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Music Interviews

Interview: Slinkee Minx on Reviving ‘This Is Your Night’

by the partae May 31, 2024

written by the partae

Why did you choose ‘This Is Your Night’ for your first major release of 2024?
It has always been a favourite of ours and is a classic 90s club anthem for a reason! It’s a dancefloor filler, has a strong hook and a great energy and vibe. We knew we could bring something special to it and are excited to introduce this song to a new generation of listeners.

What inspired you to give ‘This Is Your Night’ a modern spin?
We’d been listening to a lot of dance and electronic music from some of the bigger international artists and liked how these producers were taking a classic track and flipping it on its head with new melodies and arrangements to create something edgy and modern for today’s audience. With that in mind, we felt ‘This Is Your Night’ would be the perfect track for us to rework, as it lends itself to that big room vocal which we love, as well as inspiring some new melody lines and vocal parts.

When planning a re-do of a classic, how do you decide which song to tackle next? Can you walk us through the process of selecting a classic song and transforming it into something fresh for today’s audience?
From the outset, you need a clear direction of where you’d like to take the track. We personally also need some sort of connection to the song we have selected, whether it’s the melody or lyrics or both. The beauty of music is that a song can be reimagined in various styles and genres and this is the exciting part for us and where the magic happens – taking the original melody in new directions, playing with tempo, adding new harmonies and vocal arrangements etc to make it your own.

How did you approach putting your own spin on the vocals for ‘This Is Your Night’?
When we listened over and over to the track, we could easily hear little chants, new harmonies, ways of delivering the vocals that came naturally to us – that added a different flavour, or that suited the vibe of the musical direction our producer James Ash was starting to take. Often the vocals inspire music but the music also inspires the vocal direction and this was a work in progress along the way which was so fun!

What are some vocal techniques or styles you incorporated to make the song distinctly Slinkee Minx?
People who know our sound will often hear very uplifting, powerful vocals – extra lyrical parts, chants and hooks that aren’t always words but are notes held or sounds we create using the voice, adding a really subtle effect. It can be very understated sometimes or obvious depending on the track! From a production point of view, we also enjoyed incorporating the use of vocoders to give the song that modern vibe.

What’s the studio process like for Slinkee Minx? Can you give us a behind-the-scenes look at what happens during a recording session?
Ha, how long have you got? Studio sessions for us are so much fun and where we get to be the most creative. There’ll not only be writing, recording, sitting around playing with sounds, beats and musical parts, but there could be dance offs, a LOT of laughter, cups of tea, glasses of champagne, filming, photos and more laughter. We love the studio process more than life itself!

How long does it usually take to get the vocals just right for a song like ‘This Is Your Night’?
Sometimes vocals come together so easily – the tone and the pitch just lands perfectly – the delivery comes as it should to suit the vibe of the music. Other times, we can get stuck on how we deliver a line because we are perfectionists and we listen back and think it isn’t quite right. ‘This Is Your Night’ came together pretty quickly because it suited us so much – so probably only 4-6 hours all up!

Were there any particular challenges you faced while reworking this song, and how did you overcome them?
There are a lot of words in the song so it was finding the balance of ensuring we could get everything sitting nicely in harmony with the beat. It meant we decided to drop a few lyrics here and there that we felt didn’t need to be included in order to really hit the mark of this track!

Given your history of creating dance hits, do you have plans for any remixes of ‘This Is Your Night’?
We sure do! There is one coming out soon by the talented Australian production duo Double Dipped who have created an amazing club mix for us. There may be one or two more – we get asked a lot about mixes (people approach us to remix our tracks) so you’ll have to watch this space!

How was it collaborating with James Ash from Rogue Traders on this project? What did he bring to the table?
James is incredible – his attention to detail, to take on our feedback and direction, to be on top of current sound trends and what is happening globally, is honestly extraordinary. He is amazing and we are so lucky to work with this world-class music producer, songwriter and performer. We consider him one of our best colleagues and friends!

What do you hope new and longtime fans will take away from your rendition of ‘This Is Your Night’?

We hope it’s a song they’ll have on repeat – that makes them happy and connects, and that they cannot help but find themselves singing along to… an earworm, if you will. We loved creating this track and we hope you all love it too. Thank you to everyone who supports us!

PLAY/LISTEN

Website: https://www.slinkeeminx.com/

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

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

May 31, 2024 0 comments

Interview with Curly Hendo: Journey, Challenges, and Wisdom

by the partae May 31, 2024

written by the partae

An introduction to being an independent musician, how you got started, and how you ended up where you are?

From the age of four, I was immersed in the world of competitive dance, training in ballet, hip-hop, jazz, and tap. This early exposure to the performing arts instilled in me not only confidence but also a profound understanding of what it takes to captivate an audience—skills that helped set the stage for my music career and have become invaluable in business ventures.

My entrepreneurial journey in music began at the young age of eight when I first picked up an electric bass. This early passion led me to pursue the highest international qualifications in bass guitar while still attending school, complemented by formal studies in business. At just 18 years old, I established my own entertainment company, aiming to showcase exceptional musicians and deliver top-tier performances coupled with stellar customer service. My enterprise flourished, expanding to include a roster of over 30 musicians. We have performed at numerous leading venues and events, including corporate functions and cruises across the South Pacific.

Simultaneously, I continued to advance my career as a session bassist, performing alongside acclaimed artists across Australia, Asia, and the UK. This international exposure not only helped my performance skills but also enriched my business acumen, making every stage and interaction a part of my continuous learning journey.

What has been one major challenge you have overcome, provide a real example of this?

At the age of 19, I faced one of my most significant challenges when I moved to Boston to attend Berklee College of Music on a scholarship. This marked my first time living abroad alone, a stark departure from my home in Sydney, Australia. Simultaneously, my entertainment business was expanding, requiring me to manage rigorous music studies and performances while overseeing a growing company from another continent.

This period was transformative, instilling lessons in resilience and the critical importance of stepping beyond one’s comfort zone. Berklee offered a unique opportunity to collaborate with some of the industry’s most talented individuals, enhancing my musical skills and broadening my professional network, which was instrumental in shaping my career and entrepreneurial spirit.

Living alone in a foreign country at such a young age presented challenges, from navigating daily life without the immediate support of family to balancing intense academic and business responsibilities. Managing these dual commitments demanded meticulous time management and a laser focus on my long-term goals. Throughout this journey, I learned the value of self-reliance and resilience. Staying focused on my objectives helped me navigate through these challenges, reinforcing my confidence and ability to back myself in future decisions. This experience underscored that with determination and a clear vision, one can overcome even the most daunting of circumstances, ultimately shaping me into the entrepreneur I am today.

What has been your greatest personal achievement in your journey and how did you achieve this?

Navigating my entrepreneurial journey as an independent international artist under the stage name Curly Hendo has been a comprehensive masterclass in entrepreneurship. Operating independently means I am wholly responsible for every aspect of my career—from marketing to accounting, bookings, and overall management. This dual role of artist and entrepreneur demands a relentless drive and a multifaceted skill set, closely mirroring the challenges of running my own entertainment business where similar skills are paramount.

The culmination of this hard work and entrepreneurial spirit was vividly displayed when I performed last year with the exceptional artist RAYE at the packed Wembley Stadium for the Capital Summertime Ball. This performance was one of my career highlights amongst many memorable performances with various artists at festivals, concerts, and on television. The exhilaration of live performance and the opportunity to influence others through my music are the driving forces behind my endeavours.

My greatest personal achievement is my role as an international ambassador for a leading music institution which enhances my ability to impact the music industry further. In this capacity, I mentor emerging talents, offering them guidance on navigating the complexities of the music and entertainment industry with practical, strategic advice. This blend of personal achievement and contribution to the development of others encapsulates my greatest accomplishment in my entrepreneurial journey, showcasing the synergy between self-reliance and community support in achieving success.

Can you give a word of wisdom to a fellow independent musician?

Define your goals with clarity and pursue them with unyielding passion. It’s crucial to implement straightforward strategies that focus primarily on people—be it your team, collaborators, or customers. Don’t shy away from challenging your comfort zones; embracing new experiences can lead to greater opportunities and enrich your journey. Remember, the broader your horizons, the greater the rewards.

https://www.instagram.com/curlyhendo/

May 31, 2024 0 comments

Music Interviews Music News

Interview: Olivia Penalva On Her Debut Album ‘Spiderwebs’

by the partae May 31, 2024

written by the partae

Congratulations on the recent release of your debut album Spiderwebs! What inspired the title and the overall theme of the album?

Thank you so much! The title was inspired by the idea of getting stuck in the webs of life or rather the messiness of life and struggling to find your way out. This album explores themes of loss, heartbreak, and control, and how those things can mess with your emotions and views on the world. At the time I wrote it, I was trying to navigate my way through some past traumas, and you can feel my mood in a lot of the songs. I wanted to show how unpretty our thoughts and emotions can be when we feel misplaced.

“Spiderwebs” is an engaging collection of 11 songs that explores the highs and lows of love and self-discovery. What was your songwriting process like for this album, and did you draw from personal experiences?

The songwriting process was really fun for this album because for the majority of it, I started writing by myself in my room and it all kind of just happened so naturally. All these songs are an accumulation of feelings or experiences that I or people close to me have gone through to show how sometimes messy and ugly life can be. I was really drawing from the idea of growing up and being in your little naive bubble as a kid, to then being exposed to the harsh reality of the world as a young adult and how that can sometimes lead to a loss of identity. It explores all the feelings and emotions that we uncover as young adults that show us that although life is beautiful, it can also be really painful.

The opening track and first single, “Spiderwebs,” produced by Ryan Stewart, deals with losing your sense of identity in a relationship. Can you give us the lowdown on the creation of this song and what it means to you?

When I reached my early twenties, I found myself in a relationship where I had no control over myself or my life. It was very isolating and hard to navigate the world after feeling like I was stripped of my identity. This song was an outlet at times when I felt like nobody would understand me or what I was going through. I had it in my back pocket for almost three years before I decided to finally share it with the world, and I am so glad that I did because in releasing it, I have found how many other people could relate to what I had experienced. This song means everything to me because it was the catalyst in taking back my power and creating this album that I am so proud of.

Since dropping your debut single at the age of 13, you’ve evolved into a versatile artist with over 25 million career streams. How has your musical style and approach to songwriting changed over the years?

I think there is a lot that has changed and a lot that hasn’t. My one thing I’ve tried to hold onto is my storytelling and the authenticity behind it. A lot of songs I write are about my life, but a lot of songs are also inspired by people in my life or things I wish I had experienced. There have been times I have definitely stepped outside of that box to cater to what’s current or what would play well on radio, and as proud as I am of all my songs, doing that taught me that the best stuff I write and the stuff that means the most to me are the songs that come from my heart, and I feel like this album really shows that.

Your hit single “Love Me” earned a Top 20 spot on Canadian radio and became the #2 most-added song at CHR Mediabase. How did that success impact your career and your approach to this new album?

I am so proud of that song because we had such a fun time writing it, so to see people love it the way we do as writers and creators made me very happy. Being a Canadian, the support from Canada was so amazing and pushed me to want to create and share more of myself with everyone. As artists, it’s really the public that decides if your music is good or not, so to get that kind of love and feedback allows me to continue doing what I love, and I am very grateful for that.

