What are your names and roles within Sametime?
Sam Aitken – Vocalist
Tim Aitken – Vocalist, Keys/Synths, Guitar

Where are you currently based?
Caloundra, Sunshine Coast
How old are you both now?
Tim (22) and Sam (19)

How did you first start playing music?
We started by busking at the local markets here in Caloundra. We would set up out the front of a nail salon and play from 8am to 1pm, almost every sunday at the ages of 12 and 9. We entered any busking competition that we could and won, using the prize money to buy better gear.

What’s been happening recently?
We’ve just released a new song called ‘Moving On’ which is on the EP we are releasing on September 2nd. We’ve been fortunate enough to play some gigs during COVID here in QLD but we are very used to booking gigs, cancelling, rescheduling and cancelling again.
We are doing what most small independent artists are doing post-release, hitting refresh and hoping people listen to our song.

Please tell us about the instruments you play and how you came to play multiple instruments:
Tim: I was about 10 years old and my toy batman quad bike broke so my parents bought me a guitar and put me in lessons. When we started busking, guitar lessons became the hour every week that I could learn new songs for busking. I was never taught anything technical on the guitar, I just learnt songs and from those songs I learnt the chords/shapes.

We also had this crappy keyboard at home that my Dad would play. He taught me some basic chords and how to use a sustain pedal. I taught myself the rest of what I know by just experimenting with chords and notes and playing till something sounded good.

Sam: I used to bang two paintbrushes on everything when Tim would play guitar so I was put into drum lessons when I was about 7. When we started busking I played the Cajon but when we started playing in pubs, I moved to a stand up cocktail drum kit. This was so I could still be at the front of the stage as a lead vocalist but also be the drummer of the band.

You write and collaborate with numerous producers and musicians, how do these collabs come about and how do you usually approach the process?
Before COVID we would fly/drive down to Sydney for a week and do sessions organised by the Sony publishing team. Every collaboration is different, everyone is unique with their songwriting approach in one way or another. We always go into a session with songs to reference, recent projects to give direction (if needed) and a big fat smile on our face because our job is to make music.

You both signed a worldwide deal with Sony Music Publishing at 14 and 16 years of age, how did this come about and how has the experience been?
We had just done a charity concert that was filmed and recorded properly. We played most of our original songs, one being our first ever single “Where The Wind Blows”. Dicko (our manager) was in Sydney catching up with the team at Sony Music Publishing and showed them the video of us playing the song. Two weeks later we met them in Brisbane and signed with them that week.

The experience has been great, we were allowed the time and resources we needed to develop our sound into what it is today. Without Sony we wouldn’t have met a lot of our friends and close collaborators. We wouldn’t have had the session with Fletcher Matthews that led to ‘Get To Know Ya’ and then the rest of the EP.

The team at Sony Music Publishing are the best and we are so thankful for everything they do. One of our goals is to become the most versatile songwriters on their roster in the next couple of years.

You’ve been playing together for ten years, how has your musical relationship evolved over that period?
When we were younger, playing music together was probably the only thing we liked to do together. We used to say it was the only time we got along, which could’ve been true but back in our prime busking days you would’ve thought we were the best brothers.

Playing music together for so long means words are no longer needed, we both know each other’s patterns instinctively, we both know what to do if the other is struggling to sing. You wouldn’t expect a 22 and 19 year old to have a decade of gigging experience under their belt but our live shows prove it to you.

Off stage, the relationship has evolved from Tim being the primary songwriter to now both of us. We are both good enough at producing that we can make our own good quality demos. Music is no longer our hobby, it’s a full time job for us so we both want to make this work and one can’t do it without the other.

You’ve just released disco infused gem ‘Moving On” how did this track come about?
I think it was when we were exiting the eye of the COVID storm when we wrote this track. We are all booked and ready to go down to Sydney to work with Fletcher on writing two more tracks and finish the EP. The borders were then closed due to another outbreak and we were forced into yet another Zoom session. By then we had a streamlined process when writing and recording via Zoom as we had to do it for two tracks earlier in 2020.

Being the fourth song we had written together, there was a level of trust and respect there that led to getting more personal. We told Fletcher a couple of things that had happened to us over the last couple of years, one being the story that would then become ‘Moving On’. It was another ordinary night out when someone made a decision that would result in something far worse than a hangover the next morning. The song is about moving on from that time in our lives.

Your EP ‘Maybe We Can Get High’ will be out on September 2, what influenced the sound and songwriting?
We took a lot of influence from acts like Daft Punk, Parcels, Jungle, Dua Lipa, Troye Sivan, Years & Years, PNAU and many more. The high falsetto group vocals are a big trope of disco pop and something that we really enjoy the sound of. We wanted our music to physically move people so every song has a big fat drum and bass.

