Music Interviews

Where are you currently based and what is the music scene like there?

I’m currently based in the Netherlands near a town called Eindhoven. The music scene in Eindhoven is mainly Dutch pop/urban music but we have a lot of Electronic music festivals in The Netherlands, especially in summer.Some great colleagues in the music scene are from Eindhoven as well.

How did you first start playing music/DJing/Producing?

I had to do a school project when I was 15 with the purpose to develop skills and interact with people. I played piano since I was a little girl and I loved it, so I definitely wanted to do something with music. And I found that with djing and producing you can create such an intimate connection with people, which I thought was amazing. I got the chance to play at a local pub in my village. It was so fun and there were some people who asked me to play at a little festival and those little festivals became bigger and bigger, and then I met my manager and everything went so fast after that. Just a rollercoaster, but I love it…

What’s been happening recently?

I just released my track ‘Roll Up’ on Heldeep Records and have a few other tracks ready to go! I recently got back from India playing at an awesome festival for 20.000 people and for the rest of the year, I’m playing at Mysteryland, Summerburst and a many more awesome festivals!

Your new track ‘Roll Up’ is out now, what influenced the sound and songwriting for this track?

When I play in clubs, I sometimes love to switch my sets up with some groovy house tracks especially when I feel like the crowd wants that kind of music, but I didn’t really have any track with that sound yet. So with Roll Up I found a mixture of energy and of a groovy house track that will fit perfectly into my set.

How did you go about writing Roll Up?

A friend of mine had an awesome analog sample, which is the lead sound you hear in the drop. I started playing around and tweaking the analog sound and after a while I was very satisfied with it and decided that it would work perfectly as a lead sound, which you now hear in the drop. I started building the rest of the track around this lead sound, because I found it so cool that I wanted it to be the main focus of the track.

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

I started producing this track in the summer of last year, I was playing in a lot of awesome clubs, so my music style was a little more clubby and groovy. What I really missed in these sets was a track like Roll Up, so I started working on it and I actually premiered the first version in Docks, which is a club in Hamburg. People loved the track so much that we worked on it a little more together with, James Erickson, and that is the track you hear right now.

What programs/equipment did you use?

I tried about every program production-wise and ended up with Ableton Live. It has such an easy workflow and I love the plugins from Ableton itself. Djing-wise I have always used Pioneer, very easy to use and it is super universal wherever you go in the world.

Who are you listening to at the moment?

At the moment I love to listen to Billie Eilish and Rosalia, they are both so talented and original.

What do you like to do away from music?

I love to do sports, which really clears my mind and makes me feel super healthy. I even started my own little fitness blog, which is updated weekly on my socials, called Beyond Fitness.

Please tell us about your experience with working with and being a part of the Heldeep family:

I’ve met Oliver Heldens a few times now and I love him as a person and artist, so I am really happy to release on, and to be part of the Heldeep Family. I think it’s great to work with them and also be inspired by their sound and vice versa.

You have a summer tour coming up, where are you headed?

So far this summer I will go to Germany – Airbeat One, Sweden – Summerburst, France – Electroland, and The Netherlands – Mysteryland to name a few. Half of my time I am in Asia and this year I am also going to South America. The schedule so far is already insane! I really can’t wait!

How do you prepare for live shows and what do you most enjoy about playing live?

What I always do is check the hit lists of that country, and then I will make some specific mashups and edits from tracks that are famous in that country. What I also do is I adjust my intro to the energy of the crowd. I think that the people like to hear that and then I just go with the flow. I look at the crowd, sense them and feel how they are reacting. What I enjoy most about the sets is the contact with the crowd, I love to see when they are enjoying, smiling and dancing that is seriously the best feeling in the world.

What do you find most challenging and rewarding whilst being on tour?

The most challenging experience is flying and the airports because there is so much waiting and standing in lines, pffff…. What is crazy challenging is when you have done a super cool gig for a few thousand people, which gives you crazy adrenaline and that moment when you are back in your hotel room a few hours later, alone with no sound. It’s always such an anticlimax. The most rewarding on tour is meeting different people from so many different cultures. It is such a privilege to meet everybody, perform for the crowd, making music, shows and to have so much fun with all the people

What’s planned for 2020?

So far INSANE festivals and clubs around the world and so many tracks! I can’t wait to show you guys everything.

Favourite food and place to hangout?

My favorite food is definitely gluten and lactose free pizza with crazy amounts of toppings. But I am definitely a NO pineapple on my pizza person haha.

 My favorite place to hang out is at home with friends, chatting, playing games or watching a movie together.

https://www.instagram.com/sophiefrancismusic

Where are you currently based and what is the music scene like there?
Iʼve been in Philly, PA for the past 5 years or so. Thereʼs tons of music happening in Philly. House shows are still a pretty big thing here and a lot of art collectives and shared loft situations are forming, which host some cool shows and events. Also have new venues like The Met poppin up. Itʼs hard to keep up with all of the Philly bands. XPN, which is U Penns radio station, does a good job of showcasing local talent.

How did you first start playing music?
Hittinʼ pots and pans… like most kids. After a few long years of making rubberband / tissue box guitars and cutting cassette records with my big sister, I discovered my motherʼs old acoustic guitar in our basement. I began writing songs before I actually figured out any chords. I guess you could say I was a monophonic guitarist…for like 2 years haha. My sister dated some cool musician dudes who got me started on drums and guitar. The first band I joined was a big band / swing band that played a lot of Count, Duke Ellington and songs from other famous jazz composers.

What’s been happening recently?
Mostly been hiding out and recording in my studio in Philly. Just finished a film score with my buddy David Carls aka Branx, which was a lot of fun. Synthy Sci – fi kinda vibe. Iʼve also been producing / collaborating with some cool Philly, Nashville and LA artists.

You have an album soon to be released on Gramatik’s Lowtemp, what has influenced the sound and songwriting for this album?
I feel like there are primarily 2 kinda vibes happening on this record. One being a sort of classic soul and Motown vibe and the other having a more modern dancey feel. Two of the more classic artists that I always have on heavy rotation are Al Green and Sly & the Family Stone. Slyʼs vocals on the album ‘Freshʼ have definitely influenced some of the more soulful vocal moments in my recordings. For the  more dancey side of things, I would say that Prince and Justice are two pretty big influences. Also, Jamie Lidell is a recent re-discovery that Iʼve REALLY been diggin. Heʼs an all around fantastic artist who always seems to keep things super soulful and fresh.

Like most songwriters, things that I experience and things that I hear and read about influence my writing. I try to be conscious of what Iʼm going to release in regards to lyrical content and message. I donʼt mean tip toe-ing around and being careful with my words, but rather choosing to release the songs that may be able to effect listeners more. Iʼm not releasing music for myself. I can listen to myself without releasing anything (I know from experience). I think that qualifies listeners as being perhaps the number one influence on my songwriting.

