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Music Interviews

Off Night
Music InterviewsMusic News

Off Night

by the partae
written by the partae

Hey guys, great to chat to you. How are things in your world?

Hey, our world is full of love and music. All good 😉

Can you tell us how you met and came to work with each other?

We first met about 6 years ago and for a long time we were both residents of one of the clubs in Kiev.

We were playing a lot together and therefore, we decided to combine our efforts and created a project OFF NIGHT.
How would you describe your sound? Is there anything that really influences your productions?

Its a spicy mix between indie dance and melodic house, for sure, with a big influence of 80s.

How are things in Ukraine at the moment? Does it look like there will be a return to clubs & festivals any time soon?

We are slowly back to normal life and normal night life. We see light at the end of the tunnel and expect this summer to be massive.

If you could play anywhere in the world for your first gig back, where would it be?

We have amazing gig on 4th of June, playing with Keinemusik team – Rampa, Adam Port, &Me. We couldn’t imagine a better opening of the season.

Tell us about your debut EP ‘Suspended In Air’. How did the collaboration with the legendary Robert Owens come about?

Robert is a true legend and the “voice of house music”. It was always a dream to work with him, since we just started listening to house music. So we created a demo with his vocal cuts, sent him to check. He liked it and agreed to make a collab with us and wrote original lyrics for this single.

Who did what – did you each have a set role on the track or did you collaborate on everything?

We work together all the time, but Oleg is more responsible for the groove elements and Maxim is for melodic parts and mixing.

Sascha Braemer and Oliver Schories remixed your track, it must be pretty inspiring to have two big names already remixing your first record?

Yes, amazing that it happened and big thanks to Sascha and Oliver that took this risk to believe in us and remix first single of a new project.

Has it been weird writing music without any clubs open? Has that affected your sound?
Not at all. We were DJing for many years before we even met, so we know what works on the floor and what makes people dance. The pandemic just gave us more freedom and time to make music.
What’s next for you, are you working on any more projects that you can tell us about?

For next release we have collab with Canadian vocalist Elly Ball. It’s a very sexy tune, so we are looking forward to it!

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Saint Idiot (Tomáš Andel) is a Slovak-Canadian art pop musician, sound designer, and multimedia artist from Edmonton, Canada. His music has been interpreted as a deconstruction of pop; familiar forms rendered in sophisticated sound palettes, set in lush, carefully textured compositions, that are both a little futuristic and a little mossy. Tomáš' inspirations include the multisensory worlds of artists like Björk and Bowie, the continuing legacy of bell hooks, as well as Zen, Deep Listening, ambient music, and flora. “Talk” is the third single from the upcoming album Alternate Utopias from a Nostalgic Future, a record that explores masculinity. Softening the heart with the grainy pastel sounds of nostalgia, “Talk” invites topics we tend to only reach for on certain kinds of days—a sitting-on-the-stairs sort of honesty, the most rewarding labor of love. “It’s a celebration of those life-changing moments—both nostalgic and timeless—where we are really being there with a person without reservation,” Andel says, “listening fully, unpacking emotions, or learning to love and hold one another even through our disagreements.” With a sort of skin tone sound palette, “Talk” is carried by earnest falsetto, guitar, harp, clarinet, and a host of gauzy synthesizers that are underscored throughout by an almost ASMR-like pointillism of intimate sounds. The end of the track features an excerpt from interviews titled “Conversations With Young Men,” a work in progress from documentarian Laura La France. Where are you currently based? I live by the tree in Edmonton. How did you first start playing and writing music? Apparently I had tinkling piano fingers as soon as my wrists reached over the lip of the piano, and I used to cut guitars out of paper as well. I really started as a drummer, though—I played in a fair number of bands in the past—so I’m really coming from the world of rhythm and improvisation. I loved my bands, but my creative ambitions tended to take over them, so eventually I started writing for myself. It’s for the best—I’m probably still a lousy collaborative songwriter. What's been happening recently? I’ve discovered that I can rollerblade to the convenience store to buy all-dressed Ruffles, so now I pretend I’m Chip from “Baskets.” You've got a new album on the way, what influenced the sound and songwriting? I was really obsessed with “soft, human” sounds. I wanted an album that felt like skin, like a caress, something that’d get the oxytocin (the “love hormone”) flowing, ‘cause I wanted to support the potentially challenging lyrics with something both fantastic but also warm, inviting, and nurturing. At first I was obsessed with bells, chimes, wood blocks, and other “earthy” sounds—partly ‘cause I really fell in love with the almost tactile earthiness of Kilchhofer. I raided a whole bunch of antique stores for bells and tines and such. That didn’t make it on the album so much, but it got me thinking about hang drums, kalimbas, and mallet instruments (which did make it), and before I knew it I was painting with orchestral colors. I wanted to marry the sophistication, emotional pull, and rich, grounding character of harps, strings, and clarinets with the abstraction of synthesizers, to get something simultaneously organic and futuristic. My goal with my music is to take a huge range of sounds, especially from the more experimental corners of the music world, and search for where they can intersect and still make sense. This is partly because I just love so many different types of music, and partly ‘cause I figure that I’m bound to find something interesting in these strange combinations. On this album, I was thinking a lot about Björk, Laurie Anderson, Motion Graphics, Kaitlyn Aurelia Smith, and Cosmo Sheldrake, and I’m also a massive fan of noise and ambient music. I guess it’s safe to say I really like music that tells stories and is deeply textural. When will the album be released? September 8th. After “Talk,” there’s two more singles coming on June 30th and August 11th. How did you go about writing the album? I was doing a lot of introspecting and inner work when I started working on Alternate Utopias from a Nostalgic Future. I’ve been really fascinated by masculinity. I wondered why I found it so hard to identify with it for most of my life, why certain toxic tendencies coalesce in certain masculine contexts, and what kind of work men have to do to cause less harm and become happier people. As you might imagine, this is a pretty tremendous topic with a lot of traps and tricky ground, and I really tried to approach it from a radically honest and transparent place, from a pre-political place, and with all fairness to the many different and valid ways to be a man.  I was very poindexter about it and planned it out almost like an essay, with every song unpacking a specific question, problem, or struggle that I’ve had in my own healing—whether that’s my relationship to anger, or possessiveness, or the reluctance to express emotions or ask for help. As rigid as that sounds, it ended up being a really organic and iterative process. It felt like exploration, or discovery. It felt like I solved a lot of my own personal tensions and found even more helpful questions to grapple with in the future, so it was really generative. Where and when did you record/produce/master and who did you work with? It was entirely a lockdown record, so I recorded and produced it in my room, but I’ll try to romanticize it a little.  The truth is, my workspace and my bed are less than 2 feet apart, and I’ve had the old “wake up at 3:00am, boot up the computer, and put down a chord progression” routine happen a few times, which is to say that from a certain point of view, it is as intimate a record as it can get.  I’m sure many people who have been creating through the lockdown agree that the boundary between life and art really disappeared in the last year. In the same way a lot of us are used to living in a “50 Chrome tabs open” world, Alternate Utopias from a Nostalgic Future was always only a few steps away from where my life was happening. I sleep in this room, relax in this room, meditate in this room, read in this room, have sex in this room, have deep, honest conversations in this room… Basically, my work on the album was in such proximity to my regular everyday life, that the life-process that is “me” and my life unfolding was fully intertwined with the process of this album coming about. My very good friend and talented piano composer Doug Parth (With Dogs) finessed the orchestral arrangements, and the incredibly spacious and accommodating mix and master were painstakingly carved by Hill Kourkoutis and Kristian Montano, respectively. All three of these people are the kindest, most inspiring mentors you could wish for. I really look up to them and am so thankful that this album passed through the prism of their kindness and creativity. What programs/equipment did you use? I swear by Reaper. I also do a lot of field recording that I then process, so I got a Zoom H5 for that. Otherwise, with the exception of some Omnichord parts, the bulk of it was soft synths. I love the Melda plugin suite to death, and also swear by Obscurium. I’m always on the lookout for “weird” equipment though. I’d die for a deliciously dusty old modular synth like the EML Electrocomp 200. I love instruments that seem to do what they want to do. Please tell us about your motivation for writing about masculinity: When it comes to who I feel myself to be, I’ve always felt like masculinity was an awkward map for the territory. It feels tight and constricting, and like parts are missing, which was sort of my conclusion when I started thinking about it a lot.  Please understand that I’m painting in broad strokes as I answer this question, but I think that “popular” or “traditional” masculinity is often guilty of being very isolating. The “code” doesn’t encourage a lot of open, emotional, vulnerable conversation between men, or even between men and the wider society—cool, rational stoicism seems to be the vogue instead. But really, the emotional and the rational are just two parts of a whole, and my motivation is simply to draw attention to the ways in which men trapped in this restrictive paradigm can restore their whole humanity and be happier for it. I strived to write in a way that put people before politics, and encouraged a holistic kind of masculinity with two very simple goals—healthiness and happiness. You describe the song 'Talk' as an invitation—what do you mean by that? I want to encourage people who have had the faintest brush with the questions I’m exploring on this album to take the time to dig deep, answer those questions as self-honestly as they can, and then share that with other men. Although, this isn’t just for men exclusively—we can all obviously benefit from openness and humility—but perhaps it is for men especially. Or, at least, that’s who I feel I have sufficient grounds to address. This masculinity work is certainly not new—organizations like Next Gen Men here in Canada have been holding masculinity circles and helping youth disentangle themselves from the harmful behaviours boys tend to get socialized into for years. Before I discovered them, Nora Samaran and bell hooks started me on this path. The sea change is already under way. With “Talk” I want to help catalyze other people’s journeys. In this song, I’m saying that it’s OK to be scared—it’s tough to genuinely, voluntarily open yourself in these ways—I get it. I’m saying that I’ve gotten it wrong before too, and I’m not saying I have the answers. I’m just saying that we all have some long overdue questions to pose to ourselves, and to one another. I was no better, and I’m still doing the work. I want people to realize that the work of being a better person never stops, but it certainly starts with honest, candid dialogue. Please tell us about how you combine your music with your own visuals: I don’t have synesthesia, but I do have a very strong personal sense of how sounds “look,” and how visual things “sound,” and it’s something that’s both helped me sound design and compose, as well as create visuals that reflect or amplify the feel of the music. I always loved album art and cool music videos—to me they seem completely inseparable from the experience of an album. I wanted to build a really strong sensory identity for my album, so super early on, I was planning songs in terms of color palettes and moodboards. I think that in the end the sonic profile of each song matches the color palettes and imagery I’m working with when I construct my visualizers, and people have told me that together they create a really clear sense of the tone of my message. How would you describe the genre of your music? I’ve adopted “art pop” as a genre because to me it seems like the most flexible way to say “music that wants to surprise you and break your expectation,” without necessarily pigeonholing myself in the world of “experimental music.” I LOVE experimental music, but I know that a lot of people groan when they hear “experimental,” and in a way it’s also become a sort of loose, diluted term. When people hear “art pop,” I think they know they’ll probably get something mostly straight forward, and so they have an easier time buying in. It’s the free-est genre label for what I like doing. Who are you listening to at the moment? This second it’s Rafael Anton Irrasari’s Solastalgia.  What do you like to do away from music? I love long-distance road cycling, and recently I’ve really gotten into mountain bike trail riding. I’ve also practised as a lay Buddhist for a few years, and I just started digging deep into the Tibetan Book of the Dead. Spiritual exploration is deeply important to me.  I love people, but I also really love solitude and I’m really curious by nature, so it makes sense that I set off on long rides or go get lost in a forest with a field recorder. I like feeling like I’m tapping to some other level, and cycling, spirituality, and nature all bring me to this same infinitely generative place. What's planned for 2021? Well, by the time you read this, I may have been vaccinated here in Edmonton, so without shooting too high, I’m hoping our social lives will get more permissive in the not-too-distant future. I miss patio beers. However, the more realistic answer is more audio and 3D work, and because I’m slightly masochistic, probably the beginnings of the next record. Favourite food and place to hangout? Oh boy. Get this—a four-layer Slovak bread-pastry with plum jam, poppy seed filling, walnut paste, and tart/sweet farmer’s cheese (“tvaroh.”) It is literally the most advanced taste on Earth, and has been studied by Mensa. My favorite place to hang out is anywhere I can get Sapporo lager for cheap enough. Instagram Facebook YouTube
Music InterviewsMusic News

