GOOD GRIEF HAVE ‘BEEN HERE BEFORE’- NEW EP, UPCOMING REMIX’S, WORKING WITH MICKEY KOJACK, & BEING IN NORTH QUEENSLAND

The electrifying duo hailing from Magnetic Island, Yunbenun, and Townsville's Gurrambilbarra, known as Good Grief, have set the music scene abuzz with the announcement of their much-anticipated debut EP, "Been Here Before,". 

This EP not only serves as a cornerstone in their budding discography but also lays down a marker for their future musical endeavors.

The lead track of the EP, "NOMO," emerged from an intense writing session on Magnetic Island, where the duo immersed themselves in a makeshift studio for a week. This track not only guided the thematic direction of the EP but also set the tone stylistically, blending dark house elements with euphoric synth waves. Felix, one half of Good Grief, describes "NOMO" as a journey through dark times, finding solace in reflection, and ultimately moving forward.

"Been Here Before" is a testament to Good Grief's artistic journey, touching upon profound ideologies like growth and resilience. While the EP occasionally delves into darker themes, there's always a glimmer of hope that shines through, showcasing the duo's ability to navigate through contrasting emotions working with Producer, and Mixer ‘Mickey Kojack’ 

Jake, the other half of Good Grief, reflects on the EP's creative process, highlighting the contrast between their older and newer tracks. He emphasizes how this journey has not only shaped their sound but also allowed them to explore new musical territories, marking a significant evolution for the duo.

Drawing inspiration from a diverse range of influences spanning from Dilla to Chic, Good Grief seamlessly fuses their distinct musical backgrounds with a shared passion for modern dance music. Their debut single, "Sun," garnered immediate attention, earning them accolades like a premiere on Triple J Unearthed and features in prominent indie playlists.

Both Felix and Jake bring a wealth of experience to the table, with Felix having performed as a professional dancer to sold-out audiences globally, while Jake has honed his production skills playing at festivals and clubs across Australia and New Zealand. Their recent sold-out New Year's Eve show in Townsville is a testament to their growing popularity and magnetic stage presence.

Good Grief's music defies categorization, blending various styles and moods effortlessly. With their debut EP on the horizon and a remix of "SUN" in the works, the future looks incredibly promising for this dynamic duo. Keep a close watch on their socials for updates and immerse yourself in the electrifying world of Good Grief.

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How are you Jake & Felix? 

J - lovely thanks! 

F- Really good thanks!

How’s the weather up north at the moment?

J - The weather is very tropical at the moment, its either very hot or raining. I love this time of year because we’re coming out of the full summer heat and everything starts to green up. 

Give our readers an insight into Good Grief, and how you and Felix came together?

J - Felix and I had been friends since about 2018 and immediately clicked as friends, we had heaps in common. Around 2019 I started working at a local live music venue / night club and Felix learnt how to DJ and he became a regular playing shows with us. Eventually Felix picked up the guitar again and started doing cover gigs and writing original songs. One thing kinda lead to another and we started working together.

During that period i was focusing on a different project called “Hood Rich” which was house music focused and with covid taking our clubs for so long my writing shifted from club music to basically anything i felt like. Was pretty good timing that felix was getting into music as i was shifting focus i guess!

F - Exactly what Jake said haha! When we met we really clicked on a bunch of different levels, but I was also really inspired by Jake as an artist/creator. He’s so passionate about music and he introduced me to so many new genres/artists I'd never heard of - particularly in the Electronic Dance Music world. Jake has always had incredibly strong visions for his sound (whether that be when he creates or when he would throw festivals/parties) and I was always so inspired by his depth of knowledge and attention to detail over these parts of his process.

Also Jake pretty much taught me how to produce music/DJ which is pretty rad! 

What has influenced the sounds of Good Grief? I see you’ve listed Dilla and Chic; anyone else that you pull inspo from for writing music?

J - Artist influences constantly change for me but there’s a bunch of producers that have always inspired me - people like Philippe Zdar (rip) Tim Goldsworthy, Danger Mouse, Paul Epworth, James Murphy, Joseph Mount, Mf Doom, Kevin Parker, Nile Rodgers, so many more but i dont wanna keep rambling. 

F - Yeah such a mix for good grief! And like Jake said, it changes a lot. I remember when we were writing the first ep we were both loving Durand Jones and the Indicators, LCD Soundsystem and Sault to name a few. But I’d say our newer stuff has a Tame Impala/Talking heads vibe to it.

Are you playing live instruments on this new ‘EP’, or are you pulling samples more than anything?

J - Basically everything is recorded live besides the drums which I spend a lot of time trying to make the samples feel unique to our music. All the effects are done with keyboards then manipulated in ableton as well. We try to avoid using melodic or instrument samples as much as possible to try to create something new. 

How was it working with Mickey Kojack on this EP? Any good stories?

J - Mickey did  the mix downs on this EP after we’d recorded and produced everything but he just came up to Townsville recently to work with me on the follow up EP. I don't think there’s any stories that are good one liners but I’ve worked with Mickey for years and it's always a blast, the guys a legend, an amazing musician/producer and we always have a lot of fun. 

F - Yeah he’s awesome! I did a vocal session with him in Sydney and he was just so welcoming and supportive. At that time I was semi-new to recording/music production and he was the best hype man haha!

Can you give us some insight into putting together ‘Sun’ and ‘Have It All’ the two lead singles of the Record?

J - both are pretty different processes. 

For Sun we were on Magnetic Island recording a bunch of demos and our friend Raymond was over there at the time and he helped us write Sun. Felix wrote the main synth line and originally we were planning the track to be a slower jam then I decided to swap the BPM and drums up to a more dance driven track and the rest of the instruments and vocals kinda wrote themselves. I think that track was almost fully wrote in a few hours.

Have It All; I’d been in New Caledonia on holidays for a couple weeks and each day i’d write a new beat idea and this track was in the pile once i returned. I showed Felix everything id worked on over there and this track jumped out to him. Again i think we wrote all the main parts and a basic structure in an hour. It’s always fun when tracks come together that fast, its an amazing feeling!

Do you have plans to play live? Or are you primarily sticking to Dj sets?

J - We played live twice last year opening for Donny Benet and The Delta Riggs. We’re hoping to plan a run of dates along the east coast for sometime this year. I think after every live show we will likely try find a place to DJ afterwards as well. Felix and I have DJ’d for years and its great to play a set that represents our sound in the club.  

What are your go-to records for listening when you have downtime?

J - I like listening to a lot of lowrider oldies and newer soul stuff to chill out but 5 classic comfort albums for me would be:

since i left you - avalanches

bright like neon love - cut copy

anything 1999 to 2006 by MF Doom and his various alias’

On the green again - tiger & woods

Nights out - metronomy 

F - Run it Back - Homebrew 

It’s all a bit fuzzy - Neil Frances

Young Heart - Benny sngs

Heaps of Daryl Hall and John Oates.

Silk degrees - Boz Scaggs

What’s it like being based in North Queensland? What is the music community like up there?

J - the community is pretty tight and strong. We have a great bunch of local musicians across a lot of different genres but because the city is so small it feels like a lot of people support each other regardless of genre differences.

F - I love the lifestyle here. It’s so spacious and really allows me to be so creative with my time. And yeah, the community up here is so tight/supportive. 

I personally pull alot of Justice, Jungle, LCD Soundsystem out of your music, that’s my personal take, but how would you describe your music to a new listener

J - yeah they’re definitely big influences. We don't intentionally aim for this when writing and recording but i think we sound like chill out music you can party too. 

What’s next for Good Grief, I hear a few remixes?

J - currently working on a remix for Mickey Kojaks new single. We have a remix of Sun coming out heaps soon - I wanted to make a remix we could play in our DJ sets that wasn’t the original and also kept the club sound system in mind. 

We’re currently hard at work on our second EP so hopefully we’ll have a single coming out in the next few months, and hoping to be on the road at some point soon too!

Where can we catch you?

Check us out on spotify and instagram!
https://www.instagram.com/goodgrief_band/
https://open.spotify.com/artist/44vTKdC4JwZej8SuMM7UgB?si=U1k7OYq8T8-nFbsLnmjawQ 

Any last words?

J - Thanks heaps for chatting with us, really appreciate the support! 

Everyone who reads this should go listen to the EP 10 times, tell you aunty and pop to do the same, let's get these numbers up baby!

F - Thanks for having us!

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INTERVIEW: CHARLIE HANRHAN IS GOING IN ‘CIRCLES’

We caught up with Melbourne based artist ‘Charlie Hanrhan’ about his new single ‘CIRCLES’, Blending Genres and Emotions

At just 23 years old, Charlie Hanrhan from the Mornington Peninsula in Melbourne is making waves in the music industry with his unique sound and introspective lyrics. The self-produced multi-instrumentalist singer-songwriter is gearing up for the release of his latest single, 'Circles,' debuted on Feb 10. With influences ranging from Little Simz to David Bowie, Hanrhan's music combines modern trap electronic production with elements of hip-hop, soul, and rock n' roll, creating a captivating sonic experience for listeners.

Hanrhan's musical journey is deeply rooted in his love for various genres, including soul, funk, hip-hop, and rock n' roll. His upcoming album, slated for release in 2024, promises to showcase his versatility and creative vision. Despite drawing comparisons to established artists like Rahgd and Kendrick Lamar, Hanrhan maintains a distinctive style that sets him apart in the industry.

In a recent statement, Hanrhan expressed his passion for music, describing it as his escape and the love of his life. He spends countless hours in his home studio crafting intricate beats, meaningful lyrics, and immersive melodies that resonate with listeners on an emotional level. His dedication to his craft is evident in the depth and sincerity of his musical compositions.

One of Hanrhan's previous successes, 'I'm Good, I'm Rich,' garnered attention from various platforms, solidifying his presence in the music scene. He has been featured on radio shows like RppFM's Sunday Sessions and gained recognition from publications such as Happy Mag and Aus Music Scene. Hanrhan's upcoming album is highly anticipated, with fans eagerly awaiting his next musical chapter.

Despite his busy schedule as a full-time Support Worker, Hanrhan devotes over 30 hours a week to creating music, showcasing his relentless work ethic and commitment to his artistry. He describes his sound as challenging to categorize but believes that the right audience will connect with his expressive techniques over time.

'Circles,' Hanrhan's latest single, delves into themes of self-awareness, personal growth, and mental health. The track reflects on mundane yet profound moments in life, urging listeners to stay positive and true to themselves. Accompanied by meticulously crafted music videos, the single promises an immersive experience that captures the essence of Hanrhan's artistic evolution.

As Charlie Hanrhan continues to evolve and push boundaries in the music industry, 'Circles' serves as a testament to his talent and dedication. With a message that resonates with audiences worldwide, Hanrhan invites listeners to join him on a sonic exploration of life's highs and lows, promising an unforgettable musical journey.

For more information and to connect with Charlie Hanrhan, visit his social media links here.

For More Info, and social media links:
https://msha.ke/charliehanrahan 

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INTERVIEW 

Can you tell our readers about your new single 'Circles', and a little bit about who you are?

Hello readers, my name is Charlie. Hop you’re doing well and cheers for reading this. You know what would be cool. If we broke the fourth wall right now ahah. Hit me up on insta or wherever tf and tell me how you are lol (@charliehanrahan__)…. Shameless promo x. I’m a 23 yo dude from the Mornington Peninsula, Vic. This song is basically about breaking free and reflection of being trapped in somewhat toxic lifestyles surrounding drugs, alcohol, and partying etc. I find myself easily manipulated into environments that I really don’t feel apart of. 

