Music Interviews

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Where are you currently based?

Right now I’m based between Brisbane and the Gold Coast.

How did you first start playing music?

I started playing guitar first when I was 13. I use to be obsessed with the game guitar hero and wanted to try and see if I could actually play the songs on real a instrument. From there everything else progressed purely out of curiosity to learn more.

What’s been happening recently and how has your Covid experience been?

Since I got back from America things have really slowed down as I’m sure they have for everyone. I have been very lucky during Covid to be living in Queensland as the virus hasn’t really affected our state as drastically as other states and certainly as it has other countries. I have mostly been working on new music here and there and unwinding from the past few years of being non stop in LA.

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

I wrote Sick world in my first week of quarantine in Australia. I’d just gotten back to Brisbane from LA and everything was very raw and the world wide panic around Covid had only just started. It was a very uncertain time and still is of course . I wanted something musically that sounded sad but also had a feeling of hopelessness and disappointment . I wanted the song to not only be about how terrible the virus has affected so many lives but also how divided everyone has been about not only this but so many other important topics. 

Where and when did you record/produce?

I wrote the song partly in my parents house and then in the studio with my mate Magnus Murphy. I had finished the song pretty much when I started it however when the George Floyd video came out I was so shocked by the video but inspired by the reaction of everyone standing up together. I went to a Black Lives Matter march in Brisbane a few days after the video came out and was so moved by how many people came out to support such an important issue. After that I had to mention the subject in the song. Me and Magnus then produced it from his home studio and in a few days it was finished.

Who did you work with during the recording/production/mastering of Sick World?

I worked with Producer and songwriter, Magnus Murphy who is also one of my best mates. We had been working on songs pretty much the second I got out of quarantine in Brisbane. He has a studio at his house so I would just drive to his place every day and work from there. I’ve had some of the most fun recording with him and the quality of music has only kept getting better and better. We wrote produced and mixed the track and then sent it to Sterling sound for mastering.

How did you approach the recording process?

I wanted to keep it as simple as possible. Not get too tricky with what instruments I chose. Most of the core of this song is the vocal and telling the story so I didn’t want to over shadow that. If anything I try and highlight it. I’m a big believer in trying to take the feeling of what it sounds like to play the song live and bring that to the recording. So we kept it simple  and used  space to our advantage, by using ambient noises to highlight certain lyrics such as “sirens blazing through these streets” and even the intro we found noises of police and ambulance cars. Because when I was in La that’s all you would hear from your apartment. All in all I think the term “keep it simple stupid” could pretty much be applied to anything I make, just let the song talk. 

What does Sick World Mean to you?

It reflects not only the struggle of the year that has almost passed but the struggle that still lies ahead. We need to really look at ourselves seriously and try and find some common ground with eachother. The world is so divided and not United. But I know that at the end of the day we still hold those traits of compassion and empathy we just need to find ways to show it to eachother and stop fighting and start listening. Hopefully 2021 won’t be as divisive.

Who are you listening to at the moment?

At the moment I’ve been listening to a lot of UK rock like Nothing but thieves and Sam fender. I also recently got into a local band Selfish Sons one of my mates Jordy sings for them his voice is insane.

What do you like to do away from music?

I recently got obsessed with Golf. Had a lot of down time while I’ve been back so I decided to pick it up and now I can’t stop. I’m usually like that when I get into a new hobby I get very obsessive and can’t focus on anything else. Maybe I’ll quit music and head to Augusta next year!

What’s planned for the remainder of 2020 going into 2021?

The plan is to focus on new releases and collaborating. I’ve been lucky enough to run into some really talented Aussie artists since I’ve been back and I’m super keen to get stuck into writing with them. As for me I’m not pumping the brakes it’s full steam ahead on new music out as soon as a possible and then touring!

Favourite food and place to hangout?

I’m a sucker for grilld although since I moved to the goldy I’m pretty much down in Burleigh at the Pavilion every second day!

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Why do this new alias anonymously? What is the thinking behind that? Because I have another project which is more tech house and techno-focused, so I like being able to split the two projects. That’s it!

Aside from music, can you tell us a bit about your inspirations? 

I have always been very sensitive to sound in general, I have always had a passion for recording sounds and voices, since I was a child, in fact I have a childhood memory where using an old director of my father, I recorded my grandfather talking, and thanks to those recordings now we can still remember his voice.

