Glider) and even the Grammy Nominee Eric Roberson. Outside of her solo project, Neeko has performed backing vocals and contributed to an array of local outfits, including most notably playing drums in Melbourne psych rock outfit, Tomgirl. The band have been billed on prominent lineups such as Strawberry Fields and have supported industry heavyweights, Mildlife and GODTET among others. We had a chat with Neeko to delve into the inspirations behind her new single, dream collaborations, her various improvisation pursuits and what she’s got coming up on the horizon.

Hi Neeko, congratulations on the release of your new single ‘How Deep?’. Can you tell us a bit what this song means to you?
This song is a very personal love song and reflects a very specific time for me in a break up journey. It was a moment of feeling overwhelming love and joy.

How did the song come about and who did you record it with?
This song came pouring out one night as the feelings of such intense love were too overwhelming not to be expressed! Literally could not contain it in my body, hence the song was born. I recorded this song with my dear friend Jonathan Collins in his bedroom studio.

Have you always made music? When did you start?
I have definitely always loved music. I was always singing when I was a kid and was always forming little bands with friends. It wasn’t until I was 19 that I started playing guitar and that’s when I really began writing songs.

How would you describe your sound?
I have explored many different sounds in my song writing journey, but at the moment the songs that have been coming through are more intimate folk-like songs that tell a story. The aesthetic of my recorded music is very centred around the backing vocal arrangements which is my favourite part of the recording process! I absolutely love creating vocal arrangements. 

You started the improv women’s showcase BLUME (Boss Ladies Under Musical Elevation) in Melbourne back in 2017 and another jam night in Alice Springs in 2018. What do improvisation and jam sessions mean to you, and how important is collaboration?
I love this question! I feel very strongly about improvised music because I feel it is how I have learnt how to play. I remember in the beginning of my musical journey going to friends’ parties where there was jamming going on and I longed to be a part of the jams but found that I had SO many insecurities to break through to feel like I could. It took a long time before feeling comfortable with feeling uncomfortable basically. I then became super passionate about creating warm and nurturing musical environments for people to be able to break through their own fears as I did. I firmly believe that music is for EVERYONE and you don’t need to be a virtuoso to play. For me, collaboration is an essential part of how I grow musically. 

List a few of your top dream artists to collaborate with or perform with and why.

I would love to collaborate with Moses Sumney! His backing vocal arrangements inspire me so much. Would also LOVE to collaborate and perform with Jacob Collier! I feel we share a similar philosophy on music and he just seems like the biggest sweetheart!

You’ve only had one other release under your solo project Neeko, with your debut single ‘Deep Sea Diver’ last year. How does ‘How Deep?’ compare to this and what evolutions has your music taken on over time?

These songs are most definitely connected. How Deep? is the antidote song to Deep Sea Diver. I recorded Deep Sea Diver in my room last year which was a really beautiful intimate experience. I have very limited knowledge about recording so it is much more lo-fi than How Deep?. Recording with Jon definitely allowed me to create a bigger sound that I would not have been able to do on my own.

What’s next for you?

I have another single coming out in October before dropping the whole EP in November which I’m very excited about! I would love to be touring this music next year but I guess we will have to wait and see given the current state of the world. Fingers crossed for us all!

Finally, where can we stay up to date with future Neeko releases? Plug yourself!

You can find me on instagram as @neekomusic which is where I post all of my upcoming things. If you would like to check out my music head on over to Spotify or if you want to purchase my music go to neekomusic.bandcamp.com and buy a song for only $1.50!

Neeko Facebook Neeko Instagram Neeko Spotify Neeko Bandcamp

Where are you currently based?

I’m currently based in Toronto, ON. It’s become my home over the last five years. We’ve been making good cocktails and good music.

How did you first start playing music?

I started playing music when I was 15. I have two musical parents and originally viciously rejected playing any instruments/being musical. I found it naturally when I got into my early teens and ironically became really inspired by all the music my parents had played around me. Pink Floyd, Neil Young, The Rolling Stones, Carol King – that’s what I grew up listening to.

What’s been happening recently?

Publicly, nothing. Behind closed doors, the creation of an entire world. We’ve been redefining what “Sam Drysdale,” means artistically. I have love for my debut EP “Vicelove,” but it didn’t fulfill me. The project we’ve just finished was truly synthesized in my blood.

Your new single “Dream About a Girl” is out on August 25th, what influenced the sound and songwriting?

