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BEYOND THE VALLEY UNVEILS ITS SET TIMES AHEAD OF ITS MONUMENTAL 10TH...

December 18, 2025

Franklin + Soli @ The Palais Theatre, Melbourne, 16th December 2025

December 18, 2025

YUBIK JOINS FORCES WITH ADRIATIQUE & VINCENT VOSSEN ON MELODIC HOUSE/TECHNO TRACK...

December 18, 2025

WILDLANDS REVEALS SET TIMES

December 17, 2025

SLEAFORD MODS release new single ‘No Touch ft. Sue Tompkins’ – 2026...

December 17, 2025

The Rions announce Australian regional tour for Feb 2026

December 17, 2025

Wanstock 2026 Announced for Sydney & Melbourne with 1927, Dragon, Loverboy, Pseudo...

December 17, 2025

Interview: Minh on Heartbreak, Growth, and the Freedom of Moving On With...

December 17, 2025

Interview: Cait Lin – Finding Clarity in the In-Between on GRADIENTS

December 17, 2025

Spilt Milk Photography – Sun 14 Dec, 2025 – Gold Coast

December 17, 2025
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Music Interviews

Music InterviewsMusic News

Interview – Heritage and Hip Hop: Spitty’s Global Journey

by the partae October 17, 2024
written by the partae

Your new album Motherland draws heavily from your heritage. What inspired you to create such a culturally rich and personal project?

It’s something I’ve been dipping my toes into for years. I always loved hearing Indian samples in hip hop growing up, and was ecstatic when I found out the rap scene was emerging in India. The Indian/Desi hip hop scene has grown immensely over the past decade, and so it was the perfect time for me to create a project that blends the worlds I grew up within. For me, it was a natural progression in my career. My first album was focused on showcasing my skills as a rapper who can speak on deep topics. This album was about more than just myself.

How did the collaboration process with artists from Canada, India, and the US come together for this album? Were there any challenges blending different cultural influences?

These are the countries that I’ve grown up within. I’m of Indian descent, born in the US, and grew up in Canada. Because of that, I’ve naturally focused my attention on these markets and have grown there the most. Through that, I’ve built connections, and collaborating with all of these artists came very organically. I honestly didn’t find any challenges either because each song was crafted very intentionally. Everyone fit in and added to the song they were on in a beautiful way.

The track “Mom” offers a personal glimpse into your relationship with your mother. What was the inspiration behind writing such an intimate song, and how has she influenced your music career?

When I reference my music career I usually speak on when I first discovered hip hop back in elementary school. But, my initial love for music was probably instilled through my mom. She’s always listening and singing along to music while cooking, cleaning, and doing all sorts of other work, and it’s been that way since I was born. That joy of music was passed down to me, along with that hard work ethic, and I carry both in everything I do.

“Rodeo” marks your first official Punjabi collaboration. How important is it for you to blend South Asian music with modern hip hop, and what was it like working with Yuvy and Roze?

That’s what this album is really all about, so it was fun to finally make one. I’m not Punjabi, but I grew up in Brampton which has a heavy Punjabi population. I’ve definitely been influenced by the culture, and so this song was pretty seamless to create. Roze had already connected Yuvy and had the demo, and then we restructured it out, added my verses, recorded it all and polished it up. One thing Roze did do that was great was translate the lyrics for me which really helped keep everything I was saying in theme with him as well.

You’ve been gaining attention both in Canada and India, especially after going viral on Instagram. How has that international recognition impacted your career and approach to music?

Seeing who is paying attention lets me know who I need to be targeting and focused on. I already went to India for 2 months last year to tap into the scene out there. Now I know for sure I’m heading in the right direction, and am working to continue growing both markets.

As a Brampton Artist Ambassador, you’re deeply involved in your local community. How do you balance your music career with your community leadership roles, and why is it so important to give back?

They’re intertwined for me. I’ve had many big wins in my career through my involvement with the city of Brampton, and in return I continue to push Brampton in a positive light, working to change the narrative around our city. There is incredible talent in Brampton, and I want to create opportunities for the people that don’t always have them.

Your previous album Full Circle was praised by Rolling Stone India and Much Music Canada. How has your music evolved since then, and what new themes or sounds did you want to explore with Motherland?

I’ve performed over 100 times since then, and that’s really allowed me to see how new audiences react to my music, especially with what is working and what isn’t. My sound is much more evolved and polished now, while still holding true to my original values and goals as a music artist. Motherland also is heavily South Asian influenced, and while Full Circle had some of that, this album really crafts out a unique Spitty sound that maybe didn’t exist before.

With Motherland, you’ve incorporated a lot of diverse sounds and collaborations. Is there a particular track that stands out to you or was especially meaningful to create?

Every song was honestly made with its own intention and to live in its own space. Each song is a different vibe for that very reason. I didn’t want the songs to compete with each other. But if I had to pick one that was meaningful to create, it was definitely the final song, Mom. That’s a personal song, and there are no features or crazy heavy production to hide behind. But, the response has been unreal on that song, and that truly hits home.

You’ve been hosting open mic events and giving motivational speeches at schools. How do these experiences shape your music, and what messages do you hope to leave with the next generation of artists?

It reminds me what and who I started making for. I was in high school when I started making music, with the hopes to motivate and inspire people around my age. So now that I’m older, I’ve realized I am the role model that I wanted when I was young. There’s probably kids looking up to me from all around the world. And I want to show them what’s really possible through hard work, perseverance, and positive intentions.

Looking ahead, what can fans expect from you in the near future? Are there any upcoming projects or collaborations we should be excited about?

Right now I’m focused on pushing this album because I see big potential with it. I’m doing my headline show in Toronto on October 25 at Drake Underground, and am planning further shows after that. 2025 I’ll be back with some big tunes though. I want to give this album the shine it deserves, and then keep that momentum going for a global 2025 takeover.

Spitty headline show in Toronto at The Drake Underground on October 25th

Instagram: @spitty95
Twitter: @Spitty_
Facebook: @Spitty95

October 17, 2024 0 comments
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Music InterviewsMusic News

Interview: Flashmob’s Sundown: Freedom, Tension, and Evolution

by the partae October 11, 2024
written by the partae

“Sundown” is described as a growling epic that merges deeper and melodic sides of electronic music. How do you approach blending contrasting sonic elements to create a cohesive yet dynamic track?

The approach I had on the whole album and specifically on Sundown was one that would allow me to feel free in putting together what I see that’s interesting in today’s scene, with all its colors and musical influences, without having to be as specific as I usually am when working on my signature sound.

For example, around 2000, I started buying my first MAW Records vinyls and really fell in love with the eclectic approach they had in putting together different but coherent styles of house music from various parts of America and Latin America. I really had the feeling they were free to do what they wanted; in modern days, the constriction of having to be very specific with one’s brand is a limitation at times, especially if you want to do an independent album. An album is an escape from those boundaries, and the fact it was written during Covid – a time when we didn’t know how long we would all be off the road for – helped me find that necessary freedom even more.

You mention that “Sundown” carries a message of hope and unity. What specific emotions or themes were you channeling during the production of this track?

Exactly! The realization that even if we are who we are, and we do what we do in life, we are always free to turn around and just say no or do things in a different way than expected. I was realizing whilst writing Sundown about how constrained I was in my loop with all the expectations; the level of intensive touring before Covid was out of control for me and took me to places I never want to visit again! During Covid, many of these themes emerged and many peers of mine started talking about these problems too, so I really felt hope in seeing the possibility of changing my future in a more controlled way of living, both in and out of music.

The creation of “Sundown” was born out of the stillness of the Covid pandemic. How did this period of enforced reflection influence the sound and direction of the entire album?

Stillness allowed me to think out of the box, out of my usual musical comfort zone, and to listen to music with plenty of time and attention. Not being in the usual frenetic loop that comes with touring – when sleep-deprived, one’s attention is much lower. It’s so different to be able to sit with music at home with all the time in the world like I did during Covid, being able to actually listen with great attention. I had forgotten how that felt, and I took great advantage of it to study and improve myself as a human, as a producer, and as a DJ. I felt that freedom more and more as time went by, and it was the key element that set the tone for the album. It gave me the confidence to merge and find new sweet spots between genres that I’d never reached before.

With “Sundown” being both a melodic track and a banger, what role does tension play in your music, and how do you balance it with moments of release and freedom?

Tension is essential for me in making music; it’s an erotic tension that if absent is a total turn off for me – both in writing tracks or playing them in a set. Sundown is full of passion and love and especially tension; the feeling of hope, of being able to start again, is at the core of this track. I rarely love a track of mine this much, but the meaning and feeling of this one makes me say with no doubt it’s one of my most significant Flashmob tracks.

You’ve spent over a decade in the electronic music industry. How does “Sundown” and the broader album reflect your evolution as an artist over the years?

It reflects my growth as a human first of all; I believe art is a mirror of whom we are inside, so the artistic growth is often a consequence of a personal one – at least in my case. I’ve dedicated lots of time to my family in these last few years, and now that my kids are older, I really wanted to get back on this horse with much more freedom. From the outside, people only see the success part, but many aspects of it are not perceived. I’ll tell you one thing: from the inside, real success is when you can live what’s actually happening in your life, and find the right balance in what is important to you. Having the luxury to control your time and use it only for what is vital for you. That’s something I didn’t have before Covid.

