Category: Interviews

Posted on by Lauren Katulka

Q & A with Stonefield’s Holly Findlay

Stonefield bowled me over in 2010 when they released their debut single “Into the Clover.” They were wee young things, but I saw such promise in their gutsy classic brand of rock. Since that time they’ve gone from strength to strength, playing Glastonbury and supporting some of the biggest acts in the country. I caught up with the band’s bassist Holly Findlay to talk about their brand new single, time in the studio, and what comes next.

You’re all so young, but your music has such a classic sound. What did you listen to when you were growing up?
We grew up listening to our Mum and Dad’s music. Everything from Frank Zappa, Led Zeppelin, Jimi Hendrix, Pink Floyd and The Doors to Cat Stevens and Fleetwood Mac.

I’m one of three girls, and I can’t imagine working with my sisters. How does it work for you guys being in a band together?
Being in a band with your sisters has its advantages and disadvantages. For us it’s more of an advantage because we get along really well most of the time. We do have our little tiffs but we get over it pretty easy.  We really connect with each other and help out each other with ideas.

You grew up in a country town in Victoria called Darraweit Guim, which is so small many people probably haven’t heard of it. What was that like?
It was fun growing up in a small town but it definitely got boring sometimes and that’s when we turned to playing music!

You’ve had some amazing opportunities like playing Glastonbury. What was it like to play such an iconic festival so far from home?
The experience of going over to the UK and playing Glastonbury was so surreal. It was such a great experience. It was our first overseas show let alone the biggest show we have ever played.

And you also toured the country with Cold Chisel. What did you learn from travelling with such seasoned musicians?
It was an outdoor concert that had a festival vibe. All the shows were in regional areas at wineries, which was certainly different but it was great fun and it was a real privilege to play with such an iconic Australian band.

You’re just about to release your new single “Bad Reality.” Why did you choose to unleash that song?
It’s a straight out rock song and gets straight to the point. That’s what we like about it.

The single comes from your new EP, which will hit stores in a couple of weeks. What can you tell us about it?
We recorded the EP with Lindsay Gravina who has recorded with a lot of amazing Australian artists. We are really happy with the results and can’t wait for everyone to hear it!

After spending so much time on the road in the last year. What’s it been like to hibernate away in the studio?
We didn’t really hibernate in the studio; we sort of recorded in blocks because we had gigs in-between. We intend to do that with the album as well so Sarah and I don’t miss out on a lot of school and it takes off the pressure of being in the studio for such a long period of time in one big block.

Two years have passed between the release of your debut EP and this one. How have you grown as a band during that time?
We think our song writing has improved and has matured. We have experienced a lot more in the music industry in the past couple of years and it has really pushed us to improve.

Do you have anything else in the pipeline?
We’re currently writing and demoing for the album. We’re playing at Triple J’s One Night Stand as well so we’re really excited about that!

Catch Stonefield on their Bad Reality tour at the following venues.

19 April 2012 – The Great Northern Hotel, Byron Bay
20 April 2012 – The Zoo, Brisbane
21 April 2012 – Kings Beach Tavern, Caloundra
22 April 2012 – The Coolangatta Hotel, Coolangatta
24 & 25 April 2012 – Northcote Social Club, Melbourne
26 April 2012 – The Patch, Wollongong
27 April 2012 – The Standard, Surry Hills
28 April 2012 – The Cambridge Hotel, Newcastle

Image used with permission from Shiny Entertainment

Posted on by Lauren Katulka

Q & A with Jack Colwell

I’ve been gaga for Jack Colwell since I heard his single “Captain’s Melody.” I caught up with this exciting new Sydney artist ahead of the album’s official launch at The Conservatorium of Music on March 30.

You’ve just released a new single “Captain’s Melody.” What was it about that song that made you want to share it with Australia?
“Captain’s Melody” was a really important song to me as it was written at what seemed a really transitional time, on that edge of accepting responsibly for your actions, especially when you’ve hurt others during a relationship and then realise that you want them back. The song has a catchy sound and everyone loves a ‘la la la’ melody.

