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5newartists3

5 artists you need to hear right now Vol. 2

AllieX

If you’re purely reading this because the song below is called Bitch, you will most definitely be rewarded for your blatant endorsement of profanity. Allie X is a Canadian artist who’s already gained the attention of Katy Perry. So, pretty much she’s already a superstar. X’s two previous releases, Catch and Prime, garnered hype with their brand of bubblegum pop but Bitch is the one most likely to prick the ears. On Bitch, she takes everything you know about pop and turns it on its head, crafting a riot girl chorus of distorted vocals and bratty charm. “I’m your Bitch, you’re my Bitch” is always a good lyric to introduce yourself I always think. It may count for something that she also has a wicked collection of sunglasses.

[soundcloud]https://soundcloud.com/alliexandra/bitch-mastered[/soundcloud]

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ELEL

MGMT, Tame Impala, steel drums and Alice in Wonderland. It may sound like a strange amalgamation of things but that’s exactly what it sounds like makes up the weird and wonderful stew that is ELEL. ELEL are an eight-piece band from Nashville who have just released their debut single, 40 Watt. It’s somewhat presumptuous to place the band here after just one release but such is the quality of this track. It’s bursting with colour and tropical vibes and best of all, it’s hard to put your finger on what exactly the track is. Depending on future releases from ELEL we may just be able to forgive Nashville for Kings of Leon.

[soundcloud]https://soundcloud.com/el-el-3/40-watt[/soundcloud]

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sashakeable

You may know Sasha Keable as the vocalist on Disclosure’s Voices. If not, go here and then come back.

Now you’re back, you’ve by now fallen in love with Keable and are ready to hear about her solo work. The 20 year-old singer has just released her second EP, Lemongrass and Limeleaves. Apart from being a potentially delicious tea (Take note T2), it is also a slow-burning collection of RnB tracks that engrain Keable’s voice in your mind. She sits somewhere between Jessie Ware and Katy B on the musical spectrum with looped beats and lush harmonies. You’ll find nothing as immediate as Voices in her solo collection but that’s half the joy- allowing the songs to sit and mature.

[soundcloud]https://soundcloud.com/sasha-keable/sets/lemongrass-and-limeleaves[/soundcloud]

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cln

cln or Callan Alexander, as his elders would call him, is the latest young producer to further prove the value of Australia’s burgeoning electronic music scene. At only 18 years old, the Brisbane producer is likely to make you feel completely inadequate about your life achievements thus far, but that’s ok, because the tunes are damn good. His skittering track, Better Than, was released last week and has already racked up 65,000 plays. While the expansive, beauty-of-a-track is his most noteworthy piece of work to date, minimal remixes on his Soundcloud of Drake and Disclosure are also sure to delight.

[soundcloud]https://soundcloud.com/callanalexander/cln-better-than[/soundcloud]

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JMR

With only two songs released from his forthcoming album, American Hell, it’s somewhat unbelievable how much attention Joshua Michael Robinson (or JMR, for convenience) has mustered. The Florida-native is producing shimmering, falsetto-driven tracks backed by bassy RnB thumps. On his second single, Closer, he sings “I just want you closer” right down the centre of the microphone, backed by no instrumental. It’s enough to make anyone a little bit clammy, as are the brooding synths and wobbling bass that follow. Look out for the album set to be released sometime in May.

[soundcloud]https://soundcloud.com/jmrsongs/closer[/soundcloud]

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Kermit Cintron vs Walter Mathysse

First Impressions 19 May

Kermit Cintron vs Walter Mathysse

A song is all about the first impression. That first 30 seconds, that first 808, that first velvety melody. All the while, your hand hovers eagerly over the ‘next’ button ready to take on another unassuming song. First Impressions captures that very essence as we take on tracks from the week past. Only we don’t press skip. This week our ears have been led to Kimbra’s experimental newbie, M.I.A’s feisty remix and La Roux’s long awaited/forgotten return amongst others.

M.I.A- Baddygirl 2

Sam: Everything M.I.A touches is gold to me. In this, she calls out “surfboard bitches”, “flawless bitches” and “Beyonce” and then segues into Beyonce’s Diva. In other words, I’m sold. 3.5

Lizzie: Talk about timing. Dropping this track the week of that elevator incident. I’m pretty sure the Knowles camp weren’t looking for any extra press, especially not a fierce remix of ‘Flawless’. M.I.A does what she wants, when she wants and I am totally happy to oblige. 4

Bianca: The Bey-kdown was a refreshing break from the M.I.A part of the song. 2

Hannah: I’m torn. M.I.A is telling me I’m more than just a butts and titties girl and more than just a slutty girl, meanwhile the beat is urging me to grab the nearest surfboard and grind up on dat wood. Such is life for a 21st century feminist. 4 Hannah’s Pick 

[soundcloud]https://soundcloud.com/miauk/baddygirl-2-mia-party-squad-beyonce-flawless-remix[/soundcloud]

Kimbra- ‘90s Music

Sam: Big props to Kimbra for delivering up something so left-centre. It’s boundary pushing, Bjork-esque and has a big sugary-chorus for good measure. A lot of people will hate this but I think that’s brilliant. Maybe it’s time people stepped out from their Coldplay-laiden comfort zone. 4

Lizzie: No no no. There’s experimental and then there’s this. I feel she’s just pulled a variety of samples out of a hat and vomited them onto this track. 1.5

Bianca: I think Kimbra’s a little confused…I don’t remember the ‘90s sounding anything like this. This needs to be laid to rest along with scrunchies. 2

Hannah: This song really excited me… until Kimbra opened her mouth. I’m probably still in an M.I.A flavoured haze, but I can’t help thinking if only it was M.I.A’s vocals on this track it’d be a killer. As it stands, I find myself straining to hear a track of musical gold (I don’t even mind Bellamy’s guitar) through the sound of some very unhappy cats. Meow. 2.5

[soundcloud]https://soundcloud.com/kimbramusic/kimbra-90s-music[/soundcloud]

La Roux- Let Me Down Gently

Sam: La Roux, you drop one of the most addictive pop albums of the decade and then leave us out in the cold for five years. It’s bordering on torture but this new one has you easily forgiven. This is a pop TUNE if i’ve ever heard one. And I’ve heard a few of them in my time. 4.5 Sam’s Pick

Lizzie: The queen of synth-pop is back, thank god! We needed someone to step back in and show us how its done, and “Let Me Down Gently” is a blissful dream. Massive fan of the sax breakdown. Not a big fan of the fact we had to wait 5 years for this track surface. 4

Bianca: Such suspense at 2:35! That pause is so pregnant, it’s carrying triplets. 4.5 Bianca’s Pick

Hannah: Phil Collins of the best kind. 3.5

Gorilla-Drumming

[soundcloud]https://soundcloud.com/la-roux-official/let-me-down-gently?in=interscope/sets/la-roux-let-me-down-gently[/soundcloud]

Mariah Carey- Thirsty

Sam: Based solely on the album title (Me. I am Mariah), I’d be happy to call this album of the year right now. This song is everything I’ve come to expect from Mariah- full of unintentional LOLs. Attach this to a Pepsi commerical and it will reach its utmost potential. 2.5

Lizzie: This song is offensive to my ears. 1

Bianca: Someone, please, get Mariah a drink. 1

Hannah: Like trying to rehydrate with a big old glass of milk, this song ain’t going to leave you with nuttin’ but a belly ache.

