Georgi Kay

THE popular dance track 'In My Mind' featuring Perth musician Georgi Kay has been nominated for a Grammy Award.
The Axwell remix of the Feenixpawl and Ivan Gough song featuring Kay’s distinct vocals, which last week took out the ARIA Award for Best Dance Track, was nominated in the Best Remixed Recording, Non-Classical award category.

This year the song spent a record-breaking 34 weeks on the ARIA Club and Dance charts, with 12 straight weeks at number one.

Kay expressed her excitement to fans on Facebook this afternoon after hearing the nomination news.

“As if winning an ARIA didn't make my year!” Kay wrote.

“Pretty super-cussin' excited to have In My Mind nominated for the 2013 Grammys!”

Although In My Mind was originally mixed by Swedish House Mafia’s Axwell, it has also been remixed by Walden, sampled by Flo Rida and featured on 25 compilations.

Big name DJs including Tiesto, Avicii and David Guetta have included the track in their sets.

Kay, who won the 2010 WA Music Industry Association Song of the Year award at the age of 17 while she was still in high school, is unsigned and toured Australia in 2012 supporting artists incluidng Ed Sheeran and Alpine. - PerthNow

Aussie powerhouse Georgi Kay grew up as a guitar-toting singer-songwriter. After putting down the acoustic guitar and picking up a laptop, she quickly grew into her own as a creator of electronic music, achieving milestones such as having her song “In My Mind” become the International Dance Anthem of 2013, remixed by Swedish House Mafia, Flo Rida, and more. Diversely talented, Kay has also composed music for and acted in several films. After moving to Los Angeles in 2016, Kay developed a method of creating alone in her home studio, a method that has bled over into her solo stage performances.

Kay’s newest single “Lone Wolf” is an anthemic piece, looking inwardly at feelings of loneliness and facing them acceptance, rather than hopelessness and fear. The song’s upbeat rhythm and major chord progression are a foil for deep thoughts on human existence, and a spacious outro expresses the beautiful ache of inner silence. Throughout the song, Kay wonders aloud why loneliness plagues her, posing hypothetical questions to friend or lover: “How can I let you in if I’m putting up a wall every time? / You gotta break it down if you wanna come cross that line / How can you breathe me in if you’re never gonna get no air?” Expressing an emotion that we have doubtless all faced, Kay poignantly describes the human need for connection before proclaiming in the chorus that she’ll always remain a “lone wolf.” And that’s ok. - Girl Underground Mag

It’s fitting that someone who has worked to achieve prominent sophistication in live looping should release a song titled “Lone Wolf.” The lyrics of Georgi Kay’s single clearly embrace life beyond the stage, but her performance of the textured track as a solo artist adds another dimension to “Lone Wolf.”

The loop pedal released solo musicians from studios, allowing those with a range of skills to add layers of sounds atop looping song segments. Advances in on-the-spot vocal processing and vocal playback add to the magic, giving a single on-stage voice the ability to generate harmony. A video of a live performance of “Lone Wolf” is embedded in this post.

Speaking about “Lone Wolf,” Georgi Kay explained that the song is about true loneliness:
"Accepting the fact that no matter how many good people you have in your life, they will never truly know and understand you as deeply and as intimately as you know yourself. What’s so funny and oddly comforting about this truth, is that we have all felt this way."

“For me, the song creates a desolate landscape, isolated and untouched – myself being the only living soul within it. That feeling of loneliness and silence forces me to look within myself and reflect on everything that makes me who and what I am to a point where I can accept all of it – transforming my loneliness into something beautiful.”

The instrumentation of “Lone Wolf” is layered, but each layer promotes the feel of being alone. We particularly appreciate the low frequency rumbles that populate most to the track. In a live setting, the rumbles likely vibrate the contents of chest cavities of the people close to the stage.

Georgi Kay is currently based in Los Angeles. She has toured with Tash Sultana, another looper on the rise. - Indie Obsessive

Aside from her overwhelming talents and skills on stage, British-Australian rising talent Georgi Kay has the ability to rise to the top of the charts with he vocal skill off stage as well. Most recently, Kay has brought her a-game and released an all new single that is hands down one of her most introspective and self-searching tracks to date. One of the most notable aspects of hew single, “Lone Wolf,” is that Kay isn’t afraid to be completely vanerable and honest with her listener. All through the track, this young artists speaks of past and present frustrations and failures that have, in essence brought her to where she is today.
When speaking of her latest success, Kay says, “Accepting the fact that no matter how many good people you have in your life, they will never truly know and understand you as deeply and as intimately as you know and understand yourself. What’s so funny and oddly comforting about this truth, this realization, is that we have all felt this way or are feeling it right now.”
Along with her ability to write and sing with emotion and feeling, this artist is also a fantastic performer as she mixes and creates loops right in stage before the eyes of her audience. Without a doubt. There is a special “je ne sais quoi” about Georgi Kay that the world is finally starting to recognize. Through the entirety of this track, there is immense precision and planned exactness to each rhythm and beat that allows fans to focus on the intense meaning behind each word. - Imperfect Fifth

Born in Perth, Australia, Georgi Kay began her musical career at a young age, beginning to experiment with songwriting on the guitar at the age of thirteen. After collaborating with Australian DJs Feenixpawl and Ivan Gough on “In My Mind,” which was to become an international dance anthem, Georgi decided to branch out and embrace electronic music wholeheartedly. In Los Angeles, she is a relative newcomer, having made the move to SoCal late last year. However, she’s had no problem taking the local electronic scene by storm, having made waves at several iconic LA venues, including the Echo and the Santa Monica pier.

