Endlessly on repeat. You may have realized that I admire and adore Melbourne. Melbourne seems to me a dreamland for up-and-coming artists. Our favourite, Lanks too, is based there. Following an unforgettable single “Golden Age”, “Bitter Leaf” is now out. I just can’t get enough of it.
Nu-Grage, ready. An Melbourne-based duo, who are previously called Klo is back as Kllo. Following its eye-opening debut in 2014, the duo will release Well Worn EP via Ghostly International. Listen to “Walls To Build”.
Scarier and sexier. Melbourne’s songwriter and our favourite Oscar Key Sung has a new single out and we are very excited about it. In “Hands” Oscar says he wanted to pursue scarier sounds than having a dreamy soundscape and its succeeding. It’s more abrasive, brooding and unexpected, recalling the sounds of likely minded Fade to Mind producers while the singer croons as sexy as ever. Perfect.
Sydney’s singer/producer Marco Vella has unveiled a new track “On Set” taken from the upcoming album Shadow Mountain, which is out August 14 from Berlin’s Average Negative. Hard textured synth sounds create a midnight groove while foggy and smokey adult-oriented atmosphere take over the scene.
Emerging songwriter Tom Lee-Richards is a New Zealand native but currently bases himself in Melbourne, where the music scene is extremely cultivated. It is no wonder how an award-winning producer Countbounce met up with him, to create a perfect debut single, “The Wearing Kind”, which is now available for free download. Gentle yet assuring melodies and repeating guitar riffs are topped by organic beat and subtle but effective spacey synthetic sound. Great song for an evening chill out on summer days.
Melbourne’s pop duo, that consists of a producer Alex Badham and a folk singer Lucy Roleff, Magic Hands is releasing their new LP, Let Me Hold You While You Fail on September 5. Have a listen to their new single, “Limousine”, in which the duo incorporates 70’s psychedelic rock inspired melodies with folk sensitivity, and a subtle but carefully crafted electro pop background.
A Melbourne based songwriter/producer Oscar Key Sung is appearing at a Australian Music Showcase held on May 31 at Ebisu Liquidroom in Tokyo. His latest EP Hologram shows him beautifully experiencing with his vocals and bending genres such as indie R&B and house with a Ancient-Futuristic stories/lyrics, creating a Soul music for new generation. We have talked to Oscar through emails about the inspiration of his music creation, how his aesthetic for “All I Could Do” were made, and his ideas of providing music for Name Your Price
Interview: Oscar Key Sung
By Satoru ‘Teshi’ Teshima, May. 11, 2014
How did you start making music?
I started making up songs when I was about 5. I was obsessed with young MJ when he was in Jackson 5. I pretty much have been messing around with music since then. Being an only child and all… it gave me something to do. I went to a bunch of primary schools and everytime I moved I would play a different instrument to fill whatever vacancy they had. I guess that’s when I started being a jack of all trades and a master of none.
What are your inspirations, and how do you turn them into songs?
Lately I have been really inspired by contemporary trailers for Sci-Fi movies as well as 90s Manga films. I have spent the summer in Sydney, and the dance culture here, which i have found myself embracing, has also been inspiring my new work. Singers like Pevinn Everett, Craig David, Tink, and Donnel Jones have been inspiring melody wise.
I also find the voice in general very inspiring, and using the voice for samples and key boards is integral to the “Key Sung” project, mainly self sampling.
For me I am always thinking of a song, or trying to think of one. So it slowly just comes together, as different bits of inspiration come along. The relationship between the story/lyrics needs to be connected in a way that satisfies me. So often I have finished the writing of a song long before I settle on an arrangement and groove.
Visuals for “It’s Coming” and “All I Could Do” share the similar kind of neo-Roman aesthetic. Is this intentional?
I would say they both share an Ancient-future sort of aesthetic, but more so Roman in All I Could Do. I think the idea of parallel realities in sci-fi films or in the myth of the ancient civilisation Atlantis having a somewhat organic type of technology is very inspiring; worlds that are both steeped in ancient customs as well futuristic ones. Myself and Tristan (the director who is largely responsible for the vibe) talked a lot about each other’s dreams/aesthetics, and had these types of images as a mutual interest. The track “All I Could Do” is partly about the idea of inevitable cycles and the futility of trying to move forward when you are constantly finding that you have been moving in a circle. At the time of developing the ideas for the film clip for “AICD”, I was reading the book “Labarynths” by Louis Borges. The story “The Immortals” became an inspiration for the video. There are beautiful images of impossible architecture built by immortals to represent their experience of time, and I described these to Tristan and he and Reuban (who did the 3d renders) interpreted it.
You have already created beats for various artists. Which would you rather consider yourself, a producer or a singer?
It sounds funny, but I consider myself to just be a creative person. I want to approach music more like a fine-artist who plays with different media. I could not only do one thing, it would kill it for me.
What can we expect from you in a live performance?
Lots of bass and undertones of eroticism. I am also working a midi guitar into my live set at the moment.
You have put out some of your releases on your own bandcamp, often offering them with Name Your Price value. What is your view on the current music industry for indie-bred artists?
The stuff that I put out for free is usually stuff that I have worked on completely by myself (Art/music/recording/mixing/mastering etc). I think if you were spending heaps of cash on recording studios and stuff, it’s totally fair to ask for money. But when you have no overheads except time, it’s pretty easy and nice to give it away for free. No pressure kind of thing. I almost feel like music should be freely available like ideas, but I appreciate that it is an infrastructure and people need to be paid for their work. Pretty much it’s a conundrum, and I am very curious to see how the industry will change over the next decade.
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