The Partae
  • Music
    • News
    • Interviews
    • Festivals & Events
  • Fashion / Culture
  • Stay & Play
  • About Us
  • Contact Us / Advertise
  • Submit Event

Megadeth release trailer for Megadeth: Behind The Mask

December 12, 2025

Spilt Milk – Ballarat 2025

December 12, 2025

YUNGBLUD: announces DUNE RATS as special guests for January tour

December 12, 2025

SEPULTURA ANNOUNCE AUSTRALIAN DATES FOR GLOBAL FAREWELL TOUR

December 12, 2025

Jacob Collier + Nai Palm – Sydney, 11 December, 2025

December 12, 2025

Interview: Inside the Spiral – Tanya George on Betrayal, Busking, and Finding...

December 12, 2025

Nessa Barrett Photos – Hordern Pavilion – 10/12/25

December 12, 2025

New K-Pop Festival Is Coming To Australia – March 14, 2026 –...

December 10, 2025

Loyle Carner | Sydney Opera House – December 4, 2025

December 9, 2025

Healing Factor: Rich Delinquent & phem Dive Into the Dark Art of...

December 8, 2025
Category:

Music Interviews

Music InterviewsMusic News

Interview: L.Eskaye – ‘Gucci Body’ – Confidence, Growth, and Power

by the partae March 24, 2025
written by the partae

“Gucci Body” blends hip-hop and pop with sultry vocals—what was the creative process like when bringing this track to life? Did you have a specific vision from the start, or did it evolve naturally?

I wanted to create a song that makes people feel amazing no matter where they are on their journey. In this context, “Gucci” isn’t about luxury—it’s a mindset, a reminder to know your worth, carry yourself with confidence, and put in the work to be your best self. I’ve experienced moments of self-doubt, and I know many struggle with self-worth. Listening to Sexy by Rae Sremmurd and Rude Girl by Bantu, both of which radiate unstoppable confidence, inspired me to capture that energy. Those songs reference luxury brands, but I wanted to shift the focus away from material things defining our worth. Gucci Body is about giving yourself the absolute best—because you deserve it. It’s an anthem for empowerment: walking with your head high and stepping into your main character moment.

The track was produced by Deep Jandu, who has worked with major artists like Karan Aujla and Sidhu Moosewala. What was it like collaborating with him, and how did his production influence the final sound of “Gucci Body”?

I owe a huge shoutout to Deep Jandu for taking a chance on me when I walked into his studio with nothing but raw passion. He was incredibly patient, fun-loving, and downright talented—he really understood the vibe I was going for. I envisioned Gucci Body as a high-energy, sexy track with a pop vibe layered over a deep hip-hop beat, and Deep brought that vision to life with signature touches like a crisp clap before the chorus and an intro piano that really made the song come alive. His production gives the track an infectious energy that has you hyped even before the lyrics kick in.

You use “Gucci” as a metaphor for self-worth and confidence rather than materialism. What inspired this theme, and how does it reflect your personal experiences or journey as an artist?

Great question! For me, “Gucci” symbolizes “good”—it’s a way to express self-worth that goes beyond material things. I wanted the surface to be fun and uplifting, while the deeper message is about self-respect, confidence, and treating yourself with the absolute best care. It’s a reminder that what you wear doesn’t define you—how you feel about yourself is what really matters. It took me a long time to fully appreciate myself and know my worth. I used to act like I had everything figured out—tough, confident, unbothered—but inside, I was insecure, confused, and unsure of who I wanted to be. Gucci Body is symbolic of my personal growth—not just as an artist, but as a woman and a mother.

Growing up in Malvern, a culturally rich and diverse neighborhood, how has your upbringing shaped your musical style and the stories you tell through your songs?

Growing up in Malvern was a formative experience—it’s a neighborhood bursting with culture, energy, and resilience, though not without its challenges. I had to mature quickly and navigate life largely on my own. The incredible diversity there exposed me to a mix of sounds—soca, reggae, hip-hop, pop, R&B—which naturally found its way into my music. More importantly, Malvern taught me to stand strong, trust myself, and push through any doubts. That spirit of self-made confidence is at the heart of everything I create.

You’ve cited Aaliyah, Monica, Britney Spears, and Brandy as inspirations. How have these artists influenced your sound, and do you see their impact on “Gucci Body” or your upcoming projects?

Each of these incredible women has influenced me in her own way. Aaliyah and Brandy with their smooth, effortless vocals, Monica with her raw emotion, Britney with her ability to create timeless, infectious pop music. They taught me that you can be both soft and strong—that your presence can be gentle yet powerful. Their influence shows up in my melodies, storytelling, and song structure. You can hear elements of that in Gucci Body, but even more so in my upcoming single Down, which leans heavily into an R&B vibe reminiscent of the music I grew up loving.

You’ve spent years refining your craft as a songwriter. Can you share a moment or breakthrough that made you realize you were ready to step into the spotlight as an artist?

The turning point came after I wrote Gucci Body and a few other tracks. The lyrics, melody, and vibe were unlike anything I’d created before—I knew I had something special. Listening back, I realized I couldn’t live with myself if I didn’t share my music with the world. It took time to get here, but every step of my journey has shaped me into the songwriter I am today. Gucci Body is the perfect debut—a powerful anthem of confidence, strength, and inner love that marked my leap into the spotlight.

You took the unconventional route of completing two graduate degrees before fully committing to music. How did that journey shape your approach to your career, and what ultimately made you take the leap?

My academic journey taught me discipline, strategy, and how to move with intention. Music is art, but it’s also a business, and my background gave me the mindset to approach it seriously. I learned the power of persistence—nothing happens overnight; you build it step by step. That same mentality drives me in my music. I’m not here for shortcuts; I’m here to make quality music. I had a huge aha moment when I started writing music again. My lyrics, my melodies—something had shifted. I couldn’t just sit on them. I knew I had to take this leap.

As an emerging Canadian pop artist, what are some challenges you’ve faced in the industry, and how do you navigate them while staying true to your artistic vision?

The Canadian music scene is underrated—it’s tough to break through because we don’t have the same resources and opportunities as bigger markets. As a mom of two, a wife, and an artist, finding the time to do shows and establish myself in the scene is nearly impossible. Could I do it? Yes. But at what cost? I love music more than anything, but I also love my kids. Music and being a mom are the two dreams I’ve had for myself, and I don’t want to neglect either of them. Creating music in Canada is also challenging because my style—pop with R&B and hip-hop influences—isn’t as common here. Finding producers, agencies, and industry people with experience in my genre has been tough. Luckily, I’ve crossed paths with some amazing people, and they’ve been a blessing.

With “Gucci Body” marking your debut, what can listeners expect from your upcoming music? Are there any exciting collaborations or projects in the works?

Gucci Body is just the beginning—I have so much more music coming, and I can’t wait to share it. My next two singles will show a completely different side of me. Both are pop, but one leans into an R&B vibe, while the other brings a high-energy dance/EDM feel. I want listeners to really experience my versatility and see that I’m not confined to just one sound. No collaborations in the works at the moment, but this is a big year—I’m just getting started.

What do you want fans to take away from your music, and how do you hope to inspire listeners with your artistry?

I want people—especially the ladies—to feel empowered, confident, and unstoppable when they hear my music. My sound is fun, sexy, and full of energy, and I want that to translate into how my listeners feel. Whether it’s dancing in the mirror, hyping yourself up before a night out, or just needing a reminder of your worth, my music is here to lift your spirits and remind you to own your power. If I can make someone feel even a little bit more confident, then I’ve done my job.

Twitter: @leskayemusic

Instagram: @leskayemusic

Website: www.leskayemusic.com

March 24, 2025 0 comments
1 FacebookTwitterPinterestEmail
Music InterviewsMusic News

Interview: Stephen Wallack – Embracing Change Through Piano Reflections

by the partae March 19, 2025
written by the partae

What inspired this album, and how does it represent your personal journey over the past few years?

All of my albums are inspired by my life experiences.  This album was very reflective for me as I have been focusing on being more OPEN to change, ideas and the world around me.  By disarming myself, I feel like my creativity was able to flourish and it was very inspiring.

You mention wanting to open yourself up to new ideas and perspectives. How has that influenced your music and composition process?

Good question.  I think it has made me approach music from a more natural and relaxed point of view.  Sometimes composing can feel forced and when that happens, the music suffers.  This album came about very organically which I think added depth to the stories.

What was your approach to composing this album? Did you have a particular theme in mind when creating each piece?

My compositions are very “of the moment”, meaning something has to inspire me to write.  By opening myself up and approaching this over a longer period, I think was able to give myself the room with which to create these amazing songs.

The album features a Steinway S Grand Piano—what drew you to this specific piano, and how did it shape the sound of the album?

This is the same piano I have recorded all of my albums on.  I really enjoy the sound of a Steinway in the studio, and the S is a very controllable size piano for me.

Your music falls into the solo piano and new age genres. Are there any artists or composers who have particularly influenced your style?

I have been inspired by a number of pianists like David Lanz, but George Winston is the pianist that caused me to want to play piano.  I taught myself how to play at the age of 12 listening to DECEMBER with a little cassette player and pushing play/rewind until the tape would break!

The tracklist includes titles like Faith, Changes, and Once Upon a Time. Can you share the meaning or inspiration behind one or two of these pieces?

I try not to speak to much on what my songs are about as I really like the listeners to hear the title and the music and make their own stories to them.  I can say that FAITH is exactly what is sounds like and is my hope for a better tomorrow for all of us.

Girl in the Painting is an intriguing title—what’s the story behind this piece?

Ok, I’ll talk about this one.  We have a painting in our house given to us by my wife’s grandfather and it so beautiful and haunting at the same the time, that I wrote that song as the background to what I think the woman’s life would have been like.  It’s difficult to describe, but I write music as though the subject is a film and I can see the story unfold as I write.

You worked with producer Matt Holmes and other creatives like Karla Colahan and Nelson Hill. How did these collaborations shape the final product?

These three are the best and I have done all of my albums with them.  I can compose, but they help bring it all to life and I am eternally grateful for their friendship and talent.

Wild Sound Recording Studio was your choice for recording. What made it the right space for this project?

They are my go-to studio to record. Matt is amazing, and it’s as if I am recording with my brother in my living room.  Very comfortable and very easy.

This album is about self-awareness and inner peace. What do you hope listeners take away from it?

