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Photo Credit: Amaya Lang
Where are you currently based?
On Gadigal land of the Eora nation aka Sydney.
How did you first start playing music?
When I was little I copied everything my older sister Jeanie did. She brought a guitar home one day when I was 10 and I adopted it. I was painfully shy back then so I started writing songs as a way to communicate.
What’s been happening recently and how has your Covid experience been so far?
As weird and depressing as a lot of things have been politically/globally/
In terms of music though, I have missed playing shows and watching live music a lot. Having an imposed break has made me really appreciate it. Now when I go see live music you can hear a pin drop because everyone is so focused on the music. The audience is soaking up every note. I haven’t played a live show since I left Australia in September 2019 which is weird after playing every week or so for years. Can’t wait to get back on stage.
You were overseas in 2019 and then came back to Australia due to Covid, please tell us about what you got up to:
I had wanted to live in Europe forever and got a three year working visa for the UK in 2019. So I released my second album Hysteria! in September 2019 and a week or so later I left. I spent three months in London, three months in Paris and three months in Athens walking 20 kilometres a day exploring the streets, parks, music, galleries. I taught myself a music recording program called Logic and wrote songs every day and demoed them in Logic. I was basically by myself working on my craft with jobs on the side to fund adventures.
Then in Athens, I was working for an NGO supporting LGBTIQ refugees and the situation politically got pretty scary – there were anti-refugee riots and people started burning refugee camps in Lesvos. They had to shut the shelter I worked at due to threats so I lost my job. The next day I got an emergency text from the Greek government saying a lockdown was going to happen because of COVID and no-one could leave their house without a permit. Trump announced he was closing the US borders. My family called and said Morrison was about to do the same. I had to make a very quick decision. I didn’t even have time to tell my landlord I had to leave and threw all my shit in a bag, went to the airport and got the first plane back to Sydney I could. It was the right decision – it would have been hard to stay living alone in the current climate. And now seeing all these stranded Australians still trying to get home 14 months later.
Your new single ‘Waiting For Time’ will be out on Feb 16, what influenced the sound and songwriting?
I wrote this song walking around London with a heart that fell full and empty at the same time. When I left Australia I had just fallen in a terribly timed romance. I decided to leave anyway with the hope and a promise they would join me eventually. This song is about feeling in limbo, wondering when and if I’d see them again. Talking to them on the other side of the planet at odd times of day and night due to the time difference.
In terms of the sound, I penned the term Stargaze for this new collection of songs I’m releasing this year. Think shoegaze but instead of looking down you look up at the stars, trying to absorb and reflect the sound of their beauty, darkness, silent noise, infinite space, twinkling hope in the distance. I’m always using the stars for inspiration.
How did you go about writing Waiting For Time?
I wrote it in winter in London when I was feeling pretty lonely but also experiencing a weird long-distance love bubble. I didn’t have a guitar at the time so I wrote it on bass with lyrics and melody and stitched the rest together in a kind of patchwork from random recording sessions in Paris, Athens and Sydney.
Where and when did you record/produce/master and who did you work with?
When I got back to Australia during the first wave of COVID, I did a (socially distanced) session at Harvest Recordings in Marrickville to get the bones of the song down. Kat Ayala laid down some beautiful lush guitars for it. And Sarah Fenn-Lavington smashed out drums. I co-produced the song with Ben Moore (Harvest Recordings), who also added his guitars and synths. We kept layering things on, rearranging, adding things and taking them away. It was the first time I’d worked on a song in this way and the first time I’d worked closely with a producer. It felt so good to collaborate creatively like this in a safe place – my living room mainly. We did vocals in my bathroom and Ben mixed it too. I got Casey Rice in Melbourne to master. I’m really proud of where it ended up sonically.
Who are you listening to at the moment?
RVG, Vagabon, Arlo Parks, Spiritualized, Sol Seppy, Brian Eno, Grouper.
What do you like to do away from music?
Spending time in nature mainly. Solo swims at the beach, exploring rock pools, I love going on ferry rides in Sydney and taking my dog for walks near water. Also I love my friends and laughing as much as possible with them.
What’s planned for the remainder of 2020 going into 2021?
I’m working on and releasing a bunch of new songs this year and going to work with a director for a special music video or two. Mostly I’m excited about rehearsing a new set with a new band and getting back on stage on on tour as soon as possible/
Favourite food
Cheese
Favourite place to hangout?
Lady Bay and Camperdown Park 
Where are you currently based?
All four of us are based right here on the Gold Coast within about 20 minutes of each other.
How did Chutney form?
Chutney formed in late 2019! We all had our own separate musical projects that we had been part of. I (Matt) wanted to try a different sort of genre from what I had been focusing on at the time and wrote a few indie-rock numbers. I had brought these songs to Cal (Guitar) and Pat (Bass) and we decided to form this little project. Andy (Drums) came on board after a few of the first songs were written out and the rest is history.
What’s been happening recently and how has your Covid experience been?
We were only really just starting out as a band when COVID first bared its teeth so our mentality was to use that time to get all the structures in place for a successful post-COVID world. We tried to work on refining our sound, building a brand and creating an image… as well as write lots and lots. As things opened back up we snatched up any and every gig and it’s honestly worked quite well.
Our focus recently has been writing the years worth of music out and getting ready for our Invisible tour.
Your new single Invisible is out now, what influenced the sound and songwriting?
I wrote the basic chord structure and lyrics after watching Elton John’s Biopic “Rocketman.” I was particularly taken aback by one quote – “Real love is hard to come by. So you find a way to cope without it.” I thought it was kinda sad that there are those who feel they aren’t worthy enough to be loved. I thought it was a pretty heavy notion, however its those sorts of ídeas/moments that I love writing about.
How did you go about writing Invisible?
My little moment of inspiration came halfway through the movie so I made a little voice memo and got to it later. I had some pretty chords I was playing with so I wrote the whole song that afternoon. That same week we came together and played it as a band and pretty much had it 95% complete, it was one of those ones that just falls into place I suppose.
Where and when did you record/produce/master and who with?
We recorded with our long time collaborators Scotty French from Love St Studios and Paul Blakey for Mastering. We’re always happy with the sound we achieve with these two and honestly recording with Scotty is such a good experience.
You have a tour coming up this February, where are you headed?
The tour is just a small one to showcase our single so we are doing 2 shows in Brisbane and 2 shows in our hometown. You can find us at Black Bear Lodge (18th), Elsewhere (19th), Vinnies Dive Bar (27th) & Greaser Bar (5th).
How do you prepare for live shows and what can we expect?
It’s pretty much just about getting into a rehearsal space a few times before a gig and making some noise. We have an array of music, from faster numbers to ballads, but I think for the tour we are gonna keep it as energetic as possible. We also have a bunch of new music to test out which is exciting.
Any new music on the way?
Yes yes! We have around 10 tracks done; it’s just about choosing the right ones at this point if you know what I mean. There’s about 3 of them that are worthy of being the next single… time will tell which one we pick.
Who are you listening to at the moment?
I’ve been getting around the local scene ALOT recently. Beddy Rays, Sycco, Girl and Girl and Local Safari come to mind. I’ve also been absolutely smashing Fontaines DC recently. Absolutely love their sound.
What do you like to do away from music?
We are all quite a close group of friends; so just hanging out on weekends and playing any sport we possibly can or having a bit of a drink. We also love checking out any of the local artists that we can. There’s so much good music coming out of the Gold Coast, you don’t need to leave the city to enjoy an amazing show.
What’s planned for 2021?