What else you got coming up/are you working on? I started a new album that I would like to release on some big label, let’s see the upcoming news 🙂

Where are you both based?

We are both based in Glasgow. 

Your latest EP Leatherbound – released on Soma Records – dropped at the beginning of this month, what influenced its sound?

Being forbidden from clubs and the absolute nick of 2020 has made a lot of producers ramp up the pace of techno and we think we went down a similar route with this release!

French producer Felicie is behind a huge remix of Leatherbound – how did this collaboration come about?

We were looking into a few different names around the time of making the EP – Felicie had not long released her debut on Soma and had been on our radar for quite some time before that. We both felt that her sound really matched what we were going for with the release, so it felt right to have her on board. She delivered an absolute stomper of a remix and we really couldn’t be happier with it.

When did you two start making records together?

In 2019 we got in the studio for the first time to produce a remix of a classic soma track by Equus. The workflow and idea’s we had were so similar it made sense to continue the journey of making tunes as a duo.

Do you have similar approaches to the way you produce music? 

As we have a similar taste in music that kind of draws out our collective creativity when we produce together. We generally have an idea of what we want to create when we sit down in the studio and the process is very much 50/50. We always know what the track might need, or not, and generally work fairly quickly once we have an idea going. Two heads are definitely better than one in this case. 

Once the world can dance together again, where are you each most excited to play?

We had a few gigs lined up before everything shut down so hopefully we’ll pick these back up. One particular one was with the Voxnox crew in Berlin and would be the first time we both play under the Animal Farm banner abroad together. We’re also looking forward to being back at our home in the Sub Club. We’ve missed the events in there loads during this pandemic and can’t wait to see the explosive energy of the Glasgow crowd once we return to the basement. 

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Hey Joe, welcome to the Partae!  You’ve got a pretty epic 7 track EP ‘Texture’s dropping imminently – it might be your first EP, but you’ve been turning heads for a while, we particularly loved your track Crystal Clear. Why did you decide to release a 7 track EP?

Hey! Yeah this EP has been a long time coming – but I can’t wait to get it out there for everyone to listen to. There were a few reasons behind the longer track-listing. A big factor was that, as you stated, this is my first EP and I wanted this body of work to have some sustenance and structure to it. Rather than a collection of random songs, I wanted all the songs to weave together and feel like every song plays a significant part in the EP’s journey. 

You were in bands before you started producing electronic music, right? What made you make the switch? 

Yep, that’s right! The change from band to producer happened pretty smoothly to be fair. I had been learning to produce for a few months (just making random ideas with no real direction), then our band split up – which I was gutted about. However, I felt like I had to embrace the change of lifestyle and shortly after, I started to find my feet in production and the rest is history!

What bands or artists did you listen to when you were growing up? Have they had an influence on your production style?  

Growing up there were so many different styles of music being played in my house. I’ve always loved class Motown and Disco tracks, which I feel like are the ‘club’ tracks of the 70’s and 80’s. I think the thing I try to take from those genres is the heartfelt harmony and melodies in Motown, mixed with the dancefloor based disco grooves. My style is obviously very different to them on paper; however I definitely feel those two genres in particular helped shape my music taste and later on, my decisions when writing and creating music.

It’s a scary time for the UK live music and events scene. Can you tell us about one or two key events you went to when you were younger that have helped shape who you are/the career path you’ve taken? 

I remember the first year I went to Reading Festival I was so amazed by the spectacle of the whole place. How big the stages were, how you could see so many different acts you could see across the weekend. It’s a bit cliché, but I remember watching bands up on the main stage and thinking ‘that is the coolest thing ever – I want to do that!’ So ever since then I’ve always had the ambition to perform at one of the bigger festivals, hopefully one day!

‘Textures’ is a really varied release, with a mix of dance, vocal hooks, more crossover… is this how you naturally produce, a bit of a mixture rather than focusing on one specific sound? 

Yeah that’s definitely how I produce. I have tried to limit myself to working within a specific style before, however I found that it just hinders my creativity. I think that ‘Textures’ lays a good foundation as to what I have to offer as a producer right now.

What’s next for Joe Turner? 

