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Toronto based DJ and producer Velvet Code launched his very own label SO FIERCE MUSIC, taking a stand for equality, diversity, and creativity. The imprint wants to give artists a voice and platform, no matter their age, race, gender, or sexual identity.
Velvet Code has been active in the music industry for over 20 years and experienced how difficult it can be for LGBTQ+ artists to be seen and heard. “Music executives, former managers, and agents tried to muzzle or tried to force me to play “straight”. I was convinced for years that I had to if I wanted any chance the mainstream music industry was going to pay attention. Well, I refuse to live a lie or change who I am just to please anyone. I was born this way, baby! My hope is that SO FIERCE MUSIC will give people a platform and safe space where an LGBTQ2+ artist or ally can express themselves while gaining an opportunity to make a living from a music career.”
The first release on the label is set for September 25th with the supreme Sofonda Cox. The immensely talented drag queen worked together with Velvet Code on her brand-new track ‘Thrive’. Sofonda has been chosen as TD Bank’s pride ambassador for many years in a row, performs annually at the Toronto Pride PRISM festival, and at clubs across the US, Brazil, Malaysia, and Mexico. A true inspiration and the perfect artist to kick off the musical vision of the label.
For each release, SO FIERCE MUSIC will unleash a special merch line. Designed by Velvet Code and his team, the assets will consist of clack fans, shirts, tops, and hoodies.
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AVAILABLE FOR STREAMING HERE
August 25, 2020 (Toronto, ON) – Making a comeback in 2019 with a new look and sound, Manitoba country trio PETRIC return stronger than ever in 2020 with the release of their new single “Déjà Vu,” available for streaming and download everywhere today. Produced by Grammy nominated, Canadian producer Chris Baseford (Meghan Patrick, Avril Lavigne, Nickelback), “Déjà Vu” comes off of PETRIC’s highly anticipated forthcoming album.
On the new track, the band notes: “This song shows a completely different style and edge that we haven’t ever explored before. When Canada went into lock down, the band needed something to keep the creative juices flowing. With large help from our producer, we recorded this song from all of our home studios.“
The new release follows their 2019 singles “Something To Do With You” and “Single Problem”, which earned over one million streams and was the highest charting single by an independent artist in 2019 (peaking at #19). Forming in 2015, PETRIC was discovered by JUNO Award winner Dallas Smith while showcasing at Country Music Week. Since then, Manitoba brothers Jason and Tom Petric and longtime friend Jordan Day have racked up over twelve million streams, 315K+ views on YouTube, three Top 20 singles on Canadian country radio, and four Manitoba Country Music Awards. The trio have also performed on some of the country’s biggest festival stages such as Boots & Hearts, Cavendish Beach Music Festival, the Calgary Stampede and the Big Valley Jamboree and received praises from country tastemakers such as The Boot, Complete Country and Top Country.
Facebook | Twitter | Instagram
@PetricMusic
For more information, please visit www.petricmusic.com
Title: Very Special EP Limited Vinyl
Platform: Foundation
Visit the product’s page on Foundation platform
PLS&TY becomes a frontrunner in the connection between music and technology by partnering with Ethereum blockchain platform Foundation to sell a limited quantity of his “Very Special” EP on vinyl. The EP was released digitally in April and features four tracks, with collaborations from Sean Kingston, Alex Aiono, Wifisfuneral, to name a few. Foundation‘s mission is to serve as a stock exchange for art and culture, which allows the market’s natural supply and demand dictate the price of the goods sold on the platform; this dynamic pricing model lets artists benefit directly from the hype that surrounds their work. If you’re already anxious for a copy of “Very Special” on vinyl, you’ll need to get your hands on a $PECIAL digital token. Early buyers will secure a better price. When the vinyl is ready to ship, the tokens will be redeemable to receive the physical vinyl anywhere in the world; alternatively, token holders can continue to keep the digital value of the token or trade it in the Foundation market. The intersection of music with blockchain is an exciting glimpse into the future of the industry, and PLS&TY is the first musician to dive right in. Stay in the know by following PLS&TY and Foundation.