How did you go about writing the EP?
At the start of 2020 we took a trip to Sydney where we had our last few in-person writing sessions and on our last day there we wrote what was our first single off the upcoming EP ‘Get To Know Ya’. After that everyone went into lockdown and the only way we could have sessions was over zoom. So this whole EP was written and recorded over zoom, which we think is pretty cool.

Where did you record/produce/master and who with?
We wrote and recorded everything via zoom from our house in Queensland with Fletcher Matthews who was in New South Wales. Fletch did an amazing job with the production of all the songs and Paul Blakey did the mastering of all the songs.

How did you approach the recording process?
It was definitely a whole new way of recording, but was something we had to adapt to pretty quickly if we wanted to collaborate with others because there was no other way of doing it. We managed to get used to it pretty quickly which helped a lot when making these songs.

What’s planned for the remainder of 2021?
We are just like every up and coming band trying to make it in this crazy industry, we just want to get out there and play live as much as we physically can, make people dance and have a good time doing it. We are going to keep writing and recording new music and start thinking about the next project.

Who are you listening to at the moment?
Between the two of us here’s some artists we are listening to at the moment together or separately;
The 1975, LANY,. Anderson .Paak, Troye Sivan, Phoebe Bridgers, Luke Hemmings, Holly Humberstone, Rich Brian

What do you like to do away from music?
We are polar opposites which is kind of funny, I (Sam) love to hang with mates at the beach, play golf, and party. Tim loves to sit inside and play video games with the occasional basketball game.

Favourite food and place to hangout?
Sam- The list could go on forever but i do love a good KFC feed and then go hangout at the beach.
Tim – Mexican food….I could eat Mexican food every day for the rest of my life, I’m a big spicy food person. Home is my favourite place to hang out, whether it be alone or with my friends. I’m a hermit and proud.

EP: Maybe We Can Get High? is out now – Play/Listen

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Hey Cold Smack Attack, great to talk to you! How are things? 

Glad to join you!

Can you give us a bit of an intro into this new artist project?

Cold Smack Attack is an project that’s here to bring back the fun in electronic music, it’s here to break musical barriers, to add a little help to the world recovering from this sad times.

What was your journey into producing and DJing to begin with? 

Dedicating my life to music has been the best decision I’ve ever taken. I’m a musician at heart, so I really enjoy what I do, alone in the studio and in front of thousands, I enjoy both things a lot. 

How have you dealt with the pandemic, what’s it been like for you?

It’s been rough for everyone, but I took everything on the music, and Cold Smack Attack was born. Music is my escape and this time was no less. I speeded months on lock in the studio and it definitely paid off. 

Have you been able to take any positives from the last year?

Definitely, it’s a mind state, I used this weird ass times to get away to music, and it turned into a whole new project that brings me and the listener a brighter day.

Tell us about your 8 releases in 8 weeks, why that number?

We are just launching the project and I’ve made so much amazing music that I wanna share with the world so we figured out that we throw a single out every week for 2 months, just to let people hear and understand the project. It’s a long way to go but we kicked off hard, most tracks entered the Beatport charts, so we here.

What was the inspiration behind the record?

Music from all different genres is the key. I listen to all sorts of music, specially all sorts of black music, and I translate the message to the dance music world. I like to bring inspiration from at least 3 different genres into one of my tracks when I’m cooking, learned that from Quincy Jones, and I truly believe that to make music reach a higher level this is key.

Did you create the tracks with the vision of playing them out? 

No doubt, and the way I do that is picturing myself on the dance floor, this is truly how I listen to music, how I produce and how I Dj. I cook what I wish for, that’s basically the idea.

Is it weird making music with no DJing and no crowd interactions?

Not really, it gave me a lot of space for freedom not having that constant pressure of having to create the next big banger that sounds inspired by the last big hit or the last record that I’ve been blasting on my sets, this time was definitely different in that sense, inspiration came from other places like I said, and the results speak for themselves.

What have you missed most about not partying and playing live gigs? 

As an artist, if you don’t share with others your art you are nothing, its all about sharing, so that’s obviously the part that gives me a bit of anxiety, not being able to share my passion for music with the crowd. Seems like this period its ending so I can’t wait to start rocking again!

What else have you got coming up?

