What are your names and roles within jus Kno’?
We are Alex Aller and Pablo Villanueva. Alex takes care of the music and Pablo is in charge of all the visual content.
We are living in Madrid right now.
In our case, the most important thing is that we have finally released our new album “Looped Circles”. This project was developed during the quarantine and it is something that you can tell all along the record because it is our deepest, personal and introspective music till date.
We have been working on the album since Christmas of 2019. During the quarantine of 2020, Madrid was heavily restricted and we spent many months isolated at home. We are flatmates so we passed through the same experience together. By the end of 2020 we realized that all the music that we were making during that time had a connection, the songs were talking to each other somehow. That is why we decided to put them all together in our first album.
The music was our way to escape from this painful situation we are all suffering. In a way, we would prefer that the inspirations of our first album would have come from travel, gathering with other artists or more joyful experiences. However, we think that this album is going to become very special for being our saviour in this historic time, which is a beautiful thing.
We have our own studio at home, where we write, produce and mix all our songs. When it comes to master, all of our records are taken care of by Carlos Koschitzky.
We work with Ableton and we try to stay analog as much as we can by using vintage mixers and also tape processing.
The challenge is always to decide when a song is ready. This is our first album, so there were a lot of discards and changes, also the mixing process became very frustrating since we were stuck at home and refreshing the ears was a bit difficult. The most rewarding moment was when we finally put it out and received all the messages from people loving it.
So for recording we work mainly in Ableton, processing the mix by the Teac 2A and the Teac A3440, especially when we want more texture in some parts. Regarding the instruments, we have an upright piano, a Rhodes piano, guitars and some synthesizers as the Prophet 8 or Juno 106. We only use samples when it comes to drums, for the rest we prefer to write music by using these instruments so we can reproduce almost everything on a live show.
We had already planned and signed to release an album with Faneca Music, but we did not know that this was going to be the scenario. We are happy with the result, although the best thing of an album is sometimes to tour with it and this is something that seems to be kind of impossible right now.
We are planning to keep delivering visual content, with visualizers or more music videos. Also, we would love to do a presentation of the album and put on a good show. We are currently working on it.
The new albums from Grandbrothers, Floating Points and Maria Arnal.
Climbing, movies and traveling.
Hopefully, the return of live events!
We love the food from Asturias, one of the reasons this region is famous for. Our favorite place here in Madrid could be “Matadero Madrid”. It is an abandoned slaughterhouse used now for cultural events.
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Melbourne, Australia.
How did you first start playing music?
Music has always been a part of my life. I came from a lineage of piano players so having a musical instrumental around the house growing up was a normal thing. I taught myself how to play the guitar and started teaching myself how to produce music on Acid Pro, when that was the thing back in the day. I did all the music subjects throughout high school and just started writing and studying songs for fun, never knowing it would lead to this someday.
Been a little crazy, just released the second single, Just Another Love Song and the promo around that has been a little taxing. It’s super exciting though, just really happy to get some new music out there and to be working with an amazing management team (Cartel Management), who have really helped to streamline the process.
Danny and I met many eras ago lol! I was actually his singing teacher back in the day and he came to me with some lyrics that he’d written, and we sat down, and things just started to flow. Originally, we were working more on Danny’s solo stuff with his vocals on the songs but as time progressed, we felt that my vocal would be more suited to how we wanted the stories to be told.
Your debut single ‘Treading Water’ made it to the final of the international songwriting competition, how did this song come about?
Honestly, don’t know how it came about. We were very surprised but nevertheless, humbled, and very thankful for the opportunity. One thing we can attribute to its success is the amazing director for the video clip, Herson Delos Santos. Herson really saw the vision we had for the video clip which centred around the awareness of mental health and really brought it to life. If anything, we’ve got him to thank for making it as a finalist.
The song concept actually started as being a sappier type of love song but as we started to write it, Danny came to me with some lyrics that were a little more painful and about unrequited love. As songwriters, Danny and I both seem to lean towards the more honest concepts around life. If we’re going to write about love, we’re going to write about the little honest thought processes that go on in someone’s head, like how worried we are about being uncool in front of someone they’re attracted to.
JALS was 100% recorded, produced and mastered at my home studio and I did it all on my own. All of our tracks have been produced this way.
It’s the second single and especially after Covid last year, which effectively ruined all of our plans, this single means a heck of a lot. It’s about just getting back out there and being free to just speak truth. As a private person, there’s a lot of things that I write in songs that I’d never say out loud and that’s what these songs do. In effect, being able to speak my mind without actually saying any words. We’re really excited about JALS and for the rest of this year with some follow up singles but JALS is the first cab of the rank and we can’t wait to see how she goes.
Well, Covid was a little of a blessing in disguise. Both Danny and I found that we had more time to write and focus on our music. We were in Zoom sessions every couple of days, just writing our little butts off and JALS was actually a song that was written in Covid. I did a streamed show as well which was pretty fun and slightly awkward because I was clapping at myself at the end of each song.
Who are you listening to at the moment?
I’m really loving JP Saxe at the moment. I love how clever he is with the way he crafts his melodies around the honesty of the lyric.
I’ve recently started taking up bike riding. I’m not very good at it but it’s a good way to get out of the house for some fresh air whilst also incorporating some exercising.
We’re really excited about 2021. We’ve got another 2 singles we’re looking to drop and hopefully an EP towards the end of the year or early 2022. We’re also looking to get out there and do our own shows hopefully in the second part of this year.
Favourite food? That’s a tough question, ummm, everything! Being from a Filipino background, food is definitely a huge part of me. If I had to boil it down to a specific cuisine, I’d have to say Malaysian food because it’s got such a broad variety of flavours.
Favourite place to hang out? I love being outdoors, going on hikes or going camping so one of my favourite places to go to just get grounded would be Wilson’s Prom.
Collaborating on projects like this is relatively new territory for you – is it something you’d like to explore further now?
Yes! Definitely something I’d like to keep doing and get better at. I’ve always been relatively closed off with my song writing, so I’d like to one day make a collaborative project of sorts!
How did you first link with KP Hydes and how do you think his presence on ‘Lush Lyfe’ changed the original idea you had for it (if it did)?
I met KP a while ago at a gig in Canberra. He’s really good friends with one of my good friends/band members, and of course we have a really cool bond. To be honest, the original idea wasn’t really a song at all, just a drum groove that I had on my hard drive for a while. Wasn’t till KP had come for a visit one night we decided just to work on it. Lush Lyfe came about really, really quickly.