I will be spending the winter months writing a load of new music, maybe a few livestreams thrown in there too. Despite being in lockdown at the moment, I aim to be as creative as possible. You have to accept some days you won’t come up with anything, however it’s all about managing your expectations, and writing as many good tunes as you can!

Joe Turner ‘Textures’ EP is Out Now on LG105, get it here: https://joeturner.lnk.to/TexturesSo

Acclaimed Scottish Dream-Folk outfit Constant Follower release their double sided single ‘I Can’t Wake You’ today.

Self-released it preludes their debut album ’Neither is, nor ever was’ on Shimmy Disc / Joyful Noise Recordings having just signed a deal with the label behind countless seminal records from the likes of Sufjan Stevens, Deerhoof, Dinosaur Jr, Kishi Bashi, and Yo La Tengo. The album is being produced by the internationally renowned Kramer.

Moments last forever, but you’ll sleep through it now,” McAll’s voice carries the wistfully bittersweet lyrics with a unifying sense of sincerity in I Can’t Wake You. The track is underpinned by the sentiment that, not only do things stay with you forever, but more significantly that in a moment of grief or great pain that time seems to stop.

The second track is more instrumental, floating over haunting strings and finger-picked guitar. Inspired by the area of Hamburg where McAll’s partner and bandmate Kathleen grew up, Altona means “all too near” in German. “It’s okay,” he says throughout the track, “It’s okay…”

Where are you currently based? 

We’re based in the tiny city of Stirling in Scotland. It’s a great wee place with a beautiful castle on the hill and the mountains within walking distance.   

What’s been happening recently and how has your Covid experience been so far?

The lockdowns have been hard because of not being able to play live shows. I miss that. And I miss seeing other live music. I’ll be quite happy to never see another livestream again! Ha! But I think one thing the livestreams have shown us is that the people on stage are only a part of what makes live music so special. When you lose the audience and the setting, it just feels empty. I’ve put the time to good use – working on making this album special and reconnecting.  

How did you first start playing music? 

I asked to learn piano when I was about 6. My parents were recommended a teacher who took lessons in a nearby church when there weren’t services on. One of my only childhood memories relates to this. I remember walking in for the first time – all the lights were off in the church except a dull light over the grand piano in the far corner. This old guy was hunched over, playing something very sad that filled the room. I remember the smell of candles and damp. I loved going to that old guy. My parents say that he was often drunk when we went and short tempered and grumpy. But I loved him. And, though his problems caught up with him pretty soon after we started together, it was that small handful of lessons with that troubled old guy that started me off playing music.  

When was Constant Follower formed? 

I‘d been writing some songs for a couple of years and played them out once. Which went well but I felt like I wanted to be able to present the songs in a fuller context. Kurd started playing guitar with me after we got talking at a gig a few years ago and the band has expanded since then to include Kessi and Amy as well as a few other collaborators like Kenny Bates who plays guitar on a few songs on the album. The band around me is a fluid entity, always with the key purpose of serving the songs. 

Your single ‘I Can’t Wake You’ is out now. What inspired you to write this track?

In the song is the phrase “moments last forever”, which is kind of about how our perception of time is completely relative to what is going on in the moment, but also about how momentary events stay with you indefinitely. We’re all aware of how time seems to stand still in moments of shock. I was attacked from behind one night and had a bottle smashed over my head. I remember seeing the sparkling shards of crystal tinkling past my head onto the ground in slow motion. They kind of hung in the air before time sped up to normal again and I realised what had happened. Stopping time like this, it’s a superpower!

Tell us about the accompanying video for the track? 

The video was made by this fiercely creative Swedish/German artist called Nathalia van de Kerst. Nathalia was helping a friend clear the basement of an old house in Froseke when they came upon a box full of glass negatives from the earliest days of photography, depicting life in old Sweden. The images seem to marry to the music in a very special way. 

What’s your songwriting process like? 

There’s no process really – I just try and play guitar a lot so that I’m ready whenever a song starts to come. Every now and then a small phrase pops into my head that seems like it has something attached to it; I’ll sit down and sing it, then the next bit will come and on and on in a kind of linear fashion until there’s a full song. Most often I don’t know what I mean by the song in the moment, only later do I attribute meaning in the same way someone else does when they hear it. And that meaning changes when things in my life change. I don’t ever try to force a song out – they just come when they’re ready.