Andy Bull- Talk Too Much

Sam: Eh, I really want to love this because I’ve been such a fan of his previous two singles but this one’s just too middle of the road. It starts to climb the mountain of melodic brilliance but it never quite reaches the top, leaving me with an unsolved sweet tooth. 3

Lizzie: He’s got a really unique sound – upbeat but not too in-your-face. The lyrics are a winner for me, offering up a message to just shut up, stop bitching and live a little. 4  

Bianca: Keep talking to me, Andy. This poppy little number blooms more with every listen.

Hannah:It says a lot that we found this song on indieshuffle. It’s cute, it’s poppy, it’d be right at home alongside Phantom Planet on The OC Soundtrack. It’s just another one to add to the pile. Shuffle on. 3

[soundcloud]https://soundcloud.com/andybullmusic/talk-too-much[/soundcloud]

Rhodes- Morning

Sam: So many Jeff Buckley vibes which I’m completely OK with. I’m going to forego all masculinity here and say this is damn beautiful. It goes to show that so little needs to be done when you’ve got a fine voice and brooding melody. 4

Lizzie: Excuse me for a second, while I just compose myself….Phew! Thats what I call a moving song. So minimal, yet effortlessly packs a punch. This guy has a got a gift 4 Lizzie’s Pick

Bianca: Zzzzzzz. But in a soothing, bedtime audiobook kinda way 2.5

Hannah:  Well that was nice.

[soundcloud]https://soundcloud.com/rhodesmusic/rhodes-morning[/soundcloud]

coachella

10 Reasons Why You Should Attend Coachella 2015

Kermit Cintron vs Walter Mathysse

With the dust only just settling from Coachella 2014, it may seem too early to think about buying pre-sale tickets to 2015’s festivities. Here are ten reasons why you should be getting out of bed (or coming home) at 3am this Saturday:

1. The surprise acts

Sometimes the best acts at Coachella aren’t even on the bill. With this year’s surprise appearances including Busta Rhymes, Usher, Jay Z, Justin Bieber, Beyonce, Snoop Dogg, Mary J Blige, Lauryn Hill, Pusha T and Gwen Stefani (just to name a few), it’s likely that 2015’s guest appearances are going to be bigger and better than ever.

Although recent events might mean this is the last time you’ll be seeing this:

solange-beyonce-coachella-2014-3-594x400

2. The plethora of artists to suit your tastes

With the 2014 lineup reaching almost 150 notable artists, even before its surprise acts,  you’ll be hard pressed to find a spare moment. So much so that you won’t even have the time to care about spotting the celebs that don’t care about spotting you.

Don’t let this large number overwhelm you though. Coachella gives you the ability to go with the flow and even stumble into acts you didn’t know you wanted to see.

3. Best workout of your life

Between the thigh squats (otherwise known as getting low), the fist punches brought on purely by a lack of knowing what else to do with your arms and the ab crunches from laughing too hard, the Coachella workout is a surefire way to drop some kilos. Or work off that delicious slice of pizza from the Heineken Bar.

4. Experience appreciation for new music

Coachella 2014 brought a host of lesser known acts that are likely to be big names by the time the festival rolls around next year. This year’s bill saw the likes of BANKS, Courtney Barnett and The Preatures taking to smaller stages off the back of huge international hype. Just imagine where Lorde was in 2013…

5. The ultimate road trip

With initiatives such as Carpoolchella offering VIP tickets for life, all access guest passes and ferris wheel vouchers simply for carpooling with four or more people to the festival, there’s no reason to not road trip.

6. Maybe 2015 will be THE year…

With punters getting Daft Punk’d by indie-rockers Arcade Fire at the start of their 2014 headline set, maybe it’s a sign of things to come?

arcade-fire-daft-punk

Or perhaps we should just take this as the best we’re ever gonna’ get. 🙁

p0Oj2o3

7. The technology / special effects

The lighting and special effects paired with each set were on a level not seen at any Australian festival. You  could even forgive Muse for over-delivering on the flame throwers (I didn’t need those eyebrows anyway) and the broken crane which left Matt Bellamy suspended oddly in the middle of the crowd.

Also, expect to have THIS GUY zooming above your head during the bigger bands:

drone

Yes, that’s a camera drone. Yes, we’re living in the future.

8. The Quirks

The fashion

At Coachella you will discover that your fellow punters will take this chance to flaunt some questionable fashion choices but strangely you won’t hate them for it and might even (god forbid) embrace it.

The art installations

A roaming, giant spaceman. Need I say more?

The sign language interpreter

Watching the sign language interpreter attempting  to keep up with Andre 3000’s rapid-fire roll of the tongue in Roses was almost as entertaining as the entire set. Here’s hoping Coachella will hire this guy next year:

signlanguage2

“I know you like to thank your shit don’t stank”

9. The before/during/after parties

Start the day in the pool, end your day in the pool. Both in very different states of consciousness. If this is your style, we recommend staying at The Saguaro.

Kermit Cintron vs Walter Mathysse

10. The payment plan

We can’t all expect to afford to blow a cool $US375 in one go, not to mention additional travel and accommodation costs, nor can we be as #blessed as some celebs and actually earn money by simply attending (looking at you, Vanessa ‘McHudgens’). Thankfully, Coachella has provided us with a  payment plan more attractive than your average infomercial.

coachella_infomercial

Coachella 2015 is scheduled for April 10th through 12th, followed by the second weekend from April 17th through to 19th at the Empire Polo Grounds in Indio, California.

General admission passes are priced at $US375 (currently $AUD400.46 for those too lazy to currency exchange it), while VIP passes will cost you $US799.