“Foundation is an exciting new platform for creators that allows artists like me to realize the true value of our work and benefit directly from the hype that surrounds it. For a lot of people, crypto might feel inaccessible or complicated, but Foundation has built a streamlined process of buying and selling tokenized goods that puts the power in the hands of artists and our communities. Get in now, Be a part of something transformative. You’ll thank me later.” – PLS&TY
Tommy Leas, a Florida native – better known as PLS&TY – is burgeoning into the electronic dance music scene with his unique sound: languid bass, captivating vocals, and enough upbeat melodies to make anybody feel good. After a collection of chart-topping singles including “Good Vibes” (#1 on iTunes US Electronic Charts), “Down For Me“, “Rebel Love (#1 on iTunes US Electronic Charts), and “Motives” (#1 on iTunes US Electronic Charts / Top 25 Billboard Electronic Charts), PLS&TY would see his productions Remixed by Grammy-nominated Morgan Page, Rusko, Cazzette, Bondax, YehMe2 (Josh from Flosstradamus latest venture), and more. His own remix of Genevieve‘s “Colors” was featured in a Hershey’s chocolate television commercial that has amassed over 1 billion views. With his brand new “Very Special” EP released in April of 2020 that includes pop records with artists like Sean Kingston, Wifisfuneral, & Alex Aiono (of Netflix‘s “Finding Ohana“), PLS&TY is showing no signs of slowing down, even after a busy 2019 touring season which included A-List festivals Shaky Beats, Breakaway, Electric Forest, EDC Vegas, & more.
Foundation is a new medium for buying, selling, and trading limited-edition goods and art. Built on the Ethereum blockchain, Foundation claims the power of the stock market and reinvents it for independent artists, designers, and brands across the music, fashion, fine art, and emerging media. The culture’s stock exchange.
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Today Death Bells share ‘A Different Kind of Happy‘, a track celebrating small moments of ‘bliss and pure satisfaction’. The duo’s new album New Signs of Life is due 25th September via Dais Records, pre-order here: https://n-s-o-l.com/
The song’s freeing, gossamer guitars, inspired by Cleaners From Venus, lift the track to celestial heights, with the earnest vocals affirming “Despite the uncertainty of life, I wouldn’t give, I wouldn’t give up“. The track celebrates the fleeting moments when you feel totally at peace, the band twisting their usual darkly atmospheric sound to shimmer and shine.
The band explain the track: “This song conveys a feeling of bliss. It was written last year – there were a couple of fleeting moments where everything felt like it was in it’s right place. It was awesome. Obviously times are different now but we still have a lot to be thankful for, and our optimism remains intact.”
Watch the video for ‘A Different Kind Of Happy’ HERE
Death Bells is the longtime musical collaboration between Will Canning and Remy Veselis. Formed in 2015 during their late adolescent years in Sydney, Australia, the act has proven to be a mainstay in the alternative underground musical landscape both in their homeland and overseas during their five-year history. Blurring the lines of post-punk and garage rock, Death Bells has morphed and transformed as the two members have grown up throughout their late teenage years living together into early adulthood. With Canning’s distinctive baritone and the kinetic collection of reverb-drenched leads by Veselis being a constant during their musical output, the two made the permanent move 7,000 miles away to Los Angeles, California in 2018 where the current incarnation of Death Bells has blossomed.
Following the releases of their debut E.P, much-loved first album, and seven-inch single on Funeral Party Records and their 2019 single on Metropolitan Indian, Death Bells have joined the Dais Records family for their highly anticipated sophomore album New Signs of Life. Three years in the making, the release sees the act embrace their diverse tastes to deliver unforgettable hooks and more expansive sounds across its nine graceful songs.