How did you go about writing the music?
I usually start with a melody or some sort of hook. I rarely sit down and decide to just write a song. Most of the ideas come randomly when Iʼm taking a walk or on an airplane. Iʼve noticed that there is something sorta neat about writing and creating while 7 miles up in the clouds. At least for me anyway. Every now and then I will start writing to a beat or a loop if it really sparks something immediately. There are certain drum grooves that almost imply harmony and / or melody in an interesting way. Sometimes all I need is the right groove and a song immediately starts to take form out of thin air. Drummers who can lay down this sort of foundation are absolutely priceless. Iʼve only met a few.

Where and when did you record/produce and who with?
Most of the songs were recorded by my lonely ass self through out 2019. There were a few instances where I had someone come by the studio to track another instrument live with me in order to capture a certain feel, but this record is sort of my first true solo record.

What programs/instruments did you use?
I used Logic Pro X as my main DAW. I think of the computer and DAW as the storage device that has replaced tape . And all of these analog instruments and devices are being crammed through the butthole of the computer and stored as 1ʼs and 0ʼs. I donʼt think I will ever fully understand how this is possible, but itʼs pretty freakin rad.

Please tell us how you connected with Gramatik and how the experience have been so far:
My good homies in Exmag, particularly Eric, introduced me to Denis several years ago when they were all living together and making records in Brooklyn. I remember the first time we met we were watching YouTube videos and getting excited about the musical moments. When other people react to the same specific musical moments in a very similar way that I do, itʼs almost inevitable that we will end up collaborating at some point. So eventually I got my good homie Orlando Napier to link up with Denis and the 3 of us recorded some tracks. Fast forward a few years to Gramatik Red Rocks summer 2017… around this time, Denis and I reconnected and started talking shop. I sent him a track or two, and he sent me 57 tracks, which I was to learn for the 3 hour long set at Red Rocks the following week. That was an intense 3 hours to say the least. I didnʼt even realize how severely bad I had to pee until the family photo was taken after the set. Fortunately, everything has been downhill from there and we continue to make more and more music together each day it seems. We are currently working on a blues record called ‘Future City Bluesʼ, which Iʼll be released later this year.

Who are you listening to at the moment?
Iʼm currently listening to the new Tame Impala record, which I very much like. Jamie Lidell – ‘building a beginningʼ has been on heavy rotation. Revisiting Justice ‘audio, video, discoʼ. Iʼm always trying to keep up with what my friends are releasing as well.

What do you like to do away from music?
I like to take walks. Each year from ages 20-30 I became a little less active in sports and exercise until I eventually arrived at walking. Outdoor walking only, none of that mall stuff. But seriously, if I donʼt walk at least a few miles a day, I have a tough time focusing on anything. Itʼs a great way to break up the day and give your brain a much needed reset. I recommend it to everyone, especially those who are staring at screens all day.

What’s planned for 2020?
2020 is the year for releases. Thatʼs been my plan anyway. Iʼve become pretty overwhelmed by the amount of music thatʼs been collecting on my hard drives that I need to do something with it before I explode. Denis and I have a project in the works that will basically serve to recycle all of the tracks we make that donʼt find their way onto an album or a film that we are writing for. There will be all sorts of styles ranging from funk to spaghetti western soundtrack style recordings.

Favourite food and place to hangout?
I donʼt think I have a single particular favorite food, but I do eat an awful lot of ice cream. When Iʼm not in the studio, I like to hang out on the city streets. I also enjoy floating down a nice creek or river with fishing pole in hand. I usually visit with family if I have a few days off.

Where are you currently based and what is the music scene like there?

I have recently relocated back to my hometown in Coffs Harbour. There are some talented and hustling artists up here, but a much smaller audience as opposed to Sydney where I have been previously based over the past 5 years.

How did you first start playing music?

Growing up in a family of musicians and singers, music was just a part of life. I never sought out to pursue it as a career, even though I used to dream of being an international artist as every young kid does. My Mother’s heritage is Maori which hugely influenced my musical ear as well as growing up singing gospel in church.

What’s been happening recently?

Recently I’ve come back to producing my own tracks. It has been hard to channel creativity and write whilst spending a lot of time in my other passion as a Youth Worker, but lately I’ve been looking to focus more on my art and collaborating with other artists.

You’ve recently transitioned into hip-hop, how and why did this come about?

I grew up listening to female artists like Lauren Hill, Brandy, Beyoncé and Rihanna. At the time I went to Uni, I struggled to find that type of community so I experimented in other genres for a long while. Hip-hop, R&B, Soul and Reggaeton are more so styles I feel I’m coming back to as I’ve been able to connect with an Australian hip-hop scene and staying true to myself as an artist.

How has the transition to hip-hop been so far?

I absolutely feel like I’ve reconnected with a huge part of who I am, how I write, what I write about and how I move and perform as a dancer also.

Because I’ve worked with an Electronic producer for a while now, I’m still transitioning and I’m unsure if I would categorise my sound as strictly hip-hop. I’ve loved Rihanna for this because I feel like a lot of her tracks explore other genres. It’s more about representing a vibe and a feeling for me, rather than sticking to a genre.

How was your experience supporting Tuka?

It was so incredible to meet and support Tuka on his “Selling Me Out” Tour last year. He is one of the most kind, genuine and generous artists I have come across. Supporting him live was just as memorable as the day he reached out to offer me the slot. It was a huge gift and I am still tremendously grateful.

Your first self-produced single ‘On My Way’ is out now, what influenced the sound and songwriting for this track?

I wanted to write something with grit because I feel like my life and musical journey has been the school of hard knocks. I can definitely say that I’ve poured every drop of resource into carving out a musical career for myself and am still. ‘On My Way’ is a short insight to the constant hustle of mind over matter, being born into a type of situation, bumping up against it and being good with the process as you try to create something of meaning from it all. Every sound is there to represent my grind.

How did you go about writing ‘On My Way’? Where and when did you record/produce?

I first came up with the chorus bass line. I instantly loved it and wanted to create a vibe around it. It reminded me of someone who is riding solo through life, has overcome obstacles and can smile at the future.

I have a small studio space at home that I write and produce from. I recorded and produced it last year when I first moved back to Coffs from Sydney. It was a transitional time in many ways, moving location but also getting back to producing which forced me to come up with my own samples and sounds and put my own flavours into it. I was listening to DaniLeigh and Rihanna at the time which influenced the sound, as well as Banks and Beyoncé. Women who get the mashup of soulful vocals, rock guitars, eerie soundscapes, heavy bass lines and a current beat.

It went through a few trials as it doesn’t strictly follow a “pop structure”, but I couldn’t leave any part out once it was finished. It’s a journey, which also represents the message. It’s the most soulful song I’ve written.

What did you find most challenging and rewarding through this process?

It has been super rewarding to remember that I can produce my own tracks. I’ve been writing, performing, dancing, making and directing videos for a while, I kind of put producing on the shelf.

It began as an experiment and once I got it mixed and mastered, I realised how achievable it was. 

