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Portrait of RAY ISAAC



merrylands, Australia

Ray Isaac is an unsigned independent SINGER-SONGWRITER-DJ who over nine years has shaped himself into a brand that is sought after by producers and labels that admire his intoxicating lyrics and his insanely original performance style. Based in Sydney, his signature style expresses pain, love and redemption that moves fiercely between fear and functional and has placed him in a position to dictate his own brand of pop-infused soul. His single ‘I don’t give a damn’, released through Ministry of Sound (2007), strumpets through the confines of genre and sounds like a redux lesson in all that is good about pop music. No small feat for an artist that boasts an extensive repertoire monopolising all music fields. His 2007 follow-up track ‘Such a Fool’ (EXM Records) is an all-consuming lyrical narrative that morphs quickly into a raw disclosure of modest insight. That’s the way Ray is – all or nothing – when speaking about his infectious talent. Collaborations with Nick Jay (‘I don’t give a damn’), Nick Galea (‘Everyday’) and the inclusion of two new songs for the soon-to-be released film ‘Cedar Boys’(2009) has cemented Ray as a formidable songwriter and performer. As the co-creative director and music coordinator for the burlesque cabaret show ‘Dollies and Soldiers’ (2009) which tours Sydney to massive audiences, he has emerged as an entrepreneur in his field to shift between eggshell fragility and trouser-flapping hugeness in one flick. ‘In and Out’ (2009) released by Mediadrive Records, was released to coincide with his full album demo ‘Goodbye Innocence’ (2009) suggesting that Ray himself was a force to be reckoned with whilst demonstrating his musical sophistication. Ray has collaborated with remixers Goodwill, Goodyear, Dirt Brothers, Dennis Christopher and Groove Hunter to achieve his unique style and lyrical ‘redux’ and more recently with Max Panna (Soulcast Records) for a dance release in the UK. With a background of study at the Actors pulse, Ray acts up to the crowd in his new re-invention of DJ by teasing his audience with pop/house remixes saturated with tribal undertones in brooding arrangements that hark back to the day of old-fashioned hands-in-the-air fanfare. His success is built on his ability to combine, as illustrated by Time Out Sydney, a brilliant ‘electro retro-funk’ vibe to ignite his audience into a frenzy. Together with his desire to create and impress both the media and himself, Ray’s Las Vegas bravado will cement his place in an ever-changing scene in which he has an insatiable hunger for, yet still avoiding contained statements of boundaries. Soon the buzz surrounding Ray Isaac will become a roar.

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Portrait of RAY ISAAC