02 Jul INTRODUCING: Luboku
Photos by Sarah Chavdaroska
Since 2014 Melbourne producer, singer and songwriter Luboku has been steadily releasing music online. Collaborative work with NZ-based Hosaia and last year’s solo release ‘The Surface‘ has seen his name popping up more frequently and with growing praise.
This year, after already releasing two singles ‘Without You‘ and ‘None Of You‘, Luboku’s burgeoning career has started to take off – with a Triple J ‘Feature Artist’ select, support-spot on What So Not‘s national tour and his recent signing to Niche Talent Agency‘s growing roster of amazing artists.
After the busy start to the year, we managed to squeeze in some time with Luis Kennett (aka Luboku) to have a chat and get to know him. We wanted to understand from his perspective how he has found this year so far, how he discovered his visual-aesthetic and what he has planned in the near future for shows and releases.
Tell us about Luboku. Who is he? Where did his passion for electronic production come from?
Luis Kennett: Luboku is many things, sometimes a musical vampire, sometimes a balladeer, always making songs though, that’s the important part. Luboku came about because I needed something to focus my creativity toward. I can focus inspiration more clearly when I have something specific to work on so it came out of necessity, to be honest.
‘Without You’ which was released earlier this year is a stellar track! How did that track come to be?
Luis: Why thank you, I guess people are really digging it! I had a lot of fun making that song and I think that comes through. ‘Without You’ was also one of the quickest songs to come together so far, it always felt a bit edgy. Simon Lam (Kllo, Nearly Oratorio) helped me mix this one actually, he managed to pull in some of that edginess but keep a really great vibe which was just ace.
Your John Fish video collaboration and music artwork is all very visually appealing, carrying a very strong aesthetic. Trying to balance music and visual expression is a particularly important thing at the moment for a lot of artists. Who designed your cover art? Tell us a bit about that process.
Luis: A Melbourne designer named Darren Oorloff, in collaboration with Nick Keays, created these first few pieces. I’ve felt really lucky that they’ve been on board with all my ideas and have executed an aesthetic that I am 100% behind. I feel very strongly that visuals and music work hand-in-hand, carrying a desired look and feel through any art form I’m creating.
A John Fish video also makes me *crosses fingers* expectant of a big light or visual show on the horizon?
Luis: Big light show? Of course! Working with John Fish on the video for ‘Without You’ has definitely given me some ideas on what a BIG headline or festival slot could look like.
Only the other weekend you were a support act for the Melbourne leg of What So Not’s Australian National Tour at The Forum Theatre. Tell us about how that came about! How did you find the support act spot on such a large, electronic tour?
Luis: The show was wild, one of my favorites so far. As for the opportunity, that’s something I did not see coming. All of a sudden I’m on the phone to Triple J Unearthed, being asked to play the Forum Theatre with What So Not, it was all pretty crazy. The hardest parts of playing live, I find, are always the moments just before the show – you feel like you’re waiting in live music limbo. The best thing was getting out there and playing the new live set, it was so much fun.
Last week you released your new single ‘None Of You’ and already it’s taking off – congratulations on such a solid release! Tell us about ‘None Of You’ and (if I’m not mistaken) if there is a theme connecting your two new singles?
Luis: Thank you, I’m glad you vibe it! I guess ‘None Of You’ is a pretty personal track for me. It’s about a time when I was struggling to connect with someone who was going through some stuff, sometimes that person doesn’t have any space for you and I think this song captures how I felt about that whole situation. I have always felt ‘None Of You’ and ‘Without You’ to be Ying/Yang (hence the piano at the end of Without You) – they are definitely connected. But that needs more context… There is an EP coming!
If you could play one stage or one event in the next year, what would it be and why is that your pick?
Luis: This is a bit left of field but I think the Boiler Room live stream gigs are pretty iconic, tonnes of people moshing around you as you’re performing to an endless amount of people online, that would be so sick.
Do you have any future collaborations in the works? (Dreams collaborations welcome.)
Luis: Nothing I can talk about yet… I’ve got a secret passion for really heavy hip hop though, I think a dream collaborator would be
As a producer and song-writer in Australia, do you think that the music industry is helping young, emerging artists make a break? Or is it a tough job and difficult to navigate with the sheer amount of new artists?
Luis: I couldn’t think of a better place to start a career in music. Australia, and Melbourne in particular, have such vibrant communities, I feel like creativity flourishes here. There are also many opportunities for up and comers in the live arena and with platforms like Triple J Unearthed the ease of discovery makes things pretty accessible (they listen to everything! That’s intense). Shoutout to my manager Brandon who’s been a literal lifesaver (haha).
Plans for the rest of the year?
Luis: More tunes! And lot’s more shows.
By The Meadow is a Music Festival set 90 minutes south-west of Melbourne in Bambra. They started in 2014 and they have slowly and carefully built up a respected fan base. This year marks their 5th festival and it’s their biggest lineup to date. In fact, I don’t believe there’s a better snapshot of 2018 Melbourne (plus a few imports) via a festival lineup. Without Paradise Music Festival or Shady Cottage this year, the spotlight is brighter on By The Meadow than ever and it sounds like they’re more than ready.
A few weeks ago we caught up Cameron and Ruby, two of the festival organisers. We discussed all the usual questions about running a small festival, but it was really their emphasis on the concept of local that made me believe this festival truly does care more about people than trying to make money or become the next big hot festival. By The Meadow wants to bring what they love about Melbourne to a region of Victoria that’s going through changes and deserves to be a part of the excitement, hoping to inspire the next generation to take part.
I was originally keen on attending based on the fantastic lineup alone, but now I just want to support the great cause that is By The Meadow. Tickets are still available if you not only feel like a good time, but want to also support our locals doing great things.
Marcus Rimondini: What’s the story behind how the festival started?
Ruby: Well, Cameron, for his 21st, had a festival party at his parents’ property.
Cameron: We had two 21sts in a row, mine and then my brother’s the year after and then the next year there was no birthday.
Ruby: So we were like, we just want to have a party, and my parents had a property, and so we started it there. It was really good for us to do it there, and the local community was really good.
How many people were there?
Ruby: The first year was 200…
Cameron: I think we capped it at 200, but we were pushing so many boundaries, we ended up saying “let’s just stop at 150 and it’ll be good.” Sold it in two weeks, didn’t have any permits, and just said if you want to make a donation at the gate to cover the generator *laughs*, that would be great.
Ruby: And we did cover it. The next year I thought, I don’t want my parents to lose their property because something happens, so we started getting permits, and then it started getting bigger, so we had it at my parents’ farm again. The year after (the third year), some of my very good friends’ parents’ were nice enough to let us expand on to their property, which is about 100m away over the hill.