Is this the sort of music we’d hear you listening to outside of your own project? What’s the sort of music that’s getting you by these days?
Such a hard question to answer, simply because my tastes change so often. I’ve been listening to hip hop for a while, but also have been getting into more of an electronic vibe these days. It really depends what mood I’m in.
It’s a vibe of a track that spotlights your vocals as it does KP’s – what was the best part of this experience for you as a vocalist and songwriter?
Funnily enough, the vocal hook at the end of the song, was originally part of another song I had written about a year ago, but it just seemed to fit in perfectly. I think the best thing about this collab though was how easy and fun it was just to mix something with KP. We didn’t have to stress or try too hard, just kind of went with it.
It also shows a lot of versatility for you as a performer – how important is it for you to remain pushed and challenged creatively?
This is something that I’ve actually thought about a lot recently. I think it is definitely important to always push yourself, and I try to approach song writing, practise and even just listening to new music in the same vein. I’ve only just noticed that I don’t ever really stop thinking about music.
You’re back on the road, how has it been preparing these shows after not being able to tour for so long?
I guess it’s both weird and not weird at the same time. I love being on the road but also love being at home making music and hanging with friends! I think a good mix at the moment is doing me really well.
Now ‘Lush Lyfe’ is out, what is coming next for Oly Sherman?
I’ve just wrapped up an album, so plenty to come from that!
Saturday 17th April Since I Left You Sydney
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Friday 7th May The Bearded Lady Brisbane
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Thursday 13th May Treehouse on Belongil Byron Bay
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Friday 14th May Flow Cafe Old Bar, NSW
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Saturday 15th May Sol Bar (Loungebar) Maroochydore
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Thursday 20th May The Lansdowne Sydney
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‘Lush Lyfe’ is out now.
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We went back home to Perth for a month to see the family after a really long year stuck in Sydney! It was tough not being able to get into WA but we were lucky to have each other. Even though there were times when we wanted to rip each other’s heads off. We did write a heap of music though. Most of it was average but there’s definitely some gold in there!
I think during covid we were over thinking the music we were writing. Whether it was insensitive to what was going on in the world or just simply didn’t have a strong meaning. Mindless is a story about a guy we met during covid. He’s a breakdancer with a Peter Pan mentality and that’s what the song is about. Life’s not meant to be serious so have a bit of fun.
Mindless to us is taking a leaf out of Darrio’s (street dancer) book. Not letting age dictate how much fun you can have. Live in the moment and just be mindless for a bit. Try it, it’s nice
We are sitting on a huge pile of music. So an album makes sense. We want to release something for us. Something we can look back on and be proud of. I think if we like it, then a lot of other people will dig it!
We both surf so any chance we get we head down the coast hunting waves. I make a bit of furniture too and palassi sells red bulls sometimes.
We want to get back on the road again and play some shows. Few festivals on the cards and I’d say we will do an Australian tour!
We went to Una’s last night in Darlinghurst. Biggest snitty Iv ever seen. We both can’t walk properly today.
Where are you currently based?
South London.
Growing up in a musical household I was exposed to a variety of music. I started playing the drums at the early age of 8, and played in Jazz, Rock bands and eventually an orchestra at the start of secondary school. This really laid down the foundations of my musical experience and opened me up to different ways of interpreting sound. My dad is a big lover of rare vintage synthesisers dating back to the 70’s to present day, but it’s only when I started Goldsmiths University I really got me into his collection, and I rediscovered a new side to my passion for electronic production.
Currently working on new music with NULA , whilst also working on the Leaps project and a variety of talented artists remotely, which has been an amazing experience so far. Although it’s all been mostly online due to covid restrictions, it unlocked a new sense of creativity which is exciting. Covid has been a challenging time mentally but also a time to be productive – I really miss gigs, seeing friends etc. In some ways It’s also been a great time to make music and really get stuck in.
At the core my favourite soundscapes exist in music created by artists such as Boards of Canada, SBTRKT, Four Tet, Bicep and I’m also a big fan of 90’s electronic music in the vein of Aphex Twin, Faithless…etc. Sonically these are the landmarks that I identify with usually when thinking about grooves and sound depth. I love emotive melodies and cinematic production so anything that fits in between is usually the direction I go in.
I wrote the track quite quickly, I started messing around with a Juno 106 and ended up building it on a garage beat. I pulled it apart and anchored the track with a piano riff which triggered an emotion that felt distant, I went on a journey and allowed the sounds to naturally dictate where I went next.
I recorded, mixed and mastered the track myself in my bedroom.
I used Ableton as the main DAW and explored with a Pro-One Synth and Juno – Really into vintage synthesizers and sampling.
The uncertainty of not knowing how someone really feels about you.
I wanted the first set of singles to be self released under my newly discovered label ‘Leaps and Bounds’. We live in a day and age where independent artists can do a lot themselves with hardwork and dedication. It just felt right for the first set of singles, in the future I would be open to releasing off a seperate label.
Nadiah and I have been writing a set of singles, we are looking to release another single in April which is exciting. We have quite a few exciting things in the pipeline we look forward to sharing over the course of this year.
It’s all been a natural progression going into this project, I think I can only keep going in an upward trajectory as I continue exploring and evolving over time. I’d like to eventually work with other artists and collaborate as I believe that there is always more magic to be discovered.
Jacques Greene, BICEP, Fred Again.., DJ Seinfeld, Logic1000, Ross From Friends, Four Tet.
Been getting into Skateboarding again, I’ve always had a passion for it – Also love the new Tony Hawk skate game. A classic.
Planning on releasing my debut EP which I’m really excited for and currently working on more singles to release towards the end of the year. Hopefully when live shows can resume again I’d like to do some DJ sets, gigs and maybe festivals in the summer. Until then I’m enjoying the ride.
‘Leaps – Miles Apart’ is out now via Leaps and Bounds’
Scottish party starters Colonel Mustard & The Dijon 5 have announced their new album ‘The Difficult Number 2’released on 30th April digitally and on special limited-edition vinyl.
Produced by Paul Gallagher – front of house engineer for synth-pop pioneers CHVRCHES – the new album features a whole host of eclectic guests from Larry Love (Alabama 3) to Gavin Mitchell (Still Game), combining a mixture of tried and tested fan favourites with brand new tracks featuring the band’s signature singalong magic. The lead single, G.T., was championed by BBC 6 Music’s Amy Lamé, as was follow-up single Ted Dancin’ which reached No.7 in the Scottish Charts.
