INTERVIEW: DAYS LIKE THESE ARE KEEPING US ‘WIDE AWAKE’ WITH LATEST EP

Congratulations on the EP! Can you tell me a little bit about the inspiration behind it?
Thank you so much! Wide Awake was created over such a long period of time. The EP doesn’t have a consistent story or theme as such, but I think you can hear the growth of Days Like These as a band. We definitely feel that we found ourselves as musicians throughout the journey of creating this body of music. The title stems from a lyric I used in multiple songs across the EP, and
I think the words ‘Wide Awake’ also sum up what I was just mentioning before about realising and
finding ourselves as musicians.

What’s your favourite song off of Wide Awake?
My personal favourite song will have to be ‘High & Glow’. I think it’s the most unexpected song on the EP, and I hope it surprises people who haven’t heard it before listening to the record. It’s
heavy, energetic and incorporates some very cool soundscapes and atmospheres.

What did the production process look like?
We went into this EP not really knowing what we wanted out of it. In the past, we’ve played with quite a few different sounds, but when we were writing this material, we were really struggling to complete songs and be stoked with them. In the end, we just took the best songs we had to Chris (Lalic) and we deconstructed them and made them the best we could. Two of the songs we wrote from scratch while we were in the studio and they turned out to be some of the best.

Who are the top three Aussie artists/acts you’ve been listening to recently?
- One band I always keep coming back to is Ocean Grove. The development on their latest
album is incredible, considering the setbacks they faced as a band. They came back
stronger than ever and some of the best OG songs are on Flip Phone Fantasy.

- A smaller band from Adelaide called Heartline have recently found themselves on my
radar. They just put out an amazing EP and I can’t wait to see what the rest of the cycle
has planned for them. I’d love to play a show with them at some point.

- Lastly, and with absolutely no shame, I am obsessed with Amy Shark. She just released
her new album too and it has made me fall in love with her all over again. I think her story is
very motivational too. The amount of hard work she put in for all those years is incredible.

What’s next for Days Like These? Any live shows coming up?
Yeah! We have a headline show at the end of this month which we are incredibly excited for, it’s
going to be a very special night. For the following months, we have a handful of shows lined up which are nearly ready to announce, but I can’t say anything just yet. Other than that, we already
have a huge amount of new material.

PRESS RELEASE FOR THE UPCOMING EP ‘WIDE AWAKE’ HERE

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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A Q&A WITH VERSEARY

Our gal Ashlee had an e-chat with Verseary for a quick Q&A about her upcoming double single A Fools Gold.

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Firstly, I just want to say that it was great working with you on this project and congratulations on the release! What was some of the inspiration behind ‘A Fools Gold’? 

It's a single with an extra song. The new song is called Losing Game.

It's called “A Fool’s Gold” as a lot of people were moving from Melbourne to regional areas of Victoria to escape the Covid restrictions. 

Essentially, the grass is not being greener on the other side. It’s also another term for pyrite which is fake gold. Victoria has many gold rush towns. Where I grew up and stayed last year was one of them. 

During our recording sessions we had a few struggles. Do you want to talk about that a little bit? 

We recorded in a busy rehearsal space and each room I had hired ended up next to the larger rooms that were occupied by a couple of Melbourne metal groups. 

You do what you can on a budget, and It was wonderful that the place was booked out and everyone’s able to rehearse again.

It was quite the competition when it came to recording vocals, but we got there in the end.

 You did an amazing job mixing and mastering the songs and I was happy to work with an up-and-coming female engineer.   

I really like the differences between the two songs and the dynamic it creates on the double single, with one being more mellow, and the other being heavier. Can you tell me about the meanings behind ‘Losing Game’ and ‘Sad, Bad and Blue’?
There are 2 different stories and they were written at different times throughout the lock down.

Losing Game is about having to move from somewhere you called home back to where you grew up and not knowing what lays ahead, especially post Covid.

The second song, Sad, Bad and Blue is about miscommunication and how some choose not to change their ways especially when you cared and tried to be a friend. 

What are some of your favourite Aussie artists right now? 

I’ve been listening to Jess Locke’s new album “Don’t ask yourself why” it’s fantastic! 

What can fans expect to see next for Verseary?                                                               

Some live shows coming up and I’m looking to record and E.P or Album in a few months. 

A Fools Gold will be available on the 30th of April via Bandcamp.

FOLLOW VERSEARY

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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. 

A QUICK Q&A WITH FRASER HEARTLINE

Our gal Ashlee had a e-chat with Fraser from Heartline for q quick Q&A about their latest EP ‘i call for the sinking warmth’

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Firstly, congratulations on the release of the EP! What was some of the inspiration behind ‘i call for the sinking warmth’? 
Thank you! Most of the inspiration came from personal issues at the time, there was just so much frustration we wanted to release through music. 