Saint Idiot

by the partae
written by the partae

Saint Idiot (Tomáš Andel) is a Slovak-Canadian art pop musician, sound designer, and multimedia artist from Edmonton, Canada.

His music has been interpreted as a deconstruction of pop; familiar forms rendered in sophisticated sound palettes, set in lush, carefully textured compositions, that are both a little futuristic and a little mossy. Tomáš’ inspirations include the multisensory worlds of artists like Björk and Bowie, the continuing legacy of bell hooks, as well as Zen, Deep Listening, ambient music, and flora.

“Talk” is the third single from the upcoming album Alternate Utopias from a Nostalgic Future, a record that explores masculinity. Softening the heart with the grainy pastel sounds of nostalgia, “Talk” invites topics we tend to only reach for on certain kinds of days—a sitting-on-the-stairs sort of honesty, the most rewarding labor of love.

“It’s a celebration of those life-changing moments—both nostalgic and timeless—where we are really being there with a person without reservation,” Andel says, “listening fully, unpacking emotions, or learning to love and hold one another even through our disagreements.”

With a sort of skin tone sound palette, “Talk” is carried by earnest falsetto, guitar, harp, clarinet, and a host of gauzy synthesizers that are underscored throughout by an almost ASMR-like pointillism of intimate sounds. The end of the track features an excerpt from interviews titled “Conversations With Young Men,” a work in progress from documentarian Laura La France.

Where are you currently based?

I live by the tree in Edmonton.

How did you first start playing and writing music?

Apparently I had tinkling piano fingers as soon as my wrists reached over the lip of the piano, and I used to cut guitars out of paper as well. I really started as a drummer, though—I played in a fair number of bands in the past—so I’m really coming from the world of rhythm and improvisation. I loved my bands, but my creative ambitions tended to take over them, so eventually I started writing for myself. It’s for the best—I’m probably still a lousy collaborative songwriter.

What’s been happening recently?

I’ve discovered that I can rollerblade to the convenience store to buy all-dressed Ruffles, so now I pretend I’m Chip from “Baskets.”

You’ve got a new album on the way, what influenced the sound and songwriting?

I was really obsessed with “soft, human” sounds. I wanted an album that felt like skin, like a caress, something that’d get the oxytocin (the “love hormone”) flowing, ‘cause I wanted to support the potentially challenging lyrics with something both fantastic but also warm, inviting, and nurturing. At first I was obsessed with bells, chimes, wood blocks, and other “earthy” sounds—partly ‘cause I really fell in love with the almost tactile earthiness of Kilchhofer. I raided a whole bunch of antique stores for bells and tines and such. That didn’t make it on the album so much, but it got me thinking about hang drums, kalimbas, and mallet instruments (which did make it), and before I knew it I was painting with orchestral colors. I wanted to marry the sophistication, emotional pull, and rich, grounding character of harps, strings, and clarinets with the abstraction of synthesizers, to get something simultaneously organic and futuristic.

My goal with my music is to take a huge range of sounds, especially from the more experimental corners of the music world, and search for where they can intersect and still make sense. This is partly because I just love so many different types of music, and partly ‘cause I figure that I’m bound to find something interesting in these strange combinations. On this album, I was thinking a lot about Björk, Laurie Anderson, Motion Graphics, Kaitlyn Aurelia Smith, and Cosmo Sheldrake, and I’m also a massive fan of noise and ambient music. I guess it’s safe to say I really like music that tells stories and is deeply textural.

When will the album be released?

September 8th. After “Talk,” there’s two more singles coming on June 30th and August 11th.

How did you go about writing the album?

I was doing a lot of introspecting and inner work when I started working on Alternate Utopias from a Nostalgic Future. I’ve been really fascinated by masculinity. I wondered why I found it so hard to identify with it for most of my life, why certain toxic tendencies coalesce in certain masculine contexts, and what kind of work men have to do to cause less harm and become happier people. As you might imagine, this is a pretty tremendous topic with a lot of traps and tricky ground, and I really tried to approach it from a radically honest and transparent place, from a pre-political place, and with all fairness to the many different and valid ways to be a man.

I was very poindexter about it and planned it out almost like an essay, with every song unpacking a specific question, problem, or struggle that I’ve had in my own healing—whether that’s my relationship to anger, or possessiveness, or the reluctance to express emotions or ask for help. As rigid as that sounds, it ended up being a really organic and iterative process. It felt like exploration, or discovery. It felt like I solved a lot of my own personal tensions and found even more helpful questions to grapple with in the future, so it was really generative.

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

It was entirely a lockdown record, so I recorded and produced it in my room, but I’ll try to romanticize it a little.

The truth is, my workspace and my bed are less than 2 feet apart, and I’ve had the old “wake up at 3:00am, boot up the computer, and put down a chord progression” routine happen a few times, which is to say that from a certain point of view, it is as intimate a record as it can get.

I’m sure many people who have been creating through the lockdown agree that the boundary between life and art really disappeared in the last year. In the same way a lot of us are used to living in a “50 Chrome tabs open” world, Alternate Utopias from a Nostalgic Future was always only a few steps away from where my life was happening.

I sleep in this room, relax in this room, meditate in this room, read in this room, have sex in this room, have deep, honest conversations in this room… Basically, my work on the album was in such proximity to my regular everyday life, that the life-process that is “me” and my life unfolding was fully intertwined with the process of this album coming about.

My very good friend and talented piano composer Doug Parth (With Dogs) finessed the orchestral arrangements, and the incredibly spacious and accommodating mix and master were painstakingly carved by Hill Kourkoutis and Kristian Montano, respectively. All three of these people are the kindest, most inspiring mentors you could wish for. I really look up to them and am so thankful that this album passed through the prism of their kindness and creativity.

What programs/equipment did you use?

I swear by Reaper. I also do a lot of field recording that I then process, so I got a Zoom H5 for that. Otherwise, with the exception of some Omnichord parts, the bulk of it was soft synths. I love the Melda plugin suite to death, and also swear by Obscurium. I’m always on the lookout for “weird” equipment though. I’d die for a deliciously dusty old modular synth like the EML Electrocomp 200. I love instruments that seem to do what they want to do.

Please tell us about your motivation for writing about masculinity:

When it comes to who I feel myself to be, I’ve always felt like masculinity was an awkward map for the territory. It feels tight and constricting, and like parts are missing, which was sort of my conclusion when I started thinking about it a lot.

