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In Conversation With- Ninajirachi

Firstly, how did the name “Ninajirachi” come about?

I had been making songs under another name since I began uploading music, and towards the end of 2015, the project began to feel a little stagnant. Ninajirachi was my Instagram username at the time and for the sake of having a ‘fresh slate’ as such, I decided to make it my artist name as well. I really don’t know where it came from. Jirachi is a Pokemon, but it’s a Pokemon I rarely use when playing the games.

Do you think that growing up away from the city has influenced you musically at all?

I suppose so, but I guess I’ll never know because I’ve never known anything different to where I live now. There’s really not much to do on the Central Coast except hang out at the beach, so having a pursuit of some sort is really great, especially when it isn’t beach weather, because it means that there’s always something to do. Perhaps growing up in the city would have allowed me more exposure to the music scene, etc. at an earlier age, but I’ll still never know how much that would have influenced the music that I create.

Do you play any instruments? If so, do you think they have assisted in the production of your songs?

I started playing the piano when I was around 6, but I gave it up when I reached high school. I still play occasionally, but I’m not graded and I don’t take lessons anymore. I also played the clarinet for a couple of years in primary school which was fun, it’s something I might go back to once I’ve finished school.

Definitely! I can’t imagine being able to make music without having studied it. I know that plenty of people are able to make great stuff without a musical background, but being able to play an instrument is so invaluable to me and I regret giving it up at such a young age.

What sort of music are you currently listening to?

Not a lot, I find that when I’m writing a lot of music I don’t listen to a lot, and vice versa. I just checked my phone and my most recently played tracks are Seekae – Turbine Blue (Swindail Remix), Charli XCX – Vroom Vroom, Iglooghost – Mametchi, Tyler, the Creator – Okaga, CA and Tamia & Fabolous – So Into You.

Besides Mura Masa and Porter Robinson (who you have clearly shown your love for everywhere) who are your biggest inspirations?

Probably Kero Kero Bonito, Flume and Madeon.

If you could grab any vocal feature for a track, who would it be?

Sarah Bonito!

You’re still a very young artist, and you’re probably still developing the live aspect of Ninajirachi. Where would you like to take your live set?

I’m just a DJ at the moment, and I’ve never looked into doing any other sort of set. Eventually I’d love to develop it into more of a performance, but right now I don’t have the time or money to look into it.

Do you have any inspirations outside of music that have helped you formulate your art?

Definitely, I draw inspiration from all over the place, sometimes it’s a pretty picture on Tumblr and other times it’s a Studio Ghibli film. I find nostalgia to be super inspiring, so if I see/hear/read anything that reminds me of, for example, a TV show that I loved when I was younger, I’ll go back and watch it again. Video games were a huge part of my childhood and I still spend a decent amount of time playing the games that I was playing at 5 or 6. Video game music is severely underrated, I draw so much inspiration from it. Fiction is also really important to me, I write a lot of music about fictional places, characters and things. You can probably see why I love Porter so much.

Porter Robinson electro house era or Porter Robinson Worlds era?

Worlds! Porter’s electro house was my favourite music in the world when I first discovered it, but Worlds is a lot more important to me now.

Porter Robinson short hair or long hair Porter?

Definitely short hair. Long hair Porter looks sick with a beanie though.

What keeps you motivated when you are struggling to write music?

I find that if I’m struggling with music, the best thing for me is just to stop making it for a while, and focus on finding new music to enjoy listening to. I also find that having multiple creative pursuits really helps, because I’m able to continue to be productive, creative and motivated without the stress of not being able to write anything that I like.

Do you think that growing up and watching female stars like Anna Lunoe, NLV and Alison Wonderland blow up in the dance scene inspired you to pursue music?

Not really. This isn’t to say that these artists aren’t incredible, because they are, but my when an artist inspires me it’s not because of their sex. The fact that women are a minority in the dance music world isn’t something that’s ever daunted me or prevented me from wanting to pursue making music.

What was the best show you saw in 2016?

This is so hard to answer, but probably either Odesza at Groovin the Moo, Maitland, or Sticky Fingers at the Enmore Theatre, Sydney.

The Triple J Unearthed High competition really brought you a lot more publicity than you had previously been receiving, how’d you take that sudden rush of recognition?

It was definitely a huge shock, I saw none of it coming, but it was great. It’s so cool to know that there are random people who I’ve never met who listen to my songs, and it felt amazing to be ‘rewarded’, as such, for the work I’ve done in making my music over the last few years. Being able to a couple of on air interviews was also really rewarding, the whole thing gave me a huge confidence boost and I feel really supported by the Triple J Unearthed guys.

You released a lot of music in 2016, are you currently writing new music, or just taking a bit of a breather from it all?

No way, I’m writing so much music at the moment and I’m working with some really great artists. I’m looking to release something within the month and I’m really excited about all of it, this year should be really good.

What is your main goal for 2017?

To achieve the best possible ATAR that I can. Music wise, probably to support a larger gig/event/festival.

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In Conversation With Kuren

1. You had a massive 2016 with your Tesseract EP doing so well, especially that single “Home ft. Ben Alessi” What can we expect from you in 2017?

2016 was nuts! This year Im going twice as hard and I have a bunch of Remixes and a full length album I will be putting out mid year. 2. We know Ta-Ku is a massive inspiration of yours, who are some other artists you look up to?

Definitely would have to be Bon Iver, Esta, Lido & St. South. Huge fans of these artists. 3. Songs To Make Up To or Songs To Break Up To?