Engineered and mixed under the attentive eye of Colin Knight at Paradise Studios throughout mid-to-late 2019, New Signs of Life is the band’s most complete work to date. Along with classic Death Bells brooding romanticism, the themes of the record divulge personal insight into their move across the world and both the strained and new relationships that have materialised throughout their existence. Slated for release on September 25th, New Signs of Life is as advertised – it is the career-defining new chapter to commence the new decade.
Pre-order New Signs of Life: https://n-s-o-l.com/
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Following the release of ‘Mr. Prism’ earlier this month, their first single of 2020, Psychedelic Porn Crumpets today share an adventure-filled clay animation video for the song. Created by Oliver Jones, who the band have collaborated with previously on their similarly kaleidoscopic videos, the video for ‘Mr. Prism’ takes us on a colourful journey through ‘sweetsville’, with some surprisingly dark encounters along the way.
Bounding along with maximum energy from the onset, ‘Mr. Prism’ is relentless in its approach – a fiery reminder of the type of band Psychedelic Porn Crumpets have grown into over the last few years on the road. For McEwan, the song was born out of the feverish haze only illness and a crazy tour schedule can bring: “After our last tour of Europe I had a plethora of reasons to see a doctor. First, he thought I had tonsillitis, so prescribed me penicillin, which didn’t help at all. I did Falls Festival over New Year’s and barely got through – turns out I had pneumonia. I was pushing through on all sorts of meds until someone offered me the HMS Hunter alternative and I realised no matter how I’d ever be, I could never turn one down. Mr. Prism (my sickly fun-fuelled fiend of an alter-ego) was born.”
On the creation of the video, McEwan says: “A prismatic man needs a colourful adventure, so when we were throwing ideas back & forth with Oliver it was hard to pass on an edible Claymation. All of us were in awe when he sent us through the final animation – proper cherry-on-top work!”
PRAISE FOR MR. PRISM
“Jumbo sized excellence from PPC! This is exactly the kind of daily boost we all need in our lives. Big frenetic energy and thrill that’ll have you wide awake and ready to take on the world. “
Triple J Claire Mooney
“A majestic piece of four-minute rock that captures the group doing exactly what they do best – melting faces on and off the stage”. Tonedeaf
“A warped, propulsive new single titled ‘Mr. Prism’. Anchoring around its winding rhythms and feverish textural build-ups” Music Feeds
“A supercharged firework spreading wild af but good natured vibes wherever it’s played”.
Life Without Andy
“Psychedelic Porn Crumpets have shared their whirlwind new single Mr. Prism to fuel your soul and give you the energy you need to get through the week.” Happy Mag
“Hmmmm ok then, just pop your head in to hit us with what might be one of your best tracks to date why don’t you. Galloping full tilt and in resplendent glory.” Triple J Unearthed Tommy Faith
PSYCHEDELIC PORN CRUMPETS TOUR DATES
2020
Tickets available at http://www.
Friday, September 11th Prince Of Wales Bunbury
w/ Pot Plant House Party + Grace Sanders
Saturday, 12th September Settlers Tavern Margaret River
w/ Pot Plant House Party + Grace Sanders
Thursday 17th September Badlands Perth NEW SHOW
w/ Dulcie
Friday, 18th September Badlands Perth SOLD OUT
w/ Pot Plant House Party
25th – 28th September Wave Rock Weekender Wave Rock
2021
2021 will see Psychedelic Porn Crumpets heading around the country supporting Sydney’s Ocean Alley. Originally scheduled to tour nationally in May and June this year, COVID-19 restrictions forced the tour to be rescheduled for February and March next year.
Supporting Ocean Alley
Saturday, February 6th Hordern Pavilion Sydney SOLD OUT
Sunday, February 7th Hordern Pavilion Sydney Tickets
Friday, February 12th Fortitude Music Hall Brisbane SOLD OUT
Saturday, February 13th Fortitude Music Hall Brisbane
Licensed All Ages 6.30pm Show Tickets
Friday, March 5th Fremantle Arts Centre Fremantle Tickets
Friday, March 12th Thebarton Theatre Adelaide Tickets
Wednesday, March 24th Melbourne Arena Melbourne Tickets
‘Mr. Prism’ is released out now!
