Music News

Where did it all start for you? Is there a particular artist you can remember first hitting you with inspiration to start exploring music as a career?

.I’ve always been intrigued about music and the art of performing but I think it kicked off after high school, learning how to make beats with goals to perform the stuff that I make one day. I grew up in Ghana so a lot of my influences came from Ghanaian musicians. i then got heavily into Tinie tempah and then also got into Christian rapper Lecrae. I also vividly remember discovering Miracle (who goes by Blessed now), and like another Ghanaian brother making music in Australia, I was so inspired and introduced more to hip hop and music than ever. After that is when the discovery of the j Coles and Kendrick Lamars came into picture and solidified the inspirations more. 

You have been involved in not just music, but different artistic mediums – was this a natural progression of interests for you, or did you find being involved in one thing (music, say) led to another (photography, say)?

 Photography and film became something I picked up over time and realised I was good at it. For a couple of years, these were the more professional side of me but I worked closely with a lot of musicians and artists. Music has always been around but I never felt ready as I was still learning. I think music then overshadowed as I realised there’s a stronger passion and there’s more room to learn and grow. I think with Photography and film I did it well for payment but with music, I made it regardless of what it could bring. 

It’s been interesting but the good thing is that now, Music is the centre and every other creative endeavour surrounds it. 

The latest single with Tawanda marks a slight change up in vibe and execution when it comes to the music we’ve heard from you. What makes ‘Test Drive’ a significant entry in the new body of work you’re set to unveil in 2021?

Test drive solidifies my ability to be versatile. I never saw myself going this lane with the music I make and I think after that I realised I could jump and make any track and still keep it Yaw. Every other release including features has also been slightly different. I guess Yaw really does it all

You’re based in Sydney – what’s the scene like there at the moment when it comes to the support for fresh hip hop names on the come up? What’s exciting you the most about being part of it all?

The scene is interesting. I think there’s way too many talents available that the people are not ready for so it’s taking time. I think I cherish content more and I think the noise sells more than the developing talents and creativity that is coming up. But also I think we’re such a growing scene so there’s hope for what it could be. I’m just glad to share my art with the city and world

Do you think your aims for making music and art have changed heaps/any from when you first started? If so, in what ways?

I think it’s changed a bit. I’ve always wanted to perform on big stages and I think that is bound to happen. But I think I’m more focused about purpose and enjoying what I do now and impact more than being heard. And that’s is definitely a growth that changed my goal 

2020 was trash all round, but what did you learn about yourself and your artistry as a result?

I learnt that the time to be great is now. And also the time to create is now. There might not be the freedom to do what you wanna do. 

We’re no doubt going to be hearing more from Yawdoesitall as 2021 rolls on out; what’s surprised you the most about the way your artistry has developed and how are we set to hear that in the music?

What surprised me is the kind of music I’m making. I never thought it could branch and be this huge thing that has multiple hands involved. I think I’m more than just a rapper and you’re gonna feel it.

The faces of Australian hip hop look hella different now to how they did even 10 years ago – which is really exciting. Do you think this change is permanent?

Yessir, I think change is important.  Perhaps not permanent but its evolving and I’m here for all of it.

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LA-based DJ/producer Sam Blacky makes an explosive debut with her brand new single “Too Late,” which serves as the world’s official introduction to Sam’s underground-influenced house and techno sound. “Too Late” opens with disco-inspired vocals and a kickdrum driven bassline, quickly setting the stage for a late-night vibe that perfectly reflects her DJ sets; listeners can imagine themselves taking part in one of her “A New World” series, dancing underneath the stars of some of Mexico‘s most beautiful locales. The single is out on Sam Blacky‘s label Stabby Records, which will deliver cutting-edge house music from Blacky herself and other artists, representing the same sonic vision. Sam and Stabby Records have plenty of surprises and new music in the works this year, so keep an eye out for what’s next!

Samantha Black is a multitalented DJ/producer, model, and influencer professionally known as Sam Blacky. Originally from San Diego, Sam spent several years in Australia, where she first fell in love with producing music and performing live. Since moving back to Los Angeles, music and performing have taken a front seat in her life. In addition to her hectic modeling schedule, Sam has performed live across the world from 2017 to 2021, from Mexico to Ibiza to Bali, racking up over 120 gigs a year at some of the premier electronic festivals and clubs on the planet. With the global pandemic in 2020, Sam released a series of videos on Youtube called “A New World,” where she streamed live sets from some of her favorite places in Mexico, giving viewers a taste of vacation vibes even while staying safe at home. Before all the music, her modeling portfolio included brands such as Nike, L’Oréal, Galore, Marie Claire, Superdry, Guess, Sports Illustrated, Malibu, and Playboy, giving her a unique creative perspective to all types of cultures and styles to bring to her music. With the launch of Sam Blacky‘s label, Stabby Records, and her first releases, 2021 is set to be a breakout year for Sam as she expands her artistic brand.