You’re launching the single at the Conservatorium of Music, which is a world away from the pubs and clubs most modern bands play. Why did you choose this unusual venue for your single launch?
The Conserservatorium of Music is where I studied and gained most of my musical education, I have a lot of really important memories growing and learning inside the famous institution. The Con association CHAOS (Con High Association of Old Students) invited me back to perform as a guest performer and with my album on the way they were the ones to suggest I make it my second single launch. It is a real honour.

The song comes from the album Picture Window, which you’ll release in May. What can you tell me about the album?
Picture Window is a chamber pop album (Andrew Bird, Patrick Wolf, Joanna Newsom) which is heavily influenced by ’60s folk arrangements. The songs were written mainly around the piano and then fleshed out for an acoustic backing band ‘The Owls’ and on recording a small string ensemble. It deals with change and loss and like most good first albums, lots of leftover heartbreak.

You’re a classically trained composer. What do you think that education has brought to your music?
I think it probably just influences the sound or arrangements I choose to use. It certainly dosn’t make you a better songwriter or composer than anyone else. You can write away at a song for days using lots of compositional techniques and tricks but songs always tend to be one of those more intuitive things that people prefer to ‘feel’ or just go with.

Classical music is quite different from the alternative pop you’re producing now. What inspired you to change direction?
I think quite honestly I knew I couldn’t be a great classical player. I just didn’t have the commitment to practice for five-six hours every day like so many of them do and I found so much of the ‘alone’ time in a practice room to be really anti-social and depressing at times. Songwriting came naturally to me and I just continued to do it and do small shows. I never imagined I’d get the opportunity to be on radio and have my album performed with a Chamber Orchestra. It’s exciting to say the least.

Your band still appears to have that classical influence, with instruments that rarely grace mainstream pop recordings. What do you think the strings and woodwind instruments bring to your sound?
I’d like to think it makes it quite unique, but in recent years there’s actually been a renaissance of this sort of style of music and writing. The guidelines for a single, album, video etc. have all been thrown out the window these days. Hopefully at the very least it can show people that instruments shouldn’t be locked into set genres and they can have the ability to do all sorts of things before adding laptop effects. Certainly during the golden age of songwriting (’60s, ’70s) these instruments were used in their prime.

You’ve got such a unique sound. Who are some of your musical influences?
I spent a large part of my teens listening to Tori Amos’s Boys for Pele, that album really spoke to me along with Kate Bush’s The Kick Inside. Recently I’ve been listening to Goldfrapp’s Seventh Tree, the Beach House album, and believe it or not some Katy Perry! “California Gurls” is a great dancing song and I do love dancing.

So your hometown fans will get to see you at your single launch. Do you have any plans to take your live show to the rest of the country?
Last year I was lucky enough to do a small tour for the “Hopechest” single, to Canberra and Melbourne and in the past I’ve also been to Newcastle for the TINA (This is Not Art) festival, but due to weather complications was a difficult show to perform. I’d like to plan another tour in the works for Picture Window around Australia and am looking at going to the UK as well where my music has a small popularity.

What do you enjoy most about being on stage?
To be honest I don’t really. I get very anxious before I go on and during but I’ve learnt to overcome that in time. Live performance is always unpredictable, as though some kind of beast and anything can go right or wrong. I think though, having the songs be able to stand up on their own, in front of people who are hopefully connecting with them gives the songs a chance to really exist and live.

Do you have anything else in the pipeline?
Album launch in May with launch party TBA! Keep your eyes out. Rainbow Chan and I have our show on March 30 at The Conservatorium and are discussing writing and recording a duet in the near future. UK tour and a possibility of a main-stage Oxford Art Factory show in June. Big wheels turning.

Image used with permission from Positive Feedback

Posted on by Lauren Katulka

Q & A with Oceanics’ Jackson Haswell

This week Oceanics wowed me with their new single “Chinatown (Is Not Newtown),” so when I got the opportunity to chat to the band’s guitarist Jackson Haswell I jumped at the chance. Read on to find all about the song that’s stuck in my head, the band’s forthcoming EP, and life on the road.

You’re releasing your second EP at the end of the month. What can you tell me about it?
We’d like to think that it’s a solid step in a more mature direction. Wayne Connolly really helped us develop as a collective, and better understand the principles of songwriting.

