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This album is a collection of a bunch of creative phases for you, it seems – what does it mean for you to have this music packaged up in this way now?
With regards to the new material on Echo Lodge, how does that music sit with you in terms of its significance now?
It’s an ambitious thing to release music in this way – did you have any apprehension over the roll out?
What does making music (the craft of it) mean to you now as we come off the back of 2020?
You’ve been able to perform some shows recently, how were those experiences?
Being based in Victoria, how are you anticipating this year with regards to being able to bring your music to more stages as the year progresses?
I think at the moment we’re working on a new record so I think more than anything I just want to record new music and play more shows. We played in Castlemaine the other day but we’d love to play more anywhere that’ll have us. I’ve toured a lot around Australia and a lot in Victoria and there are places that we’d love to come back to, also of course going on some trips around the country too when we can.
WATCH | LISTEN
Southern California indie-pop band HUNNY have made their long-awaited return with the new single “Sports with Strangers.” The track follows the band’s successful 2019 release ‘Yes. Yes. Yes. Yes. Yes.’
“We were inspired by the isolation of the last year but rather than cement it in time by literally writing of the current situation, we transposed the feeling to past real situations in which we felt the same way,” says the band of the self-produced track. “Rather than write about the loneliness that comes from being physically separated we were reminded of the distance that comes from spending time in a crowd that couldn’t be further intellectually and emotionally from your perspective.”
CHECK OUT “SPORTS WITH STRANGERS” NOW
WATCH | LISTEN
Since their formation in 2014, HUNNY have built a massive and loyal following with over 90 million streams to date and over 2 million streams per month. The band has released three EPs (2015’s Pain/Ache/Loving, 2017’s Windows I and 2018’s Windows II) and one full-length record (Yes. Yes. Yes. Yes. Yes.). Yes. Yes. Yes. Yes. Yes. is the perfect mix of heavy-hearted lyrics, bright-and-shiny melodies, lovesick confession, and addictively dancey rhythms. Produced by Grammy Award-winner Carlos de la Garza (Cherry Glazerr, Paramore), the debut record came to life in November 2018 during the Woolsey Fire and Camp Fire that devastated 96,949 acres of land in Southern California.
HUNNY is Jason Yarger (vocals), Jake Goldstein (guitar), Kevin Grimmett (bass, keyboards), and Joey Anderson (drums).
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We are a credible threat…To the rules you set…A cause to be alarmed.”“I’ve come to realize that people want honesty and that music can be a catalyst for change. I think in many ways, we’ve been on a mission to rile people up, and I feel very lucky to be able to do that. Our hope on this record is to jostle people awake, even it if makes you uncomfortable.”— Tim McIlrath
Multi-Gold and Platinum punk rock band RISE AGAINST is back with a provocative and dynamic new album, Nowhere Generation, the group’s first new studio effort in four years. On the upcoming release, the outspoken band points a finger at big business and politics for stacking the social and economical deck against Millennials’, Gen Y’s, and Gen Z’s pursuit of The American Dream. Musically, the album is blazing, aggressive punk rock; lyrically, the eleven songs were inspired in part by input from band members’ young children and Rise Against’s community of fans. Nowhere Generation is set for a June 4 release and is Rise Against’s first with new label Loma Vista Recordings.
Said McIlrath,“Today there is the promise of the American Dream, and then there is the reality of the American Dream. America’s ‘historical norm’ that the next generation will be better off than the one that came before has been diminished by an era of mass social, economic, and political instability and a sell-out of the Middle Class. The brass ring that was promised by hard work and dedication no longer exists for everyone. When the privileged climb the ladder of success and then burn it from the top, disruption becomes the only answer.”
Also, today Rise Against debuts the Nowhere Generation music video, a stark yet dynamic piece shot entirely in black and white that contributes to the cohesive cross-campaign theme of the album: the critique of mainstream pop culture and those at the top who actively work to suppress true equality for all. The video also provides a first look at the visual motif that is woven throughout all aspects of the Nowhere Generation project, such as the album packaging and the band’s socials.
For the Nowhere Generation project, the band worked with the Grammy-nominated creative director Brian Roettinger (Jay-Z, Florence and the Machine, No Age) to craft an impressive and truly inspired capsule of album offerings. Those include:
- CD in a soft pack jacket with a multi-page lyric booklet.