Website | Facebook | Twitter | Instagram | YouTube
Where are you currently based?
At the moment I’m based in Woking, just south of London. Not much going on here unfortunately compared to Brighton where I’d previously lived for 4 years before that. Currently looking to move further into London or maybe up north to Manchester!
How did you first start playing music?
I mean I first stared DJ’ing and playing out in early 2017, because up until then I had no clue how to mix and was solely a producer. I was aware of how important it is to be able to DJ as well as make bangers if you wanted to make a living out of all of it, and my music started to get some attention around that time so it was only natural.
What’s been happening recently?
Not a lot haha. Same for everyone I suppose. I’ve been keeping myself really busy though and have been crazy productive over the last 4 months or whatever it’s been now. Lost count at this point. I’ve made a silly amount of music, a lot of which with vocalists and features which previously I hadn’t delved too much into. So overall my production has improved massively I feel and I reckon I’m easily making the best music I’ve ever made atm.
You’ve been a main stayer and champion of UK Bassline for years, how did you first become involved and what do you attribute to your success?
I first broke into the scene through this competition in the summer of 2016. This group called bass music group on Facebook called Lengoland hosted the first-ever ‘war dubs’, a knockout competition where producers basically went head to head with each other to see who could make the better/crazier tune, which then went down to a vote. There were a few spaces left so I thought fuck it what’s the worst that can happen, I’ve not got anything else going on. I’d only ever made like 2 bass tunes before this so was a bit sceptical but ended up getting to the semi-finals and having 3 of the 4 tunes I made released as free downloads, which is where it all kicked off really! Quite lucky to be honest as if it wasn’t for me just going for it and that group even existing, I don’t think I’d be doing what I’m doing now to be honest.
Please tell us about how your sound is progressing through experimentation:
You’ve basically answered the question yourself there! That is exactly how my sound is progressing and evolving. Through experimentation and the intent to try make stuff that sounds different to everyone else. That’s always what I’ve tried to do. Whilst of course keeping things familiar to the UK bass sound and genre so it can appeal to a wider audience as well.
Where and when did you produce and what programs/instruments did you use?
I actually made the main melody that the whole track is based around in Skepsis’ studio whilst we were trying to come up with a 2nd tune. We’d finished Hijack and were tryna work separately just to get ideas going and I made that riff sitting on his couch. We didn’t manage to do anything with it so he just told me to use it myself, and I’d already wrote the lyrics for 1 more a weeks before so I just thought alright let’s try get these to work together, and they did! I produce on Logic and have done since day 1 so that’s what I used. Mainly use Serum for all my bases and then just a whole range of different sounds, plugins, instruments and samples to make the rest of the track.
Who are you listening to at the moment?
No one in particular to be fair, but if i were to pick my favourite 3 tracks atm they’d be:
Shaun Dean & Harry Tremlett – The Sound (did you know)
Alcemist & EJ Kitto – The Plan
Mella Dee – Dev Green
Please tell us about your new single ‘1 More’ Feat EJ Kitto, what influenced the sound and songwriting and how did you come to work with EJ Kitto?
I’ve been working on it since January and it’s been a right pain to mix down, so now it’s done and is getting released I am buzzing. The track is supposed to be from a ravers point of view, early in the morning deep into the crowd surrounded by his/her mates, in what feels like a complete haze of tunes, drinks, smoke and lasers. The lyrics are supposed to just encapsulate what it’s like to go to a UK bass music event. They all finally decide to leave and go back to their mate’s house to continue the party. Me and Emma actually chat loads before without me even realising as she used to run a UK Bass promo page on Instagram where I’d send her videos to upload. It was only when I put out a Facebook status asking for a female vocalist with a London accent that my mate told me she was looking for features and would be ideal for the tune, which she was. She brings exactly what I asked for which is amazing. A spoken word kind of London accent – the main inspiration being Redlight and how he usually has similar female vocal lines on his tracks.Where and when did you produce and what programs/instruments did you use?