We will release 2 tracks every month until the end of the year to make sure everyone understand the musical concept of Cold Smack Attack, and lets take it from there… one step at a time.

https://www.beatport.com/artist/cold-smack-attack/991226

What happens when you take emerging artists from the most isolated city in the world and pair them with local composers and a string quartet to reimagine their songs in the height of a global pandemic? Enter Perth’s latest innovative experience, Tender is the Night. Birthed by local multi-disciplinary artist and stalwart of the Perth music industry, Leigh Gardiner, in collaboration with creative consultant and composer, Rebecca Erin Smith, Tender is the Night is a series of performances that bridge and blur the lines of classical and contemporary music.

Gardiner had been brewing over the idea of synchronising support for his composer and musician friends for some time, but it wasn’t until the initial COVID lockdowns of 2020 hit that it was finally put into motion. In September 2020, the inaugural Tender is the Night event took place in a suburban backyard to a private audience of friends and family in a relaxed picnic setting. One year on, with the support of the City of Melville and a generous grant from the Department of Local Government, Sport and Cultural Industries under its belt, the event is thrilled to announce the imminent arrival of its first ever public edition with Tender is the Night volume five on Sunday 12 September. We were lucky enough to have a chat with both of the acts which will be performing at the event: headliners, Simone & Girlfunkle and support act, Tanaya Harper.

Hi Tanaya and Simone & Girlfunkle, hope you’re having a nice week! First up, let’s get to know you. Can you give us a little introduction into who you are and the type of music you each create?

Simone & Girlfunkle: Hi! We’re close friends of many years who share a love for singing in close harmony. We were once described as “Picnic At Hanging Rockcore” and yep, that sums us up.

Tanaya Harper: Hello! Well, I’m a Western Australian singer who loves hiking, and I’m also studying Nursing so I feel like I’m living a double life of creative brain versus policies and procedures brain. It’s hard to summarise, I guess the type of music I create is rather solemn, and usually has a lyrical focus on the experience of anxiety. It’s always been about internal struggles rather than the outside world and politics, but I have felt a recent shift where I’m writing more about the greater human experience rather than my own mental health journey. 

You’re both set to perform at the upcoming Perth event Tender is the Night, can you tell us a bit about how Tender is the Night began and what it’s all about?

S&G: Oh we are not qualified to answer this one! But what I can tell you is that it’s Leigh’s passion project. He has created some absolute magic. The string arrangements compliment the contemporary songs and add so many feelings. We went to the first one to see Tanaya and I was genuinely moved to tears by how beautiful the music and experience was.

TH: Well, Tender is the Night is the brain-child of local musician Leigh Gardiner. He would be best to answer this question, but from my understanding for a few years he had the grand idea of having a string quartet playing original arrangements written by a variety of local composers 

What can audience members expect when they attend Tender is the Night on Sunday 12 September at the Melville Main Hall? Tanaya, we understand you’ve performed at a previous event before?

S&G: They can expect something unlike the normal gig experience. The beauty of the strings lick your earholes whilst you feast on picnics. I can’t recommend it enough.

TH: Tender is the Night is the most beautiful gig I’ve ever played, hands down. It was such an honour to have a professional string quartet playing professional arrangements over my music, and I get to do it again! The first Tender was performed in Leigh’s backyard so it wasn’t heavily advertised which meant some friends and fans who would have wanted to come but missed out. The only thing that could possibly be better than the last gig is the fact that I get to sing in Melville Town Hall!! I sense another career highlight coming.

Can you tell us a bit more about the collaborations between yourselves and the composers & string quartet? How do you each approach reimagining your songs with these classical artists? What does that process look like?

S&G: For us, choosing the right songs to be arranged was quite difficult. We’ve been playing together for so long, we have so many songs we’d love to hear arranged for string ensemble. But I think we chose the right bunch! We had to omit some of our poppier favourites and pick some we thought might lend themselves to strings a little better. As far as collaborations between the arrangers and ourselves – we did a dodgy demo of the stripped-back songs and then left it to the pros! On the day as they play will be the first time we’ll hear these interpretations of the music. It’s a little nerve racking but also we’re pretty honoured, and of course excited to hear what the arrangers come up with.

TH: Pretty much what S&G said. I sent some very basic voice memo’s to Leigh who then forwarded them onto the composers. They did an incredible job with their arrangements. There are no rehearsals with the quartet, we purely test the intro’s and outro’s at soundcheck and then bam, we play the full set to the audience. It’s very serendipitous. I intentionally chose what I felt would be the most suitable songs (solo) – the only full band song is Don’t Go Outside, and I’ll also be performing an additional arrangement for my new single ’Montreal’. 

What are you most looking forward to about performing at Tender is the Night?