Big, warm and immediately uplifting, The Difficult Number 2 was born out of a love for dance music, affirming the eleven-strong outfit as joyful, genre-hopping purveyors of music to move your feet to.
It’s preceded by the EP ‘This Is Your House’ which is out today and features dance music icon Mary Kiani and Dopesick Fly frontman Ant Thomaz and a remix from Micky Modelle
Listen to the EP here and buy it here now.
We caught up with John McAlinden, aka The Colonel to hear more…
Where is the band currently based?
We’re like Neapolitan ice cream a mixture of Glasgow , North Lanarkshire and Ayrshire. People can make their own assumptions on which area we consider to be chocolate, strawberry and vanilla.
When was the full band first formed?
It was the 10-year anniversary of our first gig last year, but for a while we were a massive collective sometimes up to 20 bodies, wild but brilliant days. There were points that different people in the band hadn’t met each other until they were onstage playing a gig together. In the last 3 years we’re down to a starting 11 with a couple of subs and it’s the best we’ve sounded , but the collective chaos years were fun.
What influenced the sound of your second album, The Difficult Number 2?
Some songs I can’t pinpoint the exact influences like Ted Dancin and Peace Love & Mustard it’s more about fun happy vibes, community and dancing, but other songs have more obvious influences, part of what we do is to hop in and out of different genres. G.T. – Bowie/The Beatles/Elton John, Cross The Road – Toots and The Maytals/Madness/Road Safety, Funkier Than Funk – James Brown/Funkadelic/INXS, we were lucky 2 of our heroes agreed to sing on the album Mary Kiani who used to sing with TTF and is now based in Australia. We love our dance music , a few of us would go to every night we could in the Arches nightclub in Glasgow and the song This Is Your House name checks all the nights we loved there Colours, Inside Out, Slam, Relief, Pressure , Death Disco. The Arches was a special place. Larry Love from Alabama 3 sings on Country As Muck,(Country As Fuck if you buy the vinyl). Alabama 3 are one of the best bands of all time. Unique bringing Acid House and Country Music together, inspired and inspiring to us.
What inspired the title of the album?
We couldn’t decide on a working title, but I came out with The Difficult Number 2 to the band and they all laughed and liked it, so that stuck. As a band we focused most of our energies on being the best live act we could be and there are so many of us, it can take time to get a consensus or get everyone on board working on songs. It’s taken 7 years to bring out a 2nd album. Other bands have split up , got back together and recorded a 2nd album quicker than it’s taken us to do ours. It’s just seeing the funny side of how shit that is. Most bands 2nd album doesn’t live up to the 1st, but Garry John gaffer from our label Button Up calls it a greatest hits album because half the songs we play live and we know our audience loves them, so I think it’s been worth the wait. We’ve got enough new songs to give folk something fresh and exciting. I also like the fact the word cult is in difficult as we’ve often been accused of being one.
What’s the creative process like for a band of eleven?
Every song is different. My cousin Gary who plays bass , but started on keys then moved to guitar writes 1 classic song a year. Pretty much fully formed other than lyrics and melody and I come up with those. Cross the Road started just as a song I would sing to my kids , but then I came into jamming and the guys were playing a reggae/ska groove and it just fitted well on that. Some songs develop like Disco Colin , that we jammed then played live, but without set parts, but once we’re in the studio recording the brass will spend time working on parts and we all tend to step our game up. This is Your House and We Are The Dinosaurs were fun ones because we developed them further when in recording the album. Gal our producer has loads of amazing synths and drum machines as well as ideas, so we all enjoyed messing about with his gadgets. I write lyrics most days so it’s generally something I’ve been writing about that will make its way into a song if I’ve got a message or idea I want to convey, or just some nonsense or something I find funny that I hope comments with people. If a lyric comes with a melody normally I’m onto a winner.
When was the album recorded and how did you approach the production process?
We recorded it before lockdown over the course of about a year, just occasional weekends and days here and there. Gal who produced it, helped inspire us to try new things and up our game and take the sound to a different level. The band all had input , but by the time we had everything recorded. It would mainly be me , Gal and Disco Colin(Keyboard) sitting listening, bringing things in and out. Doing that as a 3 was a good thing as its democracy in action. My philosophy is to serve the song. If your idea isn’t the best for the song you need to put your ego to the side.
How has a band so renowned for their live shows been coping over lockdown?
We’ve all had our ups and downs , but I think we’re all in a pretty good place at the moment, we’re lucky we all have day jobs so it wasn’t as difficult for us, as other musicians and crew. There are more important things going on and we know when live music returns we’ll be part of bringing happiness to people, so we’re really looking forward to that. As a band that’s been together for a long time it’s probably been a healthy thing to have some space for a while, as we can appreciate each other and what we do collectively more. It’s not how we planned it , but you need to try and take some positives out of negatives if you can.
Where are you most excited to play live when the time comes?
Festivals, festivals , festivals. All the festivals!!! Playground , Belladrum , Party In The Park, Party at The Palace , Lindisfarne and Woodzstock.
What track off the new album are you most excited to play to a live crowd and why?
Ted Dancin’, loads of 6th Dijon have sent us videos of them dancing around their houses to it. Folk are going to go wild for it live. This Is Your House and We Are The Dinosaurs as well, just to see what happens , how the crowds react and what interaction and connection we get with them.
What does the rest of 2021 hold for the Dijon 5?
We were lucky to get some funding from Creative Scotland to do an album launch streaming gig from our spiritual home the Glasgow Barrowland Ballroom, that will go out on the 1st of May. We’re recording in the Barras Market as well as the Ballroom and parts of the building, so will be great for folk to see different bits of the Barras they’ve never seen before, with some history, comedy and usual Dijon visual explosion, because there’s no crowd we’re pulling out all the stops so it’s all singing all dancing, all kicking our own height. After that any live music at all even if that’s playing in peoples gardens.
https://www.facebook.com/colonelmustardandthedijon5
What is your name and role within Kyoshi Mother?
My name is Leah Wilkie, I front the band playing keys and singing, and I do quite a lot of the song writing as well.
Where are you currently based?
I live in Newtown, the boys all live in and around Newtown and Marrickville too so we’re more or less based in Sydney’s Inner west – a great hub for local artists.
What’s been happening recently and how has your Covid experience been so far?