Continuing this streak, Georgi Kay kicked off a cool night at the Bardot in Hollywood on Monday, taking the small stage just after 9pm. Armed with nothing but a laptop, a sampler, and an electronic drum pad, she exuded an effortless swagger, seeming perfectly at home in the intimate environment. As she settled into her set of mainly new and unreleased songs, the small, sociable crowd began to take notice, bobbing their heads and lavishing her with applause during each break.

Her dark sensibilities shown through on tracks like “Toxins,” with lyrics like, “Sinking in my tears, drowning in sin / If this ain’t who I am, then I don’t know where to begin.” Matching this despairing tone were deep bass hits that perfectly counterbalanced her smooth and sultry voice. Conversely, the ballad-like “Lone Wolf” showed a lighter side of Georgi, as she offered a powerful ode to independence and freedom: “I will always be a lone wolf / There is nothing you can do.”

Georgi rounded off her half hour set with her most recent release, “Scary People,” a foreboding, yet hopeful piece borne on the wings of the current global political state. With this closing song, she bid farewell to the tenants of the venue, reminding them to “fight fire with fire, because it’s all we got.” Following a large ovation, Georgi packed up her simple setup and quickly disappeared into the expanding crowd, undoubtedly onto her next success. After being given a small taste of what Georgi Kay has hidden up her sleeve, it’s safe to say we are hungry for much, much more. - Girl Underground Music

Georgi Kay is an L.A.-based British-Australian artist whose credits include an album, a handful of EPs and singles, a Grammy nomination (in 2013 for the Atwell remix of the Ivan Gough & Feenixpawl “In My Mind”) and collaborations with some of the biggest names in EDM. These days she’s calling herself a “lone wolf” — using her singing, writing, production and looping skills to make bold, sleek electronic pop. Earlier this year, she released the dark (and timely) single “Scary People,” a meditation about living in scary times. This week, she followed up with “Guilty Pleasures,” a sultry, hypnotic track about lusting for somebody you can’t have, so the “pleasure” part exists only in one’s imagination.

“It’s about falling in love with someone who, despite the deep emotional connection being mutual, is romantically tied down by another. It’s about sinking into the intensity of that connection on a spiritual, mental and emotional level, because you are unable to explore the physical side of that bond,” says the songwriter, born Georgina Kingsley. “You don’t want to taint the relationship you are building with that person by destroying the one that still stands, so you imagine meeting them in your dreams, essentially creating an imaginary world where there are no boundaries or lines you can’t cross, where it is only you and them — where nothing else matters but the pure love that is shared between the two of you.” - Buzzbands LA

Aussie darling Georgi Kay is back once again to give us the gift of sweet electronic beats. Preferring to write, sing, play, and produce all of her own material, this self proclaimed “lone wolf” has exploded onto LA’s dark electronic scene in the year since her migration to SoCal. In her quest to become fully assimilated, Kay has crushed some of LA’s favorite venues, including The Echo, The Mint, and The Hi Hat. Having caught her fantastic School Night set at the Bardot in August, we at GUM couldn’t be more excited to hear her first new release since the summer.

Georgi Kay’s brand new song, “Guilty Pleasures,” is yet another example of her cool, effortless sound, and it’s easy to forget that the track is produced with nothing but synths and a drum track. No other instrumentation is necessary, as the song is full of incredibly catchy hooks which compliment Kay’s smoky voice flawlessly. A classic story of forbidden attraction, the lyrics capture the captivating torment of not being able to fully have the object of one’s desire: “We lie in separate beds / guilty pleasures in our heads / when you dream I’ll meet you there.” Backed by a bass line which, alone, could seduce the strongest of wills, the track is an irresistible exploration of love, lust, and everything in between. - Girl Underground Music

Inappropriate love and lust can come with a dark, addictive intense quality that Georgi Kay deeply weaves into the production and her honest vocal in 'GUILTY PLEASURES' - a song about love shared between two people while one of them is already in a happy relationship.

With its ticking electronic beats and foreboding hazy synth , 'GUILTY PLEASURES' moves at a relaxed pace which seems to add to the tension of the track's theme. As the sonic elements carry a warped air of warning and an explosive urge to connect, the narrator lives out their fantasy confined to an otherworldy dream world. This allows the narrator to imagine what could be if those feelings were acted on, while longingly recognising the sad reality of the situation and the moral implication of how unhealthy, unfair and unrealistic the situation is.

With her cool, confident, production and substantial lyrical themes, Georgi Kay hits the spot with every new release. I can't wait to see what 2018 has in store for her.

Words of Karla Harris - When The Horn Blows

You might not recognize the name Georgi Kay, but you’ll undoubtedly recognize the work she’s responsible for.

As a solo artist, Georgi’s soundscape is much darker. Take the track we’re premiering today, “Scary People,” for instance. That low, steady, methodical rhythm is deliberate in its intention, not to mention the chorus which makes heavy use of distorted synths and repetitive vocals, effecting a hypnotic and torturous vibe.

The inspiration behind the track is equally rooted in a sort of terrifying macabre of modern societal horrors.

“[Scary People is inspired] by menacing political leaders and their selfless agendas, twisted corporations, war, violence, racial hate, sexual harassment, exploited religions…just to name a few.”

