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The Vidos

by the partae
written by the partae

We spoke with Brett Hornall of The Vidos..

Where are you currently based?

I’m currently in my broken down 2001 Civic on the side of the highway waiting for a tow somewhere in Surrey, BC. The band, however, just recently moved our HQ to beautiful Mission, BC and I’ve never been happier. I mean… besides that time ten minutes ago when my car was working properly.

How did The Vidos form?

Kirk and Nolan met during their golden years playing for the Langley Eagles hockey team when they were 11 years old. At the start of the season Nolan’s dad had just had his driver’s license confiscated by the RCMP due to a DUI (who knew a bong would look bad in your front cup holder?). This posed a problem from their first tournament trip down to Bremerton, WA as Nolan was their star-studded goaltender. Kirk’s grandpa offered to take both of them down so they convoyed all together; made for a hell of a time at the border I hear… The four of them shared a hotel room together which is where Kirk and Nolan got to know each other while the future Vidads were out facedownin a pile of nachos at the local pub. This gave the boys lots of time to talk about music and share their love for Ronnie James Dio. When they returned, Kirk and Nolan spent years scouring and posting ads on Craigslist which is where they found a ton of weirdos — including the one and only ME, Brett Hornall.

What’s been happening recently?

Kirk (guitar) was living on the band bus for the last four or five months until we sold it, now he’s living in the rehearsal space washroom, Nolan (drums) just bought an apartment with his cats, and I moved back in with my dad when we got back from Toronto (guess which one of us is good at Monopoly). We also just signed a record deal with our longtime friends Danny Craig and Dave Benedict on their new label Rock Is Dead Records here in Vancouver, which is a very exciting thing for all parties involved.

What or who influenced the sound and songwriting for your latest single ‘Boomshackalacka’?

Kirk and I had been listening to a lot of r&b at the time and I was particularly into The Internet, so the main skeleton of the song I think was me trying to do something they might do. Then I got self-conscious about it and was like, “okay this is cool but what if a band like Mother Mother or DFA tried to write the chorus?” In terms of structure we ended up going for that laid back, vibey verse and Impossible Beef chorus thing going on that Tame Impala or like Tegan and Sara do so well.

How did you go about writing ‘Boomshackalacka’?

Like I said about trying to lean into some r&b type stuff, I think at a certain point I got nervous about how different it was and tried to contrast that with a big, sorta riffy chorus that had been somewhat of a hallmark for us in the past. The lyrics of the chorus kinda cop to the fact that I chickened out on going fully outta my comfort zone to instead rest on my laurels, haha. The whole song has this “hey, look at me, I‘ve got no game” quality to it that I think is pretty par for the course if you’ve ever met us.

Where and when did you record/produce/master and who did you work with?

We recorded this entire puppy last July and August with Danny Craig in his garage in Chilliwack, BC. From there the completed record was sent down to Tom Baker in Cali for mastering.

How did you approach the recording process?

This time around was different than any session we’d previously done — we recorded a whole record from front to back in track listing order, one instrument at a time. We decided on the song order during pre-production and stuck with it. It’s pretty neat because you can hear the record really develop as it goes on. That being said, “Boomshackalacka” was the first song we cut so we spent a lot of time on that one! The sounds and lyrical themes we found for “Boom” really shaped the identity of the rest of the record.

What can we expect from the upcoming music video for the track?

It’s a six-minute epic — we’re calling it our “Thriller”. It’s incredibly ridiculous, highly entertaining and is absolutely our magnum opus.

You’ve just signed to a brand new record label ‘Rock is Dead’ how did this come about and how has the experience been so far?

They call it “Rock is Dead”, we call it “Two Dads and a Laptop”. We absolutely adore Danny and Dave, we’ve been friends and collaborators for almost ten years now so it was absolutely a no-brainer to do an entire record with them for imaginary future money. In this economy? Get outta here.

Who are you listening to at the moment?

We’ve been on a big 1975 kick lately; Nolan’s rewatching the OC, so every song from that; the Tarzan soundtrack; Upsahl; Remi Wolf; and I’ve been getting back to my roots with some Fall Out Boy and that first Specials record. There’s also a great, virtually unknown band from New York called The Prigs that I ask anyone who will listen to check out. Specifically their song “Crush”.

What do you like to do away from music?

It’s no secret we all like to enjoy some fine (and not so fine) spirits here in The Vidos camp, which has slowly developed from a problem to a passion. We’ll often get together and crack open my great grandfather’s WW1 cocktail book and see what we can do. Of course, it’s a luxury for us to use a shaker tin instead of gramps’ old lead canteen container and we respect our privilege immensely.

What’s planned for the remainder of 2022 going into 2023?

Finishing our new tour rig has been the big focus for the last 5 months and we’re just about at the finish line. We’re going to be rolling around with the most efficient rig ever conceived by people kind. Once finished we look to take aim at dominating the Christmas scene while dropping another Vidos heartthrob. Santa’s never looked so good. In 2023… it begins.

Favourite food and place to hangout?

We have this joint in BC called Triple-O’s and it is the best fast food burger you’ve ever had in your bloody life. You’d be hard-pressed (much like tha 100% fresh Canadian beef patty) to find us anywhere else on a Tuesday when the burgers are six bucks.

Facebook: /thevidos
Instagram: @thevidosband
TikTok: @thevidos
Twitter: @thevidosband
Website: https://thevidosmusic.com

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Tamino

by the partae
written by the partae

Where are you currently based?

I’m currently based in Antwerp, Belgium.

How did you first start playing music?

Around age 10 I started playing classical piano. Not for long though. A couple of years later I quit and didn’t play any music for a year until I sat down at the piano again aged 14 and wrote my first song.

What’s been happening recently?

Mostly promo for the new album and I’m currently on tour in North America.

You Don’t Own Me’ is your latest single and is out now, how did this track come about?

When I was still living in Amsterdam I rented a bedroom at a friend’s house which had a piano in it. Every morning and evening before and after my lessons I would play. I always kept the silencing pedal on because our neighbors downstairs hated noise of any kind. Often they complained during the day which I thought was very silly, but sometimes when I played later in the evening I guess they had a point. When the first chords and melody arrived of ‘You Don’t Own Me’ I knew it was past a reasonable time to play but there was a big sense of urgency that made me sit down at the piano anyway. Only years later, funnily enough when I was visiting Amsterdam again (I didn’t live there anymore) I re-listened to the recording on my phone and started humming a melody for the verse and working on the first lyrics sitting in a hotel bar. To me the lyrics aren’t directed towards a specific person, group, or place of power. It’s more of an ode to Freedom and a stance to any form of oppression. I hope oppressed individuals and/or groups can find solace in a song like this.

