NYC-via-Seoul electronic producer, DJ, and vocalist Yaeji has announced the release of a new mixtape titled WHAT WE DREW 우리가 그려왔던, due out April 2 on XL Recordings / Remote Control Records. To introduce the new project, her first full-length mixtape and release on XL Recordings, Yaeji has shared a new animated music video for the lead single ‘Waking Up Down’.
Inspired by classic anime opening sequences and based entirely on Yaeji’s own original character designs and illustrations, the music video for ‘Waking Up Down’ was created by Yaeji with direction and further illustration by her close friend Annie Zhao and production by Studio Yotta. Entirely self-produced, the song walks the line between DIY pop and underground club music, with English and Korean lyrics about the simple euphoria of young adulthood. Throughout the song, Yaeji celebrates the little things in life, small victories like staying on top of to-do lists, making home-cooked meals, and having empathy for others, while admitting these don’t come easy. In the end Yaeji, with the help of some friends in the form of “masters” of her daily tasks, achieves her final form as she reaches her goals.
WHAT WE DREW 우리가 그려왔던 is titled intentionally; for Yaeji, the title captures the spirit of the project as a whole which she explains, “is so much about friendship, family, gratitude and support – support that I’ve felt, that I’ve given, and that we all share.” Produced entirely by Yaeji over the course of two years, she started writing the music for WHAT WE DREW with no specific narrative in mind, each track becoming a snippet of her life, a look into her diary. This total sense of freedom in her newly-built design and recording studio in Brooklyn allowed her to draw on a wide range of sounds, including the Korean indie rock and electronica that she listened to as a teenager in Seoul, and late ’90s and early 2000s hip hop and R&B she grew up listening to. The guests featured on the project represent her community in New York City and beyond, including Brooklyn-via-Oakland rapper Nappy Nina, London performance artist Victoria Sin, London producer Shy One, and Tokyo DJ and producer YonYon; tracks like “FREE INTERLUDE,” featuring Lil Fayo, trenchcoat, and Sweet Pea, capture the open and collaborative spirit of afternoons at Yaeji headquarters. Although the mixtape is much indebted to Yaeji’s newfound laser-focused creative vision and self-taught production work, it’s largely informed by her network of close-knit collaborators and friends.
Since the release of Yaeji’s 2017 EP’s (Yaeji and EP2), which broke her out as one of the most exciting new voices in dance music, she’s produced remixes for Charlie XCX and Robyn, sold out two headlining worldwide tours, and was included on the BBC’s Sound of 2018 list. In the midst of her swift rise, she has remained devoted to New York’s underground dance music scene; in 2019, Yaeji curated and organized Elancia, a massive Brooklyn warehouse rave where she gave her favourite local parties headlining slots. An artist who many pegged as the one to watch, Yaeji now aims beyond expectations, with an eye toward the worlds of music production, visual art, game design and more.
Pre-save Yaeji – WHAT WE DREW 우리가 그려왔던 via https://yaeji.ffm.to/
|
Before the hangovers from their massive national tour with Dune Rats, Ruby Fields and Dear Seattle have even subsided, TOTTY today announce their own national headline tour alongside news their hotly awaited sophomore EP ‘Garden’ will be released on the 8th of May through Ratbag Records/BMG.
The Garden tour will take in Sydney, Wollongong, Brisbane, Melbourne and Adelaide this May and June and the band can’t wait to hit the road, saying “We’re so excited to have our very own headline tour to show yas the new songs and rock as hard as we can. We’ve been working on these songs for a long time and we cant wait for you to hear them and sing them with us.” Joining them on all shows will be punk-rock duo Debbies who are celebrating the release of their latest single ‘Waking Up In LA’.
Last year the Wollongong shed-rock three piece lifted the lid on the first single from the EP in ‘Lucky’ which resonated with radio. It was swiftly added to rotation at triple j and sat in their Top 50 Most Played for a month, ultimately reaching #13. They then completed their own headline tour full of sold out dates, and fronted the camera for an Aus Music Month shoot with General Pants. The second offering came at the end of last month with the release of ‘Fairies’, a loud and more grungier track showing of their raucous energy.