Can you walk me through the creative process that you went through to produce the EP? 
So first our guitarist Fraser started working on the structures and textures throughout 2019 and 2020, and then our vocalist Luke was able to begin building the lyrical content. 

This is probably a tough one…but what’s your personal favourite song off of the EP?
Personally, I (Fraser) think under the willow is my favourite overall, just because it sounds so unique and it’s such an important turning point on the EP. 

You guys were added to the Adelaide show as one of the support act for Belle Haven’s ‘Nobody Likes A Hospital’ tour. How did it feel to play these new songs live?
Amazing! We’ve spent so much time creating a live show that does these songs justice and to see people really get into it was heart-warming. 

I know it was only released a few days ago but how has the response been so far to ‘i call for the sinking warmth’? 
So special. We’ve had so many messages and people really seem to like the whole thing. Knowing that it is connecting with people has made all the work worth it for sure. 

Who are some of the Aussie acts you’ve been listening to right now? 
Northlane, Thornhill, Void Of Vision and Windwaker are our favourites, but for a bit of a different vibe we can’t go past Up Late and Ecca Vandal, they’re crushing it. 

What can we expect for the future of Heartline? 
Lots of music, sooner than you think. We’ve been busy. And of course hopefully some tours before the year is out!

Check out Ashlee’s heartening review of the new EP HERE!

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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.

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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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INTERVIEW: BEKS ON HER NEW SINGLE AND PROJECT

Alt-pop queen, Beks (FKA RACKETT) chats to the BackBeat about her latest single and video ‘Stars In My Eyes’.

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Can you give us an outline of your transition from ‘RACKETT’ to ‘Beks’? What were your intentions behind the new name and project?

Beks is an extension of myself personally. I changed my name to strip back the layers and to better represent my solo work moving forward. I’ve been on a journey of self-discovery through music, writing with producers and artists from all around the world. I’ve been writing so much music that has informed me more about who I am as an independent songwriter and what I can create with confidence in myself. I’ve chosen to adopt my new artist name Beks to signify a new era for me as a songwriter. A new beginning, one that will carry my new work cohesively into the future. Since September 2020, I’ve been working daily with songwriters and producers in studios within Sydney and also in the UK via zoom. I’ve set out to create a mixtape which features co-writes and production by Taka Perry, Jim Eliot (Ladyhawke, EAST), Xira, Cam Nacson, Tasker, Lucy Neville, Nina Jirachi, Kim Moyes (The Presets), Airports and more. This mixtape has developed my sound, leaning further into pop than ever before

You’ve recently released your single ‘Stars In My Eyes’ alongside a music video which features you portraying three different characters. I’m assuming these characters are representations of yourself, could you tell me a little bit about each of them?

Yes, these are the different parts of my personality. The light, ethereal type angel is the naive dreamer, the glamorous mermaid is the sensual part of my personality expressing my sexuality and the fearless daredevil represents the risk-taker and the showwoman inside me. The angel is set in a rundown fairgrounds ride yard amongst dandelions, the mermaid sits on a led lit coral sprout and the daredevil rises on a forklift, balancing on the beams 3 meters in the air without a harness in heels.

As a songwriter, you seem to pull a lot of inspiration from your personal experiences as well as your development as an artist and a person. What else inspires your writing? 

Yes, that's true, most of what I write is directly based on my experiences and the emotions I need to express. But since I've been co-writing so much, I haven't had a lot of time for socialising and dating so I've drawn from my co-writers' experience. I recently wrote two new songs with Clara Fable for my mixtape and these stories were based on her personal experience, I'd kinda run all the option out of my own heartbreak by then. I also wrote a song with Korkey Buchek for my mixtape called 'Fermented Mandarin' which is about my fancy friends' obsession with skin contact wine and another one with Taka Perry and Luke McChesney called 'Reject Party' about getting kicked out of my house recently. It's refreshing to find new topics that aren't always about a singular romantic fail.

What has been your COVID-19 experience? Did you find it a time for rest and reflection or an opportunity to crack down on songwriting and creating?

Covid was a really busy time for me actually. In April 2020, I conceptualised, produced and directed 'Loud n Queer TV' with Heaps Gay and Create or Die. It was an idea I had for a live stream show from my room which I pitched to Heaps Gay and Create or Die who jumped onboard. We co-created three seasons which aired on Sydney Gay and Lesbian Mardi Gray, focused on delivering an hour-long variety show with performances by artists from the LGBTQIA+ community. We've been nominated for an FBI SMAC Award which is pretty cool. After we completed three seasons, I jumped back into my music full time, writing with producers and artists in Australia and in the UK via zoom to create my debut mixtape. I got a publishing deal with Wise Music as well, during COVID so writing K-POP and really embracing what my life would look like as a full-time songwriter.