Hopefully people are able to listen and reflect on their lives and the paths they have chosen.  Challenging ourselves to look beyond our comfort zones can be very liberating and hopefully this album challenges people to do that and to find peace in their lives.

 

March 19, 2025 0 comments
0 FacebookTwitterPinterestEmail
Music InterviewsMusic News

Interview: Chloe Gill – Something In The Winter: Embracing Neurodivergence Through Music

by the partae March 16, 2025
written by the partae

Your new single, Something In The Winter, explores your journey following an ADHD diagnosis. Can you share what inspired you to write this song and how the experience shaped your approach to music?

Since I was young, my family, who are also really creative, have always encouraged my older sister and me to thrive in creative self-expression. I grew up learning many instruments across different styles (trumpet, piano, guitar, and voice). I gravitated towards jazz and rock and started learning more about what my voice could do as an instrument.

I would dance with my sister nearly every day of the week—ballet, tap, and jazz—and that was my norm. Music quickly became my outlet for everything, especially emotions. How often I use that outlet depends on how I’m feeling. Singing is my biggest escape, and with that comes writing. It feels normal and natural to me—when I sing, I embody every note and word. The ability to create melodies and lyrics is incredibly special.

Receiving an ADHD diagnosis at 20 was weirdly significant. I struggled with thoughts like, “How come no one told me?” or “Why did it take so long to find out?” It weighed on me a lot. I also felt embarrassed, as if it were something bad. Then I read The Year I Met My Brain by Matilda Boseley, a journalist for The Guardian who also received an adult ADHD diagnosis. Her book explained so much and helped me see the positives.

Post-diagnosis, I had to deal with those emotions, so I started writing songs, and Something In The Winter evolved quickly. It helped me express my frustrations and accept who I am, why I’ve done certain things in life, and what I can do next. The song is a reflection of my brain—why I’m so drawn to creativity and self-expression. Once I accepted that, I realized it’s a journey to learn from and grow along the way.

You’ve described the song as a reflection on feeling “too much” or “not right.” How do you hope listeners—especially those who relate to neurodivergence—connect with the track?

Before my diagnosis, I had inklings that ADHD was a possibility for me. I struggled to stay in one place, easily got distracted, and found homework impossible because there was always something more exciting to do. Making and keeping friends got harder as I got older. I often worried people found me annoying or too loud. I would give up when things got overwhelming and changed jobs frequently because the excitement wore off.

My imagination has always run wild, creating dreams and finding ways to chase them. Over time, I’ve come to accept that how I feel is completely okay—I’m not alone.

When I started making music, I wanted to create a space of support through my songs. My music shares stories of self-worth, strength, and mental health. I want my listeners, neurodivergent or not, to feel supported, comfortable, and understood. My songs allow me to grow personally, clear my mind, and release emotions meaningfully. I care about authenticity in my career and hope to connect and inspire through my art.

Your previous release, Firework Night, tackled your struggles with Endometriosis. How do these deeply personal themes influence your songwriting, and do you find it therapeutic to express them through music?

I depend on music as an outlet. When life hands me things bigger than myself, I need somewhere to put those emotions—so they turn into songs. A lot of my past music has explored sadder, deeper themes because I was using those songs to process sadness.

Life is unpredictable. I’ve always been a happy, healthy kid, and I got to travel a lot growing up. But finding out new things—especially about my health—has been overwhelming. These experiences remind me that I’m alive. People change, mindsets change, and health changes. I’ve gotten better at accepting things as they are and learning from them, though I don’t have it all figured out yet—I’m only 21.

I remind myself that there’s plenty of time ahead to figure things out. I’m grateful for my self-awareness and the amazing people around me—friends, a partner, mentors, and my family. Those relationships are deep and special to me. It’s important to talk, share, cry, laugh, and make mistakes in life.

As an independent artist, you’ve also taken on the role of self-producer. How has that journey been for you, and what challenges or breakthroughs did you experience while creating Something In The Winter?

Women in production are the coolest thing. I’ve always had a deep understanding of what goes into making a song—the moving parts, melodies, effects, and groove. I played in a lot of ensembles growing up, which taught me how to listen to different instruments and understand my role within them.

I became really drawn to production in high school. I bought Logic Pro and started figuring it out. In 2022, I studied Sound Production at The Grove Studios, which helped me grow and gain my first two production credits. I worked on Write A Song Sounds Shit by Turpentine Babychino, which was played on Triple J and MTV, and Clouds by TYRANTS. I also co-produced my debut EP, The Lonely Man (2023).

Production is still a male-dominated field, but I’ve been lucky to work with incredible producers who support my artistry. Something In The Winter was recorded at Hazy Cosmic Jive Studios in Newcastle with producer Gareth Hudson. It was a lot of fun, and I had my bandmates Eli Love (drums) and Brandon Yarnold (bass) involved.

You’ve mentioned that the past two years have been transformative for you. How has your personal growth influenced your sound and approach to artistry?

Music has always been my emotional outlet. The past two years brought a lot of big changes, and I’ve spent time processing them. I’ve grown a lot as a person and an artist, learning to let go of things and people that no longer serve me—while also making mistakes along the way.

Recently, I’ve been inspired by artists like Middle Kids, Gang Of Youths, Sam Fender, and Maggie Rogers. I’ve been pushing myself to create without pressure or judgment, which has led to some exciting new songs that truly resonate with me.

Folk Rock often thrives on storytelling and raw emotion. How do you balance vulnerability with crafting a song that resonates musically and emotionally with your audience?

I love storytelling and see it as one of my strengths as a writer. If I’m honest and authentic with myself, vulnerability follows naturally. There are always people who think and feel the way I do, so someone will relate to my music.

It’s important to enjoy the music you create. I love both the creative process and the feeling of seeing a finished song. Once a song is released, it no longer belongs just to me—it belongs to the audience. Everyone listens differently and connects with music in their own way.

Some people say I sound more country than folk, while others say I sound more pop than rock. I don’t want to fit into a box—I just create because I love it. It’s a release for me, and the bonus is that I get to share it with others. Looking back at old releases is like reading my old diary. When I’m creating, I don’t think about what people will “think” because, at first, the music is for me.

Newcastle has a strong and growing music scene. How has being based there influenced your career and creative process?

There are so many amazing artists in Newcastle, all with strong sounds and identities. Some of my favorites are Amy Vee, Mark Wells, Georgie Winchester, Angela Rose, St Lennan, and Chai Chester. I feel honored to walk the same streets as them and create in the same space.

ChatGPT said:

What’s next for you following the release of Something In The Winter? Are there any upcoming projects, performances, or collaborations fans should look forward to?

There’s always something happening behind the scenes! I have a few shows coming up, and I’m currently in the early stages of writing and recording my next project. I can’t give too much away just yet, but I’m really excited about where my sound is heading. Fans can definitely expect more music in the near future.

What message do you hope listeners take away from Something In The Winter and your music as a whole?

I hope listeners feel understood and less alone. Everyone experiences moments of self-doubt and feeling “too much” or “not enough.” But those feelings don’t define who we are. It’s okay to be different, to process emotions in unique ways, and to embrace your quirks. Music has helped me make sense of myself, and I hope my songs can do the same for others.

Where can fans connect with you and stay updated on your latest releases?

You can find me on Instagram, TikTok, and Facebook (@yourartistname). My music is available on all streaming platforms, including Spotify, Apple Music, and YouTube. I love hearing from listeners, so feel free to reach out and say hi!

LINKTREE

March 16, 2025 0 comments
0 FacebookTwitterPinterestEmail
Music InterviewsMusic News

Interview: Julia Sound & Kinnie Starr – Blending Trip-Hop & Chill Rap on ‘Cars Crush

by the partae March 12, 2025
written by the partae

How did the collaboration between you two come about? Was this something you had discussed before, or did the opportunity arise organically? 

Lin Gardiner – Julia Sound (JS): This was definitely an organic collaboration. Kinnie and I have worked together a bunch over the last few years, mainly on her solo music, but she also featured on a track from my 2023 album. When I was putting this track together, Kinnie’s was the only voice I could hear on it, so I was thrilled when I asked if she’d be up for another feature, she said yes!

“Cars Crush” blends Julia Sound’s mellow electronica with Kinnie Starr’s chill rap and ethereal vocals. Can you describe your creative process for this track and how you melded your distinct styles together?

JS: Our collaboration is always really easy, which I love. I sent the track to Kinnie asking if she’d be interested in contributing a kind of chill stoner rap, and she responded with what you hear.. I loved it right away! Kinnie is a producer as well as a writer and performer, so she recorded the vocals in her studio, including adding a lot of the effects you hear in the track. It’s so seamless when we collaborate, we’re on the same page creatively which is really cool.

KS: Lin and I have been collaborating for years. We share similar work ethics and enjoy the art of communicating, which makes work easy. I think people rush too much with communication, and when we do that too much, the relationship and work suffers. When Lin and I collaborate, we offer each other time, but also we know that follow up is important. So our work flow is very successful.

Julia, your background spans across video games, TV, and film—how did those experiences influence the production and feel of “Cars Crush”?

JS: I would say they don’t influence this track at all. When creating music for visual media, you are informed by the characters, the story, the setting.. When creating a music track isolated from any other form of media, the canvas is completely blank and I just follow ideas in my mind’s eye, rather than my actual eyes 🙂

Kinnie, you’ve been a major figure in the Canadian indie hip-hop scene for decades. How does collaborating on a project like this challenge or excite you compared to your solo work?

KS:Collaboration makes songs easier. I do most of my production (beats and bass lines and keys and structure) alone, which can get boring. I really prefer throwing it back and forth and Lin is great at that.

The single is described as a taste of Julia Sound’s upcoming album. Can you give us a hint of the direction the full album will take, especially in terms of sound and themes?

JS: The album has a few tracks with this mellower trip hop vibe, but there are also a couple of tracks where I up the tempo quite a bit (by Julia Sound standards anyway!). The opener is going to lean into a bit of a nostalgic 90’s club vibe, and another track has a more edgy, slightly indie style.. Both of those songs also have some exciting featured vocalists. Stay tuned!

How does “Cars Crush” reflect both of your personal journeys as artists, and how do you see it fitting into your broader musical narratives?

JS: I think I have a 90’s trip hop influence at my core (among other genres & time periods), and this track is one of the most reflective of that trip hop vibe. I love rap and hip hop too, and have so much respect for Kinnie’s work, and see this track as showcasing some of the many strings on her bow, from cool chill rap to beautiful melodic phrases.

KS: Oh I don’t know the answer to this one! But I really like this track. It feels like the west coast – blurry.