Never ones to shy away from the tour van, TOTTY have played alongside names like SKEGGS, Hockey Dad and Slowly Slowly as well as the festival stages of Falls Festival, Yours & Owls, Fairgrounds, Farmer and the Owl and Grow Your Own ensuring they know how to enthral a crowd – and they will this winter.
TOTTY
‘GARDEN’ EP
OUT MAY 8TH VIA RATBAG RECORDS/BMG
PRESAVE HERE
GARDEN TOUR
Saturday, May 16th
The Lansdowne, Sydney
Friday, May 22nd
La La Las, Wollongong
Friday, May 29th
Crowbar, Brisbane
Friday, June 5th
The Tote, Melbourne
Saturday, June 6th
Exeter Beer Garden, Adelaide
TICKETS AT www.tottyband.com
ANTISKEPTIC – It’s been over ten years since the original lineup of rock band Antiskeptic finished up after a ten year career that spanned a massive 1000 shows worldwide. So, it is with HUGE excitement that we can announce the return of this much loved trio to Adelaide, one of their most requested cities to visit. With a newfound fire and passion burning brighter than ever, this is not just a reunion – ANTISKEPTIC ARE BACK.
S.T.R -These guys need no introduction. One of Adelaide’s hardest working pop punk bands threw in the towel around 2005 and promised to never play again. We were told over and over a sold out reunion in 2011 was “more than enough” & “you’re a glutton for punishment”, but here we are. We also hear from the grapevine there might be a vinyl of “When Words Fail” released for the show.
This massive night will be opened up by no other than Adelaide’s MOVE TO STRIKE, also reforming for one more goodbye.
Bands from 720pm. Tickets on sale 9am (SA Time) March 12th from www.chopdogentertainment.com.
Set your alarm, because these will not last long.
DRAB QUEEN
GIRLS OF THE INTERNET – ‘I DON’T WANNA LOSE YOU’
FT. OLIVIA LOUISE
OUT NOW
Girls Of The Internet have been on an unstoppable trajectory over the last few years, with their brand of future facing house and soul music. They now step into the new decade with ‘I Don’t Wanna Lose You’ ft. Olivia Louise, the first single taken from their forthcoming second album ‘Girls FM’ out on their own Drab Queen imprint. The album will follow the Girls Of The Internet signature sound and individuality, with the singles artwork featuring a newly painted piece for all nine signatures by Girls Of The Internet’s writer and producer, Tom Kerridge.
“The new album as a whole, pushes the role of Girls of the Internet ‘the band’ even further than we did with “SYRUP”. I have grown up around sampled music, and I love it dearly, but how much longer can we keep pinching loops from 70’s soul and disco records? We play every rhodes piano, every bass guitar, we write our own songs. I want to see house music moving into the future, and that seems difficult if we’re still sampling the same records they did in the 90’s.”
– Girls Of The Internet
2019 saw them release their debut album ‘SYRUP’, to universal acclaim. Achieving the accolade of being included in BBC Radio 6’s ‘Albums Of The Year’ List, further radio support came from esteemed broadcasters such as Gilles Peterson, Mary Anne Hobbs, Tom Ravenscroft, Mista Jam, Nemone, Lauren Laverne and Toddla T. Playing at iconic venues around Europe, Girls Of The Internet has earned key stamps of approval across the board from The Black Madonna, Basement Jaxx, Claptone, Axel Boman, Nightmares On Wax, Joe Goddard, Motor City Drum Ensemble, Saoirse, Mark Broom and Horse Meat Disco.
After fielding offers from a variety of record labels, Girls’ have decided to keep hold of their independence and the rights to their music, joining a long list of successful artists who are taking on the music industry on their own terms.
“I was very keen to work with Olivia again – she delivered the standout cut on our debut, and aside from “When U Go”, it’s the track we get most attention from. Our mix of techno/disco with her breathy R&B is so interesting to me, and a concept we are continuing through “Girls FM”.”
– Girls Of The Internet
Setting the scene of what’s to come, ‘I Don’t Wanna Lose You’ sees the band take the conventions of disco and house and propel it into the future. Featuring vocalist Olivia Louise, who appeared on one of the standout tracks from 2019’s, ‘SYRUP’; Olivia delivers her trademark smooth RnB vocals over Girls’ disco bass, saturated analogue chords and thumping drum machines. Girls Of The Internet deliberately blur the lines between electronic and live music. In a world of sampling others, Girls proudly create their own sounds.