With restrictions in all states easing, gigs and tours are finally back! Do you have any gigs lined up? And anything you’re looking forward to? 

I'm working on my mixtape which is now 15 tracks long and unlike my old music, I didn't use any guitars or live drums, all beats and synth so I'm excited to reinterpret that, live. I don't have any shows at this stage, I'm entering a whole new market of pop so I'm spending some time learning about that scene.

Speaking of gigs, what would be your dream festival line up for you to play alongside?

Oh yes, I love this question. My favourite artist is Charli XCX so I'd be stoked to play anywhere with her, added bonus A$AP Rocky and Solange.

Top 3 artists you’ve been listening to recently and why?

I just got my Spotify summary back for 2020 and my top 3 artists I listen to the most are me (lamo), Dante Knows and Charli XCX. Atm I'm listening to Muki, Clara Fable, Caroline Polachek, Ash Nikko, Dorian Electra and Nikki Fresh! If you don't know Nikki Fresh, it's Nicol Richie's environmental rap project produced by Joel Madden and my favourite discovery of 2020. It's all on my POP AF playlist.

Finally, what’s next for Beks?

So I've just dropped the first song off my mixtape 'Stars in My Eyes' and the second single 'The Thing About Us' is out on Friday, Dec 11th. It's an absolute dance floor banger I wrote with Cam Nacson(Sad Boi) and Tamika Nacson (Xira) and just found out it's been added to Nova Coles radio so listen out when you're doing your Christmas shopping (haha). In 2021 I'll be dropping new music I made with Taka Perry, Kim Moyes (The Presets), Jim Eliot (Ella Goulding), Korkey Buchek, Lucy Neville, Clara Fable, Airports and more. BTS I'll be continuing to co-write and try to have somewhat of a personal lifeto draw from.

‘Stars In My Eyes’ is out now! Stream HERE

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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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MUSIC VIDEO PREMIERE & REVIEW: ZACHARY LEO’S ‘IN MY HEAD’ TAKES US BACK TO THE 70’S IN THE BEST WAY

HELLO 70’S VIBES!!!!

The scene opens with a short intro as a beautiful, long haired 70’s style man with a durry hanging from his mouth enters the hallway to answer a phone. Is he being broken up with? Is he being cancelled on? We dunno, but the poor muffin is so sad about it. He sits down next to the receiver and puts out the ciggie, with a short silence as we look deep into his eyes.  He’s got one of those little hallway stands that my Nonna has, it’s so precious. 

I have to be honest- I KNOW I already reviewed the EP and all, but I feel like the song is different now I’m viewing a video? 

Mr Leo has one of those film filters that makes it seem like you're watching a dusty old movie, I thought my screen was dirty for like a split second before remembering that is Leo’s signature style. I wonder what it’s like being stuck in a different era? I love his whole vibe honestly. 

Back to the video and Leo wanders down the hall to the lounge and a stunning record player as the song starts, and this is where the fun begins… 

Who’s sitting behind the bar but the girl in Leo’s headspace…. No spoilers but you’re going to love it like I did. Pure gold... and I’m not talking about the hair.

This whole set is so quirky, do we know if this is where Leo actually lives? There are so many beautiful artistic shots, cutting between Leo strumming away and him lounging around the house, being haunted by the mystery girl. It's just so beautifully mastered and I can’t get over the general aesthetic. 

As it turns out, the whole thing was shot on Kodak Super 8 Film, which makes sense in relation to the actual dusty quality of the film. 

The video feels like it was built on the idea of the song- YES, I know that’s what music videos typically are but this one just is a perfect mesh of Leo’s musical and personal style- it’s subtle but also If you watch, listen to or follow Leo you know what he looks like and can definitely see these comparisons in this video. 

Covid has really hit us all hard in many different ways, but the fact that he was able to film and produce this whole music video during restrictions as well is a testament to his dedication to his music. 

This music video is a kicker. Go and watch it, you need it. It’s so good. Zachary, I adore your costume changes… All of them. 

Huge credit also goes to Brandon Carr, who assisted with Set Design, Directing at his very own house in Melbourne!

Don’t believe us? Watch for yourself as we bring you the exclusive premiere below!

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HOT DONNAS TAKE YOU AROUND THEIR FAVOURITE LOCAL NZ HANGS

HOT DONNAS TOP DUNEDIN EATS

Well we know a few things for certain… Since making their debut in 2017 with the Greek Yoghurt album, Hot Donnas have been releasing music and touring consistently throughout NZ and even out to Australia in the three years since. Their energy on stage is unmatched and with their new music ready to go, the band is champing at the bit for their return to touring. The Dunedin four-piece have been creating music primed to get bodies moving, heads banging and brains hooked on their infectious melodies and fired up rock attitude. Having just released their latest single ‘Two Brains’ the guys are gearing up to drop their EP ‘The Adventures of E-WAN’ on Friday the 13th of November. The last thing we know is that they love food. We mean all of the food. Plus a sneaky bev or 10. 