What do you think you learned between the recording of your first EP and this one?
Once again, I attribute a lot of the learning process to Wayne Connolly here. Our approach to writing songs, especially at the guitar platform, has been influenced. Elliot and I began working on newer material even during the recording process of this EP, and are excited to keep trucking with our new approach.

What was it like stepping into the studio the second time around?
Considering it was a larger studio, miles from home, it was different to say the least. We borrowed Wayne’s excellent amp collection and really had a chance to mess around with sounds and make forward strides in our journey to finding our sound.

The EP features the single “Chinatown (Is Not Newtown),” which is one of the catchiest songs I’ve heard lately. Why did you choose to share it with the public?
Thank you very much! It was a decision influenced by radio pluggers and PR types from Melbourne to Brisbane. Next time I’d be very interested to see how a decision would fare, based purely upon the band’s collective instinct.

Your press release credits your friendship as one of the keys to the band’s success. How did you all meet?
That sounds cute. I would say we’re as friendly with each other as any other young band. We all have our own friendship circles outside Oceanics. Elliot and I were friends in high school, and met Andy and Tom later when we decided to take our Simon and Garfunkel guitar duo to the live stage.

You’re about to start touring the East Coast to support the EP’s release. How do you feel about that?
We’re flying to Melbourne on Thursday night to begin the first of the shows. We’re excited to be playing that far south once again. It’s been a while.

What do you love most about playing live?
Playing electric guitar is where I find my personality extended to its fullest. Being applauded by a large group of people for purely doing what I love is the best thing I’ve encountered in my 20 years on this planet.

Will the rest of Australia get the chance to see you any time soon?
At this stage, places like Adelaide, Perth and Tasmania aren’t a feasible option. It’s certainly something I’ll be pushing for as soon as possible though. This country is huge and I want to do laps of it.

Do you have anything else in the pipeline?
Writing as many songs as possible for the foreseeable future. We want an extensive song bank to choose from for our next studio production, whenever that may be.

You can catch Oceanics doing their thing at the following venues this month and the next.

15 March 2012 – Laundry, Melbourne
16 March 2012 – FBi Social, Sydney
22 March 2012 – Cobra Kai, Brisbane (EP Launch)
23 March 2012 – Elsewhere, Gold Coast (EP Launch)
12 April 2012 – Landsdowne Hotel, Sydney
13 April 2012 – Mum, Sydney
14 April 2012 – Oxford Art Factory, Sydney

Posted on by Lauren Katulka

Q & A with The Fearless Vampire Killers’ Al Marx

The Fearless Vampire Killers are back on home soil and touring around the country to support the release of their new single “I Won’t Stay Too Long.” I caught up with the band’s lead guitarist Al Marx to chat about the song, their time on the road, and their plans for global domination.

I caught up with you guys last year before the release of Batmania. What’s is like to have the album out in the public sphere?
It feels pretty good. It’s kind of like being married for a few years then finally buying a house. Or maybe it’s more like paying off the mortgage. You decide.

Your sound really takes me back to a lot of the music my dad used to play me as a kid. Who did you listen to in your formative years?
Many different things from rock operas to folk. People often think we only listen to ’70s rock which is just not true. The sound-set we use is just a result of our influences whilst learning. We just focus on writing good songs and the rest falls into place. The colours Van Gogh used are not really important; it’s the painting you look at.

“I Won’t Stay Too Long” is the new single from your album Batmania. What was it about that song that made you want to release it?
It’s a fun song, and we’ve personally always found it quite funny. I suppose when we decided we wanted to release another track as a single we wanted to put out something a little different.

As it’s one of my guilty pleasures, I was impressed that your song “With For You & Me” will be featured in 90210. How did that come about?
I guess they must have liked it. That’s actually the best thing about this whole situation: finding out which of our friends has a closet fetish for 90210.

Is there anything else happening on the international front?
Funny you should ask. “I Won’t Stay Too Long” has just been selected as the theme song for the U.N. general assembly. They won’t pay for it of course, but we are getting a gift pack of U.N. t-shirts, mugs, and some depleted uranium which I’m sure will come in handy.