- 12-inch, limited edition vinyl picture disc (exclusive to the band’s webstore).
- Deluxe album edition with a distinctive spinning wheel gatefold jacket with die-cut front cover; a 12-page album art booklet insert, and a bonus 7″ featuring two Nowhere Session versions of album standouts Nowhere Generation + Broken Dreams, Inc; special vinyl color variants for select retailers worldwide as well as the band’s webstore.
- Standard vinyl format that includes a single sleeve, dorado paper-wrapped jacket, with lyric insert featuring metallic ink; multiple special vinyl color variants for select retailers as well as the band’s webstore.
- Exclusive versions of the album, on vinyl available at JB HiFi and selected indie stores.
Rise Against – McIlrath, Joe Principe/bass, Brandon Barnes/drums, and Zach Blair/lead guitar – recorded Nowhere Generation at The Blasting Room in Fort Collins, Colorado, under the tutelage of Jason Livermore, Andrew Berlin, Chris Beeble, and long-time producer/engineer Bill Stevenson (Black Flag, The Descendents). Stevenson has worked with the band on nearly all of their acclaimed releases since their sophomore effort, 2003’s Revolutions Per Minute, and is often described as Rise Against’s fifth member. “Bill is our not-so-secret weapon,” Principe explained.“He really has helped shape the band; he gets what we want to do and will go with us when we think outside the box. He’s the perfect producer for the style of music we play because he has an insane pop sensibility and the hardcore side to him as well.”
In addition to the communal call to arms embedded in Nowhere Generation’s dynamic title track, there’s the fast and furious anti-establishment manifesto Broken Dreams, Inc., the moody ballad Forfeit, Sudden Urge, a true nod to the band’s rock’n’roll side with an overall punk-vibe, the simplicity of The Numbers with a melody that will stick in your head, and the surprise pop candor in Talking To Ourselves, a standout song about wanting to be heard and wondering if anyone is listening. “It describes a lot of what Rise Against does,” says McIlrath, “to speak and scream when we feel there are things that are happening that aren’t being addressed.”
“When I was growing up,” said Principe, “I listened to bands like 7 Seconds, Bad Brains, Minor Threat, and Bad Religion. All of those bands’ music had a sense of hope with the world, a truly positive global view of what life can be. From the beginning, we’ve wanted Rise Against to have that same positivity, to have our music be an inspiration for people to bring about change in their own lives, they just have to put forth the effort and speak up.”
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The mandatory social distancing of the last months affects us all in different ways: there are those who are fine with locking themselves up and enjoy slowing down, but there are those who have been getting more anxious about everyday life than usual. Bohemian Betyars, a speed-folk freak-punk band from Hungary, just released their new song reflecting on the endless cycle of doomed restarting with a video directed by Adam Freund, whose previous work has been a Student Academy Award finalist. The video catches a glimpse of the Eastern European realm as we slowly lose touch with the real world and start all over again.
Bohemian Betyars is a fiddler band with a purpose to spread the feeling of bitter revelry the farthest possible. Their music has evolved into a new, exciting mixture of rocking punk, bouncing ska, swooping psychedelia, melodic themes all spiced up with Hungarian, Balkanic and Gipsy elements. Their new song evokes an entirely unique atmosphere telling a quarantine story with strong symbols reflecting on our everyday lives. The protagonist is trapped between four walls with towering pizza boxes, a missing mask and multiple TV sets reflecting on the major world events of 2020. This bizarre cycle is an imprint of the social isolation we are living in for the last few months all over the world, a cycle that connects all of us.
“Although the song was written before the pandemic, it has become even more relevant since. For me, this track is about the uninterrupted cycle of life, where man plans and hopes, but in the end, all is entrusted to the grace of fate. How many times must Sisyphus’ rock roll back from the top of the mountain so he can start his endless battle to push the rock back up. We know again and again.” – said the singer-songwriter, Levente Szűcs, about the track.
The music video was directed by Adam Freund, whose short film, Earthly People, in addition to numerous awards and foreign festival appearances, was a finalist for the 2017 Student Academy Awards. The cinematographer of the video is the two-time Golden Eye (main prize of the Hungarian Society of Cinematographers) award-winning Mátyás Gyuricza, the editor was Lili Makk, editor of Hungarian drama, The Citizen, and the visual designer was Ilka Giliga.