“There’s certainly nothing light-hearted or funny about Covid, but I can still poke a little fun
at the crazy way social isolation has changed our lives in every way shape and form…”  – Danny Elfman on “Love In The Time of Covid”

Just in time for Valentine’s Day, composer, singer and songwriter Danny Elfman is sharing his new song “Love In The Time Of Covid”. The short film accompanying the track is directed by German filmmaker and photographer Sven Gutjahr and Elfman’s creative director Berit Gilma. It tells a somewhat bizarre story of longing for intimacy in today’s socially isolated world in a very unique way.

Filmed in Berlin, the video’s main character is played by Scottish transgender performer Shrek 666 who wears extensive makeup and prosthetics. The non-human form echoes the universal surrealism of life during lockdown. Elfman also appears in a few surprise cameos in the video.

Listen and watch it HERE.

“There’s certainly nothing light-hearted or funny about Covid, but I can still poke a little fun at the crazy way social isolation has changed our lives in every way shape and form, and that’s what “Love In The Time of Covid” is about,” Elfman explains. “An expression of the borderline madness that so many of us have been experiencing. Lord knows I have. I wrote it from the view point of a young man going crazy in his apartment. Creators Gutjahr and Gilma had the idea to turn the lead character into a green skinned animal-like creature. As many us feel completely alienated in this insane new world we live in, and I thought it was an interesting idea.”

“Love In The Time Of Covid” features vocals, guitars and synths by Elfman, drums by Josh Freese, guitars by Nili Brosh, bass by Stu Brooks, percussion by Sidney Hopson and strings by the Lyris Quartet. It was executive produced by Laura Engel and the project producer was Melisa McGregor. Throughout this year Elfman will continue to release songs on the eleventh day of the month. The number 11 has always had significance to Elfman, with his name Elf meaning “eleven” in German.

Last month Elfman released “Sorry”. “The anger-fueled track pulls from industrial and prog-rock influences to create an uneasy atmosphere that’s made even more unnerving with a jarring video animated by Jesse Kanda,” said SPIN. Kanda (Arca, FKA Twigs, Bjork) originally created the video’s intricate animation as a visual backdrop for Elfman’s live performance of the song for the now postponed Coachella 2020.

Watch it HERE.

A four-time Oscar nominee and Grammy winner, Elfman has scored over 100 films including: Milk (Oscar nominated), Good Will Hunting (Oscar nominated), Big Fish (Oscar nominated), Men in Black (Oscar nominated), Edward Scissorhands, Batman, The Nightmare Before Christmas, Spider-Man, Silver Lining’s Playbook and many more.

OZZY OSBOURNE has premiered a new animated video for It’s A Raid from his #4 ARIA debut record, ORDINARY MAN released in 2020.

In its first week of release, the critically acclaimed ORDINARY MAN—OSBOURNE’s first new solo album in ten years–was the #1 rock album in the world, topping multiple charts in its triumphant first week of release.  Worldwide, ORDINARY MAN entered the charts in the Top Ten in seven countries (including America and the U.K.) and #4 on the ARIA chart, making it the highest charting album of OZZY’s career.ORDINARY MAN marks OSBOURNE’s first new solo music in almost 10 years.  Recorded in Los Angeles, the album features producer Andrew Watt on guitars, Duff McKagan (Guns N’ Roses) on bass and Chad Smith (Red Hot Chili Peppers) on drums.  Beyond the core band, ORDINARY MAN, features a who’s-who of OZZY friends and collaborators including Elton John, Slash, Post Malone and Tom Morello.

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Miami-based talent FIIN makes a triumphant 2021 debut with a new single “A Better Way,” which sees him exploring a new sound with its mellow and minimalistic vibe. The track opens with ethereal melodies and instrumental synths, building slowly into a dreamy and groovy vibe that the producer describes as evoking a relaxed Sunday afternoon. Tribal vocals add a touch of jungle-like mysticism to it, taking listeners to a chill day relaxing on a beach. The single follows FIIN‘s 2020 streak of singles, including “Days Like This,” “Everything,” featuring Nathan Nicholson, “Le Crocodile” and “Still In The Storm” with Brigado Crew and Jinadu. “A Better Way” is the perfect example of simplicity being the key to success.