The next thing will be our follow-up to Invisible and the tour. We want to get out to a couple of the major capitals of Australia (COVID pending) but really we just love playing shows and writing music – so we will continue to do that.
Favourite food and place to hangout?
Definitely our local pub the Lonestar Tavern in Mermaid – or perhaps Options for Andy 
We may spend a bit too much time there.
Where are you currently based?
Geographically, in Melbourne, emotionally, somewhere on another planet.
What’s been happening recently and how has your Covid experience been so far?
We’ve just come back from seeing our beautiful friends & family in Perth which was such a huge opposite to what our COVID experience was. No friends to so many friends, feeling depressed to crying with laughter. The only constant has been we drank and ate way too much.
Your new EP ‘Starters & Appetizers will be out Feb 19 2021, what influenced the sound and songwriting?
We wanted a bright, 80s pop sound that sparkled with a little mystery & weirdness. We wrote all the songs during lockdown so a lot of those feels are incorporated into a few melodic moments and definitely through the lyrics. When you’re stuck at home by yourself, you start reflecting on things a little too much, and so a lot of the lyrics are reflections on past experiences and feelings.
Where and when did you record/produce/master and who with?
We recorded & produced everything in house, and by that we literally mean in the house. Noni recorded vocals in a wardrobe padded with yoga mats. One of our super talented friends Joel Dowling mixed all the tracks for us – all of his stuff is bloody incredible and has worked with so many cool artists like Matt Corby & Samsaruh.
The EP covers various topics of depression, anxiety / social anxiety, heartbreak and finding out who you are, how did you approach the writing process?
It was different with each song… For Jules, he would be up late with a bottle of wine and a MIDI keyboard – definitely how all the melancholic magic happens. For me, I would often lock myself in a room and listen to the Jules’s track over and over again until something stuck. One of the songs took 10 minutes to write, the other took 5 weeks. I think that time alone & apart from each other allowed for an introspective & emotional canvas.
Please describe a bit about the background of each track:
Track 1: Butterflies & SSRIs
This is an instrumental track that we hope paints a melodic journey about addressing depression & anxiety through therapy and medication (SSRIs) and finally being able to function and see the world in colour for the first time. For Jules, this has been a super long journey and so we felt it would be perfect to open the EP with an instrumental that would frame the topics of each track after – there are a bunch of different elements that you’ll hear repeated in other tracks to draw the whole thing together.
Track 2: Ultra Passion
We originally released this Nov 1st last year. Ultra Passion is about foolishly jumping into a bad relationship with your heart on your sleeve and having it break your heart. For me, this recounts a particularly heartbreaking time in my life. The first line sums up the song: “21 and a fool, we didn’t know what we were doing.”
Track 3: Sober Spaceman
Another re-release from last December. This one is about being held back from making decisions in life for fear of disappointment and living life passively on ‘autopilot’ because of crippling anxiety. Almost like you’re floating through space, unable to redirect where you’re going in life and finally sobering up to the reality of the situation.
Track 4: Sad Champagne
Is about trying not to jump into a relationship after heartbreak – not wanting to be alone, but knowing that you need to be alone to heal, and reflecting on the brokenness of past relationships.
Track 5: Private Wine
Story through an introvert’s eyes at a party and struggling to ‘be normal’ and fit, because of social anxiety. I wrote the lyrics to this one with Jules in mind. It’s about finally finding your rhythm and ‘dance’ in life, something we both found in 2020.
What did you find most challenging and rewarding through out the creation of the EP?
I think its always tricky working with your romantic partner, and we both have very different working styles and processes. But the reward was the fact that we produced this together and got through it on the other side and we still like working together.
Who are you listening to at the moment?
I’m listen to RAYE (@raye), LEON (@Leon), & SayGrace (@callmesaygrace). All powerhouse female artists.
What do you like to do away from music?
Personally I like to binge watch TV shows on Netflix, nap, eat and clean – I guess classic traits you’d find in most Racoons. For us, a perfect day is a drive down to Mornington listening to music and then grabbing a gin & tonic.
What’s planned for 2021?
Fingers crossed our first show! We’ve got a bunch of new singles lined up after the EP (some cool collabs in the mix). Also a sneaky music video or two.
Favourite food and place to hangout?
Definitely Japanese – we are huge suckers for ramen, particularly Shujinko in the city, hands down best ramen in Melbourne. I love a trip to the National Gallery of Victoria – it’s super igniting on a creative level, plus I love to make memes out of the Renaissance paintings.
Where are you currently based?
Montreal, Canada
How did you first start playing music?
Picked up a bass at age 16 after listening to (and being blown away) by Steve Harris, the bass player for Iron Maiden. Haven’t been into metal for a while, but that’s how it all started.
How has your approach t0 creating music changed over the years?
I’ve been in an indie rock band for many years, and for most of that time, our approach to music involved jamming out complete songs. Lately, we’ve been more into splicing parts together on a DAW. And for my solo work, I write beats, jam out a live bassline over them, and add on keyboard parts on that.
What’s been happening recently and how has your Covid experience been so far?
I’ve been lucky: COVID hasn’t impacted me that much. Musically and otherwise, things have been relatively normal.
Your new single ‘Teacups’ is out now, what influenced the sound and songwriting?
The feel and mood of the song was inspired by Yves Tumour’s album Serpent Music. Amazing album, by the way. I love the field recordings in the album and just the feeling of mystery.
How did you go about writing Teacups?
Teacups started with a beat I tapped out on my knuckles, and then recorded. I then added a reverb effect and some drums, and the bassline. I put a melody over it all using a keyboard patch. Lastly, I put some field recordings of my daughter playing with a small porcelain tea set and talking, and saturated with reverb.
Where and when did you record/produce/master and who did you work with?
My first LP – called The Gamins – was recorded at my home studio. I did the mixing myself, and mastered it online. In my band we’ve used other people to mix our stuff quite a bit – but for Nimrawd I felt it made more sense for me to do it myself. My music is very lo-fi and intense – so the album was forgiving of my possibly inexperienced mixing technique.
How did you approach the recording process?
I start by tapping out a drum line on my iPhone, more often than not. Next, I put a live bassline down. I feel that live bass is key to my music. There’s something about the analog nature of it that really just lets the rhythm breathe and open up. I then add other instrumentation on top. The actual “recording” process will typically happen over sessions that last a few hours. Then the arranging and tinkering happens. I’ll do that over a period of months, in short bursts – sometimes of just a few minutes.
What programs/instruments/equipment did you use?
iPhone for beats. Sometimes an iPad, sometimes a drum pad. I used a Warwick fretless 4-string bass for all the basslines. Everything was recorded on Logic Pro and using MIDI patches.
How did the concept for the Teacups video come about?
I felt the song had a movement to it, and one day the idea of doing a ballet-type of video came into my head. It just felt right.
Where and when did you film/produce and who did you work with?
I hired a dancer on Fiverr to do it. It’s crazy what you can do online these days. I sent her the song, the words my daughter says in the music, and she took it from there. I gave her full artistic freedom to do what she felt was right, and I think she did a great job.
You have an LP to be released later in 2021, how has the progress been so far?
The progress has been great. In fact the album is mostly done – but with a big asterisk. I have a series of songs, but I need to make sure they work as a whole. I also need to see if I need to add a new song to make sure I’m covering all the styles I’d like to have on the LP. And, of course, there might be some situations where I have to cut a song I like because it doesn’t fit with the others.
How are you approaching the creation of the LP?
