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Sam Blacky is back with her new single “Paradise,” an appropriately titled house gem that evokes images of places like the sun-soaked Ibiza and Mykonos. The track features ethereal vocals by Florida-based singer/songwriter Madeline Austin; the two connected via social media and hit it off when Madeline sent demos for what is now “Paradise.” Sam works in a deep, groovy bassline with gently undulating melodies, making for a sultry dancefloor track that will heat up the night wherever you may be. “Paradise” is the third single to come out on Blacky‘s own Stabby Records, which launched in February this year.

“‘Paradise‘ is a more melodic track that I feel people can enjoy in different environments; listen to it while driving, use as a morning soundtrack after waking up, or dance to it in a club. I wanted to make it more universal than just a club banger. Once again, I pulled inspiration from all the beautiful places I have been to, and ‘Paradise‘ feels like summer in Ibiza or Mykonos. It’s the feeling of butterflies in your stomach, floating through the ocean with the wind on your face and a big carefree smile coming from within. Featured on ‘Paradise‘ is singer/songwriter Madeline Austin. When I look for a female vocalist, I post on social media about it because I want to find someone fresh, new, unknown to give them a shot and keep the female movement going. Madi sent me a message and some demos, and the rest is history. She started as a fan, and I soon realized that she is a very talented singer and songwriter. Her vocals and lyrics about paradise, heaven, and a little flirty danger were just perfect for this release.” – Sam Blacky

Samantha Black is a multitalented DJ/producer, model, and influencer professionally known as Sam Blacky. Originally from San Diego, Sam spent several years in Australia, where she first fell in love with producing music and performing live. Since moving back to Los Angeles, music and performing have taken a front seat in her life. In addition to her hectic modeling schedule, Sam has performed live across the world from 2017 to 2021, from Mexico to Ibiza to Bali, racking up over 120 gigs a year at some of the premier electronic festivals and clubs on the planet. With the global pandemic in 2020, Sam released a series of videos on Youtube called “A New World,” where she streamed live sets from some of her favorite places in Mexico, giving viewers a taste of vacation vibes even while staying safe at home. Before all the music, her modeling portfolio included brands such as Nike, L’Oréal, Galore, Marie Claire, Superdry, Guess, Sports Illustrated, Malibu, and Playboy, giving her a unique creative perspective to all types of cultures and styles to bring to her music. With the launch of Sam Blacky‘s label, Stabby Records, and her first releases, 2021 is set to be a breakout year for Sam as she expands her artistic brand.

TOUR MEMORIES with Manchester Orchestra’s Robert McDowell

With their sixth album The Million Masks of God heralding the return of Manchester Orchestra, fans now anticipate their next opportunity to see the beloved U.S. band present the long-anticipated record live.

But, you know, we still gotta deal with this pesky pandemic. And while music events are restarting around the world, slowly but surely, we’re still a ways off from seeing bands like Manchester Orchestra touring on a global scale.

For guitarist Robert McDowell, the yearning for live performance is real. Below, he shares some memories from tours gone by, and tells us about the venues and locations he can’t wait to get back to.

The Fox Theatre, Atlanta

We have done a festival for eleven years, I think it’s eleven years now, in Atlanta called The Stuffing. It started off at Centre Stage and it’s moved to The Tabernacle. We did two years at The Fox Theatre and then we missed the last year because of the pandemic. For me, the Fox Theatre was a room that I grew up seeing The Nutcracker in, the Atlanta Symphony Orchestra…I got Pinkerton taken away from me for trying to listen to it during The Nutcracker! 

It’s the historic room in our hometown. We looked into trying to do a limited capacity gig or a livestreamed thing, but we were unable to. Our hope is that we can, this November, do a version of The Stuffing there, as long as it’s safe for everyone. That venue, to me, just represents a full circle gratitude of “Man I hated this room for the wrong reasons,” I loved seeing My Morning Jacket there, Bob Dylan played there, I saw all these great acts there…to be able to be on that stage and have my family there, is a very, very special moment. 

I would say that was my biggest miss of 2020, that we weren’t able to do a third year there.

Stubb’s, Austin

I would love to return to Stubb’s in Austin, Texas. I remember the first time we played there in March of 2006, my dad flew down…for the rest of the family it didn’t mean anything, but to music lovers, that venue is a special place. We’d opened up there God knows how many times and then once we finally got to a place where we could finally headline it, it was such an experience. 

We don’t really eat past 4pm because we have nerves and we don’t wanna be sluggish on stage, but it’s a great venue in that the food isn’t pizza or something waiting backstage – it’s BBQ. 