‘Two Brains’ is the sort of track that could exist in the same sonic landscape as early Arctic Monkeys as it could Queens of the Stone Age. A song about indecision, overthinking and figuring out which way is best to proceed, ‘Two Brains’ is three minutes, fifteen seconds of shredding guitars, thrashing percussion and strangely hypnotic vocals. The perfect dose of rock serotonin for any fan.

“I wrote the hook for ‘Two Brains’ in my head at the end of a big night of foolishness, when I found myself facing a decision of what to do next. The ultimate suggestion throughout the song being that whichever choice I make throughout my life, I will face the nagging pressure from both good and bad influences. And forever be lost bouncing between the consequences of my judgement.” 

Jacob King, Hot Donnas

We spoke to the guys who were able to give us the run down on a few local spots in Dunedin that were never a bad decision for all the good foods, check out the must do’s below.

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Mornington Tavern 

This pub is the local watering hole for the Hot Donnas and a very quick 5 minute stumble from their flat. The taphouse is the perfect place to start your weekend with large pizzas and cheap pints.

Eureka Cafe & Bar

This bar is for when the Hot Donnas lads are feeling fancy. Eureka supplies an ever changing range of the best New Zealand craft beer and cider. Their food is also some of the best you can buy in Dunedin. If it’s a business meeting, it’s a Eureka meeting. 

Cafe Tokyo

This Japanese takeaway is God's gift to the human race. Their crispy chicken rice balls are a thing of beauty. This team never disappoint and are a must-have whilst stopping into the city of Dunedin. Jacob has spent many hundreds of his hard earned dollars at this fine establishment, with not one regret.

North Dunedin Dominoes

You know what it is. It's cheap, it's nasty, but boy does it fill a gap on a sunday after you've spent your last penny in catacombs. hawaiian with a peri-peri swirl is one of the boys' go to choices. The wings here are a thing of beauty too.

Location classified

Last but certainly not least is our good mate and neighbours house. This is one of the greatest spots that Dunedin has to offer. Whether you're starting the party or kicking on at the crack of dawn, this is the place you want to be. DM the boys for the address!

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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: SKYWAY CHAT ‘CUT THE TIES’ AND UPCOMING EP ‘HOPE FLOATS, LOVE SINKS’

Skyway’s Rupert Muir recently got back to us with a quick chat about their most recent release ‘Cut The Ties’

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Listening to ‘Cut the Ties,’ I got the impression that it was about needing to break away from something holding you back, but struggling with that potential loss. What was the inspiration behind the song?
Disconnecting from things in your life that hold you back from your true potential.

I imagine that after a long break, you must all be excited and ready to get back into it. How does it feel to be working together again?
Yeah we’re stingin’ to do some gigs to play some of the classics and new songs. It feels normal, like riding a bike or rolling up a durry. A lot has changed in all of our lives but when we’re all together it’s all familiar.

Looking through social media, it’s safe to say that all of your fans are super keen that you’re releasing new music. Did you anticipate this type of response?
We didn’t really think about it to be honest. It’s very humbling to see some of the responses and that people have been listening to us over all these years. We owe some new tunes to ‘em and a gig or two.

Can you tell us a little more about your upcoming EP, ‘Hope Floats, Love Sinks’? What can fans expect?
5 tracks including intro and a cover. It’s pretty lit, it sounds like Skyway after a long hiatus. Some fast stuff. Some slow stuff. Some fun stuff. Good clean fun.

Can you walk me through the creative process that you went through to produce ‘Hope Floats, Love Sinks’?
Had a couple of Jams together and thought why not? Had a few tracks up the old sleeve so we finally hit the studio and the rest is history

With the current state of the pandemic in Australia, the music industry has definitely been put on the back burner. How has this impacted you, both musically and mentally?
I’ve been a hermit for years so I was mentally prepared for isolation and not much changed for me except for not being able to go to the gym or gamble. We’ve been pretty lucky in QLD and all of our respective industries were mainly unaffected. So we’re in no spot to complain. If anything its made us more hungry for gigs.

At the beginning of isolation, creatives were expected to create more and there was an immense pressure placed on them. Is this something you experienced with the production of ‘Hope Floats, Love Sinks’?

We had the foresight of the pandemic so we took that hiatus all those years ago to prevent any sort of creative pressures placed on us...We were mostly done with recording before C ‘Rone got skitz, luckily.

Who are some of your favourite Aussie acts?
Loser, Speed, Smash, Polaris, Violent Soho, Aversions Crown, Thy Art Is Murder,

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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