Who did you work with for this single, and what does the name of the track mean?

So basically everything bar those angelic backing vocals you hear towards the end was produced by myself. The title of the track represents the patterns of them unhealthy lifestyle habits I speak about. You know, work for the weekend, party for days straight. Allll of that shit.  

How do you put music together, or do you work with a Producer, if so who?

No producer. I’ve tried working with various producers in the past but I just have such a specific sound in mind when creating and I know that if it’s not exactly how I like it, it just won’t work out. So generally I work alone. I get that that might be seen as boxing myself in but it works for me, that’s how I like to do things. So it’s just hours and hours in my home studio. A. Song will come together over time though. Often I will completely finish a song and if it doesn’t quite hit, I’ll strip down that entire song and start from square one. 

What are some of your go-to records to listen to, when you're either chilling or working on new music?

It really does vary so much, I created this particular record so long ago I’d have no idea what I was listening to at that time. At the moment I’ve been enjoying Sampha’s new album a lot. I’ve also been going through a Yatchy phase and Scaring The Hoes is on repeat. 
Anything exciting coming up over the next few months?

You know I’ve always got projects on the go behind the scenes without a plan on when to release them. So, I might have an album out next week or in 6 months time. I act irrationally with these things. People say that’s a bad way to do it but my audience will find it eventually lol. I’m sort of beyond the point of really giving a f*ck about what people say because at the end of the day I do this for myself. Also I’m moving to London to try make something out of myself. It doesn’t seem to be working for me in Aus. So imma hit the road. Right in the deep end you know.

What other artists and or creatives are from your community, and who should our readers get across?

A couple names come to mind straight away. I’ve been gracious enough to play along side Squid the Kid and his crew over the past few months. Squid had me play some bass with his band at some shows that was just so much fun ! I’ve also been gracious enough to play bass with Seaweed on Sticks. Som e more legends who’ve had me on board. Getting to know both of these artists and work along side them has been such a great joy. They’re both insanely talented crews and even better people. 

What do you like to do, outside of writing, recording and playing music?

Ahahah not much lol. Music consumes me. I like to swim. Always get some laps in at my local pool. Shoutout to YAWA down in Rosebud. They’ve also got a dope ass sauna in there. I also love food and with that, a healthy lifestyle. 

Do you have any shows coming up? Any last words?

No shows. I’m leaving for London as I said.  Booking a show would just be too stressful for me at this point. Uhhhhhh I’ll sign off by saying thank you and I love you. 

COME OUR WAY FOR THIS WAY NORTH

We caught up with Renowned Duo ‘This Way North’ who released Debut Album 'Punching Underwater' 

Indie pop-rock duo This Way North, comprising Cat Jungalwalla and Leisha Leahy, is gearing up for the highly anticipated release of their debut album, 'Punching Underwater,' set to hit the shelves on February 8th, 2024. This musical endeavor is a collaborative masterpiece between the award-winning artist Ainslie Wills and accomplished engineer-producer Jono Steer, promising a blend of creativity and expertise that fans have eagerly awaited.

The journey leading to 'Punching Underwater' has been a fascinating one for This Way North. Having traversed various landscapes across Australia and beyond, the duo found themselves amid the serene Dhudhuroa country in north-east Victoria during the pandemic. Here, amidst ancient trees and high-country valleys, they exchanged the nomadic lifestyle for a temporary home, allowing a pause that became a haven for creative expression, shaping the essence of their forthcoming album.

This Way North has steadily climbed the ladder of recognition, previously honored as Music Victoria's Best Regional Act. Their repertoire includes three EPs, and they've gained prominence not just in Australia but also in New Zealand and Canada, sharing stages with notable artists like Vika and Linda Bull, Ash Grunwald, and Kate Ceberano.

The debut single from 'Punching Underwater,' titled 'My Love,' made its debut in October 2023. Featuring the mesmerizing sounds of Christine Tootoo's Inuit throat singing from Iqaluit, Arctic Canada, the single quickly gained national rotation on Double J and secured a top-5 position on the AMRAP charts, resonating deeply with their dedicated fan base and setting high expectations for the album's release.

In 'Punching Underwater,' This Way North showcases their peak songwriting and performance abilities, weaving together musical and lyrical elements that highlight their creative prowess. With Ainslie Wills stepping into the role of producer for the first time and collaborating with long-time creative partner Jono Steer, the album reflects a synergy that allowed Cat and Leisha to delve deeper into each song, refining them to showcase their exceptional talents.

Recorded across studios in Melbourne and Romsey, central Victoria, each track on the album radiates lush, dynamic sounds, standing out both individually and collectively. Cat Leahy's vibrant, powerful drumming and Leisha Jungalwalla's intricate guitar tones and slide guitar chops are meticulously crafted, forming the backbone of the album's sonic landscape. Additionally, guest vocals from Xani, Little Wise, Tuckshop Ladies, and Ainslie Wills, along with contributions from Jono Steer and guest bassist Brett Langsford, add layers of depth and richness to the musical tapestry.

'Punching Underwater' delves into introspective themes, addressing insecurities, imposter syndrome, and self-doubt while also celebrating the journey of self-discovery and personal growth. From the struggle to avoid falling in love to the highs of building confidence and contentment, the album encapsulates the myriad emotions of a woman's evolution. Ultimately, it leaves listeners on a positive note, embracing the highs and lows of life's journey with resilience and grace.

With compelling harmonies, robust melodies, and a profound exploration of the human experience, 'Punching Underwater' is poised to be a standout debut album for This Way North, solidifying their place in the indie music scene and captivating audiences worldwide. Fans can look forward to a musical journey that is introspective, uplifting, and undeniably authentic.

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INTERVIEW:

Can you tell our readers about your new Album 'Punching Underwater', and a little bit about who you are?

Hello! We are a band called This Way North, I'm Leisha, I play guitar and sing and there's Cat on drums and vocals. We are based in Yackandandah (yes, it's a real place!), in the high country in North East Victoria. We are a drums and guitar duo who often get mistaken for a full 5-piece band, we love blending indie rock, pop, blues, roots and folk with a little bit of psychedelica thrown in! 

We've just released our debut album 'Punching Underwater'! 

Who did you work with for this single, and what does the name of the album mean?

We worked with Ainslie Wills and Jono Steer as co-producers on the whole album and the lead single 'Punching Underwater'. The name is about how when you try to punch under the water everything is slow moving there is a lot of resistance. There were a lot of challenges for us to get this album and the songs together and out into the world, the song is about how you can be too hard on yourself and make yourself so slow by not believing in what you're capable of. We co-wrote this song with Bobby Alu.

How do you put music together, or do you work with a Producer, if so who?

We write all of our own songs by either writing them separately and bringing them to each other to finish or writing them completely together. We then worked with Ainslie Wills on each song in pre-production. She really brought them out to be the best they could be with her incredible ear and song writing sensibilities. We learnt so much from her and how she crafts her songs. 

Who's on your greater team?

We have our awesome booking agents Abby and Bec from Onya Soapbox, our album team was Ainslie Wills, Jono Steer (Co-producers plus some keys and vocals), Brett Langsford (bass), our publicists Stuart and Jonny. But the rest is all us! We're an independent band and work bloody hard to make sure we hustle and create opportunities for ourselves. Oh and our dog Messy.

What are some of your go-to records to listen to, when you're either chilling or working on new music?

We both love Bahamas, Khruangbin, Tami Neilson, Bonobo but there's too many to list! 

Anything exciting coming up over the next few months?

Yes! We have the next leg of our album tour throughout South Australia, Queensland, Victoria and New South Wales! 

What other artists and or creatives are from your community, and who should our readers get across?

We're super lucky to live in a very creative area! There's amazing artists from all mediums: sculptors (check out Ben Gilberts creations), visual artists (Kirrily Anderson), black smiths (Toadhall forge) and of course musicians!

Check out Sal Kimber, Liv Cartledge and DJ Jane Doe. 

We also have amazing whiskey distilleries (Backwoods Distillery), recycled wool and leather workers (Stonehill View), furniture makers (Indigo Woodworks). It's a really inspiring place to live with lots of amazing people doing cool and inspiring things! 

What do you like to do, outside of writing, recording and playing music?

We both love being out in nature, camping in our van with our dog Messy! Cat is a hatter, so she spends a lot of time in her shop making glorious hats (check ou Feather & Drum Hat Co.). I love surfing when I can get to the coast. 

Do you have any shows coming up?

Catch us here:

Sun April 28th supporting Ash Grunwald at Star Hotel Yackandandah

Sat June 15th Melbourne Album Launch Show w East Bound Buzz, Liv Cartledge and DJ Jane Doe at Stay Gold, Brunswick

Fri June 21st Brisbane Album Launch Show at the Cave Inn with special guests TBA

Sat June 22nd Full Moon Party, Verrierdale Sunshine Coast QLD

Sat August 3rd The Stone Pony, w Parvyn Willunga, SA

Sun August 4th Adelaide Album Launch Show at Trinity Sessions w Parvyn Adelaide SA

Fri August 23rd Wauchope Arts, Wauchope NSW

Sat August 24th Sydney Album Launch Show at The Great Club with Monstress and Juanita Tippins Marrickville NSW

Sun August 25th The Fun Haus, Gosford NSW

 Any last words?

We can't wait to hear what you think of the album, don't forget to check out the film clips for the first two singles 'My Love' featuring Inuit Throat Singer Christine Tootoo, shot up in Arctic Canada and 'Punching Underwater' filmed at the Old Beechworth Gaol in an empty 100 year old pool! 

Astro Elevator are Putting Us Into a Kaleidoscopic Trance With Their Latest Single

Astro Elevator, the daring quartet hailing from the vibrant musical scene of Melbourne, have unleashed a sonic storm upon listeners with their latest single, "Kaleidoscopic Trance," released on January 24, 2024. This electrifying track offers a tantalizing glimpse into their forthcoming second album, "Cosmo Vortexia," promising a musical odyssey that transcends boundaries.

Formed in the midst of 2019, Astro Elevator draws inspiration from a diverse array of musical influences spanning the realms of 60s garage psychedelia to the intricate landscapes of 90s and 00s progressive rock. Following the triumph of their debut LP, "Lysergic Liquid Maze of the Psychotropic Triptonauts," the band experienced a meteoric rise in popularity, evidenced by sold-out hometown shows and their inaugural interstate tour in 2022.

"Kaleidoscopic Trance," a compact two-and-a-half-minute musical journey, stands as a testament to Astro Elevator's evolution. The track builds upon the foundations laid by their debut, incorporating complex song structures and a more progressive approach to songwriting. In this latest release, the band's distinctive fusion of driving energy, spaced-out jams, and dueling guitars takes center stage.

Immersing listeners in a swirling maelstrom, "Kaleidoscopic Trance" catapults them into a sonic journey spiraling ever upward. The band deftly navigates the delicate balance between control and chaos, with a formidable rhythm section propelling burning comet-tail guitars through an ascending progression of escalating intensity. The track reaches its zenith with thumping beats and wailing guitars reminiscent of titanic battles, only to clear the air with a pulsating width, leaving audiences in a state of stupefied awe.

All the tracks are crafted and performed by Astro Elevator, showcasing their collective musical prowess. The single was meticulously recorded and mixed by Rohan Sforcina at Head Gap Studio in Preston and masterfully fine-tuned by Lachlan Carrick. Dr Cheeto Feather Pants contributed additional recordings and played organs, while Inktally lent their artistic touch to the mesmerizing artwork design, and Tony Roberts encapsulated the band's essence through captivating photography.