What does You Don’t Own Me mean to you?

I had just read ‘Man’s Search For Meaning’ by Viktor E. Frankl, which has become one of my favorite books, and of which these quotes came to mind when I was writing ‘You Don’t Own Me’:

“Even the helpless victim of a hopeless situation, facing a fate he cannot change, may rise above himself, may grow beyond himself, and by so doing change himself. He may turn a personal tragedy into a triumph.”

“Is this to say that suffering is indispensable to meaning? In no way. I only insist that meaning is available in spite of  – nay, even through – suffering, provided that the suffering is unavoidable. If it is avoidable, the meaningful thing to do is to remove its cause, for unnecessary suffering is masochistic rather than heroic. If, on the other hand, one cannot change a situation that causes his suffering, he can still choose his attitude.”

Your album ‘Sahar’ is out on September 23, what influenced the sound and songwriting?

I played a lot of oud, which is an Arabic lute. I used it both to write songs as well as a prominent color in the arrangements. 

Please tell us about the songwriting writing process that you went through for Sahar:

The beauty of songwriting is its mystery. 

Where were you whilst writing the album and did the location affect the album in anyway?

I was most often in Antwerp. It was mainly the fact that I was home again after a long tour that gave me space and time to write the album.

Where and when did you record/produce/master and who did you work with?

I started recording at my place, a lot of those early recordings ended up on the album. We then recorded a lot at co-producer PJ Maertens’ studio, ICP and Jet studio’s in Brussels. 6 songs were mixed by Jon Low in Long Pond studio. The 4 other songs were mixed by other co-producer Jo Francken and PJ. The mastering was done by Dave Kutch at the mastering palace.

How did you approach the recording process?

We left a lot of room for experimentation in the studio. I feel like the character of each individual musician shines through really well.

What’s planned for the remainder of 2022 going into 2023?

Planned for the rest of 2022 and 2023 is tour. Finishing up the North American tour end of October. We take the tour further into Europe right after and will announce new dates for 2023 very soon.

Play Sahar

https://www.taminomusic.com/

 

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Saytek

by the partae
written by the partae
Hey Saytek, thank-you for joining us. Firstly, before we start, how has your summer been?
Its been truly amazing for live shows!  I have performed in Berlin, London, Amsterdam, Ibiza, Trogir, New Delhi, Mumbai, Frankfurt, Oslo, Zürich , Hasting,  Kassel, Manchester, Wismar, Prague, Monchengladbach, Magdeburg and more! Just planning Autumn and winter now!

All of the tracks in this EP are live recordings from Summer Love Festival. Could you tell us a little bit more about this?
All the music I release is chopped directly out my live sets, whilst a lot of artists make tracks then work out how to perform them live I work the other way round with all the music I create being made for the live show! I release a lot of stuff that is recorded at gigs as well! I did a live on tour series on my label Cubism so it made perfect sense to record the tracks I recorded in the Superfreq tent at Summer love on the Superfreq label.

You released an album on Carl Cox’s ‘Awesome Soundwave’ label at the end of last year. Do you have any plans for another album?
Yes that was actually my second album on the label! The have released over 25 of my tracks so far. We have already spoken about a possible third album coming in the next year or so.

Who was your favourite DJ growing up?
I loved Jeff Mills and Richie Hawtin when he was doing Deck FX 909

Are there any current artists that inspire you?
There are loads I regularly listen to Drumcomplex’s radio show its always great techno on there. But also a lot of DJs I hear out and about when touring hearing them do their thing in a club is always a great source of inspiration.

Outside of electronic music, what other types of music do you listen to?
I love a lot of music from 80’s synth pop to dub to 60’s 70’s rock music 80s & 90’s hiphop, classical and Jazz. I am a massive music lover!

What equipment did you use to record this E.P?
My set up is as follows:Novation Peak, Roland MC707, Pioneer V10, Novation Impusle 25 Korg Kaos, Pad Korg Volca Kick , Macbook Pro, Ableton, Focusrite audio interface REM Midi Clock, Pioneer RMX1000

For me its the perfect combo of a great groove box, a very powerful synth, Ableton & Controller and DJ style FX. It means my set is very hands on but there is no scrolling through menus everything is done by touch. It gives me ultimate control and allows me to improvise, but also arrange everything in real time.

What is your favourite bit of gear when you are writing tracks?
Everything is equally as important as everything else it all works together to make one instrument!
 
Do you have plans to do any more releases this year?
Yeah a few on the Horizon with singles on R&S and Awesome Soundwave and a 5 Track Vinyl EP on a new label from Warsaw called Acid Works.

Last Question! Have you got any gigs planned that you would like to tell us about? I have quite a few but can’t wait to return to Fabrik Madrid for Carl Cox invites on the 1st of October! Its gonna be rocking 🙂

PLAY/LISTEN

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Benjamino 

by the partae
written by the partae
Where are you currently based?

Currently based in Wollongong, Australia (about 1hr south of Sydney). It’s a beautiful coastal city and a great place to write and produce music.

How did you first start playing music?
Around the age of 7 I started working out my favourite melodies by ear on the home piano and it all grew from there.

What’s been happening recently?

A lot of writing and recording! I work at a studio in Wollongong called DROP where we record other artists and write production music, so that takes up most of my time.

Your latest single ‘Chasing My Tail’ is out now, what influenced the sound and songwriting? 

At the end of last year I bought a new digital synth – an ASM Hyrdasynth, and on the first day it arrived at my place I played the opening synth line on one of the presets and the song developed from there.

How did you go about writing Chasing My Tail?

I had a night recording session cancelled at the last minute in January so decided to use the time to write the majority of this song. That night I wrote all of the sections, most of the lyrics and the big guitar line in the middle of the song, so it was fairly productive!

What does this single mean to you?

I feel like it is a step in a new direction for my writing and production style. This year I have focused more on vocal melodies and hooks and this is the first of that bunch that I have released. Lyrically, the song is essentially about a quarter-life crisis so it’s obviously very personal haha

Where and when did you record/produce/master and who did you work with?

I recorded the drums, synths, bass and guitars with Kieran Parker (another producer at DROP and my live drummer) at DROP, the first time we’d done so and we were very excited to use a lot of very fancy mics. The backing vocals were recorded with Julie Oguey, she came up with most of the arrangement and it added a new dynamic to the track. My ever faithful horn players all recorded their parts at home and sent them to me. The track was mixed by Glenn Lumanta and mastered by Jason Martin.

How did you approach the recording/production process?