What instruments and equipment is behind Constant Follower’s sound?

Well, there are no drums to worry about – that makes it a lot easier to play live! That rhythmic element comes from my fingerpicked acoustic guitar, which is most always at the centre of the arrangements. Over that I layer synths and guitar parts from Kurd and Kenny, both of whom have very different styles. Kurd has these incredible floaty, swelling, lush sounds that fill out the acoustic guitar perfectly. But I think the most important element in the ‘sound’ if there is one, is Amy and Kessi’s backing vocals. There’s just something about the way they each sing. Amy has the most beautiful and unique voice.   

What’s the inspiration behind the title of the debut album, ‘Neither is, nor ever was…’, due to be released in March?

That’s a long, and personal, story… 

Can you tell us a bit about the album’s production?

We initially went into the studio with a Glasgow producer to make the recordings for the album. But the studio environment didn’t suit the intimacy of the songs. I wasn’t very happy with the performances – don’t get me wrong, the recordings were lovely, but there was something about the ‘feel’ that wasn’t right. So I decided to improve my own studio and have another shot at the songs, which has paid off. I learned that if I’m sitting writing these songs late at night while my daughter sleeps in the next room, then the best way to capture that feeling is to make the recordings in the same way. We’ve been very lucky that Kramer, the producer who discovered Low and Daniel Johnston, heard my music through a mutual friend and offered to mix the record.   

How do you spend your time when you’re not making music?

I get outside into nature as much as possible. The hills are so near that there’s really no excuse not to spend a lot of time there. Being a musician is hard work for no pay, so it’s essential to nurture your mental health in any way you can – being in nature is the best cure.  

Who are you listening to at the moment?

I’ve been listening a lot to the Cinder Well record. Man, it’s beautiful… devastating, but beautiful. I’ve also been improving my knowledge of Mark Tranmer’s music. He lives locally now and we’ve been meeting for coffees and music chats. He and Roger Quigley were The Montgolfier Brothers. Roger’s recent passing has brought new attention to their incredible work ‘Seventeen Stars’, which is just the most wonderful record and well worth getting to know. 

Where are you based?

Montreal, Quebec, Canada

Your debut album ‘The Second Renaissance’ will be released November 6 2020, what influenced its sound?

Every emotion in my body and my love for Metal. In this album, the tracks are made anywhere from a couple of months ago to 8 years ago. Older tracks I revisited and cleaned up. The sum of it all tho is a collective of my emotions that express me. 

What is the inspiration behind the title of the album?

It expresses change, understanding one’s past, and moving forward in a new light. A lot of the inspiration came from the animated series The Animatrix. We are entering a new era.

How did you approach the recording and production process?

Considering it was all done over an extensive amount of time there were many different processes at the beginning full digital and eventually a healthy mix of analog, vst, and samples. 

How did you first start playing music and how did this evolve into electronic music?

I first started playing music when I was 6 learning the piano, I eventually moved over to drums, later I joined a metal band called Bleeding Halo. We did some small shows and “tour” which was just one other province but In Montreal, we had many shows. From there I moved over to electronic music which became my obsession. 

What’s your creative process like?

I like to start my day with music. I open Ableton on an empty canvas and usually start with a kick. I take some time with the kick as the kick brings different emotions, heavy bass rumbling kick reminds me more of aggression as a small light kick with attack may bring something more melodic. From there I complete the drums and focus on the leads and hooks. All this is layered until I have the peak of the track. Once that’s done I move over to layout. 

Your label Starskream is named after DJ Starscream – Slipknot’s turntablist. How much do bands like Slipknot influence the techno you create? 

An incredible amount, a large portion of my day is listening to Metal, I get so many ideas that I want to incorporate in my techno, from guitar riffs to drum rolls, screams, effects, and song titles. 

Why did you decide to start your own label?

As much as I love finding new music to share with the world, I wanted to do the same with talent. I wanted to be a platform for individuals to have a shot at showcasing their art. As well, I wanted a label that represents metal, healing aggression. 

How has 2020 felt for you creatively?

It has had its ups and downs, full of doubt, second chances, and ambition. Each day is never the same but I push through. I also have 2 alias which helps me stay creative. Melora is synthwave and Three Faces Of Eve is faster-paced techno. 

