Even Vanuatu’s Prime Minister Edward Natapei got a chance to welcome them to his country. The PM enjoyed three songs by the band when they played at the launch of the Australia Network TV station this afternoon. He was also kind enough to agree to a picture with the group afterwards. See below!

Check out III Kings performing for the invited guests:

Big thanks to Australia Network and the Australian High Commission in Vanuatu for inviting us and the band to today’s event.

We were also lucky enough yesterday to be join III Kings in their rehearsal space in Pango where they rippped through a stripped back version of “You Alone Me Magnify”. We recorded a little bit for you to check out as well:

With only a couple of hours before they hit the stage at Saralana, their reputation is sure to magnify even further.

The trip is their prize for winning the Pacific Break competition for their soulful reggae track “You Alone Me Magnify”. We met up with the band at the airport and they seemed in good spirits after their flight and will throw themselves into rehearsals tomorrow at a local studio.

If you are in Port Vila this week you can catch them on stage at Fest’Napuan on Thursday night at 8:40pm and then Saturday at 11pm. On Sunday they play Zion Fest, the religious music day, at 9:45pm. Make sure you say hello to the guys if you see them around town or out in Pango Village where they are staying. It’s their first time in Vanuatu and they are pretty excited to be here.

You can find the full program for Fest’Napuan online. Some of the other Pacific Break artists playing this week include Masamps Crew, Benny and the Gang and Young Life. We’ll be here all week covering the event and following III Kings’ journey. Stay tuned!

Women have been notably underrepresented at previous festivals, so this year’s lineup provides a welcome change from the usual. It may even have a longer term effect on Pacific music: we’ll have to wait and see.

International artists

Emma Donovan (Australia), Mihirangi (New Zealand), Tribe of Jubal (PNG/Australia), Tabura (West Papua/Australia), Tyssia (New Caledonia), Paula Fuga (Hawaii), Ngaiire (Australia), Eagles Wings (Fiji), Georgia Corowa (Australia), Merenia (Australia), Ajak Kwai (Sudan/Australia), Singout Sista (Australia), Erin Gilbert (Solomon Islands), Iaai Tradi (New Caledonia), La chorale de Ténane (New Caledonia), Tikvah (Solomon Islands) and Elena Baravilala (Fiji). And, of course, III Kings from Solomon Islands!

Local artists

Alcina Charlie, Ameloza, Dalida, Diomegaz, Genesis, Huarere, Malapoa College, Masamp Crew, Mystic Youth, Northern Care Youth Centre Band (Luganville), Onesical, Shanty Town, Steel Soul (Luganville), Tokyo Street Band, Vanessa Quai, Vetlis and Young Life.

Don’t forget to check out the Fest’napuan website for additional information, including the list of Fest’nalenga string bands and Zion Fest gospel artists.

And stick around — we’ll be reporting back from Port Vila when the festival powers up next week.

Will you go to Fest’napuan 2010?
Who are you most looking forward to seeing this year?

That’s right — S Say’s popular song ‘I Believe’ was made while singer-songwriter Michael was in Vanuatu, and producer Markson Teiki was in New Zealand. In fact, the pair have never even met in person: instead, they were introduced via Markson’s cousin, and have only ever spoken via the internet.

The internet has shaped Michael’s music a lot, allowing him to remix tracks he’s found on YouTube, or connect with artists both locally and from other Pacific island nations. As he explains, it’s helped to shape a new culture of producers sharing ideas as well as producing songs for various solo artists. A different kind of musical community to those most commonly found in the Pacific.

Download “In the studio — Michael Ligo” MP3 (8.9mb)

How do you think online music collaboration is different to sharing ideas face-to-face?
Can you imagine making music with somebody you’ve never met?

As you know by now, we received songs from all ends of the Pacific. Here, you can check the musicians out as they perform, rehearse, record or simply pose.

Do you recognise any familiar faces? Look closely – you’ll spot not only former Pacific Break winner Emmanuel Mailau in a new band (along with bandmates Omsy and Lemuel), but also his Port Vila-based drummer Arno stepping out with his own band.

Do you have more photos of local musicians you’d like to send us?
What do you think makes a good band photo?

You can probably imagine that listening to 120 entries was no easy task. But as you can hear in this outtake of the judging process, there were certain things that caught the ear of each judge. They discuss individual examples and specific qualities – such as singing, rapping, story and feel – as well as general observations such as the dominance of reggae (and how that’s changing).

All judges expressed their excitement about the pure range and depth of talent. And their comments provide a great insight into the things they consider for their particular corner of the music industry (world music festival, DJ/producer, Australian radio).

Download “Judging insights and the announcement” MP3 (5.7mb)

Do you agree with the judges’ comments?
As a fan of music, what do you look for when you listen to a new song or artist?

Ladies, gentlemen — we’d like to introduce you to III Kings!

It was a difficult process, and with a record number of entries this year (over 120), there were many songs that caught the attention of our judges. Damian, Annette and Sarah were impressed by some wonderful production values, as well as touching or even groundbreaking songwriting, and beautiful voices and musicianship. They expressed high hopes for a number of artists, and were genuinely excited with the startling quality of music across the entire range of entries, as you can hear in this excerpt of their judging discussion:

Download “The judges share their thoughts on some of your songs” MP3 (5.7mb)

Yes, the task of choosing just one winner was a challenging one: but choose they did. The gospel-influenced reggae song ‘You Alone Me Magnify’ emerged as a quick favourite, with its memorable vocals and compelling rhythm.

Download “III Kings – You Alone Me Magnify” MP3 (3.6mb)

III Kings are a ten-piece band based in Honiara who’ve been playing together for about five years. They’ve told us they love playing live concerts and are fans of all music — especially reggae and gospel — so they’ll definitely enjoy themselves at Fest’napuan in Port Vila between October 20-24 this year. And as always, we’ll keep you on top of all the action direct from Vanuatu as it unfolds.

We recently spoke to Chris Andris Tugumana from III Kings about the band’s spiritual aspect, as well as the importance of music as a form of self-expression. He also told us about the band’s difficulties in recording traditional instruments — instruments which we might now be able to see live on stage.

Download “Interview – III Kings” MP3 (3.6mb)

Stay with us as we explore more about this fresh and exciting band, and follow them on what’s sure to be an amazing journey to the stage at Fest’napuan.

2010′s champion will be crowned at 1:30pm Australian Eastern Time. That’s 1:30pm Port Moresby time, 2:30pm in Honiara, and Thursday 4:30pm Apia time.

Meet the judges

Damian Mobbs
Having lived in Vanuatu since 1985, Damian became involved in mixing and music production from the 1990s onward, releasing his first ‘Reggae Nomoa’ mix tape in 2003. He has been active throughout Melanesia and Australasia, based between Brisbane and Port Vila, putting on reggae shows and producing music. In 2008, he brought the first ever Jamaican act to perform in Vanuatu — Jah Mason.

Damian has supported artists including Chaka Demus & Pliers, Jah Mason, and Luciano from the Caribbean reggae scene, as well as Pacific artists O-Shen, Naio, Sharzy and Katchafire. As part of the Tuff Tumas collective, he has produced numerous up and coming artists as well as established names like Sharzy and ONETOX.

Tuff Tumas are currently working on establishing a self-sufficient distribution network for artists in the Pacific — so they can distribute their own music independently, making their art a more viable source of income.

Annette Tripodi
Annette has been Operations & Program Manager for WOMADelaide, the Australian WOMAD (World Of Music, Arts & Dance) festival since 1999 and also worked on WOMADs in the UK, USA, Singapore and NZ. She oversaw the Australian Performing Arts Market from 1998-2009 and has worked on festivals such as Come Out and the Adelaide Fringe. She has been an associate producer and company manager for a range of music and dance tours and, in a former life, was a public relations consultant in the corporate world.

She brings to our judging panel her intimate knowledge of the global world music scene and its audiences, as well as the background work that brings artists to big, passionate crowds.

Sarah Howells
Sarah Howells presents the show ‘Roots ‘n all’ on the ABC’s youth radio network, Triple J. She grew up on a steady diet of folk music, as well as 70s rock like Jimi Hendrix and Led Zeppelin. These days, you’ll find jazz, blues, folk, country, soul, reggae and global music all making an appearance on her playlists.

In the 4.5 years Richard’s been doing the job, he’s been interacting with scores of up and coming musicians from PNG and beyond. As he explained to us, geography is less important than you might first think, with CHM having artists as far afield as Switzerland and Congo.

He also tells us how artists can improve their chances of getting signed by a label, and gives us some insight into how CHM filters the many demos they receive.

Download “Interview – Richard Francisco (part 1)” MP3 (7.7mb)

Do you think there are too many synthetic sounds in Pacific music today?
What do you think of the relationship between wantoks and bands?

Leave a comment and share your experiences below.

10 young Kanak teens aged between 13 and 21. Some of them at school, some at university, some unemployed. But all the members of Extreme are close cousins from the Titch tribe at the very north of New Caledonia’s main island.

The story of Extreme started amidst a family tragedy: the death of the mother in a car accident a few years ago, killed by a chauffard. Father Eric Tidjin decided to help his 3 sons by creating a band to overcome their grief and anger.