S&G: Hearing Tanaya’s set again! Performing in the centre of all that string sound loveliness. Also cheese picnics!

TH: Hearing Simone and Girlfunkle! And experiences what it sounds and feels like to perform in a Hall. I think my heart will melt.

What’s next for each of you? Any upcoming releases, other live performances or collaborations on the horizon?

S&G: We move like summertime slugs, so we’re taking our time working through a mountain of new material, trying to shape it into something beautiful and record-shaped. A few of our crew have recently become parents, so we’ve put no upcoming deadlines or pressures on ourselves at this moment in time. Everything will fall into place when it’s destined to, as it always does and we have something to share very soon.

TH: I have a new single (and EP) coming out very soon called ‘Montreal’. I’m very excited to release this one, it’s very close to my heart. It will be accompanied by a video clip filmed by Annie Harvey and Yardley Smeaton. The EP Launch will be on October 2 at Lyric’s Underground, with supports from Grace Sanders and Julia Wallace. 

I’m also going on a road trip to perform in the Great Southern; Ravensthorpe on September 17 and Esperance on 19th. I’m currently working on my debut album, so I might write some songs while I’m down there.

And finally, where can we keep up to date with your work? Give yourselves a plug!

S&G: Here are our links @simoneandgirlfunkle or Facebook

Or our music sits on Spotify, Apple Music or Bandcamp

TH: Instagram, Facebook, Bandcamp, Linktree, Spotify

Tender is the Night – Simone & Girlfunkle

Sunday 12 September 2021 

City of Melville Main Hall

10 Almondbury Rd, Booragoon, WA 6154

Support: Tanaya Harper

Tickets: $30 + BF via Trybooking

BYO food, drinks as well as rugs and cushions to sit on

Doors at 5:30pm

How did you first become involved with music?

I’ve been playing music for as long as I remember. I grew up with an upright piano in my house and was writing songs on there before I started walking. Throughout high school I played trumpet in my school’s various ensembles like concert band, jazz band, orchestra, pep band and I also played guitar and trumpet played in a ska/funk/rock/jam band (we had an identity crisis) outside of school with some friends. I initially went to the University of Minnesota to study classical trumpet and music education, but realized very quickly that path wasn’t for me. I started performing around campus as a singer/songwriter and transferred to a contemporary music industry school studying music business and songwriting. I got in and out in 3 semesters and realized very quickly that everything I was taught in school about the music industry was outdated and irrelevant (this was around 2005).

I was taught in school that the only way to be a successful musician was to get signed to a record deal. They never taught me how to get a deal, just that I needed one if I wanted to succeed. So I had two options: 1) sit around and wait for this record deal to magically appear in my lap or 2) start to figure out how to make a music career happen on my own. I chose the latter.

What’s been happening with recently with the New Music Business podcast?

I just had Imogen Heap on discussing how she envisions making the future of music metadata, credits and payment more transparent and equitable for musicians through blockchain technology. That was really interesting conversation. Also, recently I chatted with Ritt Momney who found success from his song going viral on TikTok. And I had the pop-punk, Australian band Stand Atlantic on the show who offered great perspective on how they build their fanbase live – in an internet driven industry. Very recently I had the pleasure of chatting with Nigerian Afrobeat guitarist Fiokee who gave me some insight into how the Nigerian music scene operates. And one of my favorite interviews most recently was with Cory Wong of Vulfpeck who discussed session musician and band leading etiquette. You can check out all the episodes here. 

How has the changing landscape encouraged emerging musicians? 

It is the best time in the history of the music industry to be a musician. Never before in the history of the business could a musician create a sustainable, life-long career without the help of a record label. Artists these days can choose to maintain 100% of their ownership and have wildly successful careers. But we’re also seeing a wider “middle class musician” class emerge. That’s the most exciting part to me. It’s no longer either you’re a superstar or a starving artist. There are literally thousands of artists who are making music careers happen in their own way. There’s nothing wrong making a healthy living doing what you love – even if you’re not famous. That’s not what a music career is about anymore.

Please tell us about you involvement with Fender Artist Playbook:

Fender and I have similar missions: to empower musicians with the tools to succeed. Fender approached me to write the Playbook because we align on our values and mission. It’s a natural partnership and I’m happy I’ve been able to work with them to get this super helpful resource out into the world and into the hands of musicians.

How does the Fender Artist Playbook help musicians navigate the changing landscape?

There is no longer one way to make a music career happen, there are literally as many ways to make a music career happen as there are musicians.