Kinnie, your versatility in switching from rap to ethereal background vocals is striking on this track. What inspired you to experiment with those different vocal styles on “Cars Crush”?

KS: That’s just how I work. I’m not trained in music so I’m very exploratory. I am always learning. I like breaking my voice up.

Julia, as someone who works across multiple mediums, how do you approach songwriting and production differently when creating music for an album versus for TV or video games?

JS: As mentioned above, writing straight up music tracks is quite free-ing, as I’m not bound by any other influences such as a story or setting for a film or game.

You both have had long careers in the music industry—what do you think makes “Cars Crush” stand out in today’s musical landscape, and what are you hoping listeners will take away from it?

JS: The whole Julia Sound project is 100% female (and non binary) created, which I think gives it a unique story. In terms of the track standing out, how does anyone stand out these days with 1 million uploads per day? All I can hope for is that some people dig it and add it to their playlists (which appears to be happening so that’s cool!). I just love creating music, and collaborating with amazing artists, so for me it’s all about enjoying the process of creating, and then putting it out in the world for people to enjoy, rather than having any grandiose goals or expectations.

KS: Honestly I’m not sure how music reaches people or IF it reaches people. The amount of new songs that are released on Spotify alone daily is staggering. I think it’s important to make the work for the work, not for expansion or for any goal other than to do it well. I have a very small following on Spotify and don’t really have a competitive spirit so it’s been hard for me to understand how to embody that “get it” mentality we are supposed to have in music. I am just grateful to be working.

Finally, with “Cars Crush” as a preview, what can fans expect next from Julia Sound and Kinnie Starr? Are there any exciting plans for live shows or future collaborations on the horizon?

JS: From me, there’s the new Julia Sound album due late Spring, an EP from my electro-punk trio Bae Baracus, as well as some live shows in the summer in BC. Also, I’ll be finishing up co-producing and mixing some tracks for a fantastic new Kinnie Starr release slated for release soon(ish!).

KS: Yes!! We are always working together and actually Lin worked with me on my whole new album, DESTROYER. I think we are in it for the long haul. It’s very important to develop deep working relationships and in particular to hire women and Indigenous people as much as possible to keep populating the industry.

INSTAGRAM

March 12, 2025 0 comments
0 FacebookTwitterPinterestEmail
Fashion & CultureMusic InterviewsMusic News

Interview: Nate Hill – Book Launch & Art Exhibition – Friday 14 March, 2025

by the partae March 6, 2025
written by the partae

What inspired you to create Read Between The Lines, and what does the title signify to you? 

It has long been a dream of mine to put together and release a book of my art. I love the idea of a physical product that people can sit with and enjoy. Something to hold on to and maybe display on your coffee table.

The title is a playful idea around the fact that a lot of my art has lines running through it in one way or another. And I like the idea that even though there are very few words in the book, people might want to read into the meaning of the pieces.

Was there a particular moment that made you say, “It’s time to make this book happen”?

Not sure if there was one particular moment, but I have wanted to show my art in a different form to just people scrolling past it on their phones. I have been creating art for a long time now and have an extensive catalogue of work. It felt like a good time to put together a collection.

How did you approach curating 150 pages of work? Was it more about showcasing your best work, or were you looking to tell a larger story with the sequencing and selection?

It wasn’t easy and has definitely taken longer than I thought it would. The overarching theme is my digital art that has lines as part of its makeup. Outside of that, I wanted the book to have a nice flow to it. You get to see a common thread, but I’d like to think that there’s a lot of variation in how it’s presented.

Your work has a distinct aesthetic. How would you describe your editing style, and how did it evolve over time? Were there any key influences—photographers, artists, or even music or film—that shaped the way you process and present your images?

I feel like I’ve developed a strong visual language. I think if your art can be identified without someone needing to see a title or caption, you’ve hit a pretty sweet mark on establishing your own style. It is definitely something that evolved over time. When I first started working in digital art, I was very much learning from others and trying to emulate what they were doing. As I got more confident in my skills, I really wanted to experiment with what I was doing and create something that I could call my own.

Having said that, I do have some key influences in my art journey. Stanley Donwood is a major one. He creates all the art (alongside Thom Yorke) for Radiohead. Stanley is a traditional artist that works in a number of mediums like printmaking, paint and pencil. He has an aesthetic that really appeals to me. I’m also drawn to the work of Storm Thorgerson. He (and his studio) work with photography in such a surreal way. He also creates album artwork for a large number of well know acts. A huge inspiration.

What’s your typical camera setup when shooting? Are you loyal to a specific camera and lens, or do you switch things up depending on the subject and setting?

I have quite a few toys… I’m not particularly loyal to any one camera or device. I tend to use whatever will get the job done. My main camera is a Canon 5d Mk 4. I use that most of the time, but I’m also a fan of iPhone photography and creating with whatever I have on hand.

A large portion of my art starts out as photos of land or sky and then gets manipulated into something completely differen

When it comes to post-production, what’s your workflow like? Are there any particular techniques or software tools you rely on to achieve your signature look?

I do a lot of creating in post. There are a number of programs and apps that I use to generate the assets I need to create my art. There was a time when I was beta testing iPhone photography and editing apps which gave me a real insight into what could be done with my phone. As a general rule though, all my art ends up going through the Adobe suite and put together in Photoshop.

Beyond photography, your work has a strong artistic element. Do you see yourself as a photographer first, or more broadly as an artist? And how do other artistic mediums influence your approach to photography?

I definitely see myself as an artist. I grew up with a strong interest in drawing. Through my teens and early adult life my focus switched to photography and I studied it and printmaking at University. I also had a strong interest in graphic design. When Instagram became a thing, I took an interest in digital art and design, but that all stemmed from photography too. As I have worked more as an artist full time, I’ve become more and more interested in just being creative through any medium I can get me hands on.

The book launch at @oshi_au isn’t just about the book—you’re also offering signed prints, merch, and creating an entire experience. What do you want people to feel when they step into the exhibition?

I’d like to think that people can step into my world for a little while. Art can be a great escape for both the artist and the viewer. I love the idea that someone can get drawn into my digital and surreal landscapes and they can go on a journey of sorts. Even if it’s just a little moment when their eyes do a little dance due to the digital lines. And hopefully there’s a sense of joy or wonder attached to it as well. I am aware that my art can give a feeling of isolation and maybe feel a little dark, but often if you check out the titles, that is countered with hope and opportunity.

You’ve spent a lot of time working on this book—when you finally held the finished copy in your hands, what was that moment like for you?

It was an amazing and surreal feeling. Holding the physical product and flicking through all that work. I’m really proud of it and super stoked with how the book has come together. The final product is as good as I’d dreamed it would be. Possibly better…

Looking back, what were the biggest challenges in bringing Read Between The Lines to life? If you were to do another book, would you approach it differently?

I knew going in that I would need help. If I had tried to do this on my own, it would never have got done. As a freelance, full time artist, you often have to put client work ahead of your own. So I enlisted the help of my graphic designer friend Paul of Vanda Graphics. It was the first time either of us had worked on a book, so there was defiantly a learning curve on getting everything right on the templates and working through how to piece it all together. 

I feel like the second time would be easier…

Now that Read Between The Lines is about to be out in the world, what’s next for you? Do you see yourself diving deeper into publishing, or are there other creative projects on the horizon?

I’ve always got 1000 projects on the go (either in real life or in my head). I’ve already got the concept sorted for my next book and can definitely see myself doing more physical products. Most of all, I just love the fact that I get to be creative for a living. Whatever that looks like at the time…

INSTAGRAM

March 6, 2025 0 comments
0 FacebookTwitterPinterestEmail
Music InterviewsMusic News

Interview: Max McNown On ‘Night Diving’ A Deeper Sound

by the partae February 20, 2025
written by the partae

Congratulations on the release of Night Diving! This album explores new sonic territory—what inspired this shift in your sound compared to Wandering?

I’ve been growing into my own sound as an artist, and the shift could be attributed to discovering newer influences such as Noah Kahan and Gracie Abrams.

Your new single, Better Me For You (Brown Eyes), is deeply introspective. Can you share the story behind the lyrics and what inspired you to write it?

Better Me For You (Brown Eyes) follows the journey that my romantic life took following the acquisition of independence. I wasn’t the person I wanted to be, and it took an amazing girl coming into my life to help me change for the better.

Your journey from busking on a pier to selling out headline shows has been incredible. At what point did you realize your music was truly connecting with a global audience?

The streams continue to feel surreal to this day… but I would say a pivotal turning point was when fans started to send videos of them hearing my music in stores and on the radio.

Your song A Lot More Free has amassed over 80M+ streams and had a viral resurgence on TikTok. What do you think it is about that song that resonates so strongly with fans?

I think the subject matter of A Lot More Free can translate into many different experiences. The pain-filled sound of the vocal performance, coupled with the broad language of the chorus and verses, creates a global and digestible track.

You’ve turned down opportunities from major TV talent shows to walk your own path. What led to that decision, and how do you feel it has shaped your career?

I feel as though that decision was pivotal in my artistic journey. Although I have nothing against the shows themselves, I felt I had established a career already and was hesitant to let that career be attributed to success on a game show.

You’ve spoken about your brother’s battle with cancer and how it influenced your journey. How has that experience impacted your songwriting and personal outlook on life?

Several songs have been directly influenced by my brother’s battle, specifically Can’t Hide Light and Freezing In November. In a more general sense, his journey has allowed me to “zoom out” my perspective and keep close to me the things and people that are truly important.

With Night Diving produced by Jamie Kenney, what was the most memorable moment in the studio while bringing this album to life?

The entire writing session that created Night Diving was one of the most memorable experiences. It allowed me to explore within myself and treat the experience like it was a therapy session.

You’re about to embark on your debut headline tour, including newly added shows in Australia and New Zealand. What can fans expect from your live performances?

At every live performance, my goal is to place myself in the mindset I was in when each song was written. By doing this, I hope to embody the emotion and make each person in the crowd feel less alone.

Billboard recently named you Country Rookie of the Month, and CMT spotlighted you as a Next Up Now artist. How does it feel to receive that level of recognition so early in your career?

To be accepted by the music community is extremely rewarding. I think sometimes people have digital success and lack the acceptance of the industry itself… all in all, I am extremely honored to be recognized.

As a Nashville-based artist with roots in Oregon, how have your surroundings influenced your songwriting and the themes you explore in your music?