Are they your closest neighbours?
Ruby: They’re not the closest neighbours, but it’s a lot bigger space for us, they loved the festival, and they were just like “yeah come have it at our house, we’ve got more room, more spaces for camping.
Cameron: We’ve gone from this tiny little spot. It was originally ‘by the meadow’ because it was going to be on the deck of a house, which would look out into the meadow. But we were like “ we cannot put this here,” so we put it in the meadow *laughs*. So we went from down in the bottom of this valley, where her parents house is. And now we have this site that’s right up on top of Bambra, and the view is mental. You just get this whole sweeping view of the flat plains out the back of Geelong.
Ruby: And this will be our third year (fifth overall) doing it there.
Was the first one in the back of a truck?
Cameron: Yeah, the first three were in the back of the same truck.
Ruby: And we had to wait until after business hours on Friday to set it up.
Cameron: It was stressful as. We had music starting at 10 am on the Saturday morning, after the trucks only shows up at 6 pm the night before… AND we had to deck the whole thing out like a professional stage.
Ruby: And then when we started doing the Friday night as well, we couldn’t get the truck in time, so now we have a proper stage.
Cameron: We now have the luxury of delivering a better package for the punters too, we can it in on a Wednesday, and then have all of Thursday and a good chunk of Friday to build something that looks really nice against the background.
Ruby: It started very DIY — and we’re trying, we’re slowly building it up *laughs*. We still like to keep it very local and what we really love, too, and lots of everyone being very involved. So hopefully we’re making it a bit cleaner, a bit more professional too.
What are some of the main things that have changed over the five years, aside from the stage?
Ruby: I think we have learnt that sometimes you need to outsource more and spend a bit more money to make it easier in the long run.
Cameron: Yeah, we’ve kind of ended up focusing on the core part that people enjoy, and then handing off a lot of the other stuff. So we’re involved in making sure that the lineup is amazing, and the sound that delivers the lineup to the punters is as good as we can get. We’ve been so lucky, the sound guys we started with have been phenomenal, they’re audio nerds, they’re amazing. We work pretty close with the food, we think that’s a pretty core part as to why people dig festivals. We try to keep it local as well.
Ruby: Really local, so it has been one of our very good friends for the first couple of years.
Cameron: So we’ve had a chef from back home in Colac, we get him to pick a pop-up menu for the weekend. The food’s important, making sure all that stuff is consistent.
Ruby: We want to make sure it’s good food, but not super expensive. We’re really lucky, Cameron has a motorbike shop, so he has access to a lot of things that we need. My dad and my brothers are builders, without them — at the start especially — we wouldn’t have been able to do it.
So you get the whole family to help out?
Ruby: We get my brother’s friends, and Cameron’s brother’s friends come down.
Cameron: They’ll be there for like six or so days. They’ll work hard a couple days before, then enjoy the festival, and then on a Sunday morning when they’re feeling like dirtbags, they’ll be the ones working the hardest.
Ruby: They’re very good, they put up with a lot, but they have a very good time at it as well.
Cameron: That stuff all around the outside has changed, but what we deliver in the middle is identical. We just try to take a really tidy snapshot of what’s up and coming in music around here (northside Melbourne).
Was there anything in particular you were looking to mix up this year with the lineup?
Cameron: I guess we need to talk about gender equality on the bill. We’re super conscious of it now. We always tried to cater towards gender equality, and I think we managed to do so pretty well from the outset like we had Ali Barter headlining four years ago. Now that there are people specifically going out and pointing out the percentage of females in your lineup, it really makes a good point. And when you see a lot of festivals that don’t, you think, you’ve got to do something about it. There’s no reason why you shouldn’t be able to, given where we are and what we have access to. So we’re extremely conscious of trying to book an equal lineup and I think this year we have over 50% bands with female members in them, we’re pretty happy with that. But it is difficult to do so still; it takes way more work, and it would be far easier to ignore, but that’s a big part of what we set out to do this year.
Do you feel the genres are a little more varied?
Ruby: Yeah, I guess we like to put bands on that we’re going to have fun listening to, mostly.
Cameron: We’ll spend a lot of time going out and seeing these bands.
Ruby: We’re there working, but we want to hear it and be having a good time, and see people having a good time.
Cameron: So if it’s varied, it’s just an indication of what we’ve been listening to in the last 12 to 18 months. But it doesn’t feel that much more varied, I think there’s less hip-hop than we’ve had in the past.
Ruby: This is off the record, but I love hip-hop! So that’s a real disappointment to me.
Cameron: We normally tried to get two or three, but this year we’ve just got HTMLFlowers, 30/70 is I guess a little bit swinging towards hip-hop, but we definitely don’t have as much clear cut hip-hop on the bill this year as normal. There really is no picture, we’ll go out targeting some big acts to head the bill, and then fill in below, as to where we need to find the diversity. If we have heaps of rock bands, we’ll find pop bands and electronic music..”
Ruby: It’s nearly a bit selfish because it’s all just bands we love to listen to, but we think other people will enjoy it as well.
Cameron: It also has to represent either somebody who has put out a debut album that’s doing really well, or somebody that’s emerging and showing such clear talent that they’re going to go somewhere. There are not many bands on our bill that have been just punching around in the middle of the music scene for a long time.
Ruby: What I really like about Meadow is that a lot of it’s done by word-of-mouth, by people who have been before and then their friends come and they’re like, “this is amazing!” Or you go out to a bar and someone’s wearing a By The Meadow t-shirt and they’re talking about how good it was. It’s really nice to hear that, we don’t do that much advertising.
Cameron: We shut it down (during the year).
Ruby: We want to maintain the vibe of people being friendly to each other, we don’t want to cater to a completely different audience. The people who come are amazing people. You want their friends, and the people they would be with to come as well.
Did you have any issues leading up to this festival?
Cameron: This one’s been as smooth as anything. Early on we had some sound pollution issues with neighbours, but you work through those, and you try and build some relationships with those neighbours.
Ruby: It was funny because some of the biggest issues were with neighbours who actually came from Melbourne and had a holiday home.
Cameron: We’ve had nothing this year.
Ruby: Or last year.
Cameron: The hardest things would’ve been in just the band booking. Last year I was away through October, November and start of December in Detroit. That was difficult trying to book a bill from the other side of the world, because it would be like one email a day, if they came back with a bad answer, I’d be like “shit I’ve wasted another day.” I underestimated how hard it would be to converse back and forth. So the bill came out a bit later than we hoped, but that was it, we got there in the end.