I tried to lean into my love for synths and indietronica a little more. I also experimented with the structure so that it wasn’t a standard pop song route.

Who are you listening to at the moment?

Over the last few months I’ve been obsessed with Victoria Monet’s album JAGUAR as well as Sammy Rae and the Friends new singles. I was lucky enough to record Arlo Park’s live show in Sydney recently for Triple J so I have been listening to her a lot since then.

What do you like to do away from music?

I’m a sport fanatic, both watching and playing (when I can, gotta be careful of those precious fingers).

What’s planned for the remainder of 2022 going into 2023?

I have a lot of songs ready to record, so that will be a goal for the rest of this year. Trying my best to book as many shows as I can too, hopefully will be able to play around more of Australia now.

Favourite food and place to hangout?
Anything Italian. Apart from hanging at home, I really like hanging out at just about any cafe.
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PSTCRDS

by the partae
written by the partae

Where are you currently based?
We’re currently based in Newcastle, Australia.

How did the band form?
The band formed from me (Stove) and Henry being in a previous band together and bonding over a love of pop punk and emo music, and when that band eventually separated they decided to try writing some different stuff together and PSTCRDS was born.

What’s been happening recently?
Recently we just put out a new single ‘What We Dwell On’, accompanied by a music video shot by Crow River Visuals and we’re currently supporting that release through a tour with Synge from Sydney.

Your latest single ‘What We Dwell On’ is out now, what influenced the sound and songwriting?
The idea for WWDO was mostly to try something a little different, almost towards an ‘anthem’ vibe of sorts, and something people could really dance to. The influences came from a range of different stuff we had been listening to, bands like Stand Atlantic, Youth Fountain and some pop artists like Taylor Swift, Peach PRC etc

How did you go about writing What We Dwell On and what does this single mean to you?
We actually had an original version of the song that sounded completely different, but in the studio we decided to go in a different direction and try something new that we hadn’t done before.

The single is based around the loss of a relationship, be that a friendship or a romantic one, and the single being so different from what we’ve done in the past feels like a good way to emphasise moving forward from where you were to where you want to be.

Where and when did you record/produce/master and who did you work with?
We recorded the single in late July, and we worked with Chris Lalic (Windwaker), who we’ve worked with for every release we’ve done so far.

How did you approach the recording process?
We always try to approach the recording process with an open mind to trying new things and changing as much as we feel we need to. There’s always a 90% finished demo from the start, but several times now we’ve completely scrapped songs and rewritten them, so we always try to stay open to any and all ideas as we go.

Who are you listening to at the moment?
I can’t speak for the other boys, but I’ve been listening to a lot of heavier stuff lately, which is interesting considering the sound of WWDO, but I’ve been loving Knocked Loose’s A Tear in the Fabric of Life, the new singles from The Gloom in the Corner and also Eat Your Heart Out’s new album!

What’s planned for the remainder of 2022 going into 2023?
Mostly we’re just aiming to play as many shows as we can and hopefully write some more music to put something out next year.

Favourite food and place to hangout?
I’m obsessed with Mexican food, so my favourite place to eat is always Mad Mex, but in terms of places to hangout I tend to spend a lot of time at home with my roommates and just kicking around Newcastle really.

facebook here, instagram here, YouTube here

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Josh Alexander

by the partae
written by the partae

Where are you currently based?

I’m in Montréal, Canada!

How did you first start playing music?

I started playing the piano in high school. I was taught the four basic pop chords by one of my high school friends, continued to teach myself and the rest was history. 

I’ve been singing since I was in diapers, singing the Caillou theme song on repeat. 

What’s been happening recently?

I’ve been working on my debut EP, in and out of the studio with my producer Johan 

Maestro. I’ve also been getting some shows ready. I cannot wait to show you all what I’ve been working on.

Your latest single is out now, what influenced the sound and songwriting?

One of my siblings inspired the song actually. They had been going through some hard times and I wanted to help. The song talks about being there for someone you love so much and the extent of how far that love can take you. For the sound I wanted something big, I wanted an anthem-like feel to really rally the fact that this song can take you out of any “Hurricane”.

How did you go about writing Hurricane?

I actually wrote it on zoom during the pandemic, with three collaborators. QSTNMRKS (producer duo) who were in Holland working on the music, while I came up with Melodies and wrote the lyrics with my friend Begonia (artist). The song wrote itself, in under an hour.

Where and when did you record/produce/master and who did you work with?

We recorded, produced and mastered the song in July of 2022. Johan Maestro produced and mixed “Hurricane”. He is also working on my EP that will be released before the end of the year. 

How did you approach the recording process?

I approached the recording by getting in my zone and really connecting to the song. I had the person the song was dedicated to in my mind, the whole time.

What does this single mean to you?

It means the most. I honestly feel like this song sums up the person I am and the distances I’ll go for the ones I love. I really feel like this song sets the tone for the rest to come. I’m really proud of this single.

Who are you listening to at the moment?

I’d have to say Lisa LeBlanc and Coldplay!

What do you like to do away from music?

Away from music you can either catch me cooking up a storm in the kitchen or going out to dance with some friends. If not, weekend breakfast out at restaurants is one of my favourite things to do. 

What’s planned for the remainder of 2022 going into 2023?

The release of my first EP and some new shows are set for 2022! I can’t wait!

Favourite food and place to hangout?

Poutine Déjeuner from Cochon Dingue, and I love to hangout by the water.

Facebook: /Joshalexanderofficial

Instagram: @joshalexanderofficial

TikTok: @joshalexandermusic

Website: https://www.joshalexanderofficial.com

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Robinson

by the partae
written by the partae

Where are you currently based?

London

How did you first start playing music?

I was lucky enough to grow up in a very musical family, with my Grandmother being an incredible singer and pianist and my mum also being very talented at the piano. I always felt so free and joyful singing and my mum was the one to really build my confidence. Writing was an instinctual part of me, where I really got a lot of joy from writing poems and stories so the two naturally intertwined as I got into my teens.

What’s been happening recently?

2020 and 2021 saw me back home in Nelson with my mum and sister Clare. It was there, I really found myself in a new way which started to really show itself in the music I was writing. Then as New Zealand opened up, I found my now manager Jeffrey Figueroa and we’ve been working very hard bringing this vision to life. Lots of writing sessions and living life!

Your latest single ‘Teenage Renegade’ is out now, what influenced the sound and songwriting?

I have always deeply connected to the likes of Kate Bush, Stevie Nicks, Tears For Fears etc, music that really moves you and takes you to another world where you feel free. Lyrically, I really get inspired by words that connect to a deeper part of myself. I often go through times of feeling pretty anxious and overwhelmed so I wanted to write an ode to that inner wild child inside all of us, and that really came out when we were writing Teenage Renegade.