The track is purposely arranged in a way that feels like a living, breathing entity – the vocals acting as the blood coursing through its veins, keeping it alive and feeding it with nutrients. - Your EDM

Georgi Kay’s “Scary People” is a haunting swirl of grooves and thumps that echo the rhythm of living in 2017 and being frightened every time we turn on the news. So when things get a bit much in the real world I’m glad to retreat to Georgi’s where I imagine that creature in the single art is at least on my team… - The Burning Ear

With a love for creating and looping electronic beats, bass, synths and stunning vocals, Georgi Kay is a British-Australian artist based in LA who has received multiple awards for her original work, song-writing and collaborations over the years. 2016 saw her make a big impression with her Origins EP, Scary People sees her ready to make just as big an impression on the later part of 2017!

Her dark take on electronica works well with her husky vocals and the sparing use of pitchshifted vocals on Scary People, Kay says she gathers inspiration from old sci-fi and horror films, elements of deep house, 80’s inspired synths and a love for the weird and the macabre, which helps explain the art house horror feel of the track. - Electronic North

To say that our country is in a moment of political unrest might be the understatement of the century—with Trump and his posse swinging punches at Lady Liberty left and right, it’s all we can do to keep up the fight for justice. Last month, Georgi Kay served up what might be considered the best type of silver lining: a brand-new track, titled “Scary People”, that addressed the hate head on. Her counter message? Love.

The artist says it most poignantly herself: “They don’t have love, and if we keep that love alive then we can keep fighting.”

Kay’s been down many roads of musical experimentation to get to this point—she’s tampered in Australia’s acoustic, singer-songwriter genre, London’s deep house scene, and now finds herself in LA, mastering electronic pop like it ain’t no thing. What’s next for this multi-faceted, woke AF musician? You’ll have to hear that straight from Kay herself (luckily, you’ve come to the right place).


So “Scary People” dropped just a few days ago—what has the reception been like so far?

It’s been going surprisingly well. Lots of blogs have been talking about it, blogs on Hype Machine, blogs in the UK, blogs in Australia. It had a radio premiere in Australia which is great, that’s my home country. I shared that as well with the UK, also my home country. Yeah, I don’t know a lot of fans are super happy to have a release out that they can grab their hands on and listen to, so I’m super stoked, really. SoundCloud has a lot of listens, Spotify has a lot of listens, so it’s been pretty good so far considering—I keep forgetting, it only came out like, four or five days ago. So, it’s doing pretty well.

Can you talk about the story behind the song, or what headspace you were in when you were writing it?

Yeah. I guess, long story short I decided a different approach to songwriting. In the past, I had been writing a lot with other producers and songwriters, and I spent three years in London going through all these sessions, and everyday I felt like a hamster in a wheel, you know? I was writing for a sound that I didn’t really want to write for. So, when I moved to LA, I got in my bedroom, just me, and I learned how to use Ableton, and record and stuff. “Scary People” was actually the first song I wrote, just by myself, in my bedroom, here in LA. So, it’s kind of like a christening my bedroom and christening my new home. But it all sort of stems from the time we live in really. I think we’ve always lived in scary times, but now we’re so much more aware—with the internet, mass media—we’re so much more aware with what’s going on now, in the big world. And it’s affecting everyone, I mean I moved to LA at the time that Trump had just become president, and just watching that effect on my friends, and their friends, and their families—it was a big deal and there were a lot of people that were scared to live in their own country that they called home. You see that in so many different countries as well, that are ruled by almost a dictatorship really, and there’s a lot of sexual harassment that goes by unnoticed, police brutality, and then you’ve got people within authorities that are beating up normal innocent people for no apparent reason. And then there’s racial hate, and there’s homophobia. “Scary People” for me was just shedding light on what’s happening out there in the world. All in all, it’s pointing out all of the negative things—

Yeah, it’s dark.

Yes, it is quite dark and it’s also saying, “We fight fire with fire because that’s all that we have, that’s all that we’ve got, and we can light them up.” So, the positive message in it, is that love is something that those negative things and those bad people don’t have. They don’t have love, and if we keep that love alive then we can keep fighting.

Prior to “Scary People” did you ever feel a need to put in your two cents about the political climate and social climate, or were you more so writing about personal things?

More personal, but I guess in a sense there’s a few songs I’ve written in the past that—I tend to write a bit ambiguously, so people will listen and often make up their own mind about what the song means to them, which is the whole point of art, I think. You make something that means something to you, that’s not so literal enough that anyone else can’t decide what it means to them. I think that’s more important—not how I feel about it, but how it affects other people and how they perceive it. So, I haven’t intentionally done it before, but it’s kind of come out that way sometimes for some songs. Especially “Scary People”, that was the intention.

I mean I feel like with a lot of music, once it’s out there it takes on a life of its own and then it’s almost no longer yours because it’s everybody else’s and whatever it means to them.

That’s right, it’s like you’re carrying around this child for ages, and then you finally give birth to it and let it see the light of day and then it just goes off and grows up very fast, and goes to college and experiments around. You’re like, “Well okay, I’ll see you Christmas!” I don’t know. [Laughs]

[Laughs] So, are you working on a larger project, or an album that that’s going to be a part of? What are you working on right now?