"Kaleidoscopic Trance" emerged organically during an intense creative session, embodying the unmistakable influence of Mars Volta with its chaotic drums and driving guitars. Clocking in at two minutes of unbridled energy and fury, the track invites listeners to embark on a personal and enthralling auditory journey with Astro Elevator.

Astro Elevator · Kaleidoscopic Trance

Backbeat caught up with Astro Elevator to find out more about their influences, team, and upcoming releases and shows.

Can you tell our readers about your new single 'Kaleidoscopic Trance'

Kaleidoscopic Trance is the first single off our forthcoming album. We wanted to make a short, hard hitting, energy packed psychedelic song. The song weaves in and out of an ascending progression with a bombardment of swirling delay drenched guitar solos in the middle, where the song finally releases the tension and breaks free. While it all seems to be chaotic and frantic, the driving rhythm section keeps everything tight and in control. Hopefully the listener will be engaged to wonder where it's all going. The song packs a lot of punch for clocking in at just over two minutes!

Who did you work with for this single, and what does the name of the track mean?

We recorded and mixed the album at Head Gap Studio in Melbourne with engineer Rohan Sforcina. The name of the track comes from the song's lyrics. The ascending progression of the song, along with the ferocious drum fills kind of made me picture something trippy. Like transportation, freefalling and spinning down a tunnel of mesmerising and reflecting colours, so out of that imagery came Kaleidoscopic Trance.

What are some of your go-to records to listen to, when you're either chilling or working on new music?

Lately I've been listening to a lot of 60's garage/psych playlists. Finding forgotten hidden gems from the birth era of psychedelic music. Some other artists that have been getting a run lately include Tom Petty, Lee Hazlewood, The Flaming Lips, The lemon Twigs, Dr John, Elea Craig, The Allman Brothers, Bob Dylan, The Grateful Dead, The Pretty Things, The 13th Floor Elevators

Can you tell us about the upcoming album, and what can we expect?

The album is titled Cosmo Vortexia. It has a few really progged out songs, some clocking in at over 6 minutes. We're experimenting with textures in sound and dynamics. We like to challenge ourselves to come up with a sound that's unique and interesting to record and play live. It's an album where the listener can really sit back and go with the flow, letting them join in on a journey into the unknown. It's only 6 songs long but there's always a lot going on

Anything exciting coming up over the next few months?

Yes, we have the single launch of Kaleidoscopic Trance on Feb 9 at The Beast. A second single will be out in a couple of months. We also have a small run of shows planned for NSW in May. Then we'll release the album and continue playing and touring as much as possible

What other bands are from your community, and who should our readers get across?

A few bands that we've played with that stand out, Sons of Zoku, Maisie, Scatter Light, Skerzo, The Black Heart Death Cult, Zelkova

What do you like to do, outside of writing, recording and playing music?

We're all pretty chilled out when we're not working on music. Other interests include camping, hiking, watching weird documentaries, movies, reading, NBA, jujitsu, guitar making. Although music consumes a lot of our time, it's all of the band members main passion and hobby

Any last words! 

Stay High!

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 FEATURE: JULIA STONE - YES, THAT JULIA STONE…

In what may be one of our biggest interviews to date - Tori spoke to Julia Stone on her upcoming album ‘Sixty Summers’ and it’s a ripper-

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In my early teens I had begun the exploration into my own music taste. Dad introduced me to Sting, INXS, U2 and The Killers, while mum was more comfortable with the softer sound of Diana Krall and Nora Jones. One of the first songs that resonated, independent of anyone else’s influence was Mango Tree by Angus and Julia Stone. The sweet melody and lyrics were nothing like I had heard before, and so their music became a staple on my CD mixes and playlists.

It wasn’t long until everyone seemed to agree, as ‘Big Jet Plan’ let Angus and Julia Stone fly to the number one position in the 2010 Triple J Hottest 100. This cemented them as Aussie favourites for many years to come, even after parting ways to explore their own projects. Angus saw success with Dope Lemon while Julia released The Memory Machine (2010) and her second studio album, By The Horns in 2012.

In between releasing another outstanding collaboration with her brother, Angus in the form of their 2017 album Snow, Julia was working behind the scenes to develop her upcoming album, Sixty Summers. I had the privilege of meeting with Julia to talk about where Sixty Summers came from, her answer was bittersweet;

“this period of summer in my twenties when I would come back from London and spend summer in Australia…..this particular friend of mine, we’d spend those summers together and we go to parties and go the beach and it was just really a beautiful time and really memorable but, what I do remember about it was that it would just come so quickly all of a sudden it was summer again. I’d be back in Australia, and this whole year of touring and living in London had just gone by. On the third summer of this period of time we’re at a really fun party and were on the dance floor, we’re having this beautiful night, it was just one of those magical nights where it’s all flowing and you know, celebrating love and life and she turned to me in this moment of urgency and grabbed me by the shoulders and said can you believe we’ve only got 60 summers left. It struck me as not very long and I had this feeling of the urgency and immediacy of needing to leave the 60 summers in the best possible way….to actually make your 60 summers worthwhile and valuable”

The limited approaching summers, filled with friends and family was evident, but Julia wasn’t going to rush through things. Sixty Summers was constructed between 2015 and 2019, with one track dating back further,

“I am no one, I had that song for years and I always loved singing it, but I never had the right feel for it… it was nice, it was very folky, very fleet Fleetwood Mac, I guess in a way out of all of the tracks on the record it’s probably the one that is the most folk. A tip of the hat to that traditional singer songwriter acoustic guitar playing world that I’ve come from”.

Julia remains a folk artist at her core, she is pushing forward and breaking new ground with her talents, but she still has inspiration from her past;

“I grew up playing the trumpet from when I was five or so. I think my love of horn and wind instruments has always been there and I love it used in pop music. I think naturally as we were working, in writing that was something that I was gravitate to”.

The horns are strong in her title track, Sixty Summers and create contrast to her soft vocals. When recording vocals, the progression in music technology gave freedom to both the equipment and locations used to record the album;

“when we started making Snow, I realised that the recording vocals for me was getting a lot easier to do if I recorded myself. I felt like I had enough skills on Pro Tools and running a studio that I could do it myself, it wasn’t anything to do with engineers not being good enough, it was just that I knew what I wanted to get to. When I had control of the desk, I felt like it was a much easier process for everybody. During the recording of [Sixty Summers] I would take myself off with the microphone and my preamp and stuff and do a lot of writing and developing hooks. I try for lead vocals to do them through a really beautiful microphone in the nice studio Thomas [Producer, Thomas Bartlett aka Doveman] has got an amazing $20,000 microphone that sounds incredible but sometimes the vocals you do or the parts that you create at home, because of the relaxed nature of it I also think and sound really powerful. I’m a fan of whatever works, that sounds good - it is good”.

Her vocals and melodic flow lend themselves to remixes or covers in other genres. Previous songs like Big Jet Plane and Chateau have been mixed and born into new forms. Julia noted this was something loved and was keen on exploring in future;

“I really love remixes and I think where I’d like to go is to go even more dancey. I just loved getting sent dance tracks and padding right into it and so I’d like to make a whole record like that actually, use more stuff that I write as the foundation and then build them up with different DJs. I’m a huge fan of clubbing and I love dancing and so to go more down that road… who knows I mean, we’ll see, I would love that album”.

Me too.

“I’ll keep you posted it might be the next one!”

Julia, as with most musicians expressed her longing to return to tour life. She has been on the road most of her adult life, and clearly misses the connection with her fans. Like many of those in the arts and music industry, she expressed her disappointment at the government covid response;

“I think historically when it comes to government and politics, the arts are in general forgotten about and I’m not saying that’s across the board, there have been governments that have understood the intrinsic value of supporting the creative arts. I think all civilisations that thrive have a really well-supported out artistic industry. I think the fact that you know there’s been such disparity between things like sports and music and dance and all of that kind of being is it’s really disappointing. I definitely see the value in sports, I am a huge fan of sports and I think it really brings people together but in the same way that festivals, music and dance”.

Julia is working hard behind the scenes for her album tour to hit the road. COVID has made her cautious, waiting until they can be sure lockdowns or border closures won’t cause cancellations or the dreaded re-schedule.

While we are waiting to see Julia in person, you can enjoy her cover of The Partisan by Leonard Cohen that she recently recorded with Paul Kelly here. Julia was shocked to discover she and Paul share around the same monthly Spotify streams;

“oh wow I didn’t know that….he’s such an incredible musician and such a hard worker, that’s a huge compliment”.

Who are your most recent songs?
- All of the light, Kanye West
- The Partisan, Leonard Cohen

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INTERVIEW: HOLLY HEBE SAY NOTHING HURTS, SHE PROMISES

Hi Holly! Would you be able to tell me a little bit about yourself? How’re things going now that life is sort of somewhat back to normal?
Things are going well! I live in a little town in Mornington Peninsula, it’s super cute and small and cosy and I love it. I’ve just got my little studio set up in my room, I spend a lot of time they’re just kind of writing and producing and I’ve got a little outdoor piano that I sit at and play a lot at as well. I think it's so nice to be able to sit outside and play music, it’s a lot more inspiring sometimes, than sitting inside. I started uni last year doing interactive composition at VCA, so that's been really fun. It’s like a really different side of music that I haven’t really experienced before. A lot of art music and kind of more abstract, I guess. That sort of side to music has been really cool. So it’s been fun to have kind of producing at home and doing the songwriting thing and then having that side as well going at the same time. I think they’ve been able to sort of complement each other really well which has been fun. I had a great summer break just gigging and jamming out with heaps of friends and things like that, meeting lots of musos and that was just like the best thing ever. I think that’s the biggest thing I’ve gotten out of being more of a solo artist and gigging a lot more so far this year, is just the people I’ve been able to meet. It’s just been awesome.

Your new single is called ‘nothing hurts I promise’ and it’s incredibly beautiful,
I must say I’m very much a fan. Can you give me some more background on that? What was the inspiration behind writing it, how did that go?
I feel like one day I was just sitting at my piano and I was just improvising as I mostly do when I sit at my piano, just kind of playing whatever comes out. And kind of stumbled across this piano riff I guess that I really liked, I kind of fiddled around with that a lot. After meeting so many amazing people over the past couple of months, and I don’t know, certain people I guess just like come/go in your life and they impact you. I just had this feeling that people were impacting me a lot more than what I was impacting them. I was just meeting all these amazing people and I was so inspired by them, and I was like “oh my goodness, I’d just love to be able to give that back to someone.” I guess I wrote this song about things that you don’t say and just really wanting to tell people how you feel and how that’s kind of impacted you or made your life better, but just being too scared. I think in the long run it’s kind of those unsaid words that end up hurting you a bit more. So that’s sort of what the song is about, the song is pretty special to my heart I guess like it means a lot to me. I’ve really enjoyed the process of kind of building this song up from the roots and just having it as sort of a piano riff at the start, and then experiencing all these new connections over the past couple months and then just being so inspired by all of that, then kind of building the song from there.

You had a single launch recently! How did you find the song was received with the audience and how did you feel playing that live for the first time? How was that experience for you?
It was so fun, I think it was kind of what I’ve been working towards for so long and what me and my band have been putting a lot of hard work into. I think to be able to just finally play it at an event that was made for that song, I think that was really special. I told a little bit of the story about the song beforehand and things like that and it was just so nice to see people kind of moving a little bit to it and just seeing people’s faces in the crowd, which is really cool. I think just singing it live made it a lot more real. I guess it’s sort of all the times that I’ve been singing it to myself at home or my first voice memo recordings of the song when I was first writing it and then finally playing live, it’s just the best feeling. It's kind of like “oh, this is what I’ve been working towards .” So yeah it was really cool.