Girls Of The Internet ‘I Don’t Wanna Lose You’ ft. Olivia Louse is available now via Drab Queen.
|
|
““Cynical Serene” is typically, wondrously PEARS. It’s 139 seconds of punk fury with a vocal breakdown seemingly recorded in scenic Laurel Canyon, California, enhanced by bongloads of righteous boo. And while you may be familiar with the band’s brevity and velocity, you’re going to wonder what happened at the end of the song. (Spoiler alert: That’s where the “serenity” comes in.).”
–ALTERNATIVE PRESS
“PEARS high energy tracks have stemmed from their deeply seeded punk roots that have defined a resurgence for their musical scene with their own brand of hardcore-punk.” – HYSTERIA MAGAZINE
“I was perfectly prepared to have my Blue Album already,” Quinn says, laughing. “That whole fucking cliché of ‘Our best record’s behind us.’
With the release of PEARS on Fat Wreck Chords), Quinn says, “Maybe not!” But there’s no maybe about it. PEARS is a significant step forward for a band that has grown by leaps and bounds on each album.
Recorded with Chris Fogal (The Gamits) at Black in Bluhm Studio in Denver, PEARS is 14 songs and 31 minutes of the band’s signature hardcore: heavy, melodic, blistering, pointed, and surprisingly catchy. While it continues down the path set by Green Starand 2015’s Go to Prison, PEARS finds the band taking a different creative approach.
“The last PEARS record, almost every detail was worked out before we ever stepped foot into the studio,” Quinn explains. “This record, we went in with skeletons of songs and put things together on the fly. ”
“We never could afford the studio time to be in there 24/7,” adds guitarist/vocalist Brian Pretus. “A couple of songs ended up being stuff that we wrote on the spot.”
Those include “Naptime,” which moves from loping pop to group-chant hardcore in the space of two minutes, and penultimate track “Traveling Time,” which Pretus describes as a “palate cleanser.” Basically, a mid-tempo pop song, “Traveling Time” began as a Quinn solo track but found its way onto PEARS thanks to the band’s more open studio approach.
“Collectively, we figured we’ve danced around pop music our entire career so far,” Quinn says, “but we were like, ‘Let’s just do a full-on fucking pop tune. Why not?”
“Full on” is a good descriptor for PEARS in general. The album opens with feedback at the beginning of the riff-heavy “Killing Me” and closes when the even riff-heavier “Cynical Serene” (whose opening plays like Nirvana by way of Hum). In between are 12 songs that shake with can’t-sit-still energy, as the band—rounded out by the ace rhythm section of bassist Erich Goodyear and drummer Jarret Nathan—shifts on a dime between parts and sounds. Elements of prog and grunge intermingle with classic hardcore and hook-laden rock—and it can happen in the space of one song. (In this case, “Worm.”)
Atop all of it are Quinn’s voice and words, which took a different approach as well on this album.
“I thought that I was going to continue the absurdist poetry thing that started with Go to Prison and amplified on Green Star,” he says. Describing Green Star as “The Iliad with shit and cum,” Quinn notes that this time, “The songs are about shit.”
Not shit in the “shit and cum” sense. Quinn writes directly about getting older (“Traveling Time”), moving past anger (“Nervous”), and the prospect of never having a family (“Daughter”), among other topics, all with the wit and candor PEARS fans have come to expect from the explosive frontman.
“It makes perfect sense that this is the third act, but it’s not what I would have predicted it to be,” Quinn says. “I wouldn’t have guessed that the album would end on a bittersweet note. It’s more uplifting than either record that we’ve done, but it’s not a happy record.”
It’s a great record regardless. PEARS will take it on the road extensively in the coming year, with tours in the U.S., Europe, Australia, Japan, and South America.
PEARS – AUSTRALIAN TOUR 2020
May 28 – Singing Bird Studios, Frankston
Tickets
May 29 – Bendigo Hotel, Melbourne
Tickets
May 30 – Hotel Metro, Adelaide
Tickets
May 31 – The Den, Perth
Tickets
June 1 – Margaret River Football Club, WA
Tickets at the door
June 3 – Transit Bar, Canberra
Tickets
June 4 – Hamilton Station Hotel, Newcastle – Free Entry
June 5 – Bearded Lady, Brisbane
Tickets
June 6 – Vinnie’s Dive, Gold Coast
Tickets
June 7- Frankie’s Pizza, Sydney – Free Entry
Tickets on sale now.