In the Playbook I outline a few of the ways musicians can make a music career work these days. This Playbook is a great starting point for any musician at any stage of their career to understand some of the avenues they can pursue to find success in 2021.

Who are you listening to at the moment?

Bill Withers. Always.

What do you like to do away from music?

In the winter I like to ski. I really enjoy acting. And I can also make a mean Frittata.

What’s planned for the remainder of 2021?

I just wrapped up an immersive 1970s funk/soul concert theatrical experience Brassroots District. We performed 16 shows in Downtown LA (outside). I’m just about to start writing the 3rd edition of How To Make It in the New Music Business which is slated to come out Fall 2022!

Favourite food and place to Hangout?

Favorite food = Canters Pastrami Reuban. Favorite place to hangout = Hotel Cafe in Hollywood.

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Where are you currently based and what are you up to?

I just wrapped up shooting a Rom-Com movie called My Fake Boyfriend in Toronto yesterday, so I’m headed back to LA and into my full time music headspace. It’s harder to focus on it all when I’m on set for 14hr days, so i use the late nights and weekend where I can – thankfully I was able to find a dope studio and engineer here in TO to record my next release.

How did you first start playing music?

It started with dance really. As a kid I would edit my music for certain stage performances, i loved mixing songs together by splicing from multiple cassette tapes. Eventually, I learned computer programs to get finer cuts & more dynamics, and then in high school at about age 14 I started constructing original songs on my laptop & recording vocals. Once I started getting into actual recording studios at about 16yrs old it was all over for me – I knew I’d be hooked for life.

Your new single Rhythm & Music is out now, what influenced the sound and songwriting?

Definitely an MJ influence within the music and writing. I wanted something I could really break out and dance to, not just bop around but like really give every bit of feeling to. In terms of writing, I felt like I had too much love & music in my heart, and I always felt like the people I dated were wanting me to contain it for them… this was my rebellion, and invitation.

How did you go about writing the single?

Same way as most of the tracks on the album, my producer / roommate at the time Louis Futon just recorded at the house, it probably started with me venting about relationship patterns and desires… Usually he’d pick up an instrument, play around on it, and then I’d start singing a melody and lyrics inspired by the sound and the conversation… or vis-versa.

Where and when did you record/produce/master?

Recorded mostly in my house in Los Angeles, and also at Steakhouse Studios in North Hollywood. Masters were done also in LA with Michael Freeman.

What influenced the music video?

Our main influence vibes were Michael Jackson, Dirty Dancing, Kanye’s “Fade” video with Teyana Taylor, Flashdance etc. And the location was chosen because of my dance competition background, I was always in a hall like that most weekends growing up… in fact it’s likely that I’ve performed in that same hall before at some point ha, I really wanted to call back to my dance roots.. this song was the perfect choice for that.

Where and when did you film and who with?

We shot back in June 2020 at Balmain Town Hall. The entire crew had a history of dance as well, we had worked together many years earlier before I moved overseas.. so the whole project felt like this beautiful reunion. Cat Santos choreographed, Rowena Rasmussen directed along with husband Joel Rasmussen who was DP, Jason Lewis produced, & Dylan Mahoney was first AD as well as assistant creative director. Adam Saunders played my love interest, we’ve also known each other for many years through dance music and film in Sydney.

What did you most enjoy about creating the music video?

It was a family affair with my Aussie dance community. Getting to create back home again in Sydney with best friends and peers who’ve known me for over 10 years.. during a pandemic at that, was really a dream come true & massive blessing. I loved getting back to my roots as a dancer & pushing hard, there’s nothing quite like it and I never wanna forget that part of me again.

What do you like to do away from music?

Oooh.. I like to game from time to time. I’ve started getting into martial arts this year which I really enjoy. And I chill with my friends, I’ll kick it at a rave party every now and then, or go to a music festival. But to be honest, music always finds it’s way into every thing.. and I love it.

Who are you listening to at the moment?

Past couple weeks it’s been Joyner Lucas, Obongjayar, Peter Collins, and James Fauntleroy. I’m about to get into Kanye’s Donda.

What’s planned for the remainder of 2021 going into 22?

Is alllll about the rhythm & music baby ️‍ we got 3 other music videos to share & I have more to shoot, got a big live show I’ll start rehearsing for pretty soon & am currently planning out the creative for, and I’m also back in the studio writing new magic and finishing what we’ve worked on this year. It’s a dream year.

What’s your favourite food and place to hang out in your down time?

 I love me some chocolate and I love hangin at home – I do so much travelling so at this stage my home feels like the vacation. Either solo or having friends over, it’s peaceful.

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