What are some of the highlights of the previous years?
Cameron: One of the best ones for me was when I was at the urinal, and this bloke pulled up next to me and he’s like “you run this thing don’t you, you’re one of the ones who runs it, this is great, it’s like a house, but outside and not at a house.” It was like the best thing to hear. This guy was clearly wrecked, but I was like “oh my god, he’s so wise.”
So why the weekend after Easter?
Ruby: It’s a weird time of the year, because you’ve probably just gone to Golden Plains and then pay three weeks later to go to another festival. It’s necessary for us, because of the area we’re in, it has to be out of total fire ban season. We couldn’t do it any earlier than when we do it.
Cameron: Yeah, I don’t how Easter works, but it moves a lot *laughs*. It like follows a full moon or something. We pushed last year forward, because Easter was late April. We just get guided by the first weekend of April, otherwise we try to go the weekend after Easter. Because we’re all working, so we all need that time off over Easter to go and set it up. Last year was hard, because we were all trying to get time off work the week before to go and do it. The idea at first was to go the opposite time of the year to Paradise Music Festival.
Does the timing of the festival worry you financially?
Ruby: We’re really careful with what we spend money on.
Cameron: It would be so easy to go out and spend so much money on a bill, and make an amazing bill and still not get that audience down there. This year was the biggest step we’ve ever taken. But we’ll end in the same position again, net zero, everyone’s had a good time, and we’ll be like “thank god we didn’t lose any money!” You learn so much, and you just make so many connections and meet so many people, you won’t get that from going to gigs or being in a band or whatever, you just don’t learn the same stuff.
How’s the weather in April?
Ruby: Well ours was a little bit colder than usual last year; it wasn’t super cold, but it was colder. I actually noticed a drop in the visits to the first aid tent for people who got thorns in their feet and stuff — everyone was wearing shoes, which is alright!
Where do you source your artists from?
Cameron: We start booking kind of around BIGSOUND time, which is a good indicator of what’s going to go well, but you have to be careful, too. There’s also Melbourne Music Week. We source from everywhere, if you went to one source only, you wouldn’t get a very good picture of what’s happening right now.
Have you tried to reach a crowd that’s outside of the Melbourne bubble?
Cameron: We advertised for the first time, because I truly believe there’s got to be a bunch of kids in that Torquay area, there’s got to be a massive audience down there of this young population, even young families. But maybe we’re too early, and they’re going to have kids, and their kids are going to be ready for festivals. There’s just this massive population boom in and around Torquay and that side of Geelong.
Ruby: I think it’s getting them there in the first place. This isn’t meaning to speak bad of the country people, because I’m from there, but a lot of the bands we’re having are well-known in Melbourne, but not so well-known in country areas. Once people come though, they tend to come back, again and again, it’s a lot to do with them loving the music.
Cameron: I think there will be more people from that area eventually engaging with it. I think Geelong is coming up again, there are a few music venues popping up there now. Better bands are touring out there. Ten years ago they had really good music culture coming out of Geelong, it’s where like King Gizzard and The Murlocs started out. Then it died and all the cool pubs that bands played at, closed. It’s coming back, Workers Club is helping. So here’s hoping there will be more of an audience, because that’s 20 minutes from us, half an hour from Bambra.
What are some of the things about running a festival that are much harder than you expected?
Cameron: We didn’t have any experience. We went to the council and were like “how do you run an event?” like “what do we legally have to do to run this?” Then she started calling in police officers and CFA people to talk to us. We were like 21, and the police officer was like “what are you going to do when somebody dies of a drug overdose?” It was just frustrating being talked down to, we were trying to do the right thing.
Ruby: It’s a weird situation especially with drug talk, a lot of people said “what are you going to do to prevent this?” Well we’re trying to promote a culture where it’s not encouraged, and at the same time we’re going to have everything available in the event that something does happen. Originally they wanted us to put security cameras on every tree. This is when we had 400 people coming to the festival, we couldn’t even afford lights for the campground.
Cam: They were the biggest hurdles, and now that they know we’ve got the ability to run it, we’ve kept people safe for five years in a row down there. That hurdle kind of disappeared.
If you had more money, what would you do to the festival?
Cameron: I wouldn’t change much to be honest.
Ruby: We would probably hire people to do all the work that our dads do, so they wouldn’t have to do it.
Cameron: That’s actually a good one *laughs*. But it wouldn’t matter, they would find something else. If I get somebody else to do the things dad will do, dad will find something else that needs doing, it doesn’t matter if there’s nothing left to do. He will find something.
Ruby: They do love it, though.
Cameron: We’re nearly where we need to be for it to run successfully, and to give us the opportunity to do it again next year. We’re pretty happy. We love the way that it’s forced upon anyone, it’s not on giant billboards or anything. I don’t know if you got the press release, but we get our beers from the guys down the road, our wines from a local winery, our food from our friends in now Lorne, one from Aireys Inlet, and one from Colac. We’re pretty passionate about keeping that stuff strictly local, and deliberately steering clear of food trucks. So there will not be a food truck at our festival.
Ruby: Our stage comes from Winchelsea primary school, which is a primary school about ten minutes away, we have a guy from Colac who brings us a truck full of ice, our sound guys come from Geelong, and the coffee comes from Apollo Bay. Everything we can do, we try and keep really local!
NTS Radio host, founder of On Loop record label and parties, and general music enthusiast Moxie has been on tour throughout Australia, bringing her taste and energy to such cities as Sydney and Brisbane. Tonight she is set to play at Hugs and Kisses, for an intimate evening of dance. We had a chat to the London based DJ about her city, her experience of radio and university.
You have spent all your life in London, how has music contributed to a sense of belonging in the city?
Community is a big part of London and if you open yourself up to meeting people you can come across some truly exceptional characters. Especially at events such as Notting Hill Carnival & the rave scene. I’ve made so many friends from being at those types of events, some I only ever see in those spaces but when you’re all experiencing that same magical moment at the same time it brings you together. I love London and all the different people that live here, especially walking through certain areas, mostly markets and hearing people blast music from their stalls. For me that’s what makes London so special, all the different people who make it what it is.
You have mentioned that you studied at London College Of Communication (a fair while ago now), what was a project at uni you worked on that you would like to revisit today?
Ahh yes, my uni years. Feels so long ago now and I really miss it. I studied my foundation course at Central St Martins and then went on to do my Bachelors degree in print design at LCC. It was a pretty open course and I went onto design wall paper, ceramics, fabrics and screen prints. I especially loved painting with Gouache and my final degree was all about Tropical parrots. I’d like to start incorporating it back into my music stuff, especially with the label side of things. I’ve actually set some time aside to get back on it in April which I’m really excited about!