Elölről újra is available on YouTube for a week after its premiere and will be available on all music streaming platforms from 4th March. The new album will be released in the fall. Until then, immerse your quarantine days with Bohemian Betyars that will yank you out of the mundane weekdays and throw you into the deep waters of delirium, just as it was planned to happen.
Flow & Zeo is a Brazilian duo – and husband-and-wife partnership – who came to our attention recently via their brilliant LP, Spacekraft. Released via katermukke, it tells the story of a duo for whom making music is clearly their very reason for being. A wonderful listen from start to finish, we just couldn’t stop listening to it from the first listen. We were naturally, keen to hear the guys backstory, so we put a few questions to them over email recently. Here’s what wewnt down…
This album takes the listener on a real journey of sorts. Is producing an album different to producing an EP in that respect do you think?
We are having this experience – of producing an authorial album – for the first time. And has been a blast… we always had this aim. Living life during the pandemic, isolated, took us to a innervision and Spacekraft was conceived. Connected to nature in our garden where Studio “Árvore” was built we had an immersive connection with the cosmos…, looking to the sky, with our cats, lying on the grass, absorbing galactic energy, took us into a trip of a thematic album where music can take anyone to other dimensions. We realized that we could create our own journey through the solar system, honoring each planet with music.
It’s an immersive journey we’ve never done before. We explored a new way of producing music.
Did you have a general theme or vibe in mind when you were producing the album? Or was it more a case that you went into the studio and see what happened?
As we mentioned previously, sky observation brought us into this journey. The cosmos has so much to give and teach us ….. We absorbed a lot…. It’s infinite.
Our perception of the universe connected everything and we transformed this energy into music.
Which track came the most naturally? And which was the most challenging to produce?
The most natural was Terra, our mother earth “Gaya”. It was the last track produced of the album. We composed this track almost as a ritual, connected with our ancestrality. You can listen to the “Canto Sagrado da Mãe Terra” from a multiethnic Indian Tribe and we also used the sound of Schumann Resonance emanated from the earth in Space at 7.83hz. It sounds as an Ohm and flows through the track as a sub bass.
This mix of ideas during the creation process made us realise we should record a video clip for this track and this brought us into an historical indian tribe from Brazil, Tapaxós where we recorded the video clip.
The most challenging was Pluto, the ninth planet from the sun. The last track and also the art cover of the album. It was challenging…
Pluto, since 2006, is classified as a dwarf planet. It is so unique, beautiful and mysterious. From there beyond you will find much more than our solar system. The universe. We felt we needed to use a message of empowerment to represent such an amazing celestial body. When you listen to the track you can feel a different touch from the rest of the album.
At what stage did you know you were done and it was finished? Do you find it difficult to know when a record is finished?
To declare a creation finished is always hard. There are so many possibilities. When it becomes something that is special for you, a deep relationship begins and it’s very difficult to give it away hahahaha….
Aside from one another, who is the first person you gave it to for feedback? How important is there feedback to you? And what did they say about it?
Our mastering engineer – Vantonio. He was the first to have the whole album.
We met him because he mastered a track we released on D-edge records (Flow & Zeo – Substantial). We really appreciated his work and got in contact with him to master our album as well. Since then, we became really close and exchanged a lot. He became a friend and music partner. We are very grateful and happy with all the feedback we are getting from Spacekraft album.
The release is out on German label, Katermukke. How did it end up on there? Why is it a great place for you to releaser the album?
We had the feeling during the album creation that it could fit there. And it happened. It could not be better. We have a long relationship with Berlin and Bar 25, where we’ve played and also did our label showcase. Katerholzig, Kater Blau. We love the atmosphere. We have good friends in Germany. We also had a previous release on the label, a remix we did of the Track Space Junk from Uone & Western, Andreas Henneberg. Thanks to Dirty Doering and the Katermukke team for having us on board! It’s an honor for us!!
Even the artwork features an image of a faraway planet. Who chose the artwork?