For now you’re focusing on what’s happening at home, with a national single tour next month. Are you looking forward to getting back on the road?
It’s always good to play to people who wouldn’t ordinarily see you. I think we play better when we’re interstate because deep inside you want to validate all the effort, and I think that helps us justify our odd lives.

The tour chugs along at a fairly frantic pace, with Brisbane one day and Melbourne the next. How does that suit you?
I’ve always sported a slight Mad Max fantasy, so yeah, certainly. The road is love, the road is your friend. Be wary of gyro pilots bearing gifts.

There’s obviously a lot of time in transit. How do you amuse yourself on the road?
We have wicked senses of humour and the longer you’re on the road, the more depraved it gets. As a group we can be quite alarming by the end of a tour.

I’m sure being up on stage makes all the travel worthwhile. What do you love most about playing live?
You’re absolutely right. I just love live music. It doesn’t exist as anything tangible and once we’ve stopped playing it’s gone. Standing on stage playing your songs must be the best drug in the world.

After this tour wraps up, what’s next for The Fearless Vampire Killers?
We’ve been siphoning off Fearless funds for a number of years to the Chinese Space Program, so all things running smoothly, we plan to be the first band to broadcast a gig from the surface of Mars. Then we’re gonna find us some of that Martian gold.

You can catch The Fearless Vampire Killers at the following shows.

10 March 2012 – Plus One, Adelaide
16 March 2012 – Alhambra Lounge, Brisbane
17 March 2012 – The Toff in Town, Melbourne

Image used with permission from Two Fish Out of Water

Posted on by Lauren Katulka

Q & A with Immigrant Union’s Bob Harrow

When musicians from The Dandy Warhols, The Galvatrons, and Lazy Sons came together, great things were always going to happen. From these bands and a few more we get Immigrant Union, a rock act that inspires nostalgia with their new double A-side single. I caught up with the band’s Bob Harrow to chat about that release, the album to come, and what’s next for this exciting new band.

Your new double A-side single features a cover of the old Cheech & Chong song “Up in Smoke.” What inspired you to put your stamp on the song?
Thats always a fun one to pull out at cap fires, and we dig Cheech and Chong. We dont really play too many covers, but that one was we felt we had a nice spin on and at the end of the day it’s a dark song. We like dark songs.

The other song on the single is an original called “Oregon.” Why did you decide to release that song to the public?
That’s a song that was written before we travelled to Portland, Oregon, to record our album. It’s a good song to drink beer to, and it encourages dancing. As well as this, it might be the darkest song on the album. It’s interesting writing songs that can get people dancing but lyrically are quite dark.

Your band features members of so many other acts, including The Dandy Warhols and The Galvatrons. How did you all find one another?
Brent (Dandy Warhols) and I met at the Cherry Bar on AC/DC Lane in Melbourne around seven years ago. Basically we became good mates over strumming guitar and digging on the same type of music. Five or so years later when Brent relocated to Australia we thought, “Heck we better start a band.” I had known Gamma from the Galvatrons for years. He is one of those ridiculous musicians who can play and sing super well, so I called him up and that was that.

You’re releasing your first album in April. What can you tell me about it?
It’s a culmination of songs written in our good friend Val’s backyard in Melbourne. We wanted to make a record that could be versatile in different situations, for example putting it on at a party or have it playing on your headphones whilst drifting off to sleep on a plane to Amsterdam. We like to call it psychedelic campfire core music.

You recorded the album at The Trench. What made you decide to head to Portland, Oregon to lay it down?
Portland is one of the coolest places in the world. We have a strong affiliation with that city because Brent hails from there. We were given the opportunity and once that happened there really was no decision to be made.

You worked with acclaimed producer Gregg Williams on this disc. What did he bring to your sound?
Gregg was killer in the studio. He liked to use traditional recording methods. However he has done much work with The Dandy Warhols, so he also had some cool modern tricks up his sleeve. I think overall Gregg bought a beautiful big dreamy sound to our record. I am very happy with what he did, and on a side note he has funny-arse sense of humour!