Its a tricky one but I gotta go with Songs to break Up to. 4. You achieved your goal of working with Ta-Ku nearly straight after you wrote that goal, how important is goal setting for your work?

It actually took a couple of years after writing the goal on paper but its amazing that it did come to surface. Very blessed. I believe knowing what you want and figuring out ways to achieve it is one of the most important things when you’re a creative. To me it makes it clear and easier to understand. 5. There's a clear difference in the style of music you made for your 2015 Love Lost EP and most recent Tesseract EP. What aspects of the year gap between the two releases most contributed to the change in style?

I wrote Love Lost when I was 15 years old and finished and released it when I was 17. Not long after I turned 18 and started playing gigs in big nightclubs all over the country. I think experiencing different scenes & cultures the sound kind of came out of my head and into the computer. I also think the people I worked with had a contribution. I was working with more artists towards that style. 6. You’ve developed quite the energetic live show, do you think its important for artists to develop a live show, rather than just a DJ set?

It all depends on personal preference, how you want your brand to be seen & your ability to do so. Some of the biggest artists can’t play instruments so DJ. Which is great. And then you have others that can. For me I want to give people an experience. I want them to know I value their time and attention. And for me the best way to do that is by building a show that will take them on a journey. And I don’t know how to DJ yet.

7. You go from being a very serious motivational guy to being a total comedian on your snapchat/instagram stories, do you think its important as an artist to be transparent as a person to your audience?

I think its super important to be you. I don’t really like memes and all that stuff so I try to be more serious online and again let people know that I value their attention and support. But in the same vane, its important to not be misconstrued as this super serious guy that can’t take a joke. You’ll look like a robot. So when Im on snapchat or on stage I try to have fun and just be me. 8. Who has been your favourite artist to see live?

Definitely Slumberjack! Those boys absolutely kill it. Ive seem them a few times now and always get so inspired afterwards. 9. If you could choose one person to go on an Australia tour with you, who would it be?

My mum for sure! 10. Which young artist (besides you) will have a massive 2017?

TWERL. 2 producers from Perth. They have a huge road ahead of them! 11. You're on a boat and it's sinking so you need to throw someone off it. On the boat with you is Enschway and Turquoise who do you throw off?

Myself. Im a pretty good swimmer and just want the boys to be safe! 12. Finally, what's your main goal for 2017?

Tour internationally for sure!

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Ziggy Alberts- Giant Dwarf Saturday December 17th

Ziggy Alberts’ “Start Over Summer Tour” has now surpassed its 3rd Sydney stop, the all-ages show at the Giant Dwarf Theatre being the final Sydney show on the massive 45+ show tour around the country. Having only played his new record “Four Feet in The Forest” to major cities in 18+ venues, this tour has been the first time Ziggy has brought together people of all ages, from big cities to regional communities, to experience his new music live.

With no support act for this leg of the tour, the keen and considerably young crowd was left without a warm up. However, once Ziggy walked onto the stage, the crowd’s energy lifted immediately, and his set list moved between tracks from “Land & Sea” and “Four Feet In The Forest” very smoothly. Sonically, there is a clear distinction between the recorded versions of these two projects, however each song in the set list transitioned fluidly and cohesively into the next. The songs from Ziggy’s debut record were given a new life and energy through the use of an electronic kick drum, rather than the acoustic one used at Ziggy’s previous shows as well as throughout the recording of the record. 

The simple, yet well executed structure of the show progressed extremely well with a considerably positive crowd response. Ziggy began his show with some softer, ‘lap-tap’ songs, which, although did not produce loud crowd singalongs, allowed for the young crowd to absorb Ziggy’s ethereal presence on stage. These songs then folded into two of Ziggy’s softer ballads which allowed the crowds singing voices to gradually grow including ‘Slow Dance’ and ‘Settle Down’. The personal nature of these tracks was highly evident, adding a raw and emotional dimension to the performance. Next came ‘Better Off’, a song from Ziggy’s most recent project, which hinted at the energetic “folk-fiesta” that was yet to come, and allowed him to transition into a more upbeat performance. The popular upbeat and energetic songs that Ziggy performed later in his set were certainly a highlight, the rhythm of the kick drum, accompanied by constant crowd clapping lighting up the Giant Dwarf Theatre, highlights being “Gone” and “Simple Things”. The singalongs grew exponentially, and the entire crowd became one. Clearly the crowd’s high energy was infectious, for the on-stage dancing of Ziggy and his good friend Sam during fan favourite ‘Runaway’ resulted in a guitar chord being pulled out accidentally. This was however resolved quickly, reminding us that even Ziggy Alberts makes mistakes, and lifting the energy significantly for the last chorus of the night. 

The standout of the night was the impact that Ziggy had on the crowd, and the effect this had on the show. The person that Ziggy presents himself to be on stage as well as through his music is the same person he is off stage. This was especially present in his storytelling between songs, during which he presented himself with vulnerability to the audience. This strengthened the bond and intimacy between the crowd and Ziggy, the story telling becoming crucial in understanding why and how his music has had such a lasting impact on all spectators of the show. Ziggy’s more serious and meaningful tales stemmed from topics such as stigmas surrounding mental illness, seen in his song “Tell Me (The Hoddevik Song)”, positivity in the news and media, prevalent in “Better Off (The Captain Planet Song)” and the ignorance of driving while using a mobile phone preluding “Start Over”. The narrative behind the tracks on “Land & Sea” were more personal and about love, with Zig recounting stories from his youth, and the nature and beauty of love itself. 