All the design and concept was developed in collaboration with Bussola Agency from our friend Diego Mey who lives in Miami. As we mentioned, the planet of the artwork is Pluto, the end of this journey… but also the beginning of a much bigger exploration. Considering that, there are infinite possibilities to plan a new mission on the future. Why not!?
Do you think art and music are linked? Was the artwork and the aesthetics of the package very important to you in this way?
We let our senses talk through music. This is art. A subliminal communication. Art is the world’s salvation and it’s all linked.
Did this way of thinking influence your decision to release terra as a binaural track? Can you tell us a bit about that process also? Did you produce that track for 3D yourself? And what is it about 3d sound that you so love?
Binaural mixing is something new for us, but has been there for a long time, since the 50’s. Some of Pink Floyd’s music was mixed with this technique, among other artists. It’s so special…. The feeling you have when listening to it with headphones is indescribable. The sounds touch you and go in directions you never could imagine was possible.
Regarding Terra, at the first moment we produced it with “regular” mixing techniques, using Binaural Mixing only in one of the sounds of the track, as we also did in other tracks from the album. During a conversation with Vantonio (our mastering engineer) he showed us a release from Max Cooper that was Binaural recorded, It’s something out of this world. Respect!!
This encouraged us to make a version from Terra Binaural Recorded to be listened to with headphones, which is how you can get the full Binaural experience from it.
Its unique surrounding, everyone should try it.
What’s next for you guys following the album release?
We are giving the final touches on “The Sun” & “The Moon” , the protagonists of the solar system. Those tracks are going to be released on vinyl later this year.
Also other tracks from us that are not connected to the album will be out soon.
Besides that we have 2 new projects:
It’s our side project Influenced by 80’s and 90’s baggage mixed with nowadays textures, a combination of Breaks, Electro and Miami Bass.
Zeo: My first contact with DJing was in the “Baile Funk” of Rio de Janeiro. The music played was the old classic “funk carioca” which is a mixture of Miami Bass and the sound of the soul of Rio Favelas. MPC, Drums Machines, MC’s. Lyrics of love, against violence, and of also violence. A scream from Rio’s ghetto population.
Our passion for broken beats is an old thing. During quarantine we had the privilege to free our minds and travel into DFÜZE and make it happen. DFÜZE has been part of our studio creation for a long time and now it’s finally released on D-edge Records with 2 original mixes. Propeller & Burst and great remixes by Renato Ratier, Joyce Muniz and L_cio. Feeling grateful.
Oriented to downtempo and seeks through sound a relief for the soul. Smooth melodic aspects, deep immersion among details of acoustic elements and unique texture exploring sensorial frequencies.
The first release was out on the Portuguese label Flow Records.
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Stay connected with Rich Brian:
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What is your name and role within Inklines?
Will – I sing and play guitar.
Where are you currently based and how has your Covid experience been so far?
We’re all based on the Northern Beaches of Sydney. The last year has been interesting, with how much the whole environment of live music has changed. There’s been a lot of down time but we’ve kept busy writing and recording new music. Jamming heaps!
How did Inklines form?
I asked Tom if he wanted to drum with me after I saw him playing in a mate’s band, at a local show. My brother Jason was playing bass for a while, but he wanted to do other things so we called up Dan, who Tom knew from school, and convinced him to join.
What’s been happening recently?
We’ve been jamming heaps which has been really good. Keeping busy with promoting and preparing singles. We played our first show in 12 months just a few weeks back, which was great fun!
Your new single ‘Blossom’ is out now, what influenced the sound and songwriting?
I think I was mainly just going for simplicity. I got the idea for wanting to do a big outro riff from Madison Cunningham’s song – “Song In My Head”.
How did Blossom come about?
I recorded the riff into my phone recorder a year or so ago. It just randomly popped into my head one night and I started writing bass lines under the riff. For about a week, I would record a different little line or chord voicing and add it on there until I just worked out what I wanted, where.
Where and when did you record/produce/master and who with?
We recorded this and 6 other songs in a house on a farm just outside of Goulbourn. Lachlan West engineered, produced, recorded, mixed and mastered the whole session.
What programs/equipment did you use?
