Music Interviews

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 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.

Instagram.com/Malikoa

@Malikoa

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/production/mastering processes?

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?

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://linktr.ee/dr.nojoke

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.

https://www.facebook.com/PhaseOneAU

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

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We spoke to trail blazing trance producer Will Atkinson around the recent release of his debut album on legendary Dutch label Black Hole Recordings. A mammoth 17-track project, ‘Last King of Scotland’ is a testament to the extraordinary talent honed by the thirty-year-old and quickly reached No. 2 in Beatport’s Top 100 chart and topped their Top 100 Trance Releases. Spanning the realms of trance, techno, drum’n’bass and spoken word, the album is a genre-defying debut that blends harder sounds with more progressive, melodic stylings…

Where are you based?

Currently, I’m in sunny Govan. A stones through away from the Clyde River. Sitting in my studio answering my third interview of the day! That no mean city they call Glasgow. Glesvegas!

How did it feel to release your debut artist album, The Last King of Scotland, last month?

It was a pure mix of emotions actually. Overly proud, a little relieved. But also sad and sort of Stockholm Syndrome. This has been a labour of love for the last 2 years. I’ve fallen in love with, out of love. It’s kept me driven, focused and inspired throughout this horrific year. Now I feel a bit lost! Like the vulnerable mother. Watching their kid walk into school for the first time. It’s flew the nest, into the wilderness. To be devoured by whomever it falls upon. I couldn’t have asked for a better reception to be honest. The reactions and support around the world have completely blown my expectations to pieces.

What is behind the album title?

It’s pretty much an acknowledgment, a nod – to the country I love. The place that inspires me. You can travel the globe week in week out. But nothing beats the feeling of home. And little self proclamation as well just for good measure!

Did you do anything special to celebrate the album launch?

Yes. I officially launched the album from arguably Scotland’s iconic venues, The Arches. “It only seemed right to take it back inside those hallowed brick walls of The Arches. When I moved to Glasgow from Orkney in 2008, it felt like every other night out ended up here. What started out as a hobby turned into an addiction. The addiction led to an education. A pilgrimage to this clubbing mecca we all know and love. Nowhere could be more fitting. I have to say, I had mixed emotions reading back all the comments. So many stories, experiences, shared by people, tagging their circles of friends, clubbers – bringing all that together felt even more special than the stream itself. And it really brought home just how special The Arches was. An institution in it’s own right. Friendships forged, memories set in stone. There was only one place I could have launched this album. Egypt has the Pyramids. China has the Great Wall. Glasgow has “Oor Arches.” 

From Paul Van Dyk to Gary Go, theres a host of huge collaborations on the album. How did these come about?

I worked with a plethora of international artists on this album. Hailing from Berlin to LA. London to Oban. Some were heroes, others were friends. Then some were just insanely talented songwriters. But all with one thing in common. The potential enrich my sound and add a new, exciting twist. Otherwise, is there any point in collaborating? I’m a control freak when it comes to the studio. Thus I’m not ideal for collaborating with. I need to have my stamp on everything. I know how I want it to sound. The track is already finished in my head before I’ve even written it. If I don’t realise that vision, then the track is dead in the water for me. So collaborating is difficult for me. Unless I am passionate about the artist, and the potential outweighs the compromise. All these artists ticked that box. Some tracks began as singles. Awakening with Paul was a melody I had sitting on my computer for around 8 years. Until it finally came to life as a demo for Vandit. Then Paul decided to join me on the record and collaborate. Other tracks started out as indie demos. Happy Hours was an Ed Sheehan style pop record before drafted in DC Breaks who turned it into a rib rattling D&B masterpiece. The track with Gary Go was originally a sort of progressive indie track. My manager John brokered a deal at ADE, Amsterdam. Basically give me a shot at the stems and subsequently turning it into a brooding crossover Trance meets cinematic Rock cut. Each collaboration has its own wee story. But they are all with artists that excite and energise my sound.

Whats your creative process like?

It’s pretty temperamental to be honest. It comes in random waves so I always need to near my laptop if I’m not in the studio. Some of the best melodies have come to me in a dream. There have been tracks finished backstage before I walk out in front of 5000 people. Other tracks have been started on airport floors and finished in hotel rooms. I have no control. But one thing I’ve noticed is if if I’m going through a particularly rough time, I’m able to channel this into the most emotional and thought provoking music. It’s like a supernatural ability. The only problem is I have to go suffer or experience unwanted feeling to channel it. Other times I’ll be in the kitchen making a cup of tea, hear an advert from the TV and bang – I’ll have an instant hair raising topline melody. I can tap inspiration from a multitude of sources. But emotions and experiences are most fruitful for me.

Can you tell us about your approach to production and recording?

After the bolt of inspiration – which could be a melody, a bassline, a hook idea – then comes the groundwork. Putting the scaffolding up to host this ultimate vision. From there it’s like a process of jenga. Building the foundations, taking away, adding. Until you find the winning formula. And achieve that ultimate vision.

Who inspired you to make electronic music?

Initially my mum. She got me into Judge Jules. From there, I distinctly remember hearing one of his live sets from Creamfields 2001 I think it was. He played a track called Angelic – Stay With Me. It was a live broadcast and I’ll never forget the reaction. The screams. Whistles. Horns.  I was 11 years old. So I wasn’t aware there was a producer sitting in a room making these sounds gel in harmony, but I knew I wanted the ability to create that energy and emotion.

When the time comes, where are you most excited about playing live?

Mexico for it’s electric, hot blooded atmopshere. But closer to home, Glasgow. Here we fucking go.

And what track from the album are you most excited to play in front of fans?

Kismet Energy. It’s a high octane, euphorically driven Hard House track. It sums up my journey from the past. My influences. An era that shaped me but reimagined through my eyes. As I wasn’t actually old enough to live it. 

What can we expect next from Will Atkinson?

I’m putting the finishing touches on one last single to close out this shitter  of a year. It’s a 145bpm power Trancer. The melody will break your heart. There are multiple climaxes. You’ll be left a hollowed out shell after listening to it. There’s a strong sense of hope, maybe a feeling of loss. 7 or so minutes of relentless ecstasy. It’s called The Last Rave On Earth. 

‘Will Atkinson’s album ‘The Last King of Scotland’ is Out Now on Black Hole Recordings. Get it here: https://will.complete.me/lastkingofscotland