With tracks like “Ex’s” making it to the Top 20 on CHR and Hot AC radio in Canada, and also breaking into the US market, what challenges and opportunities have you faced in expanding your audience?

‘Ex’s’ was the first time I ever had a song break US radio, so that was a very cool thing to experience. It’s such a different market in so many ways, and as a Canadian independent artist, it can be so hard to break through that wall and get your music out there to more listeners. At the time that it did, I was lucky enough to be signed with a US label and have that support. One thing a lot of people don’t know is the cost of putting your music to radio. In Canada, it is more cost-friendly and easier to try. Although just because you hire a radio promoter, doesn’t mean your song will make the cut. US radio is a whole other ballpark. As an unsigned artist, I’d say that one of the biggest challenges is often finances, so you just have to make music you love, stand by it, and hope that when people find it, they will see how talented you are, with or without a label backing you.

“Spiderwebs” covers a range of emotions from toxic relationships to self-acceptance. Which song on the album is the most personal to you, and why?

It’s so hard to choose because each song is personal to me for different reasons. I’d say ‘Spiderwebs’ for sure because it was the catalyst for creating this whole album and a way for me to take back control over myself and my art. But if I had to name one because it’s my absolute favorite song on this album, it would be “Paper Rose”. It was the first song I had written by myself for the first time in a few years, and I am so proud of that. It reminds me of all the things you wanted but couldn’t have, and although it’s a sad song, for me, it gave me a lot of hope and confidence to keep writing by myself and tell the stories that are often hardest to tell.

As a rising pop star in Canada, what message do you hope listeners take away from your music, especially from the songs on “Spiderwebs”?

When people listen to this album or any of my songs, I hope they feel heard and understood. We all crave that connection and need to be related to. I think it’s a good reminder that although we may have different experiences, we can all relate to many of the feelings conveyed on this album. More than anything, I hope it reminds people to never let someone else dim your light and take away from the thing that makes you who you are.

Twitter: @Oliviapenalva

Facebook: /OliviaMusicLive

Instagram: @oliviapenalva

Website: https://oliviapenalva.com

May 31, 2024 0 comments

Music Interviews Music News

Rediscovering Connection: Bae Baracus on ‘Lost Touch

by the partae May 25, 2024

written by the partae

Your new song “Lost Touch” dives deep into post-punk vibes and heavy themes of anxiety and emotional pain. Can you tell us what inspired this track and what it means to you personally?

Dolly: The world is in a lot of turmoil and it’s taking its toll on us all. Part of that turmoil is social disconnection, people are losing meaning, losing a sense of belonging. “Loneliness Epidemic” is a term you hear a lot now. Even if you don’t feel it, you’re affected by it.

Lin: This was the first track we wrote after a break of over a year. Clef started jamming the chords on the guitar, and I quickly built a beat around it so I could then switch to laying down some keys. We work fast in the studio, and while we were doing that, Dolly was singing ideas straight down, through a vintage echo unit. I kept that echo track in the song, as it had this kind of claustrophobic “locked in a box” sound to it, which seemed in keeping with the theme of the song.

Celf: The riff was the first thing that came out when we hit record. The drive and the grit I think inspired the moodiness of the track, but to me what stands out is how much it captures in few words. I often think about what it means to be real, to be me, if there even is such a thing as “real” versus unreal, fictional, tangible. So I get a lot from the lyrics, but it was Dolly who wrote them, haha.

The video for “Lost Touch” just dropped on YouTube via Boomsmack Records. What was the creative process behind the video, and how does it add to the song’s message?

Dolly: French cinema has done amazing things with visuals since the beginning. We used scenes from Feuillade’s Les Vampires where a woman playing a vampire becomes a victim to demonstrate losing connection, losing touch with who you thought you were.

Lin: We put the live performance take down while we were in a rehearsal for our debut show.. Our time together as a band is always brief, and I was like “let’s get a couple of quick takes for the video”. I love what Dolly did with the edit, interspersing us with that great vintage footage.

Clef: Dolly made the video too and it’s smashing! DIY and juxtaposed with classic footage, super cool. The video has very good use of the Kuleshov effect, where juxtaposed and unrelated video elements played in sequence communicate an emotional state.

Your new album “Release” is set to drop on May 31st. How does this album build on your previous work, and what can fans expect in terms of new sounds and themes?

Lin: For me, this album shows an evolution with us feeling even more comfortable leaning into our moodier vibe, which is there is some of our earlier tracks, if you dig, but more at the forefront here. While there’s still tracks to make you dance on this new record, we’ve drawn more on edgier guitar tones and post-punk moods, blending with our signature synths and love of electronic music.

Clef: The album was made much the same way as our EPs, recorded in a weekend and perfected by Lin, Dolly and I in small steps afterward. I moved away for a year and wasn’t sure I was coming back, but decided eventually that I had to be home. I think the songs on this album were less concerned about what the Bae sound was, which is why it sounds the most authentically Bae to date. I like that we can explore so many sonic avenues.

Dolly: An intentionally darker mood than previous Bae Baracus records, ‘Release’ explores the double-edged themes of liberation and the ennui that accompanies it. Like a 3am coffee, the album is both energetic and angst-ridden. Filled with nocturnal post-punk dance, it abandons all hope of sleep and embraces the night.

Clef created a unique collage for the album cover of “Release.” Can you walk us through the inspiration and creation process behind this artwork, and how it ties into the album’s themes?

Celf: I wanted to make a cover that was a physical piece of art rather than a digital one. When I make a piece of art, I tend to land on a process that is very stream of consciousness. My ADD went full hyper focus on this one, and I ended up making the whole thing in about 6 hours, starting around 8pm. I asked Lin and Dolly to send me personal photos and I decided whatever I got would be my full collage palette. The result is weird, but satisfying to look at. And now the collage is being de-constructed for art’ sake!

Lin: We knew we wanted something special for this album’s cover, and when Clef suggested he do a collage, Dolly and I were totally up for it. I love what he did, it’s so unique and feels really meaningful.

After “Release” hits the shelves, what’s next for Bae Baracus? Any upcoming tours, collabs, or projects you’re keen to share with your fans?

Dolly: We have another video coming out for ‘Move into the Sea’ – the final track on Release. As for tours, we’re really a studio project but we will be doing a super rare one off hometown show in August.

Lin: When this album drops, we’ll have a total 21 songs in our repertoire, not bad for a band who’ve only been in the studio a total of less than 3 weeks together! We recently played our first show and people absolutely loved it, so the focus will be a switch to live shows. Between us, we have a lot of commitments with day jobs and families, so while a full blown tour might not be on the table just yet, we’re definitely up for one-off shows when we can.

Clef: We have a gig in the summer to celebrate the release of ‘Release’, and from there who knows! I think it’d be cool to play a city show at some point, lots of travel and timing to consider. But Bae is strong!

“Lost Touch” delves into feeling disconnected and finding your way back to yourself. How does this track reflect your band’s evolution and current artistic direction?

Dolly: ‘Release’ is darker, as said. But Bae doesn’t stay on the same trajectory for long. We zig, then we zag. You’ll see with our next video, which goes in a very direction from ‘Lost Touch’.

Clef: Interesting question. I am deeply concerned about the spirit of artistry in the music industry these days, because it feels as though more and more of what I see is for feeding the algorithm. But it’s so much worse than trying to be popular or a hit, because obviously artists have egos and want to see their art exist, but this current age is more like the music CAN’T exist without being referential, nostalgic, captivating, technically and proficiently excellent and visionary. It’s like the bar has gotten so high it’s almost inhuman. And yet, the AI machines are getting exponentially better at making music that sounds like human music. So, how do we connect with art on a meaningful level? Is meaning still meaningful? My only answer to this is to wave off the question and keep playing, because it’s fun and I know how to do it.

The themes of “Lost Touch” speak to the disconnection we feel in today’s interconnected world. How do you reckon your audience will resonate with these themes, and what message do you hope they take away from the song?

Clef: I think the audience will see or hear what they want to see or hear in the song. If there’s someone out there who listens to this song 1,000 times in a row because they think it’s a love song, I’m here for that interpretation!

Dolly: I’ve no doubt that it will resonate with many of those who hear it. The simple message to take away from the song is “I see you. You’re not alone in your loneliness.”

Socials:

FB: https://www.facebook.com/baebaracus

IG: https://www.instagram.com/baebaracus/

X: https://x.com/BaeBaracus

May 25, 2024 0 comments

Music Interviews Music News

Gloam Discusses Growth and Change in ‘Hinder’

by the partae May 23, 2024

written by the partae

What inspired the theme of growth, progress, and navigating change in your latest single, “Hinder”?

I’d say that the song itself kind of sparked that. Our creative process is heavily a music-first, vocals-second kind of process. So essentially, I listened to the song on repeat (after Oli and I had workshopped it to where it is now) for a while, trying different melodies over different sections, and deciding what felt right. Before long, I had begun associating certain feelings and memories to the track, which then began to influence the words that ended up being sung on the track. Overall, I wouldn’t say there was a moment where I decided “This is what the song is about,” more of an overarching theme that I sort of connected to these emotions after the fact.

Can you elaborate on the internal conflicts portrayed in “Hinder” that hinder the actualization of self-fulfillment?

It’s tricky to put my finger and explicitly say it was ‘this’ or ‘that’, but I’d say it mostly refers to the stagnancy that comes as a consequence of anxiety and depression. it’s easier to sit with what you have and where you are than it is to get up and create the change that you so badly know you’re craving.

How does “Hinder” differ thematically or musically from your previous work, such as your debut single “Merchant”?

Hinder features quite a fast and driving energy throughout the whole performance, which began as a core element in the songwriting process before there was even any drums or vocals attached. I feel like with this track there was less focus on having a big contrast in dynamics within the song, and more emphasis placed on making a fun, driving, high energy piece of music.

Could you share any anecdotes or stories from the creation process of “Hinder,” particularly regarding its lyrical development?

I wouldn’t say that there was any particularly noteworthy moments in writing the lyrical content for Hinder, so apologies for that. However, I did find myself questioning myself and whether the lyrics I was writing down may have been too cryptic to make any linear sense to listeners. But I guess some self-assurance came from the self-reminder that this is Gloam’s artform, and there is little to no obligation to typical song conventions. I would encourage any other songwriters or artists to take the same mindset; it was quite liberating and really feels as though once you do away with writing to certain deliverables, true creativity starts to occur. At least that has been my experience thus far.

What role does introspection play in your songwriting process, especially when addressing themes as complex as fear, discomfort, and personal growth?

I would say, it plays quite a vague role. I’ll rarely have a specific time, object, or event in mind when writing lyrics. Quite often they tend to be very abstract, with contemplation seeing them revised. It is usually at this step in the process; when I have a clearer idea about how I feel about the songs and what they mean to me, that I’ll attach any sort of meaning or theme to the tracks. This very much applies to the songwriting process of Hinder.

You mentioned drawing inspiration from shoegaze icons like Slowdive and Whirr. How do you infuse your own unique style into the genre, as showcased in “Hinder”?

While we’ve drawn inspiration from lots of the big names in post-rock and shoegaze, we’ve also taken influence from a wide range of bands outside these genres. Oli spent a decent chuck of time around writing and editing the first demos of “Hinder” listening to Death Metal and Post-Black Metal bands such as Suffering Hour and Deafheaven, and I think an amalgamation of all sorts of different sounds make their way into our tunes and help shape our sound in strange ways.