Well, Covid for me personally was amazing. I loved being able to slow down, and to do a lot of self-work and self-reflection. We don’t get a lot of opportunity to do that in our society, we really have to make time for ourselves if we want it. I felt that collectively too, everybody really needed to realise the importance of slowing down and learning to sit with ourselves. On the other side of that, I am also excited that things are opening up again for everybody – although I do hope that everyone can find a bit more of a balance coming out of their experience in 2020.
Your new single ‘Mother’ is out today, what influenced the sound and song writing?
Collective feminine energy was the big inspiration for Mother! I really felt energised by a lot of the amazing women in my life, and inspired by some of the leading female artists in the scene too like; Allysha Joy, Moonchild and Nai Palm. I really wanted to honour the creativity, and the divinity that lies within us and is all around, through nature, connectivity and love.
How did you go about writing Mother?
Well, I was sitting at the piano, I had the bass line and the vocal melody in my head already, and then I settled on some chords. The lyrics really just flowed straight out of me at the time – something that does not happen often in the writing process for me. It was something that I just really needed to express – It was also a reminder to myself to honour my own creativity and divine femininity too. To always show myself more love!
Where and when did you record/produce/master and who with?
We did most of the recording at Coda Audio and at Yianni’s house (our guitarist and synth player) over 2019 with our recording engineer Felix Abrahams. Felix also mixed our record, we did that at his place, and Madalyn Henly from Viking Lounge Studio is our mastering engineer.
How did you approach the recording process?
We went in a little blind, it being our first record and all. We definitely learnt a lot coming out of the experience, we know what we would do again and what we would totally change next time round. But we had a lot of fun recording and adding parts in, we really took our time with everything too. We preferred to sit on ideas and flesh things out as they came rather than rushing.
You’re playing 8th April at Waywards – Newtown, what do you have in store for this gig?
Yes! We are so so excited for this show, I am bursting to play live again. The show is going to be huge, we’ll be playing some tunes off our upcoming record, there will be ethereal soundscapes and improvised interludes and jams (amongst other things) – we always love throwing in some improv and just vibe off each other.
You have a debut album pencilled in for around August 2021, can you give us a hint of what to expect?
The love child of a caramel slice and a sticky date pudding, but for your ears.
Who are you listening to at the moment?
I’ve been loving Edu Lobo’s album Cantiga De Longe, some delicious Brazilian music, Yussef Dayes’ and Tom Misch’s latest creation What Kinda Music, Zeitgeist Freedom Energy Exchange – some crazy creators from Melbourne, and Epoch by Alfa Mist.
What do you like to do away from music?
I love to read actually, always got a couple of books on the go. I practice yoga often, I run small groups for friends too – honestly it keeps me sane! I’ve just started running women’s circles too – something I am extremely excited about continuing. Cooking is also a very cathartic practice for me. I’m also a music teacher, so I pour lots of my energy into that. I absolutely adore the crazy cycle of knowledge, and sharing something that I’m so passionate about with others is just so incredibly rewarding.
What’s planned for 2021?
For me, 2021 is all about honouring my own needs, and really becoming the person I want to be, surrounding myself with beautiful humans, and creating my own opportunities. I’m also really excited to see how Kyoshi’s path unfolds this year, really focus on expanding our flavour but mostly just really enjoying one another and enjoying the journey.
https://www.triplejunearthed.com/artist/kyoshi
Her unique take on Americana music (infusing it with pop, rock and neo-roots) sets her apart and makes people take notice. Her new single, “Have It All” is no exception. A soaring tune, that showcases her vocal prowess, and not to mention songwriting skills – the new single is a powerful anthem for those finding their voice. “This song is for anyone who can’t use their voice,” says Toner, “whether it’s out of fear or because the system has told you to be quiet, this is for you.” The SOCAN Songwriter of the Year grew up in New Brunswick, and was surrounded by music.She was classically trained on the violin and spent many years with the prestigious New Brunswick Youth Orchestra with whom she played Carnegie Hall. She continued on to study theatre in Toronto and spent 10 years in a successful acting career including shows produced by Mirvish Productions and Soulpepper Theatre. Three Toronto productions Toner was part of have won Dora awards. For 7 seasons she was an integral part of the repertory cast at the Charlottetown Festival before returning to her first love: songwriting.
Where are you currently based?
I still live at home with my parents in Temecula, California.
What’s been happening recently and how has you Covid experience been so far?
My COVID experience has been pretty positive because that’s been the most time I’ve ever had to work on music and to really just delve into what I love.
How did you first start playing music?
I’ve grown up with a lot of music. Mormons have an entire hour… Well, not an entire hour, but they sing a lot in church and a lot of Mormon kids get piano lessons. So, my family was always musically inclined and all of that. So, I’ve always played instruments and stuff, but I got my first guitar and I’m the best at the guitar. I got my first guitar when I was 13.
Your new single ‘Violent’ is out now, what influenced the sound and songwriting?
I would say the sound, it’s a Lil Peep type beat. So of course, Lil Peep influenced it. The writing, what influenced the writing is honestly, I wrote that song really fast. It literally just came to me, but at the time, I was in kind of like a bad relationship. So, I’m sure the reason those kind of painful lyrics came to me so easily is because that’s kind of what I was feeling on the inside.
How did you go about writing Violent?
I just found the beat and then it was really catchy. I just decided to write to it, and in 30 minutes, it was done.
Where and when did you record/produce/master and who with?
I recorded it in my bedroom on my Apple headphones late at night. I actually couldn’t even sing that loud because my parents were sleeping. So, on the, “… back door,” part I had to kind of do it quietly, which it probably wouldn’t turn out maybe better if I had full done it, but I don’t know. Then it was produced by a guy named Khalil in Turkey. Yeah, it was a YouTube beat.
Violent blew up on TikTok, how did this come about?
Someone just asked for it on TikTok. They were Like, “I need Violent on TikTok,” and I was like, “Say less.” So, I put a screen recording of it up and then it kind of just went from there.
How has this massive exposure impacted your life, I hear it led to you being signed?
Yes. I got signed, which has been really great, and it’s also impacted my life. It’s stressful in a way to have that many eyes on you, but it’s also really rewarding in a way that I feel kind of a responsibility to speak out on issues and just be really honest and be a good person in the industry because obviously, there’s a lot of good people, but I feel like there’s a good place for me to… I’m really relatable and a lot of people can… I’m a good story of success because I came from a really bad place and look at me now.
You grew up as a Mormon with a very strong connection with your mother, how has life changed over the years?