You’d have to ask Lachlan about the programs – I think Logic? The guitars in this track are primarily a Fender Telecaster & a Gibson SG Custom, with a J45 for some extra percussive textures. Tom played on an old Ludwig kit that Lachy owns. Dan uses a J bass & a P bass, I’m not certain what he used on this track but my guess would be P.
How did you approach the recording process?
We always like to get the fundamentals down from a live session. So, all the bass & drums and some rhythm guitars are taken from one of the 7 or 8 takes we do, of each song. Then I add all the extra guitar layers and vocals in later.
Who are you listening to at the moment?
I’m not actually listening to much at the moment. I’ve just kind of been relistening to things from the last 2 or 3 years. My most recent obsession was The Neighbourhood’s “Chip Chrome and the Monotones”, and I still love to listen to that, but I haven’t much else that I’ve been super excited about since.
What do you like to do away from music, now things are less locked down?
Recently I’ve mostly been busy preparing to be a father! My daughter is due in May. So I’ve been spending lots of time with my girlfriend, building cots, shopping for small clothes and all the rest! We also have a small business so I’ve been focussing on pushing that as much as possible.
You’re playing Saturday, March 27th Secret Location, Brookvale Sydney, what can we expect from an Inklines show?
We’ve actually just rescheduled the show for April 2nd! Normally you can expect us to play loud and hard, but for this one we’re taking it down a notch and giving the acoustic “unplugged” thing a go.
What’s planned for 2021?
We’ve got a bunch of songs to release so that will be the main focus! We’ll definitely play some shows when we can but it’s a strange world out there at the moment, so we aren’t rushing into anything.
https://www.facebook.com/inklinesband/
https://www.inklinesband.com/
“Mammoth sound and a relentless message.”
Claire Mooney, triple j Unearthed
“Enigmatic and hyper-active, Up Late refuses to sit in one place long enough to be confined. There’s metalcore, straight rock, EDM, pop and hip hop elements all woven atop one another, and with incredible harmony no less.”
Blunt Magazine
“Up Late is filling the gap within the Australian music industry where no other artist seems to be crossing these genres.”
MILKY
His first taste of new music since the release of his inimitable STARS EP in December, Up Late has teamed up with Toronto-based artist Dxrmant for his new single ‘YOU PEAKED IN HIGH SCHOOL!’. The track premiered last night via triple j’s Home & Hosed.
Having both grown up in hardcore/heavy bands while now pursuing genre-bending solo careers, ‘YOU PEAKED IN HIGH SCHOOL!’ is the result of a lockdown collab begun over Instagram DMs. The track finds Up Late and his collaborator poking fun at people who are wrapped in high school-like trends and narrow-mindedness.
Musically, Max Pasalic (Up Late) describes ‘YPIHS!’ as the punk music of the future — “no guitars, no band, just abrasive and distorted synths and electronics. It’s Mad Max meets Blade Runner, it’s Bring Me The Horizon meets Ashnikko, it’s metal meets pop.”
He explains that collaborating with Dxrmant found both artists bringing forth the tenacity and aggression of their pasts with their knack for genre-bending top of mind.
On the lyrics he adds: “It’s poking fun at people who continue to live life like they’re in high school. People who can’t get past their own reserved, narrow mind. People who latch onto trends or culture without actually participating or appreciating it.
“Both growing up in similar environments although living on two different continents, it felt like Dxrmant and I could really connect thematically and build on our own real-world experience living lives vastly different to the status-quo.”
In December 2020, Up Late’s work culminated in the release of the ‘STARS’ EP, listen below.
STREAM ‘YOU PEAKED IN HIGH SCHOOL!’ ft. DXRMANT NOW:
http://unfd.lnk.to/YPIHS
STREAM THE FULL ‘STARS’ EP NOW:
http://unfd.lnk.to/starsAbout Up Late:
Up Late – AKA the moniker for Wollongong singer-songwriter, producer and visual artist Max Pasalic – marked the first solo project to join the UNFD roster after his signing in September last year.
After debuting the project in May 2020 with a knockout entry into triple j’s DIY Supergroup comp, Up Late scored an honourable mention among 900+ other entrants, a nomination as one of the “10 most exciting discoveries of 2020” by triple j and nods from local music media including Pilerats, Blunt Magazine, Music Feeds, MILKY, Depth + more.