My physical location doesn’t play as large of a role as one may think. I use nostalgia and memories as primary drivers in my songwriting and very rarely rely on my current location to inspire my songs. I hope to go on a peaceful camping trip on the West Coast and write some music inspired by the Northwestern woods soon.

INSTAGRAM

February 20, 2025 0 comments
0 FacebookTwitterPinterestEmail
Music InterviewsMusic News

Interview: Marasi – Rhythm, Soul, and Global Groove

by the partae February 18, 2025
written by the partae

Your music blends Afro House and tech rhythms in a distinctive way. Can you tell us about your early inspirations and how they influenced your sound today?

My earliest inspiration came from my father’s vinyl collection, which spanned blues, rock, and disco from the ’60s and ’70s. That eclectic range of music taught me the importance of groove and melody—two elements I carry into my productions today. Later on, I discovered electronic music through late-night radio shows, which opened my eyes to the boundless creativity in dance music. Over time, I gravitated toward Afro House because of its organic, percussive energy, and I fused it with techy, modern rhythms to create a style that feels both soulful and forward-thinking.

How has your artistic evolution shaped the way you approach production and live performances?

I’ve learned to see production and performance as two sides of the same coin. Early on, I was very focused on the technical aspects—like perfecting drum patterns or layering synths—without always considering how these tracks would translate live. As my career progressed and I started playing bigger venues, I realized the importance of storytelling and dynamics in both my sets and productions. Now, when I produce, I’m already envisioning how the crowd might react, where the energy might peak, and how I can weave in melodic or vocal elements to create memorable moments on the dancefloor.

Being selected for Shazam’s Fast Forward 2025 list is a huge achievement. What does this recognition mean to you, and how do you think it will impact your career?

It’s an incredible honor and a significant milestone in my journey. Shazam has such a global presence, so being featured on their Fast Forward 2025 list instantly exposes my music to listeners who might not have found me otherwise. In terms of impact, I believe it can open doors to new collaborations, festival bookings, and a broader international fan base. Most importantly, it motivates me to keep experimenting and pushing the boundaries of my sound, knowing there’s an audience out there ready to embrace it.

In what ways do you think platforms like Shazam contribute to an artist’s global visibility and reach?

Platforms like Shazam act as a bridge between the artist and a global audience. When someone hears a track they like—whether it’s on the radio, in a club, or even in a café—they can immediately identify it and explore more of the artist’s music. This instant connection is crucial in an era where people discover music on the go. For emerging artists, it can be a game-changer, because Shazam’s data can lead to playlist placements, label interest, and media attention that might otherwise be difficult to secure.

You’ve gained support from industry heavyweights like Black Coffee, Solomun, and Laurent Garnier. How have their endorsements or advice influenced your journey?

Having the support of such iconic figures is both humbling and inspiring. When Solomun first played one of my tracks, it felt like a stamp of approval that pushed me to refine my craft even further. Black Coffee’s feedback has encouraged me to stay true to the Afro-inspired roots in my music, reminding me that authenticity resonates most strongly with audiences. While I haven’t had extensive direct communication with Laurent Garnier, seeing him acknowledge my music underscores the universal appeal of a well-crafted track. Each endorsement is a reminder that quality and passion can transcend borders and genres.

Have you had any memorable moments or collaborations with these legends that helped define your sound or career direction?

One standout moment was discovering, almost by accident, that Solomun was dropping my track during one of his sets. I came across a fan’s Instagram story and recognized my production in the background. It was a surreal realization—like seeing your work in a movie for the first time. I haven’t officially collaborated with Black Coffee or Laurent Garnier yet, but I’ve certainly been influenced by their styles. The emotional depth in Black Coffee’s sets and the pioneering spirit of Laurent Garnier continue to shape my own approach to music and performance.

You had a residency at Club Chinois in Ibiza and performed in over 25 countries in 2023. How has touring internationally influenced your sound and performance style?

Touring internationally has been a revelation. Playing in diverse locations—from Ibiza’s cutting-edge clubs to intimate spots in Kenya or bustling cities like Dubai—exposed me to different cultures, musical tastes, and crowd dynamics. This global perspective taught

me the importance of adaptability. I’ve learned to read the room and tweak my set to maintain energy and connection. In the studio, I now incorporate elements that resonate universally, whether it’s a vocal chant that sparks crowd participation or a bassline that compels everyone to dance, regardless of their musical background.

What have been some of the most unforgettable experiences or lessons from playing to such diverse audiences around the world?

One of my favorite memories is playing a sunset set in an open-air venue where the crowd spanned so many nationalities—everyone was united by the music. The lesson I took away is that a well-curated set can overcome language and cultural barriers. Another key takeaway is the power of spontaneity; sometimes the best moments happen when you read the crowd and shift gears on the fly. It’s those instances—where you feel an electric connection with the audience—that make all the hard work worthwhile.

Your 2024 single “Opera” made waves. How do you plan to build on that momentum with upcoming projects or collaborations?

“Opera” was a pivotal release for me—melding theatrical, melodic elements with a driving Afro House rhythm. The overwhelming response motivated me to expand the concept beyond the studio and into a full-scale event experience. We’re currently developing a tour under the Opera banner, incorporating immersive visuals, live performance elements, and special guest appearances. It’s a fusion of music, drama, and dance that we hope will resonate deeply with audiences across the globe, bringing the essence of Opera to life in an entirely new way.

As you continue breaking into new markets, do you see your sound evolving, or are there specific sonic directions you’re excited to explore?

Absolutely—evolution is key to staying relevant and inspired. I’m currently experimenting with more cinematic elements, layering orchestral strings and atmospheric textures over Afro-centric drums. There’s also a growing interest in bridging Afro House with other genres like progressive or even breaks, so I’m curious about how those crossovers might sound. Ultimately, I want to maintain the core essence of my music—emotional resonance and rhythmic drive—while embracing fresh ideas that keep listeners (and myself) excited.

INTERVIEW

February 18, 2025 0 comments
0 FacebookTwitterPinterestEmail
Music InterviewsMusic News

Interview: Whisnu Santika: Evolution Through Sound

by the partae February 13, 2025
written by the partae

‘J-Town’ blends traditional Indonesian sounds with electronic rhythms. Could you share more about the creative process behind this track and what inspired you to fuse these elements?

Actually, ‘J-Town’ is my first 2025 release that steps away from my signature Indonesian Bounce sound. This track marks a new chapter in my production journey, where I explore influences from techno and house music. The creative process was all about pushing boundaries – experimenting with different rhythms, textures, and grooves while still maintaining a vibe that feels authentic to me. It’s part of my evolution as an artist, showing that growth doesn’t mean losing your roots but expanding them.

You’ve been instrumental in pioneering Indonesian Bounce. How has this genre evolved since your breakthrough, and where do you see it heading in the next few years?

When I first started producing, my influences were rooted in Baile Funk, Dutch House, Breaks, and Brazilian sounds, which shaped what eventually became Indonesian Bounce. During the pandemic, interest in this sound exploded, especially as border restrictions gave local scenes more room to grow. I was fortunate to tour nationally and introduce Indo Bounce to new audiences. Today, it’s recognized and appreciated more than ever. Moving forward, I see Indo Bounce evolving through collaborations and fresh production techniques. It’s important to keep refining and experimenting with the sound to keep it exciting and sustainable for the future.

With ‘Yummy’ being a chart-topping collaboration with Bravy, what role does collaboration play in your creative process, and can we expect more exciting collaborations in the future?

Collaboration has always been a huge part of my creative journey. Bravy and I go way back – we worked on tracks like ‘Big Booty’ and ‘Booty Call’ before ‘Yummy’ even happened. He was one of the first people I connected with to talk about music production, and our casual chats eventually led to the birth of Package Collective, our community of like-minded artists. Working with friends who share the same passion brings a unique energy to the process. And yes, you can definitely expect more projects from us in the future – we’re just getting started!

You’ve mentioned Whisnu 2.0 as part of your new vision. What does Whisnu 2.0 represent, and how does it reflect your growth as an artist?

Whisnu Santika 2.0 represents my growth, evolution, and development as an artist. It’s not about changing who I am but about exploring new sounds and styles while keeping my signature vibe intact. I want people to hear a new track and think, “This feels fresh, but it’s definitely Whisnu Santika.” It’s about surprising my audience while staying true to what makes my music unique. For me, evolution isn’t just a phase – it’s a mindset.

Looking ahead to 2025, what can fans expect from your upcoming projects? Are there any particular themes or styles you’re exploring?

I can confidently say that 2025 will be full of surprises – it’s going to be a wild ride! I have some exciting collaborations lined up with artists I’ve admired for a long time. Musically, I’ll continue pushing Indo Bounce, but I’m also diving deeper into techno and house while experimenting with some pop influences. I’m all about breaking the mold and stepping outside my comfort zone, so expect the unexpected – fresh sounds, bold ideas, and projects that feel different from anything I’ve done before.

What has been the most challenging aspect of your musical evolution, and how have you overcome it to reach where you are today?

One of the biggest challenges has been finding the balance between staying true to my roots and evolving as an artist. It’s easy to get comfortable with a formula that works, but growth comes from stepping into the unknown. There were times when I felt unsure about experimenting with new sounds, wondering how people would react. But I’ve learned that trusting the process and staying authentic is key. Every challenge has been a lesson that has shaped my sound today.

You’ve performed at some iconic events like Tomorrowland and Borderland. How have these global stages influenced your sound, and do you bring elements of these experiences into your studio work?

Absolutely. Performing on global stages like Tomorrowland Belgium, Borderland Malaysia, and Siam Songkran Thailand has been a game-changer. You feel the energy of diverse crowds, and it shifts your perspective on how music connects with people. Seeing what resonates live helps me understand how to structure my tracks differently – whether it’s building tension, creating unexpected drops, or adding elements that hit harder in a festival setting. Those experiences definitely inspire me when I’m back in the studio.

With your multi-city tour with Package Collective, how does performing live differ from producing in the studio?

Performing live and producing in the studio are two sides of the same coin, but they feel completely different. In the studio, it’s all about experimentation – there’s room to try, fail, and refine. On stage, it’s about reading the crowd in real time, feeding off their energy, and creating an experience. When I’m performing, the instant connection with the audience pushes me to be more dynamic, and that energy often influences how I approach my next production.

What do you aim to convey through your live performances?