In that sense, I have evolved both as Sandro and as Flashmob.

You describe this album as an expression of breaking away from the competitive aspect of music. How has this shift in mindset affected your creative process and the music you produce?

I feel as if I am myself now. I’m not chasing anything anymore. And the funny thing is that I’ve started going back to what I used to love when I started. Music has become a medicine for me, and I’ve stopped making it a business-oriented tool; sure, business is there, but I have found my balance for what I really want to do whilst respecting my brand. The mental approach has changed completely for me, so I am much happier writing songs these days!

Given that “Sundown” was created without the constraints of genres or deadlines, how did that freedom impact the overall tone and experimentation within the album?

My wisdom was to put together all the things I love in electronic music in one single body of work, and I am happy and proud of what I did. There is my core raw house signature sound mixed with more melodic and percussive sounds that are totally new to me. Some tracks are also more radio-oriented or experimental club tracks that don’t really belong to an era or a particular genre, but that are just trying to be timeless. All of this I did imagining how I will feel about this music in ten years.

The primal energy and escapism in dance music are central to “Sundown.” How do you think this track connects with listeners on an emotional or even spiritual level?

I’ve played it and I’ve seen the reaction on people’s faces. But to be honest, I prefer the audience to comment on this – I know it’s coming from the right place, and so I am really sure it will end up generating the right emotions.

In your own words, “Sundown” represents your love for life and electronic music. What specific life experiences or moments during the album’s two-year creation process had the most significant influence on its sound?

The realization that there is no particular correct way of doing things – one can feel free to do as one wishes. We are free human beings with emotions and faults. I’ve lost the pressure of being judged. I had the time to realize better who I’ve become after twelve years of intensive touring (that translates to approximately nine hundred gigs around the world). Being able to sit in my garden for months in total silence in front of a fire with no plane to catch or deadline to meet changed my mindset and made me think of what life really means for me – what I want and how I intend to live the next ten years in this beautiful adventure called music.

“Sundown” seems to be a personal project that defies commercial expectations. How do you hope listeners will engage with the album, and what lasting message do you want them to take away from it?

I hope it will make them smile and maybe even cry. I really hope my album can help someone as much as making it has helped me. Thank you.


VINYL PREORDER

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October 11, 2024 0 comments
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Interview: Harry Hayes – Love, Creativity, and Global Stage

by the partae October 11, 2024
written by the partae

Your latest single, ‘Baby,’ has generated a lot of buzz. Can you share the inspiration behind the track and what it means to you personally?

‘Baby’ was originally a set of chords that I loved, but struggled to flesh a full idea out of. I knew it had a lot of potential even though I couldn’t get it right. Sometimes when I’m in the beginning stages of writing, I’ll just write a bunch of different ideas and sections in sequence to each other. I kept doing exactly that for this track, and found when I listened to each idea beside each other, that it sort of formed the final arrangement of the track and gave me the inspiration to have the song build and build for three minutes. So funnily enough, the final version you hear kind of came about through a series of mistakes. 

This track feels special because it’s the first time I feel I really pushed myself creatively and the first time I feel as if I have completely captured the emotion I was trying to convey through the music, which is love in this case.

‘Baby’ has been supported by Caribou during his world tour, which is a huge deal. How does it feel knowing your music is being played on such a global stage?

I feel like I haven’t properly processed it at all, but all I feel is immense gratitude. Seeing videos of ‘Baby’ played at his shows, which have been sent to me by Caribou himself, as well as complete strangers, really helps me comprehend the madness of it all. 

You’ve described ‘Baby’ as a love song that captures the full range of emotions in a relationship. How did you go about translating those feelings into the music?

I think this is something that actually can’t be described. When I’m writing songs like ‘Baby’ I am acting on total instinct, and the emotions can often present themselves effortlessly. I think these emotions easily seep into my music based on the different forms of love I experience in my life. 

With the upcoming Australian tour supporting Caribou, what are you most excited about for those shows? Any particular venue or city you’re looking forward to playing in?

I think for all artists, performing in your home city, and in such an iconic venue like the Enmore theatre, is such a dream come true. The idea of my friends and family being a part of this makes me so excited, and equally nervous. Also, Caribou has always been a musical idol of mine, and to say I am supporting him on this tour feels absolutely beyond surreal. 

Your music blends pop melodies with club-ready beats. How do you approach balancing these elements to create tracks that work both on the dancefloor and for personal listening?

There is such a hidden and underappreciated beauty and emotion in pop song writing. Those types of chords and melodies inspire me the most and I often find myself naturally drawing inspiration from this in my song writing. On the other hand, I am equally just as inspired by club beats, especially the drums, rhythms, and tempos that drive these tracks. I am constantly finding ways to incorporate a balance between both, because that’s where I feel I exist musically. 

You’ve had great success with your previous singles and now ‘Baby.’ How do you keep pushing yourself creatively with each new release?

‘Baby’ has certainly become a benchmark for me. I feel as if this is a song that I’ve been trying to create for ages, and it feels like it has the pinnacle elements of the music I want to create. So now it feels like I have a permanent reference track moving forward, something to look to when trying to push myself creatively. 

The single launch for ‘Baby’ is coming up at LOVE CLVB. What can fans expect from that show, and how are you preparing for it?

I think this will be an exciting opportunity to showcase both my own music as well as songs I am currently obsessed with, in a space that feels safe and on board. I am always preparing, because I find a lot of joy in curating and finding music to showcase my tastes. Fans can expect some staples in my sets, current favourites and maybe even some new unreleased music. 

You’ve already worked on some notable remixes, including Caribou’s ‘Broke My Heart.’ How does remixing differ from creating your own music, and do you have any more remixes in the works?

Yes I do have a remix in the works as of quite recently! I love remixes, I often like to work from a ‘source’ to begin with, whether that be a sample, a drum beat, vocals etc. so remixing feels quite natural to me as you have a bunch of stems to help start an idea. I really love recontextualising things harmonically which you can do right away when remixing something. 

With your growing recognition, especially on platforms like triple j, how has the support from tastemakers and fans impacted your career so far?

I think the support from tastemakers and fans has made me realise that there might be an audience for my music out there, which was a big worry of mine when I first started making and releasing music. So far, the support from tastemakers in particular has given me a tight solid group of people who are always supporting me and my music. A solid group of names who I see pop up all the time, which is amazing. 

Looking ahead, what can we expect from your upcoming projects after ‘Baby’? Are there any new collaborations or releases we should keep an ear out for?

The stuff I’ve been writing lately has been weird and different, I feel like I always want to push my sound and release music that crosses all types of sounds, feels and genres even. So maybe some of those tunes could see the light of day soon! Other than that, my release schedule is looking pretty healthy leading into the new year. I do have a collaboration coming out soon with a fellow producer. They might also have some ties to Caribou as well..

INSTAGRAM | SOUNDCLOUD | TIKTOK | SPOTIFY | APPLE MUSIC | BANDCAMP

 

October 11, 2024 0 comments
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Interview – Great Gable: Nostalgia, Authenticity, and Evolution

by the partae October 10, 2024
written by the partae

Photo credit: Charlie Hardy

Small Fry reflects a lot of your experiences growing up in Western Australia. How did your time at Blackbird Studios in Perth influence the album’s sound and vibe compared to your previous recordings?

Blackbird was 10 minutes down the road, so we were in WA the whole time we recorded the album. Previous albums were done in one large block on the East coast, but this one we got to go home in between sessions. Also, it was the middle of Summer, so we got to spend time at the beach too, which made it a much more relaxed process.
Your single “You Shall Not Pass” showcases a unique, raw vocal style.

How did leaning into the Aussie accent and Paul Kelly-inspired rambles shape the overall narrative of the song?

Paul Kelly has always been a massive inspiration for me, and like any song we write – we follow our gut, and if it feels right, it feels right. That’s the way I decided to sing it on the day, and I’m proud to have a bit of a twang.
In “You Shall Not Pass,” you mention the lyrics flowed naturally while playing chords.

Do you often find this spontaneous writing process works best for you, or do you usually prefer more structured lyric development?

I always keep the songwriting process spontaneous, especially the lyrics. If I get asked what lyrics mean, sometimes I can be really specific, and sometimes I don’t have a clue.
You’ve described the album as a blend of nostalgia and sentimentality.

What specific memories or emotions from growing up in WA influenced tracks like ‘Best Friend’ and ‘Hometown’?

With age, I’m definitely becoming more nostalgic. Working that into songwriting means that I can romanticize what kind of upbringing I had in the South West of WA. Best Friend is a love song, but it feels like anyone can relate to it. Hometown feels like an ode to anyone that has grown up in a small town.

Your upcoming album release shows and 2025 Australian headline tour will see you performing in iconic venues like Oxford Art Factory and Rosemount Hotel. How do you adapt your performances to different spaces, from intimate venues to larger festival stages?

The goal we always strive to achieve is to have fun, and adapting is just a part of gigging around. We love playing both intimate and larger shows.