I’ve always been really, really close to my mom. I think I would say the person I got closer to, I didn’t used to be very close to my dad, but I’m really close to him now, too. I have a really good relationship with both my parents, but I left the church when I was 13 or 14. I just kind of stopped going and told my parents, “Oh, I don’t believe in this.” But they’ve always been very, even though I don’t believe in… Obviously, it’s been a struggle telling your parents you don’t believe in that and I was always super rebellious and kind of a bad kid sometimes. So, our relationship was really strained, but I think my parents understand now. They just understand who I am, why I did those things. Yeah.
Who are you listening to at the moment?
I listen to a lot of Slug Christ and I was into a lot of Future and Earth Eater. I listen to a lot of Midwestern emo music like The Story So Far. That’s lately.
What do you like to do away from music?
To be honest, my other hobby is literally just smoking. I like to bake, and I like to cook. I really like to eat. I’m a foodie.
What’s planned for 2021?
To release the best album that’s ever been made.
Favourite food and place to hangout?
That’s my favorite food and my favorite place to hang out in my garage. I know it sounds crazy. I love my garage. I have done everything in this garage. There are so many memories here, but now, we have a nice TV and a couch. Yeah, I just like hanging out in my garage.
Where are you based?
Glasgow, Scotland
What influenced the sound behind your debut EP on In The Event of Capture Records, titled Pàrtaig?
I wanted to make something that combined my love of warm, emotional, electronic music with my Scots Gaelic heritage. Trying to bring a stomping barn dance vibe and the club energy of Glasgow together. I tend to see my music on two sides of the fence. Either being industrial and driven, like Glasgow or slow and melancholic, like the Outer Hebrides. I wanted to try and fit these two headspaces together, so set out to make a bunch of tracks that contained both, rather than being opposed to each other and this is the result.
How did you approach the recording and production process for the EP?
It was varied. Mostly trying different composition and structural techniques and pieces of equipment out. The majority of it was made on my modular system, mostly just jamming with bleeps and bloops, hooks, samples and percussive things then fleshing out ideas and parts until they came together in a satisfying way.
What track are you most excited to play live when the time comes, and why?
Hard to choose! The title track definitely, but it’s Yamazona I’m most excited to hear. It’s got a dense thump and a slightly odd but glowing feeling to it. I think it will be potent over a big system.
The title of the EP is the gaelic word for Partick which is where you’re from in Glasgow. What do you think makes the city’s nightlife and club scene so special?
A satisfied Glaswegian crowd is a formidable force. When an artist plays the right song in the right setting, crowds just explode with energy. It’s spontaneous, No one can really predict it but when it happens, you get this intense feeling in the air which is palpable for everyone involved. It’s hilarious, genuine and long may it continue! I personally think it’s a combination of endless optimism and being continuously disappointed by the weather that gives us that extra special something.
What is your creative process like and how much has lockdown influenced this?
Good question. It’s definitely changed since last year but I’m not sure if that’s entirely lockdown related or just that things were naturally at a crossroad for me in terms of my workflow.
I’d been working on my studio setup for about 3 months prior to lockdown to encourage this new process so they weirdly dovetailed in March. Suddenly I had a lot of extra time and a new studio environment to distract me from the external chaos. I think I possibly did a year’s worth of problem solving and ironing out snags in a week, and got straight into making music with a sense of urgency which I think was in part due to the anxiety of the situation.
In my creative space, I’ll typically have thought about something that day or I’ll become aware of being in a certain mood. Pick a sound, possibly manipulate a sample or find a nice oscillator tone and within about 5 minutes I’ll have a basic idea, then I just follow my instincts. Sometimes I can feel it instantly adding up, sometimes it doesn’t. I just try to trust my gut and ignore my head.
How did you begin working with ‘In the Event of Capture’?
Through a mutual friend who had sent ITEOC a bunch of tracks I’d been working on late in the summer. We then got in touch and discussed the possibility of doing something together and it all just seemed to naturally take shape from there.
When did you first decide you wanted to make music? 7 years old. Listening to a compilation of electro music. As soon as I heard a synthesiser/drum machine/sequencer combo for the first time. I will never forget it. I was instantly obsessed.
Who are your biggest musical influences?
Cristian Vogel, UR, Boards of Canada, Delia Derbyshire, Carl Craig, KDJ, Aphex Twin, Stefan Betke, CAN, Parliament Funkadelic. Also by my two grandfathers, who were both musical.
Once the world can dance again, where are you most excited to play?
Any outdoor music event, preferably in the sunshine
What does the rest of 2021 hold for you?
Clearly keeping myself and those around me safe and well, and hopefully lots of interesting musical adventures. Getting more confident performing with my modular system (in the studio for the moment). Releasing more music, I have an album ready that I think explores the more experimental/weird side of my musical mind. It’s turned out sounding like I am having an internal conversation with my ancestors via a modular synth! Really keen to work with a filmmaker and bring other dimensions into that. Have an EP in a similar vein to Partaig which is done and dusted and some other tracks recorded and ready for something. A thumping summer party track that’s almost finished. Lots of music, Be nice to get to the Western Isles at some point later in the year (lockdown permitting) just to breathe and remind myself of life outside the city. I daydream that I’ll be able to take a battery operated drum machine with me and I’ll find a PA system setup on the beach to entertain myself with the seagulls and sheep all nodding along.
www.facebook.com/intheeventofcapture/
“Andy John Jones brings a mesmerising mix of eccentric Funk/Disco mashed with a very British-esque unhinged rock n roll vibe, a fresh, brash and ragged sound that tingles every pore of the body.” – The Partae
Where are you currently based?
Currently I’m based in Tuscany, Italy where my girlfriend is from. We were previously based in London but after the pandemic happened there was only so long we could stay because of obvious financial reasons. My girlfriend grew up on a farm here so we moved last June to be with her family.
How did you first start playing music?
Well I was writing from a pretty young age. I wanted to be a screenwriter/actor and star in my own films so I was brimming with ideas for stories etc. I used to play amateur rugby for my local hometown under 16s and broke my leg when I was about 14. I had had an interest in music but it didn’t really blossom til my mum brought a copy of Walk The Line home to watch when I was at home in a cast. I was just mesmerised with the Johnny Cash story and his music and that lead me onto Rock bands and Blues artists like Led Zeppelin, The Rolling Stones and Muddy Waters. I was still pretty fixated on screenwriting and acting, however, until me and a group of friends snuck off to Glastonbury in 2009 when we should have been doing our exams. There I saw Bruce Springsteen headline the festival and it was like nothing I had ever seen. I didn’t really know any of his music but after that show I was totally converted. I felt like I was at church and I had found my religion. Since then it’s been all I want to do.