Please understand that I’m painting in broad strokes as I answer this question, but I think that “popular” or “traditional” masculinity is often guilty of being very isolating. The “code” doesn’t encourage a lot of open, emotional, vulnerable conversation between men, or even between men and the wider society—cool, rational stoicism seems to be the vogue instead. But really, the emotional and the rational are just two parts of a whole, and my motivation is simply to draw attention to the ways in which men trapped in this restrictive paradigm can restore their whole humanity and be happier for it. I strived to write in a way that put people before politics, and encouraged a holistic kind of masculinity with two very simple goals—healthiness and happiness.

You describe the song ‘Talk’ as an invitation—what do you mean by that?

I want to encourage people who have had the faintest brush with the questions I’m exploring on this album to take the time to dig deep, answer those questions as self-honestly as they can, and then share that with other men. Although, this isn’t just for men exclusively—we can all obviously benefit from openness and humility—but perhaps it is for men especially. Or, at least, that’s who I feel I have sufficient grounds to address.

This masculinity work is certainly not new—organizations like Next Gen Men here in Canada have been holding masculinity circles and helping youth disentangle themselves from the harmful behaviours boys tend to get socialized into for years. Before I discovered them, Nora Samaran and bell hooks started me on this path. The sea change is already under way.

With “Talk” I want to help catalyze other people’s journeys. In this song, I’m saying that it’s OK to be scared—it’s tough to genuinely, voluntarily open yourself in these ways—I get it. I’m saying that I’ve gotten it wrong before too, and I’m not saying I have the answers. I’m just saying that we all have some long overdue questions to pose to ourselves, and to one another. I was no better, and I’m still doing the work. I want people to realize that the work of being a better person never stops, but it certainly starts with honest, candid dialogue.

Please tell us about how you combine your music with your own visuals:

I don’t have synesthesia, but I do have a very strong personal sense of how sounds “look,” and how visual things “sound,” and it’s something that’s both helped me sound design and compose, as well as create visuals that reflect or amplify the feel of the music. I always loved album art and cool music videos—to me they seem completely inseparable from the experience of an album. I wanted to build a really strong sensory identity for my album, so super early on, I was planning songs in terms of color palettes and moodboards. I think that in the end the sonic profile of each song matches the color palettes and imagery I’m working with when I construct my visualizers, and people have told me that together they create a really clear sense of the tone of my message.

How would you describe the genre of your music?

I’ve adopted “art pop” as a genre because to me it seems like the most flexible way to say “music that wants to surprise you and break your expectation,” without necessarily pigeonholing myself in the world of “experimental music.” I LOVE experimental music, but I know that a lot of people groan when they hear “experimental,” and in a way it’s also become a sort of loose, diluted term. When people hear “art pop,” I think they know they’ll probably get something mostly straight forward, and so they have an easier time buying in. It’s the free-est genre label for what I like doing.

Who are you listening to at the moment?

This second it’s Rafael Anton Irrasari’s Solastalgia.

What do you like to do away from music?

I love long-distance road cycling, and recently I’ve really gotten into mountain bike trail riding. I’ve also practised as a lay Buddhist for a few years, and I just started digging deep into the Tibetan Book of the Dead. Spiritual exploration is deeply important to me.

I love people, but I also really love solitude and I’m really curious by nature, so it makes sense that I set off on long rides or go get lost in a forest with a field recorder. I like feeling like I’m tapping to some other level, and cycling, spirituality, and nature all bring me to this same infinitely generative place.

What’s planned for 2021?

Well, by the time you read this, I may have been vaccinated here in Edmonton, so without shooting too high, I’m hoping our social lives will get more permissive in the not-too-distant future. I miss patio beers. However, the more realistic answer is more audio and 3D work, and because I’m slightly masochistic, probably the beginnings of the next record.

Favourite food and place to hangout?

Oh boy. Get this—a four-layer Slovak bread-pastry with plum jam, poppy seed filling, walnut paste, and tart/sweet farmer’s cheese (“tvaroh.”) It is literally the most advanced taste on Earth, and has been studied by Mensa. My favorite place to hang out is anywhere I can get Sapporo lager for cheap enough.

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SOLSTA unveils progressive house gem ‘TOGETHER’, (featuring BEXX).
Music InterviewsMusic News

Solsta

by the partae
written by the partae

Where are you currently based?

I’m in Perth at the moment.

How did you first get into playing electronic music?

Back in high school I used to take music as a class, it basically meant I’d get an hour everyday to play guitar and chat shit with my mates. We were shown Logic Pro by our teacher and were pretty intrigued. The next day I transferred logic onto my Mac and was just amazed by how everything worked. If always been a fan of electronic music and now the possibility of making my own was at my fingertips.

What’s the Perth music scene like at the moment?

It’s doing very well compared to the rest of the world. There’s gigs left and right. Besides the capacity limits its almost back to normal in venues and clubs. Pretty shit that the government won’t let festivals come back though, everyone here is definitely hanging for them.

What’s been happening recently?

I had my summer uni break so I knuckled down to write some tunes over the summer months. Over this time Solsta was a little quiet but sometimes you just need to take a step back from putting music out and just focus on learning. My last release before together started to gain me a bit of momentum so I wanted to keep the ball rolling and come back even bigger.

Your latest release ‘Together’ Ft. Bexx is out now, what influenced the sound and song writing for this track?

I really wanted to write a track that sounded organic and mellow but still had a tint of grit to it. The writing process of together was me sitting their trying to build this huge atmosphere that constantly built tension. I’d combine like 30 different elements and then when I was happy if strip it back into a instrumental that a vocalist could work with

How did you come to work with Bexx?

So there’s this music production school in Perth called LabSix. I got a few mixing lessons there and went to a few presentations where past students would show off some music and get some feedback. During my big writing stint over the uni break I went in to catch up with Jeremy (one of the instructors I’d worked with) and we just chatted about how to further the Solsta project. After this chat he linked me up with BEXX and a few days later she sent me the vocals you hear. It was that quick.

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

I created the skeleton of the track in my bedroom studio before I got linked up with BEXX. Perth was in lockdown at the time so we weren’t able to get some studio time. She recorded the vocals at her place sent me them. Over the next few weeks I polished the track off in one of the lab six studios Jeremy gave me permission to use. This was huge by the way, big ups to Jeremy and LabSix for giving me the opportunity’s they have.

What programs equipment did you use to record and what do you use live?

I haven’t developed a live show beyond mixing on decks, but it’s definitely something I’ll be doing in the future. In terms of recording, I use a wide range of instruments. I have a couple of guitars, a mono synth and this wierd sequencer called a subharmonicon. I run em through an appollo arrow into logic and then muck around with plug ins as well.

How did you approach the recording/production process?

When I have a writing session for new ideas I’ll set a timer for 40 minutes and just create something. After that 40 mins is up I’ll start again. I’ll do this like 3 or 4 times then take a break, come back and pick an idea to pursue. In my opinion this kinda eliminates writers block because your forced to just make something and eventually one of those somethings will sound decent.

Any idea who you’ll be collaborating with in the future?

I got another huge song coming out with BEXX very soon. I’ve also been working on a couple of other tracks with local Perth producers that are huge. Can not wait to get them out!

Do you have any shows coming up?

Not yet. I’m really trying to nail my production the first half of this year. I’m planning on dropping my Debut ep later in the year so will definitely try and get some shows going with that. Should be huge.

What do you like to do away from music?

I’m at uni at the moment so when I’m not cooking up some music I’m studying. Whenever I get the chance I love to get in the water for a surf to.

Who are you listening to at the moment?

Atm I’m pumping crooked colours, choomba and Kream. Kream and Choomba just get me going and crooked colours mellows me out. Perfectly diversified portfolio.

What’s planned for the remainder of 2021?

I just want to keep grinding music. I’m not to worried about trying to play shows every weekend. I want my music to be perfect. If I can just keep putting good tunes out there and generate a following of people who enjoy it I’ll be stoked. That’s the plan for 2021.

Favourite food and place to hangout?

I love KFC. Absolutely froth it. To be honest my favourite place to hang out is definitely in the studio. I spend a bit of time in the studios at Labsix in Perth and it’s definitely my happy place. Just chilling and chatting to other producers who come through.

 

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Where are you currently based? Sydney, Australia How did you first start playing music? My father is a Bass player and Singer so Music has always been in my blood and in the house since I was little What's been happening recently? I have been perfecting my ALIASOUND haha and creating tracks and a whole new image for my new era of Artistry  Your debut self titled EP is out May 14 2021, what influenced the sound and songwriting? Yes so exciting….The sound was influenced by a whole range of musical talent I have been exposed to throughout my life. From Rnb and Funk to Pop and Rock. The lyrics were inspired by my self discovery and evolution in which I like to share. How did you go about writing the music? The very talented Phil Anquetil and I had a brainstorming session in which we discovered a combination of different feels, from Artists for eg: Prince, Pink, Evanescence and Paramore, that influenced me throughout my musical history, to create a whole new style for me as an Artist. Where and when did you record/produce/master and who with? Phil Anquetil and I worked together in Phil’s own studio. We created this EP in the midst of the restrictions and lockdowns of 2020, which turned the year in to a positive experience. How did you approach the recording/production process? It varied from track to track, some I approached with ideas lyrics and melody already written and some were written from scratch. What did you find most challenging and rewarding during the creation of the EP? A challenge was finding time in Phil’s busy schedule haha…..Rewards was definitely the finished EP, when you see a completed body of work it is very fulfilling. Who are you listening to at the moment? Spotify everything, haha. I really like to keep up to date with new Artists and Music that is coming out. The Kid LAROI and Olivia Rodrigo come to mind as they have been quite ground breaking and have a fresh sound, which I appreciate. I also have a love for Deep House and Techno so usually have a kick a* local or international Dj’s mix or release on the burn. What do you like to do away from music? I love dancing, hanging out with family and friends and going away on holiday. What's planned for the remainder of 2021? Werk Werk Werk haha. Promoting, my new material and writing/recording more for the next releases. Favourite food and place to hangout? Love Pancakes on the Rocks but faves are hard for me as there is so much to experience.
Music InterviewsMusic News

ALIA

by the partae
written by the partae

Where are you currently based?