Extreme wrote a song for their mum, “Sourire Volé” (stolen smile). But they also sing about Kanak and Caledonian society, about the necessity to hire local people rather than French people coming from the metropole, or even about the Kanak independence movement.

Eliah Tidjin, 20 years old, is the main musical and lyrical composer of the band. He also uses music as a way to discover more about the history of his country. On April 22 1988, Kanak separatists from the FLNKS attacked local police/gendarmerie on Ouvea Island. Four gendarmes died during the assault and 16 others were taken hostage and brought to a cave in the Gossanah area. On May 5, Paris sent a group of elite soldiers to free the hostages. Two militaires and 19 Kanak separatists were killed during the assault. This was the climax of revolutionary unrest in New Caledonia, just a few days before the presidential election in France.

What does the young Kanak generation know and think about this tragic Ouvea cave event? Eliah Tidjin was interviewed by Caroline Lafargue from Radio Australia’s French service, right after a rehearsal in Nouméa.

Download “Interview – Extreme” MP3 (3.3mb)

Palau is a tiny nation known mostly for its tourism. But as Rayven explains, it’s important for musicians to show locals and visitors alike that there’s more to the island’s culture than a relaxing holiday. He says that his generation is trying to see the bigger picture, using music as a way to reach the rest of the Pacific and the world.

Download “Interview – R.E.D.” MP3 (4.8mb)

Do you listen to music from a lot of other Pacific Island nations?
Is it important to have your music heard overseas?

Leave a comment and share your experiences below.

For those rushing against the clock, we’ll take you step-by-step through the essentials of getting your entry to us on time.

We’ve had our highest ever number of entries this year, but you know what? We just can’t get enough of your creativity. You’ve sent us such a great variety of music — reggae, rock, soul, R’n'B, kaneka, pop, string band and even dub — and it’s clear to us that the Pacific brimming with musical talent.

Recording

If you haven’t gotten around to recording your music yet, our In the studio series is where you can find out how. We discuss the free options for budding producers, so you’re not held back by what you can afford. Seeing as entries close so soon, the best way to record your song would be to perform it and record it as simply as possible. Check out our guide to the basics of recording for some tips. (If you’re recording on a cassette tape, you can then record that to a computer using the cable we describe in that article.)

Entering

Once you’ve recorded your song and saved it in mp3 format (which will mean it’s a suitable size to send to us), you’ll need to fill out an entry form and upload your song. Thankfully, you can do this with our online entry form. Please make sure you read the terms and conditions! We’ll also need a signature from you, so print the entry form and either fax, scan or photograph the signed form to send back to us. If you have a photo of you or your band, you can upload that with your song.

Learning

While you wait to hear what our judges think, spend some time learning more about music in the region from both experts and rising stars like yourself. On our website you’ll find dozens of interviews, videos, performances and guest blog posts from artists all over the Pacific. Consider your own style and how it fits in the wider world of music, or think about new ways to approach telling stories through your songs. There’s heaps of great advice to be found.

Reflecting

Finally, join (or start) the discussion and leave your thoughts and opinions in a comment. Advice from experienced artists is very valuable, but everybody has something worthwhile to share. While there can only be one winner of Pacific Break, we believe that there are many winners when people start talking about and sharing their music, and new connections are being made.

Good luck!

The group have been experimenting with rock and r’n'b from their base in Raiwai, where a very strong reggae culture exists. Jerry says there’s some reluctance in Fiji to value styles of music that haven’t received overseas approval, an attitude Liquid Courage is trying to change… though a show at Fest’napuan certainly wouldn’t hurt the group’s cause!

Of course, the best way to change hearts and minds is through stories that people can relate to, and Liquid Courage use a very familiar subject to appeal to listeners — chasing love. Listen as Jerry outlines the breezy inspiration behind their Pacific Break entry, “War With The Wind”.

Download “Interview – Liquid Courage” MP3 (1.9mb)

Do you feel like there’s too much focus on reggae in your local community? Are people interested in learning about new styles of music?

Leave a comment and share your experiences below.

Max and the band compose their music, with lyrics sung in Olo and Pidgin languages, on a Yamaha 16-track sequencer. They then connect their keyboard to a cassette recorder, and while dubbing the music to tape, sing and add other instruments over the top. Very resourceful and inventive!

Though they didn’t use any computer software in the production of their Pacific Break entry “Kedere Meri”, Max explains that Arakians of Fatima have been trying to enter the world of digital production to keep up with changing trends in music. The group have been trying to learn CoolEdit, Reason and Fruityloops.

Download “In the studio – Arakians of Fatima” MP3 (4.0mb)

Of course, every song has a meaning to its composer – and Arakians of Fatima have an interesting political and personal story to tell with their song. We spoke to them In The Loop on Radio Australia about the unfortunate events that led to the song’s creation.

Download “Interview – Arakians of Fatima” MP3 (3.9mb)

Have you got any tips for Arakians of Fatima as they enter the realm of computer recording and studio building?

What’s the most difficult story you’ve tried to tell through song? Share your experiences here.

The group’s Pacific Break entry, “Walls”, is a fine example of their style — built mostly around the sound of four acoustic guitars.

Download “Interview – Ascendants” MP3 (5.4mb)

Airi has played in many influential bands including Tribe of Jubal and Grrilla Step, and with artists including Richard Mogu, George Telek, Ben Hakalitz, David Bridie, DJ Dexter and more.  He’s also an accomplished studio producer and a master of percussion instruments – comfortable behind either a sampler or a slit log.  He’s the musical director of Drum Drum and has even compiled a library of Polynesian, Melanesian and Indigenous Australian samples, now used in productions the world over.

With so much experience and knowledge to share, we quizzed Airi on some of his musical inspirations, studio tips and advice for budding producers in the Pacific.

What do you think makes your productions unique or different, and how did you develop your own style?

I guess what makes my production different is that I usually just focus on Melanesian and Indigenous Australian music, sounds, samples, stories etc. Usually my beats are pretty hard. I like heavy beats and bass!

I guess I developed this style by just focusing on Melanesian and Indigenous music pretty much my whole life. Learning rhythms on garamuts, pate, kundu, and bamboo flutes from all over PNG and Polynesia. I grew up with my own traditional music from PNG, but I also lived in Cook Islands a bit and studied for a short time in Hawaii. So I try to apply all that to my approach to production too.

Pacific music has really been my passion since I was young. I guess I came to the idea that basing the production on those things was the key to developing a unique sound. I never really studied African or South American percussion in much depth. I love African music but I leave it to Africans, and I like some South American styles too but I leave it to them. I guess we all have our own story to tell.

Some of my favourite music is definitely hip hop and sample-based production as well as all kinds of reggae, dub, dubstep, drum’n'bass, future soul, future ragga and so on. Some of my favourite producers are J Dilla, Stephen Marley, Bill Laswell, Madlib, Fat Freddy and Sly and Robbie.

What is the relationship between traditional and contemporary music, for you?

I used to be a bit more of a purist when it came to roots and contemporary Pacific and Indigenous music, but eventually I realised it’s a bit pointless being such a purist, because the reality of diversity and appreciating expression from all walks of life and life experiences I think makes more sense.

Music can promote, preserve and present cultural identity, but more importantly I think it can transcend all those things. It can connect history with the future, one generation to the next. Like the Yothu and the Yindi, the yin and the yang, the dissonance and release, the positive and the negative, the masculine and the feminine, it’s the oscillation that creates an energy that makes good music. Like 2 records spinning in a live remix… that’s where the magic’s at!

I love traditional sounds and traditional songs. Every now and then I discover a kind of music that blows my mind… like a sing sing group from Siasi Island, or conch shell choir, or 100 Kwakumba flute players going at once. PNG is so rich with diverse music.

What kind of gear do you use to record your productions, and why?

Well, my studio setup consists of the (Akai sampling workstation) MPC4000 as my first weapon of choice for making beats.

For keyboards I’ve got Wurlitzer, Hammond and Korg keyboards and a few analog synths. Drums-wise I’ve got garamuts, pates, kundus, drum kit and a percussion rig including congas, bongos and more.

I use a couple of AKG C414 mics as my all rounders, 2 Rhodes NT-5s, a couple of Shure SM57s and SM58s, and a Neumann vocal mic. I have a small 16 channel Mackie mixing desk, which I really only use for rehearsal – not for recording. And a pair of trusty old Yamaha NS-10 speakers…. with sub!

I basically use Pro Tools for recording, along with the MPC4000 and software like Reason. I have a couple of outboard compressors and reverbs, but they get used less and less nowadays.

I love working on the MPC. It takes the digital away from the computer screen, and the way it makes you approach samples is pretty unique. The way you can splice samples across 16 pads and twist them and flip them with quantise resolution and pitch control. It’s the mother ship! To me it keeps the digital recording thing hands on and feel-orientated, rather than clicking on a mouse.

What do you think is central to a good recording?

As a base to all your work, it’s good to have a computer based recording facility like Pro Tools or Logic. Keeping things as high quality as possible from the beginning makes it easier to mix and edit.