“Hinder” was mixed and mastered by long-time collaborator Cameron Murphy at Opaque Studios. How does Murphy’s involvement contribute to the final sound of the track?

Cam’s input, I feel, is likely to be quickly overlooked. I think we all feel quite ‘new’ to being musicians, in the sense that we aren’t conforming to anything typical of a genre or ‘scene’; we’re writing to a taste that we haven’t done before and is everchanging. Consequently, this can blur the lines between what’s working and what’s not working. Cam has been a great filter along the process to bluntly tell us what is, and what isn’t working. Of course, with a grain of salt though. He’s always on board with our wild ideas, drawing from an array of references that you mightn’t typically put together.

With only a brief tenure on the live circuit, how do you feel your experiences sharing the stage with international and local acts have influenced your musical journey and the sound of Gloam?

The live performance experiences we’ve had over the last couple years have shaped our ambition and drive in huge ways, and have been quite essential in keeping the Gloam music-machine rolling. We’ve been able to experiment and hone into our sound and performance, as well as learn and take inspiration from some really great bands. Big touring groups like Touché Amore, Deafheaven and Movements have been incredible to share the stage with, and have felt like a masterclass in high energy performance and positive attitude, not to mention attention to detail. Though in saying that, I think we have also learnt just as much from these big international support opportunities as we have from the local bands in the Perth scene. Getting to see how bands around us are growing and shaping their live performances has been hugely motivating and exciting, and is often what pushes us to work harder on how we present and perform our music.

“Hinder” debuted on triple j Unearthed TOPS, showcasing your unique blend of ethereal soundscapes and relatable lyrical theming. How important is it for Gloam to connect with listeners through both musical and lyrical elements?

Strangely enough, I feel that the music is the most powerful vessel in any existing Gloam song, by quite a margin. Because the feeling of each song largely determines the lyrics that follow, it becomes the beacon of the track. We expect that the listener resonates more with the soundscape of the tracks, rather than the literal words being sung.

Can fans expect a similar thematic approach in your upcoming releases, or do you plan to explore new territory with your music?

One of the main takeaways for us from this last writing and recording process is how exciting and rewarding it is to venture into new territory musically. Now that we have established ourselves with a solid foundation in our sound, it’s going to be really exciting to see where we can take it, as well as discovering new tools and strategies to get us there.

How does the process of crafting a single like “Hinder” inform or influence the direction of your future releases and overall musical evolution as a band?

I would say it doesn’t really. We have an EP coming out later in the year which includes “Hinder.” This full record feels a lot more creatively ambitious than what we’ve done previously, some songs sounding similar to Hinder, or our previous self-titled EP and others being far more left-of-centre. Moving forward from this upcoming record, writing has already begun and I think we’re collectively embracing our experimental tendencies a lot more, not just in the songwriting area but with varied tunings, keys and guitar pedals. We’re excited about the musical journey ahead!

Finally, what message or feeling do you hope listeners take away from “Hinder,” and how does it fit into the larger narrative or vision for Gloam’s music?

I think, that we’d hope our listeners feel a sense of calmness after listening to this track (or any of our music). Hinder is a melancholy song that we all feel very at-peace with when performed live and throughout the recording process, despite it’s heavy overtones and distorted characteristics. I don’t think I’d hope our listeners take away any specific message, I’d like to think that they might associate their own message or lesson from the track – something I personally love about consuming music.

https://www.instagram.com/gloam.band/

May 23, 2024 0 comments

Music Interviews Music News

Interview with Monique Angele on the Inspiration Behind ‘Dreaming’

by the partae May 12, 2024

written by the partae

Can you tell us more about the inspiration behind your upcoming single, “Dreaming”?

The inspiration behind my new single comes from daydreaming. The song is about going into a dreamlike blissful state of mind where there are no stresses at all. In the real world where you are trying to find yourself and know what to do it can be overwhelming. It’s about following your dreams and heart and being where you want to be to make you happy.

What prompted you to explore the theme of daydreaming and introspective reflection in this song?

I decided to write about the theme of daydreaming and introspective reflection because I often do this myself. I try my best to be the best I can be and be happy but it’s not always easy. I struggle with depression and anxiety and I have to work on myself to feel better every day. This song is a reminder to be kind to yourself and let your dreamlike happy state of mind take over sometimes. Let your imagination run wild. It’s ok to be a free spirit and to just let go.

Your music is often described as transcending conventional genre boundaries. How would you personally define the genre of “Dreaming,” and how does it fit into your broader musical landscape?

I would define my genre of “Dreaming” as operatic piano pop, however it’s nice to hear what people think my music sounds like. I don’t think I really fit in a particular genre. To be honest I’ve had people tell me they can’t define what my genre is and I’m completely content with that. I’m just creating music organically and seeing what comes out.

The opening of “Dreaming” features soft piano keys, setting a serene atmosphere. How did you envision this introduction, and what role does the piano play in conveying the song’s message?

The piano intro is like the awakening going into the daydreaming state of mind. The piano is like the rhythmic heartbeat of the song. I honestly don’t really think too much when I write the piano part of a song. I just play the piano how I’m feeling at the moment and then something comes of it.

As the song progresses, it transitions into a full-band arrangement with various instrumental layers. How did you approach the arrangement process to ensure that each element complements the others while still allowing your voice to shine?

I really like building a song to a climax. I do like to add layers everywhere but I also like to still keep the vocals and piano as the main focus of the song. I always love adding and singing harmonies to the melody. My amazing producer Sean O’Sullivan from Highway 9 Productions was great in collaborating ideas on how to build the song and make everything sound balanced.

Collaboration plays a significant role in the production of “Dreaming.” Could you share your experience working with Sean Peter O’Sullivan and Joseph Carra on this project? How did their contributions enhance the final product?

I loved working with Sean O’Sullivan and Joseph Carra. They really know how to make my music come to life and know exactly how I want my music to sound.

Your music is known for its emotive delivery and captivating storytelling. How do you balance vulnerability and strength in your performance, particularly in a song like “Dreaming”?

I try to be true to myself and genuine whenever I write, record & perform my music. It always comes from the heart and soul. I think creating anything is very vulnerable as you are showing your true self to the world. It takes courage and strength to create something and make it public. You are putting yourself out there for the whole world to hear your music and see it in performance or video. I think the only way I am balancing vulnerability and strength in my music is just being very true to myself, that is when the magic happens.

Can you take us through your creative process when writing the lyrics for “Dreaming”?

The lyrics came to me from what I was feeling at the time. I usually write songs when I’m feeling some kind of emotion or need to release my feelings somehow. So I started to write about falling into a blissful state of mind when you feel overwhelmed. Whatever your blissful state of mind is, just go there and forget about your worries. To be carefree and to dream is a beautiful thing sometimes.

Did the words flow naturally, or did you encounter any challenges along the way?

The words flowed pretty easily for this song. It didn’t really take a long time to write the lyrics as I write my feelings based on the state of mind I’m in. I was thinking to myself why do I like to dream and where does it take me and how does it make me feel? It’s almost like journaling my thoughts on paper but in poetry. This was a fun song to write!

Your influences include musicians like Kate Bush, Tori Amos, and Queen. How do these artists inspire your own musical style and approach to songwriting?

These artists are very unique in their songwriting and live performances. I really feel that they are really true to themselves in how they want to express themselves through art. I’m also drawn to classically influenced music and these artists have classical elements in their songs.

From your childhood in Ottawa to your travels in Australia and beyond, how has your journey influenced your artistic perspective and the themes you explore in your music?

I have learned various styles of music for piano & voice and that has definitely influenced my music. Having a background in various solo piano and voice repertoire, opera, musical theatre, and dance has shaped how I write, record and perform my music. Gaining new experiences while traveling and living in different places has also influenced my music quite a bit. New experiences lead to new creations. I am constantly learning and growing which helps me create new music.

“Dreaming” aims to transport listeners to a world of imagination and introspection. What do you hope listeners will take away from the song, particularly in terms of finding solace amidst life’s challenges?

I hope this song brings some peace, joy & comfort to the listeners. I hope this song makes people feel something. I hope that this song brings out their inner free spirit and people can let go of their stresses and worries.

Beyond the release of “Dreaming,” what can fans expect from you in the coming months?

I’ll be performing various live shows, writing and planning to record & release new music soon. Stay tuned to my upcoming projects and performances from my website www.moniqueangele.com

Are there any exciting projects or collaborations on the horizon?

Yes, I’ll be recording & releasing new music soon!

Finally, if you could sum up the essence of “Dreaming” in a few words, what would they be, and why?

Close your eyes, breathe and be in your paradise.

May 12, 2024 0 comments

Australian singer songwriter Emily Barker returns home and turns her lyrical gaze inwards on filmic new album

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Emily Barker on Music, Migration, and Fragile Humanity

by the partae May 8, 2024

written by the partae

Welcome back to Australia, Emily! After living in the UK for 20 years, how does it feel to return home and share your music with your roots again?

Thank you very much! It feels so good to be home after such a long time away. I’m loving being close to family and the Indian ocean! Until now I’ve not released any of my albums whilst living in Australia so although I’m in the UK right now at time of release (because it’s where most of my fanbase is) I’ll be back shortly after to do a series of West Australian, then east coast, tour dates.

Your new album, “Fragile as Humans,” explores deeply personal themes. Could you tell us about the inspiration behind this shift towards more introspective storytelling?

It was an introspective time because the UK was in lockdown and Western Australia so firmly shut its borders so there was no way of getting back. Touring stopped and life became smaller. There was time to think, to go deep, to read, to witness and sit with sides of myself that I hadn’t previously had time for. Alongside the discomfort of self reckoning was a whole load of beauty though and I came to see the time as a gift. I think despite the songs being introspective, they’re potentially far-reaching in that so many people could relate to what I’m exploring lyrically.

“With Small We Start” is the opening track on your album and seems to set a warm, acoustic tone. What was the creative process like for this song, and why did you choose it to kick off the album?

‘With Small We Start’ felt like a light entry to an album that contains some weightier content and in some ways the song is more akin to some of my previous work in style (whereas I think some of the other songs are more of a departure stylistically). I had the verse melody for this song kicking around for a while. I kept coming back to it but couldn’t match it with a chorus / other section. I finally found the rest of the song when I was on a writing retreat in Stroud and going for really long walks through the woods on the grounds of Hawkwood. I actually had two choruses and couldn’t decide which one was working best so decided to use both – that’s what you hear at the end with the faint backing vocals singing ‘northern lights’…

“Feathered Thing” addresses themes of grief and loss, inspired by personal experiences. How did you approach translating such intimate emotions into your music?

Sometimes I write more on the nose but at the time of writing this song I’d just had a miscarriage and found it too painful to write about directly. I was reading a lot of Emily Dickinson and kept coming back to her poem ‘Hope is a thing with feathers…’ This idea of hope manifested in the image of a bird, stuck with me and became central to the lyrics in ‘Feathered Thing’. I’d just seen the devastation of some bushland in the southwest of Australia and a tiny blue wren sifting through the ash which to me symbolised life after tragedy.

Your collaboration with producer Luke Potashnick on this album seems to have been quite intensive and collaborative. Can you share with us a bit about that process and how it influenced the final product?