That’s incredible! So you’ve received you’ve released a couple of singles lately… Is this a hint at an EP release, or what are your future plans (If you can tell us!)?
I really think that I’d love to put together an EP, I think at this stage I’m sort of just writing and producing and then being like, “oh yeah I probably should release things!” I guess when I first started releasing I didn't really know where it would go and if would continue releasing, because I feel like I do a lot of different things in my music world in terms of producing and then all my uni work. So it’s a lot of different projects that I’ve got going on. But I’m loving this solo act, and I think with the collection of songs that I’ve got going on I’d love to put together an EP and kind of tell a bit more of a story. So definitely stay tuned!

I’m super curious, what does your writing process look like when you are putting together a song? You mentioned that you use a piano.
It’s so awesome, I’ve got this super old piano, it’s over 100 years old and it's so beautiful. It’s sitting in my lounge room and I’ve basically written probably all of my songs at that piano. I feel like a lot of the times where the songs are little more personal or they’re a bit more poetic or lyrical or closer to me; they always start at that piano. Because I’m sitting down and I’m just in my feels or feeling super inspired. Then other times I’ll be sitting at my laptop just with my computer program open to producing and a riff will just pop into my head and I quickly record it down and then usually goes from there. I feel like if I think too much about the producing side, I overthink it and then I never get the song done. But sometimes I just like chuck in whatever happens and in a couple of hours I’ll be done and it’s so exciting, ‘cause those songs usually turn out to be the ones I like the most. I feel like the ones that I start at my piano are often the more personal ones and then I’ll record them. Then other times I’m just sitting on my laptop and I’ll be like “oh let’s just do something and see what happens” and that’s so much fun. I feel like there’s two different ways of writing and creating a really good ‘cause it kind of suits then different songs that end up coming out at the end which is really cool.

How did you know and when did you know that this was something you wanted to pursue in the music industry?
I don’t think I’ve ever thought of being anything else but a musician in my whole life. I remember when I was really young and I started playing the piano, I think I was four when I first sort of played and then started getting lessons when I was five. I have never ever thought of another career path. Which I think is probably a little bit naïve.

When I was younger I just always thought like “I just have to be a musician, like this the only option.” I think that’s actually been a bit of a blessing and a curse because I’ve sort of had tunnel vision. I just cannot see myself doing anything else and I think that’s actually really motivated me because it’s just what I absolutely love doing. I think that maybe took a bit of pressure off during school because like I felt like I really knew where I was wanting to go and so that was helpful in terms of picking my subjects and things like that I feel like. I enjoyed year 12 a lot more because I was doing subjects that I really loved that I knew that would help me to get to where I wanted to be later on in life.

Obviously still working towards it, I don’t know. It'’s just so cool that I get to have a passion, and I’m really grateful for that. I feel like the past year when I started releasing music, I was like “yeah this solo artist thing is really, really fun, and just being able to play in a band is awesome so I’d love to ride this wave a bit more.” I think originally always knew that I want to do something in music but didn’t know 100% what that would be. I feel like it’s always going to change, but this solo artist thing is really fun and I’m loving doing it at the moment.

And lastly, I just wanted to know who your top three Aussie artists/acts are right now?
I really like Aodhan, he’s from Sydney, he was in the Triple J Unearthed High in 2019. His music’s awesome, I really, really love his sound and his band’s vibe I guess. I really love Velvet Bloom, another Melbourne muso. She’s awesome and her music’s just so inspiring and the way she writes things I think is really, really cool.

And then, I mean you can’t go past Spacey Jane and stuff like that. I feel like they’ve
really revolutionised that Aussie band sound the past couple of years and that’s been
really awesome. Oh, there’s just too many I just love them all.

Listen to ‘Nothing Hurts I promise’ HERE

FOLLOW HOLLY HEBE
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OUR FIRST PHOTO GALLERY IS LIVE Y’ALL!

Thanks to the wonderful, talented babe that is Lauren Barrey, we FINALLY have our first photography gig and gallery, now live, HERE.

As part of THIS piece for The Pierce Brothers by the also wonderful and talented babe that is Tori Louise, our first photographed review is live on our Reviews page now, and it all looks and sounds incredible.

We can’t thank Lauren enough for her fantastic skills and involvement with The BackBeat, and can’t wait to see more of what she’s got to give us!

INTERVIEW: BOB EVANS TALKS TOMORROWLAND

Our writer Suze caught up with Bob Evans re. ‘Concrete Heart’ from his upcoming record ‘Tomorrowland’ and more!

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You have a new song out?
Yes. I have a whole new record called Tomorrowland that comes out on April 16th.  The most recent single is called ‘Concrete Heart.’ 

It’s a great tune.  The sound is almost like The Beatles meets Jebediah. 
I guess there used to be a real gulf between Bob Evans and Jebediah but that has narrowed somewhat over the years. The Beatles thing is undeniable. In previous times I have been directly influenced by Beatles stuff and you can hear it over previous records.  This time around I wasn’t really listening to or being inspired by The Beatles, but they still managed to sneak in there because the artists that I was listening to a lot were inspired by them! For me when I was trying to figure out how I wanted to present this song, I was listening to heaps of Tom Petty, particularly Full Moon Fever. It is probably his best-known record and I really fell in love with it. Obviously a few of the songs I knew very well because they are such massive hits, but I had never really listened to the whole record properly and its now one of my favourites. There are a few songs on that record that are just power pop songs, guitar power pop. I thought that was the angle I could take with this one. 

I read that you had used a bit more electric guitar this time around on the album.
Loads. I mean this really feels like the first traditional rock album that I have made as Bob Evans. Not just because of the instruments we used but also it’s the first time where I have recorded live with my band in a room. Very minimal overdubs, minimal edits. There was just five of us in the room and we smashed out all the songs in like six days. I’ve never done that before. It was important to do because  I wanted this record to have its own unique feel and to be a real point of difference to previous records. I had to look at things that I could do differently. A few years ago I wouldn’t have had the confidence to make a record like that. I would have been worried that it wouldn’t be good enough to pull it off. So it’s pretty awesome to be in a band where you look around and you go these guys are great musicians and we can totally do this. And we did. 

I also heard a whisper that you are touring.
Yeah. Well, the tour is definitely happening. I’ll be going all around the country. We just have to hope that everything remains open. Obviously, as everyone knows, this year is going to be pretty volatile but at the moment, the way things are going in Australia it looks pretty good. 

I reckon things should stay pretty safe in Adelaide.
I’ve just been in Adelaide.

I was just about to say I came and saw you do Club 27 at The Fringe a few weeks back.
Cool, what did you think?

I absolutely loved it. 
It was a lot of fun. So I’ve been to Adelaide twice because I did a Jebediah gig there earlier in the year as well. Look everywhere in Australia seems to be doing pretty well, I think there is reason for us to be optimistic. Certainly more so than last year. 

Absolutely. So back to ‘Concrete Heart’. I liked where you kind of got the inspiration from. That whole putting stuff up on social media in a discussion that is important to you and having someone call you out for being a ‘bleeding heart’.
What it specifically refers to is when you weigh in on some kind of debate that is political in its nature, you know it might be something to do with immigration for example or perhaps indigenous Australia. You put forward an opinion or a comment that is sympathetic and a lot of people who disagree with you use the term bleeding heart as a dis. I have always found that really fascinating and kind of funny because it’s like the criticism from the other side of the debate is pretty much like ‘Oh you care too much'. Is that really a bad thing? I like the idea of taking this bleeding heart thing and wearing it like a badge of honour and making a bit of fun out of that whole term. Concrete Heart is the opposite of that. I mean at its essence it is serious, but I tried to approach it the song in a light, fun way because it is a little bit funny as well. 

It is, because you never get a comment to back up the diss. It’s just you’re a bleeding heart. There is no actual discussion or reasoning why.
Yeah, I don’t even understand what somebody means if they use that term against somebody. What are they really trying to say? I guess they are trying to say that you are too emotional and you’re not rational or logical. Maybe that’s what they are trying to say.

It’s because you are passionate about something. That is why you enter those discussions in the first place. 
Having said this, I rarely weigh in on social media debates. I try really hard not to read comment sections around issues that I care about. It can get really depressing when you see the things that people write. It can be a very toxic environment. So yeah it’s not something I do very much. 

I just can’t anymore because of that reason. And the more you read those comment sections the angrier you get.  Some of them just aren’t going to change their opinions. It’s better to just bow out.
That sentiment is in the song as well. There are lyrics in the song that pretty much say exactly what you just said. I’m the same, you just have to back away because it is not really doing you or anyone else any good. 

No, it doesn’t.

Back to Tomorrowland. Are all the songs that little bit more rocky than normal Bob Evans?
I think so.  I suppose it’s a lot to do with the attitude with which they were recorded. Like I said with the band recording them live I think it just gives the songs a real kind of electricity and a character.

You get that vibe off of each other being in the studio together. 
That’s right. There is a character that I can’t recreate on my own. It really is its own unique thing. I’m really proud of the guys playing on it and what we were able to achieve. And Steve Schram who produced it, it’s a really good sounding record. It’s definitely going to be one of my favourite ones that I have done. 

Is there an underlying theme or is it just a collection of 10 songs?
Well, actually there are 11 songs on this record. We were only planning on doing ten and we got up to day six and we only had two songs left. Steve was like “You know we are going to finish early should we try and squeeze one more song in?” I had to go back to my demos and in a very short amount of time I had to choose one. Of course, the guys had to learn it on the spot. All the other songs we had spent rehearsing before we went into the studio. The second to last song on the record is called ‘Fits and Starts’ and it came out great, it sounds awesome, but the guys were literally learning it as we recorded. It’s one of my favourite songs. 

Tomorrowland is out 16th April. 

INTERVIEW: THE SMITH STREET BAND ARE UNPLUGGED IN WOMBAT STATE FOREST

Photo credit Ian Laidlaw

The Smith Street Band have announced their return to live music in 2021, with a series of full band, stripped back, semi acoustic, seated shows in Victoria and New South Wales. Guest writer from Ambedo Magazine, Keely Millikin, had an e-chat with guitarist Lee Hartney to discuss all things tour, coffee beans, and what’s coming next!

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I wanted to start off with talking about your upcoming album, ‘Unplugged in the Wombat State Forest’ which is out on March 5th. What was the inspiration behind doing an ‘unplugged’ album per se?
During Melbourne's long lockdown we discussed the likelihood that if we were going to be allowed to play shows again they would most likely be seated... and none of us are keen on seated rock shows.

So we reimagined a set in a more acoustic stripped-back style that we think fits better for those shows and is something different and fun for us. Because this is so different and new for us we thought we should record and film it in the meantime and release it for this tour, especially for the people who can't make it to the shows or who we can't get to this time around.

I saw that you released coffee beans as a part of promotion for the new album, could you explain the motivation behind doing so? (I love the idea by the way, and had to pick up some up for myself.)
Thank you! I hope you liked it! Well, everyone's a coffee fiend in the band (except me! Ha ha), so just made sense! A few of the others knew Karon coffee as they are locals to the region where our studio is in Wombat State Forest and we wanted to support our local businesses.

You kick off the Unplugged tour in Bendigo, and all of the shows are seated, which is going to be a very different experience as a band. In what ways do you think that will change the dynamic of your shows, and how the audience reacts?
It will be a completely different experience to our normal loud, sweaty, rock shows.