Set your alarms for an early wake up, Australia. Pre-sales kick off early Saturday morning at 3:00am AEST (Friday, May 16th 10:00am PDT) from http://www.coachella.com/.

oprah2

Throwaway Thursdays

In the words of the incomparable Janet Jackson– “the best things in life are free”. With a harsh budget delivered this week, Australia’s youth have been denied access to a life of dole-bludging and are subject to potentially rising university fees. It’s ok though, because we are here to soften the blow with free new music. Each Thursday will be now known as Throwaway Thursdays- a weekly collection of all that the internet is giving away. Below are a bunch of complimentary mixtapes, documentaries and mixes that can be downloaded or watched without credit card charges or additional HECS debt.

oprahbees

BOOTS- WinterSpringSummerFall Mixtape

When you hear the artist BOOTS it’s usually in association with Beyonce. That’s because the wonder-kid produced many of the tracks off Beyonce’s surprise, self-titled album. Since its release, “Who is BOOTS?” has been searched 52 million times on Google. Well, consider this mixtape his formal introduction. He’s called upon a bunch of friends to help him too with Kelelah, Jeremih, Shlohmo and Son Lux all contributing to tracks. Oh and one more- Beyonce, of course. Not bad for a debut mixtape, ey?

[soundcloud]https://soundcloud.com/bootsonboots/sets/winterspringsummerfall[/soundcloud]

Bayou- LOOPBACK Mixtape

We featured Bayou’s Airlock in Musical Speed Dating a few weeks ago, with the track garnering everything from a one rating to a four. The UK-based singer-songwriter’s debut mixtape is likely to be just as divisive as he works alongside chopped and screwed soundscapes and unconventional melodies. For the most part it leans towards experimental RnB but you’re also sure to feel some James Blake vibes throughout. Whatever your taste may be, it’s free and nobody resists a freebie.

[soundcloud]https://soundcloud.com/bayyyou/sets/loopback-1[/soundcloud]

Download here.

Mac DeMarco- Pepperoni Playboy (A Macumentary)

Everyone loves the Mac and you’re likely to fall further in love with the Canadian larrikin in this beautifully filmed documentary directed by Jon Leone. Yes, it features shower scenes. Yes, it features plenty of cigarettes. Yes, it features a trip to China. Such is the life of this slacker. The Pitchfork-premiered film is a more than entertaining look into the bizarre personality of Mac DeMarco. And he talks about Australia which he describes as “a real treat”.

St. Vincent- FACT mix

Annie Clarke has some pretty cool friends. She’s impressed everyone from Talking Heads frontman David Byrne to the surviving members of Nirvana. But this eclectic mix is her chance to show off who’s dominating her iPod or Gramophone. The 50-minute mix for FACT mag sees the singer-songwriter step behind the decks to spin everybody from Kanye to Beyonce to King Krule. It doesn’t make complete sonic sense but it’s a damn good collection of tunes nonetheless.

Listen to the mix here.

Tracklist:
King Krule – Easy Easy
Solex – Oh Blimey!
Beyonce – Blow
David Bowie – Warszawa
Kanye West – Black Skinhead
Interlude
Loretta Lynn – Wine, Women and Song
Kid Creole and The Coconuts – Annie, I’m Not Your Daddy
Sisyphus – Calm It Down
Marvin Pontiac – No Kids
The Clash – London Calling
Liz Phair – Divorce Song
Charles Mingus – The Black Saint and The Sinner Lady, Suite 3
Selda – Yaylalar

Kermit Cintron vs Walter Mathysse

5 new artists you need to hear right now

Kermit Cintron vs Walter Mathysse

Digging through the interns of the music world is a surprisingly rewarding task. While big names like The Black Keys and Lily Allen are delivering highly anticipated yet ultimately disappointing releases, there’s a wave of new artists bubbling under with impressive debuts. Below are five of the best covering everything from RnB to indie-pop and Dylan-inspired folk.

Ben Khan

If you’re not already crushing on this London producer’s debut EP 1992 then you need to hop to it. Khan won’t talk about specific musical influences in interviews but he cites Salvador Dali and Middle-Eastern music as key inspirations. It shows on the EP too. He lays down warm guitar lines alongside chopped and screwed production. What will surely be his breakout track, Youth, has garnered 400,000 plays on Soundcloud in a month. It’s a track that highlights the very charm of Khan’s sound- warm and rhythmic but also haunting and hard to pin down.

[soundcloud]https://soundcloud.com/benkhan/sets/1992ep[/soundcloud]

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Kyan

Hearing only one syllable from Kyan will be enough to make you fall in love with his velvety, RnB voice. He’s just released an atmospheric and melancholic EP, The Purple Experiment, that gives nods to the songwriting of Frank Ocean and the intensity of a Prince ballad. He’s able to pull it back to miniscule production when need be and layer the vocals on when he requires an astute moment. Shuttle will most likely be the song you’ll latch onto immediately. It floats in a sea of brooding synths allowing his voice to induce all kinds of butterflies. If that’s not enough to convince, maybe this will: the kid has a fresh haircut and a MySpace.

[soundcloud]https://soundcloud.com/kyanmusic/sets/the-purple-experiment-1[/soundcloud]

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Spookyland

Sydneysider, Marcus Gordon (aka. Spookyland), has a voice that is as divisive as Bob Dylan, but if it finds favour with you, it’s one that’s hard to forget. This Silly Fucking Thing is as attention grabbing as its explicit title suggests. It’s a largely acoustic-driven track that allows Gordon’s brash voice to stand atop. The silly fucking thing in question is his heart which just keeps getting broken. It may sound cliché on paper but the climaxing nature of the track, alongside his voice that teeters on the edge of breaking, is perfect. The EP Rock and Roll Weakling is out now.

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Mausi

Newcastle quartet, Mausi, are the band most-likely to make you long for Summer this weekend. Their latest single, My Friend Has A Swimming Pool, opens with the line “When the sun starts sinking we’ve already been drinking” and is delivered with girlish charm and a perky key-line. Their track Move was produced by Mark Ralph who’s previously worked with Hot Chip and Jagwar Ma so we can rest assure that they are in good hands. They’ve also just covered Kiesza’s Hideaway, mashing it with JLO’s Play, which is always a favourable move in our books.

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San Mei

When you think of the Gold Coast, you often don’t associate it with intricate bedroom producers, however, local San Mei is set to change that. She’s producing hazy, youthful, pop melodies that are harnessing international attention. It’s her latest track, Wars, that has our ears pricked. San Mei’s vocals seep into a wash of synths and washed-out guitars which culminate together to create the perfect oddball pop-song. This is electronic pop at its finest.

[soundcloud]https://soundcloud.com/tidalwavesoundsfun/san-mei-wars-1[/soundcloud]

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singlesclub_week6_2

Musical Speed Dating 9 May

Kermit Cintron vs Walter Mathysse

If you clicked on this article purely for Usher’s abs then you’re in luck. Scroll further down and there’s an entire video. For the remaining few of you who clicked on this for the music, you’re also in luck. We’re delving into tracks from the ever-impressive Antlers, Aussie wonder-DJ Alison Wonderland and Xtina revival queen K Stewart. This week it’s all about the king and queen of the dance floor with Alison Wonderland and new kid on the block, Shamir, proving to be favourites with polar opposite versions of booty-shaking tracks. Keep scrolling for more puns and Usher pick-up lines.