Everyone writes and records differently. Once you get a system of recording going that you are happy with, stick to it and master it. Buying gear and upgrading is a bit of a rabbit hole, it’s endless… the total wish list is never realised. Make do with what you’ve got.

To me it’s not just about the gear, it’s more about capturing the energy or a vibe, a feel or a musical moment. Some classic records like – Bob Marley’s Catch A Fire – were done on not much of a budget or the best gear. But it was revolutionary because of the songs.

As an electronic artist or a producer it’s important to have a unique sound or approach. You can do this by thinking about what it is you have that’s unique, and building on that. This way, you can find your niche in the industry and market. In other words: don’t imitate too much.

It’s cool to be influenced and inspired, but at the end of the day if you really want to make it in the music biz, you’ve got to have something special or something that no one else has – or just be insanely good at what everyone else is doing! For Pacific Islander musicians or producers, a good place to start is to look to the roots… traditional sounds, instruments, rhythms, language and story.

If you use samples to create tracks or even just to enhance kicks and snares, get good drum samples and sounds for making beats. Don’t compromise on quality at the start. You can buy sample packs from places like Native Instruments or Zero G, or just get sampling yourself.

Having quality authentic sounds is better than cheap imitation sounds. Having access to these is a big challenge in the Pacific, but they are worth the investment. If you can’t get authentic keyboards like a Rhodes, Wurlitzer or piano, get the best imitation sounds you can. Nord Keyboards or digital Hammond organs are a good start.

Always use live horns. Imitation keyboard horns suck! They are ok for sketching and getting the ideas down, but that’s about it. Always go for quality and authenticity in the studio. That’s how the music comes to life.

A good record collection or access to good music I think is important. As a producer you need to keep yourself inspired and reaching higher every time you work. Find a DJ or cool radio program, or get on iTunes and find out what’s fresh… and why. Not so that you pay too much attention to what’s fashionable, but it’s good to be inspired and keep the quality control high.

What advice do you have for musicians who have very limited access to equipment and technology?

The reality is that good quality recording costs money and time. But you can do it in a cost effective way.

- Try and keep it simple to start with, and play your mixes and tracks to people who have good ears and will offer constructive criticism.

- Play your music alongside your other favourite tracks by other artists. How does is sound? Match EQs, reverbs, delays, compression. Use your favourite tracks as a guide.

- Find the best quality keyboards… real ones! Find good drum programs, samples, etc.

Firstly, before you hit record, start with a good piece of music, a good story, or a good idea. The equipment and technology are only paintbrushes. What matters is what you say with your music.

Is it a love song, a political song, a personal song, a traditional song? What mood should it evoke? Does it have the right attitude? The production’s got to stay in tune with that.

To me the most important thing is the story, attitude and character in the music. I think the more people focus on what they love doing, the better.

What are some techniques you’ve used to get around the limitations of what you have?

My studio is still a bit ghetto style sometimes – like making mic stands out of bamboo and coat hangers, or using old socks for popper stoppers.

Limitations can actually be a good thing! I think it’s good to work within parameters. Sometimes all the options in the world can drive you mad, trying to work out the best one.

As for gear, it’s good to have versatile gear that you can use for different things.

Like a versatile stereo mic set up – e.g. a pair of AKG 414s (large diaphragm condenser microphones) – is good for doing acoustic instruments, drum kit overheads, amps, etc. You can then round things out with a selection of microphones more suited to specific instruments like drums or vocals, field recordings and more.

As far as studio goes? Be selective. Start with good music, a good song, a wicked groove.

As we discussed in our last article about audio production, Quartz AudioMaster provides some MIDI tools that aspiring electronic producers will find very handy. In this post, we’re going to focus on programs that demonstrate the particular editing styles most commonly found in professional sequencing software.

The piano roll

VstSeq uses ‘VSTi’ (VST instrument) files (one of many industry-standard software synth formats), allowing you to draw notes on a grid also known as a ‘piano roll’ because it maps notes in a similar way to a piano keyboard.

When you draw blocks on the piano roll, the horizontal position affects the note’s timing while the vertical position relates to the note being played. And, of course, the length of the block determines how long the note is held for. There are other parameters you can adjust once you become familiar with this style of composition.

Because it is dedicated purely to hosting VSTi instruments, VstSeq is a tidy way to become familiar with the many settings of electronic music devices. Again, experiment as much as you can, because you’ll learn a lot in a short time.

(Tip: You can expand the sounds available to you by downloading free VSTi instruments at shareware music websites.)

Grid editing

The backbone of most electronically produced songs is the beat, and there are lots of different ways to compose them. One common style is using a grid editor, and a program that allows you to learn grid editing (as well as some basics of drum synthesis – generating drum sounds from the computer, rather than from real sounds) is DrumFlow.

All together now…

DrumFlow is similar in many ways to elements of FL Studio, sometimes referred to by its old name FruityLoops. While scores of Pacific beat producers rely heavily on FL Studio, it isn’t free, and it’s a very large download (at around 200mb). However, for those with a fast internet connection and a lot of patience, it can be tried out in demo mode for free.

Speaking of large downloads, you can also download a demo of the equally popular software Reason if you want to experiment further with virtual instruments, drum programming and sequencing. But once the demo period runs out, you’re stuck with having to pay or go elsewhere. That, we’re guessing, is not the fun part…

Next: We’ll take a look at advanced options for the recording enthusiast who wants professional software without spending a cent!

Have you found a great VSTi or electronic music program that you’d love to share? Is there an advanced, free electronic production suite you’ve come across?

Share your links and ideas — leave a comment.

Disclaimer: Our aim is not to endorse recording software that we mention on this blog; instead, we wish to enable our readers to make their own informed choices. We are not affiliated with software developers and cannot provide technical support. This series is intended as a resource to enable broader access to free recording technology.

More control over recording, EQ and effects

Ask anyone what the best free audio editing/recording software is, and you can be guaranteed to hear mention of Audacity.

There’s a version of Audacity for almost any operating system you’re likely to find yourself with, and being open source software, it’s built and maintained by a community of programmers. This makes it fairly reliable to work with — which you’ll appreciate if you’ve ever lost your work due to a program crashing!

Audacity gives you more control over the levels of your recording and playback than the basic programs we covered yesterday. But, importantly, it adds effects. These will allow you to change the sound of your recordings – from basic EQ (graphic equalisation, for shaping the volume of specific frequencies) to delay (echo), reverb (room simulation) and pitch effects.

Annoying sound making your ears hurt? No problem: just turn that frequency down in the EQ. Want to try something different? Create spacey effects with a delay effect (which repeats your sound according to your chosen settings). Make your voice sound underwater using a swirling phaser effect, or sound like a chipmunk by shifting its pitch 7 notes. Even better, you can layer these effects until your sound is completely new and unrecognisable.

The variety you can achieve with effects is endless, and you’ve got nothing to lose by experimenting, because you can always click ‘undo’ if you go too far. Indeed, the biggest risk you run is simply not knowing when to stop playing with strange sounds.

There’s one extra benefit that comes with the fact that Audacity has been around for years — there are lots of knowledgeable users who are happy to help you get started. Try this guide from GuidesAndTutorials.com as a starting point. But don’t worry: you can survive just fine by trying things out all on your own, too.

Adding layers

While Audacity can handle mixing and layering of sounds, it isn’t always the easiest to use this way. Plus, once you’re working with more tracks at once, you may need more powerful mixing capabilities. For these reasons, we think you should consider using a multi-track recording program.

Multi-track recording programs are more closely related to software versions of equipment you’ll find in many traditional recording studios. There are mixers designed to look like mixing desks; even effects intended to resemble the real thing. But most useful to you will be the better layout of indicators for things like track volumes, overall volume, effects and track arrangements.

While it can seem overwhelming at first, entering the world of multi-track recording shouldn’t be scary. After all, it’s like somebody handing you the keys to a studio and telling you to experiment to your heart’s content — except you can’t get in trouble for breaking anything! If something seems to be going wrong, you can always restart the program and try again. And multi-track recording allows you to refine your sound, bringing you closer to the musical detail you’ve heard so many times on your radio.

A good point of entry is Quartz AudioMaster, which gives you four audio tracks to play with — enough to experiment with, but not to get too confused by.

In addition to audio tracks (that is, ‘real’ sounds you record or bring into the project via files), Quartz gives you the ability to use software instruments with MIDI (short for ‘musical instruments digital interface’, or put simply, a way to record musical instructions rather than the sounds themselves).

Using MIDI means a few things. MIDI data is usually recorded when a musician plays the part on a MIDI keyboard. This keyboard is connected to the computer, and the computer in turn records the notes the musician plays. It uses these notes to synthesise sounds according to what settings the musician has made.

For example, MIDI allows a keyboard player to record a song using any sound. She can then change the sound to that of a trumpet, piano or guitar. The only limitation is what MIDI instruments you have available on your computer.

You can even record drums using a MIDI keyboard, and some software will allow you to use your computer keyboard as a MIDI keyboard, so you don’t have to buy a separate one (though a computer keyboard is not going to be as expressive).