I’ve never worked with a producer in this way before where he became my editor as well. We put each line under the microscope and it was brilliant because sometimes as a writer you go…”well, that’s good enough for that line I think” – he spotted every one of those I’d done and asked me to dig a bit deeper, be persistent. I loved that. I think it’s ultimately made the songs stronger even though it was just a few tweaks here and there. Sonically, I trusted Luke’s vision and musicianship from the get-go. We seemed to be on the same page immediately and both felt the songs had a cinematic feel to them that the production should push. I’m so pleased with what the songs became, couldn’t be happier.

The album features a mix of solo tracks and full-band productions. How did you decide which songs would benefit most from a fuller arrangement?

We knew it would be an album of roughly half solo(ish) and half band. I think the only one that changed was ‘The Quiet Ways’ which started without drums but I think the drum sound on that track might be my favourite thing about the record! So yeah, we had ideas on this before and also it was partly to fit with budget, but it was cool that there was the possibility to respond to the moment and change tack.

Your single “Wild to be Sharing This Moment” has a cinematic quality to it. Can you elaborate on the production choices behind this song and how they contribute to its atmosphere?

This album has a lot of drones, Wild to be Sharing perhaps has the most. That means there’s constant tension and release throughout as the drone notes sit more comfortably within certain chords and then more awkwardly in others. I feel this creates a cinematic atmosphere. Also, we wanted to really push the dynamics to give it scale. There’s so many quiet, quiet moments on the album that we contrast with epic ones.

You mentioned experimenting creatively throughout the album. Could you share an example of a moment where you pushed yourself outside of your comfort zone during the recording process?

I pushed myself harmonically in these songs in terms of chord progressions and extensions. I wanted to favour the odd and unexpected but pull it together melodically. I think with Luke’s taste too, he pushed some of the production sounds beyond what I might have thought safe and I’m soooo glad for it. They’re now my favourite sounds on the record.

“Call it a Day” reflects on your experiences living in the UK for over two decades. What aspects of your time there influenced your songwriting the most?

I think it influenced me topically. I couldn’t stop writing about “home”. What it means. Is it the people? The place? The story? But I think also the sound here, there’s an introversion here that has always appealed to me and allowed me to access the quieter, more vulnerable sides of myself.

Your upcoming shows in Perth must be exciting after returning home. How do you envision these performances reflecting the themes and energy of your new album?

Yeah I can’t wait to gig this record on homeshores! I’ll be doing a range of solo, duo (with Lukas Drinkwater on double bass), and also full band shows. I think, in keeping with the record, I want to make sure there’s loads of dynamic range and lots of drones.

As you prepare for these live shows, are there any particular songs from “Fragile as Humans” that you’re especially eager to perform live, and why?

‘Wild to be Sharing This Moment’ feels particularly pertinent at this time and, having performed it live quite a bit already, I can see that it moves and connects people in the crowd. That feels like the hugest honour.

Finally, if you could convey one overarching message or emotion to your audience through “Fragile as Humans,” what would it be, and why is it important to you?

I’m glad you asked. In a word: compassion. We desperately need more of it to navigate this complex and polarising world in which we find ourselves.

www.emilybarker.com

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May 8, 2024 0 comments

Tell us about your journey from construction to chasing music dreams

Music Interviews Music News

STONNII – An Interview on Crafting ‘Better’ and Chasing Musical Dreams

by the partae May 7, 2024

written by the partae

Tell us about your journey from construction to chasing music dreams:

I have wanted to be a singer since I can remember, but somewhere along the line I started telling myself that was an unachievable dream. In high school I actually wanted to be a doctor, so began the medicine career path, but was so burnt out after year 11 that I decided to aim for psychology instead. I enrolled in psychology and nursing at uni, and dropped out in three days after having an epiphany mid-biology lecture that it just wasn’t for me. I changed to a double degree of architecture and construction management after seeing what one of my housemates got to do in her architecture classes. I lasted three out of five years, studying full time and working almost full time as a contract administrator/office manager. My mental health was steadily declining due to the intense workload I tried to juggle alongside keeping up with my family who live hours away, long distance relationships, making new friendships and maintaining old ones, and my very standard (but still ridiculous) uni student partying habits. I was stressed, depressed and helplessly lost. I failed my first ever unit (first time I failed anything) and I did not take it well. One day, after crying in my closet for a couple of hours, I saw an ad for a local music course, called and enrolled for the next intake within half an hour. It was the best decision I ever made, and led to the creation of ‘Better’ and my current career as a musician and artist – my lifelong dream.

How did being stuck in lockdown and dealing with personal stuff shape “Better”? Was it like pouring all those emotions into the music?

To be totally honest, having this project during lockdown was the only driving force that got me through. Over the course of 2020-2021, on top of the lockdowns that impacted us all, I was also faced with several health complications, went through a breakup and received a heavy mental health diagnosis, all while navigating what seemed like a thousand challenges within my family. I was so incredibly lucky to have my course offerings deemed by the government as requiring face-to-face classes to be viable, so I was able to leave the house a few days a week to rehearse (face-masked and social-distanced of course) with my classmates. Without this interaction and the driving force of a huge creative project, I really think I might have lost the plot. ‘Better’ was a cup and I was pouring every thought and feeling into it – which is the only way I know how to make music.

So, why “Better” for the EP title? How does it vibe with the themes you’re exploring in your tunes?

‘Better’ was the first title that came to me when I was picking the name. It was going to be released under my band name ‘Orange Butter Club’, which sounds really nice beside ‘Better’. I was thinking about what linked the four distinct songs to one another, and when that word came to mind I thought it was perfect. ‘Better’ encapsulates the enduring theme that each song tackles in a different way; both a deep longing for better days, a better environment, better feelings, and a promise that all badness is temporary, and betterness is coming.

Your music’s got this cool mix of indie pop, neo-soul, and Aussie soft rock vibes. What got you vibing on that blend?

When making ‘Better’, I wasn’t setting out to fit any particular genre; I just made the music that came out of me when I played. My mum gigged as a country music singer when I was small, and I was heavily influenced by Missy Higgins, Kasey Chambers, Shania Twain and The Chicks, which shaped my voice a lot. As I got older and developed my own taste (which is extremely broad), I found myself gravitating towards neo-soul and indie-pop acts with strong lead vocals and powerful lyricism. Some of my favourites include SZA, Lauryn Hill, Joss Stone, Dominic Fike, Still Woozy, Angie McMahon and Julia Jacklin. The sound of the EP is also heavily shaped by Leon’s taste and his guitar style back in 2020/2021. What we created feels like a true expression of my thoughts and ideas as an artist, and I am so proud to be able to say that I made music that I just really liked, and not music in the pursuit of trying to sound a certain way or emulate someone else’s vision.

You mentioned each track on the EP’s got its own flavor, but they all fit together like a tight playlist. How’d you piece that puzzle together?

Luck? I’m not sure I have a good answer to that!! Before recording, we had a set of about 7 original songs, and a couple of covers. When choosing what to put on the EP, ‘Sunny’ and ‘Monday’ were our first really obvious picks. I can’t remember what influenced our choices of the other two – I think they just felt the strongest and most developed of our tracks. We couldn’t have planned for how well they would sit together, and how that underlying message would flow seamlessly through the body of work, but I feel so grateful that it came together so well.

Tell us about teaming up with your buddy Leon Antonov. How did that duo dynamic play out when you were laying down tracks?

Leon and I hit it off pretty soon after we began studying together. His guitar skills improved so rapidly, it was seriously impressive. We ended up in a band, and when we jammed things just came together so effortlessly and naturally, I knew it was something special. The 4 tracks were made differently from one another; I wrote ‘Sunny’ and ‘Monday’ on my guitar at home, and brought them to rehearsal for Leon, Liam and Zach (bass & drums) to add their magic to. ‘Cake’ was developed from a riff that Leon sent me, I sang over it at home and constructed the melody, before bringing it back to the band. ‘Bad Days’ came together out on the street outside the recording studio (Don’t Poke the Bear); Leon was mucking around on my acoustic guitar, and I just started freestyling and soon later we had most of the track. We have the producer, Chris Wheelwright, to thank for helping bring the bridge section and some of the other details to life.

“Sunny” and “Bad Days” are like sunshine and rainbows in song form, even though you wrote them during some heavy times. How’d you turn those tough moments into feel-good tunes?

I think that making music with others is what made the final result a positive one. Back then most of my writing was super dark and sad, but I didn’t want to drag Leon or anyone else into my shitstorm of negativity. So, I tried to flip it and create the music that I needed to listen to at the time – reminders that it’s not all bad, that you’re not alone, that you need dirt for flowers. It’s super ironic to me that I made such uplifting tracks during one of the most tumultuous periods of my life, but I guess something within me just knew that people needed hopeful messages – I needed hopeful messages at that time.

What hurdles did you face turning the project into a solo gig after hitting some roadblocks? How’d you slam dunk those obstacles?

The biggest hurdle I’ve had to overcome is my own silly head. I had a lot of doubts, and kept going back and forth on whether I should release at all, and whether I even thought the songs were any good. Some weeks I’d listen and be convinced the whole thing was terrible and I should chuck it out. I didn’t listen to a single track for over 6 months, and I think that space really helped, because when I listened back with fresh ears I realised I’d been being a bit dramatic (this may or may not be very typical of me). It also took me a while to build the confidence to do it on my own, and I won’t lie, I was a little sad to be continuing on without Leon by my side. Forging ahead as a solo act meant trusting myself to make the right decisions with every aspect of the release (especially since I have done it 100% independently). This has been scary, but now I am incredibly grateful to have listened to my gut, because now I wouldn’t change any of it.

Walk us through your EP track list game. How’d you pick the tunes and line them up to tell your story of chasing brighter days?

The track list order is; ‘Sunny’, ‘Monday’, ‘Cake’ and finally ‘Bad Days’. This is actually different from the original order that we decided after recording. I have ‘Sunny’ first because I think it’s a beautiful opener, and it primes the audience well to experience the rest of the EP. ‘Monday’ brings the energy up, but the mood down, as I rant about my non-existent work-life balance, and then ‘Cake’ follows as a reflective side note that acknowledges my fears and my sadness, but also reminds me that hating my birthday is a bit frivolous and it’s okay to laugh at myself. ‘Bad Days’ is the longest track, and it really wraps it all up. I put it last because the message behind ‘Bad Days’ is really the essence of the EP – shit happens and life can be stupidly hard, but that’s kind of a universal human experience; knowing that you aren’t alone can be the light at the end of the tunnel.

How do you see your music hitting home with listeners, especially those who are battling their own storms and looking for a musical lifeline?

When I think about my mentality before making ‘Better’ versus now, it reminds me of that ‘Two Guys On A Bus’ meme, where they are both saying ‘nothing matters’ but their perception of that phrase is different based on their mindset.

Both of these dudes still exist within me, I just try a lot harder to be the guy on the right, and remind myself that even when it doesn’t feel like it, it will be okay. Gratitude and grief are two sides of the same coin, and I want my music to help people remember that and even just attempt acceptance. I’m not saying that bad stuff should happen – life can be so cruel and so unfair and I wish it wasn’t; but being aware that I am not alone in my struggles, and that they have helped me to make art and fight harder for a joyful life, softens the sting of grief and regret whenever I find myself confronted with those emotions. I hope that by being honest and vulnerable and sharing my art and my stories, I can help others find solace and strength through their own personal struggles. I want my music to make people feel empowered to acknowledge their own pain and express it in healthy ways, and I hope that doing this will help them to come out of dark places.