Backing it up with inimitable singles ‘FRIENDS’, ‘u left me on read’ and ‘Alone’, Pasalic continued to flex on his flair for unusual genre blends. Many may remember the 24 year-old as the lead singer of heavy act After Touch, who released various outputs on UNFD in 2017/18, while he also has credits producing for various local and international rap and hip hop artists including the likes of BONES.
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A State Memorial celebrating the incredible life and achievements of Michael Solomon Gudinski AM will be held at Rod Laver Arena on Wednesday 24 March.
The State Memorial will include tributes, speeches, and performances commemorating Michael’s life, his considerable contribution to both the Australian and international music industry, his charitable works and his enormous passion for Melbourne and the state of Victoria.
Doors will open at 5.30pm with the State Memorial proceedings commencing at 7.07pm. The State Memorial will be held in line with COVIDSafe requirements and will be fully seated.
Those wishing to attend are invited to register their interest at vic.gov.au/michael-gudinski from Tuesday 16 March 5pm AEDT, with registrations closing Thursday 18 March 5pm AEDT. Successful registrations will be contacted by email prior to Saturday 20 March 2pm AEDT.
In lieu of flowers the Gudinski family ask people to consider making a donation in Michael’s name to Support Act – a charity that Michael passionately advocated for providing crisis and wellbeing relief to music industry workers.
Deadly quotes from media Feb 2021
“’Summer’ is on track to be one of the most powerful entries in their discography to date.” – Rolling Stone
“Australia’s best new music for February…weaving English with his native tongue, and delivering a powerful punk song with sugary hooks and a thrilling momentum that belie the horrors of such a massacre“. – The Guardian – Australia’s Best New Music Feb 2021
“’Summer’ is one hell of an amped track with a beat that drives so strong it has the legs to keep rockin’ all Summer long – The Partae
“When it comes to addressing Indigenous affairs in the music scene, no one does it quite like Chasing Ghosts frontman J
“Every track on the forthcoming EP is about real people and real situations, all of them born from intense real-life stories”. – Scenezine
“Jimmy Kyle honestly admitted that he “was scared to write these songs.” – Hysteria Mag
Busted Lung is a rollicking track with a pub rock chorus that satiates the thirstiest of music lovers with a punk-rock bent. The track is the second to be released this year from Chasing Ghosts’ forthcoming EP “Homelands” out on May 14th.
Listen to Busted Lung
Watch the video for Busted Lung
Like all songs from the EP, ‘Busted Lung’ is a true-life story inspired by the resilient and stoic survival of one of Jimmy’s friends who was seriously assaulted in what was a calculated act of violence towards a young proud Gay man in a sickening hate crime which took place in inner city Melbourne circa 2015. The survivor in an act of courage and incredible compassion forgave both his attackers who were facing a potential 15-year sentence and advocated they maintain their freedom and be given a second chance. ‘Busted Lung’ asks of the listener – “What would you do?”
The accompanying film clip is inspired by these events and is both compelling and confronting. Created by filmographer Neal Walters who directed film clips for ‘Parkway Drive’, ‘Northlane’ and ‘Tonight Alive’ it is emotionally charged depicting the multiple waves that come emotionally crashing down on you when trying to process something so severe – anger, shock, anxiety, isolation, grief and in this remarkable case, the compassion that flows through the mind of someone trying to deal with ‘what happened’ to him.
Lyrics from Busted Lung
I feel guilty for bothering you
I’m not lost but I don’t know what to do
I’m not dead but I’m barely liv’in
And something’s just can’t be forgiven
Hid the bruises so work couldn’t tell
I’ve always been clumsy as hell
I never asked for this decision
to send two men to prison
wanna forgive the things they’ve done
But it’s hard to do with a busted lung
But it’s all that’s in my head
About the forthcoming EP titled HOMELANDS Jimmy Kyle has this to say
“I know people are going to come after me with some of these songs,” he says. “But I know in my heart that telling these stories is right and telling them in the way I do is the right thing to do. I know my audience is predominantly non-Indigenous, so I have to engage them in a way that engages their heart. Because that way they’re not going to be judged, but they can put themselves in an empathetic position to go on the journey”.