You have your finger on the pulse when it comes to up and coming artists/producers/dj’s, how important is it to you to bring into light new music?
It’s super important to know what the next generation are up to. I’ve always tried to be as open as possible. I remember when I was younger, the older crew would have a condescending attitude and say things such as “it wasn’t how it used to be” and all of that stuff, which I found really undermining. Everyone has their own journey and things change, we need to embrace that.
What is some advice you would give to such aspiring artists/producers/dj’s trying to get their music heard?
I’d say try to educate yourself as much as possible on what labels you like and where you think your music would sit best. Don’t send every single track you’ve ever made, tailor it to who you’re emailing and send the best of the best. Maybe no more than 4 tracks. The more time you take to write an email, the more someone will take to read it. Especially if you show you genuinely like or know what that person is about.
London’s radio culture is thriving, with the likes of Balamii, Netil and 199 radio further contributing to an already established scene, what could these stations (including NTS) do to further London’s and the Worlds music scene?
I can’t speak for the others but watching how NTS programme events all around the world and making sure to reflect the scenes they broadcast from is inspiring. They’re all music heads and are about discovering the most interesting and diverse music as possible. Back home they push the new and local talent which I also think is super important. You can have the big names, but if you’re not helping out the next generation then there’s only so far you can go. Radio is such a great starting platform and it’s definitely helped me loads in becoming who I am.
Over the years, what are some personal values you have taken from radio, clubbing and music in general?
Push yourself out of your comfort zone and don’t worry about failing. Everyone has to start somewhere and you can surprise yourself. I never thought I’d get into radio, but it just happened and here I am 7 years later.
What is the sort of vibe you are expecting at your Melbourne show?
I’ve always heard great things about Melbourne, especially the club I’m playing at tonight called Hugs & Kisses. The whole tour’s been great, but I’ve been most excited about here. There seems to be a real strong sense of community and everyone knows each other which i love.
Are you familiar with many Australian artists? If so who and how did you find them, meet them?
On my travels I’ve been trying to educate myself on the scene as much as possible and for my next NTS show I’m planning an Australian take over. Names that I’m especially excited about are Roza Terenzi, Prequel, Tambo’s House, Turner Street Sound, Ken Oath & a bunch more. Also Michael from Noise In My Head is always repping loads of great stuff and Butter Sessions are putting out some quality music. I feel like there’s still loads for me to discover which is always exciting!
Moxie plays Hugs & Kisses tonight. Tickets here via Resident Advisor.
06 Nov From a spontaneous night in Geelong to a growing ensemble of musicians – An interview with Eastern Seaboard Electric Soul Ensemble
It feels contrived to label music, sometimes. After discovering the range of musical influences inspiring ESESE (Eastern Seaboard Electric Soul Ensemble) to create their unique sound, I felt inspired and refreshed. Chatting to the humble musicians Matt and Henok left me feeling their glow. It was such pleasure sitting down with the two and discussing their musical odysseys, creative processes and what inspires them.
ESESE have created their own sound. So it was no surprise to discover the vast array of music with which they have been surrounded throughout their lives. Having dissimilar upbringings with music, the pair use their diverse and wide palette of music taste to bring new flavours and create their own unique fusion of sounds and genres.
Matt went from Michael Jackson to early 2000s, metal to British psychedelia and swing – which he recognises is from where his love for brass stems. Henok’s music timeline started with his family introducing him to albums like Encore by Eminem and Public Enemy.
When Henok started skating in grade five he naturally got into punk: “Cheesy punk like Avril Lavigne, Green Day and Blink 182. But I liked Sex Pistols as well. But then I got into house – terrible house. Then just back to hip-hop. I found internet rap. Wiz khalifa’s mixtape made me start looking for music online instead of the radio and that just changed everything. I like jazz too but to be honest as of late I haven’t been listening to music at all, I’ve just been listening to podcasts. I have little pockets — the last great records I listened to were J.I.D’s Never Story and Saba‘s Bucket List.”
Music hunting can be overwhelming with so much content out there. Matt always goes back to Dorothy Ashby as a source of inspiration.
Matt: “She is a 1960s harpist who delved into jazz and afro-beat territories. There’s this one record called Afro-harping and I keep going back to it. The other sort of beat stuff I’ve been listening to is South African house; afro-house in general, there’s a lot of auxiliary percussion – it’s cool to DJ.”
ESESE have just released two new singles, “Slow Down” and “Home“. The pair have been sitting on the original structures for about a year and a half until they collaboratively approached them as songs.
Matt: “The original structures of the song started with me jamming on a Saturday night as an alternative to going out and getting wasted. It was our Saturday night protest to going out and it turned into being, you know, lively, which was pretty fun.”
“Slow Down” went from horns and instrumental structures to a funky up-beat jam about not taking requests as a DJ – something each member, among most DJs, have to deal with on at least a weekly basis. With their long time collaborator and “long time jammer” (as Henok fondly describes) Cazeaux O.S.L.O bringing his unreserved verse to the track effortlessly.
Matt: “Having him involved was a blessing, really. He comes with so much knowledge. A lot of us have to DJ to make money and there is that element of getting accosted by a bunch of drunk people on Friday or Saturday nights. Whether it’s a grand final or hens night, they can be quite rude and demanding. He (O.S.L.O) actually put this thing up on Facebook saying this [track] is about the ‘what’s this?’ philosophy as opposed to the ‘play this.’ He put it eloquently.”
Certainly a philosophy Matt and Henok share, as the pair became friends through DJing. When asked about the conception of ESESE, it was refreshing to see their anecdotes jog each other’s memories further. As they reminisced, Henok realised that the birth of ESESE was in the very building in which we were chatting (The Toff).
Henok: “So my housemate at the time, he DJed at a club called Home-house, which was a super-club in Geelong. I finished DJing in the city and we picked up my housemate and we just thought ‘let’s see if matt wants to come’ – this is about within a month of knowing him. I’d been DJing with him every week. I was like ‘it’s just an hour drive!'”
Even though it was 1am, the hour drive lead them to discover each other’s musical interests and talents. Matt, later into the night/morning, discovered that Henok made music and Henok introduced Matt to new sub-genres of hip-hop of which he had never heard. Playing Chance the Rapper‘s Acid Rap to Matt in the car was perhaps the catalyst to ESESE – the soulful, big band fusion of genres greatly inspiring them.