We really hope people enjoy hearing the songs interpreted in a different way. It won't be for everyone, but we have enjoyed creating the set and hopefully that comes across.

What can we expect to see from your upcoming album release?
For the first time we're releasing a cassette tape & DVD. The CD comes with a DVD with a video of the whole album. Plus it's on black and coloured vinyl.

You recently announced some shows in Brisbane in May with the Brisbane Symphony Orchestra. Have you had the chance to rehearse with them yet and how has that changed your music?
We have just started discussions with them so far and organising a suitable setlist for the show. Once all the charts are written we shall be doing a few rehearsals I believe. It's all very unknown territory for us but super exciting! We are going to go in with open minds ready to do whatever we need to make it sound great!

How has the lockdown been for you all as a band? I saw you all spent a lot of time at your headquarters in the Wombat State Forest.
It's the most time we have spent apart from each other in 10 years! I think we have all enjoyed having a bit of self-imposed time off. It gave everyone a bit of time to work on other things and projects in their lives that usually get put on the backburner. And now it's just made everyone more excited to come back together and to get back to playing shows!

Unplugged in Wombat State Forest Out March 5th
on Pool House Records / Remote Control
Pre Order the album here

How has having your home base in the state forest affected your music and you all as a band?
It's great to have a place that we can all go to and just work on music with no other distractions. It allows us the freedom to record with no time constraints (which may not always be a good thing!) which hopefully means we can release better, more creative albums than we have in the past.

And lastly, what can we expect for the future of the Smith Street Band?
Hopefully lots of shows! We are gonna do as much as we are physically allowed to do. Hopefully we can record some new music as well real soon!

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Follow The Smith Street Band on the rest of their tour and for our fellow local Bendigonians, be sure to check out the interview as part of the upcoming Ambedo Magazine issue! This interview was done as part of the upcoming magazine release, written by Keely Millikin.

FOLLOW THE SMITH STREET BAND
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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: PSYCHEDELIC PORN CRUMPETS TALK ’SHYGA! THE SUNLIGHT MOUND’

Kicking off her first interview for 2021, Tori caught up with Psychedelic Porn Crumpets frontman Jack McEwan to hear about their new album, SHYGA! The Sunlight Mound. Jack talked about the impact of COVID on the album, the highs and lows of touring and the battle of the aux cord.

PPC were finishing up a tour of the USA and South America, jumped straight into the Australian Summer Festivals and squeezing in a couple of months to write and record their next album when COVID-19 pulled out their plans.

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Was the whole album recorded during covid or pre covid?

It was a bit of both. I started working on it late last year when we got back from America, we got home about November and then we had a couple of months in between Falls Festival and Laneway before we were meant to go on tour with Ocean Alley, which was scheduled for I think last April, so the album had to be finished before that cos we were going to use that as a boost, then swing back into Europe. We had South America and stuff, but obviously that all got cancelled. I was actually so happy, like thank god I could become a human again and write and feel like a musician rather than some hungover Contiki traveller just being like, where am I. It was a chance to sort of reflect a bit and we wrote a lot of that material; I spent a lot of the time writing and didn’t finish the record until about the end of July. I gave myself an extra couple……actually four or five months of writing. It was definitely more of a covid album than the others, definitely a covid record.

It was a blessing in disguise then?

Oh yeah, it was a game-changer, It was the first time I ever felt like time had stopped. Do you know that show Bernard’s Watch? It was sick, it was good.

Speaking of shows, did you have any tv shows or movies that were inspiration?

I have always been a huge fan of Mighty Boosh and Monty python, that kinda like, strange, satirical world where everything is comedy central. A good time. Thinking laterally rather than give you a drama piece. Rick and Morty as well, I absolutely binged that when it came out as well. It felt refreshing, like something that had a twist on something that’s already solidified as an idea or a concept. Like Wes Anderson, he always kind of parodies his own movies. If you can get the joke, with Porn Crumpets, we are the most serious, non-serious band, just living in this mean world, so I was like, well let’s have fun with it and see where we can go rather than kind of take it seriously and be the butt of the joke, it’s like, of course we are. Let’s move on with it and have fun with it.

After listening to the album, I have to ask, Jack: What is a tripolasaur?

A tripolasaur? A friend was in a band called bipolar bear, so I thought rather than call it bipolar bear I’d call it tripolasaur, so it’s a man with three brains, or three personalities? Is bipolar multiple or two? I don’t know? If bipolar is two, then tripolar would be a three headed dinosaur. All the lyrics are about waking up feeling rough but you’re carrying on the same way of drinking each night and the audience kind of understands, and its easy to gather why he is feeling rough. Everyone keeps calling it trip-olasaur cos they’re like, this band is a ‘trip’ band, like trip-olasaur and you’re like try!

I also need to know, Is it Shy-ga? Or Shyg-a?

It’s Shy-ga. [Like tiger?] Shyga like tiger! There you go. I was listening to a lot of Godspeed You! Black Emperor. They had an exclamation mark in their name, and I was like, that’s fantastic, it already evoked an emotion before you even listened to it. I knew I sort of wanted an exclamation mark, and I was trying to think of an uplifting word that was like Eureka. I was throwing bits, Shyga, that sounds like something you would say if you get a hole in one! SHYGA! It was too interesting and ridiculous and stupid not to use it. I kept looking at it on my phone and thinking do I take the serious approach or the wonky way? But I’ve gotta do it, I gotta call it SHYGA!

I feel with a band name like yours you kind of need to say f*ck it and do it?

That’s it. I feel like we paved the way to be absurdist’s. But then if we ever tried to be serious, everyone would be like where’s the joke? We kind of ruined both angles now.

You have always been related back to Tame Impala or King Gizz, is that the same inspiration or have you been listening to anything different?

We spent a lot of time when we were touring, passing around the aux cord was a big privilege and everyone trying to outdo the other person with some strange thing they heard. After maybe a year of passing bands that we had all known, we started going back to 70s rock, like T-rex, David Bowie, all those sorts of zingers who are dad rock now. It feels quirky, but funny, but I love this. So, we all started being dads on tour, on the tour bus. That 70s style. Something about it still felt so fun and vibrant and interesting. We wanted to, or at least I did personally, write a 70s rock record that kind of reflected that but kind of put a twist on it into now. So as I was writing, there was meant to be an album called ‘The Greatest Hits of Sir Norton Gavin’ and that was originally going to be a fictional character in the 60s and 70s who was really big in Margaret River or down south and his music got lost but folklorist. I dunno, be funny trying to do that as more of a spinal tap thing. I scrapped the heavy stuff and the folky stuff, we had Pukebox, Mr Prism and Mundungus and I really liked that flavour. So instead of doing it as a ‘greatest hits’, what if we did a 70s record? You know, Google ‘deep dream’, like deep fake where AI is predicting things. What if we could do that, but predict a 70s rock record. So, all these glitched-out guitars would be in there and sound more sort of like, technological and emulate guitars and real drums and real band. That was the sort of idea of Shyga, that with tour diary inserts. What’s my life? With supercomputer picking up synths.

You have been off for a while; how do you feel about touring with Ocean Alley if it *fingers crossed* goes ahead this year?

Yeah - I love those guys. We first met them in Hamburg of all places at a festival and they did our light show, because we played a gig at like, 12 at night, I think. It was sort of like Big Sound, but the European version. They came and watched us and we didn’t have a strobe light so they kept turning the fader on and off, really quickly. It looked great, it was hilarious. We became good friends, then obviously did Laneway together. I feel like that was one of the best Laneways, for me. I just watched King Gizz for five days or whatever it was. It was amazing.

King Gizz and 1975 every day is not at all terrible!

They actually pulled out of one of them, they got sick. Might have been the Sydney one? One of them got sick, so Gizz were like, we’ve got to headline so they did a two-hour set which was OH MY GOD! It rained too so it added to this, I don’t know, it was such a wicked night.

What is the biggest thing you guys have missed from touring?

Nothing at all. I like being safe and comfortable at home. I don’t know. I think having a good yarn with people and catching up, finding the strangest people in the cities that usually seem to be attracted to a Psychedelic Porn Crumpets gig. I would love to do more sightseeing rather than being hungover in the day. I think, not drinking as much and be planning to do something, but then everyone has to be in agreeance so it’s hard. It’s weird. It’s like being on a strange holiday but it’s not. I would like to go to a festival again though. When we are playing early and get the rest of the day off, I miss that. That’s a great day.

A few big artists have come out of Tik Tok and social media in the last year, do you think you still need promoters, labels pushing things for you? Do you think that’s still important or needed in the music industry?

Well, it’s always changing, isn’t it? I think some people find it easier doing the old school bits and pieces and I think for the younger artist or whoever sort of growing up on tik tok, I mean I would have no idea who they are but if they can pack out a venue, they are going to get big eventually and make people pay attention. I think if you can do all of it, it would be amazing. Try and utilise every angle. I am still the worst on social media, I am so glad we have a manager who deals with it. I can’t do it. I feel like an old soul. I feel like I need a Guinness by the fire with a border collie and I’m happy for the rest of my life. I don’t want to keep up appearances.

One of the songs remind me of a song Hocus Pocus by Focus.

I have heard of that song! I love that Hocus Pocus Focus! That’s so ridiculous. I was going to put it on, have the rest of the interview just Hocus Pocus Focus on. That’s great.

Did you have any special equipment or things you used when recording?

Not so much physical hardware, but I got really heavily involved in sort of the software and like how to warp a guitar and just working out how Ableton and all those features I hadn’t used before. All the glitch guitars and basically every single part and vocal is manipulated, warped or pushed up like an octave or even sometimes two or down to give it this strange visual sort of sound. I got so hooked on it I made it the whole flavour of the record but in hindsight I probably went way too overboard with it.

What can people expect from you this year?

I am working on the follow-up. I kind of have it finished, but I want to take my time. Having a month off to see, is this what I want to release or am I just writing for the sake of writing. But at the moment I am enjoying, it’s sort of different elements which is different to what I did with SHYGA!. SHYGA! was one sound and try and write as much in that frame whereas I am sort of going opposite of that now, how many different styles can I put into one record. I think hopefully more enjoyable. I am stepping up production again.

SHYGA! The Sunlight Mount is now available on all good streaming services. Check it out!

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INTERVIEW: ODETTE HERALDS A NEW OMEN WITH HER SOPHOMORE ALBUM

Image: Odette explores a deep soundscape with her sophomore album Herald Photo: Giulia McGauran

Sound the bells and raise the bugles, 23-year-old Georgia Odette Sallybanks, Odette, one of Sydney’s most talented singer-songwriters, has released her sophomore album Herald after dipping and diving through the last five years of her adolescence.

Herald has explored new sonic depths as Odette herself went through a transformative period with grace and maturity, navigating a world of complex emotions. Combining two worlds, her sophomore record is adorned with instrumental intricacies which tie in to the natural world. 

“There’s two worlds that sort of co-exist, so the lyrical world which is very much centred around me, my emotions, or almost self-absorption, and then there’s the instrumental world which is very much a phenomenon of natural environments,” she said.

“While I’m navigating these complex emotions which I’m not really sure how to navigate, these instruments act as sort of a world and also a safe space which creates a grounding texture.” 

And with a new record, comes a newfound sense of confidence for the 23-year-old Sydney song-writer. After a late name change from Dwell, Herald represents a coming-of-age period for Odette.

“When I changed it to Herald it was mostly just because I really really wanted to bring about something new,” she said.