The soundscape you’re hearing is the brainchild of super-producers Andrew Martino and Joey Verskotzi. We wanted to capture something that had lyrical weight but also some tempo. The idea for the song actually came to me in a dream that caused me to question the relationship I was in at the time.

How did you go about writing “Dream About a Girl” and what does the single mean to you?

I wrote this song with Andrew “Marty” Martino and Alexandra Soumalias on a day that I had no intention to write a single – it seems to always happen like that. We originally wrote the song with the mindset that it was a ballad but Marty insisted we put some thick snares behind the verses and the song really took shape from there.

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

The record was produced by Andrew Martino (Toronto) and Joey Verskotzi (Los Angeles) and was mixed by Howie Beck. Mastering was done by Noah Mintz at Lacquer Channel Mastering.

How did you approach the recording process?

Honestly. The most important factor in the creation of this record has been relentless honesty. Lyrics are the world to me and making sure we had painted the picture as articulately as possible was crucial for me. I’ve also recently discovered how to be more laid-back in regards to my vocal delivery and it has given me a lot of space to experiment.

Who are you listening to at the moment?

I try to keep my playlists fairly fluid but I think you’d probably find an overwhelming amount of; JP Saxe, Alexander 23, The Weeknd, John Mayer, James Blake, Talk, Pop Smoke, and 6Lack.

What do you like to do away from music?

I like cocktails with playful garnishes. Preferably in the sun and close to the water.

What’s planned for the remainder of 2021?

We’re going to begin introducing people to this world we’ve created. More music, more visuals, more live shows. The only thing I care about is making a deep stamp on this industry and showing continuous thanks and appreciation to my team for having my back.

Favourite food and place to hangout?

There is a restaurant in Toronto called Manita that I believe makes the best Burger in the world. From there I’ll typically end up at a dive bar. Usually Local’s Only or Laissez Faire (Toronto). The grungiest parts of Hollywood also have a special place in my heart.

How do you think this EP represents SoSo as a band now, compared to the band you were when you first came together?

One of the cool things about this EP is that you can see the different influences shine through depending on the track. “Skywriter” for example, has hints of alt-rock or prog that had stuck around from old projects. “Yeah Nah” on the other hand is probably the most straight up Punk song we’ve done and is probably a pretty good indication of our goals to play Offensively Average music and just straight up have a damn good time. 

“I Wouldn’t Call This Success…but It’s Close Enough” shows us developing our sound and identity. Having learned from the first EP, our new stuff is more focused, and with greater production influence from Mr Stevie Knight. We’ve started playing some of these tracks live because to be honest it’s kinda hard not to.   

Is there a particular track/s that still stick out for you as a fave?

For me “Wasted Time” has to be the standout from this EP. It’s not as radio friendly as perhaps some of the other tracks with it’s long build up, but I’m stoked with how it turned out. It’s fun as hell to play live and Rhys’ lyrics really hit those nostalgia feels. 

‘The Great Escape’ is the single we heard before the full EP came out; can you tell me a bit about how that song came together, and what you like most about it?

“The Great Escape” started out as one of our more traditional up pop-punk tracks. The chanted “check this!” which is my personal favourite part of the song came about during the very early stages of writing the instrumental, and the rest of the melody was formed around that. We tend to write all the instrumentals first, so coming up with a melody that fit with the chorus lead was super important.

There’s some great tunes on here that make us miss live touring – what do you miss the most about constant shows?

Unfortunately, I don’t think we’ve ever had the luxury to have a consistent touring schedule! Our first ever show was cancelled in the first COVID-19 lockdown, and it’s pretty much continued with that theme since then. We did manage to string together a couple of shows with varying levels of restrictions in place, and especially when we were able to have a standing crowd, the atmosphere was awesome. I think people are really hungry for live music at the moment, so there’s a LOT of brilliant chaotic energy in the room.

You guys were getting some good momentum going as live performers before we went back into lockdown, too. What has been the best thing about playing with your bandmates? 

Apart from the standard drinking beers, hanging out with your best mates and getting rowdy, one of the coolest things about playing shows has been experimenting with lighting and effects. 

If people are going to make the effort to navigate the restrictions and take a punt on the show being able to go ahead, then you bet we’re going to try make it worth their time. Plus, even just the smoke machine on its own is a bloody good laugh.  

How important has music been for you during the last year or so?

It’s hard to explain without sounding like a total cliché but music is pretty much all we do! Whether it’s writing new material, coming up with ridiculous ideas for skits and merch, or just hassling our mates to come out to shows.