I have a couple of follow-up singles in mind, in the coming few months. I do have a bigger body of work that I’m crafting in my head. I have plenty of songs for it, it’s just a matter of figuring out what’s this next concept? I’ve sort of got some ideas for that, but it’s in the works—the more I focus on one thing at a time, it’s bringing the whole entity together more. So, the process I’m going through is working, which is good. But, yes, I would like to release a bigger body of work with “Scary People” involved, and my other singles in the near future.

Cool. You said that this is the first time that you were completely alone in your writing process. What is that like to have total creative control over your music?

It’s great. I’m the most proud and the most excited about this release. In the past, I’ve written a lot myself, but them I’ve gone in a produced it a lot more and it’s gone in a different direction. At the time, I’m following that direction—I didn’t know what I wanted to sound like, and I was young so I was experimenting. But this is the first time in a while that I’ve done something, pretty much produced it all the way up until the point where I’m happy with all the sound, and then went in with my friend Steve and he gave it that last little lick of paint—that gloss on it that it needed. He enhanced some sounds that were already there, made some minor suggestions here and there. So, the song now does not sound that different from the demo I did in my bedroom, which I loved. It’s very exciting, because when you have all of these ideas and this world in your head that you so badly want to make a reality, it’s a lot easier to do that when there’s nothing in your way, and there’s no opinions in your way, or you don’t listen and you just do your thing—and then, bam it’s done. There are a few of my friends I worked with that I honestly couldn’t have done it without, too, and it was a real hands in the dirt, DIY job. Everyone helped out in their own creative way, and really helped bring it to life, so that’s why I think I’m the most excited about it, cause it’s working with a team on the creative levels, but I’m always manning the ship.

Yeah, I mean so much of anyone’s art is about the people they surround themselves with and the environment they’re in. Speaking of environment, I know you moved from Australia to London, and then over to the States. Do you feel like your music was affected with those shifts?

One hundred percent, definitely affected me. Australia, I started doing music with acoustic guitar—you know, singer-songwriter stuff. I’ve changed a lot since then—well, I would say evolved. I mean, I went from acoustic singer-songwriter to indie-pop with a band. Then, I was all of a sudden, “Oh my God, electronic music,” like Nine Inch Nails and Massive Attack and Depeche Mode. I was like, “That’s kind of dark and groovy but it’s still melodic and it’s still catchy.” So I wanted to do something like that—that screams to me. So, I was doing that for a while, but the sound was a bit too 80’s. I wanted to pay homage to those inspirations, but not actually be that inspiration. So, I was like, “Fuck it, I’m moving to London.” I signed a label deal for three years, and whilst I was there I went to a lot of raves, and I thought, “Why wasn’t this available to me when I was fresh out of high school? This is amazing.” I’m listening to all this deep house, and tech-house stuff, really dark sounding basses, very simple melodic synth—fresh sounding, not from another era. So, that, to me, was a big influence and inspiration. Then I moved back to Australia briefly and was like, “You know what? I’m just going to try LA, I’m going to try it and we’ll see what happens.” Did that, came here, fortunately had a lot of friends here. Being surrounded by a lot of great creative people really set me off hitting the ground running in terms of inspiration and writing. I ended up writing a lot really quickly, and then I had like, 10 songs and they all sound pretty much like one body of work. I think this might be the sound I’ve been looking for, for like five years. [Laughs] So that was really cool. It came very naturally, too. I think traveling is important, moving and being nomadic is important. It opens your mind up to different influences and styles and singers that you may never have thought of and wouldn’t think would work—and voila!

Do you feel like now that you’ve found that sound that you were looking for, that you’ve kind of going to be married to that for a while, or that you’re open to continue evolving?

I think you always evolve, but I feel like I’ve experimented a lot, up to this point where I feel very comfortable and at home in this sound. I think it will only evolve from this. It won’t change quite drastically or go in a different direction. If anything, it will just grow more and more and enhance from the sound that I have right now. This kind of 80’s-esque inspired, a little bit dark, deep house-ish in some parts, atmospheric in other parts. It’s kind of all my inspirations, like sci-fi and horror films are in one and it’s coming through my music, which I love. So, I’m happy.

Cool. Well we love the new single, I’m excited to hear more.

Thank you so much, I appreciate it. - MILK MEDIA

GEORGI KAY IS BACK WITH HER SINGLE “SCARY PEOPLE”

Georgi Kay is a British-Australian artist based in LA who has received multiple awards for her original work, songwriting and collaborations over the years. She has won an ARIA award, received a Grammy nomination, among many others. Luckily for us, she recently came back with “Scary People,” and this will be her first single of the year but not the last.

“Inspired by menacing political leaders and their selfless agendas, twisted corporations, war, violence, racial hate, sexual harassment, exploited religions…just to name a few,” shares Georgi.

“Scary People” is a song with many layers, with lots of bass and the vocals can be reminiscent of Peaches with a Madonna aftertaste, yes you heard that right.

Hit play and experience “Scary People” with your own senses! - Too Much Love

Das Soundkartell stellt Euch die Single „Scary People“ von Georgi Kay im Review vor.

"Scary People“ war der erste Kontakt, den ich bei der Songwriterin hatte. Die britisch-australische Pop-Musikerin hat dafür sofort von der ersten Sekunde eine Attitüde an den Tag gelegt, der sich wirklich zeigen lassen kann. Ich finde, man merkt einfach sofort den internationalen Flair, der über ihrem Sound liegt. Den gibt es nur so in diesen Gefilden und nicht in Deutschland. Ganz sicher.