Sydney, Australia

How did you first start playing music?

My father is a Bass player and Singer so Music has always been in my blood and in the house since I was little

What’s been happening recently?

I have been perfecting my ALIASOUND haha and creating tracks and a whole new image for my new era of Artistry 

Your debut self titled EP is out May 14 2021, what influenced the sound and songwriting?

Yes so exciting….The sound was influenced by a whole range of musical talent I have been exposed to throughout my life. From Rnb and Funk to Pop and Rock. The lyrics were inspired by my self discovery and evolution in which I like to share.

How did you go about writing the music?

The very talented Phil Anquetil and I had a brainstorming session in which we discovered a combination of different feels, from Artists for eg: Prince, Pink, Evanescence and Paramore, that influenced me throughout my musical history, to create a whole new style for me as an Artist.

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

Phil Anquetil and I worked together in Phil’s own studio. We created this EP in the midst of the restrictions and lockdowns of 2020, which turned the year in to a positive experience.

How did you approach the recording/production process?

It varied from track to track, some I approached with ideas lyrics and melody already written and some were written from scratch.

What did you find most challenging and rewarding during the creation of the EP?

A challenge was finding time in Phil’s busy schedule haha…..Rewards was definitely the finished EP, when you see a completed body of work it is very fulfilling.

Who are you listening to at the moment?

Spotify everything, haha. I really like to keep up to date with new Artists and Music that is coming out. The Kid LAROI and Olivia Rodrigo come to mind as they have been quite ground breaking and have a fresh sound, which I appreciate. I also have a love for Deep House and Techno so usually have a kick a* local or international Dj’s mix or release on the burn.

What do you like to do away from music?

I love dancing, hanging out with family and friends and going away on holiday.

What’s planned for the remainder of 2021?

Werk Werk Werk haha. Promoting, my new material and writing/recording more for the next releases.

Favourite food and place to hangout?

Love Pancakes on the Rocks but faves are hard for me as there is so much to experience.

 

Follow ALIA:

Instagram | Facebook

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Stay Awake
Music InterviewsMusic News

Stay Awake

by the partae
written by the partae

Stay Awake are an international punk rock band based in Bangkok. With influences ranging from Propagandi, Rise Against and Boy Sets Fire, several Asian tours and two hard hitting EPs, Stay Awake has developed a reputation for their professionalism and energetic live performances.

Where are you currently based?

Currently based in Bangkok, Thailand

What is your name and role within Stay Awake?

My name is John and I play rhythm guitar and sing

How did you first start playing music?

My mum bought me a guitar when I was 11 years old. Began doing stuff like ‘Smoke on the Water’ but from an early age would write my own songs. I was born in the 1980s, rock music was the most popular thing then and I always wanted to be part of it.

How did Stay Awake form and how did you all end up in Bangkok?

We all came from different areas in the world. I guess we all seek adventure and like what Bangkok offers, it’s an amazingly dynamic city. Andy formed the band with two other guys in 2018, but they quit when the band became more serious. I brought in Uly, the drummer from our old band ‘The Sangsom Massacre’, and he brought Paul along on bass. The current lineup works so well.

What’s been happening recently?

Bangkok is all locked down again due to a spike in covid19 infections. No tour, no shows. Bad time for live music…

Your latest EP ‘Portraits’ that was released in March 2021, What influenced the sound and songwriting?

We have lots of influences, but I think the main vibe is punk music from late 1990s and early 2000s. Was quite a nostalgic journey joining this band and writing stuff that inspired us in our youth with our own styles.

How did you go about writing Portraits?

The theme of Portraits is about looking at yourself and society. We had a lot of time to write because of 2020’s lockdowns and we feel the music is a snapshot of the year that was; internet interactions becoming the norm, increased government control, fear, division and a time to reflect on ourselves and who we want to become. We have all had to question things, accept changes, been influenced by the media and maybe even delved into conspiracies… Portraits is a record about this.

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

We recorded in Bangkok at Vintage Studios Nov/Dec 2020, mixed by a super talented Thai mixer called Nin and mastered by US producer Shordeli.

How did you approach the recording process?

It was much easier than the first EP as we knew the process better and the studio. Each of us has been in studios previously so we also brought our combined experiences. In Thailand, the engineers aren’t very vocal or opinionated, you’re left to your own devices so you need to be clear on what you want. We hired the help of our friend Yotam Ben Horin from veteran Israli punk band Useless ID – he really helped us lift our game, improve our melodies and cut every song down to about 3 minutes.

Did Covid impact the creative/recording process?

Not so much, in November/December 2020 we weren’t locked down in Bangkok. Maybe we had more time to spend in the studio as there were less obligations and no travel.

You’ve been on some epic tours, please tell us about what you most enjoy and what you find most challenging when on the road:

The awesome parts of touring are meeting new people, showing our music to others and being inspired by new bands. But the most fun is being with ‘the guys’ in a new place, having a laugh, being super pumped after a show and talking about it in the hotel after. In the Philippines the crowds are super receptive, you feel like rockstars. Sometimes performing in outer-city punk shows, things can be a bit DIY. In Japan the sound teams and equipment is top notch so you’re always happy with your sound on stage. We have seen both sides of the spectrum in Asia. Most challenging part of touring? Dealing with hangovers from free local beer

Who are you listening to at the moment?

I have been listening to some heavier stuff, Defeater, Killing the Dream and Gideon, but also punk bands Like Pacific and newer Propaghandi albums. I found a 2004 Melbourne band called ‘Away from Now’ on Spotify last month and have been playing a bunch of their stuff.

What do you like to do away from music?

I like reading, working out, yoga and building my businesses (I am currently working in the cannabis industry developing consumer products and doing music events)

What’s planned for the remainder of 2021?

We are filming our music video as soon as lockdowns are over. Maybe we can do a domestic tour to north Thailand. Hopefully another band bonding trip to the beach to write new songs later this year. The band is hugely supportive of each other even without shows to play.

Favourite food and place to hangout?

Bangkok has so many places to eat, so much variety, it’s hard to choose a favourite… but one I always bring friends is Barcelona Gaudi, a delicious Spanish tapas restaurant in Asoke built in Gaudi style. Best Thai food? Nearly every street has someplace new to try.

https://www.facebook.com/stayawakeofficial

https://www.instagram.com/stayawakepunks/

https://music.apple.com/th/album/portraits-ep/1559884920

(P O R T R A I T S  on Apple Music)

https://stayawakeofficial.bandcamp.com/album/portraits

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Wing Defence
Music InterviewsMusic News

PREMIERE – We Sat Down With Adelaide’s Pop Punk Gods – Wing Defence And Talk About Their Latest Single ‘Green Pastures’

by the partae
written by the partae

Following the release of their debut EP ‘Friends’ in 2020, Adelaide’s pop-punk outfit Wing Defence is back on the court with the video for their latest single ‘Greener Pastures‘ (watch HERE).

‘Greener Pastures’ is the spicy comeback from South Australia’s ‘Best Group’ (as awarded at the 2020 SAM Awards) accompanied with fierce and honest lyrics. The incredibly catchy new number is a powerful nod to anyone that’s ever felt trapped in a job where you’re overworked, rarely appreciated and under-paid. 

Since its release only a few weeks back, the track has been played on Triple J’s Home & Hosed, Triple J Unearthed’s ‘Tops’ and has received love from Pilerats, Dave Ruby Howe – as well as being added to playlists including Spotify’s Local Noise, Domestic La La’s Tuna Tuesday,  Home & Hosed on Spotify + more!

“You’d be pretty lucky if you’ve avoided a situation where you’ve been treated unfairly by your boss or a colleague… It’s incredibly frustrating and upsetting when this happens and you just want to tell them where to go, which most of the time, you can’t! That’s what this song is all about — a way of releasing all the frustration around the things you can really never say.” states guitarist Benny Tamblyn.

Formed in 2018 by Skye Walter and Paige Court, the indie act has been quick to generate hype around their punchy bubblegum-punk melodies and distinctive Australian sound. Since their debut release, ‘Stuck’ in 2018, Wing Defence rapidly positioned itself as one of South Australia’s most exciting new exports. Within twelve months they received national praise after performances at  BIGSOUND, Groovin’ The Moo and Laneway Festival (Triple J Unearthed Winner, 2018) and toured the country with Polish Club and The VANNS.

Recorded at Depict Studios & mixed by Wade Keighran (Wolf & Cub and Polish Club) at Rolodex Studios, ‘Greener Pastures’ is the beginning of a new direction from the band, who are using their latest single to formally introduce touring musicians, Benny Tamblyn, Anthony Costanzo and Miles Sly to the Wing Defence line-up. Lead vocalist Skye Walter elaborates, “They’ve always been WD’s at heart and we’ve been through a lot together, so we figured now was the perfect time to bring them along for the ride with us”.

With big plans for 2021 and beyond, Wing Defence have recently signed a distribution deal with Korean music distribution company Sound Republica and are on the Dock 7 Records label in Germany. 