It definitely feels good to be able to express exactly how I feel through sound, as well as lyrics.

What did you learn through producing this single by yourself?

I learnt that by producing the track, I’m actually releasing my own sound and vibe, as opposed to writing and sending it off for someone else to create.

I’m really proud of this one and I will definitely put myself back in the producer chair for future singles.

Who are you listening to at the moment?

DaniLeigh, Teyana Taylor, Jhene Aiko, Kanye

What do you like to do away from music?

Dance is a huge outlet. Design, draw.. shop.

What’s planned for 2020?

Single releases and music videos! I’d love take my new music on tour as well, both here in Coffs and up and down the coast.

Favourite food and place to hangout?

Coffs has some really great coffee spots, my favourite is Salute on the beach. Favourite foods: sushi, dumplings and Mexican.

INSTAGRAM – https://www.instagram.com/sarai.music

SPOTIFY – https://open.spotify.com/artist/3Kec4Kc2YtCGMlCBRPViS8?si=RIGJCyA8S96p4Y7wJRrwaA

YOUTUBE – https://www.youtube.com/channel/UCJOt3GocKeK9c-E_JLIic6w

TRIPLE J – https://www.triplejunearthed.com/artist/sarai

FACEBOOK – https://www.facebook.com/sarai.officialmusic/

Where are you currently based and what is the music scene like there?

I’m based in Melbourne, Australia. I love the music scene here, there are so many creative people which makes it easy to arrange sessions and collaborate with other artists/musicians/producers. That being said though, I write & work with people all over the place thanks to the World Wide Web. 

How did you first start singing?

I was very influenced by my Mum and my Aunty; they’re both great singers and very creative people. I started singing lessons when I was about 8 with Connie Lemke, the same singing teacher my mum went to, and from there it was kinda game on! I started gigging when I was 13 or 14, and that taught me a lot about how to work with a band. From there I became pretty self-sufficient, got my own gear and started doing my own gigs/writing/recording.  

What’s been happening recently?

My life’s been pretty hectic lately, I’m towards the end of my law degree so I’m studying a lot, and I’m also working in a law firm one day a week. I’ve just moved house and have a sick music room set up, so I’ve been feeling pretty inspired to make new music, been dabbling on the keyboard whenever I have a spare moment. 

You’ve just released your new single and video ‘Scarlet Skies’ what influenced the sound and song writing for this track?

I wrote Scarlet Skies when I’d just got home from a big tour, I was pretty exhausted but the lyrics and melodies came together pretty quickly. In a literal sense, the sky at the time inspired the song. I was on my balcony in Fitzroy and had a beat Allan McConnell made for me on loop. The sky was so vibrant, it was really beautiful. Thoughts and ideas just started flowing naturally and that’s how it all came about. I think there’s some subliminal influences in my sound from artists like Jazmine Sullivan, Nai palm and even Solange. 

How do you go about writing music?

Generally I’ll give my producer a reference or direction as to what feel or vibe I’m wanting to create.. Once we come up with something we both like, I’ll then start humming different melodies over the chords or beat. Once I come up with melodies I like, then I start playing around with different vowels that suit the rise and fall of those melodies.. I then structure words around those vowels… usually the words then lead me to a concept, which ties everything together.

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

It all happened throughout last year. Allan McConnell from Close Counters produced Scarlet Skies, he did such an incredible job. I’d love to post the original idea he sent me for the song so people can hear how well Allan developed those initial ideas. I laid down my vocals with Hamley who is another producer I like to work with, and he then produced my vocals. I think Hamley also added a lot to this track because so much focus is in the ambience and treatment of the vocal. Liam Quinn from Sydney then mixed and mastered and he did a killer job as always. Quinn is my go to guy! He has such a good ear and is quite the perfectionist in the studio, which I love. 

How did you approach the recording process?

With patience, persistence, stretches, and chamomile tea! I gotta get relaxed, comfortable and in the zone before I record.. Recording is such an intimate and vulnerable thing, the tiniest imperfections are picked up and amplified which can be good and bad. I’m pretty brutal with myself, I guess the vocal coach part of me switches on and I nit-pick everything. Hamley and Quinn will be able to testify to that I’m sure.. haha

How did the concept for the video clip come about?

I had a meeting with Georgia and Jenny (the creative directors) and we had a massive brainstorming session. I should actually find that pile of paper we were brainstorming on; I remember it looking pretty frantic, we were overflowing with ideas. It was always my intent for the video to be something aesthetically nice to look at- beautiful colours, abstract, patterns, but not necessarily anything with narrative. From there, we worked with our producer Darren Collinson to refine the ideas and think about how everything would work in practice.. It was a really fun process, can’t wait to do another video. 

What did you find most rewarding and challenging with the creation of the video clip?

The most challenging thing was definitely getting the shots of me out in the ocean.. The water was ridiculously cold and I was out there for about an hour. Georgia’s mum Andrea was genuinely concerned for my life haha, I had a warm shower afterwards and still couldn’t feel my toes for a solid 2 hours. But, 100% worth it, because those shots came out so sick. 11/10 challenge, 10/10 reward. 

You’ve been touring as a backup singer with Ruel for the last 5 years, how was this experience?

Amazing! Some of the best times of my life, for real. I’ve learnt so much about music and the industry and had some really crazy opportunities that I’m so thankful for. I’m really grateful for being a part of Ruel’s story; he’s super talented and such a lovely person.  

What did you most enjoy about being on the road and performing?

I mean the shows themselves are always the highlight for me, the travel can get tedious, but once you’re on stage and feel that energy, it all becomes well worth it. Also, with touring you stumble across so many places that you wouldn’t necessarily go to if it weren’t for the shows, but once you’re there it ‘s like wowza this place is incredible! A big one for me was Stockholm, absolutely loved it, like probably in my top 5 places in the world.. But because it’s so far away and I guess not overly marketed towards Australians for holiday, I probably wouldn’t have gone otherwise. Stockholm also has the best meatballs ever, I’d go back all that way just to have them again.  

What have you taken away from the experience?

When I’m touring, I miss home, and when I’m home, I miss touring.. It’s a catch 22, but I think because everything’s so fast paced on tour, it’s easy to get caught up and forget how lucky you are to have such wild opportunities like that. So I guess it’s taught me to be appreciative and grateful for every opportunity I get to perform. Like, what a job. Can’t complain about that.  

What do you like to do away from music?

I mean, the law side of my life takes up a lot of my time too, but outside of that I’m actually really into painting at the moment. Been replacing my Netflix time with painting, which has been really soothing and cathartic. I love hanging out with my nieces Lotus and Evie too, they’re the best!  

Who are you listening to at the moment?

Right this moment, listening to Jordan Rakei, so smooth. More generally though, I’m on a bit of a ‘No Doubt’ bender at the moment, very down with old school Gwen Stefani. 

What’s planned for 2020?