Schon früh als Kind hatte Georgi schon Gedichte und kurze Geschichten niedergeschieben. Dann ging es ab auf die High School mit Gitarrenstunden und einer Band namens „The Vains“. Mit der hatte sie sogar einen Award gewonnen. Jetzt also ihr Soloprojekt und „Scary People“ ist nur mehr als eine Duftmarke. Diese Dame sollte man mit ihrem Appeal und dem Händchen für brillante Pop-Songs auf dem Schirm haben. - Soundkartell

The bitter truth is hard to swallow and something that tends to be avoided within our society. British-Australian artist, Georgi Kay, wants to change that, forcing us to really see what we are dealing with in new track, “Scary People.”

Needless to say, there are a million things to be frightened of, especially in our current political climate. Kay is opting for a more positive outlook on all of the hate out there: love.

“…love is something that those negative things and those bad people don’t have. They don’t have love, and if we keep that love alive then we can keep fighting,” Kay shared with Milk Media.

With infectious dark-pop sensibilities you can’t turn away from, Georgi Kay just might be everything the music world needs right now. - The Daily Listening

Perth, Australia: After impressing fans with her new direction on 2015s internet drop God of a Girl, Perth’s Georgi Kay has emerged in 2016 with her first big single since her platinum-selling, ARIA winning collaboration with Ivan Gough and Feenixpawl In My Mind.

More Than This is a dark electro-pop banger that headlines her accomplished new EP Origins, which has its global release on February 5.

Origins brings the strands of her past together, showing a mature artist with a strong commitment to song writing and a strong sense of her own muse. With her unique and distinctive voice and sound – part Sia, part Massive Attack, part Lorde – Georgi Kay is creating some of the most interesting and intelligent pop music in Australia.

The More Than This single is backed up by a dark video, which complements the edgy pop track.

“This is the last song I wrote for the EP, and it sparked from a very vague and short-lived relationship,” Georgi explained. “During its existence I felt this longing for us to evolve and be more, feel more than we were. The whole experience got me thinking about how we often start off restricted and limited by conventions we create and label ourselves- sexuality, spirituality, mentality or whatever- and how we end up craving to break free of those conventions to truly be ourselves and reach our fullest potential.”

Released globally on MONOKI through Parlophone Records, the EP is available to pre-order now ahead of its February 5 release. - Prodijee

If you could capture that feeling before a storm, when the clouds loom and the air is alive with static, the result might be similar to Georgi Kay’s new EP Origins.
Dark, hazy and charged, this second EP fromthe ARIA-winning indie musician sees her venture confidently into an edgy electro terrain.

Opener ‘Love Is Cold’ crawls under the skin with its club pulse, niggling electronic melodies and tangled strings and synths. ‘God Of A Girl’ layers on a thick, sultry groove à la Chet Faker, while the single ‘More Than This’ toys with catchy vocal warping. The reverb-heavy harmonies of ‘Give Me Love’ offer a lush, pillowy close to the five tracks.

Kay’s vocals are alluring. She’s a Lorde/Sarah Blasko hybrid; her words are filled with breath, emotion and rounded vowels. She sings of a topsy-turvy, gothic-stained world where love is cold, darkness is a comfort (“I want to feel the night wrap around me,”) and the all-powerful is but a reflection (“In the mirror / She’s the god of a girl”).

You’ll pop on Origins for a taste but the pulsating melodies and deliciously dark undertow will see you through to the end. You’ll be left hitting replay, too.
Georgi Kay's Origins is out now through Monoki/Parlophone. - Brag Magazine

There was a time when musical chameleon, Georgi Kay felt isolated. Her escape has always been music and to her - it's therapeutic. She is an unstoppable force who's ready to share her voice with the world.

You probably already know her from her past tours with Alpine, Clubfeet and Ed Sheeran. She has also won an ARIA award and has collaborated with some impressive names in the industry.

We sat down with the Kay to talk about her music predictions, her inspiration and of course, her new single 'God Of A Girl.'

In a nutshell, how did your journey in music begin?

GK: Ever since I was a little kid I’ve been into music, creative writing and story-telling.

It wasn’t until I won the 2010 WAM Song Of The Year award with my original song ‘Breakfast In Bedlam’ that I realised that singing, songwriting and music in general was my calling.

What kind of music do you listen to today?

GK: Mostly dark or euphoric beats, because that’s my general vibe.

Can you tell us about your new single God Of A Girl? What was the inspiration behind it?

GK: Being a loyal follower of Stephen King’s novels and sci fi/horror films in general, I decided to watch the film adaptations of ‘Carrie’ (both the 1976 and 2013 remake). I was immediately drawn to Carrie’s character.

That isolated part of me related to Carrie ... thus the idea of ‘God Of A Girl’ was formed – the story of a victim looking in the mirror and imagining that in her mind and in her world she was the complete opposite – an unstoppable force of power, impervious to pain and frighteningly beautiful. A God of a girl.

You are super busy juggling both music and an acting career. How do you handle the workload?

GK: Currently I’m not pursuing acting at all. I’m focusing solely on my music and what I represent as both a human being and an artist. There’s so much going on in the music world anyway – so I’m very happy keeping it simple. For now anyway!

What feelings or emotions are you trying to evoke with your music?