You’ve got some big records coming up in the next few months, please tell us more:
I can’t give too much away, but some of my next releases for the rest of the year include a tune with Bru-C, and one with Window Kid, a single release on Dr Fresch’s label, a single release on Chris Lorenzo’s label, and a 2 track dnb release. Its gonna be a wicked few months in terms of music.
Favourite food and place to hangout?
Steak and chips with stupid amounts of peppercorn sauce. Can’t beat it. Favourite place to hangout has got to be Brighton. Got so much love for that city as its basically where the whole Zero project started and grew in the early days. Best city in the UK, especially in the summer.
https://soundcloud.com/zero_uk
Today, Adelaide punk rock band The Union release their new single
There’s Another Way.
Listen to There’s Another Way HERE
There’s Another Way, the first new piece of music from The Union since their debut album XVII in 2019, is without doubt the bands catchiest and most fervent recording to date. Combining melodic vocals and punk influenced riffs, There’s Another Way showcases the bands diversity and growth since the release of XVII.
There’s Another Way tells the story of how damaging it can be to compare yourself to the highlight reel lifestyle you see on social media. It can invite anxiety into our own lives. We can’t take for granted how important it is to remind ourselves to stop comparing.
THE UNION – THERE’S ANOTHER WAY – OUT NOW.
ABOUT THE UNION
The Union are a punk rock band from Adelaide, South Australia. The group—made up of Tommy Woolcock, Karl Munce, Pete Edwards, Dave Edwards—ex members of (Mayweather) with the addition of Liam Neville—(Dangerous!) is a direct result of a very long friendship and a collective passion for 90’s – 00’s punk rock. The Union began in 2018 and released their first full length album, XVII in early 2019. Their ability to combine melodic vocals with punk influenced riffs and drums revealed that the band not only appreciated and embraced the genre but also harnessed the passion that came with it.
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Explosive Melbourne rapper Agung Mango today shares his latest single ‘Little Bum’. Listen HERE.
Gritty, brash and completely unbounded, Agung Mango’s music pushes the sonic limits of what we’ve come to know from Australian hip hop, drawing on experimental rap, punk, jazz and alternative R&B. On the mic, he channels the ferocious presence of Denzel Curry and the unapologetic, punk posturing of slowthai, demonstrating an ability to move through flows, cadences and genres like no one else.
Produced by frequent collaborator DoloRRes, who also worked on his latest single, ‘RODENT’, ‘Little Bum’ matches Agung’s anarchic energy with a spasmodic and unpredictable beat, a melee of distorted guitars and hard-hitting percussion. His vocals, meanwhile, swerve between falsetto and a full-throated growl, sounding as though he were a man possessed; utterly sure of himself; invincible.
Of the track, Agung shares that: “Little Bum tells the story of a young, aspiring artist who’s beginning to reap the rewards of his hard work. Whilst he’s on a steady journey to success, he finds himself still having to prove to his parents that the career path he’s chosen can provide him with stability and security.”
Debuting in 2017, Agung Mango quickly established himself as one of the most exciting artists to bubble up from Australia’s underground rap scene. Since then, an embarrassment of standalone singles, including ‘TOUGHSKIN’ and ‘RODENT’, as well as a collaborative EP with local crew 3K, has seen his mainstream stature rise steadily higher and higher, leading to appearances at Laneway Festival, Spilt Milk and Golden Plains, support slots for Wiki and Milan Ring, as well as praise from the likes of Acclaim, Purple Sneakers and triple j Unearthed, who bestowed him with their coveted Feature Artist tag in early 2020.
‘Little Bum’ by Agung Mango is out now, buy/stream it here.
