Unveiling Telladream: A Musical Odyssey by Sash Mish

In the realm of Indie/Alternative/Electronic/Pop, a captivating new artist is set to make waves with an unparalleled sonic journey. Telladream, the brainchild of singer and producer Sash Mish, formerly known as Slumberhaze, is making a resounding entrance into the music scene with the release of two compelling singles, 'The Death of Fear' and 'Family Matters.'

After a six-year hiatus and the transformative experience of becoming a father to two children, Sash Mish redirected his creative energy into the Telladream project. Collaborating with industry legends like Lachlan Mitchell at Parliament Studios in Sydney and London-based producer Dane Burge, Telladream's debut album, featuring ten tracks that showcase Sash's unique musical style, is eagerly anticipated and set for release later this year.

Choosing a path focused solely on recording, Telladream forgoes live performances to concentrate on delivering a rich tapestry of music and visuals. Collaborations with other artists on exciting projects are also part of Telladream's journey, highlighting a commitment to exploring the depths of creativity.

Influenced by a diverse array of artists, ranging from Bowie and Outkast to Dino Merlin and electronic producers, Telladream draws inspiration from the expansive wall of sound reminiscent of bands like War on Drugs and Elbow.

'The Death of Fear' and 'Family Matters,' the debut singles from Telladream, delve into poignant themes that resonate deeply with listeners. 'The Death of Fear' explores the transformative period surrounding the birth of Sash's daughter, offering an intimate glimpse into the emotional journey. On the other hand, 'Family Matters' tackles the pressures of life, love, and the delicate balance required to hold it all together.

To add a visually striking dimension to Telladream's sonic creations, both music videos were crafted by a talented crew of film students from NIDA and directed by Forest Lim. The marriage of visual and auditory elements enhances the immersive experience of Telladream's music.

The singles were not just written by Telladream but meticulously recorded and mixed by Lachlan Mitchell, showcasing a commitment to sonic perfection. Mastered by Steve Smart at Studio 301, these tracks promise to deliver an audio experience that transcends the ordinary.

Reflecting on 'The Death of Fear,' Telladream shares, "I wrote the instrumental for this song in 2013 in Florence and could not get any concept or melody for the vocals. Then, after my daughter was born, I spent a few days on this song, and everything came together in the span of 2-3 hours. Lyrically, it talks about the experiences before she was born and after."

Regarding 'Family Matters,' Telladream remarks, "Written as an instrumental to make my daughter dance, it ended up being a song about family life – its pressures, love, and holding it all together."

As Telladream emerges onto the music scene, it brings not just a collection of songs but a profound narrative of personal experiences, creative evolution, and a commitment to pushing the boundaries of musical expression. With an album on the horizon and a unique vision, Sash Mish, under the moniker Telladream, invites audiences to join him on this musical odyssey.

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Backbeat spoke with Sash aka Telladream about the recent single and video releases, and dived a little deeper into how everything came together, and his artistry

Hey Sash, How are you today? Great, man! 

Can you tell us about the name behind Telladream? I was hoping a name would come to me, as I've just been recording the songs and planning a release but couldn't decide on a name, and then it just came during a nap one afternoon in a dream. The dream word was Telethon, then I liked that, but it was in the dream so I used the first half and added dream to it = Telladream 

Can you tell our readers about your new singles 'Family Matters' and 'Death of Fear'?

The instrumental of this was written 10 years ago and I loved it but could never come up with a structure or melody so I just left it, then around the time of the birth of my daughter, it all just landed in my lap. The song speaks about fear and finding courage in the end. The title was initially The Fear of Death, but at the time of recording I flipped it as I didn't have that anymore. Family Matters was written a year after and was initially a guitar jingle I'd play for my daughter, then evolved into a song about family, the challenges and the spirit which keeps us going during all the ups and downs. It's optimistic again. 

What was your inspiration behind writing these songs, and what influences your sound?

Starting with an idea and then waking up hours later with a song is a thrill and I love the process of it, singing, writing lyrics and melodies, it's all fun and I'm addicted to fun.   

The music videos for 'Family Matters' and 'The Fear of Death' are stunning, how was it working with NIDA students and Forest Lim on these videos?