What artists are you most excited about right now?

Remy-X has been on my radar for some time I’m loving his music, Alexander Wittenby is swimming in talent, and Aahan another artist I’ve been watching climb to the top. These 3 are the first to come to mind. 

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Where are you currently based?

I’m currently based up in Northern NSW. I’ve been spending a lot of time in Byron finishing off a few EP’s this past year. Before Covid I was commuting fortnightly between Sydney and the Gold Coast for 2 years for DJing.

How did you first start playing music?

I started writing songs when I was 14. For me music saved my life, it was something I could turn to when I felt like I couldn’t talk to anyone. It was always there, it never judged me & it made me feel good. I wasn’t a very popular kid in school so I kept to myself and spent a lot of time writing music during lunch times or in my bedroom at night.

Your new single ‘On My Mind’ Feat Amela is out now, what influences the sound and songwriting?

There was never really anyone we looked to as an influence for this track. I usually just sit down and see what sounds inspire me & the song always writes itself depending on what situation I’m dealing with in life. Making music is like having a therapy session. I feel like working with Amela and her voice inspired me to re-work the production, especially in the chorus. I re-sampled Amela’s voice to create the low sounding vocals in the chorus and I made the synths to complement her voice. This was a song that we just kept chipping away at until we were both happy with it.

How did you go about writing On My Mind?

I made it about a year ago and had written a top line for it although I felt like it didn’t suit me as an artist. So I decided to reach out to Amela and we re-wrote the track together. Amela and I first started writing together when we were around 15, so we’ve always had this great chemistry when it comes to writing. We did a few zoom calls back and forth and once we solidified it I got Amela in the studio to lay down the vocals. 

It’s been 10 years since your last release, how did you get back into releasing?

I’m a bit of a perfectionist and I wanted to master everything in production before I felt like I could put my music out. Thankfully I had a lot of friends and family who pushed me to release my music and I finally accomplished my goals this year. I was sitting on it for a while and didn’t know whether to approach labels or just release it myself. It’s a bit overwhelming when you do everything yourself but collaborating with Amela helped me to get past that fear and just put it out.

You have an EP coming soon which will include some more massive singles, please give us an idea of what to expect.

I’ll be singing on the rest of the tracks for this EP. The next single is called ‘Good Life’ & I did everything from making the sounds, writing, producing, mixing & singing. To me it’s something I’m really proud of because it’s a very self accomplished track of completing my long term goals as a producer.

I’ve basically based all my EPs around the consistency of how the songs I’ve made ‘sound’ and this is my most commercial sound.

You were the winner of Your Shot DJ Competition in 2018, how did things change for you as a result of this great accomplishment?

I feel like winning Your Shot gave me credibility as a DJ where people took me seriously. As a full time DJ I played a lot of commercial gigs over the years which kind of pigeon holed me as being super commercial. I wanted to show people that I could play Trap & Bass music so it was a great platform to show people that I’m not just a commercial DJ & I can play any genre.

You have been writing music from a very young age, how did you first start and learn how to write music? 

I started getting keyboard lessons at the age of 6 but I always loved guitar. I was shown some chords at the same time I started keyboard and after a few years of begging my parents they finally bought me a guitar when I turned 10. During school I wrote a lot of poetry and won a few competitions for it. So writing songs came quiet naturally to me when I would hear chord progressions and writing music was something I started doing every day.

Who are you listening to at the moment?

I came across a really incredible rapper named Phora. He’s lyrics are like poetry. I kind of listen to anything and everything depending on how I’m feeling on the day. Amy Shark, XXXTENTACION, Alison Wonderland, Flume, Willaris.K, Elton John, Tash Sultana are my most recent listens. 

What do you like to do away form music

I love keeping active to keep my sanity. Working out, meditating, hanging with the people I love & surfing keeps me sane. Music takes up a lot of my time so I don’t get to do it as much as I’d like.

what’s planned for the remainder of 2020 going into 2021?

I’ve got about 6 EPs I’m solidifying which cross over to a few other genres like trap & R&B/Grime. So the main focus is getting as much done as possible so I can just keep releasing music over the next few years.

Favourite food and place to hang out?

Favourite food is definitely thai or Japanese. I love hanging out in Byron or being by the beach when I’m not making music.

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