You’re in Australia to support Teenage Renegade, how does it feel to be back?

YES! It feels INCREDIBLE to be back. I feel so much support and love here and the whole atmosphere is incredibly welcoming.

Who did you work with during the creation of Teenage Renegade?

I worked with the incredible Tyler Spry and Areli Castro.

Where and when did you record/produce/master?

I wrote ‘Teenage Renegade’ over zoom in January of 2022 from my house in London!

How did you approach the recording process?

I actually got the train down to a beautiful seaside village in Deal, UK and recorded vocals in my air bnb. It was an incredibly peaceful and calm way to approach this and really allowed me to capture the right emotion I was after for Teenage Renegade.

What do you have planned for the remainder of 2022 going into 2023?

We’ve got the next single all lined up and ready to go and I’m so incredibly excited. The EP is just about ready and I couldn’t be more excited to start getting the live shows ready for you!

Do you have an EP in the pipeline?

Definitely! It’s nearly finished!

What inspires you and what is it like being an independent artist coming off the success from your last album?

Life inspires me! Truly living and riding the waves of life. The highs and lows can be scary and hard to accept but Teenage Renegade is my reminder that I can survive it all.

The most important thing, independent or signed is that you’re able to really write the music that you want to write. I’ve found being independent has allowed Jeff, my manager and I to really hone in on the vision. Everything you’re seeing is all us.

Your hit single Nothing to Regret was certified double-platinum in Australia and has reached over 120M streams, what do you attribute to this massive achievement?

AHhhh that still blows my mind! Thankyou listeners hehe. I think people really connected to the message.

Sometimes we are made to feel like we need so much to be happy when really all we need are our friends, family and to feel free from pressure for a moment. Nothing To Regret is the ode for letting go of the worry and fear.

Who are you listening to at the moment?

I’m loving a lot of Wolf Alice, The Cure, Miley Cyrus, Kate Bush, Stevie Nicks and Tears For Fears.

What do you like to do away from music?

That is a great question! I’ve taken a strong liking to cooking recently which is surprising to even me. I think there’s a real therapy to creating your own version of flavours. I also love being amongst of nature and the comforts of my own home hahaha, and then the other side of me loves a good time out dancing the night away.

Favourite food and place to hang out when you are in Australia?

Ohhhh! Australia has so many incredible places to go and see. I really love Icebergs in Bondi, I think the view of the ocean is so stunning.

SOCIALS

@robinsonxmusic – Instagram

RobinsonMusic – Facebook

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Driver Era

by the partae
written by the partae

Where are you currently based?

We both live in LA. But seems like we haven’t spent much time here recently.

How did you first start playing music?

I sort of played random instruments here and there growing up. When I was super young the first thing I started was piano with my grandpa.

Then I randomly took a few drum lessons a couple years after that. Then there was moments of guitar, but that would come and go for a few more years.

I never really stuck with one instrument and I think that’s why I like producing.

What’s been happening recently?

I’ve been spending some time in the studio while we’re on a little break from touring. I just bought some new headphones for the flights 🙂 Been taking care of my dragon Spark too.

Your latest single ‘Malibu’ is out now, what influenced the sound and songwriting?

When we showed up to the studio that day everyone had just come from Malibu the day before so it seemed like a good start to a song.

What does Malibu mean to you?

Beach, Rum, Water, Sun

Pretty good version of paradise to me.

You have a new album, please tell us how this came about and what were the influences:

We’re constantly making music so this is just a taste of what’s on our hard drive.

On this Mixtape there’s Dance influence, R&B, Pop, 80s, Funk, and ross likes to say Bedroom Thrash.

Where and when did you record/produce/master and who did you work with?

Most of the album was recorded in our studio in LA.

Most tracks are written, produced and mixed by Ross and I.

Malibu we did with a friend named Griff.

And Keep Moving Forward Nikka add some nice melodies to 🙂

What do you have planned for this latest album, I see you are currently touring globally… 

Yea we got a good amount of touring going on for the next couple months.

We just got the first cut of the video for a song called Fantasy.

Maybe 1 more video for another song soon too.

What can we expect from your upcoming Australian shows?

Good vibes, some cool lights, and us 🙂

Who are you listening to at the moment?

JMSN is cool.

Demons Massane Remix

Speaking Sonar by Summer Salt is a good one

Peach Fuzz by Tyler the creator

I’ve been liking a lot of what blood orange has been doing lately.

What do you like to do away from music?

I like to play hockey

I spend a lot of time doing music. So I am kinda curious what else I could enjoy in this world.

What’s planned for the remainder of 2022 going into 2023?

We got some shows in Japan, AUS, New Zealand, Europe and UK to finish off the year. Then I’ll probably move houses after that.

Favourite food and place to hangout in LA?

There’s this new restaurant called Taisho that’s pretty good. Got nice sake and Sea Bass. Good hang at the bar too.

Socials:

  @thedriverera – Instagram

@TheDriverEra – Facebook

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Nikki Wishart

by the partae
written by the partae

Where are you currently based?

I am currently based in Melbourne, Australia.

How did you first start playing music?

I was extremely young when I first gained an interest in music. From dancing to any song my parents put on to picking up the piano and vocal lessons in primary school, I knew music would be something I would be involved in at some point later in life.

What’s been happening recently?

I have been in the studio a lot. Writing, recording and lining up my upcoming releases. I’m super excited to show everyone what I’ve been creating.

Your latest single ‘Good Intent’, is out on the 16th of September, what influenced the sound and songwriting?

The main influences for this song came from artists such as Gracie Abrams and Olivia Rodrigo, mainly drawing reference to the gang vocals in Drivers License, especially when building the depth I was going for.

How did you go about writing Good Intent?

Good Intent was a fascinating one to write, constructed over four months with my co-writer Jessie. We started the song with one perspective, and by the last writing session, the journey of the song and my feelings had changed drastically. Most of my sessions start with a brain dump of ideas and motifs that eventually weave themselves into the tracks I release.

What does this single mean to you?

When writing this single, I was in a battle with my mind. I felt helpless and as if I couldn’t control the narrative people were creating about me. There’s nothing I wanted more than to tell their friends that everything I did was ‘Good Intent’, which became the song’s foundation.

Where and when did you record/produce/master, and who did you work with?

Good Intent was produced and recorded in Melbourne with Hayden Lauersen in March 2022. Then it was passed over to Andrew Edgson at Studios 301 for mastering.

How did you approach the recording process?