Forest is a bright mind and he heard the demos in 2018 and just wrote a script for The Death of Fear, then made a storyboard, then scoped locations. He had everything ready for me and proposed the shoot, making it so easy! It was shot over several days with a cast and team of young, enthusiastic legends that will have a future in the sport, I'm sure. 

Do you bring an idea to the table for the videos, or did Forest Lim bring you the idea for the videos?

Yeah we definitely worked together on the concepts and negotiated on details and themes etc. It was good having someone from that world guiding me, otherwise I would need a $1 million budget to film what's in my head. 

I hear you're working towards releasing an album, what can you tell us about the album?

It's taken me 7 years. Since the break up of my band (Slumberhaze), I took years off from music, just writing in the background, never playing live and just stockpiling music for a rainy day. Then I realized it's been raining the entire time and I've just been procrastinating, so I will release it this year. Some 10 odd tracks, 5 music videos. There are songs in there written in 2016 and some written last month. As they say, it's the debut album that takes your entire life to release.

Your music has a playful indie sound, how would you best describe it to someone that has never listened to your music before?

Man, I can never explain it! It's just music that tries to be catchy and emotive and nostalgic, not sure what genre it is. Maybe you're right, Indie. I call it Nostalgic Pop, but not sure if that means anything. 

Where can we find out more about you?

Just online, all the streaming platforms and YouTube, plus have an IG @telladreamworld and Facebook with the same handle. Probably have to start a TikTok and cringe dance to a loop of my music to get it out there soon. 

INTERVIEW: ALEXANDER BIGGS AND THE FEELINGS BEHIND ‘HIT OR MISS’

Melbourne creative Alexander Biggs has released his debut album ‘Hit or Miss'. The album is about hanging onto the idea of someone after they’ve left the room like you’re hanging onto their ghost or a husk like a cicada—all the insides gone, taken off, old here and new somewhere else—like an outline of dust in a roadrunner cartoon. Our girl Kayla chatted to him all things Biggs.

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You’re quite well known for these incredibly distinct, almost poignant emotive songs - ones of which resonate deeply with many people. How do you find that your musics ability to touch so many people has influenced the manifestation of the themes present within your songs?

I try not to think too much about anyone else’s perception of my music. I remember a time when I was like, 19, playing the first kind of iteration of my project, like the very raw, beginner phase of figuring out what you’re going to sound like, and how to write songs, and someone telling me I reminded them of Death Cab, and I didn’t know any of their music, except that one song, so I looked it and then found myself emulating them, and I don’t even think I was the biggest fan at the time. I’m not saying I’d do that now, but I know that feeling now, and I know how you can take your own agency away when you worry about what others think about you, well-meaning or not.

Do you find you often write to appeal to the emotions of your listeners or are these songs truly written on the basis of your own experiences and emotive forethought?

I write solely to explore what I want to explore and to channel what I want to channel. I think there is a desire to connect with people, maybe offer a feeling of our shared experience, but I don’t let that come first, that comes after the fact. I write the songs because I’m compelled to, and they resonate second. I can only write from that experience.

In a 2018 interview - you’re quoted as saying “Melbourne is an inspiring place to live” have you taken inspiration for your new album release from any local talent, locations or occurrences that your listeners mightn’t have caught in your album’s musings?

Nah, I don’t look out at people like that. I appreciate Melbourne artists, any artists, for the unique things they bring to the table, their voices. I think Melbourne is imprinted heavily in my songs, but maybe more in just a personal sense. Songs translate to many locations, but in my mind I see where I was, or where I’m singing about. The new stuff I’m writing has a lot more of a city feel to it with a hint of northern suburbs. The stuff on Hit or Miss feels 90 percent northern suburbs, 10 percent NYC.

You have been a support act for some incredibly talented artists like Stella Donnelly and Julien Baker. If you could pick anyone in the industry to support (past artists included) who would absolutely make your lifetime if they asked you to support them?

I’m really hoping Ruby Gill takes me touring the world with her when she gets famous.

Your discography has a really consistent sound and tone - often as listeners we assume that your album release has direct connotations to your emotional state at the time of writing and it definitely has an almost cathartic feel to it - talk us through the process and feelings behind ‘Hit or Miss’.

The process was a whole bunch of recording, a whole bunch of feeling things, and a whole bunch of stressing about it.

How does it make you feel as a musician to know that people all over the world are listening to your music?