“I wrote that song because Herald means – it’s kind of like an omen – like something’s coming and it has a tone of anticipation and that’s sort of the tone of the whole record.”

The record also features a collaboration with Australian electronic duo, Hermitude, on her track ‘Feverbreak’. The track honours her debut single, ‘Watch Me Read You’, as it intertwines her signature spoken word poetry stylings with delicate electronic undercurrents from Hermitude. 

“I write songs like that when I have a lot to say and not a lot of patience, and the Hermitude guys were so great with that, they just totally got it... it was such an amazing experience,” she said.

“That was the point of the record, to just say everything out loud and hopefully just use that as a launchpad to launch myself out of that headspace – I think it’s working – we’ll see.” 

Late last year Odette reimagined Australian rock band ACDC’s ‘Thunderstruck’ for Triple J’s Like A Version segment, where she mentioned in an interview how much she had grown out of the pressure to ‘sound pretty’ and felt more herself since her first Like A Version cover in 2018.

“[In the first record] I still had this mentality of like it needs to be ethereal, it needs to be pretty and light, and as I’ve aged my voice is getting deeper, you know?” 

Whilst there was a high degree of praise for her cover, a few comments criticised Odette’s interpretation of ‘Thunderstruck’, which perhaps speaks more loudly to the degree of tone policing which is inflicted on some women in music in Australia. 

“There seems to be this weird intense policing of female tone, if you’re not beautiful sounding and perfectly articulate, you get a lot of hate,” she said.

“I just noticed it a lot, especially with female artists and non-binary artists.” 

If COVID-19 vaccines are successful, Odette is keen to get back on the road and tour rural Australia, especially Tasmania. 

“I want to do rural Australia, and I really am desperate to get to Tassie,” she said.

“On my last tour Tassie was always left out and I hated that so I’m so excited. I love Tassie so much, if I could close my eyes and be there I would in a heartbeat.” 

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Odette today releases her second studio album Herald along with a new music video for the title track, and announces a string of national dates in support of the release.

ODETTE - NATIONAL TOUR DATES

6 May - Altar Bar, Hobart

7 May - 170 Russell, Melbourne

8 May - Volta, Ballarat

9 May - Northcote Social Club, Melbourne [U18]

14 May - Lion Arts Factory, Adelaide

21 May - The Triffid, Brisbane

22 May - The Northern, Byron Bay

23 May - HOTA, Gold Coast

4 June - Factory Theatre, Sydney

5 June - The Cambridge, Newcastle

11 June - UniBar, Wollongong

12 June - Fiction, Canberra

18 June - Rosemount, Perth

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VOODOO BLOO’S TOP NZ VISITS

It’s what we like to call Australia’s little sister - but they definitely have a bunch of things over us - Jacinda Arden, Hobbitton, the gorgeous landscapes - the list goes on, and here it is! Leading up to his upcoming EP release, here are punk rocker Voodoo Bloo’s top 5 New Zealand faves;

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Wellington CBD - “I couldn’t make this list without talking about the place I grew up. Honestly the coolest city in the world. Everything in the CBD is very compact yet it isn’t overcrowded in the slightest, some of the best pubs you will find anywhere (try and hunt down the secretly placed “R Bar” if you want some pirate-themed rum cocktails and a good time), and street food cheap yet beautiful. What more could you want out of a hometown?”

Rotorua - “Okay, we get it, it smells a little bit eggy when you get there (and when I say a little bit, I mean a lot), but it’s the closest thing we have to an amusement park (sorry Rainbows End, you don’t quite cut it) in our small nation. The Luge and hot springs are especially a highlight, one of the prettiest places to go in summer.”

Mount Maunganui - “Yet another beautiful town in the summer. I actually stayed in a bach up there for 3 weeks recently and like all good New Zealand towns, everything is right at your fingertips. I’m not much for hiking, but the view from the top of the mount is well worth the trek, and unlike my previous pick, no traces of egg can be found anywhere.”

Taco Bell, West Auckland - “If you couldn’t tell, I’ve already ran out of places I wanna talk about in New Zealand, though I would endorse the one and only Taco Bell in New Zealand in a heartbeat (if Taco Bell is reading this, hit me up with that sponsorship deal yeah?). I’ve spent many hungover Sundays from my visits to the busy city in this fast food restaurant, all the perils of uneasiness and post-rager recovery have come to an end as soon as I take a bite out of that beautiful 5 dollar burrito wrap. Am I a simple man for putting this on the list? Probably, but this is my list not yours, so yeah.”

Wellington Airport - “Okay, I’ve not given up on Wellington, and I’m not trying to imply I wanna bail by adding this, but I simply just wanna say that you cannot find a giant gandalf riding a bird in any other airport. Is that not enough for it to be on this list? How about a massive dragon head (Smaug’s to be specific)? No? Alright. Your loss not mine. It’s awesome, 10/10, would fly again.”

Check out the latest release ‘Ha Ha Ok Ok’ below and keep an eye out for the album - ‘Jacobus’ is released Friday, December 4th.

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THE GROGANS GIVE US THEIR BTS VISUAL DIARY FOR ‘DAY / TO / DAY’

The Grogans have given us a sneak peek into their BTS lives for the making of their latest release ‘Got A gIrl’ and their upcoming album ‘Day / To / Day’ - coming out this Friday November 13th!

This picture gives a little look into the gear we use. Quinny’s a master with all this stuff but we all love experimenting with different gear. This was taken when we were recording the guitar track for ‘Graveyard Sleepin’’. We recorded most of this song through an old tape machine. We’ve been thinking about doing a track through tape for a while and thought this would be the perfect track for it as it’s got a really 60’s sound.

Taken just before we started recording “Got A Girl”, I was just trying to get a bit of ring out of my floor tom by whacking some moon gel on the top and bottom of it, not really sure why I was lying underneath it, probably a bit worn out from the day prior. This is a pretty floor tom heavy so I had to make sure it was sounding alright. That sheet of paper had the song structure on it so that I wouldn’t forget, and the beer was so I didn’t get parched. 

This photo is a nice one to look back on. I think we are doing some group vocals for the track ‘Like You’. Group vocals are always fun for heaps of reasons, there’s nothing like belting out some lines with your best mates but group vocals are usually one of the last takes we do for most of our tracks. You really hear it all come together when you lay down the final touches like group vocals. It was probably past 2am in this photo and we’d been recording all day but were still so keen to keep adding to our works and keeping the smile on our dials.

It’s always super important that we have a break from recording every few hours or so. If you’re in the studio non stop it can get pretty tiring so we make sure we get some fresh air and chill out before we get stuck back into it. When we’re recording at Ocean Grove we usually go for a surf or skate to break things up or even just some lunch and drinks on the deck and we’re good as new!

While having a lil lunch break, our manager Cousin Will wanted to get some pics to use for posts and what not. I think it can be pretty hard for us to take serious flicks most of the time, and I think it shows. Gus and I were probably (definitely) trying to push Quin onto the wet grass or something, plus we’d just been recording inside for hours, gotta get some energy out ya know. 

Be sure to check out the album ‘Day / To / Day’ out this Friday, November 13th!

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EP REVIEW: ZACHARY LEO’S ‘FEELS’ IS GIVING US THE FEELS

G’day, kids and kidlets! I know, been a while but here I am, and lawd do I have a stunner for you!

If anyone remembers, I reviewed a sexy little single called ‘Feels’; a beautiful blend of soul, r&b, and some pretty rock vibes all weaved into that mix. 

Well, wouldn’t you know who popped into our email inbox!

Without further ado; I give you….

Feels, an EP by Zachary Leo. 

1: Prelude

Ahh, what a start! This instrumental number is a little bit 70’s, little bit mysterious, and a whole lot of rock. It’s very… music for those good 70’s and 80’s movies- hear me out- Pretty in Pink? It's just so SMOOTH. It’s delicate, slow burning but oh so sensual. This whole intro really sets a high bar for the rest of the EP. It’s so magically weaved together, I can’t even see straight. Where are my glasses???

2: Insane

You know what? I believe there is a vinyl being released on the 20th of November. I am telling you now- I really fucking want one. The transition from Prelude to Insane is LITERALLY INSANE. It’s so smooth and just seamless. What a good start, Mr Leo!

This one is a bit more on the “Rock” side of Zachary’s somehow multifaceted genre. 

I did struggle to understand the lyrics a bit, but I think the focus was the instrumental aspect of this song. It was definitely interesting to hear the somehow unending vocal limit. I understand the angst in this song, this really conveys Leo’s struggle with anxiety and you can feel that? Once you know what the song is, you can hear it. 

All around, it was a really punchy start to the vocal aspect of this EP. Zachary is really mastering the production of his own work, and let me tell you it is hard to stop playing with something until you’re sure that it’s reached it’s peak. This is that peak. The vocals and instrumentals aren’t battling each other for dominance. Everything is working together to create a great sound. Rock is really versatile in that it can basically reach everyone with very little effort. It’s a genre for the people. 

3: In My Head

Hello, gorgeous! This is a really funky little track. I'm wiggling in my seat, it is so easy to move to! I think there is a music video attached to this song, being released early! 

This is way more gentle than ‘Insane’, it’s got remnants of ‘Feels’ so you know it’s a kicker really, it’s got that slow build to the bridge and it just feels like it’s directed at me? I mean, the listener. 

You get your classic Zachary Leo Serenade, with familiar guitar licks and punchy bass. Very good stuff, Zachary. I can dig it. 

4: Interlude

Ah, this feels like the part where you’re supposed to take a breath and relax a little. Every single song on this EP is able to stand on it’s own; and yet they all work together so wonderfully? How does this happen?? 

This interlude is a little bit of lullaby, it’s so soft and delicate, I think this is exactly what the EP needed- just a teeny tiny little breather. 

5: Feels

Now listen; I know I already reviewed this song, however when I heard it again in the order of the EP, I felt like I was hearing it for the first time. I feel like there is a whole other facet to this song that I wasn’t hearing before. It’s a whole new song when tied into this EP. It’s so brooding and I feel like I’m sitting on the couch on hot (Australian) summer night, and Zachary is explaining what he’s feeling towards me, the listener, the partner, the fling-or-something-more, and he's just pouring his heart out, the little muffin. Poor darling. I hear you. When I heard it as a single, I wasn’t sure how it would sound in the EP but now, it fits. Here is the missing puzzle piece. It’s a 6 piece jigsaw but it still needed this song.

6: Out Of Place

Did you think we were leaving the rock behind? You are sorely mistaken, my friend. 

This is such a garage band kind of rock song. It’s super vulnerable but also so wonderful in the sense that we are being pulled in by the delicious guitar and enigmatic drum kicks, and the lyrics just set us down for a great show. This is the garage band your brother and his friend started and you go because his drummer friend is hot but you stay because you love the music. 

This one definitely fits with the title, Zachary definitely puts across that he's feeling out of place in the scenario; I can’t quite pin whether or not he’s been rejected or if it’s coming, but there's a little bit of angst hidden between the rock/grunge guitar riffs, and is that a solo I hear? Yes. Come to mama. 

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Overall, this is a really solid start to Zachary Leo’s Album/EP discography. I believe the songs all worked together to create a beautiful story of love and the mental struggle with comes with that whole thing: rejection, hope, questioning of self worth,; it’s all there if you listen hard enough. 

There is definitely some cohesiveness to each song and the transitions are wonderful, and while I think that while interlude was needed in such a multifaceted EP, it feels slightly out of place in it’ lullaby like form. It was a breath of fresh air from the heavier, rock/funk tracks, but I felt like maybe it could have gone at the end instead of the middle of the track list. A calming, almost moment-of-clarity end to the EP would have rounded it off well. 