Henok: “And then that coming Monday we started meeting at his house every few days and making music. We made three demos over the next few months.”
This took place in 2013, but they look back on this night as though it happened a generation ago — which makes sense considering how much ESESE has grown since then. Each memory they shared continued to unlock further memories, anecdotes and nostalgic laughs that spoke the depth of their friendship.
Individually, Henok has been making music for around six years and Matt, eighteen years. While Henok has always been making hip-hop, when Matt first started he was making — as Henok jokingly describes — “long hair music.”
Matt: “I started with garage-punk, sort of, then got into pop-punk… which naturally went to screamo and hardcore, then to really heavy shit. I started changing up style when I was about eighteen and got into blues and soul. I joined a few bands when I moved to Melbourne. I used to play at this place called The Underground (in Adelaide). There wasn’t much dancing — it was more about spinning the guitar around your neck than anything else.”
I ask them to describe their genre as though they were explaining ESESE to someone who exclusively listens to “long hair music,” to quote Henok. They go through a vast array of descriptions such as “retro futuristo.” Matt paraphrases one of his loved records from the nineties and Henok lists a range of genres, concluding with “hip-hop jazz soul brass.” They finally lock in “big band hip-hop” as their genre. The eclectic sound has evolved from a friendship to a growing project which sometimes involves the whole twelve piece band.
Henok: “It started as us two and then more joined to fill the gaps in the music. We haven’t fully written altogether in one room yet. We jam and make many songs that we’ve never recorded, so that’s next – fully writing with everybody.”
ESESE will celebrate their release with the full twelve piece band next weekend, November 11 at the Evelyn. Despite the logistical difficulty in bringing the full band together, they’re excited for what’s in store. With a year of weekly jamming practice at the ‘Now Here This’ night at The Toff, we can expect plenty of live improvisation, some crowd interaction and maybe some acts like Baro getting on the mic.
Henok: “We’ve got a trumpet, trombone, two sax players, keys, bass, guitar, drums and vocalists.”
The future for ESESE is full of colour and passion. The raw love for music and genuine energies of both Matt and Henok left me in good spirits. I am so excited for their future. ESESE are currently working on an upcoming album as well as a number of other separate projects. Henok is working on his own production and making beats for a rapper named Piatao. Matt is also working with another artist named Nynno.
In my opinion, ESESE is a realm of sound. While the E on the end of their name stands for ‘Ensemble’ on paper, the E is also open to evolution.
Matt: “Future is anything really. Bring on the Empire. Explosion. Enything.”
Catch ESESE playing with thando, Agung Mango and Lori (DJ set) at the Evelyn on November 11th to celebrate the launch of their latest releases. Grab your tickets here.
Good Morning may not be one of those well-known household names in Melbourne at the moment… But they should be. With a recent signing to Bedroom Suck Records, it was an absolute no-brainer to take the opportunity to chat to the Melbourne pair Stefan Blair and Liam Parsons to find out how they’re going.
In the world of laid-back, mellow and subtle artists, it is a rarity to see any bands or solo artists rise up the ranks. For instance Mac DeMarco would be one of the more recent artists to achieve this, and the “feature” that separates Mac from his peers is his humour, whether lyrically or on stage. This is something that Good Morning share with Mac, their ability to laugh and enjoy a good joke. Although I feel at times a more serious nature could help them on their way up, their playful approach to life and music translates to curiosity, and an eagerness to keep an open mind. Their signing with Bedroom Suck (who I feel are heavily underrated, signing some of the best bands in the country) could be that final step-up Good Morning needs to break out and become an industry staple.
So Good Morning is where my money would go at the moment, with a brand new album already recorded, I get the impression that the boys are in a good head space right now. They seem to be taking leaps, with a Europe Tour being the biggest one, and I can’t imagine they’d take these risks unless they believed in the new album. Until it comes out, let’s play catch-up below with Good Morning.
Marcus Rimondini: Where have you been hiding for most of this year?
Liam Parsons: Recording, slowly.
Stefan Blair: Mixing some stuff.
Liam: [laughs] Taking ages to finish it. It’s been nice though, no time restraints or anything. We checked out of the whole thing for a while there.
Did you not know the next step after the initial releases?
Liam: We’ve had demos of what the album’s going to be for a year and a half or so…
Stefan: We started mixing it, but it was a bit fucked. So we went back and started again just a few weeks ago.
Are you two mixing it?
Liam: Yeah, [we] tried to do everything this time.
Have you always done everything yourselves?
Liam: It has slowly progressed that way. The first thing we did was recorded and mixed with our friend Hamish Mitchell (I’lls). Then with the second EP we recorded it all ourselves, then mixed with him. Now, with this one, we’re recording and mixing it all ourselves.
How did the Bedroom Suck Records signing happen?
Stefan: One day Joe Alexander just sent me a message on Facebook [laughs]. I think he was just plotting away things, like he usually does, and was interested in doing this re-issue. Which was coincidentally around the time we were thinking about the record and wanted to send it to him anyway.
So he snuck in by just asking about a reissue, but was secretly looking to… ?
Liam: I think secretly we were trying to get the album in.
So you were both secretly trying to play it cool?
Liam: [laughs] Pretty much. I think we both got what we wanted in the end.
It looks like you barely have a break from touring until October, is this the longest you have ever toured?
Liam: We have actually never really been on tour… we did go on a trip to New York once for CMJ, but that was just staying in the same place.
Stefan: It was sort of more of a holiday.
Liam: I guess we’ve been to Sydney a couple times? And went to Brisbane once.
Does this tour make you excited or daunted?
Liam: Excited! I haven’t been overseas since CMJ.
Stefan: I’m into it. I like getting out of Melbourne, and visiting somewhere near like Switzerland will be exciting.
Question… Do you get paid more or screwed over more in Switzerland?
Liam: … I don’t know actually [laughs].
Stefan: [laughs] We’ll probably end up spending way more money than we should.
Liam: The beers cost more, that’s for sure.
Has it always been just the four of you in Good Morning?
Liam: Yeah, just the four of us playing live.
Stefan: And Joe’s coming too this time.
Liam: And our friend Kim Ambrosius is over there in Copenhagen. She’s been helping Joe with Bedroom Suck so it should be good. It’s going to be busy I guess.
What’s the jamming/recording process like in Melbourne?
Stefan: We mainly work at home and Liam’s beach house in Lorne.
Liam: … And I guess we are mixing it in my bedroom in Fairfield [laughs].
Did the beach house influence the sound or the atmosphere of the recordings?
Stefan: It kind of sounds glassy?