It’s neat to think people around the world are listening to my music. It’s a privilege, but one I don’t think about too much.

If you could think of any scenario or location in which you think your album is best listened to what would that look like? (for example I could definitely see myself crying into a tub of ice cream listening to ‘mostly i feel nothing’ haha)

I think it’s a headphone-walk kind of album. Walk around your neighbourhood at dusk. That’s the mood.

What can we expect from you in future? Are you ever tempted to produce collaborations or experiment with new genres?

Ummmm, I’m really interested in synths and euclidean rhythms but I’m not sure how much they’ll feature in the next stuff. Still exploring. Well, synths are involved a little, but I’m not going full radiohead or anything. They have such distinct characters and feelings, which I feel helped a lot when used sparingly in the last stuff. I’d like to turn it up a notch maybe.

Writing an album can be quite the process - did the songs on ‘Hit or Miss’ come to you over a length of time or did you smash it out and work on the production side of things more?

Hit or Miss was an ever-evolving process. It had so many different iterations, and a lot of songs got bumped out for others. I think it took a lot of time because it hadn’t yet arrived, and then one day it did, and it felt right.

Do you fear being pigeonholed to one type of genre or do you feel as though your current releases are the most authentic reflection of your past, present, and future self?

Yeah, I mean, most artists in my experience don’t like that. The amount times I get put in some, surf chill coffee strum playlist is a little annoying but I’m also grateful, and at the end of the day, you can’t choose who listens to you. I think any of the people I look up to or that my ego would want to be validated by would think my record was trash or trite or something haha

Music often provokes a feeling of nostalgia or provokes emotion tied to events in one’s life. Do you find that performing songs consistently stops this from occurring for you, or if anything does it make you remember events, feelings etc more vividly?

Maybe at first. I get tired of songs sometimes, but I’d say the feeling just develops and evolves into something else. It’s like looking at old photos—they still do something to you, but it’s not the same as being there. Probably for the best.

How has the response to your new album been so far? Is this what you expected or has it exceeded your expectations?

It’s been nice. I didn’t really know what to expect so I just take it day by day.

Congratulations on a super great album it’ll definitely be getting a ton of listens from me!

Thanks :)

'Hit or Miss' is OUT NOW

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INTERVIEW: THE NYLEX FACTORY CHATS INSPIRATION, EVOLUTION AND SOLO ENDEAVOURS

First time BackBeat writer Kayla debuts with us by interviewing one of our own - Dan with his act ‘The Nylex Factory’.

Did you find that “If I never make a profit” came quite easily to you or would you describe it as an arduous task, something that required labour and extensive thought?

It came really naturally. I wrote it as they were announcing the new easing of restrictions. I'd been up eagerly waiting for them to say one thing or another but at around 8am decided I should do something else and then spent the next five hours in the garage. By the time I was finished I barely noticed that now be able to get a haircut, let alone play golf... (I did neither of those things). I hadn't had any intentions of 'going' for any particular sound; it sort of just happened to be what I was feeling at the time.

The cover art is super intriguing considering on previous single releases you’ve used your own artworks. (super cool ones might I add!) What is the concept behind the cover art for this single and what appealed to you the most about using someone else’s artwork in this instance?

The amazing artwork is by @geraniumthief. To me it represents someone communicating through a fake/sterile environment in order to get a message across to new ears. Just like the song, the message might not be conventionally 'pleasant" but it's certainly important to hear it because it comes from an honest place. Also, I think my art has a very particular style that is immediately recognizable as its own, and since this release marks the start of something new, I needed an artwork to play against what people have come to expect of me both visually and sonically. This isn't to say I won't use my own artworks again in the future but I needed some separation to really establish this sound as a new and concrete path. This wasn't another sound experiment, rather a bold new world for The Nylex Factory to dig into.

It seems as though this upcoming release has underlying tones of resisting the need to make a profit off things we’re passionate about, for them to be considered worthy pursuits. Would you care to elaborate on this concept for your listeners?

It's about whether or not you'd continue to do something even if it never gives you any long-term economic relief. And of course, you never know that for sure but I think this is a common source of anxiety for creatives so I wanted an entire song dedicated to that energy. As artists we're told our entire life to look for other career paths and this is a response to that with a very blunt and cathartic execution (and a slapping 808 kick). Beyond wealth, local artists need to realize their reach extends beyond their own beliefs of how popular they are. People will dig your work if you're honest, even if it's just for those three minutes. If your own biases get in the way, send your draft mp3 to somebody and get some energy back. You'd be surprised how empowering and rare a compliment can be.