“A very simple track, but every sound is where it needs to be. For me it’s the perfect Sunday afternoon track, my favorite day of the week.” – FIIN

FIIN earned his stripes as the youngest resident of Heart Nightclub and played alongside the best world-class DJs. Since then, he has impromptu b2b sets with Paco Osuna, Marco Faraone, Hot Since 82, Technasia, Butch, Bontan, and Sis. FIIN‘s music combines a sexy, smooth, and groovy style with an upbeat techy rhythm. He takes risks and succeeds with originality. Tropical rhythms, warm synth lines, melodic grooves, and funky textures come together in masterful style. FIIN‘s hunger and drive are outmatched only by his love for the scene. It’s all or nothing, and nothing was never an option.

Melbourne artist Eva Popov has been writing, producing and performing adventurous inimitable indie pop as Hello Satellites for over a decade now. Eva’s expansive and genre bending sound has traversed many realms of the music landscape, undulating seamlessly through folk, pop, neoclassical and experimental tropes across three studio albums, each navigating the world with the sure-footedness of a true exploratory artist. Now, the sonic nomad is excited to reveal her latest offering ‘No Delivery’ lifted from her forthcoming 2021 album There Is A Field.

Out today, ‘No Delivery’ is a cold plunge into the addictive nature of excessive screen time and a danceable reminder about looking beyond palm-sized validation. Beckoning horns signpost snappy wake-up calls and self-help mantras before breaking into a cruisey rhythm you can’t help but succumb to. Recorded with long-time collaborator Nick Huggins (Seagull; Dirty Three) and featuring drums by Heath Robertson and sax by Flora Carbo, the self-produced disco confessional is the second taste of Hello Satellites’ anticipated fourth studio album There Is a Field, following from last year’s moody folk narrative, ‘Thief’.

“No Delivery is a 2.38 minute electronic pop experiment about being addicted to my phone, dopamine hits and magical thinking. I have watched other people do amazing things and live amazing lives whilst I waited for some sort of love hit to come through the screen and solve everything. This song was written as a guitar song to remind myself that nothing was going to be given to me and that I was just going to have to go out into the world and do stuff as my own imperfect self and fail and feel things. I had a lot of fun remaking this song as an obnoxious disco track.”
– Eva Popov, Hello Satellites

Set to be released independently this autumn, There Is A Field sees Hello Satellites harnessing the magic within the mundane. Shaped by the limitations of a long Melbourne lockdown, the record explores vast expansive moments hidden in the nooks and crannies of Popov’s own home and mind. “Each song was a joyous, wide open space to occupy, whilst the outside world felt so closed and restricted under lockdown” Popov explains, noting walk-in robe vocal takes, internet virtual choir collaborations and guitar and piano recordings snatched up in the quiet, stolen moments of working motherhood. The result is a wondrously vibrant world of imagination and awe, candidly unearthed from the most uninspiring of circumstances.

‘No Delivery’ is out now via Ditto
iTunes / Apple Music / Spotify / Bandcamp

‘No Delivery’ Credits
Produced by Eva Popov
Recorded by Eva Popov and Nick Huggins
Mixed by Nick Huggins
Mastered by Lachlan McCarrick
Special Guests:
Heath Robertson – Drums
Flora Carbo – Saxophone

‘No Delivery’ Lyrics
It cannot be brought to me
It cannot be brought to me
There is no delivery
It won’t be brought to me

Tried to make it come to good
Tried to give it all I could
But this isn’t Hollywood
Hollywood

See what I want walking right on by
See what I want down a different street, someone else’s life
But I look, pictures on a screen
Scrolling on and on and on what I could have been

It cannot be brought to me
It cannot be brought to me
No one’s gonna give it for free
It won’t be brought to me

Tried to say the magic words
So the hurting wouldn’t hurt
So it wouldn’t hurt
But the magic didn’t work

See what I want . . .

Come on, Come on Come on (etc)
And stop observing
Come on Come on Come on,
And start to live
Come on Come on Come on
It may be damaged
Come on Come on Come on
It’s what you’ve got to give

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