Liam: [laughs] There’s glass windows everywhere. We recorded the Glory EP there and had a construction site going on next door the whole time. So yes, you can hear hammering and drills in the background. However, there’s no WIFI, no people… it’s good for that. You just kind of sit there, and all of the sudden you’ve been there for 14 hours.
Stefan: You sit there until very early in the morning, go to sleep, wake up and do it again. It’s a nice routine.
Liam: There’s nothing else to do, maybe rent DVDs? [laughs]
Do you do anything creative outside of music?
Liam: Not really, we’re not very good at anything else [laughs].
Stefan: We play in other friends bands and stuff like that.
Liam: We try to do our own artwork, posters, and t-shirts!
Stefan: Although, they are usually thrown together in a couple minutes [laughs].
… Is ‘we’ actually just one person?
Stefan: Nah, whoever wants to do it.
Liam: [laughs] Whoever can be bothered.
Is it just you two who record the music? Or do you bring in the band when it comes to recording?
Stefan: We record it all. Some of the songs we will play with the band before we go in and record them. But most of the time we just record them as demo’s and show it to everyone else and see what they make of it.
Has the band always been the same four members?
Liam: It’s always been the four of us because there are more shows at the moment. Not everyone can always make them, so we’ve had Joe filling in on drums and Stefan’s brother on bass for a while as well.
How was the Tasmanian tour?
Liam: So good!
Stefan: It was pretty wild.
Liam: There was this crazy bar called Dan’s Bar in Franklin. It was this weird little alternate universe [laughs].
Stefan: We ended up having an after party at this woman’s house named Jane – she was 82 I think. She had a bunch of us back at her house for drinks and weird stew.
Liam: She was just sitting there drinking goon and chain smoking [laughs].
Liam: There were some good, weird pub shows as well – especially in this place called Wynyard. People were just shouting at us to play covers [laughs]. So it was us TRYING to do that, and making up covers on the spot.
Do you guys have any directional changes moving forward? Anything new you want to add to Good Morning, or just more refining?
Liam: We’ve been thinking more keyboard. It’s probably cleaner.
Stefan: Yeah, more saxophone as well. A lot of it was written on keys, there wasn’t much of that before.
Liam: No huge effort put into changing things, but it has naturally changed I guess.
Are the songs more internal or external?
Stefan: I feel like they’ve stayed somewhat the same.
Liam: They go deeper, maybe. We tried to be somewhat less whiny, tried to whinge less [laughs].
Stefan: The vocal performance hasn’t improved whatsoever.
Liam: [laughs] I don’t know how it panned out though, it’s really pretty whiny.
Do the track lengths vary more this time around?
Stefan: They are all pretty short still.
Liam: There’s a couple of four minute ones… Or almost four minutes [laughs]. One’s about 3 minutes 50 seconds, but at the end of the day, it’s like 10 songs in 27-28 minutes.
Have you been playing the new album on the recent tours?
Liam: Yeah, we’ve been playing most of the tracks for a fair while. There’s still a couple that we don’t know how to play live because of the arrangements – trying to figure out how to make it a band song.
Stefan: Yeah, how to tune without having four guitars on stage.
Liam: [laughs] Like Wilco.
Stefan: Jet [laughs].
What’s your connection to Baro?
Stefan: We still play in his band – I play bass.
Liam: I’m on guitar.
Stefan: We recorded a couple tracks with him on the EP that he just put out.
Is it nice being able to defer to somebody else?
Liam: Yeah, it’s great [laughs].
Stefan: You just rock up, you’ve got your instrument and that’s it. It’s nice to add another genre to what we can do I guess. I think we’re going to try and make a record with him at some point, but we will see if that happens.
Have you learnt much from that type of experience?
Liam: It’s definitely helped me play the guitar better, expand the range I guess.
Some guy named Alejandro Tafurth made the ‘Warned You’ video on YouTube, did he ask you? It has 660K views
Stefan: Yes! So he sent us a message and said: “I made this video, can I put it up on the internet?” I was like “Sure!” [laughs].
Liam: Me and Joe were talking about that yesterday, people think it’s the actual video. It’s quite funny. The video is very sexual [laughs]. There’s a couple of those, where people go on skiing trips or hiking trips and they’ll make little holiday videos.
Stefan: It’s like those videos you see of like two twelve or thirteen-year-old kids hanging out with their iPhones, filming some shit. It’s just their day, hanging out.
Liam: There’s this one where some kids in America played one of our songs at their high school talent show [laughs]. It’s wild, and actually really beautiful.
Stefan: There was also a band in Japan that used our track in some sort of battle of the bands.
Have you guys gotten any other weird requests in your DMs?
Liam: Not exactly weird, but a lot of people ask for lyrics because we never put our lyrics online. I guess we mumble a lot, so nobody ever knows what we’re saying [laughs]. We just sort of ignore them. I think we used to send them out.
Stefan: There’s a lot of Genius.com incorrect lyrics out there [laughs].
Liam: The reissue has a poster in it with all the lyrics that we did, it’ll be interesting to see if that actually changes anything.
Have you seen what’s happened to your Spotify? There’s an album in your profile clearly not by you…
Liam: [laughs] Yeah it’s so good.
Stefan: That shit got us a lot of weird messages. People were quite confused.
Liam: There’s some great tweets actually.
Stefan: There’s a really funny one that we got this morning. A girl in South America sent us a message saying “Come play!” Then we got another message this morning and she changed her mind: “My girlfriend and I just listened to your new album, it sucks, don’t come” [laughs].
Liam: [laughs] Here’s another one: “Confused as to what the fuck you just released, did you just record some pre-made beats and just loop them?” — “I am sorry if you spent a lot of effort on the new album, but it sucks” [laughs].
What’s planned after the Europe tour?
Liam: More touring and more writing.
Have you played any festival circuits?
Liam: The only festival we’ve played was Paradise Music Festival. We did a few with Baro over summer which was funny. It’s a whole different world and pretty entertaining. The problem was we just got drunk and tried to meet semi-famous people all the time.
Stefan: Jamie T side of stage [laughs].
Liam: I don’t think we met anyone at Laneway, but we used a bunch of their resources, someone got a free massage.
Stefan: I did get a free massage! Then we just took all the free beers and went to the nearest fish and chip shop.