GK: Real ones! Raw and genuine. I guess because I’m not very good at showing my emotions face to face, I seek solace in writing and singing my songs – because they’re from the heart and soul. And I feel like that’s my way of expressing how I truly feel about love, life and everything in between. The whole process is very therapeutic for me.

What has been a highlight in your career so far?

GK: Definitely my ARIA award and Grammy nomination. Those are amazing achievements that I’m very proud of and grateful for – especially at such an early stage in my career.

Acting in and being part of the soundtrack in Jane Campion’s mini series ‘Top Of The Lake’ was a pretty incredible experience too. Definitely a highlight!

What are your music predictions?

GK: I like that production and songwriting are complimenting each other more in songs now, radio-played or otherwise.

A song should be one lone entity, with the music aiding the melody and lyrics – and vice versa. I’ve been so turned off by a lot of music in the past because of its 10% music and 90% vocals ratio. It’s often too much information and to be honest, less is more.

It’s nice to hear space in a song – let both the soundscape and the vocals breathe. It’s already beginning to happen in commercial radio, just listen to MO or Justin Bieber’s latest work - so I’m looking forward to hearing more of this vibe.

What is the one thing the music industry has taught you?

GK: Follow your passion – you’re the only one driving it and you’re the only one who’s going to love it as much as you do.

Don’t ever let others opinions shake you – unless they’re the opinions of those whom you look up to and respect.

When they’re valid and you can choose whether you wish to take them on board or not. But at the end of the day you must always stay true to yourself.

What advice do you have for aspiring young artists?

GK: Collaborate with other artists. Take risks and learn from your mistakes. Be bold and be brave, explore and experiment until you find your vibe. But most of all – stay focused, stay humble and have fun!

What’s next?

GK: Well! After releasing ‘God Of A Girl’ the next step is the release of the ‘God Of A Girl (Crash Acid Remix)’ by my good friend, DJ and insanely talented musician, Virgil Howe. After that comes the single off the ‘ORIGINS’ EP – ‘More Than This’.

I’m currently working on the music video edit and I’ve got a great remix of the track coming out in the clubs too.

Then comes the full EP with all 5 songs – inspired by my love for sci-fi/horror films and visuals, as well as past experiences in toxic and difficult relationships – both romantic and otherwise. Plus I’ve got a much-needed trip back to LA after Christmas, so I’m very excited for that!

I’m really pumped to hear what everyone thinks of my EP ‘ORIGINS’ as it unfolds over the next couple of months. I can’t wait.

'God Of A Girl' is available now on iTunes or for free download from Georgi Kay's website www.georgikay.com. - Fashion Weekly

GOLDEN BOY PRESS INTERVIEW #273
With an artist so sure of herself, in her creative ability, style, and sound, GEORGI KAY comes to talk with us about some intimate details involving her music career. KAY knows her creative process well, having a dark edge in her sound, she has a grasp of a corner of the music industry that hasn’t been in the spotlight recently due to the popularity of club mixes and underground EDM. But she’s bringing that spotlight back, recreating sorrowful and emotional pieces of work. With her recent work on the hit Netflix series, Residue, singing the main title called ‘Head Full Of Lies’, GEORGI KAY has reached a new era in her career. In this interview, we have a wonderful dialogue about the story behind the Residue track, her thoughts on the commercial music industry, and her love of rainy days in her London environment, and how that plays a role in her creations.

Could you introduce yourself?
Hello, I’m Georgi Kay. I like nature documentaries and mojitos.
I also like to write and sing about stuff.

Why music? What sparked your passion for this medium of expression?
It’s therapeutic and my way of releasing pent up emotions, thoughts and vibes in general. And nothing beats the groove of a pumping synth hook!

What’s your life philosophy? How do you try to apply that to your work?
Be yourself, work hard and stay humble. The only way to learn is through physical experience. Always try and make the most out of the opportunities that come your way.

Could you tell us one change you would like to see in the music world?
Bravery. There’s too much commercial content out there that’s “too safe”. Where’s the passion and hunger for individuality? Nothing beats an artist with a strong sense of creative direction.

As a music artist in the industry, do you feel that you have found your sound? Or are you still experimenting and trying new things?
I have a very strong sense of my sound. I was in limbo for a bit, but now I see things very clearly. Think Bladerunner meets Drive peppered with melodic pop hooks. “Beats you can drive to at night in your leather jacket” sorta vibes.

Do you mind telling us about your experience creating the title track to the hit Netflix series, Residue? How has this experience changed your outlook on the music world?
When I first met with Alex Garcia Lopez (director), I asked him one question: “How dark do you want me to go on this?”
He replied with the best response I’ve ever heard…
“How dark can you go?”
I’m a huge fan of sinister, dystopian sci-fi’s and horrors. So working on the Residue project was a very exciting time for me. I had complete creative control and was able to let loose on the ominous, cinematic vibes.
It was an experience that taught me that the music world has no limits – especially when you collaborate with other like-minded artists and alternative forms of creativity and vision. The analytical aspects disappear and you can let your imagination run wild. It’s a very liberating and exciting energy to be around.

How has your environment inspired your music? Do you feel that your current location is the place to be to forward your creativity?
I live in London currently. It’s a city that inspires me on a daily basis and there’s always something happening. I also watch a lot of sci-fi and horror/thriller films…so I really feel I’m in my element. My favourite days are the rainy, clouded sky - middle of winter days. I tend to work my best when it’s gloomy!