Quartz also comes with some helpful tools to make MIDI seem less scary for the new user. You can limit the scale you’re able to play, so there are no wrong notes. You can also put effects on both audio and software instrument tracks, but only four effects are supplied. Most importantly, it gives you a simple introduction to multi-track recording and the kinds of interfaces you’ll see in professional programs like ProTools, Cubase and a host of others.

Next: We delve a little bit further into the world of electronic music production.

What are your favourite effects?
What other tools have you found helpful in learning to use multi-track or MIDI production?
And how many tracks do you normally use in a song?

Join the discussion — leave a comment.

Disclaimer: Our aim is not to endorse recording software that we mention on this blog; instead, we wish to enable our readers to make their own informed choices. We are not affiliated with software developers and cannot provide technical support. This series is intended as a resource to enable broader access to free recording technology.

As Sebastian and Tom from the band explained down the line to Radio Australia’s Kim Taylor, the band’s clean, simple sound differentiates it from a lot of rap and hip hop they were hearing around them. Seb, Tom and singer Andrea (originally from New Zealand, Australia and Norway respectively) formed the band after jamming together in Seb’s room one day and discovering similar tastes.

Download “Interview – 15th Base” MP3 (3.8mb)

It may be that many artists who’d like to enter simply don’t have an easy way to record their music. Software and equipment can be very expensive, and while many producers choose to use cracked or pirated versions of high end software, that can put your computer and personal files at risk of viruses which can be equally costly to fix.

But forget all of that for a second! We’re here to guide you through some easy options for recording your own music, no matter how much you already know about it. Today, we’ll start with the basics.

Tape recorders

For musicians who live away from electricity — let alone computers — portable recording can be extremely useful. There are many portable digital recorders now available, but again, their price can put them out of reach for some. However, many people have access to a cassette recorder, and they have the added convenience of requiring nothing more than batteries and a blank tape.

Cassettes may not sound as clear as a digital recording, but they have a lot of character, and if you record where you’re most comfortable we’re likely to hear that in your performance. Plus, we’re not judging entries on sound quality. If your song is strong enough, it doesn’t matter what you record it on. All you have to do is record it on tape, put it in the mail and send it to us.

Basic computer recording

For those just entering the world of computer recording, it doesn’t get much simpler than Hi-Q Recorder. It won’t cost you anything, and is a small download — about the same size as a typical mp3 song. It also runs on all kinds of computers and operating systems, and is similar in operation to a tape recorder, with play, record and stop buttons.

The handy part is that it can record from your computer’s built in microphone (or you can plug one in) direct to an mp3 file. This is the format we ask you to send us when you submit your entry online, so you could record your song and send it easily and without the need to convert it to mp3 later. (Some programs record in formats like WAV, which is a higher quality but with file sizes over ten times larger than mp3.)

Most PCs in the Pacific also come loaded with a standard Windows application called Sound Recorder. Sound Recorder provides very similar functions to Hi-Q Recorder. The only real difference is that it can only save lower quality mp3 files.

Tape and computer – together!

If you’re far away from town, but you know somebody with a computer, they can always transfer your tape to mp3 for you.

This can be done easily using the free audio software we mention above. You’ll also need a ‘phono to phono’ cable running from the tape player’s headphone plug to the computer’s input. ‘Phono’ plugs are the 3.5mm connectors, or ‘jacks’, which you see at the tip of most headphones. Click here for a peek!

Once you connect the tape player to the computer, press ‘record’ on the computer and ‘play’ on the tape player. If the result is too soft or loud, you can do it again, adjusting the volume on the tape player until you get it sounding how you want it to. If you’re using Windows, you can double-click your volume control in the taskbar to choose your input and adjust its volume, too.

(Tip: It’s always better to record sound as loud as possible, without it distorting. Not sure what distortion sounds like? You’ll know it when you hear it!)

Next: We’ll look at intermediate solutions for budding producers who’d like to add effects to their tracks, and we enter the world of multi-track recording.

Do you have any other ideas for simple, free ways to share your music? Or have you encountered unique challenges with recording?

Join the discussion — leave a comment.

Disclaimer: Our aim is not to endorse recording software that we mention on this blog; instead, we wish to enable our readers to make their own informed choices. We are not affiliated with software developers and cannot provide technical support. This series is intended as a resource to enable broader access to free recording technology.

As Veka explains, Secrets built their song ‘Missing You Like Crazy’ using FruityLoops and Reason on a PC at a friend’s home studio in Honiara, programming songs with a MIDI keyboard and recording additional guitar. He talks about the process of putting songs together on the computer with three band members and how friendship is a helpful ingredient in making choices at the mixing desk.

Download “In the studio: Secrets” MP3 (2.8mb)

How do you manage computer production when you’re collaborating with other musicians — who takes control? And how do you make musical decisions together?

Leave your comment below… or, if you have Facebook, visit our Do-it-yourself recording discussion to share your tips and experiences.

Son, 1′n’Only’s Pacific Break entry, “Next Generation/We Are Free”, is an uplifting, soulful pop song which Leeroy says he hopes will inspire rights for women and children and a greater connection between people.

Download “Interview – Son 1′n’Only” MP3 (4.4mb)

Having toured extensively throughout the world, Narasirato are equally comfortable on stage or in more casual settings. We caught their performance at the Melbourne Recital Centre auditorium – part of last year’s Australasian World Music Expo.

Impervious to the temptation of the vocoders, AutoTunes and drum machines gaining popularity across the Pacific right now, Narasirato Pan Pipers instead use instruments such as the thongophone, mouthbow, conch shell and stomping tube. But they’re also a band you really have to see — they dash and dance across the stage with a lot of energy, leaving wide smiles on the faces of their audiences.

In March, Isabelle Genoux spoke to lead singer Charles Maimarosia on Radio Australia In The Loop about audiences’ reactions to the group’s music and the challenges of touring a twenty member band from a very remote part of the world — with no phone, internet or electricity, accessible only by canoe.

Download “Interview – Charles Maimarosia, Narasirato Pan Pipers” MP3 (4.1mb)

Do your cultural traditions or your surroundings influence the music you make and listen to? Do you have an interesting story to tell about travelling to perform your music? Leave a comment below.

Citing heroes like The Police, Red Hot Chili Peppers, U2 and Depeche Mode, it’s impossible to miss the influence of Counting Crows in their song ‘Revival’.

Speaking to us from Noumea, singer Sébastien Helfer talks about Nova’s involvement in a collective of 30 New Caledonian rock groups, and explains the revival that can be found in a special person.

Download “Interview – Nova” MP3 (4.6mb)

Nova is also the first entrant so far to tell us they have Twitter (@novabandnc) — you can follow them there. And while you’re there, don’t forget to follow us (@pacificbreak) for all the latest from our studios.

Speaking to us on the phone from Cook Islands, Quinton Julian Wainiqolo explains some of the ideas behind his music.

Download “Interview – Fruit Salad” MP3 (3.8mb)

Solomon (who’s from Solomon Islands – perfect!) explains how he achieves the dramatic dub echoes that you can hear in his Pacific Break entry ‘Consult Jah’, as well as sharing his thoughts on the music scene in his homeland, the possibilities of his preferred software and how simple he believes it is to produce music if you have access to a computer.

Download “In the studio: Royal Priest” MP3 (5.1mb)

Do you agree with Solomon? What’s your favourite tool for recording music?

Leave your comment below… or, if you have Facebook, visit our Do-it-yourself recording discussion to share your tips and experiences.

You may recall our visit to the band last year in Simbolo, Port Vila (if not, these photos might jog your memory!). In this video, recorded in front of a few family members and friends, Tamarin show us that you don’t always need a big crowd or massive sound system to get people dancing.

In this interview, singer Chris Andris tells us about the value of self expression, the spiritual meaning behind their song and the difficulty they’ve experienced in trying to record it using their favoured arrangement – with traditional percussion (including dried fruit!).

Download “Interview – III Kings” MP3 (3.6mb)

Bill wrote ‘Snow’ three years ago, but has never performed it live. Influenced by artists such as Al DiMeola, Jimmy Page, Stevie Ray Vaughan and Phil Keaggy, the song has an upbeat blues-rock flavour with more than a little country and western thrown in, too.

Water falling from the sky is a familiar theme for Bill. Though there may not be much snow around, Pohnpei is among the world’s wettest places. This might go some way toward explaining the name of Bill’s band — Wetter Than Seattle (who entered the song ‘When Smiles Don’t Work’).

In this interview, Bill tells Ryan Egan about his penchant for writing sad songs, the other players in Pohnpei and the story of a live music venue called the Rusty Anchor.

Download “Interview – Bill Jaynes” MP3 (3.8mb)

Ryan Egan spoke to Mr Klutchy Boy about what inspired his song ‘Treasure’, what sort of equipment he used to make it and — of course — how he came to have that unusual name.

Download “Interview – Mr Klutchy Boy” MP3 (2.3mb)

Featuring 2009 competition winner Emmanuel Mailau (PNG), Mike Esrom Kaun (Genesis – Vanuatu), Richard Shing (KRK / Fest’napuan committee – Vanuatu) and John Kennedy (Jah Roots – Solomon Islands).