Antlers- Hotel

Sam: There’s something about the chord progression on this that just melts me from the outset. My only problem is that there’s not a lot of dynamic to the song which means it becomes slightly stale towards the end 3

Lizzie: This is a floaty, smooth track which really makes you drift away to a different place. The vibe is moody and slow – I can almost feel my face mushed against a window on a rainy day, staring pensively into the distance..“In the hotel, I can’t remember how the past felt.” 3

Hannah: Go into your living room, put on a track by The Editors, or maybe even The Cold War Kids, leave the room and listen to the now toned down, slightly muted track from the other side of the door. This is what’s happening here. Same, same but different. I do love the plucky guitar outro though. 3

Bianca: Peter Silberman’s lilting vocals seem to be heavily influenced by Jeff Buckley’s ‘Mojo Pin’. I’d request a late checkout from this Hotel 3.5 Bianca’s Pick 

[soundcloud]https://soundcloud.com/antirecords/the-antlers-hotel[/soundcloud]

Usher- Good Kisser

Sam: Dat falsetto, am I right? I am unnaturally obsessed with the verses and bridge of this song and then completely underwhelmed by the chorus. 3.5

Lizzie: Why does Usher always write songs about me, it’s embarrassing. I kid, I kid…

But what I am not kidding about is how pumped I am to see Usher back in full force in 2014. The cowbell is fresh and funky – really makes this song for me. Only problem, stick to singing your lyrics Usher, ‘saying’ them just sounds plain weird. 3.5

Hannah: Basically you had me at Usher. Good Kisser is doing for Usher what Sexy Back did for Mr Timberlake after his hiatus: Pair it back, throw a bit of funk in there and remind the world you have some sweet dance moves and BOOM! Nobody will even care you left them for awhile. 3.5

Bianca: My confession Part I: ‘Good Kisser’ doesn’t do it for me. You’re not wrong about dat falsetto, Sam, but other than that, the song never makes it past first base.

Basement Jaxx- Unicorn

Sam: I’m not sure if I like this song or I’m just nostalgic for Marky Mark’s Good Vibrations. Either way that thumping bass and acid-synth line is giving me damn good feels. Basement Jaxx always succeed in updating their sound but keeping true to their style. 3.5

Lizzie: It’s got all the elements that should make you want jump up and dance. A quick pulsing beat, the lyrics want us to get us up “jumping”, but am I just not feeling it at all. Sadly, I only have room for one British electronic dance duo in my playlist, and that’s saved for Disclosure. 2.5

Hannah: This is a car crash of synth and bass and off-tune samples beneath a whingey vocal. Put bluntly, it does not want to make me get my body jumping. 1

Bianca: Sounds a little too aerobics dance class for me- more Jumping Jaxx than Basement Jaxx. Unfortunately these guys have taken a few Box Steps backwards from their previous album. 2

[soundcloud]https://soundcloud.com/basement-jaxx/unicorn[/soundcloud]

Alison Wonderland- I Want U

Sam: A little bit of trap, a little bit of Flume and a little bit of Crystal Castles and you have a song that sounds very similar to everything else right now. Alison Wonderland is super cool and I love the warehouse tour idea but this doesn’t really dish up anything new. 2.5

Lizzie: Love love this track. Everything fits for me – the vocals are echoey and haunting, but with the layering of samples, crashes and all sorts of sounds, it all makes sense. No wonder why she was snapped up by Diplo & Friends. 4.5 Lizzie’s Pick 

Hannah: Remember when TNGHT gave us Higher Ground? Yeah, well so does Alison Wonderland… only now it’s called I Want U. 3.5

Bianca: A smorgasbord of everything hot right now which has regrettably left me with a touch of heartburn. 2

Shamir- I Know It’s A Good Thing

Sam: It’s two from two for newcomer Shamir. This is another slice of disco-heaven delivered by a buttery melody and throwback vocals. It’s time to restart Studio 54. 4 Sam’s Pick 

Lizzie: What a voice, that heavenly voice. And the heavy thump of the piano. It’s not gospel, it’s not electronica, it’s not disco as we know it. Its Shamir. A new and bewitching sound and I love it, and this is only his second release! 4

Hannah: This kid was born in the wrong decade. He shows some skill, easily playing with disco, Rnb, house and a whole lotta soul here. I Know It’s A Good Thing is such a good thing. 4 Hannah’s Pick 

Bianca: Shamir’s androgynous voice provides a melodious juxtaposition to the heavy-handed piano strokes. 3.5

[soundcloud]https://soundcloud.com/godmodeinternet/shamir-i-know-its-a-good-thing[/soundcloud]

KStewart- Tell Me ‘Bout That

Sam: Xtina is alive and well in this one. And there’s no problem with that. The chorus is just A+ RnB and the song as a whole is a testament to the strength of RnB music at the moment. More and more great stuff continues to come out of the woodwork. I would love for something like this to make it to radio. 4

Lizzie: I feel like I’m hosting a very suave party in an elevator, somewhere stuck on the level between Christina Aguilera circa 2000s and some fresh new RnB pop/electronica. What may seem confusing to the ears at first, but it actually turns out to be a little gem of a song after 2-3 listens. Shame she shares the unfortunate name with some bitchy–faced Twilight vampire. 3.5

Hannah: So I listened to KStewart do her thang… and now I’m in the middle of a Christina revival. Did someone say derivative? 3

Bianca: The bubble sound effects, in addition to a melody reminiscent of The Sims ‘Buy Mode’, give this song a playful groove. Something tells me this girl will be bringing in the §§§s in due time. 3.5

[soundcloud]https://soundcloud.com/kstewartmusic/tell-me-bout-that-produced-by-karma-kid-1[/soundcloud]

laroux_listenup_2

La Roux – Let Me Down Gently

laroux_listenup

London-born pop-synth royalty La Roux have finally returned after a 5 year hiatus since their self-titled, Grammy Award-winning album.

Following their dancefloor anthem, Bulletproof, vocalist Elly Jackson confided “unless we manage to write a record in two weeks I don’t think there will be anything in terms of a second record for a while.” Well, we’ve waited long enough and the time has finally come for them to drop their first single in half a decade, Let Me Down Gently.

The mood is first set with Elly’s breathy ad-lib & synth washes, creating an almost morose atmosphere divergent from their last album.