What’s been happening recently and how has your Covid experience been?
Well we’ve been in Tuscany for almost 10 months now and I couldn’t be more grateful for it. When the pandemic kicked off my girlfriend and I were not in great financial situations. I had been busking full time in London for 4 years, at that point trying to move onto gigging full time for various hotels, bars and agencies, and she was a barista trying to get onto the London Underground for a better wage. Our financial situations were precarious at best. When the pandemic happened I lost a hotel residency I had in Kensington, the agency I had literally joined 3 weeks before lost all their gigs and she was fired from her job. I had no money and had to take a job working for the forestry commission on the Scottish border just to cover some rent for the initial couple of months. When the job had finished by May it didn’t take us long to make up our minds and head back to her family’s home where the difference in pace, the familial solidarity, the weather and the food has certainly made a huge difference on our mental health. Outside of working for her old man I’ve really been able to sit down and focus on how I want to get my recorded music out there.
Your track ‘Come Bring Your Hype Here’ is out now, what influenced the sound and songwriting?
The song had a lot of influences to be fair. The opening riff came first which I kind of felt was like what Alex Turner might do if he did an impression of Jimi Hendrix and that kind of set the tone for the rest of the song. My band and I took a lot of classic Funk and Disco style tropes and just kind of meshed them together but wanted to keep that very British, Arctic Monkeys-esque attitude.
Then came the lyrical content. At the time I was busking there were protests nearly every weekend and it was frustrating if you were depending on the weekend for the vast bulk of your bread and butter. It could get a little frustrating because a lot of the time you’d agree with the cause which made it all the more frustrating when you couldn’t earn any money or get home. It was annoying when you’d speak to people in the protests and they just wouldn’t seem to get that or, worse yet, even know a damn thing about the reason why they were there almost as though they were joining ‘a hype’. But one of the best things I noticed was come the evening time us buskers, when we finished, usually cracked open a few cans and sometimes even had a jam and that would attract all sorts of people over. Sometimes you’d get two completely opposing opinions from the protests/counter protests and just watch as they’d argue and then just talk it out as human beings. Agreeing to disagree.
Social media and mainstream news has us believing there are these huge divides in society and they have a lot to answer for in my opinion. You’ll be surprised how reluctant people often are to get into disagreements if they’re face to face like human beings. Now, obviously it wasn’t always the way but when it did happen it was great. It reminded me of a Bill Hicks skit where he’s making the argument to legalise weed and how much the world would just be a better place if they did. “Shut up and smoke this!”. Well for me it was much more British. “Come on, why don’t we settle this over a pint?”. So the song kind of evolved out of this idea of ‘what if utopia were this crazy dive bar where there was only one rule; you leave your differences at the door’.
How did Come Bring Your Hype Here come about?
Well that was all the beginning of the song. After that I kind of based the bar on the pub I worked in for two years when I was 19 which just made sense because it was an Indie Rock Bar and the style of the song was very much heading in that direction. The other great thing about it was that everyone in the town seemed to pass through at least once in the night. It was class. It just had this universal appeal. I’ll never forget that.
Where and when did you record/produce/master and who with? So the funding for the track came about after a Kickstarter crowd funding campaign I set up in the back end of 2019. My fans subsequently funded the recording of my debut album, which is due for release October 22nd, and CBYHH is the next single from that. The song has been recorded with one of my best friends who saw me busking back in 2016. He was in his first year of a music production course at university and asked if I wanted to work with him and we’ve been working together ever since. Minus the drums, which we did at his university, the bulk of the album was recorded in the various bedrooms he was staying in in London. Come Bring Your Hype Here was his flat in Richmond I believe and was one of the ones we had to finish during lockdown in May/June. I was renting Boris bikes and cycling to his flat, avoiding public transport for obvious reasons, just so we could get the album done before my girlfriend and I had to leave the country.
How did you approach the songwriting process?
Well I always try to make sure the song is either playable or malleable to being played solo because I can’t always afford my band mates, The Ginkgo Milk, who also play on this track. So it’s important the songs are engaging with or without a band. Interesting guitars are a priority as is a vocal melody. My main passion is for the lyrics though. As a writer I try to make them as impactful as possible with respect to the theme or mood of the song.
What programs/instruments did you use?
So the program we used was Pro Tools. Instruments wise it’s your classic Funk Rock song. Drums, Bass, Guitars. What else do you need, right? Haha
Who are you listening to at the moment?
At the moment I’m listening to a lot from the Black Pumas who I’ve been in love with since that album came out. A lot of Frank Zappa too. What a genius he was! Hailu Mergia and the Dahlak Band’s album Wade Harer Guzo is not far from my ears these days as well as various Jazz artists. I’m also pretty big on John Mayer and Norah Jones.
What do you like to do away from music?
I’ve done MMA in my spare time, on and off, when finances have allowed since I was about 20. It’s purely amateur, hobby and fitness related though. I just find a lot of them totally fascinating, character building and great fun. I’m hoping to compete in amateur bouts some day but I think there’s a long way to go. They also keep me out of the pub which I think is my number one hobby as a true English man haha! I also love film, literature, hiking/camping, cooking, history, politics…I’m a bit of a Jack of all Trades master of sod all haha! So many interests so little time, I guess.
What’s planned for 2021?
For 2021 I’m going to be releasing singles until the full album is out come October. I’ll also be growing my YouTube channel, recording more music and just trying to connect with current fans and building new ones to the best of my ability. It’s a great time to be a musician because of this first hand access social media allows us to have with our audience and I look forward to trying to use these tools to reach out to potential listeners.
Favourite food and place to hangout?
Crisps and pubs haha!
LISTEN/DOWNLOAD
This album is a collection of a bunch of creative phases for you, it seems – what does it mean for you to have this music packaged up in this way now?
With regards to the new material on Echo Lodge, how does that music sit with you in terms of its significance now?
It’s an ambitious thing to release music in this way – did you have any apprehension over the roll out?
What does making music (the craft of it) mean to you now as we come off the back of 2020?
You’ve been able to perform some shows recently, how were those experiences?
Being based in Victoria, how are you anticipating this year with regards to being able to bring your music to more stages as the year progresses?