Following your 2023 EP Read the Room and your extensive touring in the UK and Europe, how has the international exposure influenced your approach to songwriting and performing for your new album?

Touring comes with its challenges, but at the moment, the band sounds as good as we have for a while because of the amount of shows we’ve been playing. We’re grateful that people are coming to the gigs in other countries, and it’s epic to see the world in such a cool way – which is great for inspiration.

You’ve drawn inspiration from a variety of artists like Jack Johnson and Bon Iver. How have those early influences evolved over time as you’ve developed your unique sound on albums like On The Wall In The Morning Light and now Small Fry?

All of the artists that we’ve listed as inspirations over the years will always be there, and there are still moments on Small Fry that remind me of Bon Iver and Jack Johnson.

The singles from Small Fry, such as ‘Think Again Motherf*cker’ and ‘Fine Wine,’ demonstrate a range of emotions. How do you balance creating music for both introspective moments and more energetic, rowdy occasions?

“Think Again Motherfcker” is a song that I wrote, and “Fine Wine” is a song that Matt (our guitarist) wrote. Two different people with two different sets of emotions.*

You’ve had the chance to work with Dave Parkin on this album, who’s also worked with bands like Spacey Jane. What was his biggest contribution to maintaining the “original vibes” of your demos while elevating the final recordings?

Dave was keen on keeping some takes that I’d recorded on the demos in the final tracks, and he had a good understanding of what sound we were after. The idea was to keep things simple, and sound like 4 people in a room playing a song.

As a band that’s gone from university jams to sold-out headline tours, what advice would you give to emerging indie-rock artists looking to establish themselves both locally and internationally?

Stay optimistic, write lots, gig hard, and have fun!

LISTEN/PLAY

SMALL FRY ALBUM RELEASE WEEK SHOWS

Friday 11 October – La La La’s, Wollongong *
​Sunday 13 October – Stag & Hunter, Newcastle *
​Tuesday 15 October – Leadbeater, Melbourne *
​Wednesday 16 October – Mary’s Underground, Sydney *
​Saturday 19 October – Stone Fest at UC Hub, Canberra ^
​* Album launch show
​^ Festival show

GREAT GABLE 2025 HEADLINE AUSTRALIAN TOUR

Friday 7 March – The Brightside – Brisbane QLD
​Saturday 8 March – Solbar – Sunshine Coast QLD
​Friday 14 March – Oxford Art Factory – Sydney NSW
​Saturday 15 March – The Corner Hotel – Melbourne VIC
​Friday 21 March – Rosemount Hotel – Perth WA
​Full ticketing details HERE

CONNECT WITH GREAT GABLE:

OFFICIAL WEBSITE | TIKTOK | FACEBOOK | X | INSTAGRAM

October 10, 2024 0 comments
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Interview: Jungle Giants – Tours, Streaming, and Staying Grounded

by the partae October 10, 2024
written by the partae

You’ve just returned from a massive global tour. How has performing internationally shaped your sound and live shows?

Touring influences us in so many ways! We’re always listening to music on tour and seeing great shows. Most festivals we play at will have acts that we haven’t seen or heard before, and we often leave thinking, “Wow, we need a set design using colours and staging with that vibe.” It’s hard not to feel inspired by other artists doing their thing.

The Jungle Giants have achieved over half a billion streams worldwide. How does that kind of success influence your creative process?

I tend to separate songwriting from everything else because I’m a big believer that songs are private little affairs that have to be true to you, even if they’re different or odd. As long as you love it, it’s the best thing you can give your fans. That being said, our streaming success has been so helpful in reaching places in the world we haven’t been before. We played a huge show in Mexico a little while back, and it’s thanks to streaming that we could have found those new fans.

You’ve played at some of the world’s biggest festivals—how do those experiences compare to more intimate shows like the upcoming BWS Cool Room?

They’re all fun in their own way! Sometimes the more intimate shows can be more nerve-racking, maybe because you can really make out the faces in the crowd, and you can tell people are really, really listening, haha. It’s great, though—the intimate shows give you a chance to communicate with the audience in a really nice and different way.

Your latest album hit #1 on the ARIA charts and went platinum. What do you think resonates most with your audience?

It’s hard to say. I’d love to assume people are interested and excited by what excites me—like rhythmic sections that get stuck in your head and melodies that are happy and sad at the same time. That’s one of my favourites—something a little sad melodically that hooks you in, and then something hopeful or driving that pulls you along, like a chord structure or weird sounds around it. I’ve been a big fan of mixing bird sounds and other natural ambient elements into songs at the moment. You can’t really hear them if you just play the song, but when you take them out, it feels like something is missing.

What are you most excited about for your performance at the BWS Cool Room at SXSW Sydney? How do you think the Cool Room environment will impact the vibe?

For sure! I already love the idea of playing in a giant cool room—I’ve spent enough time in those to feel comfortable, that’s for sure. Plus, it’ll be a chance to get up close and personal with a smaller crowd. I’m sure there’ll be some silly banter and handshakes going on in there.

Can you talk about the inspiration behind your latest single and how it fits into your evolving musical journey?

Our last single, Rakata, was something I’d been working on for a while. I built it around some Spanish samples that I really wanted to bring to a Mexican artist. We were touring in Mexico shortly after I made it, and I met an amazing artist named Rénee, who was just perfect. Making the song with her really took it to where it needed to go, and we became such good friends in the process. Another reason why music in Mexico has always made lots of sense to me, haha.

With the rise of streaming platforms, do you approach creating albums differently now compared to earlier in your career?

Yeah, I’d say for sure I have a different outlook on track listing. Album length is also a factor. When we first started, I wasn’t overly thinking about these things, and still to this day, the music is obviously the main factor. But it’s fun fitting things together in a way that makes sense not just for vinyl and CD but for streaming as well.

As a band, you’ve toured extensively across the globe. How do you stay grounded and maintain your connection with your roots, especially when coming back to Australia?

We have a couple of little tricks for keeping our sanity on the road. A big one is exercise, and an even bigger one is food. We love food so much and always make a bit of an event of a pre-show dinner, especially if we’re in a new place. They’re good for just hanging out, but they also remind us of what we would normally do at home. We never really feel too far from home, though. I think it’s important to take who we are and let the travel and music build on that foundation—then ALWAYS go see Mum when we get back home.

Looking back at your journey, what’s one of the most memorable moments you’ve experienced as a band?

Oh man, we’ve had some crazy stuff happen. From partying in Segue Mendez’s mansion in LA to getting kidnapped in the Philippines for about an hour. For some reason, we’ve had some funny times with famous rappers, too. I shook Snoop Dogg’s hand backstage when I was 18, which blew my mind. And in Adelaide recently, ASAP Ferg came to our green room and said, “Y’all got swag.” That’s possibly the best compliment I could ever receive.

What can fans expect next from The Jungle Giants? Any exciting projects or collaborations in the works?

NEW MUSIC! Got so much coming very soon, so keep your eyes peeled for big things next year!

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October 10, 2024 0 comments
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Interview – Dom Sensitive: Alter Ego, Surreal Sounds, New Album

by the partae October 9, 2024
written by the partae
Hi Dom! What’s the inspiration behind the name “Dom Sensitive”? Why the change? I basically inherited the name after my friend Liam Kenny (Wireheads/Zipper/Delivery) was doing some laundry at my house and noticed the words “Dom Sensitive” marked in texter on the container I kept my washing powder in at the time. Liam sent me a photo of the container and a message that read something like “new stage name?”. I embraced the moniker because I think it’s quite fun and I’ve always been a wee bit sensitive in some ways to be honest. It also evokes a kind of solo alter ego which was perfect for where I was heading artistically with this project.

Your debut album, Leather Trim, has just been released. How does it feel to finally share your music with the audience? It feels wonderful to share Leather Trim with an audience outside of my immediate friends/collaborators. I’m proud of the album and had a lot of fun making it. It’s time for others to (hopefully) enjoy it now.

You’ve collaborated with talented artists like Tom Spall. What’s the creative process like when you’re in the studio together? It’s a lot of fun, laughs and natural wine to tell you the truth. Tom and I have worked together on so many different projects over the years and we’re also close personal friends. We communicate  big ideas and concepts openly and trust each other’s judgement. Leather Trim is a complex album but it was recorded remarkably efficiently in hindsight. Generally I would take a song to Tom’s studio after dinner and we would create it entirely overnight, listen back to it after breakfast the next morning and ‘add to cart’. Vic Conrad was almost always present and contributed heavily – as did all the guests who passed through. It’s special making things with your friends.

How would you describe your sound to someone who hasn’t heard your music yet?Extravagantly bombastic; approaching cartoonish at times – but never without the presence of genuine emotional sentiment. I think Leather Trim sounds like a reasonably well-crafted comic book to be honest.

Your lyrics are quite surreal and evocative. Where do you find your inspiration when writing? I had to read the Christian bible a lot when I was a child and I possibly developed a bit of a knack for telling simple stories in grandiose ways through that experience. I’ve been quite fond of literature during my adult life and I consumed a good number of the classics throughout my 20s and early 30s. Words are cool and powerful and if you put the right ones together, you can make your feelings sound clever.