Bringing us in ever so gently with her desperate crooning, the song crescendos into a steady electronic beat before plunging us into silence. A brief moment is lent for us to gather our thoughts, before the breakdown turns the song on its head with synths-galore, a sax solo & the classic Elly Jackson we know and love.

It’s a delicious taste of what’s to come.

Let Me Down Gently is the first release from La Roux’s upcoming album, Trouble in Paradise, due out July 7th.

[soundcloud]https://soundcloud.com/la-roux-official/let-me-down-gently[/soundcloud]

Trouble in Paradise Tracklist:

1. Uptight Downtown
2. Kiss and Not Tell
3. Cruel Sexuality
4. Paradise Is You
5. Sexotheque
6. Tropical Chancer
7. Silent Partner
8. Let Me Down Gently
9. The Feeling

 

xscape4

The Definitive track-by-track guide to Michael Jackson’s Xscape

Kermit Cintron vs Walter Mathysse

We seem to have an obsession with reviving stars from the dead. 2Pac appeared as a hologram at Coachella, 12 posthumous Jimi Hendrix albums have been released and a Drake-lead Aaliyah album is rumoured to be in the works. There’s been a lot of talk around whether Jackson’s second studio album since 2009 will tarnish his reputation. After one listen, it’s unlikely. Does anybody remember Michael from 2010? You’ve all probably tried to erase it from the memory, mostly because it featured Akon.

Thankfully this one isn’t half as much of a rush job as Michael. Xscape sounds polished and true to Jackson’s style. Executive producer of the record, Jimmy Iovine said that the intention was to make it sound like a record Jackson would’ve made – and it does. The only problem is whether or not that’s a style people want to hear in 2014.

With that considered, let’s take a journey and escape to Xscape.

Love Never Felt So Good

Dim the lights, pour the champagne and start spinning the circular bed. This one is classic MJ, harking further back to his Jackson 5 days than any other era. It’s a disco-flavoured affair, with a guest spot from Justin Timberlake but it still feels so old fashioned. Everyone’s aware that funk is back thanks to Pharrell but this feels dusty. Don’t get me wrong, I’m still pulling out the daggy Mum moves and loving every second.

Chicago

Opened by deep synths, we’re immediately out of disco-Jackson and into 2000s-Jackson. Apparently this one was originally recorded for his 2001 album, Invincible, and it shows. Timbaland has waved his magic over it and it’s moderately successful. If anything, it’s good to hear that classic MJ grunt again as he sings “Lie to you, Lie to me”.

Loving You

Lets jump backwards again, because now we’re firmly in the motown era. Timbaland and J-Rocc have brought this track into 2014 but I can’t help but wonder whether it would’ve been better left untouched. Or am I just thinking about the whole Jackson legacy in general? Either way, this one’s about as memorable as the last season of the Biggest Loser.

Edit: I’ve just listened to the original version and my earlier thoughts have been confirmed. It would’ve been better left alone.

A Place with No Name

Rihanna’s producers, Stargate fiddled with this one and it’s probably the most successful so far. It maintains a funky baseline but peppers it will a deep pulsating beat. Jackson’s vocals on this are so on point, it’s hard not to enjoy this track. His licks, runs and grunts are all there in abundance and he feels more present than 2Pac’s Coachella hologram. Unlike the previous song, the original version doesn’t hold a candle to the 2014 update.

Slave to the Rhythm

Timbaland’s back on this one and you can tell. It sounds similar to Timberlake’s 20/20 Experience with a shuffling beat and futuristic synths. This is apparently about a house-wife who’s caught in a mundane life but would rather be dancing. Pretty emotional stuff. The track doesn’t really pull through until the euphoric fourth quarter when Timbaland pairs it all back in favor of a glistening synth.

Do You Know Where Your Children Are

This one’s a difficult listen given Jackson’s history with alleged sexual abuse. The industrial percussion and ‘80s synths are there in glorious abundance but it’s hard to just focus on that and not give all your attention to lyrics like “She wrote that she is tired of stepdaddy using her”.

Blue Gangsta

The opening verse of this is Timbaland’s finest moment on the album. The brooding start makes me imagine Jackson emerging onto stage in a smoke machine-induced haze and it’s all sorts of magic. He’s then joined by a brass-heavy beat and everything goes awry. The original of this is so uncomplicated but Timbaland seems to have added and added to it until it’s almost unbearable to listen to. I’m a huge fan of anything brass-related but apparently you can have too much of a good thing.

Xscape

Nothing says contemporary like a misspelt title track. It’s so will.i.am, so Gen-Y, so 2014. Unfortunately that’s where the contemporary aspect of this track ends. Like a large portion of this album, they’ve tried to keep it true to Jackson’s style and still bring it in to 2014. In the end it sounds confused and irrelevant.

 Xscape is out in Australia on 13 May.

bigscary2

Big Scary on the Aussie invasion overseas, hip-hop and the perils of road trippin’

Kermit Cintron vs Walter Mathysse

 It may seem hard to picture in Australia but the Australian invasion in America right now is fiercer than ever. This month already, Iggy Azalea has entered the top 10 on the US charts, Courtney Barnett has played Jimmy Fallon and boy band Five Seconds of Summer have stormed the charts with their debut single. In addition to that, Elizabeth Rose, Flume, Jagwar Ma, The Preatures and Anna Lunoe have been touring the country, impressing widespread crowds.

Big Scary are currently touring the country with Indie-Electronic artist Say Hi, contributing to the mass attention directed at musicians downunder. The Melbourne pair consisting of Tom and Joe have moved from LA to New York where they played two shows.

They’re signed to Barsuk records which is the home of artists like Death Cab For Cutie and Phantogram and have just released their sophomore album Not Art in America.
Tom spoke to us from a van touring from New York to Philadelphia. Despite being plagued by terrible weather and a minor car accident, he managed to chat us through the overseas tour, hip-hop and re-designing the live shows with a smaller band.

the(in)terns: How did the show go in New York?

Tom: It was awesome actually, really good. It’s just a really cool venue with a lot of vibe and we felt really relaxed.

How have the shows been going in the US overall?

Generally really good. I think we’re a bit surprised at how well we’ve been doing but more in our own capacity as performers. I thought I would’ve got sick and lost my voice but I’m still hanging in there. I think we’re happy about that and we definitely haven’t had any train wreck shows. Some have been better than others, but it’s been really good so far.

Kermit Cintron vs Walter Mathysse

Is it odd going through the whole album release again overseas?

It kind of is. It’s not odd it’s more, we know the songs so well. So it’s different like that. When we were touring with them back home in Australia they were kind of fresh and new to us so there was a nervousness about playing them along with the excitement of doing something new. Now, we have performed them plenty but we also don’t have that nervousness like “am I going to remember what to play in this part” or “what happens here or there”. It’s more relaxing and we can concentrate on the performance on the night which has been really cool.