I would say the songs on this new LP are a bit more electronic foused, and less “beat tape” focused. I’m also experimenting with shorter “ditties” which push the music a bit more in terms of experimentality.
Who are you listening to at the moment?
Ras G, Madlib, Mike Ladd, Actress, Brian Eno, Dakim, Inga Copeland, The Beach Boys.
What’s planned for the remainder of 2021?
Complete the album, and start the next one. I’m in a bit of a netherzone right now. Once I’m nearly done with an album I find it hard to really get into new songs. I’ve started experimenting with some texture ideas, but the next step is really to release my second LP.
Known for his worldly folk sound, BOCEPHUS KING (James Perry), has played music for crowds around the globe as well as collaborated with master musicians from all over the world, and quite fittingly. Bocephus King carries a sound from places near and far, familiar and foreign, rooted in folk tradition and infused with his contemporary, unique approach. He is a troubadour through and through and his ability to connect with his listeners transcends cultures.
“I wrote this song wanting to start with a first-hand account of the modern version of this gypsy-style life and to finish with a reminder of the very message the original Troubadours tried to hide from the dreaded, soulless inquisition. That is this: enlightenment is a choice, everything you need dwells in you. You are the universe trying to understand itself. You don’t need a middleman to reach spirituality.” – Bocephus King
Where are you from and where are you currently based? Born and raised Australian, from Western Sydney. Sacrificed the sun and moved to East London, 8 years ago!
How did you first start playing music?
From a young age I was given a “thing” by my parents, something to keep me preoccupied and out of trouble. Some get sports, others dancing, it was singing for me.
What’s been happening recently for you and how has your Covid experience been so far? I managed to put out a record through the pandemic, so most of 2020 was based around that. Kinda think it was a good thing, kept me busy in what was a really difficult year. Always trying to see the silver lining, I learnt a lot last year and was forced to think outside the box creatively.
Your new single ‘Revolution’ is out now, what influenced the sound and songwriting?
Revolution was written in 2019 about the person who brings out the best in you, encourages a change within. I love the Woodstock era, empowered female singer-songwriters like Joni Mitchell and Janis Joplin. I suppose they inspired the sound in many ways. Some songs go on to have more depth as they exist in the world, the more I lived with Revolution the more meaning it had. In light of 2020 and the shift in global conversation about equality across race, gender, environmental justice – Revolution was that song I put out to help face the days with.
How did you go about writing Revolution?
I took in the concept, I’d seen a street sign in capitals saying “Revolution” on the way to write. Small things sometimes funnily inspire songs. I wrote it with Paro Westerlund and Professor P in Sweden. Professor P specialises in lyrics predominantly, I was working on my storytelling at the time and it really helped to have those two to bounce ideas off. To take such a grand concept and make it into something relatable and close to home – that was tough. So happy with how we managed to make it work though!
Where and when did you record/produce/master and who with?
Revolution was written in Sweden, but produced over in LA. I’ve always been really lucky to have people believe in my songs and get on board because they’re excited by it and wanna see me win. Onree Gill produced the track and got the gospel choir Ella + Q to record over it. Onree’s worked with Alicia Keys, John Mayer, Gwen Stefani and Ella + Q with Prince and Whitney. I mean, I’m just a small town girl from Western Sydney so pretty mind blowing! We then had additional production done by a Maestro The Baker, a Grammy award winning producer here in the UK.
How did you approach the recording process and what did you find most challenging and rewarding?
I executive produced my album “Hunger” alongside Joe Garrett and my managers, I think getting 12 songs and bringing them into the same sonic world proved to be our biggest challenge. Even now there are a few different sounds across the album, but we managed to get them all sounding like they lived in the same world. No one ever prepared me for listening to 7+ mixes per song, but it was so important for me to be a part of that process.
Who are you listening to at the moment?
I’ve started to rehash some 2000’s power pop women Robyn, Gossip, Florence. Also I’m always listening to Bon Iver, James Blake, Ólafur Arnalds.
What do you like to do away from music?
I spend a lot of time away from music walking in nature, which helps me to clear my mind.
What’s planned for 2021, what other projects / releases do you currently have in the pipeline?
I’m taking this new found down time to focus on writing songs for other artists, I have a few features I’m excited about coming up! I’m also working on a side project in the dance world which is nothing like anyone’s heard from me before called AR/CO, so watch this space.
Where are you currently based?
I’m currently based in Bergen, Norway. I moved here 10 years ago to study and ended up moving here permanently. It’s actually one of the cities in Norway with the most rain. Guess that helps out if you want to sit inside and make music
What’s been happening recently and how has your Covid experience been so far?
Oh, where to begin. The past year has been pretty special. I’ve had sessions over Teams and been at home for the most part. Really looking forward to start playing festivals and shows again!
How did you first start playing music?
I started as a DJ just for fun in 2009, and after a couple of years I decided to try out producing. A lot of YouTube tutorials and so on. I still perform as a DJ, but my main focus is producing at the moment.
Lovespeake and yourself have a new single ‘Me In The Middle’ on the way, how did you come to collaborate with Lovespeake?
We first met at a songwriting camp hosted by Sony Music in Oslo. Made a quick demo together and decided to work again later. So, when I heard his draft of “Me In The Middle” I was sold!
What influenced the sound and songwriting for this track?
We want the listener to feel energized and listen to the track when they try to achieve a goal. At the gym, studies, work etc. I think this motivation helped us shape the track to how it sounds today. I heard our first demo over and over at the gym and came up with new ideas every time.
How did Lovespeake and yourself create Me In The Middle?
I heard his vocal draft of the song in the end of 2019. We sat a session with Jesper Borgen in Oslo and met up to write new verses and start to set the arrangement. Later we worked over Teams and sent ideas back and forth. We tried to set a couple of sessions in Oslo during the pandemic, but every date we planned landed on a new quarantine, so we finished it with online sessions. Luckily, we had similar ideas for the track, so this didn´t slow us down.
What programs/instruments did you use?
I work in Ableton Live, and on this project I used a lot of Serum and Kontakt for the “future bass”-sound with decapitator/devil-loc to crush the synths a little extra. For the verses and pre-chorus Jesper Borgen played piano/guitar over the synths to get the human feel, and then we fooled around with different recordings of stuff in the studio to make the percussion unique.
How did you approach the recording/
We did the vocal recordings at Jesper´s studio in Oslo, and I also presented my first draft of the drop there. After that I continued the production at home and we sent the files to each other. The master is done by Chris Samson at Propeller Mastering in Oslo.
What did you find most challenging and rewarding during the creative process?
The distance is of course the biggest challenge in this situation, and I think the most rewarding is that I learned to do online sessions. Have a few really nice ideas ready.
What do you like to do away from music?
Now that we have a lot of snow here in Norway, I like to spend time skiing in the mountains. It´s one of the few activities we can do and still keep the social distancing.
Who are you listening to at the moment?
I´ve been listening to Seeb´s new album lately. It´s so good.
What’s planned for 2021
I do have some festivals planned, but we will have to see how the pandemic goes and hope for the best. Other than that, I´m very excited to release some new music this year!
Favourite food and place to hangout?
I love the food at Fly Chicken in Bergen. Fried chicken burger with jalapeno fries. Best there is!
Where are you currently based?
I live in Brisbane.
How did you first start playing music?
My cousin Dave taught me a few chords on the guitar. He had a black Gibson Les Paul and I always thought it was super cool. When I left school a bunch of my girlfriends and I went to Bali together and I ended up getting on stage with a Balinese band and playing all night. Then they invited me to play with them the following night, and the night after until I was playing with them every night on my holiday. I loved it, I went back to Australia and quit uni and started a band!