Nothing quite compares to a Ziggy Alberts show. The meaningful, inspirational and sometimes hilarious stories, the emotional and impactful performance and the “folk-fiesta” that will make you want to dance and sing along. Ziggy is one to watch in the Australian music scene, his music is infectious and he is a positive and amazing role model for the youth of our country.

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Sticky Fingers- Enmore Theatre

Sticky Fingers. When this band comes to mind you can't think past a sold out Enmore Theatre show, and this one was truely their biggest. Off the back of their ARIA #1 album "Westway (The Glitter and Slums), this is their first leg of shows back down under. 

The moment the lads walked on stage already dictated the concert for the night, one of pure energy and excitement. The boys opened with their classic "Land Of Pleasure" and the crowd was electric to say the least. Their presence on stage is one that can't be understood unless you are there in the crowd. They have a heroic presence, and their ability to command a crowd is immense. 

It's obvious that the band means more to the crowd than just a provider of a good time, but more a symbol of Sydney, one that everyone is proud of. The singalongs were tear worthy. The entire crowd song back the entirety of "Rum Rage" and "Liquorlip Loaded Gun". The energy in other songs also matched this, "Bootleg Rascal" and "Just For You" sent the crowd into an intense mosh, with hair and bodies flying. 

 Sticky Finger's also introduced their new tracks into the set. These were equally well received by the crowd, and they were performed to a great standard, with the intensity of the set rising whenever a new track came on. Crowd favourites "Our Town" and "Sad Songs" stood out from the rest, highlighting the lad's uncanny ability to write smash studio and live hits combined. 

The night was not all Glitter and gloss, but technical difficulties also had their say. Constant problems with Paddy's bass and the encore being cut short to sound issues were two considerate flaws in the performance. However these difficulties did not affect the overall impression on the night, the bass guitar was fixed, and the boys still received an appropriate fair well as the surfed the crowd. Their ability to seemlessly walk through these problems without affecting the overall set was extremely admirable. 

Overall, these boys are ready for bigger and better things. Probably being their last Enmore show, the patriotism may no longer out live the realism that these guys from the Inner West of Sydney are truely a massive piece on the national music chessboard.

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DMAs- Enmore Theatre

Australian indie rock is on the rise, and a prominent figure in this come up are the lads from DMAs. After an extremely successful self titled 2014 EP, and also a highly acclaimed debut album, “Hills End” the 3 piece band faced their biggest Sydney show yet, selling out the Enmore Theatre.

Straight away their presence of stage was felt. The boys recruited a full band to perform their killer tracks, as safely playing through their debut album. This created a much meatier and gritty sound to their more laid back Britpop recorded sound.

This much larger sound instantly created a raw and an an energy that was unstoppable. The crowd mirrored the energy presented on stage. The insane noise that was created from the front was mirrored all the way to the back. The front of the crowd presented similarities to a pinball machine, with hair flying and bodies barging into each other. The energy was insane and captivating. “Too Soon” became a moment of complete insanity throughout the mosh, with some people singing, and some preoccupied with dancing insanely.

This energy however did not compromise the strength of the performance and ability of the boys to be extremely talented musicians. The crisp acoustic guitar was accompanied by amazing vocals from Tommy O’dell. Not only did he pour his heart out with every bar sung, but the connection and love given to him by the audience singing back every word performed, provoked an intimacy that is hardly seen within this genre.

As every avid listener of DMAs knows, they aren’t all about aggressive energy, but also mellow acoustic vibes. The transitions from these tracks, to the more acoustic laid back songs were near perfect. The connection created through the energy was transformed into one of amazing sing alongs and sways. Their largely renowned song “Delete” provided amazing progressions and crowd singing, one that became infectious to all. Their simple yet extremely effective acoustic ballad “So We Know”, became a key moment in the night. One that highlighted the extent that these lads were something more powerful than a party Britrock band that sends crowds nuts but one with heroic energy, and pure class.

The set closed with an amazing rendition of their major hit, “Lay Down”. The performance of this song perfectly tied together everything that made the performance incredible. An amazing positive energy, a moving sing along, potentially perfect vocal and instrumental performance.

It’s truely amazing to think that these boys only banded together to be DMAs 2012. Their presence, and cohesion on stage is one of such high standard that many Australian bands are unable to reach.

SETLIST

Play It Out

Feels like 37

Straight Dimensions

Melbourne

Timeless

In The Moment

Too Soon

Beautiful Stranger (Madonna Cover)

Step Up The Morphine

Your Low

So We Know

Delete

//

//

Laced

Lay down

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Allday- Enmore Theatre 23rd September

After the release of his single “Sides” Australian hip-hop prodigy Allday (Tom Gaynor) sold out the prestigious Sydney Enmore Theatre, commencing the second leg of his largest national tour yet. His 2014 album “Startup Cult” proved to be a manifesto of Australian teenage youth, he also successfully reached #47 on the 2015 Hottest 100, and had an appearance on the legendary “Sway In The Morning”. With all this in mind, this was Gaynor’s most hyped Sydney show ever.