Stay connected with Agung Mango:
Facebook | Twitter | Instagram | Youtube
Melbourne anomalistic collective DREGG, have shared their new track “I’m Done.” The track, mixed by Will Putney (Every Time I Die, The Amity Affliction, Thy Art Is Murder), blends metal, hardcore, and rap into an energetic tongue-in-cheek take on taking life for granted. The video premiered yesterday via Loudwire.
“We wanted to construct something that outlined our current frustrations while simultaneously mocking ourselves and anyone who takes everything great they have for granted,” explains DREGG. “The song explores the idea of breaking down ones ego to rebuild it for a greater purpose. Not just for the people around you but for your own sanity and prosperity.”
DREGG make powerfully energetic music, driven by themes of fierce individualism, with a sound that hungrily consumes metal, hardcore, and rap, only to heave it back up in a colourful rainbow of bombastic brutality and iconoclastic absurdity, lovingly fed to the audience like mother birds. The thought provoking five-piece, known for tongue-in-cheek take on the current state of the world, continues to push the boundaries of hardcore by making music and art intended to provoke and inspire.
DREGG is Christopher Mackertich (vocals), Jordan McQuitty (guitar), Sam Yates (guitar), Aiden Zovic (bass), and Horhay Delalopez (drums).
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Directed by Ian Valentine (behind visuals for Travis Scott, The Weeknd, Janet Jackson, among others) the video is an animated trip, just as loveable and zany as Deaton Chris Anthony himself. Says Deaton about the video, “‘I Love All My Friends’ is simple in meaning… when we see eye to eye, we smile ear to ear. Friendship rules the world!'”
Working across fashion and music, Deaton Chris Anthony is a post-internet artistic polyglot, fluent with multiple mediums, a kind of start-up Tyler, the Creator for a generation that favors authenticity and boundless creativity.
A charming and sweet song blending indie rock & R&B sensibilities, ‘I Love All My Friends’ is the first single lifted from Deaton’s forthcoming EP. Having previously collaborated with like-minded artists Clairo, Omar Apollo, UMI, Jean Dawson, among others, and winning praise from The New York Times, Billboard, NME, Complex, Fader, Vogue, and more, Deaton’s forthcoming EP is set to be his first since his breakthrough 2019 LP BO Y.
‘I Love All My Friends’ by Deaton Chris Anthony is out now, buy/stream it here.
Stay connected with Deaton Chris Anthony:
Instagram | Facebook | Twitter | Website | Youtube
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Yaeji Instagram / Twitter / We
xlrecordings.com
remotecontrolrecords.com.au
Interviewer: Anthony Huttley
Rich, you’ve been one of the more recognisable names in Australian progressive house for a while now, can you tell us a bit about how you became a part of the scene? Were you always into electronic music?
I only began delving into underground electronic music at around 2003 when I was sharing a house with someone who collected vinyl records and liked to play them most afternoons after work. Prior to that I was 100% into heavy metal and guitar bands (which I’ve recently started to return to, just for some added inspiration!). Becoming part of any music scene in a town as small as Brisbane is definitely a challenge but when I first decided to give it a go I wasn’t aware of that nor had any set goals to strive for, I just knew I wanted to a) get behind a DJ booth in public, b) run my own night-club events, and c) host and meet as many international touring DJ/producers as possible without going completely broke. Looking back at the progression (pardon the pun) of the last 14 odd years I guess it has worked out rather seamlessly and sequentially, but it’s been a great learning experience and regardless of any musical or artistic benefits I feel being involved in the underground music scene has completely revealed my inner self in ways I doubt would have been possible otherwise.
I’ve heard a couple of people say that the scene in Brisbane, where you’re based, is a bit unique. How would you describe the music scene there these days? Is there much room for progressive house or the more underground genres of electronic music?