What’s been happening recently and how has your Covid experience been?
I spent my lockdown breaks teaching myself how to play the piano. I found great comfort in it, there’s a lot to learn so time off was really helpful.
You’ve got a big bunch of new solo tracks, how did the idea to write and perform solo come about?
I have a quite eclectic musical taste and I felt very boxed in playing only in The Superjesus. We are sort of expected to keep to a similar format so all my wild ideas were going to waste. I had to go solo or I would have nowhere to park my creativity. I love being in The Superjesus more now because I can get my kicks elsewhere then still come home to the one I love
How did you go about writing the tracks?
I write on piano now, it’s changed the way I approach the whole thing. I always start with a chorus, I tweak it until I’ve got a hook, then I work backwards and create the story around it. If the hook isn’t strong enough there’s no point writing the rest.
You’ll be touring Australia in March 2021, how do you prepare for live shows and what can we expect?
This tour is a different show as I’m playing two sets. I’m opening the show as a piano player and then the main act is me again but as a solo rock show. I’ve never tried a tour like this before, it’s a bit ambitious but I’m up for it.
I’ve never tried a tour like this before, it’s a bit ambitious but I’m up for it.Any shows that you’re especially looking forward to playing?
All of them!
What do you find most challenging and rewarding whilst touring and playing solo?
I enjoy seeing emotion in people, whether they are shedding a few tears in a sad song or smiling hard in their favourite rock song. I like to connect with people and make sure they have a good time because that’s what it’s all about!
Who are you listening to at the moment?
Shawn Mendes new album, I literally cannot get enough of it.
What do you like to do away from music?
Make cocktails.
What’s planned for 2021?
I’m working on a new solo record and also writing new songs with The Superjesus. Whichever project has the most songs by mid to late year will get their record made first!
Favourite food and place to hangout?
I love Italian food, my fav restauraunt in Brisbane is called Beccofino in Teneriffe, i go there a lot.
TOUR DATES 2021
Friday, 5 March 2021 – Ballina RSL, Ballina NSW
Ticket Link: www.trybooking.com/BLBWX
Saturday, 6 March 2021 – The Lounge, Nundah QLD
Ticket Link: https://bit.ly/2YieBvw
Sunday, 7 March 2021 – Wallaby Hotel, Mudgeeraba QLD
Ticket Link: N/A – Free Event
Thursday, 11 March 2021 – The Vanguard, Sydney NSW (2 x sessions)
Ticket Link: https://moshtix.com.au/v2/event/sarah-mcleod-one-electric-lady-tour-/122064
Friday, 12 March 2021 – Royal Hotel, Queanbeyan NSW
Ticket Link: https://tickets.oztix.com.au/outlet/event/07197120-234a-46ce-9497-a8bbeb6ba882
Saturday, 13 March 2021 – Brass Monkey, Cronulla QLD (2 x sessions)
Ticket Link: https://brassmonkey.oztix.com.au/outlet/event/db8ab600-1601-4dda-a83c-0a0c5b317ab6 (early) / https://brassmonkey.oztix.com.au/outlet/event/4032ae68-c6f6-43a7-aef2-8a72005b0f38 (late)
Friday, 19 March 2021 – Grace Emily, Adelaide SA
Ticket Link: https://tickets.oztix.com.au/outlet/event/c97205e4-2b2c-4501-b041-11572505d767
Saturday, 20 March 2021 – Soundcity, Port Lincoln SA
Ticket Link: https://www.soundcity.com.au/event-tix/
Thursday, 25 March 2021 – Northcote Social Club, Melbourne VIC
Ticket Link: https://northcotesocialclub.com/gig/138890417979/
Friday, 26 March 2021 – Sooki Lounge, Belgrave VIC
Ticket Link: https://tickets.oztix.com.au/outlet/event/00e88cb3-97c1-42c7-b09f-21f75f70402c
Saturday, 27 March 2021 – Meeniyan Town Hall, Meeniyan VIC
Ticket Link: http://lyrebirdartscouncil.com.au/upcoming-events/
Social Links
https://www.facebook.com/sarahmcleodofficial
https://www.facebook.com/sarahmcleodofficial
Twitter
https://twitter.com/SarahMcLeod1
Patreon
https://www.patreon.com/mcleodswolfpack
Youtube
https://www.youtube.com/channel/UCOSidUlvvKmmEa_xZ6Thpkg
Spotify
https://open.spotify.com/artist/7bIYFyhnGYw8A4kUsGtQl0?si=HywNrCBfTL20CLMjI8EdYg
Spotify Steaming Links
Chachi’s Theme
https://open.spotify.com/track/6ggVUL34RO06Lr8PP1MFpz
Bad Valentine
https://open.spotify.com/track/5O0ELGHB0xPnaMXPemqP9L
Where are you currently based?
Gold Coast, Australia.
How did you first start playing music?
I first picked up a guitar in grade 4. I had just moved schools and pretty much everyone I wanted to be friends with played in a band together. I actually started playing bass first because they needed one for the band – but before long migrated to a 6 string. I began writing songs for the band and it pretty much went from there.
What’s been happening recently and how has your Covid experience been so far?
I feel pretty guilty about this answer, but it has literally been an excuse for me to hermit in my studio and make music all day every day. It sucks that live shows had a massive break, but we’re getting back into it now.
You’ve teamed up with Namaste with your new single ‘OneNotTwo’; how did you come to work together?
Namaste reached out to me after hearing one of my tracks on TripleJ Unearthed and sent me a few beats. They were obviously talented producers so I started sending them every song I would write. They heard the chords for OneNotTwo and instantly jumped on board.
What influenced the sound and songwriting for this track?
I’d be lying if I said anything other than my fiance. The song is pretty much the story of how we met, and a sticky situation that came up super early in our relationship.
How did the creative/songwriting process take place?
I wrote the full story out one night, then spent probably the next 2 months going back and forth with Namaste tweaking lyrics. We added instruments, took them out again, fiddled with structure, changed melodies etc. but we finally decided to keep it as simple as possible, and let the story of the song do the talking.
Where and when did you record/produce/master and who with?
Hahah, I recorded the vocals in my closet with a mattress flipped up against the wall, in an attempt to mute out all the cars that were driving by. Guitars were literally just plugged straight into a Scarlett Solo that I bought from a Cash Converters for $80. Quality investment.
What programs/instruments did you use?
FL Studio till death. Not 100% sure on what Namaste uses, but they definitely have secret sauce that they dribble on everything to make it sound fucking mint. They pretty much took my ratchet demo and converted into what it is now.
What did you find most challenging and rewarding throughout the process of creating
OneNotTwo?
Honestly, getting everything ready in time. I set a ridiculous timeframe to get it sorted by and it was an absolute miracle it worked out.
Please tell us about your goal to release a new track each month of this year?
I just want to give more music to the people who have been supporting me. I think albums are the ideal way to consume music, and it’s definitely my preferred way to listen – but I just don’t feel I have the resources to properly promote an entire album of songs. When, say Drake, drops an album, he can tour the world for 6 months to a year promoting it. I cannot! Also, at this point in my career, I’m still figuring out my sound (and my life) and can’t pinpoint a musical sonic that I can stick to for an entire album. I want to just put out my favourite songs month by month, and see what happens.
Who are you listening to at the moment?