Is this your first time touring in the US?

I guess as a proper tour, yeah. We’ve come over and done CMJ and South by Southwest before and a few little showcase shows and so we’ve been to New York and LA but this time we’ve just driven from West coast to East coast then down South before we head back West. It’s a completely different thing really.

Have the songs developed in the live arena since the release of Not Art?

Absolutely. I think more out of necessity. Back home we had two other band members to help us out with new songs but over here we couldn’t afford to bring them over. We were thinking we would do it over here as a two piece but just by chance it worked out that Say Hi was available and his album release cycle was going to line up. The tour together was looking good and along with that he was willing to learn a few songs and play along during our set. We’ve had to strip the songs back a bit and kind of re-interpret them in different parts. Back in Australia we had the other guys doing quite technical things with more instruments involved but with Eric we only had a few days where he had to learn everything and we didn’t want him doing too much. We didn’t want him playing three different keyboards so we re-interpreted just for him to play on a bass guitar. I think we’ve been quite successful though.

Is it exciting to come overseas and see rooms fill up on the other side of the world?

Yeah absolutely. Two years ago we played the Mercury Lounge and it was pretty empty, but last night we had a full room. Having been there before, it struck us as something pretty cool. We’ve played a string of shows rights through the country. Some shows have been bigger than others but every show there’s been at least a fan or a couple of fans just there to see us. It’s cool that we can make music in Melbourne, Australia and someone overseas has heard us and loves the music enough to want to pay money again just to see us.

Are you finding you’re encountering lots of Australians over in the US?

Yeah. I guess it’s like even when you’re travelling you tend to bump into Australians wherever you go. It was nice to bump into Courtney [Barnett] and her guys. We toured together back home and so that’s how that friendship started. She’s doing so well over here so it was cool to see them and give them a hug before they headed off to the UK.

[Tom interrupts the interview]

Sorry, this weather is insane. It’s seems to be getting worse and worse. Jo just got out of the van because this guy just pulled up and slammed his door into the van.

Is everything okay?

Yeah, Jo is inspecting the damage. Sorry to interrupt.

How did it all come together with Barsuk records?

It’s something that initially started from connections we built from our early trips in 2012. We made a really good connection with a music lawyer based just outside of New York and once we got him on board he started working on getting us out there and doing his thing amongst the labels out of our sights. It was handled by a manager and we were back home. And then we got an email through that Barsuk had heard the album and loved it and were keen to do something with it.

Are you writing and recording over here?

We had every intention to. Jo and I had a writing session a few weeks ago and we had a bunch of cool ideas so I bought my iPad over and put GarageBand on it. But time just seems to be swallowed up on the road.

Are you finding it’s harder to break the US than it was in Australia?

It’s hard to tell. Nothing ever really happens as suddenly as it appears on the outside. It might seem from someone watching us on the outside that this has happened quickly but it’s never really the case. Jo and I have been playing together for seven or eight years so even in Australia we’re still an up and coming band even though we’ve been playing together for that long. Over here it’s kinda the same. It’s a slow but steady thing for us. Things are definitely moving in the right direction and slowly which I think is a healthy thing. The Barsuk guys are in tune with that. They want to do things organically and do things when the time is right. It’s a long term thing and it has to be for it to work.

I wanted to know if you actually think Hip-Hop sucked in 2013, as alluded to on Not Art?

That tracks actually a reference to another similarly named track. It’s a nod of the hat to an artist who influenced our sound on the Not Art record. It’s not a reprint action of our feelings towards hip-hop. Hip-hop production was a really big influence on the sound of the album and how we approached recording and arranging. It’s definitely not how we feel. Hip-hop has been a new discovery for me personally and I think it’s the most exciting genre in terms of production.

I thought the drum loop on Luck Now was reminiscent of that sentiment. Were you trialling new production techniques on the record?

Yeah absolutely. Production is something I’ve been getting into and we were keen to try new things. When the album was being made we had a whole lot less time together to play because of other commitments. And so it had to be made in a different way than the first record. We didn’t have the same time to write and then go into a studio. We did it on the fly.

Gig information can be found through their website

pharrell@

Why you need to be friends with Pharrell

Kermit Cintron vs Walter Mathysse

Turning 41 just last week, Pharrell Williams is a multi-Grammy award-winning, Oscar-nominated, TIME’s most influential people, chart topping superstar producer, singer and songwriter and the most popular guy in school music. Showing no signs of slowing down, this mega-producer is hot property and if it is not already hideously obvious, here a few reasons why we all need to get chummy with Pharrell.

He has seen Daft Punk without their helmets.

Actually, let us rephrase that. He has seen Daft Punk, period. Which is more than most of us will be able to say in our lifetime. Plus he has bragging rights to some of the French duo’s best new hits, “Lose Yourself to Dance” and that relatively minor sensation, ‘Get Lucky’.

Kermit Cintron vs Walter Mathysse

His fashion sense is out of this world.

With his own signature Vivienne Westwood hat, Pharrell’s style evolution has been fearless and effortlessly trendsetting (and adorably goofy) over the years. He is also the co-founder of two clothing brands, and has his own Louis Vuitton jewellery line.

You can’t say the guy hasn’t got game, wearing this to the Oscars.

Picture 2 - Pharrell

He is 41 years old, and we are totally cool with that.

This Benjamin Button of the music world truly gets better with age. No really, this guy is immortal. He doesn’t look a day past 25.

Kermit Cintron vs Walter Mathysse

If he had a party, everyone would come.

Pharrell has worked with literally everyone in the industry, whether it is singing for Daft Punk or Robin Thicke, or producing for Shakira, Jennifer Lopez, Beyoncé, Kelis, Britney, Lupe Fiasco, Justin Timberlake, Usher or Frank Ocean.

Coachella 2014 saw Pharrell bring the largest posse on stage, both weekends. Gwen Stefani, Nelly, Snoop Dogg, Diplo, Tyler the Creator, Usher, Busta Rhymes, Rapper T.I, Pusher T and Jay-Z! Heck, even Lorde and Haim were up there dancing at one point with Beyoncé cheering fiercely on the sidelines.

As it seems his peers, just like his fans, genuinely admire and adore him.

He probably owned most of your high school iTunes library.

Recognise any of these babies? Pharrell produced, wrote, co-wrote or featured in all of them.… and they were fricken’ awesome.

I’m a slave 4 U (Britney Spears), Rockstar (N.E.R.D), Work it out (Beyoncé), Senorita (Justin Timberlake), Hot in Herre (Nelly), Milkshake (Kelis), Hollaback Girl (Gwen Stefani), Drop it like it’s hot (Snoop Dog)…..the list goes on.