19 year old Wollongong singer/songwriter, Tyne James Organ, opened the music for the night with only his guitar and vocals. His performance didn’t completely match the vibe of the night however he was still able to present an engaging set, with his covers of Frank Ocean’s ‘Forrest Gump’ and DMA’S’ ‘Delete’ accompanied by significant crowd singalongs. Then came UV Boi, an artist with a sound more aligned with a hip-hop vibe. The mysterious figure excelled on the large stage with blissful 808s and crazy synthesizers captivating a young, (15 year old) teenage girl audience with a sound they had probably never experienced before. The energy of the performance did not match the energy of the crowd, however, every audience member was edging to see the symbol of Australian youth that was about to hit the stage.

Allday’s significance amongst the youth is significant in understanding his presence and aura on stage, his quirky, charismatic personality and party vibe creating an experience that no other Australian hip-hop artists present. Gaynor and his DJ Mikey Hunj made the most of the large Enmore Theatre Stage, their vibrant energy on stage being reflected by the moving crowd. There was a noteworthy amount of phones being held up and high pitched screams from the crowd whenever Allday approached the audience. Even though this was frustrating, it highlighted the extent to which the crowd are moved and influenced by the performing artist. The performance itself was overall extremely solid. Allday didn’t stumble on bars and did not at all look uncomfortable or out of place on stage. Vocally, Allday is not the strongest, but this was not detrimental to the performance, as the overall appeal of the show was in its energy and connectivity between audience and artist. The sing-alongs were constant, with substantial audience contribution during “Right Now”, “You Always Know The DJ” and “Grammy”. His new single Sides was also a crowd favourite, a great sign for any artist about to put out a body of work. Another key to the success of this show was the live edits of the traditional classics. The new and improved versions of tracks not only created more hype, but also a completely unique experience for anyone that had already seen Allday before. Not only was the show a concert experience, but the entire Enmore Theatre became one big party venue also. Allday’s constant interaction with the crowd provided an experience one like no other. Not only did he host a crowd surfing race for two lucky audience members during “Coffin”, he also encouraged every audience member to text someone they love during “Angels”. Even though in the short run this subtract audience’s focus from the performance and the music, in the long run it benefitted the show due to the intimacy and relationships that were fostered between artist and audience members.   

Overall, Allday is a force to be reckoned with in the Australian music scene. The amount of influence he holds over the Australian youth is incredible, and his ability to captivate such a large audience alone on stage highlights his status as a national figurehead of Australian music.

TRACKLIST: Got It Cult Claude Monet Grammy Wolves Otto Nearly Famous Coffin Right Now 3005 Hometown Pride EOTR Sides Angels You Always Know The DJ

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Kyle Lionhart- Live At the Giant Dwarf Theatre, Redfern.

Being a coastal folk show with tickets going for $15 I saw absolutely nothing to lose in buying my ticket to Kyle Lionhart’s largest ever Sydney performance. In fact, I was far from disappointed and in all honesty, was left questioning how this man could charge a mere $15 for the service he had provided the audience. 

The opening act was Canadian born, Byron Bay folk artist Garrett Kato. He was a tone setter to say the least, with stripped back versions of his originals and some humbling yet inspiring stories. 

After his extremely strong set, one must have wondered how the main act, Kyle Lionhart himself, could top what Garrett had just served up. However, from the first note of Kyle’s opening track Slow Sips, the audience was amazed by the simple presence of his performance. Kyle went on to play all the tracks of his debut EP, “Keep in Mind,” with tracks from his forthcoming body of work scattered throughout the set. He hinted at a release date sometime this summer, however no title was revealed. Each song played by both Kyle and Garrett were performed with guitar and a kick drum, providing a strong and raw energy within the room. This, accompanied by a near perfect vocal, granted an extremely powerful and versatile show, the style of performance allowing for a much more raw, emotional and overall completely different musical composition to that heard in Kyle’s recorded tracks. Between most songs Kyle presented himself to the audience in a natural and human manner, telling tales and stories about his childhood, parents, struggles and loves throughout his life as well as how they shaped his music. This story telling progressively led to a strong and interactive relationship between audience and performer, the extreme level of intimacy making the show even more memorable. 

Highlights of the night included Kyle’s witty remarks about various audience members, his hilarious stories and the combined laughter after he broke a guitar string while performing his final song. The entire set list proved to be very intriguing and unique in each track. The audience’s sing along on Kyle’s track “Sleep By Rivers”, the incredible high notes Kyle nailed on “Slow Sips”, and a new rendition of his latest single “Compromise” were all amazing moments. 

Not only did I happily manage to give Kyle a big hug after the show, (he claimed he was good at hugging strangers,) I also gained a new understanding of what an intimate and powerful performance truely is, all for the amazing value of $15.

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ScHoolBoy Q- Blank Face

Schoolboy Q’s work up until this point have been intricate snapshots of his life at specific moments, however, Blank Face is a clear narrative from his childhood to the present, with a large focus on his Crip heavy days growing up.  Unlike TDE’s To Pimp a Butterfly that is metaphorically heavy, Q’s latest attempt of narrative is very literal. Q recounts tales of poverty, desperation and gangbanging to survive. Schoolboy Q travels around colorful and grainy production, evoking a clear message to compel and place the listener in a first person view of the stories and struggle of Q’s upbringing and overall survival.  

Instantly after the first listen of the album, a lengthy 17 tracks and 72 minutes, it becomes obvious there is a clear overlap of themes and ideas across the board. Various tracks also feel out of place, and not cohesive. The album could clearly do with some losing of weight, in order to create a more clear and concise LP.

