An interview with the artist who is constructing a new kind of Trans-Pacific Partnership — this time for the underground.
On a crisp Friday night, JVLES sips on a beer and flicks through his phone to play one of his new beats. As he’s doing so, numerous notifications come through — direct messages, comment replies on Twitter, and more. He’s in a bar crowded and bustling with young people, just outside of Sydney, Australia. Dim lighting casts long shadows throughout the large room, and multiple TVs are blasting radio hits from the ’80s.
Showing a strong sense of pride for his craft, the experienced producer, vocalist, and engineer points out the drums on the beat, the instrument he’s best known for utilizing in his productions. He’s wearing his own hat, emblazoned with his name ‘JVLES’ on the front. The 20-year-old musician is versatile, seemingly wary of sticking to one path.
Here in Australia, the music scene is still emerging, trying to create an identity for itself independent from outside influences. Sydney was once a prospering city for music lovers to go to live venues to listen to bands and musicians until the early hours of the morning. On February 14, 2014, the New South Wales government put in place a law that forces venues to stop people from entering their premises after 1:30AM — and stopping drinks from being served after 3AM in Sydney’s CBD. 176 venues have down since the law has been authorized, according to The Sydney Morning Herald. This lockout law has made it harder for musicians to earn an income from their craft, or even find venues to perform at. It’s caused an overabundance of creatives with not enough venues that can cater to the needs of the growing population.