Lots of writing! I wanna write with a bunch of different song-writers and producers. And, hopefully I will finish my law degree, that’d be nice. 

Favourite food and place to hangout?

Well, it depends how you interpret ‘food’. If you interpret it as a cuisine, I’d say Italian because it involves lots of cheese and pizza and pasta are just the best. But, if you define ‘food’ as a singular thing, I’d probably say hot chips. I’m a pretty harsh chip critic though, has to have the right amount of crunch and salt. Fav place to hangout is probably just at my house with my friends. We can wear our PJs all day, be as loud as we want and no one can kick us out- now that’s a good time. 

https://www.instagram.com/thisischevalier

https://www.facebook.com/thisischevalier

Where are you currently based and what is the music scene like there?

I live in Los Angeles, CA. The music scene is wide and varied, but is a surprisingly small world. I’m always meeting musicians that know friends of mine or have played music with them. There is a lot of music to be heard on any given night and that is an exciting thing to be around.

How did you first start playing music?

There was a family heirloom upright piano in my house growing up. I started playing around with that as a child. I would sit and figure out melodies of songs I heard my parents listening to, and come up with my own ideas. Later, I started learning saxophone in school and by my teenage years, picked up the guitar and quickly got very serious about it.

What been happening recently?

I’m consistently working on new music for Missives, collaborative projects, and instrumental music. Looking forward to releasing my debut single Dissolve.

Your new single ‘Dissolve’ is about to be released from your debut EP, what influenced the sound and songwriting for Dissolve and the EP?

My influences span quite a far and wide spectrum. Since I first heard “Music for 18 Musicians” by Steve Reich, the idea of repetitive musical figures changing over time or staying constant while everything changes around them has been an important part of how I hear musical ideas. Moving harmony versus static figures, textures, and atmosphere inform a lot of my sound. My music is an amalgam of that minimalist influence and inspiration from artists like FKA Twigs, Thom Yorke, James Blake, and Bjork. The songwriting revolves around concepts of discovery, transformation, loss, acceptance, and the passage of time.

How did you go about writing Dissolve?

I had recently bought a Dave Smith Instruments Prophet 08 synth. I was exploring the sounds it was capable of and stumbled into a bass line that felt like it was falling over itself. It turned into a fully realized song shortly after that once I added a beat, some synth pads for harmony and a vocal melody. Lyrically, the song is about experiencing loss and navigating the disorientation that comes along with it.

Where and when did you record and who with?

Dissolve and the other tracks on “Patterns of Us” (EP) were recorded in my studio over the course of the last couple years. I’ve worked as a composer, producer, and multi-instrumentalist for years now and wrote, recorded, and mixed everything myself. I have two tracks with guest vocalists, very close friends of mine, Patrick Joseph and Eleanor Crane. I’m lucky to have close friends who are also incredibly talented artists in their own right.

How did you approach the recording process?

Recording and writing happen simultaneously. They are both the process of creation and flow back and forth between each other. I record one sound or instrument that then inspires an idea for another layer or texture, and so on and so on until a structure begins to emerge. This happens fairly quickly, so I often have place-holder takes of various parts or instruments. Once I have a solid song idea mapped out, I go back and refine individual instruments as needed. I definitely enjoy using recording as a way to explore different sounds, or altering instruments or objects to make them sound like something else.

What programs/instruments did you use to record?

I use Pro Tools for recording and mixing. I use some software synths, but the majority of the EP utilized hardware synths like the Prophet 08, Moog Sub37, and Mother 32. There is also a fair amount of guitar as that is my primary instrument. And a lot of guitar that doesn’t sound anything like a guitar. I use an Echoplex Digital Pro Plus looper to create atmospheric and ambient textures using the guitar. I also like using vocal loops to create textures and pads. There are percussive elements in the songs sourced from random objects like a paper wrapper, scratching on cloth, tapping on things, etc.

What do you like to do away from music?

I spend a lot of time camping, hiking, and being outside. Anywhere I can find mountains, water, and quiet. I read as much as I can, and watch movies and documentaries. I enjoy spending time with friends and family.

Who are you listening to at the moment?

Thom Yorke’s latest album Anima has been in heavy rotation for me. As well as Bon Iver’s most recent album and Magdalene by FKA Twigs. Anything by Max Richter.

What’s planned for 2020?

I’ll be releasing my debut EP “Patterns of Us” and continuing to work on new music for Missives, possibly for another EP or a full length depending on how everything shapes up.

Favourite food and place to hangout?

Pho or sushi (at least today). My favourite place to hangout is in the Sierra Nevada mountains of California or Northern New Mexico where I grew up. There is also a neighborhood bar here in LA that I go to fairly regularly with friends. It feels like it should be a bar in a random mountain town somewhere, but it sits in the middle of Eagle Rock, a north east LA neighborhood I’m quite fond of.

1. Patterns of Us

2. Something More

3. Long Gone (feat. Patrick Joseph)

4. Reach Inside (feat. Eleanor Crane)

5. Dissolve

Missives Socials:

IG | Twitter | Soundcloud

What is your name and role within Vetty Vials?

Vetty Vials – Vocals / Guitar / Boss lady.  

Where are you currently based and what is the music scene like there?

I am currently based in South Sydney about 30 minutes out of Sydney CBD, the Sydney scene has had its difficulties over the past few years with venues closing due to lockout laws but it is still alive and well with some really great bands and solid supporters who are always keen to come out to shows. 

 How did you first start playing music?

I’ve been singing for as long as I can remember and started learning really basic guitar around the age of 12. 

What’s been happening recently?

We just finished our album tour for “Conversations With Myself”, playing in Sydney, Adelaide, Canberra and Melbourne. It was an absolute blast! 

Your debut album ‘Conversations With Myself’ is out now, what influenced the sound and songwriting?

My main inspiration for writing is life experience, the album itself is a combination of songs about feeling lost, dissecting relationships and navigating your 20s. I try to be brutally honest lyrically as that’s the type of thing that draws me in when I’m listening to music. 

In terms of the sound, that comes from a variety of different places. When I start writing its generally on an acoustic guitar and the style could go either way. I’m backed by a powerhouse band of guys who have strong rock and punk influences which draws the songs to that heavier, faster direction. The album in itself has elements of both softer and heavier influences which I think is quite cool.

How did you go about writing the music?

Generally, the song writing process would start with me writing a song on acoustic and then coming to the band to get their input. I was lucky to change that up a lot on this record, Dust came from my guitarist Matt bringing the music to me and us then writing it together, and Pride was put together last minute between our Producer Antix and I. It changed the sound dramatically and I’m super happy with how these songs turned out.

Where and when did you record/produce?

The record was one of the first recordings completed in the new Def Wolf Studios in Kurnell back in August 2019 with Daniel Antix. I’ve known Antix for almost 10 years now and he is one of my closest friends, this record would not be what it is without his input. Regardless of the fact that he is an incredible producer, as a friend he knows how to push me to get the best result possible and I am incredibly grateful to have his stamp on all of my musical ventures. 