The collaborations on this album also very nicely accompany his notion and vision for the album. Even though Kanye West’s verse is laughable on “THat Part”, its obvious his writing on the production in the track played a part in the crazy banging 808s and the crisp sample. Anderson .Paak, who has taken the hip hop world by storm also features on the title track “Blank Face”, quite notably. However, it is ScHoolboy Q’s narrative ability on this track that lets it find its wings. He paints a clear image over his past on Hoover Street, and dictates to his daughter whom he calls “Queen” and also “munchkin.”   Another notable feature is fellow LA crip rapper, Vince Staples, on one of the more notable tracks, “Ride Out”.

All of Schoolboy Q’s verses on this album are written from experience and gut wrenching emotion. Q also demonstrates versatility between emotion, aggression, bitterness and also pride. Even though he continues to possess the braggadocios, tradition in rap, he also entails the audience with a clear knowledge and ability to tell the truth as it is. The track Black THoughts gives a clear political outlook, and songs similar to this are unforgettable. Lines such as  “Ole gangsta crip, my papa was a bitch/ left me while hope just don’t exist,” gives the listener a clear nearly documentary style vision that Q has of the world around him. The relevance of the bars to the murder of Philando Castile as he pulled his license out, even though written months before resonate with me. “You see them lights get behind us/They pull me out for my priors/Won’t let me freeze ‘fore they fire/You say that footage a liar.” This political, honest and also reflective ScHoolboy Q is what separates this album from his other work, with an obvious clarity and maturity that he has found within his art.

The best thing about this album however is the amazing production throughout. Men on the list such as Alchemist, Swizz Beatz, DJ Dahi and Metro Boomin all provide incredible beats. Every track is perfectly manufactured production wise, and even though there is such a large amount of producers, the tracklist remains cohesive and not scattered. Old soul vibes and drums accompanied with banging beats of the modern era twine the album together, giving each song a completely unique flavor. 

To conclude, the album is extremely strong, however, with multiple filler tracks, an extremely extended track list and also some unforgettable joints, it was still not perfect.

7/10

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What is going on with What So Not?

I think many people worried when Flume opted out of the What So Not project back in February of 2015, but slowly we have regained confidence that Chris, (Emoh Instead) will continue to deliver under arguably the strongest name in the trap world. After all, he is half of the duo that produced songs of the stature of Tell Me, Jaguar, Gemini and Touched. He will be fine, right? 

In the days of the new What So Not Emoh has released Lone featuring Joy, a remix of RUFUS’ Innerbloom, produced a track for Tkay Maidza with George Maple and Baauer, and today released Buried, another collaboration with George Maple featuring Rome Fortune. However, release after release, I am beginning to question the high status and integrity that the name “What So Not” possesses as a solo project. The prowess of the What So Not era prior to the loss of Flume was of such of the best names in the industry, easily on the same tier as artists such as RL Grime, Baauer and Jack U. However, it is now apparent that Emoh has dropped the ball for What So Not. 

It’s instantly obvious in the titles of some of his new releases that Emoh has stayed pretty consistent in choosing who he collaborates with. George Maple is a common denominator in a lot of his work, and I question if being tied down by her has affected the product outcome (maybe they’re fucking, who knows?). The calibre of the artists working with Emoh is clearly not as high as those which Flume may have been able to attract to the project. I mean no offence to Tkay Maidza, George Maple or Rome Fortune, but if we compare the merit of the collaborators that Flume was able to engage or simply the high standard that he implemented to the project, it’s clear that the filter has weakened in recent times. All up, this means that What So Not, one of the strongest names in the dance music world, is no longer collaborating with the same prestige of artist that it potentially could be in order to reach its potential. 

Easily the most important points to raise is the sheer quality of the tracks of the What So Not projects new era in comparison to those of its “glory days”, it’s evident that the quality of songs has decreased. As well as this, the audience market for these songs appears to have changed significantly. Previously, What So Not was nearly entirely a club/festival record store, however its audience now seems to be that of a much more commercial output, with songs almost being made intentionally for the Triple J listener, that which listens to, believes in and is enticed by what "inthemix" has to say. What I’m saying is, we need to break the barrier of, “every what so not song is good, dude,” and be more critical of a project that is becoming ever so disappointing. What So Not is deteriorating before our eyes, yet we continue to believe that the project is “killing it”. 

It’s undeniable that the overall quality of songs has depreciated and not one release since Flume’s departure has come close to the projects previous standard. It’s questionable whether Chris Emerson simply has the wrong mindset for What So Not or whether he simply lucked out finding Flume and allowing him to carry the project. Personally, I have been a fan of What So Not and Flume since the earlier days. It’s not that I want to see Chris fail, it’s just that his overly disappointing performance now holds all the power in the What So Not regime. This leads to a genuine concern with the current direction of What So Not, and as to why it’s only me that is witnessing the demise of a previously elite brand.

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Flume- Skin Review

Australia’s Golden Boy, Harley Streten, known as the most progressive and best producers on the planet has finally returned after a 3 year wait from his near perfect self titled debut. 

To begin, Helix, sets the tone for the sound of the album. Already, we have an entirely new Flume, a sound completely different from the debut, and all his remixes since then. This does create a sense of optimism for the listener, and is important for an artist to progress, however, has Flume progressed in the correct fashion? Helix is nothing short of a banger. The atmospheric beginning turns into a much darker, trap style beat towards the end. The drop ends abruptly, and does certainly take multiple listens to really encapsulate what Harley is aiming at with this track. 

The album continues on from this masterful opening track. All the songs on the record are sonically amazing. The production is still, yet again of the highest level. However, in some songs, Flume does take advantage of this ease to produce, with multiple songs that feel commercially justified, which is where the main letdowns of the LP are. 