 

‘Greener Pastures’ is the band’s first release of 2021, with a sophomore EP teased for 2022

 

(answers by Skye Walter)

 

Where are you currently based? 

Adelaide, South Australia.

How did you first start playing music?

I knew how to sing but needed an instrument to help me write music. So I picked up a guitar and started playing it. And then, a bunch of awesome friends and musicians came into my life and we began to make magic together… this is called Wing Defence. 

What’s been happening recently?

We signed to a great record label in South Korea called Sound Republica. That was very exciting. Other than that, writing new tunes, going to work, eating, sleeping, repeating.

Your new single ‘Greener Pastures’ is out now, what influenced the sound and songwriting?

Benny (our guitarist and producer) wrote this one. He’s fed up with his job, if you can’t tell! Haha. 

How did you go about writing Greener Pastures?

Benny wrote it in a moment of pure frustration and anger… great time to write a bloody banger of a tune! Thanks Benny’s shit job, you’re the best! 

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

Recorded most of it in Benny’s bedroom studio, then we headed to Depict Studios with the legend that is Lachy to record the live drums and bass. We then sent it over to Wade Keighran (Wolf and Cub & Polish Club bassist) to mix and master. What a team!

Who are you listening to at the moment?

Dream Wife, The Grates, Avalanches new album, Yo La Tengo, Jeff Buckley… so many!

What do you like to do away from music?

Vanlife, Yoga teaching, playing with my beautiful one year old & eating delicious foods. 

Any gigs coming up? 

-Tonight at Jawbreaker with our great mates Bitchspawn and Yorke Heath.

-A regional show in Paigy’s home town, Port Pirie on May 28th.

-And then a really exciting one coming up that I’m not allowed to tell you about.

What’s planned for the remainder of 2021?

Release another single and hopefully play some more rad shows.

Favourite food and place to hangout?

My favourite food used to be pickled octopus but then I watched My Octopus Teacher and I can never eat it again… I have now replaced this with marinated asparagus spears (the crisp ones not the soft ones) and truck loads of spicy sauerkraut.

I like hanging out at home with my baby Billy, my partner Stevie and my mates. I also enjoy travelling in my Campervan.

 

 https://www.facebook.com/wingdefence

https://www.instagram.com/wingdefenceband/

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VagueEightySix
Music InterviewsMusic News

VagueEightySix

by the partae
written by the partae

Hey Up – Where are you right now?

I’m in London right now looking out my window drawing some inspiration from the world and what I see and feel to write more material.

What are you early experiences with music? How have they led you to where you are now?

The first time I ever sang was in a church when I was 14 for a couple school friends who played in a band at their local church in South London. I was handed a mic and was told to just sing and freestyle over the soulful jazzy R&B-type vibe they were playing at the time and yeah, I’ve been singing ever since. After some time, I went on to sing in an R&B group inspired by Jodeci, Dru Hill, H-Town and a lot of 90’s HipHop & R&B artists. After that, I went on to sing in multiple electronic bands which is a style of music I love, having grown up in London where electronic music was always big over here. Everything from drum n bass to house music was always around when I was young. To this day I’m inspired by old school garage and based my early style on Groove Chronicles who made both of my favourite garage tunes back in the day: ‘Stonecold’ and ‘We Get Down’. When I heard them sample Aaliyah or Mariah Carey over that London sound that Groove Chronicles had back then, I knew that soulful 90’s vocals work smooth over electronic music – like ‘Talk to Me You’ll Understand’ by Ross From Friends.

You’ve now released singles ‘Better Tomorrow’ and ‘Songbird’, what influenced the sound and song writing here?

My writing as well as producing comes from nothing but feeling and deep emotions that are sometimes buried deep at the back of my heart and mind. ‘Better Tomorrow’ was written on the basis of the title, wishing everyone and everything a brighter future through the dark times we go through in life. ‘Songbird’ is about love of course and sharing that special moment with the one you truly love. For me there is no better feeling than true love.

What does it mean to you to be able to share your music since your debut?

Through my previous experiences in music being in bands and groups it’s quite scary at first releasing anything because I’m solo now. But through the love I’ve been receiving and the support… it’s a beautiful feeling.

Can you tell us a bit more about your recording and production process?

I use Ableton Live to produce and usually base my production around a warm pad or melody that makes me feel like I’m flying. Ha! Growing up my favourite superhero was Silver Surfer so whenever I’m producing music, If, it makes me feel like I’m Silver Surfer and I’m gliding through the galaxy across the universe I know I’m on the right track. Then yeah, I punch it all in and then the drums come last for me. Same for recording vocals, I like to sit and be relaxed with dimmed lights to set the mood while I record. 

Who are your influences and who are you currently listening to? Is there anybody you aspire to?

I’ve been inspired by early N.E.R.D., Tyler the Creator, Quincy Jones, Michael Jackson, Curtis Mayfield. From Roy Ayers to Sampha, from James Blake to Frank Ocean, I can go on and on… I’m currently listening to a lot of Sade, as well as Janet Jackson, Saba and a new artist called Jenevieve… her track ‘Medallion’ is my favourite song of hers. Oh, and just a lot of early 90’s hip hop, that stuff is always on rotation. 

Is there anything else you like to do away from music?

Outside of music I love to skateboard… I mean street skate, no skate parks just yet, I can’t do tricks and all that. I just like to cruise the streets. 

What’s your plans for the rest of the year?

My plan for the rest of the year is to continue writing new material for my first full-length album for next year. I make music every day and also do a bit of writing for other artists. I’m forever working on my craft and trying to evolve into the artist I’ve always envisioned myself as.

Tell us something interesting about yourself, that people wouldn’t know.

I was an academy football player when I was a kid. I played for Watford for 3 years and Fulham for 2. I got released after 5 years of some great memories of my life and now I still coach kids and teach them everything I know and learned when I was playing.

Anything else you’d like to share?

In addition to the singles, I’m releasing on streaming platforms, I finished a 14-song mixtape called ‘The VagueTape’ that I’ve been drip-releasing on my YouTube and Soundcloud channels, one track every 3-4 weeks. The Tape is all new songs I wrote over some of my favourite Hip Hop & Lo Fi House beats spanning the past 20 years. It actually started out as a kinda joke, but I wound up vibing out 75% of the songs in one evening. I just dropped the latest instalment ‘Trust In You (Aquamarine)’ last Friday.

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Albert Salt
Music InterviewsMusic News

Albert Salt

by the partae
written by the partae

Where are you currently based?

I live in Melbourne. 

How did you first start playing music?

I started playing Violin when I was 3 years old and then picked up piano when I was 4 (my parents are musicians).

What’s been happening recently?

Well I’ve just been really focusing on releasing this single for the last couple of weeks. But prior to that my other band Juno Disco just put out a new song called ‘Dreamin’, and now the film I’ve been working on is in post-production so I’ll be working on finishing up the score. So a lot to keep me busy! 

Your new single ‘Think It’s Time To Get A Job’ is out now, what influenced the sound and songwriting?

The song is primarily influenced by the Aphex Twin track ‘Iz-Us’ and ‘Older’ by Australian band Parcels. I was playing around on this synth and found a sound very similar to the one used by Aphex Twin. Once I found the sound, the chord progression of the song just wrote itself and I’d finished it in five minutes. I often find that a particular sound will really inspire me and is generally the basis of how I write music. 

I had been really into Parcels earlier this year and loved their vocal harmonies and found they were very influenced by one of my favourite bands ‘The Whitest Boy Alive’ (who are sadly no longer around). You can definitely hear the Parcels influence in the ‘What Changed, Just Stay The Same” response in the chorus.

How did you go about writing the track?

Lyrically I was a bit intimidated by my previous record as the lyrics were super revealing and I was unsure how to follow that up. I found that being super revealing worked really well and I had produced my best work by doing that. So I decided to dig a bit deeper into my past, to a time where I wasn’t releasing Albert Salt music and decided to get a full time job. This really crippled me artistically. I found having so much free time and putting out a record again last year completely re energised me and gave me focus on what I should be doing. But yeah the core of the song is really about that moment that so many people have where they question their dreams and think to themselves “Maybe it’s time to get a real job?”

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

I track everything at home in my studio, then I send it to my Juno Disco bandmate/production wizard Nick Bond to mix and play around with. He then sends the mix back and then it goes to industry legend Joseph Carra to be mastered. And while that’s all happening my stupidly talented filmmaker/photographer/artist/writer friend James Vinson creates the artwork. James has also done all of my press photos for the last few years and is directing the film I’m working on. 

It’s the same approach as what I did with ’25 Not Doing Alright’ and I just love how it works. I’m extremely fortunate to work with these incredibly talented people that elevate the material to another level. 

How did you approach the recording process?

A little bit differently, I don’t do this very often but I wrote the core of the song before recording it. Like a real songwriter. It’s always fun to mix up songwriting and recording processes as it generally gives you an alternate perspective on things. 

What programs/equipment did you use?

I use Logic as my DAW to record everything. I use a Neumann TLM 103 into either a Scarlett 6i6 or Apogee Duet interface to record Vocals, Violin, Percussion. The Aphex Twin synth was done on the Arturia V Collection CZ V (I actually have the synth that this is based on but needs to be serviced). And then most of the other synth parts were recorded on my trusty Prophet 08 and the bass was done on the Behringer Model-D (controversial). Oh and there’s a bit of Juno-106 in there at the end and some Arturia V mellotron pianos and clav thrown in there as well. The drum parts are all done with Sequential Circuits Drumtrax samples. And I think that’s pretty much it. 