You worked at such a frenetic pace, recording 14 songs in 14 days. Why do you think it all came together so easily?
Yeah, we kind of just jumped in head first. I think as a band we knew we just had to get the songs down, and then after that deal with nuances in the mixing mastering process. Our ‘American’ band were incredible at what they did and we basically gave them free range to do what they wanted with their instruments. We all get along really well, and enjoy getting excited about things together. Even if it’s just one tiny little note that Jessie played on his mandolin or a $2.35 sandwich from the deli up the street from The Trench. I think that’s important in things running smoothly.

I’ve heard your music described in the same breath as Neil Young and Bob Dylan. How does it make you feel when you hear comparisons like that?
Cool.

If you could model your career on that of any other musician, who would it be and why?
I’d model it on musicians who are able to consistently able to change their sound and or genre. For me that is art; art moves. Dudes like Zappa and Dylan do/did that. Dylan got booed in ’66 for going electric, and people now think that was ridiculous. However I’ve seen people boo and walk out of his shows in recent times because his songs sound different. Those people will eventually realise how cool it is that he is able to progress and rearrange, or they won’t, whatever. But yeah, I really dig people that can do that well.

After this album drops, what’s next for Immigrant Union?
We have been writing for album number two for a while now. We are very excited about getting back into the studio for that one. It’s going to be a little different from the first, so as soon as we get time that is what we are going to do. Apart from that, touring and shows.

Image used with permission from Longtime Listener

Posted on by Lauren Katulka

Q & A with Made in Japan’s James Cooney

Made in Japan are a Sydney band on the rise. They gave us a taste of their unique sound with the breakout single “Oxford Décor,” the first track from their debut album Sights and Sounds. With that record hitting stores later this month I caught up with founding member James Cooney to chat about the LP, the band’s upcoming tour dates, and what comes next.

You’re a Sydney band, so where did the name Made in Japan come from?

We were just throwing names around one afternoon, and Made in Japan just seemed to catch on. It sounds some what technological and advanced; precise. I think it lends itself to our sound in that way.

I’ve heard your music described in different ways by so many critics. How would you sum it up?

I’ve heard it described in so many different ways too! From my perspective I think our music is quite dreamy and melancholic with nostalgic flashes of the best Australian summer you ever had. We take a lot from the mood of shoegaze bands such as Slowdive and Lush but our take on it is a bit more symphonic with some added pop sensibilites. As for genre umbrellas: dream-pop sounds right to me. Indie’s too broad.

You were one of the first acts discovered through General Pants Co.’s Major Label initiative, which seems like such a great program for unearthing new talent. What did it do for you?

All the usual stuff like some Triple J play, lots of FBi love and some new clothes. Apart from that it’s only a single release so it doesn’t have a whole lot of longevity. That’s up to you.

And now fast-forward and bit and you’re preparing to release your debut album Sights and Sounds. How would you describe it?

An album lover’s album. It will take a few spins to get a feel for the thing but we wanted to make a grower of a record and I think that’s what we’ve done. It’s structured in two movements like a vinyl so hopefully we’ll get to put a vinyl copy out at some stage. In terms of how it sounds, refer to question two.

After spending so many years honing your craft on stage it must be interesting to step inside a studio. What was the recording process like for you?

It was fast at points and long-winded in others. We recorded the whole thing broken up over the course of six months but most of the instrumentation was laid down in two days playing all the songs live to tape. It was a really rewarding way to work and it makes the album feel really honest to what we’re like live. We went to Melbourne a few months later to track vocals and mix it.

I hear that after you worked with producer Paul “Woody” Annison on your single “Oxford Décor” you knew he was the man to work on your album. What does he bring to your sound?

He just brings an unflinchingly honest outside opinion to all our music and he’s really committed to making every song the best it can be. He did that with “Oxford Décor” and improved it massively so we knew we wanted to run the album past him before we put it on there.

On the same day the album hits stores you’re playing a launch gig in your hometown. How important was it for you to start the album tour there?

I guess the Sydney fans have been there for us from the beginning. We haven’t done a huge amount of touring as of yet so we’re still working on the other states. We’re just really happy that the record will finally be out there and we wanted to celebrate with the people that helped make it happen first.

You spent so much time on stage last year, and you’re starting 2012 the same way. What do you love most about playing live?

Simply just seeing the audience connect with our music. Whether that’s having a marathon dance or standing up the back being contemplative is dependent on the individual, but if we manage to captivate them, that’s more than I could ever ask for.