“Say It” is a track that takes advantage of the overused synth/future bass sound to create a radio style song, that does not exact meet the standard at all of any of his other releases. Tove Lo only produces a vocal that is corny with little emotion, made to be catchy not to be honest.  The same can be said for “Lose It ft. Vic Mensa.” For me, this song is a missed opportunity. Vic is amazing at rapping on harsh, darker beats, and I feel he was misplaced on the beat on this track. Instead he was placed on a very pretty beat with a chorus that sounds like something an amateur producer would make to gain attention from the broader populous of listeners.  Furthermore, the Track, You Know, just misses the target, and comes across as extremely cheesy and has little to no grit in the verses.These songs are heavy disappointments, especially to long time Flume fans, who expect nothing but perfection from Harley.  These songs don’t push any boundaries, and stick out like a swollen thumb on the record, due to the clear commercial compromise.

The album also features two ambient, atmospheric tracks. These include, “Pika” and “Everything Was New”. Both of these tracks simply show off the amazing production creativity of Flume and also his potential as a pure producer. These tracks offer a nostalgia which we hadn’t seen from Harley up until this point. These tracks are exceptionally executed.

Its not all doom and gloom however, some of the tracks on Skin are some of Flume’s best work yet. Kucka features twice on the record, both times executing amazing vocal lines. “Numb and Getting Colder” is quite simply a masterpiece. Kucka sounds like an alien from another planet, and so does the production. It’s a masterpiece, and the production is some of the best of this era of music. The other track Kucka features on is “Smoke and Retribution.” This song is a perfect combination of Flume’s amazing production, a dark beat, Vine’s rapping, and Kucka’s out of this world vocal. Another amazing song on the album features Little Dragon, titled, “Take A Chance.” This song is an outright contender for the song of the year. Its amazing atmospheric chord progression, leading to an amazing drop, provides for nostalgia and also a deep sense of groove, making it irresistible to move to. Vocals from Little Dragon only enhance these feelings, creating a near perfect melodies of synthesizers and human touch. 

To conclude, its only honesty to say that some of the songs on this record were a let down. The commercial compromise of Flume’s forever progressive sound leaves a sour taste to the entirety of the album. Even though there are many highlights, one must only think how amazing the record could have been, if the record was produced the that standard throughout. 

7.5/10

[parrysworld-blog]

Ziggy Alberts- Four Feet In The Forest Tour Interview

You were homeschooled until year 10, do you think that’s reflected much in your music, or more so the values that you possessed because of the humble nature of the homeschooling? 

I didn't pick up a guitar and start singing until after I graduated school in 2010; being homeschooled has shaped a lot in my music, my writing direction and content - directly from the values I've had from a young age. My songs are an entire reflection of my personal life. Going to a traditional schooling environment definitely opened my eyes to a lot of positive and negative societal issues that I since have explored in my writing.

It's clear your songwriting, is extremely honest and reflective, how would you say the things you wrote about in Land & Sea and your views since then have changed towards your new music in Four Feet in the Forest?

Thats really excellent to ask. Land&Sea was recorded live in a broke down caravan, whilst all instrumentation & vocal were done separately recording four feet in the forest. I definitely grew out of my judgement of adding extra production to my songs, where previously, I believed entirely that the record should sound the same as I play it live. Its gave me a lot of personal freedom, and I came to realise I can release acoustic versions of the same songs in the coming years. As for the content, all the songs off four feet in the forest are so carefully constructed. With entire intention to giving the emotion in each song the best chance of reaching people. All the songs on the albums took months to write, lyrically. Its definitely my saddest and most vulnerable work to date. I'd never previously felt comfortable admitting or sharing some of the emotions I did on this new record - I felt, and feel, responsible to be the coastal folk musician who's music lifts everybody up.

Would you say Four Feet In the Forest more a reflective peace that you wrote about a past period of time, or does it show how you were feeling whilst you wrote it?

Its reflective to things that have happened or are going to happen in my life. I'd just finished a four month tour when I started recording four feet in the forest, so I thankfully got to express completely genuine fatigue throughout the recording ( haha! )

All of your music you have commented on saying that connection is the most important value of art, why do you make it so important that you write songs people can connect with?

Because I think art is beautiful, and left field writing & expression is valuable, but if you can manage to bring it to a place that people resonate with - you can transfer streets, rooms, halls, houses & venues into several hours of unison and love. I've always been driven to put words to the way we all feel, and really feel now more then ever its important to bring different individuals into a place of sharing & care to resonate with one another.

On Four Feet In The Forest, we hear a much more full sounding progressed version of your music, even though you stay very true to your original sound. Do you think its important for an artist to develop their sound as they grow as an artist? 

 I cannot stress enough that it is of upmost important to seek true inspiration of writing style & a unique sound from within yourself. be inspired by other musicians, but don't ever try to emulate them . Find your sound within your heart & share it; that's what you, and others, truly deserve. Don't endeavour to ever be anyone but your own artist.

I saw you at Paddington Church in Sydney, and your show hardly felt like a concert, more so just a sharing of your stories/experiences and there was an instant togetherness between yourself and your audience. Even though your shows will continue to grow in terms of capacity and venue (as they are on this tour), will you still try to maintain this intimacy and bond with your audiences?

absolutely. The crowds have grown so much that we have had to find bigger venues; I can't play 7 shows a week, because physically, I won't be able to give everyone at those smaller shows what they deserve. Its a really tough grey area but I promise to be playing intimate shows on the next tour; its not a hard promise to keep when I enjoy them so much.

