Meet WavyLand, The Party Reigniting Sydney’s Music Scene

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To read this interview published on The Urban List, please click here.

Featured Image: Supplied

The Australian-American Connection: JVLES

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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.

This article originally appeared on ‘Underground Underdogs‘. To continue reading the full article, click here.

Taking the ‘rocks and dust’ of Aussie jazz to Romania

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They found each other in the UNSW undergraduate music program, now quintet Anoesis is taking on the world.

It’s been a short, giddy climb for Anoesis, the five-member student jazz ensemble formed just two years ago and this week playing in one of the world’s great jazz competitions.

The breakout quintet has been shortlisted for the semi-finals of the 2019 Bucharest International Jazz Competition, ranked the third best in the world.

The five UNSW undergraduates describe themselves as “composer-improvisors”, combining nuance in their musical expression with a carefree writing style and ethos.

“What we play isn’t a protest,” says Anoesis guitarist Eitan Muir, “but we experiment with different [types] of interpersonal relations.”

“We’re not writing with a specific genre in mind or a really distinct set of qualities about what’s good or bad, or what’s right and wrong, what fits and doesn’t fit with what we’re doing,” Muir says. “So there’s a lot of freedom in the compositions, the way that we play.”

The five members of the ensemble comprise Muir on guitar, Greg Stopic on alto saxophone, Alistair Johnson on tenor saxophone, Tomas McKeever Ford on upright and electric bass and Patrick Rogers on drums. For the competition, the band pulled in local drummer Cy Donkin as an overseas cover for Rogers who faces a clashing UK tour with pop act Ruby Fields.

This article originally appeared on ‘Newsworthy‘. To continue reading the full article, click here.


Eitan Muir says Anoesis plays its jazz with an Australian accent.

Photo: ANNABELLE RIGER BREGOVIC