I want people to feel a connection – not just with the music, but with the moment. My goal is to create an atmosphere where people can let go, feel free, and lose themselves in the sound. Whether it’s a high-energy drop or a deep groove, I want every set to be memorable – like a shared experience between me and the crowd. It’s more than just playing tracks; it’s about creating a vibe that sticks with you long after the show ends.

You’ve built a strong following in Southeast Asia—how important is it for you to represent Indonesian culture on a global stage, and what do you want people to take away from your music?

Representing Indonesia on a global stage is something I’m really proud of. Our culture is rich and diverse, and I love weaving that into my music in subtle ways – whether through rhythms, melodies, or even just the energy I bring to my sets. I want people to hear my music and feel something universal while also discovering a bit of where I come from. It’s about showing that Indonesian artists have a place in the global scene and that we have something unique to offer.

What are some upcoming collaborations with Indonesian artists that you’re excited about, and how do you think these projects will push the boundaries of what Indonesian music can achieve on the global stage?

I’m really excited about some upcoming projects with fellow Indonesian artists who are pushing boundaries in their own way. Collaborating locally isn’t just about making tracks – it’s about building a movement and showcasing the diversity of talent we have here. These projects will blend so many colors into one creation, but more importantly, they’re a step toward putting Indonesia on the international map. Our music scene has so much to offer, and I truly believe these collaborations will help amplify our presence on the global stage.

INSTAGRAM

 

February 13, 2025 0 comments
0 FacebookTwitterPinterestEmail
Music InterviewsMusic News

Interview: Fletcher Kent – A New Beginning in Music

by the partae February 13, 2025
written by the partae

Your debut single, ‘I’ll Be,’ has gained significant traction online, earning you a strong following. Can you share the inspiration behind the song and how it feels to see such a positive response?

I’ll Be is somewhat of a personal manifesto… a pledge to my future self and the person I want to become. I touch on a lot of different aspects in my life that are important to me, so to see it connect with people is incredibly fulfilling and special. 

You’ve shared the stage with major artists like Newton Faulkner, Kim Churchill, Vera Blue, and Pete Murray. What’s the most valuable lesson you’ve learned from supporting these artists?

As a support artist, it’s your job to start the night off with good energy and create a vibe in the room before the headline. Doing shows like these have really taught me that the crowd is already on your side. When people come out for a show, they’re wanting to have a good time- and I think learning to lean into that mindset has been super beneficial. 

Signing a worldwide deal with AWAL US is a huge milestone. Can you walk us through how that opportunity came about and what it means for your career moving forward?

That journey really started from focusing heavily on my songwriting for a number of years – so that when it came to having the conversation with labels I had a big catalog as a sort of proof of work. I’ll Be was the song that set it into motion, with the amazing Mike Taylor joining our team and helping to set up the deal with AWAL. 

With your debut album on the horizon, what can fans expect in terms of sound, themes, and songwriting? Are there any particular influences shaping this project?

I feel like my music lives in the world of rock influenced singer/songwriter. I’m very inspired by stripped 60’s folk to modern pop, rock bands to cinematic soundtracks. Most of the songs have originated in writing on either guitar or piano, and centred around themes of self-discovery, purpose and love. 

Your music has resonated with both live audiences and online listeners. Do you approach songwriting differently knowing that your music connects in such varied ways?

In my writing I mostly try and follow what the song feels like it wants to be- both thematically and musically. Sometimes I’ll know when I’m writing that it could be well suited for live performances, and other times I’ll be writing a simple slow folk song with no chorus that will be less live suited. The song is the boss!

You have a captivating stage presence. How did you develop your live performance skills, and do you have any pre-show rituals to get in the right mindset?

Thank you! I’ve been playing live since I was 8 years old – singing Michael Jackson in a school production haha. Then writing, busking and doing gigs most weekends from around 12- travelling Aus in a caravan for 6 months with my family and playing everywhere we went. I just really love it so much and it’s huge reason for pursuing music. My pre-show rituals are mostly just warming up my voice and listening to some songs to get me in the right headspace. 

As part of Live Nation’s ONES TO WATCH series, you’re joining a lineup of rising talent. How does it feel to be part of this platform, and what are you most looking forward to about the Melbourne event?

It’s awesome to be included in this incredible series. To join a great list of past performers is exciting and I’m super keen to play the Gaso- it’ll be my first show there! 

The Australian music scene is evolving rapidly. As an artist navigating the industry, what are some challenges you’ve faced, and how have you overcome them?

I think finding the right team is so important. I kept writing and focusing on the music for years until I felt confident in the team around me to achieve a shared vision. I’m grateful and excited to be starting this new phase of my journey with some awesome and talented people.

Your career is on an exciting trajectory in 2025. What are your biggest goals for this year, and are there any dream collaborations or projects in the works?

I’m looking to spend some time overseas this year playing gigs and touring new places… I’m super excited by that! Working on these songs with Eric J Dubowsky has really been a dream collaboration… we’ve written songs together that will be on the record and he’s producing and mixing. A really cool relationship with someone who’s Grammy and ARIA winning. 

For fans discovering your music for the first time through ONES TO WATCH, what’s the one thing you’d like them to take away from your performance?

That I’m in this for the long haul! I’ve been focused on music since I was a kid and yet this now feels like a new beginning. I have so much to give moving forward and would love if people connect to lyrics or a feeling I’ve facilitated. 

INSTAGRAM

February 13, 2025 0 comments
0 FacebookTwitterPinterestEmail
Festival NewsMusic InterviewsMusic News

Interview – THNDO ‘Lessons In Love’ A Journey

by the partae February 10, 2025
written by the partae

Your new album Lessons In Love dives deep into themes of courage, conflict, and connection. Can you share how your personal experiences influenced the storytelling on this record?

This album is a journal for me. Everything I’ve written about is something I’ve experienced or have put someone through. Listening back with new ears as I’d moved out of the situation I was writing about gave me the kind of perspective of how to be better. It was quite cathartic and yes, there were moments I crashed out during the sessions (bawling uncontrollably after recording Holding On)  It’s been incredible gaining the courage to love again after everything I had been through, and this record is evidence of that.

The album features the voices of the HALO Vocal Ensemble on several tracks. What did their contribution bring to the overall sound and feel of the album?

Who doesn’t love an angelic choir to set the tone for vulnerability? I was so lucky to work with HALO on this record because they added the very thing this record needed to feel real. Every singer in that session resonated with the music in a personal way and you can feel it when you’re listening to it. It’s Truth.

You’ve spoken about the risk and mystery of love, especially in tracks like “Ocean Floor Pt. 1 and Pt. 2.” How did you approach writing these songs, and how do they reflect your own experiences with love?

I likened the risk of falling in love to that of wading out too deep in the ocean. It’s terrifying navigating uncharted waters, especially if you’re not sure of your capacity to survive it. It’s about trusting the process, listening to your intuition and being hopeful it will be a beautiful experience, no matter how it ends.

I sat at the piano and expressed what I was feeling at the time. I was freshly out of a decade-long relationship which I thought was my be all and end all, developed a crush but shied away from my feelings. Until I wrote them down and realized as long as it felt safe for my heart to do so, I could go further into the deep.

With tracks like “Along The Way” and “Holding On,” there seems to be a lot of reflection on life’s challenges. How do you stay motivated to create music during tough times?

My authenticity has always kept me inspired creatively. My audiences have come to know me as a no nonsense straight no chaser kind of artist. I’m not scared to bare the ugliest parts of myself for public consumption because I believe they can see some of themselves in me. It humanizes them and helps them feel seen. As long as I remain brave enough to bare those parts of myself in my music instead of trying to be a perfectly manufactured politically correct artist, I feel I’ll never fall short in my process.

Your vocals have a unique way of conveying both strength and vulnerability. What’s your process for ensuring your vocal performance matches the emotional depth of each song?

I never go to the studio with a deadline. I allow myself the space to really connect with what I’m singing about. I have had a hard time with some of the content as it’s not relevant to my current circumstances but it’s something I lived so I have to put those shoes on again and tell the story.

You’ve been performing at some of Australia’s most iconic festivals and supported artists like Leon Bridges and Odette. How have these experiences shaped your music and performance style?

I’ve been really lucky in my career to have had those opportunities. It’s incredibly special to know there are other artists with a platform that believe in what I’m doing enough to bring me into their space in that way. More than anything, those experiences solidify what I’ve always believed. If you have a story to tell, and you tell the whole truth, people will listen. It’s not important what stages I’m on to do it, what matters is that I mean what I’m singing.  

The album’s title suggests there are lessons to be learned in love. What’s one of the biggest lessons you’ve learned from both the highs and lows of love?

The greatest love of your life is you.

You’ll be celebrating the album release with a special Valentine’s Day show at Melbourne’s JazzLab. How are you preparing for such an intimate performance, and what can fans expect from the night?

I’m very excited for this show. I think people should expect to be serenaded with love ballads, reflect on heartbreak and if they’re on a date…whatever comes after.

In your track “Another Day,” you reflect on the challenges of balancing motherhood, work, and relationships. How do you navigate these responsibilities, and how do they inform your creative process?

I have to set aside time for me. It would be irresponsible to say my child is the primary priority in my day-to-day life because that’s simply not the case for me. She didn’t ask to come into this world, and everything I do is for her. But part of that is pouring into my own cup so I can nurture her. I would be pretty useless as a mother if I wasn’t inspired by the world around me to be a better person and lead by example. I want her to have happy parents, however, that looks for us and right now it’s running two households on the foundation of respect, respite and love for our daughter.

You’ve recently performed at some exciting events, including the National Multicultural Festival and Midsumma Pride Party. What does performing in these spaces mean to you, and how do you connect with your audience at these events?

Coming back to my hometown for the NMF is incredibly special because it reminds me of where I’ve come from and how much I’ve grown. And the Midsumma Pride Party is incredibly special because I get to celebrate with Melbourne’s Queer community and share the kindness and acceptance I’ve been welcomed into since coming out publically. 

And the way I connect is very simple. I’m just real.

Thndo Upcoming Shows: 

Saturday 22 February
Under the Stars 

Carnegie, VIC
Tickets

Wednesday 16 April
Supporting BJ: The Chicago Kidd

Northcote Theatre, Melbourne
Tickets

Thursday 17 April
Supporting BJ: The Chicago Kidd

Metro Theatre, Sydney
Tickets

Friday 27 June
Karralyka Theatre
Ringwood, VIC
Tickets


Lessons in Love out Friday 14 February
via Ditto: https://ditto.fm/lessons-in-love-thndo + Bandcamp: https://thndo.bandcamp.com/

February 10, 2025 0 comments
0 FacebookTwitterPinterestEmail
Music InterviewsMusic News

Interview: The Bentley Project

by the partae February 1, 2025
written by the partae

How did The Bentley Project come to life, and what inspired you both to combine the sounds of harp and guitar?