Who are you listening to at the moment?

One of my favourite Australian band’s I’lls have reunited with a different project called Armlock. They’ve put 2 tracks so far ‘Power Of A Waterfall’ and ‘Turf War’ which are amazing and I’d highly recommend checking out. Let me have a look at my Spotify history. MF DOOM, Ravyn, Lenae, Boards Of Canada, PJ Harvey, Bibio, Beastie Boys, Steely Dan, Tribe Called Quest, Kings Of Convenience and of course my favourite podcast ‘The Weekly Planet’.

What do you like to do away from music?

Watching movies, cooking, having a bloody beer and going for a run. 

Please tell us about working across both your solo project, side-project Juno Disco and scoring your first feature film:

A lot of work! It’s really great being able to do so many different things musically.

You produce your own film clips, how did this come about?

I started doing this in lockdown last year, making videos for covers I was doing and then eventually videoclips and ads for my music. 

I absolutely love it! I approach it very similarly to how I make music and the fact that filmmaking tech has advanced so much means I can kind of experiment and shoot things and just airdrop it to my computer in a second and play around with it in Final Cut while I’m still shooting. I find it an extremely creative process almost like painting or something as it’s all kind of happening at the same time there’s no traditional pre-production/production/post-production period.

What’s planned for 2021?

Finishing the film is next on the Agenda, there’s a Juno EP on the cards and of course put out more Salty music!!!

Favourite food and place to hangout?

Leonard’s House Of Love hands down.

https://www.facebook.com/albertsalt/

https://www.instagram.com/albert_salt/

https://www.youtube.com/channel/UCN2oNSHZLRxxXq97VskxhfA

https://www.albertsalt.com/

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Segiri
Music InterviewsMusic News

Segiri

by the partae
written by the partae

Where are you currently based?

I live in London now. I grew up in India and moved here at the age of 18. 

How did you first start playing music?

I’ve been singing ever since I was a little girl. Being able to write music and sing is a way I can express myself. I can create a whole other world in my head to escape to – which was very handy in lockdown?

Your new single ‘Parallel’ which follows your previous single ‘Tastes Like Anarchy’. What influenced the sound?

‘Parallel’ has a really abstract vibe. It means something slightly different every time I listen to it- the good and bad side in a person living in parallel, always aware of each other but never meeting. Or two soulmates who were meant to be but who never quite got together. 

The idea for the video is likewise very surreal. I worked with Stevie Coales who is an amazing director to come up with the concept and we filmed the whole thing in his flat (though you’d never know it!). The idea behind the video was to paint a picture of all the different sides to a person that live in harmony- it’s really quirky and fun- we used different lights, colours, textures etc to create completely different “worlds”. The song and video are really intended to spark the imagination and I hope people love it!

What does this track mean to you?

My mother is an artist and does a lot of abstract paintings. She uses beautiful vibrant colours and I love immersing myself in what she paints. I can stare at her work and disappear into it.

For me, my song ‘Parallel’ evokes images and shapes and colours in the same way that my mother’s art does. It transports me to a parallel world!

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

The track was recorded a while back in London. It was produced by One Bit (Stormzy, JP Cooper) and Haj (Sigma, Becky Hill).

You run London-based foundation ‘Discover2Dream’ which is aimed at connecting students with female role models in a variety of sectors, how did Discover2Dream come about and how has the experience been so far?

I’ve always loved speaking and engaging with school kids. I think it’s so important that as a youngster you’re exposed to people from different careers and backgrounds- it helps inspire you and I think increases aspirations. My sister and I set up Discover2Dream because we wanted to make sure that kids from ethnic minority backgrounds have access to female role models from different careers and sectors.

I have to also say that being able to perform my music for students is just amazing- they are always so honest and when they like a track you know it’s good!

Who are you listening to at the moment?

I have Becky Hill on replay at the moment – I think she has such a fierce voice.

What do you like to do away from music?

This is going to sound weird but I love to play pranks on my friends!

What else is planned for 2021?

I want to be as creative as possible and build on what I managed to do last year. My last track ‘Tastes Like Anarchy’ had been recorded a while back and we were due to release it just as the pandemic hit. The initial idea for the video just wasn’t going to work and we had to adapt quickly- we decided to release a Zoom-inspired music video, featuring female dancers from a number of countries.

We never thought we’d get the reception we did but everyone loved the idea and the fact that we had managed to draw inspiration in a very difficult time. The video actually ended up winning the NeXtup Global Indie Music Competition (judged by Zhavia and Mally Mall) – which was just amazing.

I want to continue drawing inspiration for the simple things in life and unlikely sources to create something positive and beautiful.

I have a load of more great music in the pipeline! Next up will be a track with Tom Ferry who is an amazing Dance DJ. So definitely watch this space?

Favourite food and place to hangout?

I love food, especially Indian food. 

I’ve spent most of this year hanging out in my flat. My favourite room at the moment is my living room – I’ve had to refashion it a bit. I’ve installed a cool light system which completely transforms what is a boring room by day into a different world at night!

Segiri ‘Parallel’ is out now. Buy / Stream at https://ffm.to/xxbdvxl. A Tom Ferry remix of ‘Parallel’ will be released on 4 June. 

Segiri Socials

instagram.com/segiri_music

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RUDE GRL & CC
Music InterviewsMusic News

RUDE GRL & CC

by the partae
written by the partae

What is your name and role within the band?

CC aka Chris Constantinou – Co-Writer/Producer – Bass Guitar/Guitar

Where are you currently based?

London

How did you first start playing music?

I was in and out of trouble all the time as a kid and music gave me a way out.

‘CC’ (aka Chris Constantinou) started out as Adam Ant’s bassist, and has gone on to work with a host of big names, including Lou Reed and Sinead O’Connor, and RudeGRL (aka Jenna Dickens) has worked with The Basement Jaxx, Sub Focus, and more. How did the trio form?

Jenna and I met many years ago when we were both signed to Sony but reconnected when I texted Jenna at 3 am saying I had an idea for a  live punk/rock music-meets-hip-hop concept, based on a band I had seen play in Finsbury Park years ago. I then met Jenna’s partner Bunni Morretto who is an award-winning Burlesque dancer and we clicked. I remembered Hawkwind had a dancer / character Stacia on stage which really made the show, and also the fun Bez brought to The Happy Mondays live with his crazy dancing / vibe, so I asked if Bunni would join us on stage and that’s how it all started. We’ll start shows in September.

What have you guys been up to recently?

Writing new material for the next album…preparing for photoshoots…live stuff.

Your new EP ‘Killer 16’ is out now, what influenced the sound and songwriting?

Music wise…Nicholas De Carlo sent us some beats, I jammed some bass and guitars and Jenna AKA RudeGRL started doing her thing and we had it written and recorded in an hour.

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

We recorded at my studio and Nick mixed it at his studio in Ramsgate. It was mastered in America.

What did you find most challenging and rewarding about the writing/recording process?

The most rewarding thing about it was being able to work so quickly. An hour a song and ending up with something we loved and also that people are now digging.

The band includes burlesque star Bunni Morretto, will you be incorporating Bunni into the live show more regularly over time?

Yes for sure 100%!!!

Who are you listening to at the moment?

The guy next door Adrian banging a hammer really loudly probably punishing me for the loud sessions we have in the studio.

What do you like to do away from music?

Good food / Yoga / Wine / Travelling / Sex / Driving around in ELLA my 1969 fastback playing loud music through the Rockford Fosgate mega sound system / Reading / Movies

What’s planned for the rest of 2021?

A new album and live work!

Favourite food and place to hangout?

Curry / Agonda – South Goa – India

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Etaoin
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Etaoin

by the partae
written by the partae

Where are you currently based?

I’m currently based in Ealing, London! I grew up here.

You grew up between London and Ireland, how did the traveling back and forth affect you?

Travelling back and forth for me was actually super enjoyable. It was like having a life in England and a separate life in Ireland with different friendship groups in both.

How did you first start playing music?

The first music I ever played was Irish music when I was super young. I played the Irish traditional flute and took singing lessons as a kid.

Your debut EP ‘Bedroom Walls’ is out now, what influenced the sound and songwriting?

I’ve always been super passionate about songs that can stand on their own two feet without much production around them. I think there’s something to be said for simplicity. That was the main influence of the sound, letting the songs speak for themselves. Regarding the songwriting, all the songs were inspired by real events and people.

How did you approach the recording/production process and who else did you work with?

For this EP all the songs were approached in a different way really, for the songs Pale Damp Cheeks I literally knew no one in music and cold called the owner of this music studio and he put me in contact with a sound engineer called Michael Biggs who ended up recording the song. The producer for Bedroom Walls was Brad Ellis for I Dare you was Edd Holloway and for For Her was Phil Davidson.

The EP has arrived with the new single ‘For Her’, how did this track come about and what does it mean to you?

I wrote For Her when I was abroad for a few months. I missed home and my friends and all in all felt pretty lost in myself. I wrote it literally at like 2am about the idea of waiting and wondering if you’ll ever get your spark back, missing who you used to be and wondering if she’s gone for good. It’s a super personal song that I was afraid to show anyone for quite a long time as it’s super revealing and covers some stuff that I’ve never covered in any of my songs before.

You’ve achieved over a million streams since launching in January this year, what do you attribute this massive success to?

I’d attribute the success to being surrounded by good people who believe in me, the honesty of the songs and the support of the people listening.

Who are you listening to at the moment?

I’ve been listening to a lot of Phoebe Bridgers at the moment.

What do you like to do away from music?