I listen to a lot of different music, but Anderson .Paak, Frank Ocean, J.Cole, Kendrick, James Brown, Earth, Wind & Fire, Doja Cat, Dua Lipa, JK-47, Dave; are all in my recently played.
What do you like to do away from music?
I fucking love cooking, I find it very similar to making music – in a weird way. Making handmade pasta, pizza, bao buns etc; I just love making dough ahah. I also love skateboarding and have been doing that since I was like 14 too.
What’s planned for 2021?
I’m fully independent and plan on staying that way, so this year I want to make as much music as I can, and learn as much as I can from every release. I’m bound to make mistakes but that’s all part of it.
Favourite food and place to hangout?
I make a pretty skitz pizza? So I would probably just want to eat that in my little apartment with my girl.
Where are you currently based?
Hello. I live in Berlin, already my whole life.
What’s been happening recently and how has your Covid/Isolation experience been so far?
In 2020 I was pretty busy releasing my music. There was the double 12″ AI on CLIKNO, then Post Techno Crisis on Goldmin Music, two EPs with my project rand with pianist Jan Gerdes, then my album Drones & Tones For The Free II under my alias Anomali and various podcasts, the last one, Yarncast072, came out just before Christmas. I also re-released seven previous EPs and albums on my own Bandcamp page. And of course, I’ve been spending time making new music. I haven’t felt lonely at all, although I’ve reduced my contacts extremely. I have to say that I live together with many people in a cool house in the middle of Berlin. That turned out to be an advantage in a situation like this. Living alone on my own is not my thing anyway.
Your new EP Muaco is out now on CLIKNO, what influenced the sound and songwriting?
Last year I read the book “Jaki Liebezeit” about the former Can drummer, which explains his rhythm system. Without being too theoretical, I adopted it intuitively and composed a number of percussive layers to achieve that mesmerizing sensation of polyrhythm that we also know from gamelan and a lot of African music. The pulse and flow were important. Another influence is Burnt Friedman, who also worked with Jaki Liebezeit, and Fela Kuti, but also drone music and techno a la Voices From the Lake, for example. Sonically, there are no influences other than the sound of the acoustic guitar itself. The acoustic feel was a premise.
How did you go about writing the EP?
I didn’t conceive the EP. I just had the idea to make a techno track with sounds of my acoustic guitar, that’s the title track Muaco, which is just a short name for MUsic Against COrona. I had so much fun with the samples that I ended up making three tracks. I wanted to release them as an EP right away, but pushed back the release date since the last year was already filled with releases. Now it feels great to launch with the Muaco EP in 2021, even during another lockdown period.
What programs/equipment did you use?
First, there’s my Höfner acoustic guitar, which I simply recorded with a Sure SM 58 microphone. All the rest – processing, sound design, arrangement and mixing – was done in Ableton Live and with the help of several plug-ins.
Where and when did you record/produce/master?
The complete music was recorded and produced at home. The mastering was done by Sebastian Mehl, a good friend with great mastering skills.
Did you work with anybody else during the creation of Muaco?
Nope
Please describe your creative process and why you create music?
The creative process usually starts with a recording of real sounds from the real world or I dig into my archive of those recordings. It’s more fun to start with something fresh and new, it triggers my curiosity about what I can do with it. The samples are imported into my computer and Ableton Live, where I assemble, disassemble, cut, tweak, modulate, pitch, stretch the material until I get stuck on a particular sound or segment. That might be a rhythmic or melodic phrase or just a textural sound. I’m looking for emotional content, at least for me. From there I add and explore, playing around with the sound clips until I have an idea of the track. I then do the arrangement live in a recording session.
I can’t answer the other question of why I make music. It’s an inner urge that drives me to do it. I can’t live without making music. I’m a sound nerd and fascinated by the impact that sound and music have and how music connects. I’m also very amused when I see people dancing to my music because I know how I created it and it might just be a random noise or a very childish, dubious instrument or just an object that I like the sound of.
Has Covid resulted in more webstreams/home-clubbing/listening?
Yeah, people are listening to more music at home now, or on their headphones on their walk or way to work. Home clubbing sounds kind of sexy to me. It’s something new to explore. I mean, are people really dancing at home? Possibly. I do, I can’t wait for the clubs to open! Web streams are very welcome, of course. There are way too many, I think. Even when Facebook launched with its livestream feature before Covid19, I quickly got bored of webstreams. It’s not just about the music or the sound anymore, there should be a narrative and a reason to do a stream and the images should reinforce that. It’s a new form of entertainment. There are interesting projects on the way. For example, what the CTM Festival is doing right now.
What has been motivating you in the last year or so with no live shows to play?
I lacked a bit of motivation, the pressure to produce. But as I mentioned before, last year I focused on releasing and re-releasing. But I know that one day there will be parties again and it’s better to be prepared. For the Muaco EP, the motivation actually came from picking up the guitar and recording some new acoustic sounds. The idea was still to produce some groovy tracks, but with a different sound concept. So I was curious how it would sound in the end and if it might work.
How do you think Covid has changed the path of music culture?
Well, apart from the crushing of any performance, I feel that many producers who felt trapped in a production process have now allowed themselves to break out and be more explorative and creative. I hope and wish that electronic music and music in general will become more free from all these commercial rules and guidelines. There is a great opportunity for music. After Covid, it won’t be the same anymore.
What do you have planned post Covid?
Kitchenparty is the first thing that comes to my mind. It’s a private event I usually host once or twice a year in my kitchen, more or less an informal gathering with friends and guests. We have DJs, live acts and visuals and usually international guests. The next one will be remembered for a long time. I also want to travel again, somewhere to get out and discover new places. I’m also curious where my next booking will take me.
What do you like to do away from music?
I’m quite interested in cultural things, art exhibitions, performances, concerts and so on. During the lockdown, a lot more happens on the net now, so I try to balance my time on the computer with going to the river and lakes and woods with someone, and I love hanging out with my girlfriend.
Who are you listening to at the moment?
Last year I discovered the London label Well Street Records. I’m very excited about that. I’ve never heard the names of their artists, but I just love the music.Lately I’ve been listening a lot to Laurine Frost’s album Lena, Kraftwerk’s Autobahn, Talking Heads’ Remain in Light, Bohren & the Club of Gore’s Geisterfaust, Wang Inc.’s Mediterraneo EP and in between music from Hubble, Steevio, Steve Reich, Burnt Friedman, Jan Jelinek, Villalobos…. ah, too many to mention…. I listen to a lot of music.
Favourite food and place to hangout?
My favorite way to spend time is at home or with my girlfriend and housemates. My other friends are getting the short end of the stick at the moment, but I hope that will change in the summer. My favorite food has to be fresh. I love raw vegetables, hummus, good bread, salad, fruits. Now in winter sometimes a hot soup.
LISTEN/STREAM
https://clikno.bandcamp.com/album/muaco
Where are you currently based?
I’ve been residing in LA for the past almost 4 years touring the American circuit.
What’s been happening recently and how has your Covid experience been so far?
2020 was pretty uneventful as it was for most musicians, but currently I’m in Australia and very lucky to be doing some covid free shows!
How did you first start playing music?
I’ve played guitar & piano since I was a child, played in many different bands throughout my teens before discovering EDM.
Your new single ‘Enemy’ is out now, what influenced the sound and songwriting & How did you go about writing Enemy with Shane Told of Silverstein who features on the track, how did this come about and how was the experience?