You mentioned the sound being like “a slightly malfunctioning vintage robot.” Can you elaborate on that concept? Well, the sound of Leather Trim is quite seriously lopsided but still somehow reconcilable. The rhythms are consistently wonky, the tones aren’t available “off-the-shelf” and the overall aesthetic is flawed, difficult to locate and impossible to recreate. These types of qualities are generally rejected by the mainstream but pursued by the relevant enthusiast.

In what ways do you think your previous projects, like Wireheads and Dom & the Wizards, have influenced your work as Dom Sensitive? I guess it’s like anything: the more you do it, the more you learn about it. I’ve written, recorded and released 92 songs under the various names and I’d like to think that each one has informed the next in some way or another. I’ve also been heavily influenced by the other members and collaborators of both Wireheads and Dom & The Wizards over the years. They’re a tasteful and stylish bunch of people.

Can you share some insight into one of your favorite tracks on Leather Trim and what it means to you? I admire the spirit and ambition of The Second Day of Spring. I knew when I was writing it that it wouldn’t be a short song, but I wasn’t thinking it would go for 11 odd minutes. Guitars out, saxophones in – and a psychedelic amble up and down the coast! I hope to start writing a novel someday soon and I hope it’s as lively and adventurous as this song. Fun fact: The Second Day of Spring features samples from two (2) different Wireheads songs – along with a number of other samples I made/collected in my travels.

You have a performance coming up at Hotel Metro in Adelaide. What can attendees expect from your live show? I’ve been performing solo as Dom Sensitive of late but both Tom (Spall) and Vic (Conrad) will be joining me for the show. Expect seven oceans worth of delay and a compelling rendition of the entire album.

Do you have any exciting plans or surprises for your Naarm/Melbourne launch? We’re looking forward to it! You bet! I’ll be announcing this soon. The show will be in November and I believe I have secured the support of my favourite contemporary song-maker. Wild!

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October 9, 2024 0 comments
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Interview: Killed By Cupid

by the partae October 4, 2024
written by the partae

“Boys Are Easy (But You’ll Never Find A Girl Like Me)” has such a bold and sassy vibe—can you tell us what inspired the song and its lyrics?

The song was inspired by a pretty unceremonious breakup over text that I went through despite being together with that partner for quite a while. The song goes through a lot of emotions, particularly the idea of missing an ex despite how they hurt you and seeking physical validation to fill that void. But one of the main themes is the idea of regretting letting someone get that close to you and wishing you could take back allowing them to have known you or even touched you with the knowledge of how they ended up treating you.

The track mixes emotional vulnerability with a confident attitude. How do you balance those contrasting elements in your music?

Honestly it’s probably partly the BPD. When going through a breakup I go from feeling insanely insecure one moment to feeling like the hottest person in the world the next, so I feel like that comes across in my songs as I want to put that emotional honesty in there but also want to convey that despite the hurt they caused I’ll be fine.

You’ve spoken about using music as an outlet for dealing with mental health, heartbreak, and self-improvement. How does “Boys Are Easy” reflect your personal experiences?

Well like I said it’s about a breakup I went through a while ago where my partner at the time told me they needed to be alone, and then started dating a boy a few weeks later – so being irked by that is what inspired the songs themes and the title.

The production of the track is sharp and catchy. What was it like working with Zeo on the production, mixing, and mastering?

Working with Zeo is great! I’ve worked with him on pretty much all the singles I’ve released since my first EP and he always kills it with the production. He definitely elevates the tracks from where I have them initially and adds production elements that really make the song pop and hit as hard as it can.  

Your music blends pop, rock, emo, hyperpop, and pop-punk. How do you navigate all these genres to create a sound that feels uniquely yours?

I honestly think the main thing is that I just enjoy listening to a whole bunch of different genres all the time and I feel like that definitely seeps into my music. Whether you’re a pop artist, or a rapper, or a rock artist I think it’s important to listen to music outside of the genre you make because it can help you make more interesting music within your scene. I just love anything that’s catchy and fun and scratches a certain itch in my brain so I try to just make what I would want to hear and not put much stock into genre anymore because I find it restricting.

Bands like Metro Station, 3OH!3, and Hellogoodbye have influenced your sound. What do you take from those influences and how do you put your own twist on them?

That was the kind of music that was being released while I was growing up and it kinda paved the way for the newer wave of hyperpop/modern pop acts that I’m really into now like 2hollis and Snow Strippers. I think the biggest influence from that kind of stuff that I took was bringing in those dance and electronic elements while also moving away from more of the guitar based stuff and leaning heavier into the dirtier, more experimental side of hyperpop/alt pop that’s around now.

Your debut single “Magic” and the ‘Sickly Sweet’ EP gained some strong attention. How does “Boys Are Easy” continue your evolution as an artist?

I think my music has grown and developed so much since that first EP. In general now I use less guitars and prefer more electronic sounds but I think ‘Boys Are Easy’ really takes things to that next step into being a full on pop/dance song and leaves a lot of that emo and pop punk angst behind.

What message or feeling do you hope listeners take away from “Boys Are Easy” when they hear it?

I hope that anyone who feels bad about a crappy ex or misses a person that hurt them hears the song and realises they are hotter and cooler than their ex and deserve better.  

With your music gaining radio play and coverage in major Australian media, how do you feel about the support your project has received so far?

I’m so grateful for all the support I’ve been given with my music! Whether it’s been media support or people following my socials or streaming my music I’m genuinely so grateful to know that anyone out there is enjoying my stuff or finds it relatable.

What’s next for Killed By Cupid—can we expect more new music or live performances in the near future?

I have a bunch of new songs I’m working on that I can’t wait to release! I’m also doing a show at the Crown and Anchor on Oct 10th.

https://www.instagram.com/killedbycupidmusic/

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October 4, 2024 0 comments
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SUMMER DANCE! TSHA, DJ HABIBEATS, DJ EZ + MORE!

by the partae October 2, 2024
written by the partae

SUMMER DANCE RETURNS! LAUNCHING WITH TSHA, DJ HABIBEATS, DJ EZ + MORE!

Sydney’s premier day-to-night party, Summer Dance, today announce their return for an all new season of events including the companion ‘AFTER DARK’ series. Launching this November 9 with TSHA, DJ Habibeats and Rhakish B2B Jhassic while DJ EZ, Mincy and Garage Pressure will take over AFTER DARK. Tickets are on sale now with more events to be announced. BUY TIX HERE.

Boasting cutting edge programming that places lauded talent as Folamour, Bicep, Honey Dijon, Moodymann, Jyoty, Four Tet, Yung Singh, Eris Drew and Octo Octa side by side with primed to break locals Crybaby, Sollyy, Jennifer Loveless, CC:DISCO! to JamesJamesJames and beyond – Astral People’s Summer Dance continues to be recognised as a pillar in the local event space with an enviable tally of consistent sell out status.

Speaking to the event’s legacy and upcoming iteration, Astral People Director Vichara Edirisinghe shares, “Welcome to our dream. The party that we always wanted to attend. Every little detail meticulously thought through by our wonderful team – from the drinks and food offering, the quality soundsystem symbiotically working alongside the classy production, the artists who hold down dancefloors like no one else, the door staff and security who have been personally briefed by us to ensure every guest feels not only safe but heard. All dancing under the sun as one in the city we call home. This is the party of our dreams and we can’t wait to share it with you once again.”

Both an accessible gateway to the dance community for young people as it is respected amongst the underground for its legitimising rite of passage, Summer Dance continues its ethos of elevation and regeneration into the new year. With a gratifying calendar of events across day and night soon to be revealed in full, the event kicks off this November 9 with TSHA and DJ Habibeats supported by Jhassic and Rakish at Liberty Hall’s outdoor basketball courts and later that evening, DJ EZ, Mincy and Garage Pressure will continue for Summer Dance: AFTER DARK.

Rising electronic superstar TSHA returns with her seminal blend of melodic house and  garage rave sensibilities in support of her new record, Sad Girl. A nostalgic excavation on the bittersweet angst of early adulthood set to reiterate how hotly tipped the self-taught talent remains with co-signs from Zane Lowe, the Gorillaz, Diplo to Billboard, NME and more. Flying the flag for Arabic club music is viral internet sensation and Habibi House founder, DJ Habibeats. Using dance to empower the diaspora, the Palestinian-American DJ’s transformative approach is the perfect storm of culture and unbridled expression that continues dance music’s origins in freedom and protest.

Supported by local stalwarts Jhassic and Rakish, co-founders of South-Asian Australian collective Kerfew, the two make for a heady combo of dancefloor nostalgia with experimental electronica. Boasting over a decade’s worth of experience across the Sydney DJ circuit, Jhassic’s ability to command rooms whether it be intimate house parties or his residency at Club 77 is what assures his heavyweight status. Complemented by former fbi.radio presenter Rakish, raised in the queer club space and sought out for colourful and surprising selections, their combined trusted taste is set to raise the bar at their Summer Dance debut.