Liam: Cheers Laneway! [laughs].
|Thursday 20th July – Melbourne @ The Tote w/ Dianas & Way Dynamic|
|Saturday 22nd July – Geelong @ The Barwon Club Hotel w/ Great Outdoors, Hachiku, Hollie Joyce & The Tiny Giants||Friday 28th July – Adelaide @ The Metro w/ WORKHORSE & Goon Wizarrd|
|Saturday 29th July – Adelaide @ Holly Rollers w/ AVANT GARDENERS, Fair Maiden, David Blumbergs & The Maraby Band + more||Friday 4th August – Coldedale @ Coledale RSL w/ Ciggie Witch, Unity Floors & Solid Effort|
|Saturday 5th August – Braidwood @ Braidwood Hotel w/ Ciggie Witch||Sunday 6th August – Sydney @ Petersham Bowling Club w/ Ciggie Witch|
|Saturday 12th August – Beechworth @ Tanswell’s Commercial Hotel||Friday 25th August – Castlemaine @ Petersham Bowling Club w/ Ciggie Witch|
|Tuesday 5th – Friday 8th September – Brisbane @ BIGSOUND|
|Friday 15th September – Copenhagen @ Stengade||Saturday 16th September – Stockholm @ Landet|
|Tuesday 19th September – Aarhus @ Tape||Thursday 21st September – Berlin @ Internet Explorer|
|Friday 22nd September – Dresden @ Ostpol||Saturday 23rd September – Trier @ Ex-Haus|
|Wednesday 27th September – Manchester @ Castle’s||Thursday 28th September – London @ Shakwell Arms|
|Friday 29th September – Brighton @ The Joker||Saturday 30th September – Paris @ Espace B|
One of the most exciting Australian electronic artists on a continual rise at the moment is Roland Tings. Since his debut LP release back in 2015, he has played festival stages across Australia, headed overseas to play internationally and dropped a new EP Each Moment A Diamond which has received nothing but praise alongside his first release. His music brings to our Australian scene a vibrant array of colour, interesting textures and basically an overall package that is totally unique to us at the moment.
Whilst touring around Australia and New Zealand on his ‘Each Moment A Diamond’ EP – AUS & N.Z Tour’, we caught up with Roland Tings in his old suburb of Fitzroy to chat travel and tours – in particular his inclusion on the St. Jerome’s Laneway Festival 2017 line-up -, his friend and also rising artist Harvey Sutherland, his inspirations and future, and what we can look forward to from him in terms of his production and vision.
Marcus Rimondini: So in the past year you have spent a lot of time travelling around the US. What were some of the ups and downs of being there?
Roland Tings: Touring there is in its own world – it’s very different to touring in Australia where you fly to most of the gigs. In America it was a 30-day tour with Chrome Sparks, in a van, just driving all day and playing all night. We’d only be sleeping in shitty roadside motels for three or four hours at a time.
Did you find it difficult to perform by the time the 25th gig came around?
It’s easy in some ways, harder in others. You can get into the venue, set up your stuff and do what you have to do – but by like the 27th show in Washington D.C., after we had driven around the entire country, I was just at the end of my tether. Doing 27 supports in a row with a variety of good and bad shows, it was taxing emotionally.
But so many great things did happen on that tour! I even went out with RÜFÜS / RÜFÜS DU SOL as well and did six dates with those guys, really cool time. Touring around I enjoyed the vibes in Seattle, Portland and LA, whilst New York was quite an experience. I stayed there for about a month and a half in between tours with my friends in Greenpoint.
Why did you choose to release just an EP this time around?
It just made sense. From my perspective, my manager’s perspective and the label’s perspective it seemed right to not jump straight into an album. I’ve got so much material, the EP could’ve easily been an album; my last one was eight and ten on the vinyl, so it just felt like the right thing to do. I think for a lot of the time while I was making the EP, I was trying to work out what kind of music I wanted to make.
When I made the first record, I didn’t really know what I was trying to do. I just made a bunch of stuff quite quickly and I didn’t have a whole lot of faith in it. But everyone did seem to like it, which was really cool for me. So with this EP, it was a case of going back to the drawing board and having to think deeply about what I was trying to achieve, what kind of sounds I wanted to use and how to push the sound forward from what it was through to what it is now (which is a bit more refined with better production).
On your new EP ‘Each Moment A Diamond‘, is there a reason why you included ‘Hedonist’ and not ‘Eyes Closed’?
The EP was done quite a long time ago. I got really frustrated with various delays and thought ‘I just need to release something to feel like I still exist’. It’s hard to be a musician and go a whole year without releasing a single piece of music. I had ‘Eyes Closed’ sitting around, made it in winter last year, so we put that one out to stop myself from losing the plot while we waited for the EP to come together [laughs].
I did think it might be a bit confusing to not have ‘Eyes Closed’ on there, especially because the artwork is similar, but the tracks didn’t tie in… You got me [laughs]. I honestly thought about this, and I thought, you’d really have to be paying attention to notice.
How much do you think about the track order of the EP? Or now that we’re in the streaming age is that less of a big deal now?
For me, it’s really important and it’s still something that I care so much about. I want to create a body of work that flows and is a good listen from start to finish – I want people to sit down and ‘LISTEN’ to the record. I mean, I used to listen to DJ mixes almost exclusively and that was the only thing I would listen too. But since I’ve started getting into Spotify, which I had to get for Roland Tings, I really got into it and now I only listen to albums start to finish. It’s funny because the consensus is that in the streaming age fewer people do this, whereas I’ve gone the other way.
When you’re constructing a song is there anything specifically that you start with or does it vary?
It’s never the drums. It’s always something melodic and it’s also usually never a chord progression. Some kind of sequence, some interesting melodic idea, or an interesting combination of things that I’ve chopped up and rearranged. Then from that point, it’s anybody’s guess. [Momentary distraction by every one of cute dog in Edinburgh Park]
When you added a vocalist, did you look specifically for a female voice? How did that come about with Nylo?
I definitely wanted to work with a vocalist but didn’t really have any solid ideas about who that had to be –
I had a think through a bunch of different options. We hit up a whole bunch of different people, and very interesting, talented people had a go, but Nylo was the one who really stuck with me. She did a great job, we got straight into the studio and nailed it in just a few sessions and that was it. It was a fast process.
Who does your artwork? It’s one of the few pieces of music artwork I’ve seen recently that seems to match exactly how the music sounds [to me] – how did you come across them?
The guys who do the artwork, Tim and Ed, they’ve been my friends for ages. Previously when I was a graphic designer they were like my idols. I loved their work so much and they kill it with everything they do. I think we come from a very similar place – we’ve spent years going to the same parties, listening to the same music, going to the same exhibitions. We have the same friends, go on holidays together. Tim, Ed and Roland Tings come from the same world. When it comes time to do a record and the artwork to go with it, we have a meeting and I tell them what the record is about, what I was thinking about when I made it, and they just go and make it happen.