I’ve been doing the whole rock/metal EDM crossover thing for a while now (usually on the more heavier side) but since the lack of shows over the current year, I’ve been exploring the more melodic side of things. I originally wrote enemy using a Silverstein Acapella as a place holder and it worked too perfectly, so then I hit up Shane to see if he’d be down to write some original vocals for the tune and he was super into the idea and so easy to work with!
Where and when did you record/produce/master and who with?
I do everything myself from my home studio & Shane recorded his vocals in his home studio.
Enemy mashes up EDM with Heavy sounds, how did this mash come to be?
That’s the PhaseOne sound. Once I discovered EDM I was still very much into writing metal too, so figured why not combine them both haha.
What programs/equipment did you use?
I use ableton. For synths on this song I used the VST Serum & a guitar simulator synth called Heavier7strings.
What do you like to do away from music?
I like music that catches me off guard, I love obscure time signatures and frequent changes. Nerdy music basically haha, but I also thrive on the energy that heavy music brings.
Who are you listening to at the moment?
Northlane. Periphery. Polyphia. Fat Freddys Drop.
What’s planned for 2021?
At the moment just taking advantage of some actual shows out here in Aus. Music wise, I plan on releasing a lot more melodic music and another EP at some point in the coming months.
A ten-track blend of folk, pop, blues and jazz influences, the album showcases the strikingly poetic lyrics and inimitable sound that make Rosie one of Scotland’s most coveted talents.
Produced by Marc Pilley – ex-Hobotalk vocalist, composer and front man who is now releasing music under his own Arksong moniker. With a sound reminiscent of Billie Holiday, Alison Kraus, Patti Smith and Dory Previn, her music floats in the minds and hearts of fans long after listening. Live, Rosie has been performing for years. From Edinburgh’s renowned International Jazz and Blues Festival to Celtic Connections, to audiences in the UK and France. Throughout the pandemic Rosie has performed several online gigs and has hopes for performing live this year when gigs can return.
Her journey toward music began with a career in art therapy. After achieving an A in Higher Art, Rosie studied art therapy for two years and was subsequently offered a job with Barnardo’s Skylight Project, working with children who had been victims of sexual abuse. Although she loved being able to help people through art, the job could be harrowing and Rosie found it difficult to switch off from it. To counteract this, she began to do more of something she loved: playing music.
You can listen to the album here: http://bit.ly/3r57fZr and download the full press release, song stories, press shots and WAV of the forthcoming single ‘ Could Have Been’ here: http://bit.ly/3mwxJzhwhich is out today. The single was i nspired by a poem by Peter Roche titled Somewhere on the Way, Could Have Been is a heart-breaking account of love lost, and the hindsight that follows. It would be great if you could please include the Bandcamp link for the single which is out today: http://bit.ly/2Mbdw5Q
Where are you currently based?
Edinburgh, Scotland.
What inspired you to write your latest single, Could Have Been?
This song was inspired by an inscription in a book of love poetry which read ‘Happy Birthday, 1978. Love John. Xxx Could have been so good – (see Somewhere on the Way)’. Somewhere on the Way is a poem by Peter Roche and is a heartbreaking account of love, lost due to an inability to communicate his feelings, and of hindsight. The poem uses the phrase ‘I wanted to say….’ about several things and this, combined with the inscription and a new guitar part I had just developed, resulted in this song. A gift to a songwriter!!
What’s your song writing process like?
Oh boy, that’s a hard one to answer. Having been asked it many times though I have come to realise that where it starts is usually me noodling with the guitar, maybe learning some new skills/parts, and then playing about with this and ideas that are beginning to formulate in my brain. Eventually, a song is born!!
What’s behind the title of your forthcoming fourth album ‘Where Time Suspends’?
This album had a working title of Music is Sunshine for most of its life and it only changed on the night before the actual CDs were to be pressed! I lay awake that night wondering if I’d called it the right thing, as the original title didn’t work with the cover art (a definite) and didn’t really give much of a clue about the content either or reflect the zeitgeist. After much tossing and turning, the line ‘where time suspends’ from the song, Music is Sunshine, jumped into my head as being the absolutely correct name for the album as it leaves the listener with a sense of wondering where life will go next. It felt very apt for the times we’re living in and also perfectly complemented the ambiguity of the artwork – in my opinion :).
Can you tell us some more about the album’s production?
This, my fourth album, has been almost five years in the making and I was really enjoying the actual process of its development. Several of the songs were brought to fulfilment using the process I’ve described above and, because this album wasn’t rushed at all, they developed in a very organic way. The producer, Marc Pilley, and I have worked together on all four albums and we just thought we’d allow it to take its time and see where that led us. We had a lot of fun and creative development in the course of the five years! The way we usually work is that Marc comes to my house, we have a chat and then he records ideas and songs that I’ve written. He then takes that away and adds his musical parts to it. All of the recording is normally done that way – my loft/studio is basically a recording studio as well as my studio for making art. We only had two songs left to finish when the pandemic struck and we were unable to meet up like this. After a few months of us not getting any work done on the album as we weren’t meeting up at all, I suggested that we could try to use my Tascam recorder as a means of me being able to send him really high-quality files. After a little bit of trial and error we found that this works really well and were able to finish off at last
What is behind the artwork for the album?
The photo in the cover art is of a scene in France that I’d photographed many years ago and which I felt was incredibly atmospheric. It was always going to be the album cover as it’s one of my favourite photos and I love it as an image.
How does Where Time Suspends sound compared to your previous releases?
It’s so hard to be objective about this as it’s like asking about a favourite child, although I know that’s not quite what you’ve asked! It sounds like a development in my work, like a mixture of songs and styles that, in some part reflect my inner world and personal experience but that will also (I hope) have resonance and connect with others who hear it. Musically it records my progress as a musician and songwriter and the work I’ve put into learning the craft of guitaring over the last few years. For example, one of the songs, Choices, sprang from me having just learned the guitar part for the classic jazz song ‘My Funny Valentine’. I loved the chord progression in that song (which is the same as Stairway to Heaven btw…) and wrote the song around some of these chords, which were new to me. It’s definitely the best work I’ve done to date and I’ve also been told this by others who have heard it and who know my music.
Why and when did you first start playing music?
This is another long story….. Just over 20 years ago I worked as an art therapist in a children’s project dealing with children and youngsters who had experienced sexual abuse. I found it very difficult to leave my work behind when I got home and my supervisor suggested that I took up something that would bring me joy and give me a better balance in my life. She asked what that might be and I said I liked singing and sang all the time around the house. She gave me contact details for a voice coach (who went on to become a friend) and the voice coach encouraged me to sing, to start my own band and to see where that would all take me. I’d played guitar very badly since I was a teenager so I then decided to practice that properly too. There’s a lot more to it than that but this was the origin of my musical life.
So I started off by playing other people’s music and then started writing my own songs a few years later and my first album, Lazy and Mellow, came out in 2009.
Where are you most excited to play when live gigs return?
I really enjoy playing small, intimate gigs where I can engage directly with the audience. One of the gigs that was cancelled due to Covid was in the National Gallery of Scotland and that’s one that I really enjoy so that would be in the top three. I can’t wait to get together with my band again as we had just really started to gig as a coherent band, playing my new songs as well as the older ones, when all of the restrictions happened. We were looking forward to doing some house concerts too so these would be high on the list. In addition to this, I usually do some petits concerts in France and that will be another thing to look forward to this year – fingers crossed!! There may also be something in this year’s Edinburgh International Jazz and Blues Festival in the pipeline so I’ll wait to see if that happens as that’s a fun gig too.
How do you spend your time when you’re not making music?
