Sound As Ever Australian Music Vault

Sampa The Great: Black Girl MagikExploring stories from new voices in Australian Hip Hop

Song: Black Girl Magik by Sampa the Great

Music Industry: Gabriel Gleeson, Stephanie Rickards, Rielly Haberecht & Jake KerrJournalism: Mariam Isa, Carla de la Paz, Ashna BharkhadaSound Design: Angelina Crutchfield

This episode of Sound as Ever began with a focus on the themes of identity and belonging, using Zambian born artist Sampa the Great’s track Black Girl Magik, which draws attention to a lack of non-Anglo representation in the culture of her new home of Australia. The story became one of immigration and cultural representation, with a window to the music and stories of African-Australian artists. We highlight the changing direction of domestic hip hop while celebrating a wave of new talent garnering major label attention.
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30/70: Nu SpringThe creation of new music scenes

Song: Nu Spring by 30/70

Music Industry: Henry Lucas, Philippa Conlon, Zak Boardman & Lucy WhiteJournalism: Rhiannon Down, Samuel Richards and Hamish LindsaySound Design: Israel Carter

This podcast explores the genre-bending world of Melbourne’s jazz/rap/soul/hip hop fusion scene, specifically its innately free and collaborative nature as displayed by the 30/70 collective and their song Nu Spring. Genre-defying music defined because of its community rather than solely the final product has paved the way for innovative acts and fresh scenes to find their way into the public eye.
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Regurgitator: If this is the Blues, Why do I Feel so Green?The Band in a Bubble

Song: If This is the Blues, Why do I Feel so Green? by Regurgitator

Music Industry: Jasper Bradley, Dan Walkeden and Juan PiflowJournalism: Katie Colston, Linda Liem and Hussan JamaSound Design: D.A. Calf

Framed by this iconic Regurgitator song, this episode of Sound As Ever explores the creative merit, failures and ultimate succeses of the Band in a Bubble project, an experimental project that was a blend of reality TV and interactive media that resulted in the album Mish Mash. Whilst a typical blues-rock song at its core, contextualised within the album and reflected against their other works, this song epitomises the genre-defying, innovative and often characteristically unique characteristics of the unorthodox musical group.
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Hexdebt: Bitch RisingA New Wave of Feminism in Australian Punk

Song: Bitch Rising by Hexdebt

Music Industry: Kingsley Siejka, Adrienne Arnot-Bradshaw and Hayden RyanJournliasm: Catie McLeod, Jonti Ridley and Madi ChwastaSound Design: D.A. Calf

This episode of Sound as Ever explores the song Bitch Rising by Hexdebt, a Melbourne-based intersectional feminist/non-binary punk band signed to Poison City Records. In contextualising Hexdebt in the Melbourne/Australian music scene, we’ll explore how the music scene is changing in terms of inclusivity, and how the conversation around gender and neuro-diversity has shifted over the years.

Interviewees: Agnes Whalan, Isobel D’cruz Barnes and Aife Larkin from Hexdebt, Ruari Currin from PBS show Fang It, Eve Fraser (Gender Pies), Shannon Driscoll from Girls Rock Melbourne!
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Peter Allen: I Still Call Australia HomeAn Iconic Australian Song

Song: I Still Call Australia Home by Peter Allen

Music Industry: Maree Pearson, Brontë Pitcher and Madeline KernsJournalism: Stephen Jauw Waludin, Annie-Mei Forster and Rio DavisSound Design: D.A. Calf

This episode of Sound as Ever explores the elements that contributed to the long-lasting legacy of the iconic Australian song I Still Call Australia Home by Australian singer-songwriter Peter Allen. The song will be discussed in terms of its impact and influence on the Australian culture and the idea of national identity.
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The Presets: My PeopleDance music with a social conscience

Song: My People by The Presets

Music Industry: Jack Cross, Ethan Bryant & Jameson ClarkeJournalism: Spencer Fowler Steen, Edward McLeish, Steven Otani.Sound Design: Angelina Crutchfield

This episode of Sound as Ever explores why My People by The Presets represents a watershed moment for Australian electronic music. The song was extremely successful on the charts and had a large crossover appeal, impacting the Australian music scene heavily and delivering a strong message to the world.
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