What do you think is the most important thing to consider when making music? When you’re writing songs, how do you make sure your message comes across most clearly?

The very first comes from John Taivairanga from the Cook Islands. He sent us a contemporary R&B pop song inspired by artists like Chris Brown, Justin Bieber and Timbaland. There’s also no mistaking T-Pain’s influence — this has to be the first entry we’ve ever received that features that unmistakable Vocoder effect.

As John explained to us In The Loop yesterday, his song — named ‘Unique Love’ — is dedicated to women of the Cook Islands. He told us about his origins, his studio production approach and how he gave up on music until only two months ago. We also listened to his song and spoke to George ‘G-Dub’ Williams of 88FM Rarotonga, our Pacific Break champion in the Cook Islands.

Download “Interview – John Taivairanga & ‘G-Dub’ Williams” MP3 (15.7mb)

What do you think of John Taivairanga’s entry? Let us know… leave a comment!

Isabelle Genoux spoke to Alcina Charlie and Leinase Simon (youth program coordinator at Wan Smolbag Theatre in Port Vila, Vanuatu) about the festival theme — why they’ve chosen it, and what it will mean for musicians and fans this October. The interview begins with a live recording of Alcina performing at 2008′s Fest’napuan.

Download “Interview – Fest’napuan’s 2010 focus on women” MP3 (7.8mb)

What do you think — is the festival’s attempt to address the gender imbalance in local music long overdue? Who are some of your favourite female musicians in the Pacific?

Once we start receiving your entries, we’ll begin sharing more about the artists behind them — so don’t wait until it’s too late! In the mean time, look out for some more interviews coming to the blog soon.

Good luck!

• Download entry form

Many of our audience in Vanuatu will be familiar with your music, but for those in other parts of the Pacific and the world, could you please start by telling us a little about what kind of music you make — and why?

I love to create a wide range of music from roots/rock reggae to bossa ballads backed with island sounds coming from the ukelele, ocean waves, bamboo, anything that represents my Ni-Vanuatu and South Pacific identity. In addition to these two styles, my album ‘Horizon’ (released in June 2008) carried a good combination of all types of music including the very urban rap and hip hop, techno and R’n'B blends, as well as acoustic piano for easy listening and meditation, plus a groovy zouk number called ‘Dance with Me’.

I want the messages in my songs to touch all audiences, which explains why my musical repertoire extends to all 4 corners in order to please everyone. And it works as I get a good mix of local and international customers, in all age groups, buying and enjoying my music. But overall, reggae is my leading choice as I feel it uplifts and re-energizes mind, body and soul. Also, I love the way how messages easily come across in reggae songs. I feel it is a spiritual music with a lot of positive vibes that can be played and enjoyed by everyone, at anytime, in any place. So even though my music range carries with it a wide variety of tempo and styles, deriving from over 5 years of entertainment and singing songs from early 40s-50s jazz and blues to today’s upbeat and modern hits in resorts and pubs around Port Vila, I am firmly rooted in the powerful messages of reggae, as I feel I can relate to it more personally.

How did you begin making original music, and what inspired you when you were starting out?

I started off running my fingers over the black and white keys of my first keyboard that Mum — she’s been gone for 9 years now from cancer, God rest her soul — bought for me. As I would play, I’d hear tunes in my head and then words would flow out into songs and I would write them down including note/chords. I was always writing about my experiences past, today, and a positive tomorrow. My first songs are mostly about striving to succeed in whatever journey life takes me on, including songs about my girls (twins).

My compositions are still very much in line with messages based on positivity, good faith, as well the struggles of the Ni-Vanuatu for independence which I see and feel coming with time and age. I am about to write more new songs for another recording session scheduled for early next year including a theme around climate change. My parents have always been my main source of inspiration to sing and write my first songs, and now my list prioritises the three loves of my life — my beautiful baby girls (Christine & Denny) and darling Johnny (husband) — as the main source of inspiration of my recent songs. I appreciate life’s ups and acknowledge the downs which become my songs.

Your Ni-Vanuatu identity is very important to you as a person and musician. What is it about Vanuatu music that you think is most unique? And what, to you, are the most defining characteristics of Vanuatu’s music industry?

Indigenous Vanuatu music would be the local string band which is unique, and the most defined style of Vanuatu music in the South Pacific and further abroad. String band can not be copied anywhere in the world, especially by its make up that consists of a couple of ukuleles, and 2-3 guitars from which the boys purposely remove 2 or 3 strings (I don’t know why but it’s always been played like this since the original string bands formed), and lastly the unique ‘bush bass’ box.

The bush bass is the most differentiating instrument out of the lot which is made up of a wooden box, plus a rope attached from the middle of the box and tied to the end of an arm long bar. Different notes are made when the person playing the bush bass pulls the string/rope whilst sitting on a corner of the box, and lowers or raises the bar.

String band is the most popular music that is played and liked by majority of the people on any occasions throughout the islands and urban areas such as family feasts, special events, and in resorts string bands play during Melanesia nights and island feasts. String band is THE signature Vanuatu music that is owned and played by the Ni-Vanuatu.

Some bands in Vanuatu — including, seemingly, a lot of string bands who wear company t-shirts/insignia whilst performing – are sponsored by telecommunications companies. How did these corporate associations come about, and what do you think are the benefits and drawbacks for artists?

Benefits: Artists/bands get paid by their sponsor corporate company so some funding is made available for artist/band tours, concerts, and shows.

Drawbacks: Artists/bands have restrictions and policies to abide by, in line with their signed agreement or contract to the company. This defeats the purpose of being a true artist or musician who is free to express and perform whenever and wherever possible. Thankfully I am not in the category so I am very much independent musically, with no corporate strings attached to limit my horizon. But this year, I faced one of those drawbacks when I accepted a kind offer from a band who was signed by a company. Because the company’s competition was the major sponsor of the recent Fest’Napuan, my back up band was not allowed to perform at this year’s event — hence automatically cancelling my show which SUCKED BIG TIME thanks to bloody corporate politics!

Finally, what is your advice to young musicians in the Pacific who might hope to one day establish a successful musical career?

Look to God who will provide your heart’s desires, and never give up on your dreams. Don’t be afraid to take it one step at a time, and face the challenges because these will make you stronger and more focused to get you where you want to be. Get involved in any music events and projects that come your way, as they are doors to opportunities to be discovered.

Alcina Charlie performs regularly in Port Vila at the Waterfront Bar and Grill and various other locations. You can find out more about her music at http://myspace.com/alcinacharlie.

The exhibition — co-organised by ABC Radio National presenter/producer Brent Clough and Queensland Art Gallery curator of contemporary Pacific art Maud Page — features performances and video clips from Anstine Energy (Solomon Islands), Chief Ragga (Hawaii, United States), Paula Fuga (Hawaii, United States), JVDK (New Caledonia), O-Shen (Papua New Guinea/Hawaii, United States), Sunshiners (Vanuatu/France), Tiki Taane (New Zealand), 26 Roots (Vanuatu), XX Squad (Vanuatu) and Zennith (Australia).
Part of the opening celebrations last weekend included a performance called Pacific Reggae Sounds featuring O-Shen, an artist from PNG who has broken into the music scene in Hawaii. Courtesy of Brent Clough, we’re able to share a few photos from this opening event.

Pacific Reggae is part of The 6th Asia Pacific Triennial of Contemporary Art, which is exhibiting at the gallery until 5 April 2010 — so there’s plenty of time to check it out if it takes your fancy and you’re in the area.

This Saturday night performance was outstanding on account of some masterful combinations of tradition and originality. You’ll also notice a large number of guest appearances between groups, with New Caledonia’s Gulaan and Papua New Guinea’s George Telek and Airi Ingram joining both Tabura’s and Richard Mogu’s sets at various points. Mogu’s band also performed a Gulaan song.

You can find out more about Tabura at their Myspace profile – http://www.myspace.com/taburaband. Neither Ykson or Richard Mogu have websites, but you can find out more by searching for them.

More on Mogu can also be found at the Tribe of Jubal website.

The Papua New Guinean musician showed off his incredible fingerpicking bass talent in an epic, brooding performance at the Victorian Arts Centre alongside Tabura and Ykson. It’s difficult to explain just how moody and intense this music was, and how rapturous the audience response, but we hope you like watching the performance all the same.

Richard Mogu sings in a combination of tongues – English, Tok Pisin and Motu language. He describes this song – ‘Kini Male’, written by drummer Airileke Ingram – as a party song, and we’d have to agree with him there.

(Unfortunately we were not able to stay for George Telek and Moab Stringband, something we’re very sad to have missed.) Shakura impressed the Melbourne Recital Centre’s audience with their jangling, lively and occasionally amorous songs. Acoustically, it was a world away from how we’re used to hearing the band, with the auditorium’s high ceilings and open design reflecting the group’s sound quite brightly. Narasirato Pan Pipers surprised everybody with their quick, busy songs and dances including some excellent percussion, deep bass notes and excited melodies. Both groups charmed a captivated audience with their anecdotes and wit.

We’ll post some audio and video for you soon, featuring highlights of this year’s AWME and in particular the great Pacific music on offer.