I’m an artist, a dog owner and nature lover and have an allotment. These things, together with my family, take up most of my days.
Who are you listening to at the moment?
I’m very much an old-fashioned music lover and my default musicians are Joni Mitchell, Carole King, Van Morrison, Paul Simon, David Bowie, Leonard Cohen, James Taylor, Joan Armatrading, k.d.lang, Nick Cave, Mary Gauthier and others of that ilk. So, mostly singer-songwriters, although I do also love the blues, some jazz, and lots of rock music, including Thin Lizzy, Led Zeppelin, AC/DC etc. Several of my friends are musicians too and I like to keep up with what they are doing. Marc Pilley, my producer is a perfect example of that. He has produced a lot of music recently, since the pandemic started, under the name of Arksong. Lovely stuff
https://www.facebook.com/RosieNimmoMusic/
Where are you currently based?
Melbourne
What’s been happening recently and how has your Covid experience been so far?
Akaysha: 2020 was an absolute write off, I feel like I literally stared out the window for 8 months. Did manage to cook up some pretty good food.
Hannah: I reincarnated and became Hai Priestess.. the cocoon was pretty dark for a while there.
Sal: I mixed herbal teas and sent them to my family and friends (sorry family and friends). I also wrote some terrible apocalyptic songs and talked to my greyhound (a lot).
How and why did Queens of Club form?
Akaysha: Our periods all synced & Mercury was in retrograde.
Hannah: The planets aligned in all seriousness, it just clicked. It feels like we were meant to meet each other, and the first time we hung out it just made so much sense. Initially it was just three female producers coming together to hang out, share ideas and support each others work in a male dominated field – but naturally we started chopping up and adding to each others songs. Queens of Club was born out of play.
Sal: all the above
What are your musical backgrounds?
Akaysha: I started learning piano, guitar and drums as a kid, I always wanted to start a band but could never find anyone. Around 14 I started making electronic music & Djing as it was something I could do solo. I released a lot of electro house under Kaysh then evolved into more downtempo electronica as Ok Sure. 20 years later I have finally managed to start that band!
Hannah: I learned piano and guitar and began playing folk music shows at around 15, I was never an amazing musician, but loved songwriting, construction and performing. I always wanted to be in a band and it wasn’t until I was 26 when I formed Bonnie Doom and Pow Pow Kids, I spent a number of years playing around town. I loved the production side of things, and after we recorded albums for both those bands and I got an insight into recording, I started to get the itch to produce myself. I released a solo album that I wrote and produced in 48 hours called Bonnie The Kid – Xanadu, and from there I was hooked and developed as the producer Syntax/Semantics for some years to reach my final incarnation Hai Priestess in Queens of Club.
Sal: I started with jazz and classical piano, and dabbled with electronic music software in my early teens. My mum made me take opera lessons (why?!) so for a while there I was singing dramatic operatic German pieces after school with an unnecessarily strict teacher – maybe one day I’ll tap into that (Queens, consider yourselves warned).
How did your track ‘Bones’ come about?
Akaysha: This was one of my old songs back from 2015 that was never officially released, the girls had some ideas and it evolved to what you hear today.
Sal: I fell in love with Akaysha’s original version of Bones and needed more it in my life.
How did you go about writing the track?
Akaysha: Sal took my original version and added more lyrics, a proper hook & rearranged it, all skills that I lack in songwriting, if I’m left to my own devices I’d probably be stuck in an instrumental loop for 5 hours.
Hannah: I didn’t have much to do with this one except tell them it was a banger and a bit of “woo woo” high vocals.
Sal: For a few weeks, I listened to Akaysha’s version obsessively every time I did the dishes, singing new ideas for it as I went. The dishes weren’t cleaned well, but I’m very happy with this version of Bones and that’s more important.
Where and when did you record/produce/master and what equipment did you use?
Akaysha: I started recording this 6 years ago, I can’t remember what gear I used, probably all soft synths, I don’t use a lot of hardware. All produced, mixed and mastered in my bedroom studio.
Sal: ALL the magic happens in Akaysha’s bedroom studio.
What did you find most challenging and rewarding during the creation process?
Akaysha: As I said I have a habit of getting stuck in an instrumental loop. Sal and Hannah are more in tune with vocals & arranging & catchy hooks so it’s great to collab with them, they breathe new life into all the half finished stuff I have lying around. Obviously there are always a few creative differences but nothing major and we can generally all agree on a final outcome.
Hannah: The most rewarding thing is getting to hang out and be creative with close friends, it’s just super fun.
Sal: I respectfully agree with my Queens.
You are very much a sensory live act with the use of costumes, visuals/audio – how did this come to be?
Akaysha: We wanted Queens Of Club to be just as much of a visual experience as an audio one. Instead of us all standing behind computers we thought putting placemats on our heads and dancing around would be way more interesting.
Hannah: It’s a natural evolution for us, we all love dress-ups, costume, theatre… all kinds of art forms. This is a playground for us where we throw ideas around and see what sticks and what doesn’t, and there’s some wacky shit in those minds of ours. We are so different, yet so complementary and so because QOC is so authentically who we are when we come together it’s a natural unfolding – we don’t look at or listen to others and try to copy or follow trends. We’re just being creative with the things, sounds, looks, ideas we like.
Sal: because Akaysha cannot stop herself from attaching homewares to her person.
How do the costume, visuals and audio creatives for the live show come about?
Akaysha: A lot of hot glue guns, trips to the Kmart homewares section and tassels were involved.
Hannah: We are very DIY, and between us we have some pretty random skills so we manage to make it all ourselves (so far – but we’d love to collaborate). We share images, videos, anything really that catches our eye and is inspiring, and pretty quickly the visual elements just started to come together – it’s a very strong vision and we somehow could see what the others were seeing too. We wanted to create an entire world and experience.. It’s so boring standing around watching people with egos play their instruments. We wanted to remove the ego, and make it about the audience.. not us.
Who are you listening to at the moment?
Akaysha: Louis Theroux’s podcast ‘Grounded’
Hannah: Shamanic Visioning by Sandra Ingerman Audiobook and In Too Deep Podcast by Jack Rowland
Sal: Judge me if you must – A 10 hour playlist of Gregorian chants (it’s my new must-focus music). Other music-wise, I’ve been listening to “Tipper” (Gulch is my favourite track) and “HAAi”. My enduring faves are the album “Thora Vukk” by Robag Wruhme, and anything electronic that involves mallet percussion or grainy, crunchy bits.
What do you like to do away from music?
Akaysha: I’m a big foodie, I do a lot of visual art, I also have a major wig obsession.
Hannah: I run a start-up called The Local Green Pages which is a free local directory for Creative & Sustainable people. I also work in Social Change, so am a passionate Social Entrepreneur.
Sal: At the moment, I fan-girl Ryan Shelton, read my greyhound bedtime stories and dance.
What’s planned for 2021?
Akaysha: I think I better freeze my eggs.
Hannah: Lots of Queens of Club, releasing new music, we’re planning a clip for our next single at the moment so bringing all those pieces together.
Sal: all the above. I have some solo music to finish and release this year (like the other Queens).
Favourite food and place to hangout?
Akaysha: The 10 course degustation menu at some fancy restaurant
Hannah: Kaysh’s balcony and fancy Uber Eats
Sal: 10 course unfancy Japanese, potentially on Akaysha’s balcony
LISTEN TO Bones: https://snd.click/QoCBones
Where are you currently based?
Lethbridge, Alberta. Canada.
How did you first start playing music?