In any case, it’s wonderful to see such strong music coming out of Melbourne; it’s looking like the music industry will recover from the hefty times we have all been through as of late. 

Great work, Mr Leo. 

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INTERVIEW: GOOD NEWS EVERYONE - I’M NOT EMO (BUT THE SONG IS)

1. You’ve just released a new single, I’m Not Emo (I’m Just Sad), can you describe the song for me?
I’d say that Emo was our version of a sad boy pop punk song that would’ve come out back in 2015 from a band off of warped tour. 

As a whole, I would say the song is definitely a good mix of an emo and pop punk song, although instrumentally there are a couple of times, such as the second verse and the bridge, where that changes up.  Lyrically, the chorus is basically a description of the point I was at when I wrote this, talking about how I’m not the person I want to be and more and more frequently I would just reminisce on the past. But then there’s also that duality throughout the chorus saying I’m not going to let the past define who I am and that I’ve already come so far from where I was and I can’t let that go to waste.

If I look at the song broadly, I would say that it’s not a song about being sad but more about being hopeful for what’s to come

2. What was the inspiration behind the track?
At the time we started piecing Emo together we were listening to a lot bands like Real Friends, Moose Blood and Pierce the Veil so just naturally we began writing things that were more in that vein. 

As whole though, we all really enjoy the vibe that you get from seeing bands up on warped tour so I think that played a big factor in influencing the song, being that we listened back to it and could see it being something a band on warped would play

I think coming into Emo, we wanted something that was a bit more upbeat that we could have some fun with and I think we achieved that pretty well. 

Right as this was coming together though, Victoria went into its second lockdown which was rough because we weren’t able to catch up with our friends which put me in a really negative place. That’s why there isn’t anything especially complicated about the lyrics, it was straight from my mind to my paper on exactly how I was feeling listening back to the demo

3. As you’re in Victoria, I imagine it must have been challenging to work on new music. How did this single come about with the restrictions in place?
The way that we normally work as a band wasn’t really affected that much by the restrictions. Typically what would happen is I would demo a few songs, have the boys come over and listen to it, pick out parts we wanted to change or fix up and then decide what to do with it. 

With these restrictions all that changed was instead of having the boys come around, I’d just send them a google drive link to the song and we’d go from there.

Once we knew we wanted to put this out, we recorded our parts and sent them off to Jaime Preciado from Pierce the Veil to mix and master and we couldn’t be happier with the result!

4. The music industry has definitely been hit hard with the pandemic. How has this affected you, both mentally and with your music?
For us, we were just starting to get organised to do some gigs and all that so it definitely set us back a long way when it came to what we’d want to be doing right now. Right now though we are going to be getting into a rehearsal studio in the next couple of weeks so at least now we can start making some progress and hopefully get out there and start playing some shows soon!

Mentally, the first month or so of the lockdown left me reflecting a lot on better times and had me thinking about a lot of people and memories that I hadn’t for a long time. It put me in a bad head space and I realised that there was a lot of thing I hadn’t properly worked through and I think that’s probably going to reflect a lot lyrically in our songs that we’ll be putting out later

5. I have to ask...is the band name a ‘Futurama’ reference or just purely coincidental?
Yes it is! One day it got thrown around and we thought it was funny but eventually we couldn’t agree on a name so we stuck with that one

6. What are some of your current favourite Aussie artists to listen to?
Right now I know that Alex is listening to DMA’s, sticky fingers and dune rats. Adam is listening to a lot of Thornhill, Windwaker and Stand Atlantic. I’ve been listening to a lot of The Beautiful Monument, Eat Your Heart Out and Columbus 

7. What can fans expect to see from you next?
We’re currently working on our next EP that’ll be coming out between February and March of next year so that’s always exciting. We’re also now going to be able getting into a rehearsal studio to get ready for some gigs whenever we can so that’s gonna be fun once we can!

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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: REINS TALKS WHAT KEEPS HIM HERE

Since first listening to Chris Pearce’s solo project last year I have been waiting for more to be released. What Keeps Me Here is what Reins have blessed us with. I reviewed it recently and that just left me with more questions than answers, so I asked Chris if he was keen to have a chat about the EP

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So this is a little bit different to Saviour!

Yeah it is, big time. I’ve always done stuff like this, but I’ve always loved metal as well. It wasn’t a big change for me. If anything I was probably way less metal by the time I joined Saviour. Joining Saviour made me get back into metal again.

I’ve been following Reins for a while and I have a feeling that it was Nick Deveril that put me onto you.

He’s the most supportive dude.

Yeah we met through our common love for Saviour.

What Keeps Me Here is so good, I couldn’t believe that nobody had done a write up about it.

I didn’t really send it around. I probably should have. I had one review in the works but never followed up on it.

I had it on loop for about 3 or 4 hours when I wrote the review. There are so many messages in the songs

It’s an awesome review. Thanks for that.

The more I listened to it the more I got out of it. Then I realised that it loops from Losing Your Mind back around to Storm Clouds. Just like the pattern of depression can repeat itself. Did you know you had done that?

Nope not at all. I just wrote all the tracks and chucked them together on the EP the best I could kind of thing. Its even interesting hearing people see it as like this release around the one thing. When I was writing the songs they were all so separate. Every track was separate, and I pieced them together. I guess it’s worked out because they all flow well into each other.

I actually thought you were telling a story because when you listen to it from start to finish you start with that depressive state, you hit rock bottom and then you start to come good only to fall into that state again.

Some songs are obviously specifically dark and angry like Storm Clouds. I get weird sleep paralysis and start doing weird stuff in my sleep which my girlfriend has to put up with. So Losing My Mind is about that.

See I took a totally different meaning

I always try and write lyrics that are not super obvious, they are more that you can take it on however you want.

Which is what I did because that’s not how I interpreted it. I took it as when you are in that depressive state it paralyses you.

I write a lot of songs that are specific and others that aren’t. Temporary Fix is about when you have a problem with something, or you are unhappy, and you turn to alcohol or anything to try and numb the pain and forget about it. It doesn’t work, it always comes back in full force. It’s just that temporary fix.

I took Temporary Fix as being in that dark spot and self-medicating. 

It’s all along those lines

When I published the review I was like OMG I hope I got this right!!!

I really found it an interesting read. It was almost more in depth than what I’d kind of processed my own songs. I just write them I don’t really think about them.

Grey and Old to me was someone at that suicidal point of depression looking forward into the future at what they might miss if they were to take their life. I’ve got this whole story from this EP!

That’s cool. Way more in depth than I went. Grey and Old for me is just every lyric is a specific memory that I have, something that has happened. It’s all good memories, yeah it’s more just memories to take when I am old really.

I’m still over here following this story that I have got happening.

I like that though, that’s cool. I like that your getting that vibe from it. I think it’s very upbeat and happy music wise, but a lot of people reckon there is still a darker tinge to it which is surprising. Because I listen to heavier music and emo music I see that song as a super happy boppy song, but other people are like no its still not that boppy.

The first few weeks I played it I was bopping around, and I was singing but not actually listening to what I was singing. It wasn’t till I sat down to review it and I’d already written this big blurb about what a happy boppy EP it was, I had to scrub it and start again haha.

Some of the songs have that emo vibe, like Storm Clouds. It probably makes the rest seem like they are emo, and they are probably not. Brightness is a happy song, that’s about family. But also acknowledging that you should put more effort into seeing your loved ones.

And I took a different take on that one as well

Whatever you wrote was almost that kind of vibe but more in depth. I think it was more feeling bad that you’re not being present for your loved ones.

I think my favourite is What Keeps Me Here but choosing one is hard. And I took that as, going back into that cycle again, and there’s that one person that is holding you here.

I don’t really know what I meant with that song, but it makes sense at the same time. It’s like a sad love song but its not at the same time. It’s for the people that put up with you through the bad times. They’re what keep you around when you could obviously be anywhere else. They are the reasons that you are where you are.

I think I wrote that it’s not the physical space of home it’s the people that you surround yourself with.

For sure.

Do you have more songs piled up?

I’ve got so many honestly. It’s hard to get through them there is such a big pile of songs to finish. I’ve got another EP, hopefully I finish it this year and release it early next year. It’s a follow up to ‘What Keeps Me Here’, like a part two.

Do you do a lot of the writing for Saviour?
No not a lot. I think I did three songs on A Lunar Rose.  We all throw in our little 2 cents worth, but Bryant does most of it. He’ll send stuff over and get me to have a listen. I’m not as good a metal guitarist these days.

You do alright playing stripped back guitar. Like I said WKMH is an EP that you can throw on Sunday mornings and get that chill vibe.

Yeah it’s definitely that kind of vibe. Mellow, chilling kind of vibe. The next one is going to have a bit more of a full sound I think. I’m going to write it as if it’s a band rather than a solo act. I’ve got a band that can play my songs, I’ve got some mates that can jump on board.

You’ve got some older stuff up on Spotify as well that I love.

Yeah the older stuff still sounds like a full band. I’m going to stick with a similar sound to what I’ve done previously but I just want to make it more fine and crisp I think.

This one is definitely different to your older stuff.

Some of the songs on this EP I wrote back when I did that older stuff. It was just finally getting around to them.

Do you do the recording yourself?

Yeah I do all the recording here and then send it off to a guy who does all the mixing and mastering for me. He recorded the drums on the EP as well for my drummer who is really good.

Did you have a band at the EP launch?

Yeah they all played at the launch. They are pretty much band members, but they don’t have to deal with all the other stuff. It was a good night, even though there are restrictions it sold out.

That’s great that it sold out. So they just turn up and play?

Yeah pretty much.

I guess that means that you can probably tour eventually???

Hopefully. Obviously touring is a bit out the window at the moment. Lots of people are touring WA at the moment though. I actually didn’t even record any music during lockdown. I’ve just been gardening, cleaning out the shed. Stuff I normally neglect!

It’s been a productive time. For the normal everyday stuff that you neglect, but also for bands to regroup and write new stuff.

Yeah. The number of albums that are dropping now, that are quarantine albums, is actually crazy.

Anything else you want to tell us about the EP

Not that I can think of. You went pretty far into it (laughs) better than I did. I think I just write these songs and chick them out and don’t think too deeply as to what they are about.  Storm Clouds is such an emo song, I wrote that in one session. Wrote and recorded it before I even had a chance to think about what it was about! That happens frequently. I wasn’t even going to put it on the EP but once I wrote it I really liked it and I released it straight away. I got it out there as quickly as I could. That song did way better for me than anything else I have done so far. I was really surprised at how quickly it came together.

Sometimes they are the best ones!

For sure. Other songs like Grey and Old, I wrote the first half of it 4 years ago. I’d kind of forgotten about the track. My partner kept telling me it was a really good song and I needed to finish it. I was like yeah one day! Eventually I decided that I should try and finish it so the last half of the song I wrote 6 months ago. It’s kind of like a different track the bridge onwards but it works. I’m really happy with that song.

When you posted about which one was our favourite I couldn’t even really pick one because they are all good in their own way.

There doesn’t seem to be a clear favourite that I have seen. I thought Temporary Fix would be the least liked, but a few people have said that was their favourite. Heaps of people are liking the title track too. All my favourite songs I haven’t even released yet, that’s the funny thing.

That’s good then! Are they coming on the next EP?

Yeah. I have to get a move on I guess and get it finished. It always takes longer than you expect though.  