Any standout moments from crafting “Better” that you wanna shout out as extra special or meaningful?

One of my favourite writing moments would have to be making ‘Monday’; I literally came home from work, feeling like I was at a breaking point. I sat on my bed, and started angrily scribbling in my notebook. I had the lyrics in about 10 minutes, which I then sang while strumming the first few chords that came to mind. It felt like a moment of pure expression, so uncomplicated and as natural of a process as I can get. As for the recording, making ‘Better’ was my first formal experience, which made every moment feel so, so special to me. We took a week to record the EP, and it was the most fun, exhilarating and exhausting week of my life. I have so much appreciation for everyone involved. Shout out to Chris Wheelwright and Dave Weir for taking all my ideas on board, trusting my vision and making it happen.

What’s next on the horizon for your music journey?

I am performing an acoustic set at Unassigned Gallery in Brunswick as part of Crockpot Poetry on May 9th, a Sofar Geelong set at a secret location in Anglesea on May 16th, and a second EP launch in my town is in the works! That’s all I have planned, but if you know me you know I tend to plan as I go, never turning down an opportunity, so I hope to be booked up to my ears in no time. I’m still deciding whether to enlist some new band members, so that might be my next big goal to reach.

Where do you see yourself heading after dropping “Better” on the world?

My goal with ‘Better’ has been to get it out, work as hard as I can alone and see where that takes me, while learning as much as I can about the release and marketing processes. I mostly just wanted to have music on streaming services for my friends and family, to show them what I’d worked so hard on for so many years, and to share my passion and my art with loved ones. I got to play an impromptu set in Hong Kong after ‘Sunny’ came out, and I have a Japan trip planned for August, so hopefully I can play live there! There aren’t many opportunities to play overseas that I wouldn’t leap at; I adore travelling. I also have dreams of a regional Australian tour – I’d especially love to hit my hometown Katherine, plus the other towns I lived in growing up; Buderim QLD, Glen Innes NSW and Hamilton VIC. We’ll see what happens!

i / @stonniimusic

www.edenariston.com.au

May 7, 2024 0 comments

DENMARK'S MOST CELEBRATED LGBT+ ARTIST ASBJØRN RELEASES ’HE'S DANCING SO WELL (I'M BETTER)’

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Interview – Navigating Friction: A Deep Dive into the Creative Journey of Asbjørn from DIY Labels to Genre-Bending Sounds

by the partae April 21, 2024

written by the partae

Can you share a bit about your journey in the music industry so far, from starting your own label at a young age to where you are now with your fourth studio album?

This is gonna be a deep dive, huh? Let’s do it. Basically, I started my own label at 19 to have complete creative control and freedom. Despite all the attention I was receiving, every label I talked to wanted to change something about me, whether it was my sequined wardrobe, my weirdo dancing or the sound of my sampled breathe-snares. Luckily, I am stubborn as fuck and following a mere possibility of quick success has never really been an option in my head.

Establishing my own record label enabled me to “license” my music to other international labels, while still being in creative control. I did that on Pseudo Visions, Boyology and also had my very brief major-label-crash-and-burn-moment with ‘Nothing 2 Lose’ and ‘We & I’ in 2018. I worked with brilliant people along the way and appreciate their hard work – but with this forthcoming album, I needed a reset, to explore pop music completely freely again, without my own or anybody else’s commercial awareness = your boy is completely independent, yet again.

‘He’s Dancing So Well (I’m Better)’ is a captivating track with a unique blend of sounds. Could you tell us more about the inspiration behind the song and its production process?

I am obsessed with juxtapositions, how lyrical and musical elements can create confusion to a point where you have to stop trying to “figure it out” but just go with your body and your immediate emotional response. I love to write on the guitar because I suck at it and that pushes me to be less analytical and more intuitive. For some reason, I also hate my own voice on top of a guitar, so after writing ‘He’s Dancing So Well (I’m Better)’, I immediately made the string arrangement. I’ve always dreamt of doing a string-based dance song, like ‘Cloudbusting’ (Kate Bush), ‘Be Mine’ (Robyn), ‘Viva La Vida’ (Coldplay) or ‘Hyperballad’ (Björk) and this song seemed like the right fit. I took the song and string-arrangement to Steffen Lundtoft, he accidentally pushed a shuffle button on his drum machine and suddenly the loneliness and melancholy of the lyric and strings had a freaky, out-of-control and uplifting counterpart. It suddenly provided a possibility to dance with the sadness of losing him.

Your upcoming fourth studio album is highly anticipated. What can listeners expect from this new project, especially in terms of its sound and themes?

This album is a body! A body that dances, protects itself, goes WILD, rests, moves forward, injures and gets back up again. First and foremost, I’ve always strived for a kind of bodily presence in my music but this time I made it my whole approach; instead of producing the songs so I could dance to them, I danced my way to the productions, translating the movements my body made into sounds.

Thematically, I guess there’s a lot of liminality, which in many ways has been a constant in my life. Being an artist and being gay is a pretty intense combo and though I’ve accepted long ago that I can’t follow many pre-paved paths, I think I’ve dared to look into my doubts about belonging, both to places, people and in the world on this album.

Collaborating with Steffen Lundtoft from Lowly for your new album sounds intriguing. How did this collaboration come about, and how has it influenced the direction of your music?

MASSIVELY, oh my god. On Boyology I challenged myself to give in to the sonics of mainstream pop music that I grew up with, while juxtaposing it with almost unpleasantly direct and diary-like lyrics. I worked on that album for 5 years and I had a hard time coming out of the more structured and controlled approach to production that I’d practiced on that album. Steffen, on the other hand… he’s a firework of freedom, playfulness and never really knows what he wants to create, before it’s suddenly there. I was deeply provoked by that in the beginning of our collaboration but I knew that he was what I needed; a friend who could bring me out of control in a way that felt safe (Steffen has been my drummer for 12 years, since I started my career).

You’ve been announced as a performer at Roskilde Festival, which is a significant milestone. How does it feel to be part of such a renowned event, and what are you looking forward to the most about the experience?

Yeah, it’s a bucket list moment, for sure. Somehow I am really happy that it took 12 years to get that slot, cos I got to find myself as performer before standing that test. I can’t wait to give back to the audience what I, myself, have received from my heroes on that festival.

Your music has been described as genre-busting and unconventional. What drives you to push the boundaries of pop music, and how do you balance experimentation with accessibility in your sound?

I’ve thought about whether there could be an anthropological explanation, having to do with queerness and the whole ‘belonging’ theme… The genre-thing and unconventionality are not things I strive to do, I simply just can’t conform. And just as that can be frustrating on a personal level, so has it in my career, you know… sometimes wishing to be more “normal”, whatever that means. Ultimately it comes down to self acceptance and music has been THE place I could find that, always.

“Friction is freedom” is a powerful statement you’ve made about your music. Could you elaborate on what this means to you personally and how it manifests in your creative process?

On Boyology I had to repeat this sentence over and over again. In continuation of your last question, that album was at times pretty uncomfortable to make, cos I chose to explore conformity in the sound as an artistic approach. The only way I could do it was to create a friction, a counterpart in the lyrical approach. In other words, knowing that friction is always where I’m heading, I can “forgive myself” for going 100% Backstreet Boys in one part of the process, cos I know I’m gonna create other nuances at a later point.

As someone who interacts with teenagers through your high school concerts, why is it important for you to discuss topics like sexuality and identity freedom with young audiences?

Well, I’m just trying to make things a little bit better than when I was a teen, so I’ve played around 200 concerts and high schools the past years. The teens often start out pointing at me, laughing and whispering to each other, some yell “gayyyy” and try to bully me off stage. I am confronting my own school-trauma and overcoming it every time, though it can be intense. By the end of the show it has opened up a dialogue, some of them become huge fans and others have just met a different type of man (me) and they experience that I’m not dangerous. My hope is just that it creates a fundament of understanding and acceptance between them.

Your music videos have garnered millions of views and have been praised for their visionary quality. How do you approach the visual aspect of your music, and how does it tie into the overall storytelling of your work?

I mean, you can’t take the MTV out of a 90s kid! Every time I visited my grand parents, who had the channel, I’d stay up all night watching videos. Madonna, Michael Jackson, Britney, Destiny’s Child, George Michael, David Bowie and the list goes on. I didn’t even understand English but I understood what they wanted to express through those videos. The music video can be such a powerful tool to expand the universe of an album, which is what I’ve attempted to do on all my albums. The current consumer-climate has put the format in a difficult spot though and I’ve heard many business peeps claim that the THE MUSICVIDEO IS DEAD. I don’t believe that but I do believe we all, as consumers, need to choose patience, focus and poetry very actively, cos we’re so affected by the high pace of things online.

With your diverse musical influences ranging from classical to pop, how do you incorporate these varied elements into your songs while maintaining your own unique style?

Friction is freedom, baby! Music is just a playground, a laboratory, a bathtub full of plastic stuff to shove up your butt and try how it feels; it most likely won’t hurt you but sometimes it just doesn’t work and that’s cool. Then you try a different combination and suddenly it feels like you opened a new door in yourself.

Collaborating with artists like Tessa and Danny L Harle in the past, how do these collaborations shape your approach to music-making, and are there any dream collaborations you’d like to pursue in the future?

I find myself in a really interesting position career wise. The fact that I’m hard to place for people mixed with my curiosity for music experiments, enables me to navigate pretty freely and collaborate with both mainstream superstars like Tessa, left-pop-pioneers like Danny and Planningtorock and of course making the album with Steffen, two old friends in a dark studio in my hometown. They all inspire me so much. And when it comes to dream collaborations… well, let’s just say you won’t have to wait long.

Looking back on your previous album, Boyology, and considering your evolution as an artist, how do you feel you’ve grown creatively since then, and what lessons have you learned along the way?

I learned to measure success in new ways. Boyology was a commercial FLOP, none of the songs or videos gained the numbers I’d been so lucky to experience from the beginning of my career – and honestly, that was a tough blow – but an important one too. That’s when I checked my “popstar values” and realized that I needed to create healthier and more sustainable criteria of success for myself. I initiated the school concerts to try and make a direct difference, that I could see in a room, instead of looking at streaming counts. I began working mainly with close friends again to make sure every aspect of my career creates long-lasting memories and relations, that makes me happy when I listen to the music, watch the videos or play shows. In that way, the music can flop all it wants but it will still be meaningful.

https://www.instagram.com/asbjornmusic

April 21, 2024 0 comments

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Navigating Shadows and Light: Chiara Dubey’s Journey Through ‘CHANDANI’ – Exploring the Interplay of Empowerment and Self-Reflection in Music

by the partae April 10, 2024

written by the partae

Your singles “How To Save Myself” and “30” offer listeners a glimpse into your upcoming album “CHANDANI.” How do these singles reflect the overall theme and mood of the album?

The first ideas for the album started to blossom about a year ago. There was something different about that moment. I felt at ease, just fine, and I’ve never felt “just fine” for such a long period of time, there was always some trouble, some darkness in the background of my head.