We were treated to some amazing performances from Tabura (a band of West Papuan exiles mostly based in Melbourne), Ykson (from New Caledonia) and PNG’s incredible Richard Mogu, whose epic, spacey arrangements perfectly marry traditional and contemporary styles.

We’ll post some extra stuff like photo galleries, sound and vision a bit later on. For now, here are a couple of snaps from tonight’s show. Tomorrow, we’ll be seeing Narasirato (Solomon Islands), Moab (PNG) and Shakura (Vanuatu) string bands at the ‘Tradewinds’ showcase.

Those familiar with Pacific Break will remember 26 Roots as the reggae band from Chapuis in Santo, Vanuatu, boasting a tough rootsy sound and politically-charged lyrics. With nine members in tow, the group won our 2008 competition and a legion of passionate fans in Port Vila and beyond, performing a confident and sophisticated set at last year’s festival.

After a warm reunion and a dozen handshakes, we sat down with the boys for a quick catchup about what they’ve been doing since their Fest’napuan appearance last year. They talked about their plans for recording an album and their newest song ‘West Papua’ (a video recording of which has appeared on this blog already) — and even offered their advice to Pacific Break 2009 winner Emmanuel Mailau prior to his first performance in Vanuatu.

Download “Isabelle Genoux talks to 26 Roots in Port Vila 2009″ MP3 (3.3mb)

The group’s style incorporates popular island reggae with influences from further afield – salsa, calypso, zouk and more. You can find out more about Josephine from their Myspace profile, which includes an interesting percussion performance video — you’ll have to see it for yourself.

Download “Josephine – live at Fest’napuan 2009″ MP3 (4.6mb)

We hope to film and record some performances for you, and to interview some of the visiting artists from the Pacific — including Shakura! The boys from Port Vila will be playing in an altogether different setting – it’ll be interesting!

Check out the AWME programme and look out for the panel we’ll be presenting about Pacific Break, too.

Mena Muria is a band from Maluku, currently based in the Netherlands. Also known as the South Moluccas, Maluku is a region beset by ethnic, religious and political conflict: though currently designated as Indonesian territory, it was formerly a Dutch colony and is predominantly populated by Melanesians. The group play a slick, modern style of adult pop with great proficiency, including numerous covers of Western pop songs in their set — all in the shadow of a waving RMS (Republik Maluku Selatan, or Republic of South Moluccas) flag. On stage at Fest’napuan, the band featured a broad range of age groups in its dozen or so men and women.

The lead guitarist Rudy de Queljoe was the guitarist with former Maluku band “Masada” in Europe in the 70′s & 80′s. David Pieterz is a briliant jazz guitarist and will come with two young lead vocalists – Jefta Pattiapon and Soraya Wattimury – and three young musicians – Geronimo Latumeten on keyboards, Lesli Taihuttu on bass and Jozua Imlabla on drums. They will play instrumental and original Maluku songs with three backing vocalists – Bram Loupatty, Mary Tetelepta and Francina de Queljoe.

Sonically very different to most of the other acts performing at the festival this year, we decided to share with you Mena Muria’s atmospheric introduction to a set of party songs that got the crowd ‘cuttem grass’, as the Ni-Van saying goes.

Download “Mena Muria – intro song” MP3 (2.1mb)

Emmanuel took the time to reflect on the experience of travelling to Port Vila to play at Fest’napuan.

Download “Emmanuel Mailau talks about his journey to Port Vila” MP3 (2.1mb)

Our live coverage of Fest’napuan is now over, but keep visiting us as we continue to publish new material that we’ve collected and produced over this exciting week past in Vanuatu!

We filmed a special performance by Tamarin on the concrete porch of Kasori Studio, a newly built home studio in Simbolo (where many Pentecost ex-pats live in Port Vila). Kasori’s founder, Didier Virelala, explained his aims for the studio as well as the importance of finding new ways to reflect Pentecost’s cultural identity. We’ll post that interview soon.

While the boys were setting up the PA and tuning their instruments, our hosts took us next door where the women were busy preparing the unique cuisine of Ambae. An open furnace crackled beside the verandah, ready to cook the chicken and lap-lap (taro from Ambae, grated and pulped with shredded coconut) to be sold later in the family’s stall at Fest’napuan. (We tried it later on in the evening: delicious!) This was a great chance to witness a small community’s preparations for Fest’napuan in the evening.

Stay tuned for the video and interview; meanwhile, photos!

More later — right now we have to run back to the festival.

Download “Emmanuel Mailau and band – ‘Children’ live at Fest’napuan 2009″ MP3 (1.8mb)

We’re so proud to have been able to bring Emmanuel, Lemuel and Omsy all the way from Sabama settlement in Port Moresby to Port Vila. Watching them bond with Kidley, Anderson and Arno has been a dream for us too; for a competition focused on Pacific music, nothing is more exciting than for us to see musicians from two island nations becoming friends, learning about each other and collaborating on stage. A true pleasure.

Now, we’d stick around and talk about it more, but we’ve got to rush back to the stage to see the boys perform one more time! There’s tonnes more for you to see here (including lots of interviews, performances and photos), so keep on coming. And for those of you near a radio or internet connection (hey, that’s probably all of you reading this), we’re broadcasting live from the festival tonight at 0805-0900 UTC.

Featuring some choice dance accompaniment by hilarious MC Timothy Andrew, the boys performed a mix of reggae, folk and rock songs that impressed the Port Vila crowd — and no doubt those listening on their radios throughout the Pacific, Asia and around the world. Congratulations are in order!

We’ll share some of the sights and sounds of Emmanuel’s debut with you as soon as we can; but for now, we’re heading back to Saralana to watch, listen to and record some more great music.

However, when we caught up with the boys on Monday, they were most keen to show us their new song about West Papua. Here it is for your viewing pleasure. 26 Roots — Sapi saon, taf tumas!

Here’s your chance. Let us know who or what you’d like to see on the blog, and we’ll see what we can do. Some of the bands still to play include:

Quatro Groove, Shanty, Mystic Yudz, Masamp Crews, Sawayu Special (Japan), Josephine (New Caledonia), Steel Souls (Santo), Mena Muria (Maluku), Amelossa, Vetlis, Black Ghetto, Zenith (Australia), Mark Lowndes (Australia), Tamarin, Kalja Riddim Klan, Spacifix (New Zealand) and more.

Post your request in the comments of this post now… but don’t leave it too late, or we may have missed what you wanted!

It’s a family affair revolving around the extended Binihi clan, some of whom have now retired from the band while nephews and sons take their place. We’re very excited to be able to bring you this special, intimate performance, and we hope you enjoyed it as much as we did!

Download “Joyce — comparing Fest’napuan and PNG music festivals” MP3 (744kb)

While there were a few sound problems throughout the night (the event was utilising a new sound system), most seemed to enjoy themselves. We’ll bring you some snaps and interviews shortly — but right now, we’re off to check out last year’s Pacific Break winners, 26 Roots from Luganville, Santo.

Later tonight we’ll also be sharing a short video of Emmanuel Mailau’s first rehearsal with his band. Stick around!

Download “Interview: Willy and Ronald” MP3 (2.9mb)

Anderson: Second keyboard
Emmanuel: Guitar, voice
Lemuel: Bass, voice
Kidley: Keyboard
Omsy: Second guitar, voice
Arno: Drums

Arno comes from Won Smolbag Yut Senta (youth centre) while Kidley lives in Pango, where the PNG boys are staying. Anderson is a friend of Arno’s.

Isabelle Genoux spoke to the group at Huarere Studio in Tagabe about what to expect from their performance on Friday — and what it’s like playing with musicians from another country whilst being unfamiliar with each other’s music.

Download “Emmanuel’s new band on their experience so far” MP3 (3.1mb)

From left to right: Anderson, Emmanuel, Lemuel, Kidley, Omsy and Arno

Unfortunately we haven’t been able to post as much today — an internet outage kept us quiet for most of the afternoon. However, we did visit Saralana to see how the festival setup was going, and managed to take in some kastom dances from different provinces at the Arts Festival across the road at Parliament Park.

We’ve got a couple of short recordings to share from the presentation of Malakula’s traditional song and dance.

First up, the Malakulans were sitting in a group and singing a melodic song.

Download “Malakula kastom song” MP3 (500kb)

After some time, the group began to dance and a small piglet was sacrificed. The music here features some interesting polyrhythms; the lower pitched sounds come from the drummers while the shaker sounds are made by the dancing men and women.

Malakula kastom dance music (540kb)

]]> http://blogs.radioaustralia.net.au/pacificbreak/vilas-crammed-calendar/feed 0 http://blogs.radioaustralia.net.au/pacificbreak/david-bridie-on-melanesian-music http://blogs.radioaustralia.net.au/pacificbreak/david-bridie-on-melanesian-music#comments Mon, 02 Nov 2009 13:55:27 +0000 Pacific Break moderator http://blogs.radioaustralia.net.au/pacificbreak/?p=373 David Bridie is a Melbourne-based musician, producer and composer with decades of experience in the Pacific and beyond, including an enduring musical relationship with PNG’s George Telek — an artist with whom he performs and records frequently.