I think at the moment we’re working on a new record so I think more than anything I just want to record new music and play more shows. We played in Castlemaine the other day but we’d love to play more anywhere that’ll have us. I’ve toured a lot around Australia and a lot in Victoria and there are places that we’d love to come back to, also of course going on some trips around the country too when we can.
Flow & Zeo is a Brazilian duo – and husband-and-wife partnership – who came to our attention recently via their brilliant LP, Spacekraft. Released via katermukke, it tells the story of a duo for whom making music is clearly their very reason for being. A wonderful listen from start to finish, we just couldn’t stop listening to it from the first listen. We were naturally, keen to hear the guys backstory, so we put a few questions to them over email recently. Here’s what wewnt down…
This album takes the listener on a real journey of sorts. Is producing an album different to producing an EP in that respect do you think?
We are having this experience – of producing an authorial album – for the first time. And has been a blast… we always had this aim. Living life during the pandemic, isolated, took us to a innervision and Spacekraft was conceived. Connected to nature in our garden where Studio “Árvore” was built we had an immersive connection with the cosmos…, looking to the sky, with our cats, lying on the grass, absorbing galactic energy, took us into a trip of a thematic album where music can take anyone to other dimensions. We realized that we could create our own journey through the solar system, honoring each planet with music.
It’s an immersive journey we’ve never done before. We explored a new way of producing music.
Did you have a general theme or vibe in mind when you were producing the album? Or was it more a case that you went into the studio and see what happened?
As we mentioned previously, sky observation brought us into this journey. The cosmos has so much to give and teach us ….. We absorbed a lot…. It’s infinite.
Our perception of the universe connected everything and we transformed this energy into music.
Which track came the most naturally? And which was the most challenging to produce?
The most natural was Terra, our mother earth “Gaya”. It was the last track produced of the album. We composed this track almost as a ritual, connected with our ancestrality. You can listen to the “Canto Sagrado da Mãe Terra” from a multiethnic Indian Tribe and we also used the sound of Schumann Resonance emanated from the earth in Space at 7.83hz. It sounds as an Ohm and flows through the track as a sub bass.
This mix of ideas during the creation process made us realise we should record a video clip for this track and this brought us into an historical indian tribe from Brazil, Tapaxós where we recorded the video clip.
The most challenging was Pluto, the ninth planet from the sun. The last track and also the art cover of the album. It was challenging…
Pluto, since 2006, is classified as a dwarf planet. It is so unique, beautiful and mysterious. From there beyond you will find much more than our solar system. The universe. We felt we needed to use a message of empowerment to represent such an amazing celestial body. When you listen to the track you can feel a different touch from the rest of the album.
At what stage did you know you were done and it was finished? Do you find it difficult to know when a record is finished?
To declare a creation finished is always hard. There are so many possibilities. When it becomes something that is special for you, a deep relationship begins and it’s very difficult to give it away hahahaha….
Aside from one another, who is the first person you gave it to for feedback? How important is there feedback to you? And what did they say about it?
Our mastering engineer – Vantonio. He was the first to have the whole album.
We met him because he mastered a track we released on D-edge records (Flow & Zeo – Substantial). We really appreciated his work and got in contact with him to master our album as well. Since then, we became really close and exchanged a lot. He became a friend and music partner. We are very grateful and happy with all the feedback we are getting from Spacekraft album.
The release is out on German label, Katermukke. How did it end up on there? Why is it a great place for you to releaser the album?
We had the feeling during the album creation that it could fit there. And it happened. It could not be better. We have a long relationship with Berlin and Bar 25, where we’ve played and also did our label showcase. Katerholzig, Kater Blau. We love the atmosphere. We have good friends in Germany. We also had a previous release on the label, a remix we did of the Track Space Junk from Uone & Western, Andreas Henneberg. Thanks to Dirty Doering and the Katermukke team for having us on board! It’s an honor for us!!
Even the artwork features an image of a faraway planet. Who chose the artwork?
All the design and concept was developed in collaboration with Bussola Agency from our friend Diego Mey who lives in Miami. As we mentioned, the planet of the artwork is Pluto, the end of this journey… but also the beginning of a much bigger exploration. Considering that, there are infinite possibilities to plan a new mission on the future. Why not!?
Do you think art and music are linked? Was the artwork and the aesthetics of the package very important to you in this way?
We let our senses talk through music. This is art. A subliminal communication. Art is the world’s salvation and it’s all linked.
Did this way of thinking influence your decision to release terra as a binaural track? Can you tell us a bit about that process also? Did you produce that track for 3D yourself? And what is it about 3d sound that you so love?
Binaural mixing is something new for us, but has been there for a long time, since the 50’s. Some of Pink Floyd’s music was mixed with this technique, among other artists. It’s so special…. The feeling you have when listening to it with headphones is indescribable. The sounds touch you and go in directions you never could imagine was possible.
Regarding Terra, at the first moment we produced it with “regular” mixing techniques, using Binaural Mixing only in one of the sounds of the track, as we also did in other tracks from the album. During a conversation with Vantonio (our mastering engineer) he showed us a release from Max Cooper that was Binaural recorded, It’s something out of this world. Respect!!
This encouraged us to make a version from Terra Binaural Recorded to be listened to with headphones, which is how you can get the full Binaural experience from it.
Its unique surrounding, everyone should try it.
What’s next for you guys following the album release?
We are giving the final touches on “The Sun” & “The Moon” , the protagonists of the solar system. Those tracks are going to be released on vinyl later this year.
Also other tracks from us that are not connected to the album will be out soon.
Besides that we have 2 new projects:
It’s our side project Influenced by 80’s and 90’s baggage mixed with nowadays textures, a combination of Breaks, Electro and Miami Bass.
Zeo: My first contact with DJing was in the “Baile Funk” of Rio de Janeiro. The music played was the old classic “funk carioca” which is a mixture of Miami Bass and the sound of the soul of Rio Favelas. MPC, Drums Machines, MC’s. Lyrics of love, against violence, and of also violence. A scream from Rio’s ghetto population.
Our passion for broken beats is an old thing. During quarantine we had the privilege to free our minds and travel into DFÜZE and make it happen. DFÜZE has been part of our studio creation for a long time and now it’s finally released on D-edge Records with 2 original mixes. Propeller & Burst and great remixes by Renato Ratier, Joyce Muniz and L_cio. Feeling grateful.
Oriented to downtempo and seeks through sound a relief for the soul. Smooth melodic aspects, deep immersion among details of acoustic elements and unique texture exploring sensorial frequencies.
The first release was out on the Portuguese label Flow Records.