For complete tour and ticket information, visit:
pearstheband.com
It all started in Autumn of 2018 when Josh Milan announced his 50th birthday party that took place in Greece. Fun, friends and our music family from all over the world responded to the call. Last Summer we all experienced and shared the emotions and music at this extremely beautiful event. June 20-23rd 2019, Cariocas Beach Bar was the place to be.
No one was surprised when Josh took the mic on the last day of the party and announced, what everyone who attended wanted to hear, “We are doing it again!” It was the promise we all wanted him to make. And that promise is being kept.
Cariocas is the secret festival location that you have been dreaming of, nestled just 30 minutes from Athens, this idyllic hedonist is the perfect escape, surrounded by breathtaking scenery and the blissful Mediterranean lapping on its beachfront stage.
Over the course of the summer season a number of festival gatherings will take place kicking off with Josh Milan’s 51st Birthday Party. The event returns to Cariocas again in 2020 across June 25th to 28th, for 4 days of the most beautiful beach, delicious food, great musical entertainment by some award-winning artists, beautiful people and beautiful vibes.
Josh’s list of DJ’s and entertainers is forever growing. This year, super funkateer, and multitalented singer/songwriter Amp Fiddler will be blessing us with a full on set of his tunes. Also, the legendary, iconic Soul Singer, Omar will grace the stage with his presence. Honeycomb music’s own Dawn Tallman will be doing a performance. We’re all excited about the performing artist, but of course there’s the DJ’s! Grammy Award winning DJ Louie Vega, super producer DJ Atjazz will bless ya with a set. Celebrated producer DJ Jihad Muhammad will be there to bless us with his set. Honeycomb Music’s own Tracy Brathwaite will be there to perform her hits. To top it all off, Cariocas’ own Anna K and Sunshine Pedro will be there to represent the thriving Greek DJ Scene.
Josh Milan’s Birthday Party offers an intimate celebration on the Gulf of Corinth, where you can dance on the sand under your feet to sultry Jazz, Soulful and laid back house beats. This gathering is as much about enjoying the greek approach to the laid back lifestyle. This party offers something for all and a welcoming atmosphere that is hard to find anywhere else in the world.
To quote Josh: “A massive thank you to all who are coming back. It makes us so happy to see your smiling faces again! And a massive welcome to those joining us for the first time. Come be a part of our family. It’s all about love with us. The time is starting to tick away. Spaces are limited and tickets are selling fast. Don’t let the time get away from you. This is a guaranteed summer party you’ll never forget!”
Cariocas: www.cariocas.gr
FB: www.facebook.com/
Insta: www.instagram.com/
Josh Turns 51 official: www.cariocas.gr/joshmilan
Event Tickets: http://bit.ly/Josh2020_
What’s the charge? The Chats have released yet another unforgettable video for their latest track, Dine N Dash, the fifth single taken from The Chats’ debut album High Risk Behaviour, out March 27. In true Chats fashion, Dine N Dash is fierce, funny, sweaty and sub-two-minutes.The video, directed by Matt Weston, finds The Chats in an unfamiliar environment, eating a meal, a succulent steakhouse meal, while embracing the piss poor status of their wallets and outright brazenness to get a decent feed.
*DISCLAIMER: The Chats DO NOT condone the old Dine N Dash, they just like it.*
“We filmed at Walters steakhouse in Brisbane. It was the best steak I’ve had. Definitely gave the bowlsie a run for its money. No mushy gravy thou. – Josh Price
“Ya know you’re in a fancy restaurant when the chips and salad aren’t included”- Eamon Sandwith
View it below and be sure to watch till the very end, it’d be a crime not to.
To celebrate the visual and aural feast that Dine N Dash delivers, the band have just announced the High Risk Behavior Australian album tour, kicking off at Splendour in the Grass on July 25 and hitting all major cities in August, tickets are on-sale now.TA TA AND FAREWELL!
