The story behind “Fake Artists”, although still recent, dates back to mid 2019 where I was invited to go to one of those hipster parties in an abandoned loft called “Solar dos Abacaxis”, something that the artistic bourgeoisie loves to turn into a stage for events (kind of like a reference to the Berlin experience, but which is already dated by the clichéd pedantry of this same privileged/intellectual bubble).
Okay, that’s not entirely true. I have the language. I can talk about what a particular song means to me, or I can talk about what that drummer is doing on the hi-hat that makes you know it’s them. Music history is an easy one – I’ve devoured all the rock bios, read all the critical analysis, seen all the interviews. I eat, sleep and breathe music. So why does it feel hard to talk about?
Not to sound all new-age about it, but music is elemental. Larger than life. When I was a kid, like most kids, I was into superheroes. The bright colors, the high stakes, the every moment of a story that meant something important to the larger narrative. As I grew up, music was the only “adult” thing that felt that exciting, that vital, that universal and yet intensely personal.
For me the most important thing about music and song writing is creating community. I have spent periods of my life feeling quite isolated. In 2013 after 12 years in Brisbane having convinced myself I was excluded from the local music community, I realised I was in fact very lucky to know many musicians who turned out to be so generous and supportive they recorded versions of my songs for what became the ‘You Do It I Can’t Be Bothered’ project.
The debut single of my music project Euphemia Rise is also the story of two collaborations. The first between me and Mel Benedichuk, who provided the extra vocals for this track. And secondly the collaboration with visual artist Itzel Bernal for the official video of the single.
The Terminally Well are an independent American rock band conceived of and formed by Rob Runkle – who has previously released several album’s worth of music as Intense “The Bohemian Pimp” from Philadelphia hip-hop group Schoolz of Thought (having worked with Questlove of The Roots, 88-Keys, Pink, Scratch, Zap Mama and Illmind, among others).
I started recording my own music about seven years ago, when I was 14, by myself in my bedroom – like a lot of people do. I haven’t formally released anything over this period of time, but I still organized my songs into albums and made artworks for each of them. I’ve got about 11 of these ‘albums’ which I’ll probably never release, but they are certainly a good way to document my evolution as a singer-songwriter.
That being said, this first LP Postponed Arrivals means a lot to me – not only because it’s the first one, but it’s also the most uncomfortably personal thing I ever wrote.
My name is Kaine Harington, and I am the sole instrumentalist of the post-rock band American French Fries based in Dunedin, New Zealand. My latest album Bigger Things To Worry About wears its influences on its sleeves. Quite literally, the major influencing factors behind the album and its long-winded production is displayed clearly on the record sleeve. The image is of myself and my daughter (3 weeks old at the time) cuddled together and falling asleep. The longer I sit with the album as a finished product, the more I realize her influence is far greater than just a cutesy cover image. Every single track was shaped by the huge impact she has made on my life.
Gas stations have always been a cornerstone of exploration. A glimpse into a different world every time you enter those doors lathered in other peoples fingerprints and rust from the hinges. We want to give you that feeling of going head first into a place that has room for exploration, where the possibilities never cease and the road always winding. But the first place every great trip starts and all good travelers go to share their tales is the gas station.