That sudden inner-calm felt new and beautiful; I wanted to hold on to it, write abut it, so it ended up becoming the seed from which CHANDANI started to grow.

To me the album is a personal celebrating this fortunate chapter, and at the same time a way to look my shadows in the eye, before letting them go. Like a ritual.

The first single “How To Save Myself” is one of these shadows: the lack of self love, and the inability to put myself first, set boundaries, and the second single “30” (because I turned 30 this year!) is really about this liberating change I’ve been noticing, in the way I feel in my own skin.

“How To Save Myself” explores themes of self-worth and love, while “30” delves into self-assurance and empowerment. How do these complementary themes intertwine throughout “CHANDANI”?

I feel that the album is like a passage, or a portal, with an old version of me on ne side and a new one on the other side. As if I was standing right in the doorway. So it’s a place with a mixed back and forth of both empowerment and self-awareness feelings and darker feelings, memories, like the ones of “How To Save Myself”.

Each of your singles seems to carry a deeply personal narrative. Could you share how your own experiences and emotions shape the storytelling on “CHANDANI”?

In general, I think writing music and sharing it with others is a wayfor me to elaborate, and process all that I experience. I guess we all have our ownl way to do that. So yes, all of my writing, including CHANDANI, is the rephrasing of a personal story.

“How To Save Myself” for example, was a way for me to let go of a recent toxic, romantic relationship I was involved in, one where I got hurt. There is always a story behind every track.

Collaboration has played a significant role in your album’s creation, with contributions from notable names like Chris Tabron and Robot Koch. How did these collaborations influence the sonic landscape of “CHANDANI,” especially in comparison to your previous work?

They literarily showed me new worlds of possibilities. I feel like Chris Tabron’s mixing made my music braver, proud of all the emotions I packed it with. He was a precious addition to the project, and I hope it won’t be our last collaboration. The same goes for Robot Koch: I have been a big admirer of his work for a long time, and I still can’t believe he has agreed on making music with me. His additional touch gave our track a new depth, a beautiful new atmosphere I would have never created alone. Many other inspiring artists and musicians contributed to this album, and I am very grateful to all of them!

As a multifaceted artist, you blend modern classical elements with electro/art-pop. How does this fusion of genres manifest across both your singles and the wider scope of “CHANDANI”?

I come from a classical music background, but my heart also beats for electro and pop music, so I decided not to give up on any of these contrasting sides of me, and instead try to make them coexist in my own little universe. I am probably making things more difficult for me – certailnly for my label team! – but so be it. It’s fun, and it’s authentic!

The album ranges from pure string orchestra pieces to edgy and experimental electro-pop songs. These are the extremes, and in the middle are several combinations of these two worlds (some tracks have more orchestral textures than others, and some are more vocals or electronic driven).

“How To Save Myself” and “30” showcase your versatility as a singer, composer, and producer. Can you shed light on your creative process for these singles and how it evolved during the making of “CHANDANI”?

Writing and arranging for strings and vocals is what comes easiest to me. I feel confident with it, even if one can go on learning to infinity. Music production is a newer skill for me instead: I am having lots of fun with it, and I am very hungry for knowledge. CHANDANI was a great music production playground. It gave me the chance to practice, experiment, and challenge myself. The difference between the first and the last demo I wrote is huge!

Especially for “How To Save Myself” I was helped in the production by one of my best friends, Jakob Eisenbach, who worked with me on several album tracks. I owe him!

Your career has seen support from various media platforms and successful live performances. How do these experiences inform the storytelling and sonic exploration on “CHANDANI”?

I can’t say for certain, but as playing live is one of the most rewarding, extatic feelings I’ve known so far, I guess all past live performances fed more and more my urge to make music, and encouraged my writing and my sharing. Like a (wonderful) drug. Without that drive, there would be no new album.

With the release of both singles, you’ve initiated a significant marketing campaign for “CHANDANI.” How does this campaign aim to capture the essence of the album and engage with your audience?

I wanted the album to like a little microcosm, with a message, an aesthetic, and a visual identity. The marketing campaign is aligned with it and guides the public along the release journey, which started in February with “How To Save Myself” and will end in September with the album, always revealing a little more about its world.

This project will also be my first step into the Meta-verse, with the creation of a NFT collection and possibly concerts in the Meta-verse. For the visual part, I have to thank the artist behind the beautiful artworks, Adso Piñerúa, an incredibly talented Argentinian photographer, whose visual universe is very close to mine: a blue, dark, dreamy, surreal one.

“CHANDANI” is described as a celebration of a fortunate moment in your journey. How do you translate this sense of gratitude and introspection into the overall atmosphere of the album?

It’s hard to explain… Lyrics help, of course, but I don’t always use lyrics. I guess there just are some soundscapes and some harmonies, some patterns, sounds, textures that sound like “relief”, or “gratitude”, or “euphoria” to me. It’s the way they make me feel. So I try to find them and use them as a tool to translate this femotion and hopefully making someone else feel what I feel. This is the connection I love the most.

Through your music, you aim to convey messages of self-love, empowerment, and acceptance. How do you hope listeners will connect with these themes as they experience “CHANDANI” as a complete body of work?

Even if the album is inspired by my personal experience, I really think we are all more similar than we think, and after all, we all encounter the same monsters along the way. So I would like it to be a message of encouragement and express, in some way, that we are all on the same boat, and nobody is alone.

Can you share any behind-the-scenes anecdotes or memorable moments from the creation of “CHANDANI” and the recording process of both singles?

The months spent in the studio with my co-producer Jakob. It was so intense. We spent together so many hours, I felt like we could understand each other without speaking. We were friends before, but I think it brought us loser. One night (we were pretty tired, that kind of tired that makes you laugh about everything) we started to make up a fake language for “How To Save Myself”. So every time I hear the song I hear the fake words we made up (like “aiwishainü” – I wish I knew, or “yüdusimee”– you to see me). It sounds ridiculous now, but at that point it was really funny!

Looking forward, what do you envision for the reception and impact of “CHANDANI” following the release of “How To Save Myself” and “30”? Are there any future projects or collaborations on the horizon that you’re particularly excited about?

I am very much looking forward to playing the album live. I am right now planning a little tour, starting from my home town to some European cities!

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April 10, 2024 0 comments

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Interview – Unveiling Musical Journeys: A Conversation with Julia Sound

by the partae March 27, 2024

written by the partae

What inspired you to pursue a career in music production and composition, and how did Julia Sound come to fruition?

I became obsessed with music as a young kid, and learned the piano, and later also orchestral percussion. I segued into recording and mixing in my 20s, which naturally led to writing and producing . I spent years producing for other artists, and then when the pandemic hit, it seemed a good time to focus on my own art – Julia Sound is like the cumulative result of all of that.

Could you elaborate on why you chose to create “Julia Sound” as a project, and what sets it apart from your other musical endeavors?

I’d always loved electronic bands like Massive Attack, Chase & Status & Leftfield, who have the core band members but feature different vocalists on many songs, and I wanted to emulate that model. I had a ton of beats, snippets of tracks and ideas, and wanted to complete the songs, so I decided to reach out to different singers and rappers to see if they wanted to be a part of this collective. The project snowballed and now I have three full albums of material.

What led you to decide on making “Julia Sound” an instrumental album rather than incorporating vocals?

I love working with singers and rappers, in fact, I think that’s one of my strengths as a producer. However, for this album I wanted to get a little more experimental and also give myself the challenge of a fast turnaround on the tracks, and as such didn’t want to be thinking about lyrical themes. The result is an instrumental album, and the pieces are more of an improvised study in synths and beats than my other work.

As a female musician, how do you perceive the role of women in the music industry, and how does that influence your work with Julia Sound?

I’ve been in the industry a long time, and for many years I was pretty much the only woman on the engineering and production side, in whichever studio and whichever city I was in. I’m really encouraged to see this has been changing over the last decade or so, with many more women entering the field from the technical side. I think it’s important all ‘voices’ and ideas are heard, and for so long, our industry has been the domain of men. I decided to make Julia Sound a 100% female (and non-binary) project to make space for this different sound and approach.

Can you share some of the key musical influences that have shaped the sound of Julia Sound, particularly those from 90’s and 00’s British electronica?

I think the 90’s and going into the 00’s was an incredible time for electronic music, and the scene in the UK was absolutely bursting with the creativity of brilliant electronic bands – Chemical Brothers, Underworld, Portishead, Massive Attack, Faithless to name a few. All these bands had tracks, albums and live shows that really resonated with me. Even if I listen to these albums less these days, they made an indelible impression on my musical tastes, so I think Julia Sound naturally leans into these influences.

How do you approach blending old synths with new plugins in your production process, and what do each contribute to the overall texture of the album?

I have a couple of old Roland synths (Juno 60 and JX3P) that I’d just got fixed, so they form the basis of some of these tracks. I also have a Korg Minilogue which is the key tone on ‘Quatre-Vingt-Quinze’. I tried not to get too prescriptive about what I used on each track, but I did find that blending a bunch of newer Native Instruments plugs, as well as Re-FX Vanguard with the analogue synths got me the results I was aiming for.

In what ways does “Julia Sound” reflect your growth and evolution as a composer and producer since your earlier releases?

I think the project has given me the confidence to see myself as an artist and composer, whereas until then, I was more a producer for other people. It’s also given me the flexibility to put myself out there as a creator of music for visual media as well.

What inspired you to incorporate trip-hop elements into Julia Sound’s music, and how do you feel it enhances the listening experience?

As mentioned above, I think the trip-hop elements from some of my earlier musical influences naturally come out when I’m creating downtempo tracks. I also love listening to hip hop, so there’s crossover there from a beats perspective too.

Could you discuss the decision to introduce harder beats into “Julia Sound,” and how it adds to the overall aesthetic of the album?

I had leaned into some cool Native Instruments beats plug ins, with the Butch Vig drums forming the basis on a couple of the tracks. I wouldn’t have leaned into these tones on the first two albums, but they just seemed to fit this time round, probably because I was not focused on supporting any vocals and felt I had more freedom to increase the edge drum-wise as a result.

What significance do mellow synth pads, sound design, and smooth arpeggiators hold in creating the atmospheric moods of Julia Sound’s music?

I also listen to ambient music, and all these elements form the basis of that genre, so naturally become part of the melting pot of tones that I draw from.

What challenges did you encounter during the production of “Julia Sound,” and how did you navigate through them?

A goal I set for myself was to turn this album around super quickly, which in itself I guess could be considered challenging, because, as any music creator knows, the temptation is there to endlessly noodle and tweak. If I found myself going down a rabbit hole, I quickly stopped the track and moved onto a new one.

Looking ahead, what are your upcoming goals and aspirations for Julia Sound, and how do you envision the project evolving in the future?

One reason for setting myself the challenge of working fast was that I’d love to get into more composition for film and TV, and I know that turnaround times can be tight in that field. I think this project proved to myself I can create compelling music that would work well for visual media, so that’s something I’m going to explore. Also, now that I have a large body of Julia Sound tracks to draw from, I’m planning live shows. There’s a big appetite for live music of all kinds where I live (on the West Coast of BC) so I’m looking forward to taking some of these pieces to live audiences.

https://www.facebook.com/JuliaSoundMusic

https://www.instagram.com/thesoundgardenretreat/

March 27, 2024 0 comments

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Interview – Transcending Genres: A Journey from Ljubljana to Berlin with Tzena

by the partae March 21, 2024

written by the partae

From its early beginnings in Ljubljana to Berlin, Tzena has made a name for himself in the European underground scene. Praised for his genre-transcending sets that take listeners on a journey, his music brings positive vibes with an energetic yet elegant style. Tzena sits with us to open up about his story, music philosophy and dreams in this interview.