How did you approach the recording process?

We tracked majority of the songs live which was really cool. We knocked out the bulk of the bass, drums, and rhythm guitar over two days and then looked at lead guitar and vocals. 

One of my favourite memories is working with Antix (Producer) and Matt O’Keefe (Lead Guitar) on the lead parts after the live tracks were done. Even though we had the basis of what all the lead parts would look like prior to recording it wasn’t until we really started layering the guitars that the songs found their sound. There are so many cool unexpected things we came up with over those last couple of days that were never originally planned. 

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

I was really up and down with my health around the time we were recording so I’d say the most challenging thing was pushing myself to sing to the best of my ability when my body was fighting against me. The most rewarding thing is the by far the finished product, I’m so proud of how far we have come as a band – and seeing the ongoing support from a growing following we have built nationally is just the icing on the cake! 

What do you like to do away from music?

I love to travel, it’s a bonus when I can align it with gigs I want to see. 

Who are you listening to at the moment?

Phoebe Bridgers, The Menzingers and Pinegrove are on high rotation for me at the moment.

You’ve just come off a Aussie Tour, how were the shows and what were a few highlights?

This tour was one of the greatest experiences I’ve ever had, every single show exceeded my expectations. The highlight has to be seeing so many familiar faces interstate. We have such an incredible network in Melbourne, Adelaide and Canberra and it’s always amazing to reconnect with people. 

What’s planned for 2020?

Slowing down on the touring front and focusing on writing, I’ve got a few things in the works that I can’t wait to finish. 

Favourite food and place to hang out?

Favourite food – Sushi 

Place to hangout – anywhere were there are great live bands playing. 

https://www.facebook.com/vettyvialsmusic/

What is your name and role within Fer Sher? 

Benji: Guitar, production Ali: Vocals, lyrics, melodies, artwork Oscar: Bass Chris: Drums Yamin: Guitar 

Where are you currently based and what is the music scene like there? We all live in and around Tio’tia:ke (Montreal). The music community here is great, you can find anything you’d possibly like if you look hard enough. There are also a decent amount of smaller venues and diy spots which really support newer artists like ourselves. We are also lucky to have a sizable French music scene that comes with its unique flavour, too. We feel quite fortunate to have our city in which to start a musical journey. 

How did Fer Sher form? 

Yamin, 26 at the time, had never been in a band. He and Aaron started writing guitar parts and were shortly joined by Jer on drums, both of whom had had touring and recording experience. The band was slowly pieced together with friends (but to us, also musical giants) coming and going (Aaron and Jer left amicably) for several years, during which time the conceptual foundations of what our sound was to be like were laid. Eventually everyone in the band was on the same page and we began recording thanks to Benji’s production wizardry and performing thanks to a finally solidified lineup. 

What’s been happening recently? 

We have written quite a long debut double-EP, “Family”, clocking in at about 30 minutes to be released in two halves this spring. From there we are excited to hit the road this summer and work on a full-length. 

You have a new EP ‘Step Siblings’ coming out on Feb 26, what influenced the sound and songwriting? 

Compositionally, one of the three songs, Shteve, was written over the course of several years and was a painstaking first attempt at finding ways to express catchiness and complexity simultaneously. The second song, Fork, was written mostly by Yamin but with crucial contributions by Benji, while the third song, Locked Drawers, saw an inverse in that Benji brought the main gist and Yamin added his 

thoughts to it. So in the ways that the songs were created, they are very much like step siblings. 

What influenced our sound the most was our attempt to emulate our favourite motifs and sounds, exploring musical and collaborative possibilities, and really trying to put as much of our vulnerable selves into the music and accompanying facets (production, artwork, merch, etc) as possible. 

Vocally and lyrically, it’s a whole other story. When Ali arrived in early 2019 she brought with her conceptual, storytelling, and performance capacities that really shaped the music into the product it’s become. Our live shows took on theatrical and immersive components as Ali grew into her role as a singer without an instrument to hold (a first for her). 

Please tell us about the stories, concepts and themes behind Step Siblings: 

The lyrics each represent a character and a story that form the basis of the three songs. The storytelling is vague and non-linear because the lyrics follow that nagging train of thought that continually reflects back on events and tries to place them into a broader context. There’s the struggling friend who continually lies to everyone in a desperate attempt at self preservation, the victim of online stalking and abuse who becomes paralyzed in their day to day life and the artist struggling to toe the line between perfectionism and free expression. Every story, after exhaustive analysis, ends back up at the absurdity of interpersonal existence and the human condition. Because what story ever doesn’t? 

How did you go about writing the music? 

Guitars are really the driving force behind the song compositions at the moment. At the moment, there is a large emphasis on progression within songs. We really ask ourselves, “where is the song going?”. Yamin really frankenstein’s different parts together; all songs on the double-EP have tempo and time signature changes, nothing too technical but equally present throughout. Benji thinks more of cohesion with regards to mood and atmosphere between parts, and Chris confronts the challenge of when to groove and when to provide angularity. Bass is filled in next before Ali weaves her way through all-but completed tracks. 

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

All our material to date has been produced by our guitarist Ben, who actively records bands of all kinds in our area. Step Siblings was recorded throughout late 2019. 

How did you approach the recording process? 

Benji takes a natural and honest approach. There is no pitch correction on vocals or drum samples used in our music. It’s more fun to hear the breath of a singer or the scrape on guitar strings than to have something flawless. 

What do you find most rewarding and challenging with the whole DIY approach? 

The most challenging is the unpaid work. Benji and Ali work tirelessly with no compensation. The most rewarding is the pride and sense of accomplishment that come with having the entirety of a band created in-house. It takes our project beyond a conventional band and into the realm of art rock DIY 

The band has a really theatrical live show that is a spectacle of its own, please tell us how your live started and has evolved: 

The band was never intended to be more than a math-rock group, and we played with that mentality before Ali arrived. Having the stage on which to develop characters, crowd interaction, and pure focus on the singing without playing anything else opened up a door to the performance no one saw coming. We are now trying to evolve into a truly ensconcing experience, in which we hope that the meticulousness of the songwriting adequately backdrops the on-stage hijinks in a balanced and comprehensive concert-going adventure. 

How do you prepare for live shows? 

We try to meet as much as possible, which can be very difficult. Things outside the band in our lives are very hectic – engagement (!!!), immigration issues, full-time university studies, recording other local bands, beginning a career in architecture, and making time for our beloved friends and families are just some of the other things on our plates. 

You also have a second EP ‘Identical Triplets’ coming out, please tell us more: 

We had 6 songs ready to record when we planned these releases. With a closer look, the first three sounded really different from each other while the other three were pretty much the same idea expressed three different ways. This instantiated the concept of different family makeups, biological, adopted, chosen, etc., and really spoke to our appreciation for and celebration of our families. Identical Triplets became a conceptual opposite to Step Siblings and we are recording it as we speak. 