Are there any quotes you try to live your life by? Do you mind sharing?
“People die of common sense – one lost moment at a time. Life is but a moment, so burn always with the hardest flame.”
- Oscar Wilde, ‘The Picture of Dorian Gray’.

How has performing live affected your musical ability? Could you tell us how it feels to be up on the stage?
Nothing compares to the adrenaline rush and high intensity of playing live. Being on stage and hearing crowds sing your words is a beautifully surreal thing. It really is a feeling like no other.

Do you have any plans for music video releases soon?
When I write I always envision some sort of cinematic scenario to go along with the story I’m telling. So I’m always thinking about music videos!
I have a few in mind for my debut album which I’m planning to release early next year. Think abandoned churches and vigilante midnight city drives.

Who are a few of your music inspirations? Do you mind telling us why those specifically?
Depeche Mode, Lorde, Bjork and Broods to name a few. They are all very unique artists with a strong creative direction and killer sounds. Listening to their work makes me feel like I’ve been transported somewhere otherworldly and is very inspiring.

Where do you find sanctuary in the rush of the music world, where do you find peace?
I’ll usually find solace gaming on my PS4 or raving to deep house in the East End. I just bought a sweet condo on GTA V online that I’m super stoked about, haha! And I recently saw Tube & Berger live in Brixton, which was INSANE. Mind blown.

Are there any other projects you have your heart set on, that you don’t mind sharing?
A friend of mine is directing his first film, it’s a sci-fi urban thriller and I’m pretty excited to be a part of that, both in a musical sense and in acting.
I also have a couple of EDM/House collabs on the side that I’m working on. So keep your eyes and ears peeled.

What makes you happy?
Spaghetti Bolognese, comics, and cuddles.
Oh! And my GTA condo online.
Seriously, I have enough space for 10 vehicles in my garage AND I have a telescope in the kitchen.
Who needs a telescope in their kitchen?! Ridiculous.

Any closing comments?
Don’t eat yellow snow - Golden Boy Press

How different is your songwriting approach when it's to accompany someone else's creative endeavour for the screen? It's incredible. You're writing and collaborating with other talented and creative individuals in a process that has no limits, no restrictions and no boundaries. Everything you see and feel is all a matter of perception — it's up to you to bring to life the sounds you hear.

Does the director give a specific brief or a general outline for you to explore creatively? Alex Garcia (director of Residue) wanted me to perceive his series and all its elements in my own way. "How dark do you want it?" I asked. He said, "Well, how dark can you go?"

How much input does a director have throughout the process? After meeting the first time and being given my brief, we only met up one other time. It was in the post-production suites where I played my creation over some edited footage. It fit perfectly.

What's your favourite TV show theme and why? American Horror Story, hands down. It's so spooky and simplistic — the eeriness is all in the minimalism of the music. There's only a handful of elements, but they all share a purpose.

What's your favourite piece of film music and why? Vangelis' end titles from Ridley Scott's Blade Runner. It's haunting, sparse and atmospheric — just like the desolate structures and ominous vibes that plague the setting of this post-apocalyptic world. - theMusic.com.au

At 18, after a surprise nomination, Georgi Kay’s father made a deal with her that if she won one WA Music Industry Association Award, he’d let her have a cat. Cats Harley and China are a feline testament to the talent of this songwriter who responded to the challenge with a two-Award win.

Two years later, at the time she took home the APRA AMCOS Professional Development Award (PDA) in the Popular Contemporary category in 2013, the Perth-resident had already been performing for three years, had toured the country, had acted in a Jane Campion-directed tele-movie and had even recorded an album Backwardsforwards.

This early success might breed ambivalence in some, but not for this grounded singer/songwriter.

Georgi Kay said, “To be nominated was a thrill in itself. To win was phenomenal. With such respected judges and respected songwriters in the Awards, winning was a big thumbs up, it made me feel like I was on the right track.

“Apart from giving me the motivation to keep following my passion, the practical side of the Award - the prize - really helped. A better quality studio, great sound equipment, even the cash component, helped me to go to the next stage,” she said.

Georgi Kay moved to the UK shortly after the PDA win, where she signed with Parlophone and had no trouble settling back into London, where she was born.

“Since then, I feel like I am powered by my own steam. I do a lot of stuff with the support of others and a lot of stuff myself. One can’t exist without the other, like a marriage. I am driving things myself, it’s important to me to be independent and purposeful.

“Because I was, and still am, relatively young, the business side of music making was a learning curve. I set out to make the most of the opportunities. 2013, the year I won the PDA, was my ‘Year of Yes.’ I just took on everything that came my way, good and bad. I learnt bluntly how challenges actually feel, how to act on good advice and how to be empowered to make your own decisions.

“Through the PDA win I met some great people and was invited to be part of SongHubs Bali this year to give back support.

“The advice I would give to those considering entering the Professional Development Awards is that this will mark the point separating your passion from just a hobby. You have to remember to have fun too, stay strong, be humble and focus.

“APRA AMCOS has been 100 per cent supportive of me since day one. They have been in the sidelines supporting my passion and at the same time encouraging me to expose my kick-ass side,” she said.

Georgi’s music is informed as much by her father’s eclectic musical taste exposed in weekend family jam sessions (Springsteen to Aretha Franklin and The Doors) as it is by film, imagery, sci-fi and horror.