The demo had a distinct guitar line, so the first thing we wanted to get right was the guitar. From there, we went straight into recording vocals. Looking back, I am so glad we did this before adding the additional production, as they have this raw nature. The emotion feels real.

Who are you listening to at the moment?

I am currently listening to a lot of Sabrina Carpenter and Fletcher, and I am obsessed with the songwriting on the new ‘Emails I can’t send’ album.

What do you like to do away from music?

Away from music, I work for a preventive health charity called Pink Hope. We help empower Australians to understand their risk of hereditary cancer. As a keen health advocate myself, it is the perfect way to work with, support and educate community members to take control of their health outcomes.

What’s planned for the remainder of 2022 going into 2023?

I’ve got a few more tracks coming for the rest of 2022, and I’m excited to play a few gigs in the run-up to 2023.

Favourite food and place to hangout?

Currently, my local cafe, ‘The Foreigner’. It is conveniently right around the corner from my Pilates classes!

 

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Emuh – Dysmorphia LP (Feral One Records) Out Now!

by the partae
written by the partae

Hey Emuh, It’s great to meet you ! How have you been lately?

I’ve been great, thank you. It’s very exciting to see this album come out and the reception so far has been amazing. Glad to finally put this release out into the world!

Congrats on your new release Dysmorphia on Feral One Records. What was your inspiration behind this LP?

I was inspired by The Gorillaz, Still Woozy, Ariana Grande, Charlie Puth, LCD Soundsystem, Radiohead, Walker & Royce, Claude VonStroke and Feral One label boss Longstocking. I wanted to create an album that combined the sounds of pop, house, techno, trap and experimental music – while incorporating my voice, musical sensibilities and aesthetic.

Dysmorphia is eclectic and covers a lot of ground, what are some of the influences that have shaped your musical taste and influenced you as a music producer?

Lately I’ve been listening to a lot of dancey pop and vocal music which greatly informed my album. There are so many songs lately that are devoid of originality and emotion – I wanted to make sure those boxes were checked off while still creating a piece that can still inspire and elevate those with less musical experience or specific musical taste.

How important is storytelling for you, and what were you aiming to communicate with this LP?

Each song tells its own story, from a day at Waterworld to a meditative stranding out at sea. I want to give the listener a window into my mind while allowing them the agency to relate and experience it in their own unique way.

What does your setup look like?

I use all digital instruments and Ableton 11 besides a couple hardware Pocket Operators (digital synths as well) and I record my voice with a Shure SM57 paired with a Grace Design 101 preamp. I also use an AKAI MPKmini to program all of my MIDI and do automation. My audio interface is an RME ADI-2 Pro and I use Neumann studio monitors.

What studio gear and/or instruments do you believe define your sound?

My voice and my meticulously crafted library of samples and instruments I’ve used throughout my career as EMUH.

Digital or Analog?

Whichever one helps you get the sound you’re after!

What has been your highlight gig this year?

Definitely my recent performance at Kremwerk in Seattle for the My Techno Weighs A Ton label showcase, I debuted several tracks from my album as well as performed the vocals live which was exhilarating and honestly a bit frightening.

DJ’ing or Music Production?

Music Production

Thanks a lot for taking the time to answer our questions, is there anything else you would like to mention before we go?

Thanks again for reaching out. Dysmorphia comes out this Saturday September 2nd and you should help support the release by purchasing a copy of the album on Beatport, listening on Spotify and reposting the tracks on SoundCloud.

Feral One Records Socials : 
 
Emuh Socials : 
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Miller Roberts

by the partae
written by the partae
Where are you currently based?
I’ve actually just moved from my hometown Newcastle to Sydney in Australia!

How did you first start playing music?
I’ve played music for as long as I can remember. My dad is incredibly creative and was always dragging myself and my 4 siblings around to play at any event he could wrangle
I remember getting piano and guitar lessons sporadically but my dad always taught us to play music by what we hear. I have this distinct memory of him handing me a guitar and telling me to play along to the song we were listening to. I remember whinging that I didn’t know how to play it and he told me to keep playing chords until it sounded right!
That is something that definitely influenced how I write and play music even to this day.

What’s been happening recently?
I’ve been in writing mode for most of this year. My latest EP ‘All the things I could never say’ has had such an incredible response which I’m so excited about, but I’m looking at taking a slight change in direction for my next record so I’ve been buried deep in that!

Your latest single ‘Rhiannon’ will be released on the 26th of August, what influenced the sound and songwriting?
I am a huge fan of Fleetwood Mac. Rhiannon is a song that’s up there in one of my all time favourites, so I was really excited to cover this song.
I wanted to put a fresh spin on the original sound while still keeping true to the essence of the song. The vocal swells in the chorus were the most pivotal part for me, so it was really important to keep them just as central to the song.
I’ve always been heavily influenced by folk that came out of the 60s and 70s so my sound has always been more folky. I’ve definitely leaned into more pop sensibilities for this track which is really exciting for me.
I guess modern influences for this song would be artists like LEON, Gordi and Bon Iver.

How did you go about recording this track?
I recorded this with my dear friend and producer Jackson Barclay.
We started by laying the piano and vocals down as a base, then slowly added layer upon layer onto the track.
We always have such a fun time in the studio, experimenting with different sounds and instruments. A lot of the percussion for this song was recorded using bits and bobs around Jackson’s studio (think an old toolbox, a bicycle wheel and some kitchen cutlery).
Trent Dobson mastered this track as well! We love Trent.

How did you approach the recording process?
I love to go into recording with a couple of days rest behind me. I try to go in with a clear head so I’m open to experimenting and pushing my own boundaries a little bit.
Coffee is a must, and Jackson and I love a cheeky gin and soda break somewhere in the day!

What does this single mean to you?
For me, even though I didn’t write this iconic song (I wish!), it represents a change in direction for me. I’m excited to step into something new and fresh in terms of sound and style and Rhiannon is the first step in that journey.

Who are you listening to at the moment?
I’m absolutely loving Widowspeak, a duo based in Brooklyn. Big fan of Orla Gartland’s new album ‘Woman on the Internet’ and I’m probably permanently listening to Adrianne Lenker’s album called ‘songs’ released in 2020.

What do you like to do away from music?
I’m a bit of a bookworm, so I love to read! I’m also (supposed to be) studying interior design as well as music. I’m super into thrifting, so always pottering around my local op shops looking for fun, quirky pieces of clothing, furniture or nic nacks!

What’s planned for the remainder of 2022 going into 2023?
I’ve got a whole lot of writing planned for the rest of the year. Hopefully a handful of shows where I can, and definitely recording the next record is a top priority. I’m so excited for 2023. It’s going to be a great year!