Who are you listening to at the moment? 

Yamin: Invalids Oscar: Mil-Spec Ben: Young Guv Ali: Cate Le Bon Chris: Circa Survive 

What do you like to do away from music? 

We all have varied hobbies. Oscar loves gaming and collecting vinyl, Ben’s always fixing up a guitar, amp or pedal. Yamin studies full-time, volunteers, and tries to prioritize his health. Ali likes crafting and cooking and playing outside. Chris likes watching animes & eating ramens whenever possible 

What’s planned for 2020? 

More music, more shows, and more ramen for Chris 

Favourite food and place to hangout? 

You can find us at the tiny local vietnamese restaurant, Pho Ici in Rosemont area of Montreal enjoying excellent banh mi, lovely pho, and/or our favourite beverage; taro bubble tea. Everything on the menu there is exquisite, the staff is so warm and inviting, and the tarot bubble tea puts all others to shame. It’s right next to our rehearsal space so many a meal and drink have been enjoyed there. 10/10 highly recommend. 

https://fersher.bandcamp.com/album/step-siblings

Where are you currently based and what is the music scene like there?

I live in Los Angeles, CA. The music scene is wide and varied, but is a surprisingly small world. I’m always meeting musicians that know friends of mine or have played music with them. There is a lot of music to be heard on any given night and that is an exciting thing to be around.

How did you first start playing music?

There was a family heirloom upright piano in my house growing up. I started playing around with that as a child. I would sit and figure out melodies of songs I heard my parents listening to, and come up with my own ideas. Later, I started learning saxophone in school and by my teenage years, picked up the guitar and quickly got very serious about it.

What been happening recently?

I’m consistently working on new music for Missives, collaborative projects, and instrumental music. Looking forward to releasing my debut single Dissolve.

Your new single ‘Dissolve’ is about to be released from your debut EP, what influenced the sound and songwriting for Dissolve and the EP?

My influences span quite a far and wide spectrum. Since I first heard “Music for 18 Musicians” by Steve Reich, the idea of repetitive musical figures changing over time or staying constant while everything changes around them has been an important part of how I hear musical ideas. Moving harmony versus static figures, textures, and atmosphere inform a lot of my sound. My music is an amalgam of that minimalist influence and inspiration from artists like FKA Twigs, Thom Yorke, James Blake, and Bjork. The songwriting revolves around concepts of discovery, transformation, loss, acceptance, and the passage of time.

How did you go about writing Dissolve?

I had recently bought a Dave Smith Instruments Prophet 08 synth. I was exploring the sounds it was capable of and stumbled into a bass line that felt like it was falling over itself. It turned into a fully realized song shortly after that once I added a beat, some synth pads for harmony and a vocal melody. Lyrically, the song is about experiencing loss and navigating the disorientation that comes along with it.

Where and when did you record and who with?

Dissolve and the other tracks on “Patterns of Us” (EP) were recorded in my studio over the course of the last couple years. I’ve worked as a composer, producer, and multi-instrumentalist for years now and wrote, recorded, and mixed everything myself. I have two tracks with guest vocalists, very close friends of mine, Patrick Joseph and Eleanor Crane. I’m lucky to have close friends who are also incredibly talented artists in their own right.

How did you approach the recording process?

Recording and writing happen simultaneously. They are both the process of creation and flow back and forth between each other. I record one sound or instrument that then inspires an idea for another layer or texture, and so on and so on until a structure begins to emerge. This happens fairly quickly, so I often have place-holder takes of various parts or instruments. Once I have a solid song idea mapped out, I go back and refine individual instruments as needed. I definitely enjoy using recording as a way to explore different sounds, or altering instruments or objects to make them sound like something else.

What programs/instruments did you use to record?

I use Pro Tools for recording and mixing. I use some software synths, but the majority of the EP utilized hardware synths like the Prophet 08, Moog Sub37, and Mother 32. There is also a fair amount of guitar as that is my primary instrument. And a lot of guitar that doesn’t sound anything like a guitar. I use an Echoplex Digital Pro Plus looper to create atmospheric and ambient textures using the guitar. I also like using vocal loops to create textures and pads. There are percussive elements in the songs sourced from random objects like a paper wrapper, scratching on cloth, tapping on things, etc.

What do you like to do away from music?

I spend a lot of time camping, hiking, and being outside. Anywhere I can find mountains, water, and quiet. I read as much as I can, and watch movies and documentaries. I enjoy spending time with friends and family.

Who are you listening to at the moment?

Thom Yorke’s latest album Anima has been in heavy rotation for me. As well as Bon Iver’s most recent album and Magdalene by FKA Twigs. Anything by Max Richter.

What’s planned for 2020?

I’ll be releasing my debut EP “Patterns of Us” and continuing to work on new music for Missives, possibly for another EP or a full length depending on how everything shapes up.

Favourite food and place to hangout?

Pho or sushi (at least today). My favourite place to hangout is in the Sierra Nevada mountains of California or Northern New Mexico where I grew up. There is also a neighborhood bar here in LA that I go to fairly regularly with friends. It feels like it should be a bar in a random mountain town somewhere, but it sits in the middle of Eagle Rock, a north east LA neighborhood I’m quite fond of.

1. Patterns of Us

2. Something More

3. Long Gone (feat. Patrick Joseph)

4. Reach Inside (feat. Eleanor Crane)

5. Dissolve

Missives Socials:

IG | Twitter | Soundcloud

Where are you currently based and what is the music scene like there?

I’m Based in Brisbane, I moved from the UK 13 years ago. If you look at the scene in Australia from history back in the 80s / 90s then you can’t compare with the enthusiasm of both venues and punters. Db limits and pokies have plagued the scene somewhat. Venues don’t have the budget or are not prepared to pay for original artists the way cover bands and Tributes get paid. Apparently bands back then were finding a gig at least 3 times per week. Now we have agents selecting their “favourites”. 

Brisbane is a place of diverse talent but we still haven’t seen anything that will put Australia back on the map yet for A & R visits. However, please feel free to check out my new single called ‘DumbStruck’  

How can we progress and expose new music?

Great question! and I believe radio have much to answer for where educating the public and artists are concerned. A particular radio station for example, still have the same play list from when I moved here 13 years ago!! Friends and family in the UK are always saying to me “have you heard this new song” “have you seen this new rocking band” well no I haven’t ha ha, because radio in Australia does not fully support the cause for what’s developing and happening overseas unfortunately.

How did you first start playing music?

My late father use to sing to me and my brother. We shared a room growing up and my old man would pick a classic tune and play and sing to us on his rusty old acoustic guitar instead of reading a bedtime story. Bearing in mind we were 6 and 4 year old knippers. My father taught me the “3 chord wonder” as he called it haha. I practiced those 3 chords for weeks, I then taught myself some more from guitar books, that was before google lol. 