The Partae: Thanks for being with us, Tzena. The first question is about your name, where does it come from?

Tzena: It’s an anagram of my name Nace (pronounced Na-tze), a kind of Balkan wordplay that involves replacing syllables. At the time, I thought it might be a clever idea, as I believed that foreigners would find it easier to pronounce than my actual name. As it turns out, it’s quite the opposite so I’ve been considering a name change somewhere in the back of my mind.

The Partae: Tell us about your journey as a DJ. How did it start and how did you develop into what you are today?

Tzena: Well, it might sound a bit cheesy, but my journey into DJing started before I even knew what a DJ was. As soon as I got my first iPod or MP3 player, I just always wanted to plug it into some speakers and play music to friends.

Then, in high school, things took a turn when one of my closest buddies bought a DJ controller, at the time we were into mainstream EDM. I started feeling left behind: “He’s going to be a DJ and not me?”. I vividly remember thinking, “I’ve watched many DJs at parties, and I bet I could do it better. I want to do this!” But making the big move wasn’t easy. It felt like DJs were from another planet, and I had no idea where to start. Until one day, I walked into a store, bought a controller, and just like that, I was a DJ – at least in theory.

We started spinning at birthday bashes and high school parties, you know, the usual stuff. Slowly, I started discovering new music and expanding into different genres like tech house, techno and deep house. After high school, my sound horizons expanded as I started going to raves and parties in Ljubljana, mostly Klub K4. Since then, I began collecting records like a maniac. At that point, I didn’t know yet other DJs playing vinyl in the Ljubljana scene. I relied on this website called Decks to order new records each week – a bit of techno, a sprinkle of Romanian minimal, Kerri Chandler re-presses, whatever I could find.

That’s when I started connecting with the Slovenian scene and I found myself immersed in a more underground rhythm. Francesco Del Garda and Nicolas Lutz were two of the artists that I first heard at K4 and it was a transformative experience, not just for me I think, but for the entire scene.

The Partae: You are now based in Berlin, why did you decide to make the move? Was it primarily for your DJ career, or are there other motivations?

Tzena: Yeah, it’s been on the cards for a while. At first, I was hesitant because I was worried about losing my identity in a big, chaotic city like Berlin, you know? We were really building something solid back in Slovenia with Luckison. But then the pandemic hit, and I also got together with my girlfriend, who was a big part of the decision. Plus, I felt like I was stuck in Slovenia – not making much money, no other career prospects, and lacking inspiration for digging or making music. Berlin offered a fresh start with various opportunities. Living with just my girlfriend also meant fewer distractions and more time to focus on myself and my music. It was definitely the right move for me.

The Partae: It’s interesting how the music scene is becoming more genreless, drawing influences from different styles. Yet it’s somehow important for a DJ to categorize or label their music for the audience. How would you describe your music with three adjectives?

Tzena: Honestly, the tracks that inspire me the most are the ones that defy easy categorization. They blend genres in ways that make you go, “What even is this?”.
Moving beyond genres, some adjectives describe the essence of my music and my approach to making it.

The first would be “smooth”. I don’t even know if this is a real adjective for music, but it is something I like to maintain while playing.
Another one is “positive”. There’s this happy vibe in house music that I try to capture. It’s like the foundation. Overall, I’d say my music has a general aura that leans towards the light rather than the dark.
Oh, and I’ve been hearing people describe my music as “elegant” lately, which I think is pretty cool. So, let’s go with that – elegance.

The Partae: Let’s now talk about your methodology in making music. How do you discover new music? Are you more of a record store person, or do you rely on online platforms?

Tzena: I do a bit of both. Living in Berlin now, I’m lucky to have access to such a variety of record stores and I should definitely go digging more often. Sometimes I’ll have a week where I hit up all the shops, and then I might go a couple of months without buying anything. It varies. But yeah, I try to take advantage of being here.
Of course, I also search for anything online, it’s a mix of different platforms and online stores: Discogs, Beatport, Juno, Decks, Bandcamp – whatever I feel like that day. Lately, I’ve been getting into new releases more. There’s been a surge of quality and originality of production in the last couple of years so I get to play a lot of newer stuff.

The Partae: How about your live performances? Do you have a specific method when you’re prepping for a set or do you prefer keeping it more spontaneous?

Tzena: For me, one of the joys of DJing is figuring things out on the spot. I need the crowd in front of me to see what they react to before starting to put all the pieces together. Of course, I do some prep at home, especially with new records. But mostly, it’s about listening to tracks, understanding their vibe, and knowing how they start, how they end and how they flow. I tend to group tracks into different categories: Beginning of the set, big-time escalation, something in between etc.. That’s it. If I try to prepare too much at home, it just messes with my mood and somehow nothing works! Things come together better in the moment. That’s just how it works for me.

The Partae: You are part of the label Luckison together with other emerging Slovenian artists like Mayell, Mornik and Kosta and Tim Kern. Do you see the label as a platform for international exposure, or is it more of a casual project among friends?

Tzena: It was always more of an experiment than a serious project. The first couple of releases were just our own productions with no names. Whenever we felt like something was ready, we put it out but we didn’t really put much info out there, just a stamp on the record to see what happens. International exposure or not, the attitude was always meant to be casual.

The Partae: So, do you see the LuckIsOn leaning more towards releases or gigs?

Tzena: Definitely more towards gigs, and parties. The label is more like a safe space where to put music out there. We released other artists too. We had a release with some talented mates from London called Felon5 and we’ll have more with other artists in the future. We have to come across something truly interesting and unique – something fresh that hasn’t been heard before – that’s when we’re interested. Otherwise, we’re not actively hunting for music to release. If something falls into our lap and it feels genuinely cool and fresh, then we go for it. But we’re not in a rush to put out records just to keep things active. If we have something, great. If not, that’s fine too.

The Partae: And for you personally, do you prefer the production side or playing gigs?

Tzena: Personally, I’m still more of a DJ than a music maker. Playing music is what I enjoy most. But I do love being in the studio too. Both take a lot of time and dedication, especially if you’re juggling it with a day job. I enjoy both, and I started producing more so I could make tracks to play live. That’s how it all started to get more serious. So yeah, I’m more of a DJ than a producer, but they go hand in hand for me.

The Partae: Where do you see yourself playing in Berlin or Europe in the future? Any dream venues or festivals?

Tzena: I had a bucket list moment last year at Closer in Kyiv, Ukraine. Played there in February 2023: Incredible club, with amazing people. They’re struggling now due to the war, but they’re still doing cool daytime parties. Also, Robert Johnson in Offenbach (DE) has always been a dream spot. In Berlin I feel really comfortable at Hoppetosse and Club der Visionaere. Sometimes I forget how much of a dream come true it is to play there. There are plenty of clubs or festivals that I could name, but there are so many cool spots all over the world that it’s hard to single out any particular one. If I can just manage to play out regularly that’s a dream come true on it’s own!

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March 21, 2024 0 comments

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Interview – “Driving Authentic Success: Inside Tracks To The Max’s Approach to Spotify Promotion and Artist Development”

by the partae March 21, 2024

written by the partae

What inspired the creation of Tracks To The Max and its focus on authentic promotion for Spotify?

Our current focus is on developing the artists of tomorrow, providing them with the tools and platform they need to succeed. With our extensive experience and passion for music, we are well equipped to guide emerging talents towards achieving their dreams. We specialize in driving organic growth and engagement on popular streaming platforms.

Can you elaborate on the significance of Spotify promotion in today’s music industry landscape?

Spotify promotion is crucial for artists looking to establish themselves, expand their fan base, and succeed in today’s highly competitive music industry landscape. However, it’s important to note that while Spotify promotion is powerful, it should ideally be part of a broader, multi-platform promotional strategy to maximize reach and impact. Most importantly, the Spotify promotion must be completely real and organic; otherwise, you’re just wasting your time and money. Tracks To The Max promises real Spotify promotion, not like many others online.

How does Tracks To The Max differentiate itself from other promotion services, particularly those that rely on bot-driven tactics?

We focus on helping artists and labels grow their music with 100% real tactics. We pitch your music to our verified playlist curator network. We promise 100% genuine streams, steering clear of bots and fake methods, to ensure real people listen to your tunes. We research this approach not only to ensure compliance with Spotify’s guidelines but also to mitigate the risks associated with artificial inflation, such as account suspension or bans. We use tools like , artist.tools Is It a Good Playlist? Spot on Track

, & to research the history and authenticity of playlists on Spotify to make sure you get 100% real streams.

Could you discuss some key features of Tracks To The Max’s promotion services and how they ensure authenticity?

100% Genuine Promotion: At Tracks To The Max, we offer genuine promotion services to

supercharge your music career. We help you reach a broader audience and achieve your career aspirations without any bots or risks.

100% Refund Guarantee: We stand by our promise to provide exceptional promotion

2. services for your music. If, for any reason, you find that we are unable to effectively promote your music to your satisfaction, rest assured that we offer a 100% refund guarantee.

10 Years of Experience: Our team at Tracks To The Max brings over a decade of experience

in music marketing, ensuring that your music reaches the right audience and makes a significant impact. We operate by Artists, for Artists.

Over 300M+ Streams Successfully Delivered: In the past five years alone, we have

successfully delivered more than 300 million streams for our clients, aiding them in gaining visibility and expanding their fan base.

Artist-Centric Approach: At Tracks To The Max, our experienced team understands the

unique needs of artists as they are artists themselves. We employ effective tactics tailored to your specific goals.

Rated ‘Excellent’ (4.8/5) by Customers 4.8 out of : Customers have rated Tracks To The Max 5 on Trustpilot based on over 125 reviews. Check out what customers have to say here.

Focused on Results: At Tracks To The Max, we’re different from many music promotion

services because we focus on getting you the best results for your investment.

With over 100 million streams delivered across various campaigns, what factors do you attribute to the success of Tracks To The Max?

Our bot-free promotion, results-oriented approach, 10 years of experience, and 100% refund guarantee make us stand out from others.

Our repeat customer rate is really high because artists are thrilled to have found a trustworthy partner in the music promotion industry.

Can you describe the process artists go through when utilizing Tracks To The Max’s promotion services?

How it works:

Place Order

Select a campaign size that fits your budget and requirements, then place your order.

2. Pitching Process

We pitch your track to our curator network within 1-2 days. They’ll review your song within 1-7 days to consider it for sharing.

Results

Your song has been placed on a playlist(s), and it will stay there until you reach your campaign goal. You’ll also gain access to our customer dashboard.

What sets Tracks To The Max apart in terms of customer satisfaction and transparency in pricing?

Our support team is always available on Working hours: Monday-Friday, 9am-6pm (CEST). Our pricing is transparent and tailored to accommodate artists of all budgets.

How does Tracks To The Max cater to artists of different budgets and levels of experience? Our pricing is transparent and tailored to accommodate artists of all budgets. From starter packages for newcomers to premium options for established acts, we offer a range of solutions to suit your promotional needs.

