LOST DOGS OF ULTIMO | INTERVIEW + TRACK REVIEW

With a name as evocative as their sound, Lost Dogs of Ultimo continues to carve a space where music meets movement—where genre-blending, activism, and storytelling collide. Their latest release Spanish Fly, created in collaboration with Spanish-language artist Jazz Minero, is a hypnotic fusion of beats, samples, and textured vocals that pushes the boundaries of language, sound, and purpose.

Born from a shared love of punk energy and experimental spirit, Spanish Fly is more than just a track—it’s a statement. We caught up with the collective to dive into the story behind the song, how connection across continents came to life in the studio, and why collaboration, message, and community remain at the heart of everything they do.

TRACK REVIEW

Spanish Fly hits with a riff straight from the funk heavens—Nile Rodgers himself would be stoked on this one. There’s an intensity running through the track, with heavy bass and synth lines cutting deep and keeping the energy dialled up from start to finish.

The vocal work is super intriguing, layered and unpredictable in the best way. It draws you in, adding a mysterious edge to the driving groove underneath. You can easily picture this one absolutely going off live—headbanging in the middle of a festival crowd at Rabbits Eat Lettuce or Woodford Folk Festival.

The 808 bass hits like a tidal wave, carrying the whole track with a relentless pulse that you can’t help but move to. Spanish Fly is a wild, genre-blurring ride that proves Lost Dogs of Ultimo know exactly how to turn a track into a full-body experience.

LISTEN HERE

Tell us about the story behind “Spanish Fly”, what inspired the track, and what message or mood were you aiming to capture?

Spanish Fly started from an idea I had to produce a track in a non-English language. I wanted to expand my skills by using the voice as an instrument to emphasise the energy in the song.

You recently collaborated with Jazz Minero, how did that collaboration come about, and what did they bring to the track that took it somewhere new?

I got introduced to Jazz Minero through a Pennsylvania radio show I listen to. I reached out to him through social media and we realised we both enjoy Aussie punk music—Radio Birdman, New Christs, and The Hard Ons. I mentioned Rob Younger had produced my first album Taste This by Bits Of Kids (Sydney), and we agreed to work on a song. He brought his incredible, unique style to the mix using vocals in Spanish with beats and samples to create a very distinctive sound.

The Lost Dogs of Ultimo project seems to live at the intersection of music, activism, and storytelling. How does Spanish Fly fit into that broader mission?

Lost Dogs Of Ultimo is a collective of artists, musicians and activists. Celebrating diversity and equality is paramount. Working with Jazz Minero brings that message to a greater audience using language and the collective mission statement. We knock down walls and kick in doors.

There’s a cinematic feel to your work. When you’re composing, are you thinking visually, or does that filmic atmosphere come naturally through the music?

Yes, I have a thing—when I listen to music I can visualise imagery, and as I compose a track, that imagery gets stronger and helps direct the song. When I bring in more instruments and sounds, it constantly evolves as I build the track.

Jazz Minero is known for genre-blending and sonic exploration. What was the creative process like working together, and how did it challenge or enhance your usual approach?

Yeah, Jazz Minero is an incredible sound and visual artist, and I was a little nervous exposing my own limitations. But he was very easy to work with and incredibly generous to trust me with his art. I found the whole process very liberating—crossing language and distance—and it has brought us both together as artists and friends.

Your music often feels like a call to reflect or even take action. What themes or causes are most central to the Lost Dogs of Ultimo project right now?

Lost Dogs Of Ultimo like to stimulate dialogue and thought. We have touched on the topics of death, mental health, environment, and Indigenous rights. These topics are always relevant to us and our community, so we will keep highlighting and discussing them through our music and art.

You describe the project as “soundtracks to life.” What kinds of moments or experiences do you most hope your music connects to in your listeners’ lives?

Being a message-based project allows us to connect and reach out to our community—or anyone that feels marginalised and wants to have a voice.

How important is collaboration in your process, and what do you look for in an artist when deciding to create together?

Collaboration is the life force that keeps this project alive. Music, art, and poetry is culture. What we do is bring people together. Our collective is not just performers—it consists equally of sound engineers, technicians, visual creators, and digital artists that deliver this project.

Everyone involved believes in the same ideals and principles of love, respect, and trust.

What has the reception to Spanish Fly been like so far, and has any listener feedback stuck with you in particular?

We have had an incredible response to Spanish Fly so far—getting played on radio in the UK. Here, we have enormous support in Melbourne from radio station 3CR and some great reviews on the track regarding the fusion of genres and the experimental sound we have created with this song.

What’s coming next for Lost Dogs of Ultimo—more collaborations, new directions, or anything else you’d like to tease?

Lost Dogs Of Ultimo’s next project will be a story about the current global crisis resulting from the use of oligarchy. Stay tuned—it’s going to be a rough ride, and please support each other through the chaos.

LISTEN HERE