The Bentley Project, is a marriage/music duo. Before Mark, I was a professional French horn player and quite honestly, Once I performed with Roger Daltry, played in the orchestra doing his rock opera Tommy,  watching him awesomely work the huge crowd , and then Georgia on my Mind with Ray Charles, I knew I couldn’t top this on French horn. So, I decided to pursue piano/ harp. For my wedding gift, Mark bought a replica of a 1500’s Italian Baroque triple harp and the rest is history. Mark was and is a fabulous classical guitarist and studied with the best in the world like Pepe Romero and Christopher Parkening.  As I grew on the harp, we started realizing how primevally beautiful the harp and guitar are together. He patiently waited for me to grow and in 2018, we decided to try an album of music friends said they would love for us to record and music Mark plays that I wanted to capture. We came up with the name The Bentley Project to allow us freedom to do multiple genres. Given our love for all kinds of music, we wanted the name to reflect that this is an ongoing project with many lanes to explore. I love playing/improvising New Age the most so personally, this will continue to be my main interest in exploring. 

Theresa, with your background in classical music and a diverse array of instruments, how do you approach blending traditional and contemporary elements in your compositions?

With learning multiple instruments, dancing flamenco, loving Van Gogh, and reading poetry, all the disciplines compound into something that you can’t have without each piece in the recipe. I also have so much music listening time(70’s rock, new age, classical music, bluegrass, Celtic) and French horn, harp, classical/jazz piano and voice training in my head It all had a synergistic effect that has all come out as this album.  I observe literally everything I hear down to our creek running on our land. (It’s on track 4 of the album!)  or the rhythm of the train in our small town. As for blending, I pull my most favorite parts from each discipline and put them together for something new. For example, I call Kind as the Shade an “Ambient Tone Poem”. The core idea is borrowed from the classical world, Richard Strauss and his tone poems. I love them all so thought why not use it here and tell the story of the poem that inspired this album By John Neihardt but with an ambient twist. Thus, I guess I wanted to create a new genre of “Ambient Tone Poem”? Why not… 

Mark, your experience as a guitarist spans multiple genres. How has your versatility in classical and acoustic guitar shaped the sound of The Bentley Project?

As a trained classical guitarist, You can do nearly anything that is asked of you. It’s a bit like learning ballet then you can springboard into any dance with that foundation. When Theresa asks me to play an idea, I can approach it anyway she would like. For example, on our single Eventide, she wanted acoustic guitar but play it like a classical guitar. It resulted in a unique sound that fit the song perfectly.  She says she loves my tone the most so she writes for it. My Whisper to You was all about that concept for her.

Can you tell us about the creative process behind your compositions? Do you primarily collaborate or is there a specific role each of you plays in the songwriting and production?

We definitely have unspoken defined rolls. I am the dreamer and Mark is practical. I come up with the ideas or something inspires me. I use my phone constantly to capture a sound or portion of a song/progression I really like.  I never know when that will catch me. Once that happens I start working on the song.  Then I bring Mark into the process to make everything I do better. We do all recording, mixing and mastering. Mark has an incredible ear to hear the tiniest sounds that need to be adjusted or fixed. Sometimes I can get him to write with me (like My Whisper to You on the album) and it is always incredibly beautiful but I usually have to pull that bit out of him. I am always glad he allows me to push that! Anything regarding recording that I struggle with, he seems to always have an answer. 

You both have extensive performance experience, from symphonies to engagements with artists like Roger Daltrey and Ray Charles. How does performing as a duo differ from these larger-scale engagements?

For me, this has been a huge adjustment. With big orchestral engagements, a French horn player can hide fairly easily in the back of the orchestra(with the exception of solos). That is what I was use to and never being the center of attention as an instrumentalist. I am happy that way but with harp, I have had to learn how to handle performing as a soloist or in the duo. No hiding. That was a shock to me but getting more use to it. As for Mark, classical guitarist are generally on their own or a duo/quartet. For most of his performing life, Mark was in a guitar duo so this is not much different for him except I have pulled him into writing music.

The Bentley Project has a unique style that mixes elements of folk, classical, and new age music. How do you balance these diverse genres while maintaining a cohesive sound?

I have such  enjoyment for the impressionistic period of music and see the original New Age movement (Windham Hill, Andreas Vollenweider for example) and Phillip Glass, stemming from that period.  That is the lens I ran everything though as I wrote this album. I can use a Celtic type melody but it had to lay on top of the dreamy Windham Hill type sound. 

In your performances, you invite audiences to ‘listen with intent.’ What does that phrase mean to you, and how do you encourage this deeper connection with your music?

Listen with intent means create your own mental story as you listen and fully experience the music. Or, learn the artist story about the music. Great musical art is so much more and worth the effort of learning each song’s meaning. They always have a story of some sort. Science has confirmed the health benefits of this type of listening as well! 

You’ve performed across the U.S. and Europe. How have these international experiences influenced your music, and what do you think audiences from different cultures appreciate most about your sound?

Europe was such an incredible place to perform. They universally have a deep appreciation for live classical music(and it’s variations which our music fits into)  and encourages its nurture. I have a harpist friend in Germany, Nadia Birkenstock, who is experiencing great success and she has been such a role model for me. She has been deeply embraced and is helping to expand harp music around the world. The track, Language of the Hills is probably somewhat inspired by her and what is happening in Germany by having a single instrument harp song that is complete and beautiful on the album. Here in our Kansas City, Missouri culture, we have fantastic music that is just exploding!  There is a growing subculture as well that we would fit into. The audiences are not huge yet but I am hoping The Bentley Project can help expand it more. People here always love to hear us play but it is so different for them generally it is like a new life experience they didn’t know they needed emotionally. They are always surprised at the calming effects. I love playing at the farmer’s market here and seeing the reactions. People immediately calm and smile at me. That’s what I want to grow in my culture. I have been told there “ I make it feel European”. I see that as a great compliment!

You both have strong academic backgrounds in music and business. How do these two aspects complement each other in your work with The Bentley Project?

I would say the simple answer is we both fully understanding each other’s language in music and business.  Neither of us could do what we do if our partner did not have the complementary pieces that we each have.

To create something like Kind as the Shade, our ability to communicate as you are creating something new was invaluable and helped us to pull greatness from each other that wouldn’t happen if we were not together. 

What can fans expect from The Bentley Project in the coming year? Are there any exciting new projects, collaborations, or performances in the works?

Projects:

We have spoken about Mark doing a Classical Guitar Spanish Dance album( which he is magnificent at).

I actually have many ideas stirring in me.  I have time freedom as there is no one to give me constraints. I can fully allow my internal artist do her thing and let it grow organically as it did with Kind as the Shade. Regarding my current ideas, I really enjoy fantasy stories. (Earth’s Fragrance Remembered(Eolyn) is a perfect example of this showing up in my music.) Eolyn is a magical character that I just loved.  I thought it might be fun to do another tone poem on the Tales of the Fae or a fantasy album about this character . With my harp, I can be as magical with this as I want!  I also have a collection of hour long sleep songs that are part of my  Sanctuaries series. We have a baby in the family and she loves to sleep to them. Especially Peaceful Waters. So, I am planning to build upon that. Lastly, with Kind as the Shade being inspired by a poem, I may start a New Age Poetries collection of music. As I find a poem that inspires me, I can start building  upon this collection idea. Poetry is generally how I write music. Poems first then the music. I have always worked that way.

Performance: We have a couple coming up this spring one private and one public. Our public concerts tend have sections: music from 500 years ago on replicas of early instruments , a folk section like Spanish dances, and now of course some new age music to introduce ideas like running my harp through a guitar shimmer pedal like on track 8, Language of the Hills.  At our concerts, we tell stories about each song and the multiple instruments which helps the listener to “listen with intent”.

Listen At : thebentleyprojectmusic.com

February 1, 2025 0 comments
0 FacebookTwitterPinterestEmail
Music InterviewsMusic News

Mike Colin – Eclecticore: Creativity, Collaboration, and Healing

by the partae January 31, 2025
written by the partae

You’ve collaborated with an incredible lineup of legendary MCs on your upcoming record. How did these collaborations come together, and what was the creative process like?

I have to thank the producers I’ve been working with since around 2020. Wyshmaster, Anno Domini, Legion, and Temper made these “colabos” possible for me and other indie rapper types. And of course, I thank the rappers involved for lending their voices for the purpose of helping myself and others gain some attention. Unfortunately, I have never met any of these guys, but the chance to show that I can hang with them on a track is monumental and just plain fun at the same time. It’s my dream mixtape.

With so many different personas—Mile High Mike Colin, Milky Way Mike Colin, Zhitkur Roswell—how do you decide which alias to use for a specific project?

Ever since the get-go, I was Eclecticore. I grew up in the ‘70s and ‘80s listening to the rock I loved and still love: The Beatles, The Stones, Jimi, Bowie, Iggy, Lou, Prince. I also loved Hip Hop—Run DMC, Beastie Boys, Public Enemy. I even loved solo classical for some reason. I used to put it all under one label, “Phantasmorgasm,” which was my band in the ‘90s, but as time went on, I splintered.

Mike Colin is a rock singer/songwriter.
Mile High Mike Colin is a rapper/lead guitarist.
Milky Way Mike Colin is a composer/multi-instrumentalist.
Zhitkur Roswell is a beat producer.
Where to use each alias is sort of built into the alias itself.

Your output is prolific, often compared to music legends like Prince and Zappa. What drives your relentless creativity, and how do you keep the ideas flowing?

Well first off, I’m nowhere close to being in league with Prince or Zappa or any of those guys who are true artistic geniuses. I have a knack—a knack for putting music into a song/record format. I’m not a virtuoso musician. I’m not a talented vocalist. I just have a knack for expressing myself honestly and exploring song ideas that others don’t.

Ideas are no problem. They can start with a beat, a riff, a vocal. If your goal isn’t limited to commercial appeal, then you can just create. I throw music at the canvas like Pollock, I celebrate the ordinary like Warhol, and sometimes I obsess over a grid of details like Da Vinci. Music itself is the genius. I’m just lucky enough to be able to do it.

The trauma you’ve experienced is heartbreaking yet inspiring. How has it shaped your music and your approach to life?