Outside of music I spend a lot of time with my friends, I find a lot of inspiration from that for my songs.

What’s planned for the rest of 2021?

This year I’ll be releasing another EP and I have two headline shows in November!! One in Dublin and one in London.

Favourite food and place to hang out?

Fave food has to be chocolate. Every single time. And sweets. Sour ones. I don’t really have a fave place to hang out, anywhere where my friends are!!

PLAY/LISTEN TO ‘BEDROOM WALLS’

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Marcelo De La Vega
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Marcelo De La Vega

by the partae
written by the partae

Where are you currently based?

I was born in Sydney, but I live in London now. I’ve been here for 4 years and I love it. No plans on leaving anytime soon. Although I do miss the sun sometimes.

How did you first start playing music?

I got expelled from high school and the only school that would let me in after that was an arts-driven school called Reddam house in Bondi Beach. It was filled with creative opportunities which my school prior hadn’t been, it was the first time I’d seen the popular group be filled with smart and artistic people opposed to the archetypal athlete alpha-male. I somehow managed to con my way into an audition for a new band some of the kids were starting. I had to learn “DamnIt” by Blink 182 in a week, I was a pretty horrible guitar player, and I could only just hold a note with my voice. I somehow managed to live up to my bold claims of being both a great vocalist and guitarist, at least for that song. Hanging out with those guys, I really found my passion for being in a group of people and playing the music you all love. Playing in a group is still to this day my favourite way to write music 

What’s been happening recently?

I’ve been writing my next record! Over lock down I set up a studio in my house, so I’ve basically just been writing and recording every day. it’s definitely made the last 6 months much easier. Other than that I’ve just released my debut EP and that was so exciting to finally have out. It’s so nice to know people are listening and hopefully enjoying these songs.

You’ve just released your EP ‘Conversation’ with lead single of the same name, what influenced the sound and songwriting for the EP as a whole and the single Conversation?

To be honest the biggest inspiration were my friends who I wrote and recorded the record with. The bulk of the EP was born actually playing within a group setting or one on one with an instrument and note pad in hand mostly, far away from a computer. A lot of the songs have a plethora  of live components to them which I’m also really proud of. Be that Paris being one whole vocal take, or Conversation having drums, bass and piano recorded simultaneously and one whole take.

How did you go about writing the EP?

I wrote it between my co-writer Charlotte Freud’s house and my producer Pete Hutchings house. The whole process happened really naturally and stemmed from a place of jamming and hanging out opposed to the typical session studio environment.

What does the EP mean to you?

Well, it means enough that I got ‘Conversation’ tattooed on my arm at 4am by some random guy in the back room of a club when I was drunk on Halloween 2019. It’s really a story of my life during the happiest and saddest I’ve ever been. But mostly it’s the time I spent making it with my friends that means the most to me, a lot more than the actual sentiment of the songs if I’m honest.

Where and when did you record/produce/master and how did you approach the process?

We mainly recorded it between my producers living room and RAK Studio 3 in St. Johns Wood. Again, it was just  a lot of playing these songs live and recording what we came up with, just having fun. I guess I didn’t really approach it in any definitive way because I didn’t feel like work or like we had to force art. Everything just happened the way it was meant too. 

Who did you work with during the creation of the EP?

Most of the lyrics and melody I either wrote on my own or with my co-writer Charlotte Freud, and again she’s my best friend so it didn’t really feel like work. Other than that, my producer Pete Hutchings who’s worked with Adele, Royal Blood and Lady Gaga. My drummer Chris Mass who’s Mumford & Sons’ drummer. Kieran Jones who plays bass for Dermot Kennedy and is now my co-producer on the record I’m working on now. And a few other amazing friends who I was lucky enough to get into the studio. 

What did you find most challenging and rewarding?

There wasn’t really anything I found challenging, it all felt really rewarding! I was working in cafes and bars while I recorded the whole thing, so just being able to be in the studio was the part that was most special. Doing what I love with people I love.

You co-directed each of the music video’s for each single, please tell us about this process:

I managed to be mentored by my good friend Liam Clarke while I was in Sydney last year, and he basically taught me everything I know about direction. He co-directed the first two music videos with me and my childhood best mate Em Meades. It was definitely a learning curve, especially doing everything on film. But when I came back to London and came up with the concept of Vinnie Vegas the sad clown, I took everything Liam showed me and put it to work to create the Conversation music video. That song and video are the two things I’m most proud of that I’ve created thus far.

Where and when did you film?

The ‘Conversation’ video was basically all shot in central London near where I live. They say shoot what you know so we used a lot of locations that I walk past every day.  

How did the concepts for the music video’s come about?

Each concept came about very differently. ‘Told you’ stemmed from the lyric “emptying the clouds’, ‘Broke & Criminal’ was a reference to ‘Natural Born Killers’, and ‘Conversation’ I was just really tired of taking myself too seriously so I wanted to do something really silly. And I wanted to do something with my dog who sadly passed away a few weeks after we finished filming. So now the song and video have a whole new meaning to me. 

You were signed at just 17 in Australia before parting ways and moving halfway across the world to London where you’re now based, how was the initial transition and how are you finding living in London now?

The transition wasn’t too jarring actually! I initially got signed in America so all the time I spent between LA and New York prepared me for living overseas. I love London, it’s my favourite place in the world. Every day I wake up feeling blessed that I’m able to live here. 

Who are you listening to at the moment?

Mostly Tyler, the Creator and Jeff Buckley. I’ve been listening to Childish Gambino’s record that came out in 2020 a lot, it’s amazing. I just discovered Maggie Rogers and her album ‘Notes from the Archive’ is incredible. Carol King is on a never-ending cycle of repeat and a lot of Tribe Called Quest. I’m currently listening to Brockhampton’s new album while writing this and it is really great.

What do you like to do away from music?

I own a clothing label with my sister. It’s a sustainable women’s label and that’s been our little lockdown baby, it’s a really fun way of being creative that I hadn’t explored before. It’s called Cielo Studios, check it if you want to look cool and save the planet while doing it.

What’s planned for 2021?

More music! I wanna put out an 8-song mixtape and drop a video for each song, so between that and Cielo Studios I’m gonna be pretty busy! Hopefully fit some live shows whenever we are allowed to.

 

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Charlotte Rosse
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Charlotte Rosse

by the partae
written by the partae

Where are you currently based?

Currently in Monaco. Home will always be London where I hope to go back once vaccinated.

What have you been up to recently?

I have been working on the acoustic version of “Raise a Toast” and the video. Plus recording vocals for my upcoming acoustic EP.

How did you first start playing music?

I started singing before I could walk 🙂

Your new single ‘Raise A Toast’ is out now, what influenced the sound and songwriting?

The biggest influence on the melody and the over-the-top drama of the lyrics has been the music of an Italian icon, Mina Mazzini. She has a dramatic voice similar to mine and I take a lot of inspiration from her music of the ’60s and ’70s. Apart from that lyrically I love Lana Del Rey and the vintage glamour which I try to convey in my songs.

When writing this song I thought that it’s message has a lot of similarities to “All By Myself” by Eric Carmen, famously sung by my favorite 90’s diva Celine Dion. As his song was based on a part of a Rachmaninov’s piano concerto I thought it would be cool to add the actual Rachmaninov recording at the beginning of the track played from vinyl! It also underlines the huge influence of classical music in my creative process.

You co-wrote Raise A Toast with Arrow Benjamin (Beyonce, Alicia Keys), how did this collaboration come about and how was the experience as a whole?

Arrow was introduced to me by an acquaintance of my boyfriend. It was a total coincidence that our paths crossed. We met a few times and decided to give it a shot and work on some music together. I was very excited about the opportunity to work with him as he is incredibly skilled with words. As a young songwriter I can learn a lot from people like Arrow.

Once we started working we understood we are both alfa personalities so there were a lot of fiery discussions, long late-night phone calls, and different visions but in the end, we both found a middle ground and consider the song “our baby”.

Where and when did you record the track and who did you work with?

I recorded the track in the summer of 2020 with some difficulties due to the COVID restrictions. It was recorded in a recording studio in Nice, France.

You’re operatically trained, how does this influence your music and live performance?

I’ve been trained in Speech Level Singing technique since I was 16. This technique built the grounds for me as a vocalist. The biggests benefits I got from my classical training were mainly the development of my musical horizons and knowledge, the expansion of my vocal range, and the experience of singing some of the most difficult pieces of music written for voice, which now gives me an incredible confidence and ease while singing pop music. Not to mention the discipline you have to develop when you study for an Opera Degree, which involves acting, music theory, fencing, ballet and more. All this is very helpful for live performances.

How did the concept for the music video come about?

When shooting the video we were in a lockdown and I decided to take things into my own hands rather than wait for the reopening. I ordered a big Pavlova cake at a patisserie in Monaco, bought a ton of macaroons, and asked my close friend, who is a famous fashion designer in Poland, to lend me some fancy gowns. When writing this song I already had a vision of a Hollywood siren who has it all, dancing by herself to the music in her hotel room, drinking way too much, watching TV at night, and eating fast food. The idea of a modern Marie Antonette mixed with Marylin Monroe. Shooting it was hard work but also sooo much fun. And I got totally tipsy on all the champagne! But seriously, I think the video is such a good contrast to the song, as you can see my joyful side. I wanted it to feel more personal therefore we edited it in an 8mm camera style.

Where and when did you film?

Considering that the music video was shot in January 2021 when we were in full lockdown everything had to be done very simplistically with just me as the director, stylist, makeup artist except for the cameraman. It was filmed in a hotel in Monaco.