Only a few tour dates have been announced so far, but I hear there’ll be more to come. If you could play anywhere in Australia, where would it be?

I’m going to go hometown on you and say The Enmore Theatre, Sydney. Saw my first gig there, worked there for a little while and saw heaps of bands. It’s a great sounding room and it has a great atmosphere and a great history. Would love to play there.

After this album tour wraps up, what’s next on the agenda for Made in Japan?

Finish writing our second record, which is well underway, do another tour and then head into the studio. We’ve just hit a roll, so why stop now? There’ll be a new MIJ record by the time 2013 comes around. Promise.

Sights and Sounds hits stores on February 25. They’ll play shows at Sydney’s Oxford Arts Factory on February 25, Melbourne’s Horse Bazaar on March 17, and Brisbane’s Beetle Bar on April 6, with more dates to come.

Image used with permission from Footstomp Music

Posted on by Lauren Katulka

Q & A with Betty Airs’ Darren Cross

From the ashes of Gerling, RunHide, and other fallen Aussie acts comes Betty Airs. I caught up with the band’s frontman Darren Cross in the middle of their Aussie tour to chat about their forthcoming live shows, the new single “Juvenile,” and what’s coming next from this exciting new act.

It’s fairly early days for this band. For the uninitiated, how would you describe your sound?
’50s grunge. Melodic. Old and new. Like The Kinks on a 4-year bender.

The band is made up of musicians from some other notable Aussie acts like Gerling and The Vines. How did you all find one another?
Well I, who was in Gerling, started the band with Cris [Campano] and Zag [Michael Zagoridis], who were mutual mates and were in a tough band called RunHide. We used to drink at the same pub each week and started talking about doing some harmony based ’50s style music. At this stage it was just one guitar and drums and all three of us singing, Cris playing a mighty fine tambourine and sharing the lead vocals with myself. Pat [Matthews], who was the bass player in The Vines, was off his face at a Royal Headache gig and bailed me up saying he would love to play bass for Betty Airs. As I produced and recorded Betty Airs songs I usually played bass on the tracks as well, and we thought it would sound more traditional live with a bass, so we called Pat up. We like Pat.

Betty Airs is a pretty quirky name. Where did it come from?
It took us about 330 weird band names. Cristian and myself … well we’re gung ho about a “great, classic” name. We all agreed on Betty as a starter … like a female skater. Cris had just sent me 50 shit names as an SMS when I was touring solo as The E.L.F. I was at an airport waiting for a plane and in desperation I looked out the window, saw an aeroplane taking off and said out aloud “Betty Airs”. YEP. We all loved it.

You’ve just released your new single “Juvenile.” What is it about this song in particular that inspired you to release it?
It’s an immediate garage pop song with great hooks. Short and sweet. Good energy.

The song was used to launch Triple J’s new Unearthed Digital radio station. What does that sort of exposure mean to you?
It’s awesome. Triple J is a powerful force and we love and are very grateful that they play our music! We use the Triple J Unearthed platform for uploading our songs for free download to y’all sweet, fine people. It’s cool! The Digital Unearthed radio station is also great for giving new bands a go. Very encouraging!!!!

Continue reading “Q & A with Betty Airs’ Darren Cross” →

Posted on by Lauren Katulka

Q & A with Myles Mayo

Things are on the up for Myles Mayo. After earning critical acclaim with his self titled debut album last year, he’s preparing to release a new EP and head out on the road with Skipping Girl Vinegar. I caught up with the Adelaide muso recently to chat about his latest release, the upcoming tour, and what makes Radelaide such fertile musical ground.

You’re just about to release a new EP Leave the Party. What can you tell me about it?
It’s got five tracks. Leave the Party is the second single from my debut album that I released earlier in the year and the track has been re-mixed by Australian producer Paul McKercher (You Am I, Eskimo Joe, Hoodoo Gurus, Augie March, The Cruel Sea, Pete Murray). Also on the EP are two brand new recordings and several other cuts from the album.

Once an artist releases a full-length album they don’t often go back to recording EPs. What attracted you to going back to that short recording form?
It is mainly a promotional tool EP/single because I’m doing some touring in Oct/Nov 2011 and we wanted to release something for this period.