His second solo album, ‘Girl’ was released this year. His first in eight years!

Kermit Cintron vs Walter Mathysse

“Women are a phenomenal force in my life and in my career” and “the cornerstone of existence”,  Pharrell spoke in media conference earlier this year. He went on to envisage a future world in which “75% of it is run by women … and I want to be on the right side of it.”

So the general consensus is that Pharrell has a perfectly healthy, un-creepy appreciation for girls.

Whether it’s the charming jungle beat of ‘Lost Queen’, the cheeky disco groove of ‘Hunter’ or the punchy opener ‘Marilyn Monroe’, this album definitely offers up a little somethin’ somethin’ for everyone. He has even enlisted friends (more friends!!), Miley Cyrus, Kelly Osbourne, Hollywood’s hottest composer Hans Zimmer, Justin Timberlake, Timberland and vocals from Daft Punk to lend a hand, just because he can – marking an exciting step forward for the producer in 2014.

And I dare you not to dance to this.

Then there’s this…

Oprah. Pharrell crying. It’s all too much.

What a guy.

 Oh, and this…

Picture 5 - Pharrell.jpg

sideshows2

The best of the Splendour in the Grass sideshows

Kermit Cintron vs Walter Mathysse

Making the trek to Splendour in the Grass is not often feasible for everyone- taking a sickie around that time is never easy to pull off and a cool $500 doesn’t always fall in front of you. Luckily there’s the sideshows. Those gigs in the comfort of a roofed venue with shorter bar queues, less gumboots and no sudden dust storms.

You could easily spend as much as a Splendour ticket on the sideshows so we’ve put together a few sideshows that are unmissable. While a few of the big acts, namely Outkast, are only playing their festival set in Byron, there’s a plethora of acts to wash away those Splendour blues.

London Grammar

The British trio was last in the country for Falls Festival where they impressed with their brooding, melancholic sound. Since then, they have stormed the charts with their single, Strong, and as a result will play some huge shows when they’re here in July. The first thing that will capture your attention is front woman Hannah Reid’s mammoth voice, then you’ll be drawn in by the humble, starry night feeling of the live show.

“A completely assured and quite remarkable vocal. It is as unusual as it is impressive, and warm lower registers are married with piercing high notes with maturity beyond young years.” – The Line of Best Fit

Tuesday, 22 July – Festival Hall, Melbourne

Thursday, 24 July – Horden Pavilion, Sydney

Kelis

Kelis is the chameleon of music. Her latest album, Food, is a huge departure from the dance sound of her previous album, Flesh Tones. It’s brassy, soulful and most of all full of Kelis’ big, raspy voice. It’s unlikely you’ll hear anything about Milkshakes but there will be Jerk Ribs and Fried Chicken aplenty. She’s been driving around the US serving signature dishes from a food truck in support of her new album so let’s hope we get the same service here in Aus.

“She is unafraid to let the cracks show in her signature husk, conveying a calming intimacy on Floyd and an awe-inspiring grandeur on the mariachi-tinged Change.” – The Guardian

Tuesday, 22 July – Prince Bandroom, Melbourne

Wednesday, 23 July – HIFI, Sydney

Kermit Cintron vs Walter Mathysse

Future Islands

Baltimore band, Future Islands, have been floating around for a while but they have only made headlines recently with their new album Singles and by becoming David Letterman’s favourite new band. Lead-singer Samuel T. Herring is the focal point. He sings like Morrisey and dances somewhere in between Peter Garrett and Paul Simon and is unlikely to leave you without a strong opinion on the aesthetic of the show.

The verdict:

“The band’s new album Singles turns its synth-rock throb into something stickier and friendlier than it’s been on previous records, and on the evidence of last night, those songs sound amazing live.” – Stereogum

Sunday, 27 July – OAF, Sydney

Monday, 28 July – Corner Hotel, Melbourne

Sky Ferreira

Ferreira made a quick trip to Australia in March for a small, sell-out show in Sydney. The calls for a return were made loud and clear following that show and she’s delivered. Expect euphoric pop, delivered in a gothic, grungy and industrial guise. Based off recent reviews, she’s delivering one of the best live shows around at the moment and may well take the crown of Sheezus (aka. Lily Allen) as queen of Splendour in the Grass 2014.

“On stage, she’s personable, committed and raw, and while her songs carry just the right amount of sugary melody to appease those with a penchant for pop, the grinding guitars and rollicking drums suggest that, in Ferreira’s world at least, pop is a dirty word.” – Music Feeds

Wednesday, 23 July – Prince Bandroom, Melbourne

Friday, 25 July – Metro Theatre, Sydney

Jungle

You won’t see many photos of Jungle hanging around the internet. They’re as enigmatic as they come but the mysterious British duo is making some serious waves with their funk-induced sound. Jungle have mostly performed under a thick smoke-machine induced smog, but apparently most people are so busy grooving that there is barely time to notice. This may be one of the only times to see them live in a small venue before shit gets real (ie. the word spreads).

“All their soul and swagger translated to the live setting, particularly thanks to a sumptuous drum sound and some gospel-like backing vocals.” – Line of Best Fit

Tuesday, 29 July – The Corner, Melbourne

Wednesday, 30 July – Oxford Arts Factory, Sydney

Tune-Yards

With just three albums under her belt it’s difficult to call Merrill Garbus a veteran of her trade but such is her competence. Her live-shows are known for being experimental, built on live-vocal layering and drum-heavy sounds and are bound to be one of the most interesting sideshows. Her new album Nikki Nack features a few RnB flavours alongside her usual chanting-soul, so a few grinds may be in order if that’s your kind of thing.

“It’s weird music, for sure. But it’s also one of the best live shows out there.” – CMJ

Thursday, 24 July – Howler, Melbourne

Monday, 28 July 2014 – OAF, Sydney

 

Tickets go on sale Friday, May 9 at 9am.

 

lizzierose

Elizabeth Rose on New York, Lady Gaga comparisons and the new album

Kermit Cintron vs Walter Mathysse

At just 22, Australia’s own Elizabeth Rose is as audacious as they come. Making her headline debut in New York, she took to the stage at the Mercury Lounge, just down the road to the iconic Katz’s Deli. Unlike the mammoth pastrami sandwiches Katz’s is so famous for, Rose is a petite performer. Petite, however, is no description of her show.

Playing in front of a small but highly receptive crowd, Rose was a valiant performer. Working her way through songs from the EP, she had the crowd dancing in seconds. At just 2 EPs, it’s a testament to the young artist that she was able to hold the attention of a crowd largely unbeknownst to her music.

The triple hit of Sensibility, her cover of Rhythm of the Night and The Good Life, proved the strength of her back catalogue. The best part about watching her is it looks like she knows it too. She often moves away from her keyboard to face the crowd front-on and throws some dance moves Solange would be proud of.