As I alluded to with the earlier question, yes it’s tough getting a foothold and staying relevant in such a small scene but there are definitely as many positives as negatives. These days the Brisbane nightclub world is very regimented, structured and defined in terms of not only musical genres but desired clientele, fashion trends and most definitely age demographics. Unless a promoter is happy to host events outside of the dedicated entertainment precincts, and rely more heavily on their own promotional skills or focus 100% on building their own fan network, they’re very restricted in the choices they have when running those events. I guess that’s not necessarily entirely a bad thing as it allows the crowd to be more informed and discerning, but there are only so many nights per year for events to take place and only so many dancefloors available. Put it this way – I’m glad I no longer have to promote events!
Recently, you welcomed a new member into your family, which is huge, btw, congrats! As someone who is normally quite busy in the studio, did that affect your production?
Thanks! Yes Violet arrived 9 months ago and has turned “normal” life into something else! I consciously made a decision prior to her birth that I’d close off any studio activity until the newborn routines had stabilised enough that I could once again successfully multi-task. I didn’t want to deal with the stress of pushing myself to be musically productive at the same time as learning how to be a Dad, and so far it’s been the right move. I’ve used the last 10 months to completely rebuild my studio setup, install a few gadgets and finally buy some bass-traps which have made such a difference with my confidence in front of the speakers. The brain is currently over-flowing with musical ideas so I’m super keen to get back into a production routine, hopefully within a few months time.
How would you describe your sound?
As a DJ I try to hover between a few genres, obviously progressive house and techno, but since around 2016 also breakbeat. Playing longer gigs in South America over the years has taught me that musical energy is as important as technical skill and track selection, so throwing in 15 or 20 minutes of breaks in a prog set has a huge effect on dancefloors when I’m playing gigs, as well as in recorded mixes which can get a little monotonous after a while. As a producer I’m obviously locked into the progressive genre and continue to find inspiration in productions from the masters such as Guy J but also weird and unique masters such as Maceo Plex. I guess prog is my “safe space” when in the studio but I still enjoy making it so have no real need to take risks at this stage of the game.
I find your sound quite unique, which is a huge accomplishment in the overly- saturated progressive house market. Were you actively trying to produce something different, or has it always been organic?
That’s good to know, because yes I have always wanted to have a different sound if possible. Most of the time if I’ve got something unique going on it’ll be a happy accident however, as I’ve never been deeply interested in synthesis or the nitty-gritty of sound design – I just like trying as many synths, drum-machines, arpeggiators, effects units and manglers as I can find, seeing how far I can bend and twist traditional sounds and hopefully capture what comes out the other side. Luckily I have a steady day-job so I don’t need to rely on music to make a living, but if I did I honestly think I would get bored with studio production due to having to churn out tracks on a schedule and focussing on my own “sound”, as I know so many producers do. Expression and inspiration go hand in hand for me, if I was unable to be inspired (because the studio was a workplace) I doubt I would be able to express myself musically!
Your podcast “Resolutions” started 10 years ago, and still goes to air each month on Frisky radio. That is a hell of an accomplishment, congratulations! Tell me, what was the motive behind starting that?
10 years, such a long time! Other than just loving to make DJ mixes the motive for the podcast was two-fold, a) to keep myself in a regular routine of track-hunting, technical practice and label/artist research plus b) to boost my DJ profile and have something to promote myself with. At the start of it all I was obviously still too fresh to be getting booked for gigs so having a mix-tape/CD/podcast to hand around at events and to promoters helped massively even with such a small audience. Being hosted by friskyradio these days is a great privilege as it’s always been such a steady, reliable and well-respected home for progressive music even now with the uptake in streaming platforms such as Spotify. In recent years I expanded the show to a 2 hour format so I’ve been opening up the 2nd hour to a few guest DJs here and there, for the most part focussing on like-minded DJs from Brisbane, of course!
Have there been any stand-out years in terms of quality, music- wise? Have you ever found yourself struggling to compile enough decent tunes?