It was when I met a good old pal at the first year of high school that it really began. I taught him a scale or two and now he is a top blues rock player in the South West of the UK. We put together a little novice garage band and rehearsed in bedrooms, garages and school halls. We had real passion man! We learn’t fast and soon booked our first gig at Plymstock Comprehensive School haha. It was the Christmas school disco that we would premiere at the age of 14. From here we grew as trio with myself on bass. Let’s just say the rest is history!

What’s been happening recently?

It’s been a hectic few weeks of late getting everything across the line ready for the single, video, EP and live show launch, and now interviews and promo. March 28th I marry the most amazing lady, so as one can imagine there is much to do. I’m also a full time driving instructor in Brisbane.

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

I wrote ‘DumbStruck’ over 14 years ago back in the UK, as a band then with my brother Del on drums we jammed it but never recorded these songs. At the time I was listening to a mix of bands from Trouble, Kyuss, Audioslave, Soundgarden to Stereophonics and HIM. I put an emphasis on melody and hooks as this formula gives colour and emotion. This was probably inherited from growing up listening to The Beatles. With ‘DumbStruck’ it was a progressive experience to write. It has evolved from its basic form and has guitar work that Slash himself could have written haha. The Canadian guitarist who wrote the solos, performed, mixed and mastered on the track goes by the name of Trevor (Hanuman) Stefiuk.

Where and when did you record/produce?

It has been an ongoing project that has spanned over the last two years with Allan Lahey at Taramalin Sound recording studio in Kingston QLD. Allan has been a pioneer and platform for original artists to record in Brisbane for many years. Due to life’s obstacles and funding it has taken longer than I had hoped, but it was worth the wait. Ben Kerswell played a major role in instrumentation and producing something a bit more contemporary. Unfortunately, Ben has had a life changing illness that stopped him in his tracks. Therefore, I was required to hire guys to help perform and complete the last track called ‘Plunge’

While in the process of mastering the track Strive and Repair, the decision was made to invest in a music video to align with this rocking tune. So if you like it rocking and loud this is your chance to hear something new. On the 28th February 2020 the EP ‘A Thousand Years High’ will be launched in Brisbane and be available online and for hard copies of the CD.

I am proud of what has been achieved here as a whole, and I humbly say that the single ‘DumbStruck’ needs to be heard on every radio station across the globe to justify its existence!

You have a EP on the way, how did you go about writing the EP and what influenced the writing?

All of the 5 songs were written firstly on the acoustic guitar over a decade ago. It was a great formula, I would pour a glass or two and put pen to paper. Melody always comes first with me then lyrics to fit the vocal melody. I was heavily influenced from the stoner rock and the grunge era. AIC showed how vox harmonies can be used with heavy crunching riffs. Over the years, vocally I have been influenced by Chris Cornell, Layne Staley. In the early days it was Axl Rose, David Coverdale, Paul Rodgers and Sebastian Bach I took vocal lessons from.

What have you found most rewarding and challenging during the creation of the new EP?

We all knew that the final track recorded on the EP ‘Plunge’ was going to be a challenge. With its unconventional structure and longer than average duration it turned out to certainly be that. All efforts and focus went into a performance for recording that we were happy with. The result is an epic, progressive original sounding track. Funding and time was a major factor for completing this EP.

What’s the EP title?

‘A Thousand Years High’

What do you like to do away from music?

I like to spend time with my kids, however they are now adults and doing their own thing! I like to walk somewhere scenic, visit the mountains and coast, wine and dine. I went through an obsessive stage of practicing the ancient Martial art known as the commercial name of Ninjutsu 

Who are you listening to at the moment?

Clutch, Killswitch Engage and Paradise Lost

What’s planned for 2020?

Get married in March and to push this EP, Single and video and obtain as many gigs as possible. I will be writing and still have some heavy tunes to show the lads to later record a full album.

Favourite food and place to hangout?

Being a pomme I do like a decent hot Indian curry. There are a few good Thai restaurants at Westfield Garden City and Raby Bay harbour that I like to visit. 

https://facebook.com/theofficialmarshallpage/

https://instagram.com/shaunjohnmarshall1

Where are you currently based and what is the music scene like there?

I’m from amsterdam and the music scene here is very urban and techno minded.

But during Amsterdam Dance Event the whole city is EDM focussed and there’s a crowd for every genre of house music haha!

How did you first start playing music?

When I was 12 years old I started saving money for a DJ set, around the same age I started producing as well. I heard The Prodigy and Tiësto on the radio and I knew I wanted to do something with electronic music.

I was always into music, I started drumming when I was 5 years old and always loved to perform. I wrote my own rap lyrics as a kid and I still love to write lyrics now 😉

What’s been happening recently?

A LOT, it really feels like i’m showing the world a next level Julian Jordan. I’m super motivated and I love to lock myself in the studio after touring. I have so many tracks ready and seeing my recent tracks on the top of so many charts feels like a reward for all the hard work! 

You have new music being released on February 21, please tell us about what has influenced the sound and songwriting for the upcoming releases: 

I got this vocal in my email and I was immediately hooked on it, I started making the production and finished it within a few days, but i was still trying to find the right fit with the vocals for this track.

When I showed the track to my girlfriend (she’s an amazing singer from Amsterdam) and she told me she would love to give it a try to see if her voice would be a good fit. It turned out to be the perfect match and that’s how this collaboration came together.

Where and when did you record/produce?

When I got the vocal I was at the airport and I think I made most parts of the production on the plane haha.

What programs/equipment do you use?

I work with FL Studio and a basic studio at home and mostly with my laptop haha. I also work a lot in the STMPD RCRDS studios as well, those studios are really next level.

How do you go about writing and recording music?

I love the journey of how a track comes together because it’s always different. The thing I love about producing music is that there are no rules, creative freedom all the way. Trying out new stuff and surprising fans with new music is the best thing in the world.

You are relaunching your YouTube show, what do you planned?

I want to show the world a more personal side of Julian Jordan. A side they can connect with more. The thing I love about social media is that you can choose what you want to show the world and your audience, but this also means that they never see the whole story. I try to show my personal side and take the viewers with me on this journey in my life. To show that I’m just a human having fun making and playing music all around the world.

You’re playing Ultra Music Miami, how do you prepare for live shows and what do you most enjoy about playing live?

I never actually prepare, because i think it’s important to read the crowd as a DJ.

But I do make sure that I have a ton of new tracks ready when I’m playing festivals like Ultra! Especially when a lot of people are going to check out the set online, it’s important to have the best tracks ready for that!

What do you like to do away from music?

Kickboxing is a big passion of mine, and since I’m touring so much I think the most important thing for me now is to stay in touch with my family and friends after touring. 

Who are you listening to at the moment?

I’m currently listening to Josh Charm – Trust. Very talented producer!

What’s planned for 2020?

A lot of new music and dope gigs, I think 2019 was about showing the world the ‘Julian Jordan sound’ but 2020 is just about firing all the tracks at the right time.

I just share my love for music with the world and I’ll just keep on doing that every day!