DJ EZ, a musical force of nature for over two decades, saluted by both the industry and the public for being one of the most creative mixers around with an extraordinary instinct and technical prowess, leads Summer Dance: AFTER DARK. His legendary Boiler Room live stream has been viewed by millions and is widely regarded as one of the greatest UK Garage sets of all time. Supported by Mincy, founder of Extra Spicy, is a sharp, fierce representative of heavy, fast and bass focused underground dance music; plus Garage Pressure, the trailblazing Sydney-based DJ duo comprised of Farj and Paul Fraser, has been at the forefront of the UK underground music scene in Australia for decade. The movement is instrumental in exporting the bass music culture beyond the UK’s borders.

Be sure to expect a stream of events that assert memorable, ‘need to be there’ experiences, a welcome baptism or a return home to the experienced as Summer Dance continues into 2025.

SUMMER DANCE
Presented by Astral People, Pals, Grifters and fbi.radio

TSHA
DJ HABIBEATS
JHASSIC + RAKISH

SUMMER DANCE: AFTER DARK
DJ EZ
MINCY
GARAGE PRESSURE

Tickets are on sale from 12PM AEST
BUY HERE

Stay connected with Summer Dance:
Website | Facebook | Instagram

Stay connected with Astral People:
Website | Facebook | Instagram | X | Soundcloud

October 2, 2024 0 comments
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Sunset Blush Delivers Soulful Warmth with New Single

by the partae September 30, 2024
written by the partae

Can you tell us about the inspiration behind your new single, Can’t Be Washed Away? What themes or experiences does it explore?

Can’t Be Washed Away is being left with the great things. When special people have left our life.

How does Can’t Be Washed Away differ from your previous releases in terms of sound and message?
I think I’m maturing as a musician and songwriter. So the sound,feel,narrative and colour is also maturing like a fine wine.

The title Can’t Be Washed Away evokes strong imagery. What’s the story behind it, and how does it tie into the overall vibe of the track?

Being left with great things & feelings from special people who have left our life.
The colour,feel and viiiibe are all very important in my Purpleslam. And I wanted it to be portrayed in the song.

You’ve been gigging locally and nationally for years—how has your sound evolved over time, leading up to this single?

I’ve grown musically and songwriting wise over the years. So I’m definitely sure it comes across in my performances and music now days.

Purpleslam for the ears and soul is how you describe your music. How would you explain that to someone who’s never heard of Sunset Blush before?

Purpleslam is a feeling that enters our ears into the soul and mind. And hopefully fills your life with the petrol that fuels your heart and soul. Keeps you warm when you’re cold. And holds your hand when you need it. And makes your soul feel full and like a great burger or pizza.

What can fans expect from the New Single Tour, and how does it feel to perform Can’t Be Washed Away live?

Well I’ve had some great and enriching gigs for Tour so far. And I want the rest of the gigs to be fulfilling too. This song feels great to play live. I hope every audience picks up on the message and the viiiibe of it.

What has been your most memorable performance so far, and why?

Brisbane, Adelaide, Melbourne are always great & memorable. Looking forward to Sydney again soon too.

The music industry is constantly changing—how do you stay true to your sound while adapting to new trends?

It’s about protecting my music so it can grow and do what it’s gotta do. But also up to me to adapt to the changing landscape. But stay true to my music.

What’s next for Sunset Blush after the New Single Tour? Any plans for new music, collaborations, or projects?

I’ll just sit back afterwards. Let the music and viiiiibes happen. Then see what I can come up with at the end of the day. Stay Tuned.

Finally, what message or feeling do you hope listeners take away after hearing Can’t Be Washed Away?

I want it to be a big warm welcome hug when we need it. 💜🙃

sunsetblushmusic.com

September 30, 2024 0 comments
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Danger Den: “New Year’s Eve” – Heartbreak Inspires Pop-Punk Anthem

by the partae September 27, 2024
written by the partae
What was the inspiration behind “New Year’s Eve,” and how did the personal yarn behind the lyrics shape the track’s vibe?
So long story short ‘New Year’s Eve’ is basically about how I met my girlfriend at the time except it wasn’t on New Year’s Eve though, but a similar party type setting. We met at this nightclub called “Monsoons” while I was still living in Darwin back in 2021. So anyways this song is about that encounter, before I could show her this song she broke up with me but I thought this was a pretty good song anyway so I kept it.

How has the band’s sound evolved since dropping Pull Yourself Together? Have you kept the same flavour or thrown in a few new twists?
 
Our last single before ‘New Year’s Eve’ was ‘Merch Guy Mike’s Favourite Song’ which was released back in February 29th this year and that song had more of a classic rock feel and was a bit heavier sounding. Most of our new stuff is sort of heading in that similar direction, so a little bit more traditional rock n’ roll sounding and a little bit experimental too. But in saying that though, ‘New Year’s Eve’ does have a lot of ‘Pull Yourself Together’ pop-punk vibes to it. We brought back our classic pop-punk sound just for this one.

What was it like working with a top-notch producer on “New Year’s Eve” instead of doing it all yourselves? Did the process feel like a step up from the usual DIY approach?
 
Definitely a step up, I mean you’re working with professionals and with better equipment so it’s a no brainer. Working with Ash and Ev from the Loud Noise Estate was a great experience! I’ll admit that I was kind of expecting a bit of a learning curve with working with them though. It was my first time working with a producer and I’ve just been so used to doing it all myself at the comfort of my own home for many years which is why I had that initial expectation but Ash and Ev were super easy to work with and are great at what they do!

Got any yarns about the recording process? Any moments where you thought, “Bloody oath, this is gonna be a ripper”?
 
Kind of, I do remember this exact moment though when we were tracking the drums, we decided to add China during the breakdowns of the song. When Jaime started playing with the China it just sounded amazing! It was at that moment I knew straight away that this song was gonna be a banger!

How does “New Year’s Eve” stack up against your earlier tracks? Is it in the same ballpark, or have you taken a different route?
 
I honestly think ‘New Year’s Eve’ could be the next crowd favourite! ‘Sugar Rush’ has been the favourite from our friends and fans for a long time but I think ‘New Year’s Eve’ will be the next ‘Sugar Rush’! But yeah like I said earlier though ‘New Year’s Eve’ does have similar pop-punk vibes to our first album but a little bit heavier in my opinion.

What can fans expect from the music video for “New Year’s Eve”? Did you go all out with a mad concept, or keep it more low-key?
 
So for the music video, we actually had this super original idea of getting drunk with our friends in front of a camera! So basically the setting of the music video is a house party gig, which is pretty pop-punk!

How did you tackle filming the music video? Did you bring in a pro to direct, or did you lads keep it DIY?
 
The video was directed by our friend Andrew Bromley. Andy is great at what he does, he also did the music video for ‘Merch Guy Mike’s Favourite Song’. It was fun and easy working with him which was why we asked him to work with us again for ‘New Year’s Eve’! The music video does have a bit of a DIY feel to it though. It kind of reminds me of one of those camcorder house party videos but yeah.

How’s it been moving from Darwin’s laid-back vibes to the hustle and bustle of Melbourne’s music scene? Any big changes?
 
Definitely a lot of changes, I’m loving it so far! There’s always something happening here in Melbourne which is great, just recently I went to a hip hop open mic night with a full band on a Tuesday night and that was great!

What’s on the horizon for Danger Den in 2024? Are you planning to hit the road or drop more tunes?
 
So we’re playing a show on October 19th, Saturday night at Revolver with our friends Jadedstate for their EP launch. After that we’ll be back in the studio again next year in early January to cook up more tunes!

How do you keep your sound true blue to pop-punk roots while still having a crack at new ideas?
 

Well I guess we just try not to overthink it really and just write songs that we want to play regardless of genres. If it sounds good to us that’s all that matters.

October 19th Show Tickets

September 27, 2024 0 comments
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Rayhab’s Journey: Exploring Dance, Acting, and Music Influence

by the partae September 24, 2024
written by the partae

Your background in dance, acting, and music is quite diverse. How have these different experiences influenced your sound and approach to music? 

Although diverse, I found after working extensively within the performing arts that emotional expression, vulnerability and human connection to be the defining crossovers within each. I definitely see my learnings from each artform influence the way I approach making music for instance. If I’m ever struggling to find the words when writing, sometimes I may dance to help me tap into what exactly it is I’m feeling and wanting to communicate. Dance was the first art form with which I learnt emotional expression, so I have a certain affinity for it.

The name RAYHAB carries a powerful meaning. What inspired you to choose it, and how does it reflect your personal and artistic journey? 

I don’t think I’m alone in the feeling of not being enough, and at the time the character of ‘Rahab’ really resonated with me. If I’m being completely honest, I was in the church when I came across the story of Rahab and was completely fascinated with the character. I naively wondered why she wasn’t talked about more – I mean a sex worker in the bible, at a time when women were seen as less than even dirt, who god thought she was worthy enough to be in direct lineage of Jesus. I think some dudes in the church like to keep this one under wraps, but I was like, “nah we are going to talk about this.”     

Your music has a cinematic, richly layered quality. Can you walk us through your creative process when building such intricate production? 