While her stage demeanour is confident, off-stage Elizabeth Rose presents a different side. She’s softly-spoken and polite yet talks knowledgeably about modern RnB and the sound she’s channelling.

the interns sat down with Rose in a dodgy Mexican cafe in the Lower East Side just before her New York headline to chat Lady Gaga comparisons, YouTube comments and the impending album.

I saw that you were working with Sinden and TokiMonsta. How did those sessions go?

Elizabeth Rose: Yeah they went well. That was in LA last week. The session with TokiMonsta was really good. I met up with her last time. She recently did a remix for me for my single Sensibility. The session with Sinden went well as well. It’s still very early stages.

Is the album starting to take shape?

Yeah. I’ve written about 3/5 of it. I know what sound I want.

Are you finding its a different process from writing the two EPs?

Yeah definitely. It’s a lot more rushed, doing it all while the EPs still doing well. This time around I’m focussing on getting melody and chord progression down rather than worrying too much about details of production. It’s kind of helping- we get through the demos quicker. It’s hard because I usually do the instrumentation first- I do the whole song and then I do the bass-line and then I come back and write the melody and lyrics. But it’s been really refreshing to do it the other way.

Have you found after the good life did so well that you were surprised and thought, oh wow, now I have to get back to work?

Yeah it was really surprising. I was really shocked at how well received The Good Life was. Mostly from Triple J. They really supported it. It’s been great. Since that single everything’s just been gradually building.

How did you find the Australian tour last month?

Yeah the tour was really good. It sold out in Melbourne, Adelaide and Sydney. I’ve never done that before so it’s really exciting. Now it’s this next phase where I think “ok I’ve gotta buckle down and put some hard work in for this album”.

Did you enjoy the response to your cover of Rhythm of the Night?

It was really cool. I was worried because so many people say the nastiest things on YouTube. If they don’t like it they’ll rip it apart. But yeah most of it has been positive. The only negative comment was that I need to get more sun.

Do you read most of those comments?

Yeah. I’m sensitive. But someone wrote as a reply to that person, “it’s called a studio tan you arsehole” [laughs]

How was the show in LA?

Yeah it was good. We had a few technical problems but the crowd was into it. People were calling out for me to play Sensibility which was really cool. I thought no one would know that song at the show but it was a really good turn-out. I’m looking forward to tonight [in New York].

Seeing you’re now in a huge music hub, What’s your classic New York song?

I’d say something by Frank Sinatra.

What sort of expectation do you have when you play a show overseas?

I think when I’m overseas that nobody will turn up. It’s starting all over again, you feel like you’re all the way back at the bottom but it’s good to be surprised.

Did it seem like the road of starting out in Australia to selling-out venues was slow or quick?

Yeah it was slow. Slow and gradual. I’m happy that it took time thought because a lot has happened over the last few years- experiencing playing a festival for the first time, releasing an EP for the first time. It felt like the right pace for me. I feel quite comfortable with the way everything’s panned out. If it was happening too quickly i think I’d be quite anxious about it.

How did recording and writing change between the two EPs?

It changed quite drastically. I was in a totally different headspace for my first EP. It wasn’t really me having a solid concept it was more “here’s a bunch of songs I wrote, I wanna release something, let’s do this”. That one sounds a lot different to the second one because I didn’t really put much thought into it. With the second EP, I had a sound and a concept for it, so it felt like this one had a stronger feel to it. But also my writing has developed as well. Constantly writing has really strengthened that muscle. I’ve found the sound that I like now.

What about the live shows, do you enjoy having more material to play with?

Yeah, I love playing gigs now. I’m going to try and start playing some new new stuff soon so I’m really excited about that. Hopefully when I get back maybe I’ll play some shows with new songs, maybe if I get them ready in time. It’s really exciting to play new stuff and go “what do you think of this?”

Is there anything that’s influenced the direction you’ve gone in with your new material?

Nothing really new. It’s a progression on from the EP where I’ve taken on a bit more RnB. I always am inspired by the music I’ve grown up to like Brandy and Missy Elliot and all those really cool RnB artists. That’s always going to stay with me. Recently, I’ve been listening to some more experimental electronic music, some minimal techno.

I’ve noticed FKA twigs as well. Are you trying to find your own niche inside the RnB genre?

Yeah. I’m not consciously striving for it. I don’t really try and write anything, it’s just what I would like to listen to. I don’t have a sound in mind that I want to make it sound like. It’s just if it sounds good to me in the studio, I’ll go with.

Have you had any songs that you love in the studio and then listen to it with a collection of others and think it doesn’t fit?

Yeah that happened recently with a demo I wrote. It kind of has more of that ’90s pop feel with melody. It reminds me of that song by Olive. I was like, “shit, I’ve written something that doesn’t fit”.

How was your last trip to America?

It was good. I played six shows. It was a bit rushed and hit n miss every show. The venues were just like one fold-back speaker. But I got good feedback from it. I did a club show at the end which was great. I feel like I fit a club scene rather than a live band venue. This time around it’s going to be different. That time was really to get the word out about my music and this time I have the single out and plenty of remixes have been done which helps spread the word.

Have you found that international blogs have helped you overseas?

Definitely. I can’t believe this little trail that you leave. The internet is weird.

Do you like releasing a song and seeing how it’s received and where it’s taken?

Yeah. The TokiMonsta remix of Sensibility actually helped a lot. It’s created a lot of hype.

[soundcloud]https://soundcloud.com/elizabethrose/sensibility-tokimonsta-remix[/soundcloud]

Do you ever read a review of somebody writing about your music that says it sounds like something that you disagree with?

Everybody compares everything to anything these days. Like Spotify says listen to this, if you like that. I’ve read things in the past where Lady Gaga was mentioned and I was like “I don’t think so, you were at the wrong show”.

Are you writing with any Australian producers for the album?

I’d like to and I have a lot of people I can think of but nothing’s locked down yet.

Do you have a release date in mind?

I don’t know yet. I’d say sometime next year.

Do you have any writing sessions set for London?

Yeah. I’m trying to get in contact with Totally Enormous Extinct Dinosaurs.

What’s the thought process behind choosing to go overseas?

I don’t feel like this year would be appropriate to move overseas but I’ve already started to think about next year. You can only do so much in Australia. After coming back from America last year, to see how big the market is and how many radio stations there are, it’s just so much bigger. I’m sure in Europe I’ll find that too. You’ve got to go where the music is buzzing, you can’t stay at home when there’s stuff happening overseas. I want to be there to be in it. Collaborations are so much easier overseas.

 

After America, Elizabeth Rose heads to Canada and then onwards to Europe. For all the details, click here. 

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