Favourite food and place to hangout?

Amsterdam during the summer and pizza:)

https://www.facebook.com/itsjulianjordan

Where are you currently based and what is the music scene like?

We’re based in Canberra, ACT. The music scene is great. There’s always good bands to see at Smiths Alternative, The Transit Bar – and we love The Basement. There’s some great bands and artists here. We’re big fans of Citizen Kay and Witchskull 🙂 

How did you first start playing music?

Imitating and playing along to our favourite bands, then later on jamming with friends. We all started playing music very young and we’ve all come from diverse musical backgrounds. 

How did Glitoris form?

It was magic. Witches were involved, obviously.

What’s been happening recently?

We’ve been busy preparing for our tour! It’s really exciting to be going all over the country. Slut Power is the last single to be taken from our album ‘The Policy’. It’s our live anthem and the song we feel has resonated at our live shows the most. So we decided to give it the single, video and tour treatment. 

How did you go about writing Slut Power? / Your new single ‘Slut Power’ is out on the 14th of February, what influenced the sound and songwriting for this single?

Musically, it began as a laid back riff – Malcolm started it off with the bass line. It’s a slower than average tempo by design. We wanted it to sound ominous and sparse at the beginning and build. It was designed to reflect violence against women and how it starts with the language people use to describe women; it’s a completely different, and far more negative, lexicon than words used to describe the same behaviours in men. These words are common, everyday vernacular, which reflects how deeply embedded prejudices against women are. The second verse gets more intense and the chorus has a sludge-metal feel to it. We had the hook from the get go and just built it up over the course of song with the drums getting heavier and the vocals starting a bit bratty and ending in rage. Lyrically, it’s obviously coming from a dark place. There are parts of that song that are very pointed and very personal, which is why it can be delivered the way it is. The 3rd verse is how the media and society generally blames women for the violence committed against them and its insidious. Look at what happen after Eurydice Dixon was murdered in Melbourne in 2018. Superintendent David Clayton stood there and told women: “So just make sure you have situational awareness, that you’re aware of your surroundings. If you’ve got a mobile phone carry it and if you’ve got any concerns, call police.” Fuck off, Clayton. Tell men to stop raping and murdering us. We have the right to walk home at night and not think about this shit. The fact is, we are burdened by this constant feeling of “how can I operate today and go about my business without getting raped or murdered?” We make these calculations every time we want to go for a jog, every time we leave a venue or club late at night. We’re monitoring what’s going on with the Harvey Weinstein trial at the moment and a newspaper published a story on it with a headline about the dress one of the women was wearing when he sexually assaulted her. When women are abused and raped and murdered, the media and society blames them. 

Another thing: when this stuff happens to us we’re forced into silence. Jim DeRogatis’s book on R Kelly evidences the dozens of occasions Kelly paid off his victims and got them to sign NDA’s. Criminal acts are committed against women all the time – some physically violent, others more psychologically violent like online trolling, gaslighting and defamation – and most of the time we have to stay silent because we’re either paid to stay silent, blackmailed or shamed into it. So there’s a subtext of vengeance in Slut Power that comes through in both the song and video. Let’s just say we’re pretty experienced in the topics that Slut Power addresses. 

Where and when did you record/produce?

We recorded Slut Power in 2018 when we recorded all the songs for our debut album ‘The Policy’. It was recorded by Jay Whalley at The Pet Food Factory in Marrickville, Sydney. The studio session for Slut Power was great – we put a triangle all the way through it, sometimes it comes it a bit muted and percussive and by the third verse, it’s in the background and sounds like an alarm. The album was mixed by Clem Bennett, who is a genius mix engineer, and mastered by Mandy Parnell – another genius mastering engineer from London.

Glitoris is known for having strong views on confronting subjects, please tell us a little about what you think of the current state of politics, gender issues and equality at that this present time:

The whole system is fucked: we are facing the biggest environmental, economic and social issues humanity has ever faced. The harrowing summer we’ve just lived through has shown the result of denial, arrogance, mass apathy and inaction in dealing with climate change. Second to that, the wealth gap is hideous – and it’s growing. The world is being run by billionaire corporations that are focused on growth and individualisation, and it’s unsustainable. The fact that Jeff Bezos can buy a mansion in Beverley Hills for $165mUS off the back of modern-day slavery is one example of how extreme this gap has become. There could be a Billionaire Vs. Billionaire US election this year. The erosion of democracy and human rights is happening before our very eyes in many ways: surveillance, the policing of women’s bodies, the silencing of media organisations and the gross miscarriages of justice we see at all levels in the treatment of Aboriginal people. Unless we take the power back and start to create an inclusive accessible society for everyone, that values the wisdom of Indigenous peoples, scientists and scholars (that currently seem to have no voice and influence in our policies) we have no future. On one level, these issues are now so huge that it’s not surprising we’re in existential crisis. On another level, we’re hardly going to sit back with some popcorn and watch it all play out on TV. The fact that so many have taken that attitude in the past is exactly what’s got us into this mess. 

Equality? We are nowhere, not even remotely, near achieving this for Indigenous people and PoC, for women, for those who are LGBTQI+. In fact, we’re going backwards as human rights generally are being eroded. 

It’s all fucked. But fuck it, we’re not going down without a fight.

You have a big Australian tour coming up with some first shows in NT, what can we expect from a Glitoris live show?

Politics, humour, passion, fun, brutal honesty, musicianship, banter, protest – but to leave feeling like you had a great night out \*/

How do you prepare for shows?

Scotty likes to do a bit of yoga and flex out the rhythm sticks on her drum pad. Malcolm likes to air pump and dance. Andrew likes to run through her guitar parts and deface things. Keven 007 likes to be amazing, which she does amazingly. Our band ritual includes warming up our voices up with the lady, warming our fingers up, running through some harmonies and, of course, transform ourselves into fierce glittery warriors.

What do find most challenging and rewarding whilst on tour?

Most rewarding: playing the shows, meeting our fans – The Gliterati, hanging with other bands and making friends, listening to fan stories, the moments mid-performance where we see The Gliterati singing the words and punching the air or yelling out for their favourite song – that’s just the best. We also like finding a good bar and drinking gin, and just generally hanging out. We love touring. It feels like a holiday to us. There’s a point where it descends into a delirious stage and every single thing is funny and we laugh so much it hurts \*/

Most challenging: Sleep deprivation.

Who are you listening to at the moment?

Babymachine, Thelma Plum, Moju Juju, Rage Against the Machine

What do you like to do away from music?

Sleep.

What’s planned for 2020?

A massive tour of the country. After that we’ll have a break and then start work on the next album. We’d love to play some festivals later in the year.

Favourite food and place to hangout?

We love vegan food and Au Lac in Dickson, Canberra, is our favourite! We also love Tudo Vietnamese in O’Connor and Andrew and Scott also love Sweet Bones vegan in Braddon.

https://www.facebook.com/ckingtherapper/