Favourite food and place to hangout?
I could eat dumplings for the rest of my life and at the moment, my favourite place to hang out is my new apartment! I’m absolutely in love with the process of setting it up as my new home.
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Tetsuians

by the partae
written by the partae

Where are you currently based?

Melbourne.

How did the band form?

Tetsuians formed out of the ashes of a previous band The Wireless, with Andrew Jackson and I (Trent Price), teaming up with Amber Craske on bass. That line-up lasted for two albums.

What’s been happening recently?

The addition of Chris Corvetti (lead guitar) and Luke Guan (bass) has been pretty revelatory. The sound we imagined we could produce with a full line-up was realised almost immediately. It’s a credit to their innate ear for what works musically.

You have a new album on the way which you are launching on Saturday September 3rd @Mama Chen’s Footscray, Melbourne. What do you have instore for this show?

We have Melbourne band Billy Cart supporting us, who have promised to bring some interesting visual effects and undisclosed ‘surprises’, so not to be upstaged, I guess we’ll have to execute some upside-down drum solos. Failing that I’ll probably have to nail myself to a gantry or something.

What influenced the sound and songwriting for this album?

A lot of Supergrass, Wild Flag and Teenage Fanclub. So if you love them you’ll probably hate us.

How did you approach the songwriting process?

It’s become almost clichéd now but 90% of this album was written in lockdown, but I had a pretty serious hospital scare last year which gave me a lot of downtime to hone the lyrics, which in retrospect was kinda useful. I wouldn’t recommend it as a regular writing technique though.

Where and when did you record/produce/master and who did you work with?

This is our second album with Brad Jackson at Supersonic Recordings, who’s been brilliant to work with. One of the easiest guys to work with but he has a subtle way of pushing you to do better, so there’s no risk of getting too comfortable. The album was mastered by John Ruberto at Mastersound. What’s great is that John wasn’t going for overall volume and really focused on bringing out the textures of the recordings. It’s still a punchy record, but it steers away from the current trend towards waking the dead. Streaming has had a massive influence (largely negative) on that type of recording.

Please tell us about the recording process:

We did basic tracking in early 2021, then went away to muse on how the finished product might sound. You always have an idea, but sometimes it’s good to let it gestate and experiment a bit. Being in and out of lockdown meant we had a mixture of home and studio overdubs. We were recording the same time as our mates the Maggie Pills were recording their new album, so we saw a lot of them and got to hear a lot of sneak previews. It’s gonna be sick when it comes out!

What do you have planned for the remainder of 2022 going into 2023?

After our album launch at Mamma Chen’s we’re going to be supporting Grups for their residency at the Tote on September 17. The vinyl for our new album is running a bit late, so while we’ve got CD’s we’re likely to have another special vinyl launch on the next month or so. We’re also in talks about some gigs on the Apple Isle in January so stay tuned…

Who are you listening to at the moment?

‘Cockroach in a Ghost Town’ by Slang and ‘Chomp’ by Pylon.

Favourite food and place to hangout?

If you like chocolate and records, you can’t go past Oh! Jeans Records in Fitzroy. The have the best collection of NZ artists and confectionary you’ll find this side of the Tasman Sea and probably the best coffee in Melbourne. It’s also run by two of the loveliest people you’ll ever meet.

Socials

Facebook

https://www.facebook.com/Tetsuians

Instagram

https://www.instagram.com/tetsuians/

Spotify

https://open.spotify.com/artist/3asjMtKj3yCeZ3Lg2hVl4m?si=AoNbQV0yTyOm7QlWx0Gang

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Cousin Tony’s Brand New Firebird

by the partae
written by the partae

Where are you currently based?

Living in Thornbury, Melbourne. Teaching creative writing in Primary Schools all over town.

Your latest single ‘Red Dirt Angel’ is out now, what influenced the sound and songwriting?

Sonically, much of it came from this world of Australiana bush electronica. I think of Tornado Wallace’s Voices and Hunters & Collectors When The River Runs Dry when I consider the song. 

How did you go about writing Red Dirt Angel?

This doesn’t happen often, but it stemmed directly from a dream I was repeatedly having. I was following some faceless person leading me endlessly through the Australian outback and I woke up with the phrase “red dirt angel” on the tip of my tongue. I also like to riddle our music with references to the TV show Round The Twist – Red Dirt Angel includes this line about the Gum Leaf War, an episode set in the bush. These disparate puzzle pieces snapped into place and the song was done in a day or two.

Where and when did you record/produce/master and who did you work with?

In line with this whole Australiana bush theme, we booked Echidna Studios out in Christmas Hills, deep in the bushy hills outside of Melbourne to explore the songwriting, producing it all myself with our live sound engineer Guy Faletolou behind the desk. To polish the songs off in a more realised studio aesthetic, we went to Stephen Charles at The Aviary in Melbourne to approach it through a fresh lens. Our previous albums were produced by sonic wizard Matthew Neighbour who mixed the majority of these songs from LA, and mixed them well.

How did you approach the recording process?

It was all about embracing the essence of the band members. They’re such unique performers, but my fastidious approach to songwriting hasn’t always allowed room for them to shine within the recordings. ‘Smiles of Earth’ was all about songwriting in a way that left room for them to explore.

Please tell us about your new album that’s being released on August 26:

Our previous album New Romancer was a deeply personal collection of songs that were written and recorded in a deeply insular way. A couple of years later, despite the ever-present pandemic, I found myself in a place of spiritual peacefulness. I wanted to write songs from this place. No matter what the subject matter is, Smiles of Earth asks the question of how we can view or experience it from a place of gratitude. How do we celebrate this experience rather than lament it?

You have a massive Tour coming up, where are you headed?

All over the east coast of Australia with a smattering of festivals to bookend the tour.

Any shows that you are particularly keen to play and why?

Brisbane’s a really bright beacon right now. My family’s from there originally. We’ve always been shown so much love up there and it’s been so, so long since we played there.

What can we expect from your live show?

Inclusivity and a lot of love. We’re all such tight-knit friends and it’s often said how much this shows while we play. I like to think that permeates the audience’s experience in such a way that we all feel like friends.

Who are you listening to at the moment?

Vulture Prince by Arooj Aftab has been my album of the year. Pakistani born, raised in Saudi Arabia, lives in Brooklyn. The album reflects that. So worldly and so other-worldly at the same time. Beautiful.

Dragon New Warm Mountain I Believe In You by Big Thief is a smasher. So many songs and all them so profoundly good. I also have a soft spot in my heart for a long-ass title.

What do you like to do away from music?