You’re heading out on the road with Skipping Girl Vinegar to promote both the EP and the debut album you released last year. Are you looking forward to that?
Yes, very much looking forward to playing up the east coast again. The new band have been really enjoying the live shows over the past six months or so.

It looks to be a pretty cruisy tour, with weekend shows and lots of time in between. What do you plan on doing in your downtime?
With these sorts of weekend hop style tours we all come back home to our respective day jobs, study, families etc. and get on with slowly trudging through this existence.

Continue reading “Q & A with Myles Mayo” →

Posted on by Lauren Katulka

Q & A with Five Coffees’ Dean Adams

Sydney’s Five Coffees are looking to take the country by storm with their funky debut EP Flatline. I caught up by the band’s resident sax man, keyboardist, composer and all round nice guy Dean Adams to chat about his band’s unique sound, their EP, and what comes next.

I’ve heard people refer to so many genres when talking to about your music. How would you describe your sound?

Predominately its jazz inspired hip hop. We have always been inspired by funk like James Brown and the Cat Empire too. 70s keyboard legend Don Blackman (Earth Wind and Fire, Parliament) last week called us funky! It was the ultimate compliment.

You all come from such different musical backgrounds. How did you find one another and form Five Coffees?
I met Guy whilst studying at the Conservatorium of Music. We recruited the rest of the band members from all areas of their lives. I used to play in a covers band with singer Ay La Garde and play weddings with bass player Dave Groves!

You’re just about to release your debut EP Flatline. What can you tell me about it?
I wrote many of the tunes in 2008 after graduating from The Con. At the time, they were just eight-bar riffs. Now they are fully laid out, proper tunes with vocals and lyrics that amaze even me!

It’s got an unlikely title for music that’s supposed to engage and excite people. Why Flatline?
“Flatline” is the name of the final track on the EP. It best summarises what Five Coffees is all about: male and female disco/funk with sharp horn lines and a ripping sax solo.

Continue reading “Q & A with Five Coffees’ Dean Adams” →

Posted on by Lauren Katulka

Q & A with Elen Levon

Elen Levon is causing quiet a stir with her sexy new single “Naughty.” I recently caught up with this talented Aussie teen to talk about the track, touring the country with Winterbeatz, and how she’s dealing with her new found fame.

You’ve enjoyed a lot of success quite fast and at such a young age. Who or what keeps you grounded?
I’m surrounded by an awesome team and family that keep me humble and grounded.

You’re about to release your single “Naughty” which is quite risqué. Did you have any concerns about that considering your age and how people may see you as a role model?
Everyone will have their own perspectives and beliefs on the video and I cannot control that! But my take on it, is a fun dance track that everyone can let go to.

You worked with Israel Cruz on that track, who’s also doing some great things in the Australian music industry. What was he like to work with?
Israel is an amazing talent and cool to work with.

You recently toured the country with some of R’n’B’s biggest names as part of Winterbeatz. What was it like to be a part of that?
It was an honor to be up there with big names like that! I just enjoyed being on the stage and entertaining.

I imagine a lot of the people attending would have been there to see some of the really big acts like Snoop Dogg and Taio Cruz. How did you win them over?
Hopefully with my performance and just having fun with the audience!

What did you learn about performing seeing guys like that at work?
They are all individually amazing artists in their own rights and they do an amazing job at their crafts.

You’re generating such buzz at the moment, it’d be a perfect time to release an album. Is that too far off?
Definitely working on an album and can’t wait to share songs that I have personally written.

You’ve been dubbed Australia’s answer to Britney Spears and Ciara. That’s what other people view you as, but what musician would you like to model your career on?
I would like to create timeless music that everyone connect with and enjoy. I would like to grasp all audiences.

A lot of people are talking about you having this worldwide appeal and crossing over to other markets. Do you think you’ll always call Australia home?
I will always call Australia home because this is where I started but I definitely see myself travelling and writing all over the world.

Do you have anything else in the pipeline that you can tell me about?
I’m just concentrating on my live performances and releasing more singles.

Image used with permission from Revolutions Per Minute