I have been through a lot, just like a lot of people. Life is both beautiful and horrific. I think we are all left wondering what the purpose of pain is, and the finality of death on our plane.

In 2024, my dog of 10 years died, and it just about killed me. I just want to see him again. I haven’t seen my mother or her parents in almost 30 years because they all passed. I finally found out who my father was thanks to DNA. He died before I could meet him.

This is what we all carry with us in one form or another. This is what art is. It’s all of it, all at once. Entertainment is art that distracts us from our pain. I wish I was an entertainer.

You’re known for your love of recording over performing live. What is it about the studio environment that resonates so deeply with you?

I love the studio because any and every song is a go to explore. In the ‘90s, I toured and performed 500-plus shows, and what you learn is that the audience only wants to hear a small segment of material. The repetition drove me crazy. The 375th time you play the same 15 songs, it becomes a job.

Also, I’m just not an entertainer. I’m trying to relate.

Producers like Wyshmaster, Anno Domini, Legion, and Temper have played a big role in your projects. What do these collaborations bring to your sound?

Working with producers has kept me going. I love getting the tracks and just going for it. It’s collaborating in a manner that I understand.

Your new record features a mix of hip-hop heavyweights like Eminem, Method Man, and KRS-One. What makes this project stand out from your previous work?

This album is just different than anything I’ve done because I’ve never done anything so accessible or commercial. I hope this opens the door and allows the audience to discover some of my other music.

You’ve dabbled in so many genres and styles, from hip-hop to acoustic to beatstrumentals. What draws you to explore such diverse musical paths?

I love music. I have dabbled in most genres, just like The Beatles or Prince. Time has proven that Rock/Hip Hop/Classical is what I do. The dabbling is over.

Except—I am making a K-pop record just to be hip.

Vinyl and cassette releases are scheduled for April. What inspired you to embrace these classic formats, and how do they complement your music?

I’ve been around long enough that the first recordings I released were on vinyl and cassette. They’re fun. Nostalgic.

That said, digital access is pretty great. I love Spotify and Apple Music. I have every record I have ever wanted at my fingertips. It’s incredible.

Despite everything you’ve endured, you’ve remained focused on creating music. What advice would you give to artists facing their own struggles, both personal and professional?

Don’t let depression keep you from making your music. It is hard. Believe me, I know.

Sadly, don’t bring your sorrow to the biz. Nobody gives a shit. If you expect them to, then you are in for a rude awakening and a lot of wasted time.

There is music the art, and there is music the business. Make music because you want to, not because you think you could be the next Guaplord or Smoked Cheddar the Ass Getter.

Even so, you must promote your art once in a while. I’ve been writing and recording for 30 years. I never “made it,” yet I have fans in 81 countries.

Maybe someday I will get to perform for them. Life’s a continuous, contiguous journey that isn’t over until it’s over.

 

mikecolin.net

January 31, 2025 0 comments
0 FacebookTwitterPinterestEmail
Music InterviewsMusic News

Noel Holler’s Afro-House Evolution and Vibes

by the partae January 22, 2025
written by the partae

What inspired this shift to a fresh Afro-house sound with “All I Need,” and how does it differ from your usual high-energy techno and bass house tracks?

The inspiration for “All I Need” came from a desire to explore a deeper emotional connection in my music. I wanted to challenge myself and experiment with a sound that captures more warmth and soul, while still keeping the energy alive. And I felt with Afro-house I caught THE vibe of the summer. 

How did the collaboration with SHELLS come about, and what was it like working with her on this emotive track?

SHELLS has such an incredible voice, and when I first heard her work, I immediately felt she was the perfect fit for this track. I reached out to her team with the demo, and she resonated with the vibe right away. Working with her was an inspiring experience. Can’t wait for another one!

Can you talk about the personal experiences that influenced the song’s lyrics and overall vibe?

“All I Need” is rooted in a sense of gratitude. Over the past year, I’ve experienced moments of clarity about what truly matters in my life-to have the important people in my life around me. This feeling became the foundation of the song. It’s about cherishing those moments where you feel complete and spend time with your peers.

How did your summer festival performances and “Holler at Me” boat parties shape your music heading into the fall?

This summer was all about connecting with people in such dynamic ways, whether it was the massive energy at festivals like Parookaville or the absolute vibey setting with my community on the boat parties. Performing live always influences my creativity—it gives me direct feedback on what resonates with the crowd. Heading into fall, I wanted to channel the uplifting energy from those experiences into something fresh and more “clubby”. Stay tuned 😉

How did the partnership with FIVE Music come to be, and what are you most looking forward to about debuting “All I Need” live in Dubai?

FIVE Music reached out to me and it immediately felt like a perfect fit. The contact was supportive and professional from the beginning.  I’m excited to debut “All I Need” at the FIVE Music Hotels event—it’s a chance to connect with a global audience in a stunning setting. Plus, performing in Dubai is always special!

How does FIVE Music’s vision align with your own as an artist, and what does it mean to have their support for your new single?

FIVE is sharing a passion for creating unforgettable moments, which aligns perfectly with my vision as an artist. Having their support means a lot—it allows me to bring my music to a broader audience while staying true to my artistic direction. Together, we’re creating something more than just music; we’re curating an experience.

Can fans expect to hear “All I Need” live at your headline show in Bootshaus, and how do you plan to integrate your new sound into your set?

Bootshaus was such an incredible night, and the energy in the room was unreal! While “All I Need” didn’t make it into the setlist this time, the song has definitely influenced the way I approach my live sets overall. Its vibe inspired me to experiment with more dynamic moments and create a journey for the audience, blending high-energy tracks with deeper, more emotive transitions. I can’t wait to bring it to the stage at just the right moment!

How do your collaborations challenge and inspire your creative process, and are there any future partnerships to look forward to?

Every collaboration brings something unique to the table. Working with Alle Farben and LUM!X pushed me to embrace more simple melodies, while SHELLS inspired me to dive deeper into emotional storytelling. These partnerships keep me evolving as an artist. As for the future, there are definitely more exciting collabs in the pipeline—but I’ll keep those under wraps for now!

How important is your personal connection with fans, both in your music and your brand?

It’s everything to me. My fans are the reason I do what I do. Whether it’s through the music, my live shows, or my very own “Holler at Me” shows, I want them to feel like they’re part of the journey. Building that connection goes beyond the stage—it’s about creating a community where we all share a love for music and good vibes.

What’s next for Noel Holler after the success of “All I Need” and your collaboration with FIVE Music?

Looking ahead, there’s a lot in the works—new music, more live shows, and some exciting creative projects. I’m also exploring ways to elevate my performances, incorporating more visuals and immersive elements. 2025 is going to be about pushing boundaries and continuing to connect with fans in meaningful ways. And I can’t wait to visit you guys in Dubai again. Stay tuned!

 

January 22, 2025 0 comments
0 FacebookTwitterPinterestEmail
Music InterviewsMusic News

Interview: Monica Logani On Her Latest Album ‘The Depths’

by the partae January 10, 2025
written by the partae

“The Depths” explores the theme of introspection and uncovering quiet truths. Can you share the personal journey or inspiration behind this album?

“The Depths” was born from my own journey of seeking peace and meaning in life’s quieter spaces. Having lived across continents—Africa, the U.S., India, and now Europe—I’ve learned that external movement often mirrors an internal quest. In a world filled with noise, I wanted to create a space where listeners can pause, reflect, and reconnect with their own truths. This album feels like an invitation to dive deep into one’s self, embracing both the beauty and challenges of introspection.

Your music blends classical and world influences, reflecting your multicultural identity. How do your cultural roots shape your compositions, particularly on “The Depths”?

My multicultural identity is at the heart of my music. Growing up in the U.S. with roots in India, being born in Africa, and now living in Spain, I’ve absorbed a rich tapestry of sounds and traditions. Indian classical music taught me to appreciate depth, patience, and improvisation. Western classical influences brought structure and harmony. Living in Spain introduced me to the passion of Flamenco and the understated elegance of European minimalism. On The Depths, these worlds come together naturally. It’s less about representing any single tradition and more about honoring how these influences have shaped who I am and how I hear music.

You’ve described “The Depths” as both a sanctuary and a guide. What role do you think instrumental music plays in healing and offering clarity in today’s fast-paced world?

Instrumental music has a unique power to heal because it transcends language and speaks directly to the soul. In today’s hyper-connected and overstimulated world, we often neglect moments of stillness. The Depths offers that stillness—a sanctuary where listeners can step away from the chaos and find clarity. Without words, the music allows each person to project their own emotions and experiences onto it. It becomes both a personal retreat and a guide, helping them navigate their inner worlds.

Your previous albums, “Secret Garden” and “The Long Road,” were met with critical acclaim. How has your creative process evolved from those works to “The Depths”?

Each album represents a distinct chapter in my life. Secret Garden was about uncovering hidden beauty through music, a journey of quiet discovery. The Long Road became an outward expression of love, grief, and connection—raw emotions translated into sound. With The Depths, my creative process has matured and become more intentional. I’ve learned to trust the music, allowing it to flow intuitively rather than overthinking. I leaned deeper into minimalism, letting each note breathe and finding power in the spaces between them. It’s a deeper exploration of simplicity and emotional clarity.

“The Depths” flows seamlessly from one piece to the next, creating a meditative experience. How do you approach crafting such cohesion within an album?

Cohesion comes from listening to the music as a whole, rather than as individual pieces. I approach each composition as part of a broader emotional arc, ensuring that one piece naturally leads into the next. Working closely with my producer, we carefully sequenced the tracks to balance their energy and transitions. For The Depths, I envisioned the album as a single narrative—an immersive journey that unfolds gradually, inviting the listener to explore deeper emotional and introspective layers with each piece.

The album is arranged in three distinct phases, each representing a stage in the transformative journey:

The Opening Tracks: Pieces like Dreams of Zagyva and Stars set the tone through a classical lens, telling stories that evoke memory and introspection.

The Middle Section: This phase blends instrumental pieces with piano solos, delving deeper into personal emotions and meditative states.

 The Final Phase: Beginning with Diamond Gaze, the music ascends into spirituality, capturing the essence of offering, transformation, and eternal truths.

Each phase takes the listener on a transformative experience—from quiet reflection to deeper introspection, and ultimately, to a sense of spiritual awakening.

Many listeners connect with your music on an emotional level. How do you translate vulnerability and personal experiences into your compositions?