Georgi’s songs feature a strong female protagonist setting up an emotive scene, but are crafted with a male-oriented brevity and simplicity.

While Georgi has been busy in 2015 with no less than two single releases (‘Follow Me Part 1’ with Brodinski and ‘Head Full of Lies’ featured on the UK Netflix mini-series ‘Residue’) and is about to set off to LA SongHubs, she continues to experiment with her evolving style.

“I have a whole heap of material which I’ve written, so now it’s just about finessing them. I plan on giving these tracks back to my fans to share the love. The voice is organic, the sound more synthetic, more euphoric. I’m bursting to get on stage with this new sound.

While in LA, Georgi will attend sync showcases, drawn to the big and small screens which inform her music “Australian songwriters are very much out their to make their mark,” Georgi said, “It’s in the water.” - APRA AMCOS Australia

With a passion for songwriting, the ability to create unforgettable toplines and her unique vocal style, GEORGI KAY is fast becoming one of the most talked about and identifiable female artists.

As the original writer of “In My Mind” originally recorded with Ivan Gough and Feenixpawl, and later remixed by Swedish House Mafia’s Axwell and Flo Rida and comprised in DJ sets the world over by the likes of Axwell, Avicii, Tiesto, Carl Cox, Thomas Gold and David Guetta, Georgi is readily identifiable as a stand out writer and vocalist in the world of popular electronic music. “In My Mind” has earned Georgi ARIA and APRA Music Awards and a Grammy nomination. Georgi has collaborated with the cream of the world’s DJ’s and Producers including Tiesto, Brodinski, Faruk Sabanci, Promise Land, Walden, Steve Aoki, Disciples and Kygo to create some of the biggest dance and club anthems presented to a worldwide audience.

Developing her own “dark electronic pop” sound, Georgi has composed original works for film and television including the productions, Top of the Lake and Residue and the forthcoming feature film, Sleight and is now hard at work promoting her current singles, “God of a Girl” and “More Than This” ahead of her debut EP release in early 2016. - American Australian Association

One local musician we’re keeping a close eye on this year is the broody alt pop singer Georgi Kay. Already making serious waves with her platinum-selling, ARIA-winning, Grammy-nominated track ‘In My Mind’ with Swedish House Mafia’s Axwell (which has today copped over 14M views online) she’s now gearing up to unveil the video to her stunning new track ‘More Than This’.

A fresh cut from her upcoming ORIGINS EP (pre-order here), the clip was directed by Matsu and produced by Jess Parker.

Georgi explains the message behind the clip: “All tied up in ropes and restraints in the depths of an abandoned basement, ‘More Than This’ refers to how we often start off restricting and limiting ourselves by conventions and labels we create – sexuality, spirituality, mentality, etc – and how we end up craving to break free of those conventions and truly express ourselves by reaching our fullest potential.” - Tone Deaf

After spending months away shacked up in a cabin writing songs somewhere in the USA, Perth’s Georgi Kay is back with her latest EP Origins.

The indie pop sensation first hit the scene when she began playing lead guitar for rock group The Vains. In 2009, she made the decision to go it alone and has been turning heads with her music ever since.

Fast-forward to the present day, and the 22-year-old has two EPs to her name, plenty of accolades and is enjoying life to the fullest. Her recent trip to LA saw her stuck in a blizzard in New York City during a performance for G’Day USA, hiking around the LA mountains – getting lost in the process without phone service (yikes!) and putting words to paper. Despite all the excitement, Kay said she enjoyed visiting the Californian city any chance she gets.

“L.A is one of my favourite places in the world,” she said.

“There’s so much there to explore and so many incredible opportunities to make the most of. In terms of making music, it’s a very inspiring place and I know a lot of lovely souls there too.”

Being inspired to write songs after watching and reading classic horror stories Frankenstein and Carrie, the singer-songwriter’s new record is an homage to who she is as an artist and human being.

“Despite previous releases I’ve had, this EP feels like the true first, so I’m very, very excited about it. It’s my soul in listenable form. It’s where I’ve come from and it’s a taster that pushes towards the direction I’m going musically.”

Kay’s previous EP In My Mind, released in 2013, steered clear of a soul-searching concept but the ARIA award-winning musician felt she was more than ready to reflect back on her current journey.

“I wrote how I felt. Like a boxer hitting the bag or a biker hitting the open road, songwriting is my kind of therapy,” Kay said.

Tracks God of a Girl and More Than This were our first samples from the new EP – both of which were indicators of a sombre transition from her earlier material.

“They were written during times in which I felt raw, unpolished emotions. They also pay homage to my loves and inspirations for horror films, dark electronic synths and descriptive, emotive writing style,” Kay said.

Her accompanying music video for More Than This delves deep into symbolic territory, depicting a restrained Kay who as the clip progresses frees herself from confinement – all the while visually shrouded in darkness and shadow.

You’d think after so many hits, famous collaborations and innovative concepts her creativity would start to wane but lucky for us, she’s a gift that keeps on giving.

“I guess it’s something that comes very naturally to me, or maybe I just see things differently. Either way, I really enjoy it and it inspires me for new ideas in the future,” Kay said.

In its entirety Origins is a strong effort from the singer-songwriter – a synth pop gem that has us all hooked. We won’t have to wait long for more material though, as she has a few feature releases in the works throughout the year.

Check out Georgi Kay’s latest single More Than This below and tell us what you think. - Music Insight