Homelands EP will be released on Friday May 14
Pre-save now >> https://umusic.digital/
CHASING GHOSTS : are Jimmy Kyle (founder/frontman and chief song-writer ), Josh Burgan (guitar/vocals), Aaron Schultz (guitar/vocals), Jake Dargaville (drums), Chris O’Neill (keys/vocals) and Rohan Welsh (bass).
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Where are you currently based?
I’m currently based in Sydney. Thankfully now that COVID has settled down I’m starting to pick up some gigs in the greater Sydney area.
I got my first guitar for my third birthday so my hopeful father started trying to teach me at a very young age. I really started writing in high school when I wrote “Lillooet” off my upcoming EP and decided this is what I wanted to do. Since then, I have been writing and learning every and any facet of the music industry that I can get my hands onto.
Just been preparing to release the next few songs in the lead up to the EP. Starting work on some songs for later 2021 and 2022 but at the moment I’m really trying to beef up my social presence and audience.
Thankfully COVID was actually a really productive time for me. It gave me the time to sort out production for the EP and connect with some really influential and knowledgeable people in the industry.
I wrote this song when I was 17 and so I wrote it with a massive influence from Ed Sheeran who was and is a massive inspiration of mine. When trying to find the sound we thought about what context you might find this song in. We landed on quite a full, cinematic approach which turned out really great.
Despite being a 5 minute song it was one of the quickest songs to write. After having a bit of writers block I decided I would lock myself in my room and gave myself 1 hour to write a song. The song was based around a little crush I had in high school but knew she would never like me back, so I just experimented with the idea of unrequited love and after about 30-45 minutes ‘Atlantis’ was written.
We recorded this one at LoveHz Studios in Leichhardt with my producer and engineer Jordan Leonard, we then shipped of the vocals for time alignment with Clay Agnew over in Nashville and got the track mastered by Seth Munson in Colorado. So we had quiet the team behind this track, this was the same process for 4 out of the 6 tracks on the EP.
Luckily Jordan knows Michale Carpenter who owns and runs the studio so we were able to book in some after hours sessions. This session was my first recording session in the studio and so I think this session took about 6 hours.
This song was initially inspired by some of Ed Sheeran’s music, as the writing was, but we started to drift away from that a bit towards a more cinematic style. It certainly didn’t turn out how I thought when I was originally recording the demo, however it turned out much more epic than I could’ve ever imagined.
I’m starting to get a few more gigs in Sydney so performing band practicing is taking up a fair bit of my time at the moment. I love going to the gym, my schedules been a bit hectic recently so I haven’t had a whole lot of time to go but I try to go 3-5 times a week at the moment. I also study music at JMC Academy in Sydney. And aside from that I work at a pub to help fund the passion and continue to keep releasing music.
In 2020 I started getting into a lot of different artists. I really got obsessed with Lauv’s and Jeremy Zucker’s stuff. Aya Yves is also starting to shoot up in the Dark Pop game and I’ve been all over her new EP. Also super keen for Justin Bieber’s new album after some of the singles he’s released in the lead up to the EP.
Not really any one artist in particular but I’m still starting to find a look I really like and feel comfortable with. I love the new trendy baggy clothes in circulation at the moment and I also love the old classy look so still trying to find a middle ground between those two, but I may end up completely ditching that in favour of something different. Whatever I truly land on is something I need to feel super comfortable with.
More writing, more recording, and releasing the EP. My main focus is the EP, I am really excited about putting out these songs into the world and get as many ears onto it as possible. I really think the best is yet to come, some of the songs I’ve written this year alone have me really excited for what I’m gonna be releasing in the next 12 months.
There’s this phenomenal pub near uni, it’s predominantly for the uni students, but the food for the price is unreal. It’s hard to eat healthy when I can get a schnitzel and chips for less than $10.
It is with great excitement that Soothsayer share ‘Siargao Dreams’, the latest track from rising Melbourne-based musician, Juno Mamba (aka Vinci Javier) and the hypnotic follow up to his acclaimed debut EP Light Echoes which was released early last year.
Premiered as the Chillest Record feature on Sian Eleri’s BBC Radio 1 show on Sunday, Eleri described ‘Siargao Dreams’ as “Truly stunning…Not exaggerating when I say that might be the best track I’ve heard in 2021…”
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