Hopefully it doesn’t take too long! What Keeps Me Here is one of my favourite EP releases this year and one you should definitely throw on Sunday morning while you’re having your morning coffee.

READ THE ‘WHAT KEEPS ME HERE’ REVIEW HERE

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INTERVIEW SERIES: TEENAGE DADS & X PROMOTIONS

Teenage Dad’s released a new single a few weeks back ‘Thank You For The Honey, Honey’ and are playing their first live show for a while via a live stream on Thursday night along with 3 other acts from the Frankston/Mornington Peninsula area brought to you by X Promotions and The Frankston Art Centre.

I caught up with Vincent and Connor this morning to talk about the single, the live stream and I may have caught a few funny stories from the boys!!

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Tell me about Teenage Dads and how you got your name?

Vincent: We’ve been playing gigs since 2017 but we started in 2016 just playing at everybody’s 18th birthday parties. Early on in the band we had a second guitarist, and he suggested the name. It was turned down from another band he was in. We all thought it was funny at the time, so we just held onto it since we didn't really know what we were doing haha. It’s been a good ride so far.

How did you guys get involved with Ryan and Andrew from X Promotions?

Connor: That was through 2016, towards the start of 2017. Andrew had put on a couple of gigs at The Rockstar Bar in Frankston on Sunday afternoons just for young bands, all age events. Some of my friends at the time played in a band and had done a couple of gigs with Andrew. They put in a good word for us and I think that’s how the relationship started with him. We did one of the Sunday afternoons there and have been in contact with Andrew ever since.

Vincent: Yeah he has always thrown opportunities at us the whole way, whether or not we have been able to do them. He’s never forgetting about the local bands that are coming from the area which is really cool. When they came up with this idea I think he said us and the rest of the line up were the first artists him and Ryan thought of and reached out to. Obviously everyone is really keen.

Yeah they said everyone jumped on board really quickly! And they have discovered a really cool AA venue with the Frankston Arts Centre. It sounds like a really great space, having the three to four different areas to play.

Vincent: I’ve only been in the main theatre section which I never thought they would end up using for something like this. The other space we are using Cube 37 we have played in before during a Battle of the Bands. So again there’s the all ages aspect. But I haven’t seen the other spaces. Have you Connor?

Connor: Yeah I did a couple of primary school productions there, but I can’t really recall what it is like inside because it has been over 10 years.

You have a new single out ‘Thankyou for the honey, Honey’

Vincent: Yes we do. We’ve had it for ages, but I think when we once we had recorded it we had a couple of other songs that were ready as well. I guess we kind of planned to release them in this order Pocket Money, Adrenaline Rush and then Thank you for the honey, Honey. We did the first two and that was awesome. Then getting ready to get Honey out around May and Corona happened. We just had to delay it all. I think in some ways it may have been for the better. We are really impressed with how it is doing so far. If we had of put it out earlier in the year we might not have had anything to do all throughout lockdown. I think we have done really well at staying active.

Connor: At the start of lockdown when we were scheduled to put it out we discussed staying on schedule, but it was so unclear. What if we threw this song out there and it just feel on the ground. I think waiting was good in the end. Getting to the point where we knew that it was safe to put a song out and people would hear it. I think at the start of lockdown at lot of stuff could have gotten lost.

There’s been some great stuff come out during Covid

Vincent: And what is still to come that has been written during lockdown.

I saw that guys you had played a few of the bigger festivals like NYE on the Hill and St Kilda Festival.

Connor: Yeah I think NYE on the Hill and St Kilda Festival are probably our two biggest ones. NYE on the Hill was really fun because we played the day before NYE and it was 40 degrees plus. We were so scared with all the bushfires starting to pop up around whether we were actually going to get to play. Our whole area was pretty sweet in regard to that. On stage the wind gusting in at 40 degrees…. They had sandbags on Vince’s cymbals, but they got blown right over half way through the set.  Shit was flying around everywhere! We were in the shade of the stage but everyone in the crowd was getting absolutely char grilled. We had to have lie down after that set, it was pretty rough.

Vincent: Not long after that the typical storm came through it got hectically windy. I think a tree fell on someone, but they were okay. I just remember hearing about that and thinking holy crap.

Connor: It was at Welcome to Country at the start of the day. So there was a big celebration going on and everyone was watching the dancing and you just heard this almighty snap, and this tree falls down. Luckily no one was hurt. Everyone rushed over and helped them out.

You also released an EP last year, how was that received?

Vincent: Yeah Red.

Connor: Yeah it was alright. We had just come off doing our debut album (Potpourri Lake) at the end of 2018. We wrote a bunch of songs that we were really pleased with, it was when our sound kind of changed a little bit. We got Jordan our singer on guitar as well as keyboards. A lot of the songs we were writing were really interesting and exciting for us because we hadn’t played with two guitarists since 2016 when we were a 5 piece. It was exciting to get some of those sounds back. That’s were our songs Message in the Sand, Pocket Money and Taylor came from. I think we pumped that EP out really fast and into the open, but it was still a fun process. I don’t know that it performed as well as we would have liked it to, but it still did well, and we got heaps of opportunities from it.

Do you record in a studio or do you do it in house?

Connor: Jordan did it at Uni for a bit, but he has been teaching himself to do it for a long time. We’ve had one song mastered by someone else and we kept telling Jordan he should have a go at mastering it as well so we could compare them, but he never did! It turned out good but not quite how it does when we do it. It wasn’t that one was better or worse it’s just that we like how Jordan does it better. So we are sticking with that for the time being.

Vincent: If you’re competent enough with the programs you can pretty easily figure it all out. We just enjoy the process too, all being there. It’s easy enough to make changes and not be worried about the ‘time is money’ thing. If you’re getting someone to mix it or something then you’re paying for every change. So it’s good inn those aspects for sure.

Tell me about the story behind the new single.

Connor: Most of the instrumentation I had done I think in 2018. It would have been the last year I was at Uni. I was pretty fed up with Uni and if you take all the lyrics out and just listen to the instruments it sounds heaps more angry than what it turned out in the end. Which is good. I think it’s a good thing that Jordan and I have got going at the moment. With his musicality and lyricism and the way I write songs as well I think we’ve got a pretty good combo going on at the moment. Also our bass player Angus has been stepping up and doing a bit of song writing too which is cool. SO now there is bit more dynamics going on in the song writing process. The lyrics, from what Jordan has explained, it’s about you kind of being left in the dark not knowing if someone just wants you for a short amount of time or if they are in it for the long haul. That’s what I understand from what Jordan has told me about it. Like I said the instrumental part has been around since 2018 but we didn’t do anything with it until 2019, we recorded it all and haven’t been able to use it since, until September when we could put it out. We’ve been playing it since before this time last year, so I think that kind of helped with the anticipation of it. We would announce that we were putting a song out and that it wouldn’t be this song and people would be like ‘Oh come on put out Thank you for the honey, Honey’ already. It was like na we want to put this one out.

Vincent: Pretty much after every show people would message us saying I can’t find that song where is it?

Connor: Or they would put it on Instagram stories asking what’s this song. Or do you guys have this song out? There has been good build up to it. I think being able to practise it for a year before it came out is pretty good too.

I did see someone had written something about it being leaked prior to release, I’m assuming that is what they meant. You guys already playing it live.

Connor: We had a mutual friend leak our song. Often we show our friends to see what they think of songs and get some feedback. It was pretty funny, one of Jordan’s friends put it in a team fortress 2 gaming montage. So he had it in a gaming clip, I don’t know how big his following is, but I assume he has a bit of a following, but people watching started asking what’s this song. There was just silence, he was like I’m not allowed to say what the song is because it’s not supposed to be out yet. It had a couple of changes before release and you’d have to dig pretty deep into YouTube to find it.

I guess you are pretty keen to get on the stage on Thursday night and play

Connor: Yeah it’s going to be good. We are mixing up our set a little bit and trying something that we have wanted to try for a long time. We are going to tandem our songs into one another because there is only a very short set so there are going to be no breaks or end of song, just play them straight through. We are excited to try it out because we haven’t done it before, we also haven’t practised it together either so we could scrap that last minute!

Vincent: We could get into rehearsal and realise we need more time to do it! But we’ll see. Hopefully it works.

Connor: We have some time to rehearse prior to the gig. After taking a bit of break, the first time we play it’s like crap we’ve lost the mojo between us but then the next time it’s like it’s just there again. We are all back in sync with each other. Hopefully that happens on Thursday!

It’s a very talented line-up and I’m looking forward to watching you all.

Vincent: We are super keen. Specially to see Boler Mani.

Connor: I was doing a phone interview the other day and I was saying Boler had his first ever gig in 2018 and my friend group knows him from his sister being in our social group. Everyone was like get down for his first gig and I missed it by like 5 minutes.  So I’m excited to actually see him play.

He has so much content on You Tube.

Connor: Yeah he has heaps of stuff.

And Velvet Bloom are just amazing. Maddy’s voice is something else.

Connor: We have been fans of Velvet Bloom for a long time. They have played a bunch of shows with us.

Had Ryan not sent me the PR pack weeks ago I would be none the wiser about these bands. I’d heard of you guys before but not the other acts.

I also got a little touring story from the guys when they set themselves the task to free camp the entire tour!

We Big 4 a lot when we tour or free camp. On our tour at the start of the year we had a goal to try and not pay for any accommodation for the whole tour. We did really well but there was one night where we couldn’t stay where we were going to, and we had to get an Air BnB at the last minute. But the rest of it we tried to do it without having to book and pay for somewhere. Obviously when people let us stay we buy them beers or dinner or merch. I think it was funny. I think our biggest show in Adelaide we supported Lime Cordiale at HQ, that’s a huge venue and when its full it looks awesome. Some of the other guys rocked up early and we were like where are the rest of the guys? They were like there at the hotel studying for exams.  We were like that is so different from our set up!! We are at the West Beach Big 4.

That’s actually a really good caravan park!!

Vincent: Yeah it is I love it there.

Connor: Actually we were at Wills that time! I remember thinking man I wish we could pay for a hotel (laughs) I reckon out favourite packing the car story is one of the first times we had to fly from city to city. We flew from Melbourne to Sydney to play our own show and then the next morning at 5am to play the HQ show. In Sydney we got a hire car. Vinnie and I were talking about it for ages. Like should we get a sedan or a small hatch. We went with small hatch thinking it would have more space. We rock up to the depot and we have all of our shit and we look at this car. It’s like stuff under the arm, hold cases, bags and stuff and we just looked at it and thought there is no fucking way that this is going to fit in there. Basically it just fit. It was the most ridiculous set up ever. The front seat was pushed right to the front. We had one of the back seats down and Angus and I were just about sitting on each other’s laps!! It was a good time, but I think we will go for a Rav 4 or something next time! We just wanted to cheap out but sometimes its not a good idea.

You get good stories from that and make hilarious memoires.

Connor: I just remember Jordan losing it!! “Who’s fucking idea was this??” That was before we had even attempted to get anything in the car. Just doubt straight from the start, like this is not going to work.

I can relate to that. When I picked up the Diamond Construct boys from the airport we got to my car, which is a Commodore, and just looked at the car and all the gear!! We looked at each other and then at the car and we all had that “how the hell are we going to do this” look on our faces. It was like Tetris packing, but we got it all in.

Last words…

Vincent: Stay tuned because we have more stuff in the works as soon as we are able to record.

Grab a ticket to the live stream on Thursday night here: https://bit.ly/2FV8QOz

Teenage Dads are another band to keep on your radar. Go follow their socials to keep in the loop.

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