When they come back it’s always spot on, it’s always amazing, and they always nail it. The stuff they send back is always kind of weird, but then you look back in two years and everyone’s started doing that same thing. Their aesthetic is part of the sound. They listen to my music while they work on other stuff. Sometimes I look at their work and I think about what kind of artwork they would make for the song that I’m working on. I feel like they’re almost members of the band.
You mentioned you used to listen to post-rock? That escapism can still be felt in the new EP. Do you still listen to post-rock or have you moved on to a more modern version?
[Laughs]. Yeah, that post-rock stuff is a little dated now… Maybe. I very rarely find myself listening to electronic music these days. I mostly listen to ambient music or rock bands, you know, good old Smith Street Band or like Eddy Current.
Are you keen to explore more usage of guitars on further releases?
There’s guitar on the last record, and I’m definitely keen to explore a bit more of that when I make an album. It’s going to have a lot of guitar. [CORRECT] I really like as a great blueprint for the way that these palettes are done in post-rock, combine well with electronic music like Mount Kimbie. [CORRECT] I think they do an amazing job with those sorts of tones so that’s a huge reference for me.
Where’s the best place to listen to the new EP – the countryside?
I would say just driving through the countryside. I like listening to stuff on planes, looking out the window, and not everybody gets the chance to do that very often. I think moving vehicles, especially in the car are one of the best places to enjoy music. You can have it up as loud as you want, the physicality of the sound coming out, the changing scenery and crazy coincidences with the weather. You can’t be on your phone, so you’re more locked in.
So yeah, I think the car, unless you have a really good setup for listening at home where you don’t have your housemates coming in [laughs]. Or let’s just say ‘kick-ons’, but the more relaxed version where it’s just a few people, all the lights are off and you’re all lying on the floor of your living room with the music up really loud and the sun’s coming up.
How important is it when it comes to translating the songs live?
The live thing has always been a large part of it. I noticed not a lot of people doing that in Australia (playing electronic music live) when I started. I knew there were loads of people in America doing it, and always been reasonably big in Europe, but not many people were doing it here.
One of my favourite Australian groups for the longest time were Seekae. They were so cool and I went to all their shows. So it was those guys and Speed Painters that I know for me and my friend Harvey Sutherland were basically our inspiration.
Who is your live partner in crime?
Bill was the drummer for the Chrome Sparks tour – he’s played for Shlohmo, he’s based and produces in LA, he does loads of different stuff, session and live touring stuff. On the Chrome Sparks tour, I was doing lots of improvisation and Bill has existed not so much in the world of house and techno, but he was like “I love what you’re doing with your modular, we should do something”. So we went out to Joshua Tree after the tour and just jammed it out, it was sick. I was like “Dude, come to Australia and we’ll do this on the St. Jerome’s Laneway tour and make it happen”, so he did. It was a lot of hard work but we put it together and it worked!
Now I work with Julian Sudek who plays in World Champion. He’s used to playing on a live kit and an SPD, as opposed to Bill who was all MIDI-Control, so that again brings a different vibe. However I think this is the one that’s going to stick for awhile – it just really works.
How was the St. Jerome’s Laneway tour?
It was really cool. For a very long time I didn’t really feel like a part of the music industry or anything. I hadn’t felt like I was a part of a Melbourne scene at all, and I’ve never felt part of the higher level Australian music scene of people who do these big festivals and stuff like that. Splendour In The Grass last year, for my first time, I was in the artist area and there were people that I knew there, it was like “Oh hey, I met you at this festival and we had a beer” [laughs].
I feel like the Laneway tour was again was like that – I knew some people on there, I had some mates on the tour. Bill and I were doing a show that we really believed in, and people responded really well. It was wild some of the scenes in Melbourne and Sydney in particular – just hundreds of people going mental and we were basically on the stage doing completely improvised modular techno [laughs]. It felt like something very special to me.
The Laneway crew was sick as well and I had so many cool random encounters. I was talking to somebody about why do people always cry on planes, and he had an amazing and elaborate theory, and we just kept talking. Then he was like “Oh I’m in Glass Animals” and I was like “Oh cool!” because they’re like a really big band and it was cool that the tour had big bands. They were full of the people that I would just hang out with.
What’s some of the gear you use live on stage?
It changes drastically all the time. For example, the current tour has the full drum kit on stage with a snare drum, a tom mic’d up and running into a mixer on the stage where I’m doing delay and reverb effects on the live drums with an SPD also running into my mixer. So essentially I’m manipulating the live kit and sending back out to the front of house. Then I’m doing my usual thing of a synthesiser and effect pedals.
It’s fun to play, as opposed to the Laneway tour, where it was all modular and mostly improvised which made it very hard. It’s way more nerve racking because if you get up and don’t have anything prepared, and there are a thousand people watching you, it can create a lot of stress [laughs]. People are going to hate this if it doesn’t go well, it’s really bad when it goes bad [laughs].
I’ve used a few Roland Tings tracks in DJ sets – do you ever think about the intro and outro and how it translates to mixing like some house artists do?
Absolutely, I think it’s one of the prime things – even though I’m not really making music for DJ’s so much anymore like I used to when I started. Now I know my audience is more like people who are listening on Spotify rather than DJ’ing. It’s always got a DJ friendly intro and outro, there’s always 16 bars of something to get you in and out if you choose to DJ the songs. I don’t know why I keep doing it, it’s just how I like to make music, and when I’m making my songs I like to try and mix into another track and see what works, and what doesn’t work.
The art of the intro is actually really, really hard to get right. I don’t know why it’s so hard but it is. If you listen to some commercial dance stuff it’s literally just 16 bars of the drum bit and then it drops into the song. But getting something that builds up organically from the intro and is interesting I can find very difficult yet fun [laughs].
What’s the plan for the rest of the year?
I’ll be going back to the US in May to go on tour with Com Truise and Clark which will be sick. It’s a big tour going everywhere so that’ll be cool to eat McDonald’s with those guys every day [laughs]. Then I’ll come back and start working on an album, or whatever that looks like, I don’t really know.
Are you excited or nervous?
I’m excited and honestly can’t wait to grow this project because I already feel like I’ve advanced musically so far beyond where I started. I just can’t wait to keep it going. So many sounds I want to explore, and so many people that I want to work with – I’m looking forward to it.
|Saturday 15th April – Sydney, Oxford Art Factory|
|Sunday 16th April – Adelaide, Fat Controller||Saturday 22nd April – Brisbane, The Foundry|
|Friday 28th April – Auckland, REC||Saturday 29th April – Wellington, Meow|