Its obvious you’re a homegrown independent artist, and its clear that you have not achieved some of the opportunities that you may have deserved. How do you think this challenge of being an independent artist has influenced your creative process?

It stifled my creative process because, up until 1 year ago, I didn't even have a manager ( haha). Besides friends helping me out of good will, I was running this growing career alone. I think maybe I haven't received some of the these opportunities you have raised because I haven't been willing to compromise what it takes to sign the contracts. So much fucking pillaging goes on behind the scenes in this apparent music industry, that, I'd prefer to build my career in a way it'll last with my manager that has my best interest & health in mind. On my own terms. I quit my other jobs to play music because I felt like it would give me a chance at a better quality of life. So I don't take opportunities that don't fulfil that purpose.

There’s a fair bit of vulnerability and honesty in the new EP. Lots of artists try to hide their personal life and mental state behind the shadow of their work, making them a separate entity from it. What’s the importance behind being completely transparent with the listeners?

Its such a tricky balance. I defiantly have been, at times, like the artist that doesn't share personal deterioration. There is so much sad music in the world, I'm careful not to indulge; whats the point of writing stories without hopes? without a way up and beyond? I think its actually not important to be transparent with your listeners, but most importantly transparent with yourself. You have to balance giving all you got on stage, whilst keeping a special energy for the person you are off stage. I'm still working on that balance now.

Could you explain the value that surfing has to you?

Less the value of surfing, but the entry point into loving something that is so immersed in a natural environment. The sad thing is surfing, as a sport & lifestyle, isn't fostering people to care about the ocean. At the moment its all about chasing the sponsors & looking good. It takes a process of self discovery to realise that we need to protect & nurture the very thing that is not only providing us with recreational joy, but a greater part of necessary balance on planet earth. 

At this point in time, does singing or surfing provide you with a more peace of mind? 

They come hand in hand. Singing provides me with an emotional and creative fulfilment , which now, as my career grows, is allowing me the freedom to enjoy spend time in the water and exploring my relationship with the ocean.

Throughout your old and new music and you also comment it at your shows, why do you possess such a hate for smoking? 

It provides no health benefits to the planet or to the individuals partaking. I wouldn't want anybody, stranger or friend, doing that sort of damage to themselves. And in turn, the obvious detriment to the environment . I feel responsible as an artist, to be one of the very, very few, that doesn't sell smoking to kids as a cool thing. 

You clearly have a very young fan base (u18s) that are missing out on your shows this tour (me) , do you have a message for them if they are disappointed they cant see you? 

Absolutely, if you could share the following this would be amazing. 

dear u/18 friends, There isn't any official all ages shows on this tour, sadly, because I'm flying for all these shows. All ages venues are incredibly hard to find in Australia, particularly ones that allow me to have people under 18 and over 18 in the same room. This usually is due to strict licensing rules, and most venues are sadly are more interested in making money through the sale of alcohol. I constantly fight this concept with venues, but often get a resounding no. Hence why on the Runaway Australia Tour we hired out odd eclectic venues where I provided all my own sound equipment. Which means if I wanna do my usual intimate all ages shows, I have to drive 20,000km per tour, in order to carry all this equipment. I bloody love doing all ages shows & I remember only a couple years ago not being able to see live music because of my age. So I totally understand & empathise with this news. I will be doing a huge national tour, with all ages shows everywhere I go, this summer. Out of concern to my health, I have chosen to do this short tour & hope you guys are ready for sing alongs across the country from november onwards. oh, p.s., this also means it'll be during school holidays. Which means you won't have assignments due and will be able to come. yeah, your welcome ( haha) . 

Have you been overwhelmed/excited as to the response you’ve got from the tickets that have already sold on your tour? 

I have been really humbled by the incredible support. When melbourne sold out overnight, I was gobsmacked. It'll be the biggest 6 shows I've ever played, so I'm nervous but looking forward to performing again. This is the longest break I've ever had from playing shows so I better start practicing!

What can new and also older fans of your music expect from the new shows in Australia this winter? 

I believe Land&Sea and Four Feet In The Forest really compliment each other, so I'm looking forward to sharing these new stories with the old ones. I feel like people are going to get an audio journey of my whole career in one night. The newest thing they can expect is I will be playing my hollow body electric guitar a lot - but not to worry, I won't stop playing my laptap songs because of that. The quality and size of sound at these venues are going to be A class, which is going to make for incredible sing alongs. I'm really excited.

Thanks for your time, and cant wait to meet you again soon

Thank you for all the questions, It'll be lovely to meet you in sydney in the summer.

[parrysworld-blog]

Chance the Rapper- Coloring Book

Chance the Rapper, arguably the most hyped prospect in the Hip Hop/ Rap scene is back from his near perfect mixtape Acid Rap. 

The hype for this new mixtape has been huge, with bars on Ultralight Beam shining a light at the greatness that this mixtape is meant to be. 

To begin with, this mixtape has a lot of tracks that are just not Chance, but he has overcome to a musical compromise with either certain features, or certain styles that are clearly made for the commercial ear of the industry. 