To be honest no, there has never been an especially lean year or a stand-out year that I can recall. I’ve always found way more music than I could ever hope to play and there has never been a struggle even just relying solely on Beatport and not having to branch out to the other smaller retailers. I guess I have put in a lot of time over the years when tune-hunting and researching labels, so that must have paid off compared to what other DJs are experiencing. It’s amazing how much good music is out there at any point in time!
After so many years at it, has your objective with that mix changed much over the years?
Resolutions episodes have always been something I’ve wanted to be able to listen back to myself, to feel that they capture a certain essence of the time they were created both from the point of view of tempo and genre, but also where I was at as a DJ and where my career was situated. For example any episode after mid March 2013 would probably take on more of a melodic, hypnotic and subtle feel due to me having visited South America for the first time and observed how the people respond to those kinds of aspects of the mix. I think anyone can create a weekly or monthly podcast but if those mixes are created purely as a promotional vessel for the chosen tracks (or even just for social-media clicks) and there is little or no consideration to the flow, the energy, the emotion, then they’ll be more difficult to enjoy let alone remember.
Speaking of changes, I saw you post something about a new project called “Meld” recently. Can you tell us all what that’s about?
Meld is a concept suggested to me by my friend, Filip, in the USA who has been a big fan of Resolutions for many years. Filip is not a DJ but loves electronic music. The idea was for him to curate a batch of electronic tracks that he loved and I would then piece them together in the studio making a special one-off DJ mix just for him. I think it’s a fantastic idea which allows fans to connect to the DJ, melding the two different yet intertwined passions for music. I’m hoping people will approach me to make more Meld mixes in the future, who knows it could actually become a “thing”!
You were due to tour South America for the 7th consecutive year in a row this year, obviously you can’t due to Covid-19, what’s the plan for you now?
Travelling and gigging through Latin America has become such a regular part of my life since 2013 that to not be over there at all this year really does feel odd. I’ve made so many friends there over the years and it’s rather painful to think of what they’re going through with constant quarantines and plummeting economies. Along with all the other out of work DJs I sure can’t wait to see a vaccine or some other end to this whole debacle but who knows when that is likely to occur. Clearly my plan right now is to stay locked indoors but as soon as the borders are opened up again and it’s safe to take long-haul flights overseas I’ll be hunting down gigs again and dusting off the old Spanish-language textbooks!
What’s your DAW of choice in the studio, and why?
I’ve only ever used Apple’s Logic when in the studio, mostly due to a lack of time to delve into any other DAWs. I’m keen one day to try Ableton and I believe the latest version of Logic actually shares many of the same workflow features so it could be a seamless switch. But after more than 10 years using Logic it’ll be tough to beat!
Top 3 plug-ins of the moment?
I’ve actually been researching lately into the world of Channel Strips and Pre-Amps, in a software-sense. So initially my answer would be biased towards the Arturia, Black-Rooster and Univeral Audio products in that category as they can add such a nice subtle colouring to any sound. In terms of synths I’d have to call out a bunch of Kontakt (Native Instruments) 3rd-party libraries that easily stand out from the herd, such as Tronsonic and Phono Loop’s Texture Mozaik. There’s so many options out there for making sounds so my money will always go towards the plugins that make weird and unique results without too much effort or technical know-how.
Who are you listening to at the moment? Any names that are standing out for you?
There’s always someone new and fresh popping up in my crates so this is a pretty easy question to answer: Jonas Saalbach, Hansgod and The Micronaut come to mind. Well worth checking out!
What’s planned for the remainder of 2020?
Aside from continuing to push Meld and Resolutions further along I’ll also be returning to making originals and remixes in the studio by the end of 2020, but am more excited to finally be getting some traction on mine and my mate Verve’s new record label idea. In a similar fashion to Meld we are trying to stand out from the crowd and the releases we’ve planned will be very different in format and content than your regular electronic music label. Stay tuned for that, the label is called Context Digital and will be coming to all the good music retail stores very soon!
Genre: Progressive / Melodic Techno
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