Each song within this body of work started at the piano, at the same time that I was growing and exploring my capacity as a producer/engineer. I wanted each track to reflect a full expression of my own humanity and experience, which is why it was so important for me to write, produce and engineer the tracks myself. They didn’t happen overnight, rather the result of about 5 years of refining. I would sketch out demos, reflect on them, build on them, remove sections. I learnt to create software patches that allowed me to draw images, which would turn into sound. For example, I could write the word ‘hope’ and then hear what that would sound like. I converted old telephones into microphones, then ran them through outboard gear to completely distort the sound. I came to find that I loved a combination of acoustic and synthetic sounds for my music, and this is where Rayhab’s sonics currently lie. Somewhere between the smooth ambience of a cello or big reverberated guitar, and strange distorted percussion or a crunchy guitar over a dance beat. I wanted to be able to dance and find strength through hardship.       

‘Overkill’ dives deep into a tough relationship. Was writing the song a therapeutic experience for you, and how did it help you process those emotions? 

It was definitely a cathartic experience. I remember really overthinking my feelings at the time, viewing them as a reflection of my own worth (that old chestnut). It was so nice to put pen to paper with this track and find almost immediate relief. I was like, “oh this is actually not a person I want in my life, this isn’t fun and actually, I don’t think I even enjoy this person’s company.”

Your upcoming EP ‘Residue’ has drawn comparisons to artists like Aurora and Kate Bush. How do you feel about those comparisons, and how do they align with your artistic vision? 

I’m a huge fan of both artists. Mum likes to tell me she was listening to Kate Bush when I was in her belly. For people to be drawing those comparisons, it’s a huge compliment for me. Both visionaries embody dance within their work which I feel totally aligns with my artistic vision.  

You’ve worked with some top names in the industry. What’s one of the most valuable lessons or pieces of advice you’ve gained from collaborating with other artists and producers? 

If it sounds good, it is good. Haha! But in all honesty, I’ve learnt so many valuable lessons, so many producers have their own take on things. You pick up some tricks and drop others, it really depends on what you are working on. I’ve learnt there is some merit in being laborious and perfectionistic, but not if it prevents you from putting your work into the world. They say there is a lot of work for producers who can finish the job.  

As both a producer and songwriter, you have full creative control over your music. What are some of the challenges in managing all these roles, and how do you balance them? 

It can be difficult. I’m a do it all kind of person, but it’s awesome that creatively one flows into the other. I’m learning, as the workload increases, that I need to be strategic with task delegation. Aside from the importance of having another set of ears on my tracks, this is why I won’t master my own songs.

‘Overkill’ addresses themes of deception and heartbreak. What message or feeling do you hope listeners walk away with after hearing the song? 

I hope listeners will feel a sense of empowerment to let go, and comradery in knowing they are not alone.

Since your debut in 2020, you’ve had quite a journey in the music industry. What has been your proudest moment so far, and what’s next for you? 

I don’t know if I’ve felt a proudest moment just yet. I’ve had so many great moments but also challenging ones. At the moment I’m just taking the journey for what it is, and I think I’m proud to have completed a body of work with integrity that truly reflects me – maybe that is my proudest moment.   

Your music is described as ‘experimental’ and ‘playful.’ How do you keep your sound fresh and innovative? Do you ever take creative risks to explore new directions? 

I like to be pretty in the moment when creating and often will work shop things live. I love the happy mistakes and capturing something weird and organic in the room. I’m interested in seeing how far I can stretch the boundaries without losing the fundamental structure of pop. There’s certainly a lot of room for exploration and experimentation. I’m an independent artist. There’s no ‘keep in your lane’ mentality… yet.

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September 24, 2024 0 comments
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Bridge Left to Burn Interview: Defying Scene Sexism

by the partae September 24, 2024
written by the partae
“Vile” is described as a defiant response to sexism in the heavy music scene. Can you tell us about the specific experiences that inspired this track? 

Breaking into the scene, I expected challenges, but it’s one thing to face the typical nerves of showcasing your work and trying to network—it’s another to constantly be treated like you don’t belong. Dealing with condescending comments and people being ‘shocked’ to see a woman on stage added a whole new level of isolation. You start feeling like you have to prove yourself over and over to people who’ve never even touched a microphone.

I remember when I first began experimenting with heavy vocals while forming a band with a group of guys. They were beginners too, but instead of supporting me as I transitioned from just singing to screaming, they offered nothing but ridicule. The drummer would laugh and mock me at every rehearsal, and none of them seemed interested in putting in the hard work of actually building a band. It was beyond frustrating—it made me feel like a joke, like I was back in high school. And since then, the ‘You can scream… for a chick!’ comments have become something I hear all too often.

I wish it stopped there but it didn’t. I’ve been sent unsolicited photos from men in higher up bands, some of which had women fronting their bands! PREACHING for equality in the scene but offering me nothing but disrespect. I’ve been harassed on social media, and had to fend off sleazy comments from older men. I’ve worked with bands I admired, only to have married members make inappropriate passes at me, physically grab me and make me feel like an object. One time, I was told straight to my face, ‘You only got that opportunity because they want to f*** you.’ It wears you down over time. I started developing imposter syndrome, constantly feeling like I had to prove myself to male vocalists. I even stopped talking to other bands at shows out of fear that simply starting a conversation would be misinterpreted as flirting. So, I stuck to managing logistics and quietly getting on and off stage.

Then, when we released our single ‘Palace Of Lies,’ someone anonymously sent it to two American guys on YouTube for review. I was so excited to hear their feedback, but they confirmed all of my worst fears: ‘Cliché,’ ‘She’s just screaming for the sake of it,’ and the final insult, ‘Who gave somebody’s girlfriend the microphone?’ That one stung. I laughed, cried, and then laughed again—but I knew I had to channel that anger. That’s when I decided it was time to hit the studio and create a track that was a direct ‘f*** you’ to all of it. And that’s how ‘Vile’ was born.

– Vocalist Ava Sukkar

What does the title “Vile” represent to you, and how did you choose it as the name for this song?
 
We didn’t actually settle on the title ‘Vile’ until after the song was fully recorded, mixed, and mastered. The word comes from a line in the breakdown, and when our bassist Jayden suggested it, nothing else felt as fitting. I couldn’t think of a better word to capture the raw intensity and disgust I feel toward the subject matter. It perfectly embodies the anger and defiance behind the track.
– Vocalist Ava Sukkar

The use of a sexist comment clip in “Vile” is powerful. Can you talk about how you decided to incorporate that and what message you’re hoping to send with it?
 
The message is simple: ‘Don’t f*** with us anymore.’ We’re done tolerating it. We refuse to stand by and let this behavior slide or dismiss it as ‘just how the scene is.’ I hate that I ever felt the need to prove myself to a group of men, or that I sought acceptance into a boys’ club. Fortunately, I’m surrounded by bandmates who’ve never made me feel less capable and have always treated me as an equal.

I’ll admit, it might feel a little petty—but it’s incredibly satisfying to channel that frustration into something creative and powerful. It’s about taking all the negativity and turning it into fuel. Every time men laugh at us, trust me, my bandmates and I are laughing even harder. It’s easy to hide behind a screen or make sexist remarks from the sidelines, but it’s not easy to build a band, teach yourself to scream, and step onstage. That’s the message we’re sending with this track—we’re here, and we’re not backing down.

– Vocalist Ava Sukkar

Sexism in the heavy music scene is a long-standing issue. How have you navigated these challenges as a band, and what keeps you pushing forward despite them?
 

What keeps us going is knowing that not everyone in the scene behaves that way. We’ve been lucky to meet incredible people who genuinely support us. Our friends in ‘Elara,’ a local Sydney band, have been nothing but amazing. They’re down-to-earth and truly supportive, which is rare in the local heavy scene. They’ve invited me to jump on stage with them for guest vocals, offered us a headline slot at their ‘Your Locals’ All Ages event, filled in on drums when needed, and supported us without expecting anything in return. That kind of support means the world to us, and we’re grateful for the friendship we’ve built with them.

On the other hand, there’s a Facebook group called ‘Silly Goose Club,’ meant for the alternative scene in Australia, where people from other local bands preach about equality for women and how they’re ‘taking a stand.’ But some of those same people are the ones who’ve made me feel isolated, thrown out sexist comments, and built up a boys’ club. It’s hard to watch, and I’ve often wanted to speak up. These are not the people driving real change. The real progress comes from women who continue to perform and push forward, despite the judgment we face. Bands like Reliqa, The Last Martyr, Volatile Ways, Terminal Sleep, Vilify, Krave, Wicked Envy, Torizon, and Identity Error are leading the way in creating a more positive and inclusive community.

I don’t want people to be fooled by a few Facebook posts from guys pretending to be allies. It’s just for show—they’re playing a game and building a following under false pretenses. True change comes from action, and it’s the women in the scene who are making that difference by pushing forward, no matter the challenges.

– Vocalist Ava Sukkar

Metalcore has always been about aggression and catharsis. How do you channel those emotions, especially in a track like “Vile,” to make a statement without losing musicality?
 
When we’re writing, we always ask ourselves, “What does this add to the track?” If an idea is thrown in just for the sake of it, it’s not always beneficial. We make sure not to get carried away and focus on refining our ideas to keep everything purposeful. In the studio, especially while recording vocals, I find that getting input from the whole band really helps elevate my performance.