I teach story and creative writing to children/ teenagers which keeps me reading a lot. I spend so much time in fantasy and sci-fi worlds. That kind of world building just blows my mind every day. Spending a lot of time in the garden these days. Bit of carpentry to keep the dirt beneath my fingernails. Gonzo (band-mate Francesca Gonzales) and I spend a fair whack of time at the nail salon which undoes the aforementioned nail-dirt.

What’s planned for the remainder of 2022 going into 2023?

It’s obviously been an insular couple of years so the plan is just to get out there. Tour Australia, tour America, tour the UK. Tour anywhere that’ll have us, basically. I’d love to make another album next year but we owe the ether many shows before that happens. 

Favourite food and place to hangout?

Picante Cafe in North Fitzroy, Melbourne. It’s totally unassuming and I love it for that. I’ve been going there religiously for 10 years. It’s where I return to when my creative page is blank. I like the simpler places, unadorned places. I love sitting at shitty airport cafes for that reason. Something about places that aren’t really trying to be anything else allows for my creativity to flourish. Real world places.

 

PLAY/LISTEN

 

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Soma 

by the partae
written by the partae

Where are you currently based?

Sydney, Australia.

How did you first start playing music?

Growing up with an array of different instruments and records from around the world was like a musical playground for me. I began to explore my own sound and style from a young age, picking up the piano at the age of 5 and then moving onto saxophone, singing and dance at the age of 8.

What’s been happening recently?

The past year I have put my head down and honed into my writing. I have been playing piano and producing again, always finding new tools to stay inspired. I have surrounded myself with like minded creatives who share the same hunger to create and collaborate on many different levels and artistic avenues. I have now completed an EP set to be released 2023.

Your latest single ‘Alien’ is out now, what influenced the sound and songwriting?

I think my mood was the biggest influence, coming out of a dark mental state, but also feeling a sense of empowerment and growth as a woman. When we started writing ‘Alien’, everything just poured out of me, all the emotions I had gone through the previous year coming out of lockdown and everything that surfaced when you are forced to be with yourself and face the things you can usually run away from with distractions in the city, always being on the move.  It was a rebirth of the new me, leaving behind old habits and moving toward a bright new path. I wanted the song to give a euphoric, psychedelic feel, giving the listener a sense of space, ambience and colour.

How did Alien come about?

I began writing this story a while back and once we started creating the music, everything just flowed. The lyrics came out so naturally, it was the perfect fit. We finished the song in one session, sometimes these things are just meant to be.

What does this single mean to you?

‘Alien’ weaves a story about the pressures of life in the city and how we survive it. It is about the darkness that pulls you in, the devil on your shoulder luring you into the abyss and how easy it is to forget who you are and why you’re here. It is a universal story, but also a personal story of altering my conciseness and numbing the pain and traumas that were longing to be healed.

Where and when did you record/produce/master and who did you work with?

‘Alien’ was recorded, produced and mastered at Bodega Studios, written by me and produced by Tom Elliott from the duo Korky Buchek.

How did you approach the recording process?

We recorded ‘Alien’ in the space of one day. The idea quickly translated with the music and I was able to fully formulate and structure my verses. I was lucky enough to spend a lot of time at Bodega studios during the midst of covid. It was a safe environment for me to try out new ideas and let my creative juices flow with no judgement or distraction.

What or who influenced the concept for the music video?

I had a vision of playing with imagery of an otherworldly creature, my alter ego, luring me deeper into the unknown. I wanted to weave a narrative using the metaphor of dreams, intertwining this with creating fantasy to escape reality. ‘Alien’  embodies rebirth; I shed my skin to seek my emancipation. I am on a journey of empowerment. Samuel Barrie Wrote the final script and Freddie XX directed the video, both having strong influences in the conceptualisation of this piece of work.

Where and when did you film and how did you find the experience?

‘Alien’ was filmed at various Sydney locations. I found the experience to be a transformative learning experience. I was lucky to manifest the team that so naturally came together to execute this idea for ‘Alien’. Each member played such a significant role and went above and beyond their roles to assure this project would grow to be a masterpiece. With time constraints, unexpected weather changes, and the usual few happenings that seem to surprise you on set, the team and I were able to overcome these obstacles, always keeping a positive mindset and having clear and open communication, most importantly remembering to enjoy the process. Everyone’s energies aligned to create a safe space where thoughts and ideals could be exchanged, communicated and agreed upon, something which doesn’t always flow in creative spaces.  It is such an incredible experience working with creatives who are truly passionate about what they do and the art they want to share with the world.

Who are you listening to at the moment?

This is always a difficult question for me, as my inspiration stems from an array of musical genres, from old to new.

I think my biggest influences of recent who encompass my artistry and have impacted me and my music would be:

BEAM, Little Simz, Isaiah Rashad, Mick Jenkins, Saba, Andre 3000, Outkast, Kendrick Lamar, Asap Rocky, Smino, EarthGang, J.I.D, Blue Room Mafia, Pa Saleiu, Ramirez, Shakwell, Pouya, sza, I could go on but the list would be never ending.  In recent years I have been getting into a lot of alternative hip hop and future soul. One artist that I can’t stop listening to and continues to amaze me: BEAM, Jamaican born, Miami raised and mutli talented. His production and songwriting skills are beyond our time, and ability to churn out so many varying genres, whilst interchanging his vocal style and tonality has me guessing if it’s the same artist through his albums.

~ Pink Floyd

~Missy

What do you like to do away from music?

I love to travel, spend time with my family and my loved ones, and focus on other creative projects besides music. I think its important to constantly be informing myself of what’s happening in the world around me and learn about the ever-changing environment I find myself in. I find it almost detrimental to escape the city as often as I can, I venture out into nature where I can breathe fresh air, see the stars, swim in the ocean, and immerse myself in mother nature.

What’s planned for the remainder of 2022 going into 2023?

The remainder of this year will be spent finishing music, creating new works, meeting and collaborating with other creatives, and trying to help as much as I can with other people’s creative dreams and endeavours. I would like to perform my new material in new spaces and take my music all over the world.

Favourite food and place to hangout?

Nothing beats mum’s cooking. Having lived out of home for so long, I have been craving family energy and a home environment, the love and warmth it brings doesn’t compare to anything. I always feel realigned and inspired after spending time with the fam.

https://www.instagram.com/somasutton/

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Introducing… CLEMENTINE

by the partae
written by the partae

Barcelona-based, multi-national indie 4-piece CLEMENTINE are back with their second EP ‘Point Be’. The four tracker, which marks a shift in mood for the guys, is out now on Spanish imprint Siete Señoritas Gritando.