If there is anything about this EP, what is it about this record that is gonna keep the fires burning until we can see you guys live again?

With any luck it won’t be too long until we get back to playing shows (fingers crossed). Until then we might have to go back through the archives for all the dumb content we took while writing the EP to see if there’s anything we can release to keep you guys entertained. 

I Wouldn’t Call This Success..But It’s Close Enough is out now.
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What’s your favourite gig that you’ve ever played at and why?

Space NYD Would be definitely be a highlight for me, Kobra Kai played early in the day to a wicked crown, and then I ended up hosting High Contrast’s set to a packed crowd absolutely going mental. Being NYD everyone was ready to party and line-up didn’t disappoint.

You just released new music, what made you drop it now?

I think it’s time, it’s relevance with the single people can relate too, my commentary on life and how I perceive what we’re all going through.

How would you define your style of music?

I am a mixed bag, this release is more of a modern hip hop vibe, however the other tunes on the release are definitely more grimey. Previous releases have been very Boom Bap focused solo, and with a mix bag of all underground bass music with Kobra kai.

Have you ever written songs that were more a fantasy than based on real life?

Every rapper exaggerates the truth to some extent, I have definitely framed some lyrics around fantasy more than real life. I am not a massive storyteller, however there’s been some moments over the years for sure.

Tell us about your upcoming album:

The new EP is all 140bpm and the production handled from 3 producers from the UK – Kayos, A-Zee and Chedda. It’s me having fun over a few different styles, however staying consistent on the same BPM. Some serious, some not so, but I think cohesively it works as a project hence the release. You have varied sounds, Who are you is a beat circa Boy in the Corner, where Voices just has a heaving Bassline. The two singles On Sight, and No Sleep are also completely different to one another. There’s a lot of variety across the release and it’s only 4 tracks.

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Worse For Wear x The Partae 

What is your name and role within the band? 

Hi, I’m Curtis Heinz and I am the lead vocalist and guitarist in Worse For Wear Where are you currently based? 

Currently based in Brisbane 

How did Worse For Wear form? 

A mutual friend introduced me to our drummer when I moved to Brisbane. We hit it off and  started writing. Not too long after that I convinced my brother to make the move up from  Adelaide and play Bass. That was back in 2013 and we’ve never looked back. 

Your new single ‘Don’t Look Down’ is out now, what influenced the sound and  songwriting? 

This song was influenced by our pop punk roots. We reworked the song to be a fast 2min  singalong as a homage to where we’ve come from. 

How did you go about writing the single? 

As mentioned, it was a previously released song that we had all connected with. We wanted to  bring it back for our debut and thought that moulding it to fit the flow of the record was the best  way to go about this. 

What does this track mean to you? 

This track is special to me; the lyrical content is dark and reflects on an experience that has  stuck with me for many years. Be sure to check on those around you. 

Your new album will be out September 3, what was the process of writing an album like  for you? 

This record, being our first full length body of work, includes songs that span our whole  existence of being a band. It was a slow burn. Also, this being the first time we were able to  demo and really spend some time on the production and flow of the songs made it possible to  create our best music to date. 

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

We were lucky enough to work with the very talented Nick Wilkinson. He was a one stop shop  and is responsible for what you hear on Sure To Leave A Mark.

Please tell us about your collaboration with We Set Signals Nick Wilkinson, how did it  come about and what was the process like? 

We had met Nick previously around Brisbane, playing various shows. We also became familiar  with some of his production work that we were very impressed by, so when the opportunity to  work together arose it was a no brainer. The process was great, and his knowledge and skills  really brought our vision to life. 

What’s planned for the remainder of 2021? 

We, like everyone in the music industry currently, are hoping to get out and play shows. We are  rehearsing and in the process of putting together a new live show which we cannot wait to  share. 

Who are you listening to at the moment? 

Currently I’m really digging Modsun’s “Internet Killed The Rockstar” record. It’s on repeat! What do you like to do outside of music? 

On weekends I love to get out and play golf. 

Favourite food and place to hangout? 

At the moment you can’t go wrong with all the top notch restaurants down at Howard Smith  Wharves in Brisbane. The lads and I are always up for a long lunch!

What’s the creative process like for you?

It varies! I’m a big believer of the idea that a song knows where it wants to go, and will reveal itself in due course. If I wake up wanting to write a song, I likely won’t write a song that day, or at least a half-decent one. I do have some methods I use to help eke a song out, like being in a room with a writer far more talented than me, or sitting behind my piano alone and crying about something that happened yesterday.