I’ve always admired bands like The Used, especially how Bert McCracken can convey so much raw emotion just through his voice. For me, it’s essential to channel that same level of feeling, making sure that listeners feel seen and heard through the music. That’s the balance we aim for in a track like ‘Vile’—delivering a powerful message without sacrificing the musicality that drives it.

– Vocalist Ava Sukkar


What role does resilience and empowerment play in your songwriting process, especially when confronting social issues like sexism?
 
Resilience and empowerment are at the core of our songwriting, especially when addressing social issues like sexism. There’s a strong focus on making sure every vocal line is packed with emotion and intention, so the message hits with raw, unapologetic force. I always strive to write lyrics that have meaning, and with ‘Vile,’ it was crucial that the message came across clearly.

As the only woman in the band, my bandmates are always supportive of making sure my voice is heard in exactly the way I want. Once we agree on a theme, everyone contributes ideas, and with ‘Vile,’ we were all aligned in wanting to deliver something powerful. The entire process was about channeling resilience and empowerment, and we’re all proud of how the track turned out.

– Vocalist Ava Sukkar

How has the local scene responded to your message of defiance and empowerment, particularly with the release of “Vile”?
 
The local scene has responded amazingly to ‘Vile’ in just a few days since its release! It’s thrilling to see how deeply people are connecting with the track, especially since it’s our heaviest one yet. We’ve received support not only from community radio and local heavy music publications but also from international outlets, which has been incredibly uplifting. Being able to share our message of defiance and empowerment means the world to us, and witnessing the community rally around it adds so much significance to the experience. It’s clear our message resonates, and that connection inspires us to keep moving forward.
 
– Vocalist Ava Sukkar

What can fans expect from Bridge Left to Burn in the near future? Are there more tracks addressing similar themes or different directions you’re excited to explore?

Fans can expect Bridge Left to Burn to continue exploring a variety of themes and directions in our music. We love experimenting and drawing inspiration from many artists and bands we admire, which keeps our sound fresh and engaging. Crafting a track we’re proud of takes time, and we’re committed to refining our music until it’s something both we and our fans can truly embrace.

We owe a huge thanks to Clayton Segelov & Angie Watson at The Brain Studios for helping us elevate our sound during recordings. Their guidance has pushed us to raise the bar in our songwriting as a group. We’re excited to see where our musical journey takes us next, and we can’t wait to share more with our listeners!

– Guitarist Julian Nicutescu


As a band standing up against sexism, what advice would you give to young women trying to break into the heavy music scene?

As a band standing up against sexism, my advice to young women breaking into the heavy music scene is to never let anyone make you feel incapable. Don’t stay silent in the face of sexist remarks; stand up for yourself in whatever way you can. I know how daunting it can be to establish a band, perform your first show, and navigate the scene. But once you start, keep pushing forward—you’ll be amazed at what you can achieve.

Keep your head held high, and remember that my inbox is always open if you need someone to confide in. I’m committed to fostering a supportive community for women in this scene because we need to have each other’s backs. Together, we can create a healthier and more empowering environment for everyone.

– Vocalist Ava Sukkar

Beyond the message of “Vile,” how does Bridge Left to Burn want to impact the metalcore scene, and what legacy do you hope to leave behind?

Beyond the message of “Vile,” Bridge Left to Burn aims to make a meaningful impact on the metalcore scene by promoting inclusivity and inspiring individuals from all backgrounds to get involved. We truly value the friendships and unforgettable moments we’ve created with other bands, and we believe that a more diverse array of voices will enrich the scene.

Our goal is to encourage more artists to take the leap and share their music, as each new band contributes to a more vibrant and dynamic industry. We envision the metalcore scene as a welcoming space where everyone feels empowered to express themselves.

Ultimately, we want our band to be recognized for our dedication and creativity. By fostering an environment of authenticity and resilience, we hope to inspire future generations of musicians to pursue their passions with confidence, knowing their voices matter and can create positive change in the scene.

– Guitarist Orion Henning

Stream ‘Vile‘ Now!
Available on all major streaming platforms
Spotify | Apple Music | Amazon Music
 
Follow Bridge Left To Burn on Facebook |  Instagram

 

September 24, 2024 0 comments
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Festival NewsMusic Interviews

RL GRIME ANNOUNCES MELBOURNE EXCLUSIVE SHOW

by the partae September 18, 2024
written by the partae

Friday 3 January – The Timber Yard, Naarm/Melbourne

PRESALE REGISTRATION

Electronic music icon, RL Grime has announced a Victorian exclusive headline show in Melbourne this summer. Presented by TEG Live and Untitled Group, the artist’s long-awaited return will take place in Melbourne at The Timber Yard, on Friday 3 January 2025.

RL Grime’s return to Australian shores marks his first headline appearance since 2018 followed closely by a series of festival performances in 2019 that left fans eagerly awaiting his return. His exclusive Melbourne show is part of his January visit, including performances at Wildlands Festival in Perth and Brisbane.

RL Grime’s viral remixes of Chief Keef’s “Love Sosa” and Kanye West’s “Mercy” garnered huge attention and praise, cementing him as an artist to watch. His unmistakable sound, sleek monochromatic aesthetic, animated music videos, and infamous annual Halloween mixes, featuring highly anticipated voice cameos from the likes of Pharrell, T-pain, Tony Hawk, and Guy Fieri, set him apart as one of the most innovative figures in his field.

The uncompromising artist has become a fixture in the fabric of live, electronic music across an entire list of flagship festivals, including Coachella & Lollapalooza as well as a pioneer in electronic music creation and production. His debut album “VOID” (2014) premiered as the top Electronic album in the United States, holding the #1 spot for a month. Prior to releasing his second album, he made rare appearances in collaborations with artists including Big Sean, Miguel, and Skrillex where shortly after in 2018 his second album “NOVA” was released. His latest album “PLAY”, released in 2023 under his own label Sable Valley, has been described as “a masterclass in innovation” by EDM.com.

Joining RL Grime on this one off show will be the incredible Ninajirachi and Kaliopi.

Tickets will disappear for RL Grime’s only Melbourne headline show. Do not miss the chance to experience this truly one-of-a-kind, innovative artist live in Melbourne.

Presale Registration HERE

Presale tickets go on sale 12PM AEST Wednesday 18 September

Tickets on sale 12PM AEST Thursday 19 September

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September 18, 2024 0 comments
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Music InterviewsMusic News

INTERVIEW: DJ BLISS – “808” Fusion: Blending Cultures, Beats

by the partae September 13, 2024
written by the partae

How does it feel to represent Middle Eastern music on a global stage, especially through collaborations such as “808” with BIA?

It’s an absolute privilege. Collaborating with BIA was an amazing musical union and we produced a track that reached #7 on the official Spotify Top-200 United Arab Emirates Charts. With the support of FIVE Hotels and Resorts and Warner Music Central Europe,, the song became a tremendous global hit!

FIVE Music and FIVE Hotels and Resorts have been instrumental in promoting diversity—how has this partnership helped shape your career?

FIVE Music gives multiple diverse artists a strong platform to create, develop and perform. From my own personal experience, signing with FIVE Music has been deeply transformative. At the FIVE Music studio at FIVE Palm Jumeirah, I am able to create the incredible music I produce today, and perform on some of the world’s biggest stages.

“808” blends hip-hop, pop, and dance influences. What was the creative process like in bringing together these different sounds?

As diverse artists collaborating, two uniquely different artistic styles blended together to produce the song of the summer. The song also pays tribute to an iconic instrument – the 808 drum machine. Joining forces with artists who are passionate about high-quality music is always thrilling.

Working with BIA, known for her international success, must have been exciting. How did her style influence the direction of “808”?

It definitely was! BIA is a powerhouse of pure talent and our combined artistic expressions are clearly showcased in “808.” The music video beautifully contrasts Dubai’s dual nature, merging its extravagant lifestyle with fast cars and luxury yachts, alongside the traditional desert dunes.

Middle Eastern music is rising in global popularity—what do you think are the reasons behind this growing trend?

Primarily, it’s about awareness and acceptance, and the direction in which our region is advancing. 

This shift signifies not only a greater acceptance of diverse cultures, but also proudly highlights the region’s dynamic progression across all fronts – and borders.

How has your role in the Netflix series “Dubai Bling” impacted your music career and your international recognition?

The show has had great success, and I appreciate all the incredible opportunities that have been associated with being a central figure on a widely-popular Netflix show.

Can you share more about your experience performing at BLING and Paradiso Dubai? How do these venues contribute to the global exposure of Middle Eastern artists?

BLING at FIVE Palm Jumeirah is an incredible underground club where urban music takes centre stage and artists are given a  chance to experiment with different genres of music. 

Paradiso Dubai (Barcelona 50 Best Bar 2022’s counterpart in the Middle East) at FIVE LUXE, in contrast, is a cocktail bar that caters to a sophisticated audience that prefers to enjoy quality time with friends while listening to great music, rather than dancing non-stop in a club. The ambiance is uniquely captivating, setting it apart from any other destination I’ve encountered in Dubai.