What did you find most challenging and rewarding during the creation of the music video?

I guess the biggest challenge was to take care of all the styling, makeup, and hairstyling. It was a lot of work considering I had 5 different looks. I loved that I had total creative control and it was simply fun.

Who are you listening to at the moment?

I have a very broad spectrum of music I listen to but currently one of my favs is Snoh Aalegra. I’m also in love with the 90’s vibes of the new releases from Bruno Mars.

What do you like to do away from music?

A passion that has definitely helped throughout my teenage years and something I care about a lot is the transformative power of makeup. Together with fashion, makeup has always been my armour and has given me the freedom to choose who I want to be. Every day I choose a different look that makes me feel empowered and brave.

What do you have planned for the rest of 2021?

In June I’m going to release an acoustic EP which has been fun to record as we’ve done it with a great live string quartet. Then I’m hoping to travel and hang out on the beach for the whole of June, July, and August. I’m also gonna have my mini studio set up with me and do remote songwriting sessions with my team. Once September arrives I hope to go back to London and work on my original material there.

Favourite food and place to hang out?

Favorite food? Probably Cipriani’s famous meringue cake. I have a horrible sweet tooth.

My favorite place to hang out is George Members Club in Mayfair, London. It feels like home and the staff there are like family to me!

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Billy Reeves
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Billy Reeves

by the partae
written by the partae

Where are you currently based?

I’m currently based in Melbourne, VIC.

What’s been happening recently?

I’ve been setting up my new studio and producing for a few local acts.

Your new album ‘Biting The Life Nectar’ is out now, what influenced the sound and songwriting for the album?

The main influences are the experiences that you hear about on the album, it influenced it even more than music I listen to.

How did you go about writing the music?

It took a lot of scrapping and starting again at points, I moved living spaces a few times while making the album so that definitely made it harder to concentrate. But in the end I’m really satisfied with how it turned out.

You’ve done an amazing job of self producing the entire album, where and when did you record/produce/master?

I started working on the beats for the album in late 2019 in my home studio, I recorded around different parts of Victoria as I was moving so much. I ended up making a few really awesome beats that I unfortunately couldn’t write anything on, the ones I wrote on worked for a reason though.

How did you approach the recording/production process?

I started recording the album in a booth in my old apartment but finished it in my bedroom at different apartment about 11 months later. I made every beat on my laptop with no additional gear since I didn’t own any instruments at the time.

What programs/equipment did you use?

I used a 2015 MacBook Pro to record and produce on Logic Pro DAW.

What did you find most challenging and rewarding throughout the period of producing?

The most challenging part by far was having things not work out how I imagined, not being able to play any instruments has its limitations. On the bright side the most rewarding parts of producing were working with so many session musicians and backing singers to bring my ideas to life.

How did you learn to self produce?

Back when I started producing in 2016 I learned the basics from this guy on YouTube called imamusicmogul, and self taught mostly after that. My strongest suit as a producer is building something grand out of a simple starting point.

You also shot your first music video, how did the concept come about?

I worked on the video with Josh Davis from Visionaire Media, it was a very organic collaborative process where some ideas were planned ahead and some we just improvised. I really love how the shots turned out, hoping to release the video some time soon.

You’ve released on vinyl for the first time as well, what are your thoughts on how your music sounds on vinyl and why did you choose to release on vinyl?

Vinyl can be tricky to get write so it was a bit of a process to get it sounding ideal, it sounds like something from 2021 and 1971 at the same time which is kinda trippy to me but I love it. I‘ve always wanted to do a proper vinyl release for an album and this was the perfect opportunity.

Where can we purchase the vinyl?

You can purchase it exclusively on my BandCamp page.

What do you like to do away from music?

Spending time with my partner and watching plenty of movies.

Who are you listening to at the moment?

Been bumping a lot of Mac Demarco and I’ve been getting really into The Avalanches.

What’s planned for 2021?

Since I’ve already dropped two projects this year I will probably just work behind the scenes on other peoples music for the rest of the year.

Favourite food and place to hangout?

I do love me a classic cheeseburger, I’m on a quest to find the best one in Melbourne. My favourite place to hang out at the moment is Fortress Tavern.

Stream Album: https://fanlink.to/bitingthelifenectar

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Where are you currently based?  Melbourne, Australia How did you first start playing music?  We have both been in the game for a few years now in different capacities, but together we’ve been making music together for about 6 months. How did Dubbel Drop form?  Born from a mutual love of disco loops, hot sauce, Belgian beer and of course the sesh! What's been happening recently?  Been booking in some gigs around Melbourne, working on new tunes and keepin’ it spicy on the reg. What influenced the sound and songwriting of Mighty Knight?  Too many influences to mention them all, but we definitely tout OGs such as Armand Van Helden, Cassius and Stardust as well as the likes of The Phantom’s Revenge, Duck Sauce, Boys Noize and Boston Bun as big vibes for our musical direction. How did you go about writing Mighty Knight?  We found the sample and worked it into a vibe we liked, instantly we felt this was something that would get booties shaking so we finished it off and played it to some trusted homies who all were going nuts about it - from there we knew we were onto something pretty special. Where and when did you record/produce/master and who did you work with?  We worked across Jeremy’s home studio and the label studio for different sessions in production, then our dude Alex Braithwaite went in on the mastering and absolutely nailed the sonics we wanted to a tee! How did you approach the recording process?  We didn't technically record anything on this track, it’s all synths and samples baby! What programs/equipment did you use?  Logic Pro. What do you like to do away from music?  Fine dining, watch Seinfeld and search for dank memes. Who are you listening to at the moment?  Buster: I’ve been bumping the new YSL album ’Slime Language 2’ a lot in the car since it dropped the other week. Also Folamour's Cover Mix for Mixmag which is very spicy!  Jeremy: Lately I’ve been bumping a fair bit of Riton and Anti Up and I follow The Magician's Magic Tapes pretty closely. The recent No. 100 is a banger I've thrashed a lot! What's planned for the remainder of 2021?  Playing some sick parties and putting out some more bangers, hopefully get an EP release out for Summer 21/22 Favourite food and place to hangout?  Oh damn this is a hard one!! Gotta give a shout out to the homies at Leonardo’s Pizza Palace in Melbourne, that’s def a slice worth going out out your way for!! Social links / Website: https://linktr.ee/dubbeldrop  Spotify - https://open.spotify.com/artist/4R6Kb1sbHUPXcsLTSHdrzN?si=LQMqmBeIR9-FU4mS9u0InQ  Facebook: https://www.facebook.com/dubbeldrop  Instagram: https://www.instagram.com/dubbeldropdjs/  Youtube: https://www.youtube.com/channel/UCe2VsHyhta4dmlCFXHdid6Q  Soundcloud: https://soundcloud.com/dubbeldrop 
Music InterviewsMusic News

Dubbel Drop

by the partae
written by the partae

Where are you currently based? 

Melbourne, Australia

How did you first start playing music? 

We have both been in the game for a few years now in different capacities, but together we’ve been making music together for about 6 months.

How did Dubbel Drop form? 

Born from a mutual love of disco loops, hot sauce, Belgian beer and of course the sesh!

What’s been happening recently? 

Been booking in some gigs around Melbourne, working on new tunes and keepin’ it spicy on the reg.

What influenced the sound and songwriting of Mighty Knight? 

Too many influences to mention them all, but we definitely tout OGs such as Armand Van Helden, Cassius and Stardust as well as the likes of The Phantom’s Revenge, Duck Sauce, Boys Noize and Boston Bun as big vibes for our musical direction.

How did you go about writing Mighty Knight? 

We found the sample and worked it into a vibe we liked, instantly we felt this was something that would get booties shaking so we finished it off and played it to some trusted homies who all were going nuts about it – from there we knew we were onto something pretty special.

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

We worked across Jeremy’s home studio and the label studio for different sessions in production, then our dude Alex Braithwaite went in on the mastering and absolutely nailed the sonics we wanted to a tee!

How did you approach the recording process? 

We didn’t technically record anything on this track, it’s all synths and samples baby!

What programs/equipment did you use? 

Logic Pro.

What do you like to do away from music? 

Fine dining, watch Seinfeld and search for dank memes.

Who are you listening to at the moment? 

Buster: I’ve been bumping the new YSL album ’Slime Language 2’ a lot in the car since it dropped the other week. Also Folamour’s Cover Mix for Mixmag which is very spicy! 

Jeremy: Lately I’ve been bumping a fair bit of Riton and Anti Up and I follow The Magician’s Magic Tapes pretty closely. The recent No. 100 is a banger I’ve thrashed a lot!

What’s planned for the remainder of 2021? 

Playing some sick parties and putting out some more bangers, hopefully get an EP release out for Summer 21/22

Favourite food and place to hangout? 

Oh damn this is a hard one!! Gotta give a shout out to the homies at Leonardo’s Pizza Palace in Melbourne, that’s def a slice worth going out out your way for!!

Social links / Website: https://linktr.ee/dubbeldrop 

Spotify – https://open.spotify.com/artist/4R6Kb1sbHUPXcsLTSHdrzN?si=LQMqmBeIR9-FU4mS9u0InQ 

Facebook: https://www.facebook.com/dubbeldrop 

Instagram: https://www.instagram.com/dubbeldropdjs/ 

Youtube: https://www.youtube.com/channel/UCe2VsHyhta4dmlCFXHdid6Q 

Soundcloud: https://soundcloud.com/dubbeldrop 

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