As someone who is deeply embedded in the music of the region, we thought we’d ask David to share his thoughts on what gives Melanesian music its distinct and special flavour.

Download “David Bridie – on Melanesian music” MP3

]]> http://blogs.radioaustralia.net.au/pacificbreak/david-bridie-on-melanesian-music/feed 0 http://blogs.radioaustralia.net.au/pacificbreak/wandering-through-pango http://blogs.radioaustralia.net.au/pacificbreak/wandering-through-pango#comments Mon, 02 Nov 2009 13:13:30 +0000 Pacific Break moderator http://blogs.radioaustralia.net.au/pacificbreak/?p=364 We went over to Pango Village looking for Emmanuel Mailau and his group (brother Lemuel and cousin Omsy). They said to look for the pink house — so we did, and ended up at the same pink house we found Jah Roots at last year. But no sign of our guys! We ended up asking a dozen people for directions and having an unplanned tour of Pango.

Here are some snaps we collected along the way.

Of course, we found the boys eventually (with a lot of help from the lovely Touran, pictured above in the green dress). As you can see, the house is green; but in fairness to them, it had a pink roof!

As the sun disappeared and an impressive full moon rose above Port Vila, we drove through the endless banana plants and lush vegetation of Anabrou to visit the Binihi Nakamal, purported to be the first place in Vanuatu to commercialise kava.

But that’s not why we went! Binihi Nakamal also happens to be the heartland of string band Shakura — comprised of family members spread amongst a number of islands, known for their novel and original take on string band music. We recorded a brief interview with Steven and talked with he and Joseph about tradition, family, the competition between bands and the group’s impending trip to Melbourne for the Australasian World Music Conference.

We’ll be speaking more with Shakura on Wednesday, but to hear the interview with Steven, switch on In The Loop on Radio Australia tomorrow.

]]> http://blogs.radioaustralia.net.au/pacificbreak/wandering-through-pango/feed 0 http://blogs.radioaustralia.net.au/pacificbreak/some-photos-from-vila http://blogs.radioaustralia.net.au/pacificbreak/some-photos-from-vila#comments Mon, 02 Nov 2009 04:43:42 +0000 Pacific Break moderator http://blogs.radioaustralia.net.au/pacificbreak/?p=359 Before we head off to pick Emmanuel and his band up, here are a couple of photos from today.

]]> http://blogs.radioaustralia.net.au/pacificbreak/some-photos-from-vila/feed 0 http://blogs.radioaustralia.net.au/pacificbreak/emmanuel-mailau-in-the-loop http://blogs.radioaustralia.net.au/pacificbreak/emmanuel-mailau-in-the-loop#comments Mon, 02 Nov 2009 04:03:09 +0000 Pacific Break moderator http://blogs.radioaustralia.net.au/pacificbreak/?p=355 We’re now here in Port Vila, and today had our first meeting with 2009 winner Emmanuel Mailau. In The Loop‘s Isabelle Genoux had a chat with him — you can tune in to Radio Australia at 3:10pm to listen in!

If you’re unable to get to your radio in time, you can listen to Izzy’s interview right here.

Download “In The Loop – interview with Emmanuel Mailau MP3 (2.2mb)

We’ll be taking Emmanuel this afternoon to Wan Smolbag (on the outskirts of Port Vila) to find him a drummer for his Friday night show; he’s already snared a keyboard player from Pango Village where he’s staying. The National Arts Festival is also happening this week, so there are people everywhere, walking between Saralana Park and Parliament Park — many in traditional dress. We’ll bring you some key musical stories from that festival too. It’s going to be a big week!

]]> http://blogs.radioaustralia.net.au/pacificbreak/emmanuel-mailau-in-the-loop/feed 1 http://blogs.radioaustralia.net.au/pacificbreak/pngs-emmanuel-mailau http://blogs.radioaustralia.net.au/pacificbreak/pngs-emmanuel-mailau#comments Mon, 26 Oct 2009 06:42:44 +0000 Pacific Break moderator http://blogs.radioaustralia.net.au/pacificbreak/?p=344  

Pacific Break 2009 winner Emmanuel Mailau has been playing guitar since the age of 9, using music as his way of expressing the troubles, hopes and daily life of a boy growing up on the Sabama settlement in PNG’s Port Moresby – a place where food, water and shelter have been anything but guaranteed.

Now aged 25, Emmanuel has come a long way from the hardship of his youth as he prepares to graduate as an industrial engineer, and now to travel to Port Vila as winner of Pacific Break 2009. It’ll be his largest audience ever, by a long shot – despite recently being invited to open for Christine Anu recently.

Emmanuel’s style is ‘PNG-folk’ fusion, with hints of reggae and r’n’b, bringing together Tok Ples and folk styles. But despite his early life being characterised by struggle, what shines through Emmanuel’s songs is his deep appreciation of life’s joys. Be sure to catch him on stage at Fest’napuan next week!

As Emmanuel explains: “I live on a settlement here in Port Moresby called Sabama. The song is about all the children that I see everyday living such hard lives of poverty, the orphans that roam the streets on the settlement — it is an emotional song.”

Download “Emmanuel Mailau – Children” MP3

Emmanuel’s song first caught the attention of our judges on September 1, narrowly missing out on the prize when Devande’s song ‘Everything’ was selected as the winning entry. Brendon Telfer — Executive Producer at Radio Australia — explains the situation:

“Unfortunately, last week we discovered that the winning song, ‘Everything’, is written and recorded by the well-known Solomon Islands group, One-Tox. The name ‘Devande’ was originally provided on the entry form and is actually the name of the lead singer.”

Our rules state that all entrants cannot be in an arrangement with a music publisher; sadly, One-Tox is in such a relationship. Pacific Break is about giving fresh, undiscovered talent a chance to be heard — in this case, the regrettable miscommunication meant that we awarded the prize to a band that is already well established. In the spirit of the competition, we couldn’t ignore the fact that One-Tox is a band already well on their way to success.

We love the song ‘Everything’ and wish One-Tox all the best for their future endeavours. And we look forward to presenting Emmanuel Mailau on the big stage at Fest’napuan — and live on your radio — in a matter of days. We’ll also be bringing you photos, interviews and stories from the festival as it unfolds.

Download “Announcement on In The Loop” MP3

Devande enjoy playing indoor and outdoor gigs, and their song, ‘Everything’, was composed at the beginning of 2009. This song is about putting on a brave face before the girl of your dreams – despite not having your attentions returned. In their words: “Mi no worry ‘cos everything’s gonna be alright.”

Comprised of family members and others from the Shefram Studio community, Devande compete in band contests around Honiara.

Listen to our interview with Ross Merri – Devande vocalist. He talks about the history of the band and the origins of their song.

Download “Interview with Ross Merri (Devande)” MP3 (1:44)

Arnold and Mona Lisa are both radio announcers in Tonga and we spoke to them about some of the beautiful entries we received from Tonga, mixing traditional sounds with a contemporary style. They spoke about how Tongans absolutely love music and competing in music competitions like Pacific Break!

Download “Interview – Arnold and Mona Lisa (Tonga)” MP3 (8:35)

Hailing from Suva, Fiji, Kurt Koroi is a breakfast announcer on 2dayFm. Kurt told us about how competitions like Pacific Break help emerging artists come out of their shell and push them into the limelight. The Fijian music scene is seeing a move from rap towards reggae, and we were lucky to receive a lot of entries from the nation’s exciting young artists.

Download “Interview – Kurt Koroi (Fiji) MP3 (2:17)

We’re proud to announce that 2009′s Pacific Break winner — hailing from the Solomon Islands — is Devande!

This nine-piece band captivated our judges with their expressive song about unrequited love. Devande will be travelling to Port Vila in November to perform at Fest’Napuan — and we’ll bring you their performance live on Radio Australia.

Everybody who has heard the music of this year’s competition — as well as our judges — were extremely impressed by the high quality of entries. There is an ever-increasing number of creative, inspired people in the Pacific, and it will continue to be our pleasure to share their amazing work with you. On our website and blog, we will be sharing yet more stories from musicians around the region, so you’ll always know what’s making waves in Pacific music.

Download “Interview with Nathan Lowa” MP3 (4:21)

Now, entries close tomorrow at 5pm, and this is your last chance to send us your original song! Remember that we’re flying the winner to play at Fest’Napuan in Vanuatu — a music loving audience of thousands — which is a fantastic way for Pacific musicians to get their music heard around the region and beyond!

So… hurry along and enter right now!

Well, there’s no better way to find something out than to ask — and so we phoned up nine talented individuals who submitted songs to Pacific Break, and asked them to tell us a little more about themselves. Enjoy!