You’ve collaborated with international stars like Shaggy and now BIA—how do you choose the artists you want to collaborate with?

It’s always about finding the right fit, as each track is unique. My team and I are always searching for the best suited voice, musical style, creative energy – and from there; everything proceeds smoothly.

“808” symbolises personal growth and empowerment. Can you elaborate on the message you wanted to convey through this track?

The core message of this track is – just be your most authentic self.

Looking forward, what are your next goals in continuing to elevate Middle Eastern music and bridging the gap between cultures?

There is a lot to come, so get ready for exciting new tracks and mega announcements that I’m eager to reveal. 

There’s also an incredible musical line-up to look forward to at Playa Pacha at FIVE LUXE, Dubai’s Ibizan-inspired pool and beach club, as well as the legendary Bohemia at Beach by FIVE, FIVE Palm Jumeirah, renowned for its spectacular day-to-night parties.

WEBSITE: https://www.fivehotelsandresorts.com/

INSTAGRAM FIVE Hotels and Resorts: https://www.instagram.com/fivehotelsandresorts/

INSTAGRAM DJ BLISS: https://www.instagram.com/djblissdubai/

TIK TOK: @fivehotelsandresorts

DJ BLISS ON APPLE MUSIC: https://music.apple.com/gb/artist/dj-bliss/336594657

DJ BLISS ON SPOTIFY: https://open.spotify.com/artist/4SePAG9OlC4tupADxTPs9s

DJ BLISS ON YOUTUBE: https://youtube.com/@djbliss?feature=shared

September 13, 2024 0 comments
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Music InterviewsMusic News

Embracing Chaos: Asbjørn Dances Through Vulnerable Creativity

by the partae September 13, 2024
written by the partae

Congrats on the release of ‘Vulnerably Happy’! The track is so raw and intense. Can you tell us more about the story behind the song and how that bus stop moment inspired you?

Thanks guys! So happy to chat to you again, last time was such a pleasure.

Ok, so the bus stop situation is kinda the origin story about how the whole album came about, so here we go;

I was randomly standing by a construction-site waiting for a bus home. It had been an intense summer, a complicated relationship was weighing pretty heavy on me but something brought me out of my head; the heavy machinery from the site were creating these stumbling rhythms, morphing in and out of each other, sometimes creating moments of sync, only to completely fall apart again. It made me dance in a really weird way, trying to follow the unpredictability and tension in their glitchy polyrhythms.

I recorded the construction site sounds, hurried home and tried to translate the experience, the heavy machinery and the weird movements into music. That experiment turned into ‘Vulnerably Happy’ and kickstarted my creative approach for the album; letting my body lead the way and dance the music to life.

Your upcoming album, “The Secret Our Bodies Hold,” sounds incredibly personal. What can fans expect from this album, and how does it differ from your previous work?

I’ve always used dance to find courage. You see, I often write songs on the piano and they often turn out waayyy more self-exposing than I’m actually comfortable with, which then results in me shelving the song, thinking that it can never actually see the light of day. But at some point I found out that if I give my emotions a physique to freely explore the feeling through, I find the needed courage to stand by them.

So, to answer your question, I think The Secret Our Bodies Hold is both more emotionally and physically extreme than my previous work. I’ve explored body and emotion in harmony and conflict and as a result, it doesn’t always resolve in this catharsis that we tend to crave in pop music. I think the album leaves you with more questions than answers.

You’ve been quite busy lately—Roskilde Festival, Danish Breakfast TV, and even gracing the cover of GAFFA Magazine. How has all this exposure influenced your music and your approach to performance?

It’s been mental! I had never expected THIS album to launch me into that kind of next level career shit. The fact that I stopped trying to look at myself from the outside with industry-eyes while making it… I think that makes the commercial success feel rewarding in a healthier way, you know? It’s reaffirming that I should keep going with my instinct, which is easy to preach but a real challenge to practise.

That dynamic can be so confusing; striving for recognition and success can really fuck your navigation up. If you get acknowledgement for something you KNOW you compromised on, there’s a risk that it leads you in the wrong direction – further away from yourself. I’ve been there and that was not a good place.

Performing at Roskilde Festival is a massive achievement. How did it feel to be on that stage, and what was the audience’s reaction to your set?
It’s kind of a blur, to be honest. I often find that those moments you’ve been dreaming of your whole life can be a bit roller-coaster-y. Like, I felt happy, sad, self-aware, present, control, loss, totally in control, everything in glimpses and at once. We played most of the new album which was obviously something to demand from the crowd, that they’d be open to so much new music; but damn, did they welcome it with love!

It took me a couple of days to unpack, zooming in on videos to see if my emotions were visibly as all over the place as I felt. To my relief and surprise, my chaos was on the inside and now I just feel freaking proud.

Your school tours are a unique and powerful way to connect with young people about important issues like sexuality and self-acceptance. What inspired you to start these tours, and what has been the most memorable experience so far?

The answer to that question is a total apropos to your previous question. Around 2020 I was feeling quite lost in my career. I had been signed to a major label, written a lot of songs with amazing writers and producers around the world and I was trying to walk a more mainstream path. I was living out a lot of dreams on that path but along the way, my idea of success had been corrupted. Aiming for mainstream success comes with a humongous margin of error. The criteria for that kind of success is so hard to reach, so even though you do pretty good and the best you can, you still feel like a failure.

That’s when I started touring schools. I wanted to do something actively to make a change for teens who feel different and who grow up in environments that don’t accept them. That’s my own story and I know how much it would have meant, if someone like me had represented me back then. The wild thing is that I see the change happening before my eyes; during 45 minutes bullies turn into fans and we talk about a lot of difficult identity questions. All these shows have helped me rewire my brain into a healthier place, where success is not defined by uncontrollable commercial measures, but by integrating my values into my music and career in general.

‘Vulnerably Happy’ has this industrial, almost aggressive sound to it. How did you translate that emotional and physical intensity into the music?

I created the beat from my recording of the construction site and amplified it with some samples of a very naughty-sounding shelf that Rangleklods recorded and put on his Patreon. Then I made the bass-synth inspired by my butt (yes), simply cos it was bouncing in that rhythm to the beat. After that I found some really ugly pages in my notebook with the scrippled lyrics, that I’d written in a very helpless state of mind. The melody came as an improvisation over those words.

I realized that I could sing it with more emotion, calmness and catch all these little details in my vibrato if I recorded the vocals at a 10% lower speed. To me, that created a certain ambiguity that I still don’t quite understand myself and that excites me.

With “The Secret Our Bodies Hold” set to release on November 1st, can you give us a little tease of any standout tracks or themes that are especially close to your heart?

Right now I’m most excited about a song called ‘Dinotopia’, which features me rapping dinosaurs and dirty-talking but it’s also weirdly touching at the same time. With that said, I think the real power of this album lies in its entirety. I can’t wait to see people notice the connections and create their own understanding of it. My own is still changing and I’m so eager to find out what you see.

You’re one of the most played artists on Danish radio right now. How does it feel to have your music resonate so deeply with your home country, and how do you plan to bring that energy to an international audience, maybe even Australia?

I’m so proud. I’ve hustled for 12 years and it’s almost become an identity-thing to work in opposition to the mainstream, cos that part of the industry has rejected me again and again. To suddenly be acknowledged like this is obviously amazing but also comes with a side effect of identity crisis. Like, am I… dare I say it…. mainstream now???

I’m so happy that ‘New Moon, Same Old Me’ was the song to do this. It’s a symbol of my friendship with Brimheim, who is also one of my favorite artists in the world. The emotional intensity and the nuances in the relation on this song is a direct result of our love for each other and I think that might be what’s hitting people.

Me and my little team are working out butts off to make the most of it and Australia is no 1 on my wishlist; you guys have embraced the music with such love!

GAFFA Magazine has compared you to iconic artists with your recent cover feature. How do you handle the pressure of such high expectations, and how does it shape your creative process?

It took me ages to realize that I HAD to stop comparing myself directly to other artists. Especially superstars. I take so much inspiration from my own idols, often imitate them in music or in release-strategies and general career-development. But it’s so important to be extremely real with yourself about who you are and how those imitations become integrated in your career, in a scale that applies to you. If I compare myself directly to David Bowie or Dua Lipa, I’m setting myself up for failure, cos our careers are simply not comparable – and I don’t want them to be. But being able to take elements and translate them into your own reality is a potential superpower

With that said, I’m totally flattered by a lot of the comparisons people make – but I don’t let it become a pressure anymore cos I know I can only do it the Asbjørn way.

Australia is keen to see you live! Any plans to bring your music and message Down Under soon? What can Aussie fans expect from an Asbjørn show?

I will be needing a spider security guard at all times, since I am deadly arachnophobic but apart from that; YES, it is very much my plan to visit Australia soon. In a recent interview with DNA Magazine, I also indulged in doing some serial-dating while touring the country, so that’s exciting – but apart from that, my concerts are meant for finding connection. To each other, to ourselves and to our bodies. Exploring freely and forgetting how we look from the outside. At least that’s what I strive for, on stage, in music and in life.

https://www.instagram.com/asbjornmusic

September 13, 2024 0 comments
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