Is there any advice you wish to give new creatives out there hoping to experiment with their sound?

Go for it. I think vulnerability (which comes through experimenting with sounds and taking chances) has always played an important role in music and it may just be the next big thing that people want, especially as human connection dwindles, live/human sounding releases are comforting to hear. Seeing someone take a chance is inspiring and energetic. As releases get more and more expected and cliche and perfect everyone's eventually going to want something new and raw and by experimenting with your sound you give the audience exactly that. If you think it surprises you just wait to see what somebody who isn't you might think.

It’s often understood in the music industry that evolution is integral to the growth of Artists. Taking note of that, do you foresee The Nylex Factory venturing further into new forms and genres?

I expected that at some point I'd put vocals into the songs but I always assumed it would be purely singing as opposed to the rapping you can hear on the track. So, with that logic I'm pretty open to exploring anything and everything under the Nylex moniker assuming that it is electronic. Otherwise I may need another name. For me the deep dive into garage dnb and hip hop was a natural way for me to give the project a life of its own. Isolation has been extremely hard on inspiration lately so I've had no choice but to look for new and strange places to find it.

Can you identify any influences or thought processes that really pushed you to create this new single?

My thought process for the song came after hearing a few artists such as Jk 47 and Nerve on triple J the night before. It was the first I'd heard of both artists and I dug them but I started to wonder where Nylex Factory existed or fitted in the Melbourne cultural landscape. And I wasn't sure it did as of yet, so I turned the radio off and started writing in the car and that's where the chorus developed that cathartic self-defeating kind of energy, which is the headspace of an artist in modern times. The song was a response to finding the balance between trying to please people while attempting to maintain one’s own innocence and purity in the process.

The Nylex Factory really appears to be a passion project and starkly different to your other releases under Tall Relatives. As someone who also plays in a band, how have you found the creative process during the switch to solo endeavours?

There's no gigs so I have a lot of time on my hands. I wouldn't say I spent much if any time on Tall Relatives since March up until after I wrote this song as a sort of vocal warm up to meet the demands of the next Relos single 'State of Disaster' (coming soon) which I recorded shortly after. It's a garage studio set up that I've recently made for myself so it lends itself to either of those vibes whether it be rock, edm or rap. It was actually art I had to temporarily stop doing at the time (which I'm back to doing daily at @millkman) to have enough energy to approach the song writing and beat making for this single.  

Have you found quarantine has had a profound impact on what works your creating and the processes in which you create and form such works? Is there anything you wish you could change on this release particularly, that quarantine made impossible?

For art, yes. I've made over 250 pieces this year since March. For music, no. Quite the opposite. It's taken me eight months since I've presented myself as a musician so it's safe to say there's a lot of pent up energy here. If that's good for the songs then great but it doesn’t mean I had fun or enjoyed myself from a musical perspective for a very long time. I think the single has a certain rough energy to it that makes it work in the context of what it represents; a sort of anarchic setting of tone for the ep that's to come after. I could change a million things or record it at a studio but then it wouldn't be what it was; released. I'm too much a perfectionist to really give into that sonic kind of scrutiny. I prefer to ask myself whether or not an atmosphere is created and if it is it then to me it means it's ready for release.

The Nylex Factory is an Argentinian experimental dance + electronic producer based in Melbourne.

Currently making Dark Progressive Electronic House and Techno, his upcoming single sounds like a filthy mix of Bauhaus and the Avalanches.

Very dirty.

The Nylex Factory is Dan Blitzman.

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INTERVIEW: GRACE FARRIS - ‘ALL THE PEOPLE’. GRACE TALKS HER WRITING PROCESS, GROWING UP WITH FAMOUS FAMILY, AND THE STATE OF THE WORLD

What inspired you to write ‘All the People’? 