Gideon Giyovadulu
Giedoen is the St Charles Lwanga Catholic Youth band leader. He not only wrote their entry for Pacific Break, ‘God Nina Ye’, but also performs the vocals, flute and the percussion on the track. The group performs at church gatherings in their hometown in Papua New Guinea.
Download “Interview with Gideon Giyovadulu” MP3 (6:06)

Nathan Awat
Also from PNG, Nathan Awat is a one of ten members that make up the Klanzmen band. Their Pacific Break entry, ‘Sal’e', expresses the hardships the band members face in their daily life, and each member adds their own experience to their musical compositions.
Download “Interview with Nathan Awat” MP3 (4:21)

Benjamin Siru
Benjamin is the manager of Huarere and the composer of their Pacific Break entry, ‘To Be Loved’. This rocking reggae track is heavily inspired by Bob Marley and influenced by the culture of the band’s home of Vanuatu.
Download “Interview with Benjamin Siru” MP3 (4:54)

David Rounds
We caught up with this soloist from Fiji who enjoys nothing more than performing for his family and friends at home. But with his entry, ‘Sweet Island Girl’, David is ready to take on the opportunity to play for the crowd at Fest’Napuan!
Download “Interview with David Rounds” MP3 (2:39)

Mardako Surawe
Mardako is a backup vocalist in the band FYF — Fine Young Foodlanders. Their entry, ‘Haus Mangi’, is a reflection of the lives the band members lead in Papua New Guinea.
Download “Interview with Mardako Surawe” MP3 (7:21)

Sebastien Rob
We had a chat with Sebastien, a solo artist from New Caledonia. He counts amongst his greatest musical influences the Dave Matthews Band and Ben Harper. Sebastien uses music as an outlet to cure all of life’s little problems!
Download “Interview with Sebastien Rob” MP3 (5:04)

Angela Afeaki
This beautiful singer is currently living in New Zealand, but her song, ‘Happy Happy Tonga’ captures her ongoing love for her homeland, Tonga. Her band is quite a family affair — her mum provides the backing vocals… and that’s her dad on the bass!
Download “Interview with Angela Afeaki” MP3 (5:24)

Lorenzo Nikolini
Lorenzo is the lead vocalist and guitarist in the band Loremx. The band is inspired by groups like the Red Hot Chilli Peppers and Coldplay, and Lorenzo enjoys listening to all types of music from reggae to pop.
Download “Interview with Lorenzo Nikolini” MP3 (5:52)

David Tamanabie
P2-UIF band member, David Tanamabie from Papua New Guinea. The band’s name comes from the registration number of a missionary plane and the band was initially formed to honour the life of the pilot.
Download “Interview with David Tamanabie” MP3 (8:21)

So now that you’re freshly inspired, hurry over to get an entry form and send your own music in right away!

Check out the Listen page to download new songs from around the Pacific — including, this week, DMP, One Toks, CJ (feat. Big T) and Sebastien Rob — or automatically download the latest music by subscribing to our podcast.
 
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Enjoy the chat!

Download “Interview with Jason Wesley of SIBC and Kekene, Solomon Islands” MP3 (6:06)

Now — during this year’s competition, you may have heard some of these artists not only on Radio Australia In The Loop, but also on your local radio stations. These guys are our champions – people helping us share Pacific Break with you in your country, and in a lot of cases providing you with extra help to get your entries in.

In the following interview, we speak to Vex from Papua New Guinea’s Tribe FM. As a leading voice in youth radio, the crew at Tribe have been a great help in sending out entry forms, providing a point of contact and helping to get fresh new music on the airwaves. Vex talks to Isabelle and Namila about her favourite music, and the great local talent in PNG.

Download “Interview with Vex of Tribe FM, Papua New Guinea” MP3 (7:47)

We’ve received heaps of great entries already, but the competition isn’t over until it’s over. Get yours into our hands by 5pm, September 1st, 2009 to make sure you’re in the running.

If you can’t download and print an entry form online, we’ll send you one – SMS your postal address to +61427 727 272.

We’ll be bringing you interviews with the latest entrants soon, so stay tuned.

In this interview from November 2008, Beeman talks to us about the style of reggae Aimos Groove play, as well as copyright, making money as a musician in Vanuatu, and the creativity running through the musical families across their home island of Tanna. Then, we eavesdrop on the band in rehearsal…

Download “Interview with Ian ‘Beeman’ Wilson of Aimos Groove” MP3 (5:00)

As it turned out, they didn’t win the Best Album crown, but they snatched up the Reggae prize. Significantly, the competition in those categories included fellow Vanuatu band Naio — a key inspiration for the group (who were, in fact, originally called Naio Junior!).

Our good friends ‘In The Loop’ gave Beeman a call to congratulate the band after the award was announced.

Well done, Aimos Groove!

Fest’Napuan organiser Ralph Reganvanu heard the song on our compilation CD, The best of Pacific Break 2008, and was so impressed that Remedy have now been invited to play at the festival this year!

The Pacific Break team would like to congratulate Remedy on this exciting news! Musicians, take note – even if you don’t win the prize, you could still find yourself playing at Fest’Napuan.  And who knows what else might happen?

Download your entry form here. (Requires Adobe PDF Reader.)

(If you entered last year and didn’t win, we invite you to enter again – there were so many great entries that choosing a winner was a very difficult decision!)

If you need a little more encouragement, check out this video interview with 2008′s winning band 26 Roots on Australia Network TV’s Pacific Pulse program:

Pacific Pulse – 26 Roots (video)

Radio Australia will celebrate by airing a 55 minute special feature recorded live at Fest’Napuan 2008.  Tune in on Saturday February 28 at 2005; Sunday March 1 at 1205; and online only, on Sunday March 1 at 1505 and 1805. (Suva time)

Keep visiting us here at the blog as we keep you up to date with the latest entries, news and tips!

These guys put on the best display we’ve yet seen of the fiery spirit Tannese musicians are known for, sending the crowd into a frenzy of dancing and cheering – so much so that a particularly enthusiastic audience member finds his way up on stage during this encore performance of ‘Saro & Dominic’.

(Incidents like this are fairly rare at Fest’Napuan; there is a barrier around the stage and security staff are attentive!)

The MC you see and hear introducing the bands is Timothy Andrew, a completely charismatic local comedian and personality who can seemingly ad-lib vocals to any song, and who has no trouble whatsoever in stirring the excited masses spread out on the grass.

In fact, he introduced 26 Roots with an impromptu singing appearance, backed by the band’s Frankie and Glen on bass and drums respectively. (He’s also the father of Yannick Andrew, flute player with Kalja Riddim Klan and Kastom Stori, who we’ve interviewed for you – more on that later.)

We squeezed our way through the crowd (many of whom were singing along) to bring you this energetic rendition of a great Vanuatu pop song.

Co-hosting in our tent with us were Bainbridge Timbaci and Francois Vincent Aissav of VBTC, Vanuatu’s national broadcaster. Thank you to our on-air guests the Hon. Ralph Reganvanu MP (and Fest’Napuan organiser), Tim Sameke (New Caledonian musician and president of SACENC – Societe des auteurs, compositeurs et editeurs de Nouvelle Caledonie), Caroline Nalo (treasurer of the 26 Roots committee) and Benjamin Siro (of local groups Huarere and Sunshiners).

Your knowledge and skill helped make broadcasting live a great experience for us! For similar reasons, we owe our gratitude to the volunteers and committee (in particular Richard, Marcel, Priscilla, Jimmy and Phillemone) who helped us out in so many ways. We and our listeners/readers are very lucky to have had your assistance.

Broadcasting live from Fest’Napuan, Friday November 14, 2008

Now, don’t go anywhere! We’re still at the festival, and we’ll be bringing more of it to you! We still have plenty of interviews, live performances, photographs and thoughts to share with you, starting later tonight with a video of popular ni-Vanuatu band Nauten.

Also, this afternoon, we caught up with Jah Roots – a Solomon Islands reggae band who made their first international appearance last night at Fest’Napuan. Their interview and live set are coming soon, produced with a little help from our friends…

Shamina and Dadney give Jon a hand behind the camera at Pango Village!

In this gallery of photographs taken between Monday and Wednesday of the week of the festival, we hope to share that transformation with you.

Of course, the most significant things built at a music festival are often relationships between people, and we must thank all of the amazingly generous people who have helped us with our broadcasts. Speaking of which – we’re on air until 9pm Vanuatu time tonight – so tune in to Radio Australia now! You may not be the winner of Pacific Break, but we can still take you to Fest’Napuan 2008. And that’s a win in its own way, right?

The boys played impressively, and were suitably thrilled afterward; we’ll bring you their reflections on the show soon!

The festival spirit is one of good humour, inclusiveness and, of course, dancing! Families spread their mats on the ground and settle in for a long night of music, and when the youngest kids are tired of dancing, they curl up and sleep beside their mothers. Meanwhile, the stalls lining the edges of the park are busy selling laplap, kava, cotton candy, and other hot and cold treats.

A food stall at the festival

One of the hallmarks of Vanuatu’s people is their friendliness; it’s not uncommon to bump into somebody you know here, and if you don’t know them, it’s only a matter of time. Broadcasting live from Saralana, the Radio Australia team have made a few new friends. Let us introduce you to Sebel, Dorah, Chester, Adonis, Walter and Steve.

Meet our new friends and future broadcasters!

We’ll bring you a little more about string bands soon, including an interview with the renowned and well-liked Shakura – who had to cancel their scheduled appearance at the stage last night. And of course with the pop music programme commencing tonight, we’ll have tonnes more for you to see and hear from Fest’Napuan.