Could you share some success stories or testimonials from artists who have utilized Tracks To The Max’s services?

We’ve worked with big names like Mason, Carl Cox, Paul Oakenfold, and Shermanology, as well as Universal USA, DGTL, Labelworx. Plus, we’ve helped lots of independent artists and labels too.

In addition to Spotify, what other platforms does Tracks To The Max offer promotion services for, and how do these services differ?

In addition to Spotify, we also offers promotion services for and catering to SoundCloud YouTube, artists across different platforms. Whether you’re an aspiring rapper or an established indie band, our comprehensive solutions are designed to meet your specific needs.

How does Tracks To The Max ensure that artists’ music reaches the right audience through their diverse network of playlists and industry connections?

Our service is Genre-tailored. No, One-Size-Fits-All. We take care of pitching your track to the correct curators to make sure your music reaches the right ears. Let us help you navigate the complexities of digital marketing so you can focus on what you do best—creating unforgettable music.ven 100% Refund Guarantee, If we are unable to effectively promote your music. 100% Risk-Free.

Looking ahead, what are the goals and future plans for Tracks To The Max in continuing to support artists’ growth and success on streaming platforms?

Our current goal is developing the independent artists of tomorrow, providing them with the tools and platform they need to succeed. With our extensive experience and passion for music, we are well-equipped to guide emerging talents towards achieving their dreams. We want to help as many artist as possible to navigate to the complexities of digital marketing so they can focus on what you do best—creating unforgettable music.

With over 10,000 happy customers on board, it’s time to join the success train and give your music the recognition it deserves. For more info on prices and options, check out our website.

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March 21, 2024 0 comments

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Interview – “Exploring the Divine: Unveiling the Mystical Journey of ‘Evensong’ with Composer Kevin Keller”

by the partae March 21, 2024

written by the partae

Your latest album, Evensong, seems to be a departure from your previous work, incorporating vocal music and drawing inspiration from Early Christian concepts. What led you to explore this new direction?

“Evensong” came to me in a vision. One day in October 2021, I was suddenly struck with the idea of incorporating songs by Hildegard of Bingen into a tapestry of string, piano, and synthesizers. All at once, the title and concept of the album were clear to me, and from that day forward, I was laser-focused on realizing this vision. I can’t really say where this album came from. Perhaps it was divine intervention, as the album felt like it landed in my lap, fully formed.

Could you share some insights into your creative process when incorporating the plainchant melodies of Hildegard of Bingen into your compositions for Evensong?

Although the theme and concept of “Evensong” was always clear to me, this ended up being the most challenging album I’ve ever made. My creative process was very slow, taking me a full year of experimenting with different sonic combinations and sounds before arriving at the one that felt right. Once I had just the right approach, the album came together fairly quickly. While composing the music, I was using existing recordings of the different chants and placing them into my demo tracks. Once everything was flowing, I then had to transcribe the vocal parts into traditional sheet music so that we could record the vocals in the studio.

The concept of Evensong takes listeners on a journey through various stages of life, from conception to beyond death. How did you approach translating these themes musically?

Very slowly and carefully! Once I decided to use the Church modes as my guide, things became a lot easier. It was a happy coincidence that the first Hildegard chant I adapted was “Favus distillans”, which talks about the virgin Ursula waiting to embrace God. I took this as a metaphor for conception, and the image of an ovum floating in the Fallopian tubes waiting to be fertilized. This image led to the sounds you hear on “Evensong 1”. The album then proceeded from there, moving through the different stages of life, using an ascending pattern through the Church modes as the guide.

You’ve been composing music for nearly three decades now. How has your approach to music evolved over the years, and how does Evensong reflect this evolution?

Well actually, I’ve been composing for over 40 years, and recording albums for 30 years. My approach to music has always come from a place of improvisation and experimentation, while exploring the mysteries of life and death. Each album has explored a different theme or idea: memory, death, mysticism, grief, loss. While the sounds and instruments differ from one album to the next, there is always a common thread that weaves through the entire catalog.

Can you elaborate on the significance of the church modes and their influence on the different tracks in Evensong? How did you use these modes to convey the emotions and narratives of each stage of life?

The Church modes were the key to how this story unfolds. Since I had chosen “Favus distillans” as the opening chant, and this chant is written in Phrygian mode, the subsequent chapters of the story were influenced by the modes that follow Phrygian. So, “Evensong 2” has a very mystical and magical feel to it because it’s in Lydian mode, while “Evensong 3” is more uplifting and childlike because it’s in Mixolydian. Those two tracks are about early childhood, and the sense of play and wonder that we all have at that age. Those two modes really helped express those emotions. And this was also the case with Aeolian (Evensong 4), Ionian (Evensong 6), and Dorian mode (Evensong 7). I decided to end the album with the same mode that I began with (Phrygian), since it felt right to close the circle and take the listener back to the beginning of the journey.

The combination of classical textures and modern timbres in Evensong creates a unique sonic landscape. How did you strike a balance between tradition and innovation in your production process?

This has always been a big mystery to me! When I’m working, I find myself in “the zone” and I don’t really remember how the music is made. I am always searching for new sounds and textures, and in this case, I combined those new sounds with the traditional sounds of voices and strings. Much of it was created intuitively, and I was often very surprised by the outcome. “Evensong 3”, in particular, was a huge surprise to me, because the Hildegard song that I used (“Columba aspexit”) ended up fitting perfectly into that percolating synthesizer music. It was an experiment that simply worked.

The album’s fifth track, “Evensong 5,” is described as the most intense. What inspired the intensity of this particular piece, and how does it contribute to the overall narrative arc of the album?

“Evensong 5” deals with the conflict and struggles of adulthood, as well as the uncertainty we all face. It was a challenging piece to compose. It is expressing that crisis point in our lives between childhood and old age. It’s the turning point of the album, just as it is the turning point in our life’s journey.

What role do the four female voices play in Evensong, and how did you approach integrating them into the compositions?

The voices are the main characters in the story. They are like the narrators, guiding you through the journey. As such, it was more about integrating the music into the vocals, rather than the other way around. The voices and the text were the focal points around which the music grew and developed.

Your music has often been described as deeply contemplative. How do you cultivate this sense of contemplation in your compositions, particularly in Evensong?

I think that it grows out of my own contemplations. I put myself completely into my work, and my music is a direct reflection of what’s going on for me as I compose it. It’s a very personal creative process. Since I am a fairly solitary person who spends a lot of time outdoors contemplating life’s mysteries, this comes through naturally in the music that I create.

Can you tell us more about the plainchant melody you wrote in homage to Hildegard’s style for the album’s finale?

For “Evensong 8”, I found an Anglican prayer for the end of the day, and this became the text. I composed an original plainchant in Phrygian mode to express the words and the images in the text. That melody came to me intuitively. It wasn’t something that I spent a great deal of time on. Much like the rest of the album, “Evensong 8” felt like it arrived in my studio fully formed

As a composer based in New York, how does the city’s vibrant music scene influence your work and artistic vision?

I find myself being more influenced by the art and architecture of New York City. I regularly visit the Metropolitan Museum of Art, and other art museums and galleries around the City, and this inspires me a great deal. I don’t attend that many music events, surprisingly. I sort of live in my own little bubble!

Looking ahead, what do you hope listeners will take away from Evensong, and what can they expect from your future projects?

I hope that people are inspired by “Evensong”, and that the music accompanies them on their own life’s journey. The same goes for my future albums. I never know where the journey will take me next.

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March 21, 2024 0 comments

Music Interviews Music News

Interview: RinRin Unveils Her Raw Emotions, Exploring ‘Miss Miserable’ and Embracing the Unhinged in Music

by the partae March 19, 2024

written by the partae

Can you tell us about the inspiration behind your new single, “Miss Miserable,” and what message you hope to convey through it?

I was inspired during a low time in my life. There were lots of thoughts in my head and I realized in that moment that ‘this would sound good as lyrics.’ There’s no outright message, it’s more of an expression of my feelings and for those who can relate to how I felt and what I went through, to ensure they don’t feel alone in their own feelings.

How does “Miss Miserable” fit into the larger narrative of your music journey and the evolution of your sound?

Miss Miserable is the last song I’ll be releasing before my upcoming EP which is a completely different sound to my early works and Miss Miserable. You could say it’s the closing chapter of that era. I want to make bolder creative choices in my future work, incorporating genres that wouldn’t appear in Miss Miserable and other works prior to that.

What were some of the challenges you faced while creating “Miss Miserable,” and how did you overcome them?

For Miss Miserable, it was more of a method of expression, an outlet for all my emotions so I felt like its production wa more therapeutic than challenging.

Could you elaborate on how your influences, such as BABYMETAL, Poppy, and Bring Me The Horizon, have shaped your approach to music, particularly in this latest release?

For me, the topics these artists sing about are my main takeaways from their creations. They sing about heavy topics and are very emotion-driven. For Miss Miserable in particular, I wouldn’t say they were my main influences but it’d be my guitarist since he was the one who wrote out the riffs and such, I wrote its lyrics and melodies.

You’ve described “Miss Miserable” as an ode to your younger self. How did you navigate the process of channeling personal experiences into your songwriting?

One of the things that helped me get into the mindset was reading the diaries of a younger me. It was like I was a penpal from the future, conversing with her as I wrote.

“Miss Miserable” marks the beginning of a new era for you. Can you share any insights into what listeners can expect from your upcoming music releases?

Expect the unhinged. I was more timid at the start, but now I’m holding back way less when it comes to my ideas and experimenting.

How do you balance the infectious energy and raw emotion present in “Miss Miserable” with your intricate guitar work and songwriting prowess?

I think teamwork made both aspects balanced. While my guitarist worked on the production of the instruments, I worked on the melodies and lyrics and the overall of its production to give the song its ‘RinRin’ vibe.

“Guns and Grenades” received critical acclaim and won several awards. How does the success of that single influence your approach to releasing new music, especially “Miss Miserable”?

For me, it made me want to change up what I make. I don’t want to always do the same thing. I love experimenting and exploring so whenever something’s successful, I try going a different direction.

Your music has garnered significant attention on streaming platforms and radio stations. How do you leverage these platforms to connect with your audience and promote your music effectively?

By getting assistance from our publicists and releasing songs as frequently as possible, creating more social media content as much as I can, taking advantage of the free marketing platforms available.

As you continue to tour and perform live, how do you adapt your music to engage different audiences, especially considering your diverse influences and sound?

Based on my experiences so far, I can see that my audience enjoys what I’m doing. If anything, the positive reception encouraged me to be unafraid to express myself through my music.

Can you share any memorable experiences or highlights from your recent Australian tour and performances with renowned rock and metal bands?

The highlight of my experience was hanging out with like-minded individuals. The bands I played with, Live Like Animals and Inferiority Complex, and I were a little awkward at first but we got along so well and even had a killer game of mini golf. It’s always great to make connections with people with the same passions I do because we go from strangers to good friends at the end of it all.

With representation in multiple regions, including Australia, New Zealand, China, and Japan, how do you navigate the challenges and opportunities of reaching audiences across different cultural landscapes?

Music is a universal language that can transcend a lot of things and reach people no matter where they are. There will always be fans of metal and rock around the world and I want to connect with them through my music despite the different cultural landscapes while respecting that culture’s customs.

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March 19, 2024 0 comments

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