What is your name and role within Inklines?
Will – I sing and play guitar.
Where are you currently based and how has your Covid experience been so far?
We’re all based on the Northern Beaches of Sydney. The last year has been interesting, with how much the whole environment of live music has changed. There’s been a lot of down time but we’ve kept busy writing and recording new music. Jamming heaps!
How did Inklines form?
I asked Tom if he wanted to drum with me after I saw him playing in a mate’s band, at a local show. My brother Jason was playing bass for a while, but he wanted to do other things so we called up Dan, who Tom knew from school, and convinced him to join.
What’s been happening recently?
We’ve been jamming heaps which has been really good. Keeping busy with promoting and preparing singles. We played our first show in 12 months just a few weeks back, which was great fun!
Your new single ‘Blossom’ is out now, what influenced the sound and songwriting?
I think I was mainly just going for simplicity. I got the idea for wanting to do a big outro riff from Madison Cunningham’s song – “Song In My Head”.
How did Blossom come about?
I recorded the riff into my phone recorder a year or so ago. It just randomly popped into my head one night and I started writing bass lines under the riff. For about a week, I would record a different little line or chord voicing and add it on there until I just worked out what I wanted, where.
Where and when did you record/produce/master and who with?
We recorded this and 6 other songs in a house on a farm just outside of Goulbourn. Lachlan West engineered, produced, recorded, mixed and mastered the whole session.
What programs/equipment did you use?
You’d have to ask Lachlan about the programs – I think Logic? The guitars in this track are primarily a Fender Telecaster & a Gibson SG Custom, with a J45 for some extra percussive textures. Tom played on an old Ludwig kit that Lachy owns. Dan uses a J bass & a P bass, I’m not certain what he used on this track but my guess would be P.
How did you approach the recording process?
We always like to get the fundamentals down from a live session. So, all the bass & drums and some rhythm guitars are taken from one of the 7 or 8 takes we do, of each song. Then I add all the extra guitar layers and vocals in later.
Who are you listening to at the moment?
I’m not actually listening to much at the moment. I’ve just kind of been relistening to things from the last 2 or 3 years. My most recent obsession was The Neighbourhood’s “Chip Chrome and the Monotones”, and I still love to listen to that, but I haven’t much else that I’ve been super excited about since.
What do you like to do away from music, now things are less locked down?
Recently I’ve mostly been busy preparing to be a father! My daughter is due in May. So I’ve been spending lots of time with my girlfriend, building cots, shopping for small clothes and all the rest! We also have a small business so I’ve been focussing on pushing that as much as possible.
You’re playing Saturday, March 27th Secret Location, Brookvale Sydney, what can we expect from an Inklines show?
We’ve actually just rescheduled the show for April 2nd! Normally you can expect us to play loud and hard, but for this one we’re taking it down a notch and giving the acoustic “unplugged” thing a go.
What’s planned for 2021?
We’ve got a bunch of songs to release so that will be the main focus! We’ll definitely play some shows when we can but it’s a strange world out there at the moment, so we aren’t rushing into anything.
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https://www.inklinesband.com/
Where are you currently based?
I’m currently based in Sydney. Thankfully now that COVID has settled down I’m starting to pick up some gigs in the greater Sydney area.
I got my first guitar for my third birthday so my hopeful father started trying to teach me at a very young age. I really started writing in high school when I wrote “Lillooet” off my upcoming EP and decided this is what I wanted to do. Since then, I have been writing and learning every and any facet of the music industry that I can get my hands onto.
Just been preparing to release the next few songs in the lead up to the EP. Starting work on some songs for later 2021 and 2022 but at the moment I’m really trying to beef up my social presence and audience.
Thankfully COVID was actually a really productive time for me. It gave me the time to sort out production for the EP and connect with some really influential and knowledgeable people in the industry.
I wrote this song when I was 17 and so I wrote it with a massive influence from Ed Sheeran who was and is a massive inspiration of mine. When trying to find the sound we thought about what context you might find this song in. We landed on quite a full, cinematic approach which turned out really great.
Despite being a 5 minute song it was one of the quickest songs to write. After having a bit of writers block I decided I would lock myself in my room and gave myself 1 hour to write a song. The song was based around a little crush I had in high school but knew she would never like me back, so I just experimented with the idea of unrequited love and after about 30-45 minutes ‘Atlantis’ was written.
We recorded this one at LoveHz Studios in Leichhardt with my producer and engineer Jordan Leonard, we then shipped of the vocals for time alignment with Clay Agnew over in Nashville and got the track mastered by Seth Munson in Colorado. So we had quiet the team behind this track, this was the same process for 4 out of the 6 tracks on the EP.
Luckily Jordan knows Michale Carpenter who owns and runs the studio so we were able to book in some after hours sessions. This session was my first recording session in the studio and so I think this session took about 6 hours.
This song was initially inspired by some of Ed Sheeran’s music, as the writing was, but we started to drift away from that a bit towards a more cinematic style. It certainly didn’t turn out how I thought when I was originally recording the demo, however it turned out much more epic than I could’ve ever imagined.
I’m starting to get a few more gigs in Sydney so performing band practicing is taking up a fair bit of my time at the moment. I love going to the gym, my schedules been a bit hectic recently so I haven’t had a whole lot of time to go but I try to go 3-5 times a week at the moment. I also study music at JMC Academy in Sydney. And aside from that I work at a pub to help fund the passion and continue to keep releasing music.
In 2020 I started getting into a lot of different artists. I really got obsessed with Lauv’s and Jeremy Zucker’s stuff. Aya Yves is also starting to shoot up in the Dark Pop game and I’ve been all over her new EP. Also super keen for Justin Bieber’s new album after some of the singles he’s released in the lead up to the EP.
Not really any one artist in particular but I’m still starting to find a look I really like and feel comfortable with. I love the new trendy baggy clothes in circulation at the moment and I also love the old classy look so still trying to find a middle ground between those two, but I may end up completely ditching that in favour of something different. Whatever I truly land on is something I need to feel super comfortable with.
More writing, more recording, and releasing the EP. My main focus is the EP, I am really excited about putting out these songs into the world and get as many ears onto it as possible. I really think the best is yet to come, some of the songs I’ve written this year alone have me really excited for what I’m gonna be releasing in the next 12 months.
There’s this phenomenal pub near uni, it’s predominantly for the uni students, but the food for the price is unreal. It’s hard to eat healthy when I can get a schnitzel and chips for less than $10.