I’ve actually grown up playing music. My folks are musicians and helped start my home town music festival in the 80’s, my sister and I like to joke that it’s their oldest (and favorite) child. I started with playing mandolin when I was nine, then I moved on to guitar at 13 like we all do. I couldn’t ever feel satisfied with playing one thing though, I always wanted to play them all. I had lots of great role models around that played lots of things so I didn’t have to look too far for help or inspiration. It was really just a “put one foot in front of the other” sort of situation.
What’s been happening recently and how has your Covid experience been so far?
I’ve been really lucky through all this Covid business. So far all my immediate people are healthy and carrying on as best they can. I’m actually particularly lucky to be able to put a record out during this mess. When all this began I didn’t think I’d be in a position to put a record out, but Tonic and everyone working on the release have done an amazing job. It’s lent a degree of normalcy to this otherwise abnormal time. I’m super lucky to get to spend more time at home too. I haven’t spent this much uninterrupted time at home with my wife and cats in years, so that’s definitely been a source of joy for me.
It was hard when everything shut down though. I was on the road in the USA and made it across the border just as it closed, which was harrowing. We were making a record in Vancouver just as things were getting serious in Canada and by the time I returned home the country was in its first lockdown. I went through a bit of a spiral after that with my mental health and was diagnosed with clinical depression after a time. I have a really great support system with my wife and family though and they helped me get back on the up and up and I’m doing well now. I think I’m not very good with change at the best of times, so I kind of had a system overload. My wife is an elementary school teacher and she’s so incredibly strong. Whenever I feel like I’m having a hard day being an artist in lockdown, I talk to her about her day and put it all in perspective. Teachers and nurses man, they’re the serious heroes in this thing.
Your new single and video for ‘Where Are My Blue Eyes’ is out now, what influenced the sound and songwriting?
I really love old-timey bluegrass and have really been immersing myself in the lore and tradition. I was on tour in California last year with Leeroy Stagger and the Rebeltone Sound and found this old banjo from the 1890’s in a music store in San Rafael. It was tuned in double C tuning, which I’d never played but immediately recognised as the modal signature of all my favorite old recordings. I got back to the van and tuned my banjo to double C and ‘Blue Eyes’ was the first thing that came out of my fingers.
How did you go about writing the single?
The banjo part came first. After I’d figured out a few moves in my new tuning the form developed quite rapidly. Lyrically it came as a revelation as well. We’d been on tour for the better part of the year and I was starting to feel pretty homesick. I’d also been thinking a great deal about the atomic bomb and the new atomic age we’ve been living in since Aug 6, 1945 and how quickly the world can change. I wrote the first line “where is my blue eyed girl, where on earth is she?” and the rest just poured out of me. I think the whole thing took about ten minutes. That’s how it is though. Sometimes you have to work for it, and sometimes it walks right up to you.
Where and when did you record/produce and who with?
The record was recorded over about 18 months in 2018/2019 at the Rebeltone Ranch in Lethbridge, AB. The other band I play in (Leeroy Stagger and the Rebeltone Sound) was touring all the time, and I was finishing my undergraduate degree at the University of Lethbridge, so I chipped away at the record as I could. I’m a recording engineer and engineered most of it. Leeroy produced and did the lion’s share of mixing. The band were all my fellow Rebeltone Sound alumni.
How did you approach the recording process?
I wanted to do something that really fit the aesthetic of the songs. I write in kind of an anachronistic way and always want my songs to sound like they’ve come from 80 years earlier or something. I’ve always loved analog gear too, so with those things in mind we decided to approach making the record as old school and analog as we could. The console we used was a Trident 88 which was really neat. We recorded almost everything live off the floor and tried to keep things to one or two takes. Not everything on this record is perfect, but that’s totally where the beauty is for me. It feels authentic, if I do say so myself…
How did the concept for the video come about?
I was talking to my videographer friend Evan Uschenko, who shares my love for antiquated artistic methods and we got talking about how fun it would be to do something using 16mm. We had the idea to shoot a video on film and to hand paint the frames to create a multimedia piece of art.
Where and when did you film and how was the experience?
The process was hard but great. It was fun to struggle with film again, Evan loading the camera blind with his hands in a canvas bag so as to not expose the film, not being able to see what you’ve just shot, all the trials that the modern age has corrected were present and I think the final project was better as a result. The painting is what really took time. To paint 17 minutes of footage was approximately 24,000 frames and took 40 hours. When it was done I was glad it was over, but immediately was looking forward to the next time.
You have a new album coming out on the 15th of Jan, please tell us a little about what we can expect:
I’m so proud of this record. It’s a collection of twelve songs spanning old-timey bluegrass and Canadiana folk that focus on where we are, how and why we got here and where we might be going in the end. I really challenged myself on this record and I think that shows. I tried to make music that I liked personally, and that I hoped people would like to listen to, but most of all I tried to write songs about real, important things. I’m a big fan of the Clash and always idolized how their work had an important message, mostly about trying to be a better human being. That’s what this record is to me, and I think that comes across.
What did you find most challenging and rewarding during the creation of the album?
Getting out of my own head. Being an artist is a funny thing because we tie our personal self worth so tightly to our professional success. I had to practice getting out of my own way a lot on this record. I tried to be very vulnerable on this album too, and that opened me up to a level of risk that I’m not used to. It’s a good risky feeling though, I don’t think there’s any going back to the way it was before.
Who are you listening to at the moment?
My top five records right now are Noam Pikelny – Universal Favorite, Miles Davis – Miles Smiles, Chris Thile/Michael Daves – Sleep With One Eye Open, John K. Sampson – Winter Wheat, and the soundtrack to the movie Empire Records.
I’ve been listening to a lot of other things too. Gillian Welch put out a really cool record last year that is so hauntingly good. I’ve been listening to Tony Rice a lot too, he did so much for guitar players everywhere and it was a real tragedy when he passed. I’m also working through Bach’s cello sonatas on my banjo, so I’ve been listening to a lot of Yoyo Ma as a reference for those.
What do you like to do away from music?
I’m a private pilot so flying is a big thing for me. I have such a love for aviation. I’m a long distance runner, which is great because I can run at home or on tour or wherever. I like to ski and play chess. When I’m home I love to cook. I paint, mostly acrylic and watercolour portraits of historical figures (with varying degrees of success). I also love to read. I’m big on classic literature, Hemingway, Vonnegut, Thompson, Camus, Pasternak, etc. I also do digital audio research on analog and digital mixing practice and perception through the University of Lethbridge, which I’m not sure counts as something I like to do AWAY from music, but is definitely a thing I’ve been doing.
What’s planned for 2021?
You know what, it’s hard to say! The record comes out on Jan 15th and I have a few things coming down the pipe as far as touring and performance, but it really is too early to tell what is and isn’t going to be possible. All I definitely have planned for 2021 is to do my best to make it as safe and responsible as is in my power. I’m itching to get out and play, but only when it’s safe and responsible to do so.
So I think my plan is to stay home until directed otherwise.
Favourite food and place to hangout?
I like a really great slice of pizza. When it has that thin crust that’s charred but chewy and when the ingredients are fresh and properly prepared. New York, NY has the best pizza I’ve had so far. And I think Bø, Norway has the worst, (so far).
My Favorite place to hang out is a local place called The Owl in my home town of Lethbridge, AB. The place is a shining light in this city and we’re so lucky to have it. If you’re in the area, definitely stop in, and tell Steven I sent you.
Second place goes to the entire city of Berlin, Germany.
Third place goes to Sonny’s bar in Brooklyn, NY.