Your single Pretty Young has a pretty cool music video with the story of your life playing out in a cinema. Can you tell us how this idea came about and what it represents?

The song itself has the ability to be seen as a young person reminiscing about being young, which it is in a way. But for the music video, I really wanted to capture my childhood as much as possible, to show the viewer/listener how much I have changed since I was a kid. How joyous and uninhibited I was. My mum has always had a harddrive of old photos on it, but it wasn’t until I went through it that I found all these videos of me as a kid that I’d never seen before. Seeing yourself as a child, knowing it’s you, but not remembering ever doing what you’re seeing on screen, is such a trippy experience.

Can you tell me a bit about your inspiration for ‘Pretty Young’?

As I said, this whole EP was brought together by songs I either wrote with someone more talented than me, or wrote sat behind a piano, crying. Pretty Young came from the latter. You never know where a song is going to go when you start writing, obviously, so I started penning this really nostalgic look back on when I was a kid, but got to the end of that first stanza and realised how silly I thought it was to be nostalgic for something that was so recent. That’s how the song turned into me comparing just how different and similar I am now, compared to when my age was still single-digits.

You have a new EP coming out on August 13 titled Pretty Young, what can we expect from it, and what’s currently your favourite track?

I love writing about personal experiences. I believe a song hits twice as hard if you know it’s about something the artist had to get through and learn from. The whole EP is filled with those songs. Little diary entries of my life so far. It’s so hard to pick a favourite song, but if I go by the song that means the most to me, it’s Pretty Young. It’s the only track on the EP that I wrote fully myself from start to finish, so it holds a special place in my heart. The unreleased single too, Everything to Lose, is such a groovy, funky song it’s ridiculous. Completely out of my comfort zone and such a tune.

I heard that you recently moved back to LA for a new role, and contracted the Delta Strain of COVID-19, can you tell us more about that experience?

Yes, and yes. I was living in the States for two and a half years and eventually moved back to Australia for a few months in April of this year, to expand my fanbase there and see family and friends again. I came back to LA mid-July, and a week and a half later I tested positive for COVID. It just sucked so much, timing-wise and the physical sickness part, obviously. Three days of the worst flu I’ve ever had times 10. At the peak, I couldn’t lift my head off my pillow without feeling faint. I’ve seen some people calling me out for complaining about my symptoms, which is entirely not the point I’m trying to make. I’ve got a platform, specifically targeted towards young people, and I want to use it to tell people to get vaccinated. I was lucky to have gotten vaccinated when I came back to the States, and it still hit me off my feet. Who knows how bad it would’ve been if I was unvaxxed.

So we know you can act, we know you can sing, what do you do in your spare time? DO you have any spare time??

I’m lucky to have two simultaneous careers that stemmed from hobbies! I love music and movies, and I get to make both of them, insanely lucky. I like playing sports and video games too, mainly as social activities. I like being with people whose company I enjoy, no matter what we’re doing. Alcohol is encouraged.

What does the next 5 years look like for you?

Who knowwwwwws! I used to be one of those people who planned year by year schedules, knowing what I wanted to do in 2025 before 2020 even started. The pandemic changed my whole mindset there, I’m much more of a daily person now. I focus on what I can do today to make tomorrow better for me and the people around me. Sticking to that has done me well so far.

Is there anyone you would like to collaborate with?

I’m in the fortunate position of being able to think about both actors and musicians I’d like to work with in the future. I’ve always wanted to work with Tom Hanks. I just love how he works and his humility and kindness on set. He’s definitely someone I try to mirror when I’m on set. Him, Taika Waititi and Florence Pugh are actors I’d love to work with in the screen industries. Music-wise, being onstage with Lewis Capaldi, Aloe Blacc or Billie Eilish is my absolute dream.

What bands have influenced your sound?

I feel like, sound-wise, I’ve been told which artists I’ve been influenced by by other people more than realising my sound influences myself. Artists like George Ezra and James Bay have been thrown at me, both of which are massive compliments. I’ve always felt like I was influenced more by the artists I listened to while I was growing up. Less in a sonic way, moreso in how my love of music was formed from a young age. I would go on road trips and short drives with my family and listen to their favourite artists, like my dad’s The Eagles and America, my mum’s Kenny Rogers and Poison and my brother’s Triple J tastes. Those drives are where I believe my passion for music started growing.

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