Memphis LK interviewed by Soft Approach
Hair and Make Up Liz Sharp
Stylist Georgie Gifford
Shot at Wicked of Oz Studio
Direction and Photography by FAINT

You are a very politically active artist who is always engaged in using their platform for advocation of positive and support of things that need supporting. Do you see this as an integral part of being a public artist? I think if you’re in a position where you have a platform and a voice, you have a responsibility to use it. There’s so much more we could all be doing but for those of us with any form of social or political influence, no matter how big or small, the least we can do is use it to advocate for what we care about.

If you had to pick an album to organise a listening party for your friends, what would it be? Fleetwood Mac – Rumours because honestly it’s just banger after banger and I think we would all have a really nice time. Mimosas would be served throughout.

Do you think in the future AI will be ever able to make art entirely on its own to a human standard? Maybe but it would probably glitch out every now and then. But maybe an entirely new and unique form of AI glitch art would be formed. Could be quite cool.

Would you want to live forever? Body, no. Soul, yes.

When do you feel most fulfilled from a live performance? Even though they’re way more intimidating/I feel more under pressure, shows where I have lots of family and friends present are definitely the most fulfilling.

When you record do you have specific visions for the album you want to make or do the songs come together to reveal the album throughout the process? I try not to overthink it and just let it come together in whatever way it’s supposed to. Ultimately all I want to achieve within an album is a cohesive body of work that I feel represents me at the time, like a snapshot of a particular time in my life. I can be impatient but I’m also really pedantic and meticulous about shit. I only release music that I’ve put lots of thought and time into. I think it’s important to be poised and make sure you’re really proud of the music you release, but also not overthink it too much or take yourself too seriously. It’s an interesting balance.

What are your thoughts on analog gear vs digital gear? You can have all the hardware and vintage synths and expensive outboard gear in the world but that doesn’t mean you’re going to make good music. If you’re committed, creative and have good ideas you’re going to make great music regardless of what gear you’ve got. The last 3 songs I wrote in the box using soft synths and cheap plugins and they’re my favourite songs I’ve ever made. Gear and synths and toys are FUN but a lack of analog gear should never be a barrier to making music.

What were your favourite kids tv shows when you were little? Powerpuff Girls and Dragon Ball Z

Tell us about your most recent release Roses. It’s a song about tall poppy syndrome. That shit is soul sucking. And it’s so real in Melbourne right now. It’s a reminder to allow yourself to shine and not let other people define you.

Do you remember the moment you decided to be an artist? I don’t think there was a specific defining moment. It’s just the path I always knew was always meant to take. I’m grateful that I always had a really clear idea of where I was going. I never really had a plan B. I just knew I had to invest literally everything into plan A or I’d be a bit fucked.

We’ve always been massive fans of your work for how you weave heavy yet relatable emotion and fierce empowering club energy (a very delicate but culturally crucial mix). Is this something you work hard towards achieving or do you feel like it is a natural consequence of you expressing yourself? I definitely like the idea of bridging the gap between deep, banging club music and vulnerable, human emotion. It’s naturally how I want to express myself but I am also actively working towards creating a synergy of these two worlds.

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