‘All The People’ was one of those songs that came to me so fast that I even and often asked myself or the universe where did this come from? It came through within an hour and then I had a full song. Including the feel, the groove, the bass, melody and lyrics, the arrangement followed soon after. I feel though that I was tuning into the worldly events happening at the time that really affected me in one way or another and ‘All The People’ came through as almost a song of reassurance for me and for my greater community being the people of the world. We all have our darkness and our lightness to face every day and I feel ‘All The People’ is such a beautiful and very much a uniting song of strength and love. When I wrote my song ‘All The People’ it was one of those rare songs I knew was meant for others to hear and not just for me. Some songs and art is just for myself and some songs I know is for other people to listen to and to share. 

Was the idea of the track a slow process or was it something that came to you quickly?

I did not have an idea before writing ‘All The People’ which is unique for me. Some songs I have a feeling about what I am going to write about or a certain emotion I honour while I am writing. Although ‘All The People’ came into my life and through me like a beautiful gust of wind. I wrote it so quickly that the minutes felt like hours and seconds felt like minutes. It is still to this day one of the most awe inspiring songs I have ever written and I still wonder where the understanding for exactly how it wanted to be came to me so quickly. Around an hour to be exact and then the arrangement followed soon afterward.

In light of the recent world events it seems that the notion of coming together is incredibly important right now. What message are you hoping to reach your audience through the lyrics?

My biggest message in my lyrics and music is to come back to yourself and who you truly are and what is your own path in life is as a person as well as coming back to how I can serve within my own community. This is my biggest message that I feel shines through in ‘All The People’. This is usually the place I come from when I am writing. I never write music because someone wants to hear something in particular. I write from the heart with the intention that it will help me find solace in processing these emotions as well as help others in finding and feeling the same emotion and feelings I felt or feel. Which is something that happens naturally because It comes through very naturally. Which is such a beautiful feeling. ‘All The People’ is all about uniting and coming together to do the best we can and to be the best we can for our family, friends and others we meet along the way. I knew it was a very grand song when it came through and I knew where it needed to go as soon as it came to me. The music and the feeling is the most important component to me when writing a song. This came through very strongly for my song ‘All The People’.  

The track is incredibly funky, it has effortless amounts of groove brought forth by the combination of drums and the sax. Has the track changed considerably from its conception? What was the recording process like with Tony Buchan?

I knew as soon as I wrote ‘All The People’ that it would be a heavily funky, groove based song. I felt its power and its heart the minute it came out. I had the song two years before I went to record ‘All The People’ so I knew it better that I thought anybody ever could. So when I approached Tony and I was wondering for a long time who to choose as a conscience and producer. I decided Tony could grasp what was going on in my head the most after all of these years. Tony was amazing and his musicianship and knowledge is so incredibly wide. I knew exactly what I wanted for all of my songs and compositions as well as the arrangements on my album ‘Grace’ so to have someone that understood this was a very important and a wonderful feeling. ‘All The People’ was one of my songs I spent the most time on in terms of sound and feels, especially the bass throughout and the way it felt was so important to me. I spent hours and hours and hours getting the bass just right and one day I finally heard it. I would be up all night long figuring out all of the layers, vocals, bass. I wanted to work on ‘All The People’ in the studio as long as possible until I heard in the studio what I could hear in my mind. I was so strict and so focused and firm on creating what was in my head for so long for each of my songs on my album ‘Grace’. I am very much so happy and proud with how each of my songs and compositions turned out. My song ‘All The People’ is one of my greatest songs and I am so proud and so glad it is now there for the world to listen to it.

You have been surrounded by music from a young age, having a father renowned for his songwriting talents with INXS. What was growing up like in such an artistic family?

I was raised in a very normal way. Although we were surrounded by beautiful artwork and beautiful architecture and went to some of the most amazing schools in the world. I think at the end of the day my experiences in nature are what grounded us as a family and me as a child. My father and mother made sure that our childhood was as protected as possible and that nature influenced us as much as possible. If we felt like making art we would. Although I enjoyed history and science and geography so much. I painted a lot growing up and started writing at a very young age. I thought most families were as creative as my family, although this was not always so. I was surrounded by nature everyday growing up. This is the foundation of life and I really honoured this as well as the innovative nature of mankind, which I had a huge appreciation for. I had written over 2000 songs by the age of 18 as well as poems and stories. This came to me so naturally and very much so by my own will and joy for writing. 

You seem to be extremely passionate about the environment, being an ambassador for both Sea Shepherd and the Jane Goodall Institute. What is it that inspires you to take environmental issues into your own hands?