PHOTOGRAPHY: NATE HILL
WORDS: CHRIS BROOKS
Kikagaku Moyo graced the Melbourne Croxton Bandroom stage with a psychedelic aura that could be felt and seen immediately without the need of a Kirlian camera or even the assistance of a sense enhancing substance. Hailing all the way from Japan, what a blessing it is to have such an act perform on a Aussie soil.
The musical chemistry within Kikagaku Moyo was electrifying as the energy was teaming throughout the hot and sweaty Croxton. The band members reverberated musical notes of each with ease an effortlessness that usually only comes through a family like relationship or very close and intimate friendships, the passing of human emotion through musical notes is what in essence music is all about, Kikagaku Moyo are an extraordinary exemplification of music in form.
The Croxton audience were taken on a fun and sexy psychedelic/hypnotic roller coaster of love rock, at times reaching a euphoric sense of a transcending meditative state, a truly out of this world, out of body experience.
Kikagaku Moyo performed with wholehearted finesse and a refined Japanese flavour that will always be leaving you asking for more.
PHOTOGRAPHY: NATE HILL
WORDS: CHRIS BROOKS
Melbourne’s Nat Vazer is excited to reveal her latest indie pop crooner ‘Grateful’.
Out today, ‘Grateful’ joins beloved 2019 latecomer ‘Like Demi’, to appear on Vazer’s forthcoming debut album arriving mid-year via Hotel Motel Records. The anticipated release follows in the wake of Vazer’s 2018 EP We Used to Have Real Conversations, which featured breaking single ‘Keep Away From Parks’ and crowd favourite ‘Struggletown’. Fans of Nat Vazer’s distinct vocal charm and tender lyricism can revel in the palpable slacker-rock energy of ‘Grateful’ live when Vazer and her band head up the East Coast for a run of launch shows this March.
In ‘Grateful‘ it’s as if Vazer is gathering her thoughts live on record. Her stream-of-consciousness ponderings are highly considered, eloquent and raw, strewn over cathartic outbursts of ‘90s grunge and powerful guitar licks. A song navigating social equity in Australia and beyond, ‘Grateful’ situates Vazer as a leading voice of her generation, nestling in comfortably beside such indie contemporaries as Courtney Barnett Lucy Dacus, or Stella Donnelly. Produced by Robert Muiños (Julia Jacklin, Saskwatch) and featuring a fiery solo from bandmate Andy Campbell, ‘Grateful’ presents a nostalgic trip down memory lane from angst-ridden adolescence to budding sisterhood and beyond.
“‘Grateful’ is an ode to all the inspiring female artists and role models out there, and a vent about the ongoing uphill battle for social equality. It’s about acknowledgement and respect, with a sprinkle of sarcasm and the kind of non-conformist attitude that used to make my Year 10 English teacher say, ‘girls like you are exactly what’s wrong with the world.’ In my head this song takes place in a hot, cowboy-esque desert town with smokey synths and tambourines in the same vein as The Brian Jonestown Massacre. In writing the guitar and drum parts, my artist child took a trip down memory lane and revisited old influences like Nirvana, The Dandy Warhols and The Beatles who had a real influence on my early days of guitar playing as a teen.” – Nat Vazer
Nat Vazer’s fast-growing reputation as an intricate songwriter and enthralling live performer have landed her support slots for Last Dinosaurs, #1 Dads, Carla Geneve, The Magic Numbers (UK) and a Victorian tour with Lime Cordiale. Performances at St Kilda Festival, Kyneton Music Festival, Changes, Not Fest and more have cemented Vazer as a prominent live force who can captivate audiences at large, both with and without her full live band. Nat is thrilled to be celebrating her latest release with an East Coast ‘Grateful’ single tour this autumn, hitting up Melbourne, Sydney, Canberra and Newcastle to support US band Twin Peaks. So be sure to head on down to your local to hear some of Nat Vazer’s whimsical storytelling with a bite of feminist defiance.