A headline act since 2019, CLEMENTINE’s debut ‘REC.’ was supported by BBC Introducing, Amazing Radio and beyond. They’ve been playing some notorious shows in their home town at some of the city’s most iconic cult fave music haunts, but their music is catching attention worldwide thanks to their trademark shimmering guitars, driving rhythm section and strong, soulful vocals.

We caught up with the band around the new release, check it below…

 

Hey Clementine, thanks for speaking with us! Where are we catching you today?

Hey Partae! Thanks for the interview! You’re speaking to Paul from CLEMENTINE, and right now it’s 30-something degrees in Barcelona, but the skies are looking grey and ominous. I think we’ve got a storm on the way, so it’s unlikely I’m gonna leave my apartment today.

You’re a multinational band all now living in Barcelona – how did you all meet/how was the band formed?

So Julian (guitarist) had been working on a home recording project when we first met through a mutual friend. He was wearing a jumper with the band Foals on it. We instantly bonded over a mutual love of the same kind of music and became friends. I played guitar when I was younger, but hadn’t played for about 10 years. Julian gave me his old guitar and told me to learn again so I could help him record. I was starting again almost completely from scratch, but I worked on my technique and then we started writing and recording together at his house on Carrer de Rec in the El Born neighbourhood of Barcelona. That’s where we got the title for our first EP.

Not long after, Vince (singer/bassist) moved to Barcelona for work. Vince and Julian have been friends since they met at college in France. They’ve played in bands together for years, including when they both went to live together in Colombia. So they’re pretty experienced playing together and know each other really well. After that, we found Raul online, invited him to come and play with us and we had a great chemistry straight away.

You’ve just dropped your new EP, ‘Point Be’, featuring four new tracks. This marks a shift in sound from your debut 2020 release ‘REC.’ How would you describe the REC sound in comparison to the Point Be sound for someone new discovering your music for the first time?

‘REC.’ was the first music we had ever recorded as a band outside of Julian’s apartment, so it was quite a new experience for us. At this point we had played a few live shows and we chose the songs that resonated with the crowd at the shows the best to represent us. I think ‘REC.’ is a more varied release in terms of sound, while with ‘Point Be’ there was more of an effort to keep a consistent sound and theme throughout. We wanted 4 songs that complemented each other perfectly, while still showing a range.

Personally I think that ‘Point Be’ has more anthemic choruses and an overall darker sound, but still has the same energy that you would find in a song like ‘Setback’ or ‘Horror’ from the first EP.

Do you think this shift in sound is a conscious choice or just a natural evolution as you continue playing gigs and writing music together?

In my opinion it was a conscious choice for this EP. Some of these songs are old enough to have appeared on ‘REC.’, so it’s not so much that our sound has changed overall. We still sound like CLEMENTINE, but we’ve chosen tracks for this EP which complement each other to keep a running theme throughout.

We’ve always had a dark and rhythmic sound, and we’ve always written big choruses. But I think that the 4 tracks on ‘Point Be’ definitely showcase some of our most anthemic and ambitious songs yet.

Rumour has it you spent 4 days solid recording the EP outside of Barcelona – what would you say was the best part of such intense studio time, and what was the worst?!

Yeah, the place was in the middle of nowhere, but it was such a great experience. We recorded with a producer named Marco Morgione, who recorded REC. EP. He knows the band well by now and we get on with him so well, which made the whole weekend feel like a holiday. His hospitality and the stunning location were definitely the highlights. We were surrounded by amazing mountainous countryside and the sun was out all weekend, so when we got a break we could spend it on the terrace, or having a barbecue.

The worst thing, for sure, was the cold which struck once the sun had gone in. If we record there again I’m gonna make sure to pack extra blankets.

What helped you guys stay sane in that time of recording? Was there much downtime/snacks/private jokes/team sports or activities that got you through?

We had a pretty strict schedule which we stuck to as well as we could. This allowed for downtime in the evenings where we could cook, eat and drink together. This helped us unwind while still feeling productive.

Marco knows our band and our sound really well, so he was on-hand to suggest things to us as we were recording. He has this amazing stash of old guitars, synths and other gear which he let us play with. I could’ve spent days just going through his pedal collection if I’m honest.

We also had plenty there to keep us busy while we weren’t recording. Marco had an old PS2 with Pro Evolution Soccer, which was a favourite pastime. We also made great use of his ping pong and subbuteo tables.

Do you have a favourite track on the EP? Or was there a track that came together easily from the beginning? And what about one that was a bit tougher or took a bit more time to nail?

The Streets Will Always Be Ours has an interesting backstory. We had been working on the instrumental for the song for a while under a different name – which is our usual process if we don’t have lyrics straight away. I always thought the rhythm of the guitars in the intro and verses was very similar to the Catalan independence chant Els Carrers Seran Sempre Nostres, which translates into English as “The Streets Will Always Be Ours”.

I wanted to do something a little bit different, so instead of writing a political song, I wrote a song about love, and feeling invincible in the face of adversity when you’re with someone who makes you feel secure and loved, but made it sound like it was a political song, with a huge chant at the end, and the megaphone at the beginning.

We recorded the instrumental to that in one session, and the lyrics came a week or so later. I was so excited to write it, but wanted to be careful to get the balance right.

On the other hand, we actually added Flight Tracker to the EP quite late. We originally planned to record another song, but Julian wrote the lyrics to Flight Tracker using an old instrumental that he had recorded years ago. It took a little while for us to get this one right, but it’s one of our most ambitious songs, and the synths really thickened out our sound.

What do you think has been the biggest highlight so far for you as a fresh band on the scene? Any career moments that really stick out?

The time spent recording this EP was a really unique and special experience, and one which I’ll always have really fond memories of, but my personal highlight was the gig we played at Bar Ceferino last summer.

We were still in the midst of heavy COVID restrictions, so we were only allowed a small number of people, but our curfew was over and bars had begun hosting concerts again. It had been so long since any of us had seen live music, that even though it was a sanitised version, playing a gig in front of anybody felt like the most exciting thing ever.

We played two sets that night, by the time the second set came, everybody had loosened right up and the energy in the room was incredible. That gig was officially the launch show for our REC. EP as we were unable to play live for months after its release due to COVID restrictions and curfew. I think we gave it the launch it deserved.

What’s next for CLEMENTINE?

Right now we’re just so happy to get this EP out that we’re gonna take the summer off. After that we’ll look at what our next steps could be. We’ve got tons of songs still to record and release, so watch this space!

CLEMENTINE ‘Point Be’ is out now, get it here: https://clementinebcn.bandcamp.com

 Bandcamp | Spotify | Facebook | Instagram | Youtube

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