For me, composing music is an act of vulnerability in itself. I approach the piano with honesty, letting it reflect what I feel in the moment—be it joy, longing, or uncertainty. I believe that authenticity in expressing my emotions allows the music to resonate deeply with others. Rather than telling a specific story, I aim to craft an emotional language that invites listeners to bring their own experiences and interpretations to the music.

Your music has been featured on SiriusXM’s Spa channel and resonates across 86 countries. What does it mean to you to have your work touch such a global audience?

It’s incredibly humbling. Growing up across cultures, I’ve always felt like a citizen of the world, and it’s beautiful to see that reflected in how my music resonates globally. Knowing that a composition created in my quiet moments can bring peace to someone on the other side of the world feels like a shared human connection—one that transcends borders, languages, and backgrounds.

With “The Depths” releasing in January 2025, what are your hopes for how this album will be received and the impact it will have on listeners?

My hope is that The Depths offers listeners a sense of peace and perspective—especially in moments when they need it most. I want it to feel like a trusted companion, whether someone is reflecting, healing, or simply seeking stillness. If it helps even one person reconnect with themselves or find clarity, then it has fulfilled its purpose.

Your work is reminiscent of the golden era of New Age piano. Which artists or movements have inspired your approach to composing and performing?

I’m deeply inspired by artists like George Winston, Yiruma, and Yanni, who masterfully blend simplicity with profound emotional depth. The New Age movement, with its focus on music as a source of healing, introspection, and mindfulness, has significantly influenced my approach. At the same time, my exposure to Indian classical ragas has taught me the power of improvisation and the importance of emotional nuance. Minimalism and world music traditions have also enriched my compositions, allowing me to explore diverse textures and moods. Together, these influences have shaped a style that is deeply personal yet universally resonant.

Looking ahead, do you see yourself exploring new themes or genres in your music, or continuing to deepen the introspective and emotional journey you’ve begun with “The Depths”?

I believe there’s always more to explore. While I’m drawn to introspection and emotional storytelling, I’m curious about blending new sounds and themes into future work. I’d love to collaborate with musicians from different traditions, bringing in instruments and influences that push my creative boundaries. But no matter the genre, my focus will always be on creating music that feels authentic, meaningful, and deeply human.

Facebook

Instagram

Twitter

YouTube

Website

January 10, 2025 0 comments
0 FacebookTwitterPinterestEmail
Music InterviewsMusic News

Interview: Joey Sachi & Akinat Collab

by the partae December 27, 2024
written by the partae

‘7 Seconds’ is such a compelling track. Can you tell us about the inspiration behind the song and how Clive Wearing’s story shaped its themes?

Thank you for the kind words! A few months ago, AKINAT sent me the documentary about Clive Wearing’s heartbreaking story, and it had a profound impact on me. I couldn’t stop thinking about him. Clive Wearing was a fascinating British classical musician who lost his memory and now experiences life in brief, seven-second intervals. His story made me think long and hard about the fragility of life. The fact that his wife, Deborah, remains a constant as his condition deteriorates only further proves that love truly transcends time. Drawing from both his story and our own life experiences, we wrote 7 Seconds.

How did the collaboration between the two of you come about, and what was the creative process like working together?

We’ve been collaborating for many years… honestly, the process is always seamless. AKINAT is an exceptionally talented producer, and I always love what we create together. Our history and deep understanding of each other really helps the process—plus, we know when to push one another creatively, which I personally sometimes need! When you’re creating music, it’s easy to get stuck on an idea, so sometimes you need to throw a musical spanner in the works or try something completely out of left field. That’s more often than not where the magic has been hiding.

You’ve mentioned that the track draws influence from Fleetwood Mac’s ‘Dreams.’ How did that iconic sound inspire your approach to production and songwriting?

Yes!! Initially, we set out to write a song inspired by Dreams! It’s funny telling people that the Fleetwood Mac classic was an influence for us, as I feel that connection might be a bit difficult to make now. The track went through many iterations before reaching its final version, and I’m really curious to see if people can hear the little nods to that track throughout 7 Seconds.

Your music blends influences from artists like Jamie xx, Sabrina Claudio, and now Fleetwood Mac. How do you balance such diverse inspirations in your work?

Brilliant question! I love the depth and emotional range Sabrina Claudio consistently achieves through her music, the production and artistry of Jamie xx, and the unparalleled creative songwriting that forms the backbone of all Fleetwood Mac songs. I try to weave those influences together naturally—to be honest finding that  balance feels almost effortless because I draw inspiration from each artist in very different ways!

AKINAT, your production style is influenced by electronic greats like Four Tet and Jon Hopkins. How do you incorporate those elements while maintaining Joey’s vocal-driven sound?

I’m in consistent awe of artists like these guys – they’re particularly their ability to create a rolling, driving texture, with each element findings its pocket. It’s in that sense that i was inspired – not through genre but an appreciation of each and every sound arriving in its own time. 

Joey, living in Tokyo has clearly influenced your artistry. How has your time in Japan shaped your sound and opened up new creative opportunities?

For those who haven’t been: Japan, particularly Tokyo, is a living, breathing Blade Runner dreamscape—bustling streets, neon lights, and creativity everywhere you look! Living here and being consistently immersed in this culture has shaped me as an artist, giving me the freedom to explore and experiment, not just in music but beyond. I’ve always been passionate about fashion, and I love blending it with my artistry —the fashion scene in Tokyo is truly unparalleled!

What’s the music scene like in Tokyo compared to Sydney, and how does it influence the way you approach your work?

Live music is everywhere!! That has been the biggest difference I’ve observed between the two. Everyone loves live music here & makes sure there are ample opportunities to both perform and attend, across all genres. Musicians are championed for expressing themselves through their art, particularly Jazz musicians. If and when you visit Tokyo I highly recommend dipping into one of the moody Jazz bars like ‘Blue Note’ in Aoyama, having a cheeky cocktail & seeing where the night takes you! Living here has pushed me to search for live performance opportunities much more than I did previously, there is nothing quite as special as connecting with a person via music.

The themes in ‘7 Seconds’ touch on profound connections and love that transcends memory and time. How do you hope listeners interpret or connect with the story you’re telling?

Oh, I love this question! The beauty of music lies in how uniquely it can be interpreted by each listener. One of the most rewarding aspects of creating music is seeing how people connect with the tracks and relate them to their own life experiences. We also hoped that featuring samples of Clive Wearing himself might encourage listeners to explore his story, if they haven’t already. He captures the essence of life and love in the most profoundly beautiful way.

Since releasing your first single in 2021, your career has gained momentum. How do you feel you’ve evolved as an artist, and what’s next on the horizon for you?

I am feeling immensely grateful as we wrap up 2024. The New Year always feels incredibly cathartic—a chance to reflect and recognize how much I’ve grown over the past year. Heading into 2025, I already have four new songs ready to go. I’ve had the privilege of working with some sensational producers, and I can’t wait to share everything we’ve been creating!

Do you have plans to continue experimenting with different styles and textures in your music, and are there any collaborations or projects in the pipeline we can look forward to?

Absolutely! I will be hitting the ground running in 2025 with a few collaborations I secured at the end of this year. I couldn’t be more excited about the songs we’ve created—they definitely explore different textures/styles, and I’ve really pushed myself out of my comfort zone with songwriting! Keep your eyes peeled!

https://www.instagram.com/joey.sachi/

 

December 27, 2024 0 comments
0 FacebookTwitterPinterestEmail
Newer Posts
Older Posts

Recent Posts

  • Megadeth release trailer for Megadeth: Behind The Mask
  • Spilt Milk – Ballarat 2025
  • YUNGBLUD: announces DUNE RATS as special guests for January tour
  • SEPULTURA ANNOUNCE AUSTRALIAN DATES FOR GLOBAL FAREWELL TOUR
  • Jacob Collier + Nai Palm – Sydney, 11 December, 2025

Recent Comments

  • Shannon Austbo on RUNYAMOUTH hits the scene with explosive debut single HEAD ON A STICK
  • Anna on Interview: LUX – ‘Mirage’ A Dreamy Exploration of Love’s Illusions and Realities
  • Claire P on Interview: LUX – ‘Mirage’ A Dreamy Exploration of Love’s Illusions and Realities
  • Joe Travers on Trevor Kidd Teams Up with INXS and The Tea Party Legends for Explosive New Track “Sunshine”
  • Will s on Exploring Ego: Inside Pallas Haze’s Groovy Musical Odyssey Interview

Archives

  • December 2025
  • November 2025
  • October 2025
  • September 2025
  • August 2025
  • July 2025
  • June 2025
  • May 2025
  • April 2025
  • March 2025
  • February 2025
  • January 2025
  • December 2024
  • November 2024
  • October 2024
  • September 2024
  • August 2024
  • July 2024
  • June 2024
  • May 2024
  • April 2024
  • March 2024
  • February 2024
  • January 2024
  • December 2023
  • November 2023
  • October 2023
  • September 2023
  • August 2023
  • July 2023
  • June 2023
  • May 2023
  • December 2022
  • November 2022
  • October 2022
  • September 2022
  • August 2022
  • July 2022
  • June 2022
  • May 2022
  • April 2022
  • March 2022
  • February 2022
  • January 2022
  • September 2021
  • August 2021
  • July 2021
  • June 2021
  • May 2021
  • April 2021
  • March 2021
  • February 2021
  • January 2021
  • December 2020
  • November 2020
  • October 2020
  • September 2020
  • August 2020
  • July 2020
  • June 2020
  • May 2020
  • April 2020
  • March 2020
  • February 2020
  • January 2020
  • December 2018
  • April 2018
  • February 2018

Categories

  • Eats & Drinks
  • Fashion & Culture
  • Festival News
  • Music Interviews
  • Music News
  • Others

Meta

  • Log in
  • Entries feed
  • Comments feed
  • WordPress.org

MyListing is the most advanced directory theme made for WordPress. MyListing 2.0 improves and refines all aspects of the theme

 

  • Upload Event
  • Upload Listing
  • More Pages
  • [27-icon icon=”icon-box-2″] More
  • Categories
  • More Categories
  • More Categories #2
  • Locations
  • More Locations
  • Place
  • Event
  • Jobs
  • Real Estate
  • Cars
  • Create your own!
  • More demos
  • Facebook
  • Instagram

The Partae © 2025


Back To Top
  • Music
    • News
    • Interviews
    • Festivals & Events
  • Fashion / Culture
  • Stay & Play
  • About Us
  • Contact Us / Advertise
  • Submit Event