‘Grateful’ Single Launch Tour
Melbourne
Saturday 28 March – The Old Bar
Double Single Launch With Good Pash
Supported by Eaglemont + AM Reruns
Tickets: theoldbar.com.au
Thirroul
Wednesday 8 April 2020 – Franks Wild Years
Supports TBA
More info: frankswildyears.com
Newcastle
Thursday 9 April – Small Ballroom
Supporting Twin Peaks (US)
Tickets: Oztix
Canberra
Friday 10 April – Smiths Alternative
National Anti Folk Festival
Tickets: smithsalternative.com
Sydney
Saturday 11 April – Golden Age Cinema
Support From Goodside
Free Entry
www.ourgoldenage.com.au/live-
Melbourne
Saturday 18 April – Rocksteady Records
Record Store Day 2020 – Full Line Up TBA
Free Entry and All Ages
‘Grateful’ is out now via Hotel Motel Records
‘Grateful’ Co-produced by Robert Muiños and Nat Vazer
Mixed by Ali Chant
Mastered by John Davis
GRATEFUL – Lyrics
There’s that girl who you adore
Hanging on that poster wall
She climbed so high, she broke the ceiling
There’s that girl who you applaud
She paved the way for us all
So we can do it once more, with feeling
And they tell me I should be grateful
And I’ve been waiting for a girl like you
The broken system’s broken me down too
And I’ve been waiting for a girl like you
There’s that girl who you adore
Hanging on that poster wall
She climbed so high, she broke the ceiling
So we can do it once more, with feeling
They tell me it could be easy
And I should be grateful, I should be grateful
Grateful to my own mother?
Grateful to fill the quota?
Just somebody else’s lover?
Just a significant ‘other’?
And I should be grateful?
I should be grateful?
|
APPEARING AT SXSW 2020
“Atmospheric rock music veering between noise and subtlety — so compelling …
a hopeful new chapter.” – Pitchfork
“Wynn’s talk/sung vocals still reverberate like a combination of Lou Reed, Dylan and Michael Stipe, but he has a unique voice that connects perfectly with this gripping music.” – American Songwriter
“This is passionate and rewarding music from artists still exploring new territory with truly satisfying results.” – All Music Guide
LA indie rock forbearers The Dream Syndicate are announcing their third ANTI- Records release today. Titled The Universe Inside, the mind-bending new album will be released on April 10. First single “The Regulator” kicks in instantly; at twenty minutes long, immerse yourself in the song and watch its new video HERE.
Directed by David Daglish, the video is a psychedelic journey through New York City, equal parts panoramic, psychedelic, somnambulistic and political in all the best ways. George Harrison once said, “arrive without traveling.” This is your ticket to The Universe Inside.
Reminiscent of 70s Miles Davis and his chaotic brilliance, the track starts all fired up. Over of the course of the song, textures of eastern droning electric sitar (played by Stephen McCarthy of The Long Ryders), deep funky bass, haunting vocals, and saxophone flourishes by guest Marcus Tenney (a member of all-instrumental progressive ensemble Butcher Brown) grow into something delightful and unexpected.
When one thinks of The Dream Syndicate, it is not just the wild abandon with which singer/guitarist Steve Wynn, drummer Dennis Duck, bassist Mark Walton, keyboardist Chris Cacavas and lead guitarist Jason Victor perform; it is the carefully constructed songwriting of Wynn that comes to mind. By now every rock critic in the country has predetermined who he or she feels Wynn reminds them of and what they think of that style of songs. This time, don’t! For the first time, every song is a group songwriting effort.
““The Regulator” is a microcosm of the entire record,” Wynn explains. “It was just a formless, trippy mass as we all started playing together. There was an early 70’s drum machine—a Maestro Rhythm King, the same model used on “There’s A Riot Goin’ On”—with Dennis locking in and setting the pace. Stephen grabbed an electric sitar because it was the first thing he saw. Jason and I were kicking pedals on like lab monkeys in a laboratory and Mark was a lightning rod, uniting all of those elements into one tough groove. I collected a list of random, unconnected lyric ideas that I kept on my phone. I tried them all out in random order in my home studio just to see how they would feel and that one-take test run is the vocal you hear!. There’s just so much lightning-in-a-jar, first take excitement on this record.”
What seeps into this music are Dennis Duck’s knowledge of European avantgarde music, Jason Victor’s passion for 70s prog, Mark Walton’s experience in Southern-fried music collectives, Chris Cacavas’ hunger for sound manipulation and Wynn’s love of vintage electric jazz. This album could have been called The Art of The Improvisers – in one session, they recorded 80 continuous minutes of soundscapes. “All we added was air,” Wynn explained. Which is to say aside from vocals, horns and a touch of percussion – every instrument is live as it happened.
|
|
|