This can be seen on multiple tracks. The opening track, “All We Got” starts brilliantly, reminding the audience of the absolute classic Chance track. However as the track progresses, Kanye West’s feature, is clearly unnecessarily and adds a quality that diminishes the potential this song has. The same can be said for 2 Chainz contribution on the track, “No Problem”. His vocal is clearly no match for the beat, and his verse is largely a waste of soundscape. In a further track, “Juke Jam”, Justin Bieber is added for an odd reason that I can not put my finger on.  Justin only adds some horribly cheesy lyrics, and just unfortunately, keeping Chance away from the microphone. It must me noted though, that Chance’s verses, and the other features on these tracks are executed perfectly, with that classic flow and soul that we are all used to. 

However, there are even further tracks in this record that you can’t just blame there misfortunes on the features on it. “Mixtape (feat. Young Thug & Lil Yachty)” is a track that just did need at all to be on this mixtape. It is quite simply a trap song, and just exaggerates everything wrong with the current state of hip hop. Chance further highlights another flaw in the music industry, with an absolute cheese of a dance track titled, “All Night”. This song can only be justified from a commercial standpoint, however considering all of Chance’s work is free, I’m questioning why this song was even considered on this mixtape. 

Despite all this, there are also some extremely positive songs on this mixtape. Some of which, are up there with the best on Chance’s entire discography. Tracks such as “Blessings” and “Same Drugs” remind the audience of what chance can do. Provided with a minimal beat, and his vocal, Chance really shows off what he can do, and expresses himself brilliantly. He reminds us of the Acid Rap Chance, that we all responded to.

Furthermore, we also see Chance progress even further with his style on the two most commendable tracks off the record. “Angels” stretches out Chance’s capability of not just being a rapper but also being an artist. This song is put together absolutely beautifully, with insights of the old Chance through his flow and lyrics. Saba also kills the beat, and very nicely accompanies a very on point Chance on this track. “Smoke Break” is a combination of perfect production and great rapping. The song also features Future, who accompanies the beat with a fluency that is not often heard from Future. This track is the highlight of the mixtape, and one of the highlights on Chance’s discography. 

To conclude, there is a strong mix of some absolute cheese on this record as well as absolute modern hip hop beauty. 

6.5/10

[parrysworld-blog]

Sticky Fingers- Outcast at Last Single

On the back of two major releases, Caress Your Soul and Land Of Pleasure, the boys from Sydney’s Inner West are back with a new album due to hit platforms later this year.

The first single from this project, ‘Outcast at Last’ is a delightful taste of the ever progressing bands sound. The song provides the audience with a new “sleazy” sound. We heard on Land Of Pleasure, a very progressive production technique, however, this track brings us back down to a more live vibe.

  The track is relatively short, with classic STIFI vocals and guitar riffs, what else would you expect from the boys. The chorus presents an enigmatic euphoria, and this sound seems to be the one sound that will develop the most on this new record. 

If this single is anything to go by, we are in for yet another, cracking Sticky Fingers LP. 

[parrysworld-blog]

Ziggy Alberts- Four Feet In The Forest EP

Ziggy Alberts returns from his debut album, with a further progressed sound, however sticking true to the amazing themes and humbleness of the folk music we are all so used to hearing from him. 

It is clear to see that instantly, Ziggy is clearly a much more vulnerable character than in an in previous titles such as Land & Sea. Lyrically, this is the case, as he confronts issues with mental health, females (who would’ve guessed) and also symbolic features of nature. For the first time we hear Ziggy emotionally battled about his current situation, not just sad but also frustrated. However this frustration can also lead to an immense amount of beauty, when Ziggy translates this vocally. Vocally, Ziggy does not hide at all, and is clearly intent in delivering a message which he stands by so dearly.Through this however, we also see some of the most clever song writing by an Australian. The way Ziggy uses his harmonies and evocative language to display love, infatuation and desire for a character is truly amazing. 

We also see the sound of Alberts progress quite heavily from previous projects. This EP offers a much more full, diverse sound of textured vocals, additional guitar layers and also beautiful harmonies, which were non evident in a much quieter sound in Land And Sea.

Overall, add the ingredients of a passionate boy from Queensland’s Sunshine Coast, lust and desire, and a free surfer, you come out with a action packed 5 track EP, Four Feet In The Forest.

8/10

[parrysworld-blog]

Matt Corby- Telluric

This album is a living masterpiece, from its natural and organic vibes to its human conceptuality.

Initially, it is obvious to suggest that Matt has clearly progressed from his early ways, building towards one of the most unique and captivating sounds in the category of singer songwriting. The creation of this process clearly has taken a long time, and its clearly shown in the writing of the album. Every intricate flaw throughout this piece allows for a sense of overarching effort put towards this record. The choreographed nature of each instrument develops throughout the album, and sends a message of clarity and emphasizes the organic nature of it.

Track by track, Corby writes about human nature, and contemplates all the boundaries that are assumed by all humans once they are born. This is seen initially in the opening line of the album, 

“We are the fixture of industry So then why go on, all undecided holding me? I had to call up, enlighten me Up until the way I sought out issues of dependency”

This abundance on the industrial nature of not just the music industry, but also the way humans are immediately under pressure by a higher power, is constantly portrayed throughout the LP. Whether its religion, love, friendship or nostalgia, Corby covers the overarching sense of dependance and pressure that humans face on this album.

This leads us to the main theme of the album, is that we have humans have disconnected from the Earth itself. That through nature and human activity we are all drawn together. 

To conclude, Corby has come up with a brand new taste on soul music, with infusion from rock, folk and many other intangibles. 

Telluric is the physical mind of a perfectionist Matt Corby, who had a lot to say, and said it in beauty   9/10