I have always been surrounded by nature in its natural state and all at once I find mankind's ability to be creative and innovate equally fascinating. I have found many moments of solitude and some of the greatest moments up until now have been in nature in its natural state. I find you are able to listen to the real rhythms of the earth and your own self rather than others or other people's inventions. I feel that so many children grow up without being in the natural world and the beauty and peace it can bring to someone's life. Being the ambassador for “The Jane Goodall Institute” I am shining a light on her program “Roots and Shoots” which involves families and children and anyone who wants to be involved in growing their own plants and food and growing their awareness of being more connected to the natural world and its need for us to honour it. I believe that Jane Goodall’s work along with many other scientists and people of this nature provide information that is just so wonderful and so integral in the health of our amazing home. My awareness of the natural world has come from many different sources. I grew up around and surrounded by the traditional indengous Aboriginal people of Australia both up in Arnhem land and in Garma festival as well as in my home all of the time. Weaving baskets and learning about the knowledge of the Aborgininal elders and in particular about the plant  medicine in different parts of Australia that have influenced me greatly. I grew up on a working farm and near the ocean which brought a lot of solace and comfort to me when I felt I needed it, which also led me to become the ambassador for “The Sea Shepherd Conservation Society”. I garden and bush walk a lot and enjoy looking and being around trees for long periods of time. Listening to the birds and other creatures and the elements is the most uplifting and peaceful feeling to me. My own organisation “The Grace Earth Organisation” will be launched in November/December 2020. My organisation will be a place for people to come and find out more information on the many different ways to help us all to be much more mindful about our footprint and the health of our local environments. It will cover many different topics and areas and will have information from other institutes and organisations as well as there being events to help raise awareness about our connection to the natural world and our place and impact on our ever changing home. 

Your debut album, titled ‘Grace’, is set to release later this year. What can fans expect from the new music?

My album ‘Grace’ is one of the proudest moments in my life and I already had 6 of the songs for around 15 years and 4 of them around 2 years before I went on to record my full album ‘Grace’. When a song comes to me I can hear what it wants very clearly and quickly. I listen to the song and what I feel the song is asking to sound like once recorded. This is something I thought very long and hard about for each song I wrote. I consider myself a writer first and foremost and I write everything from the heart, including the arrangements and each layer for each song has its purpose and its place. I loved writing each and every song for my album ‘Grace’. It is one of the greatest achievements of my life and I am so looking forward to others being able to enjoy and listen to my music, dream and find a world of their own within the music. 

What are your favourite Aussie artists? What music inspires you?

I really enjoy Australian music. There is so much art and amazing music in Australia that I have so much respect for. I enjoy ACDC, INXS, The Seekers, Paul Kelly, Nick Cave, Slim Dusty, Yothu Yindi, Geoffrey Gurrumul Yunupingu. The music that inspires me the most and I always seem to come back to is classical and traditional indigenous music from all over the world. It feels so beautifully raw and so wonderfully uplifting to me. I have always gravitated towards this kind of music. Hymns and opera music inspires me greatly too and always has. Wolfgang Amadeus Mozart inspires me greatly. When I first heard ‘Clarinet Concerto in A major and A minor, K.622’ I felt it’s lightness, darkness, softness and suspense he carries throughout these entire pieces in particular. So many times these pieces of music have brought me great solace. It is so brilliant and has inspired me more than I can even say. I do not know how to not think of Mozart’s music when reflecting in particular on my own musical arrangements to bring my writings to an accompanied setting.

When I first heard ‘Four Seasons’ by Antonio Vivaldi I laughed and cried with happiness and all of the emotions one might have in each season going about their daily life. I could feel in his compositions the very essence of our natural world and how we change and turn to move with the beautiful season’s we all adjust to through every year. I love how the leaves on the tree’s turn red and yellow in the Autumn and bare in the winter, and how all of the animals and land gets quieter and much more silent, there is a median feeling in this section of ‘Four Season’s’ that is just so incredibly beautiful. Then in Summer and Spring everything feels bright and warm and passionate and so sensual. This very essence is found so deeply and so beautifully in ‘Four Seasons’. This Artist has inspired me so greatly. 

“Jules Massenet” When I first heard ‘Meditation From Thais’ for violin and piano. This artist has inspired me so much and I will forever be learning from and unveiling the incredible intricate writings and compositions of Jules Massenet. 

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