Shepherd’s Bush, London

There’s a venue in London called Shepherd’s Bush, that we’ve played twice now. Even in the dressing rooms, the history of it…it’s where the Rolling Stones rehearsed for all of these epic things, it has the history of the bombings that went on around it. 

The sound and the way it’s tiered, the interaction with the crowd in the room…I had one of my favourite live moments ever there. We were playing ‘Dear’, the opening track off Simple Math, and there’s a line that says, “Dear everybody who has ever paid to see my band,” and the cheer that we got made five grown men cry on stage. It’s not a cool look, but it’s still burnt into my brain. Those are the moments that I will remember and hopefully tell my grandkids about. It’s a very humbling and special room.

Australia, the whole country!

The first time we ever came over to Australia, I remember it was Laneway Festival 2007. It started in Adelaide and I remember landing there, jetlagged and a child, basically. Walking up to this festival…I didn’t know what a laneway was, it’s not a term we use in the States. Trying to get into the festival that we were supposed to play and couldn’t really, we finally just talked to enough people and started to walk in. 

It was Clap Your Hands Say Yeah playing, Broken Social Scene, Feist…just the energy that the Australian music scene has, specifically with festivals, some of my greatest festival memories are in Australia. I miss that aspect of going to a place that’s similar enough but also different, and also on the other side of the world! You get to share moments with people through energy and music; you may not see them again, but you always uniquely have that moment together.

For me, it was my first time in Australia, so at the time I knew of Sydney – I didn’t know of the booming music scene in Melbourne, I didn’t know of all the different dynamics of Australia. Adelaide was such a warm and welcoming introduction to the country.

It’s fucking bonkers! I loved it. I had such a fun time. It was a wild festival too because bands like Broken Social Scene, Feist, Clap Your Hands Say Yeah, those bands were stars, they were so well established and we were so little. In the States or in Canada, it would have been a different scenario but because we were all in Australia together, it was like we were all one big family. It was like a wonderful summer camp. 

The Million Masks of God is out now.

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PRAISE FOR MANCHESTER ORCHESTRA

“Manchester Orchestra forge a newly lush, cinematic sound, unraveling detailed tales of characters with abstractly personal references.” 
Altpress

“A Black Mile To The Surface feels richly nuanced, offering up something new on every repeat listen.” 
The Line Of Best Fit

“By consciously interrogating everything they do, they’ve created something that doesn’t need a condescending suffix to justify its existence. It’s a new high-water mark for the band, and one well worth the pain to reach.”
 Drowned In Sound

The Million Masks of God is out now via Loma Vista Recordings
Official Website | Facebook | Twitter | Instagram | YouTube

SUPPORT FOR TRACKS OFF ‘DEFENCE MECHANISMS’

“There’s something about this that makes me want to just push that little bit harder against the patriarchy.” – 4/5 stars
Bridie Tanner – triple j Unearthed (AUS)

“Charged bursts of captivating alt-rock-meets-punk-pop that sits in-line with long-time influences from Sonic Youth and Savages.”
Pilerats (AUS)

‘White Noise’ music video added to rotation on ABC’s Rage

‘Out Of Time’ premiered on triple j Unearthed TOPS Program

Sydney based alternative-rock quartet Second Idol have revealed their earnest debut EP ‘Defence Mechanisms’ – produced, mixed and mastered by Nick Franklin (Peking Duk, Polish Club, CLEWS).

‘Defence Mechanisms’ is five tracks of reflective and dynamic alternative rock, all-inclusive with arduous melodies, sincere lyricism and compelling instrumentation that strengthens the group’s notoriety and defines their prominent sound.

Lead singer Kate Olivia talks about the process behind ‘Defence Mechanisms’:

“This record is about resilience and strength, vulnerability and authenticity, self-worth and self-determination. The growing of armour. ‘Defence Mechanisms’ explores concepts of power and control, ambition and listlessness, political frustration, queerness and gender, all fuelled with a relentless vengeance.”

EP opener and lead single ‘White Noise’ introduces vitality with a comprehensive mix of ominous guitars and resolute drums, mesmerising the listener in a sweeping movement of powerful vigour. Track two, ‘Out Of Time’, commences with ethereal riffs and a resonant rhythm section, combining for an enthralling chorus that takes cues from the band’s 90’s influences. Bending the rubrics of harmonic expression, the track’s broad form thrusts the listener into a captivating finale.

Introducing track three, ‘Tired Eyes’, is a steady fusion of polyphony that heaves into an arena-sized chorus, layered with richly distorted guitars and reverberated vocals, while a resounding nostalgic melody soars above the arrangement, fulfilling its impassioned atmosphere. Track four, ‘Low Tides’, substitutes energy for intimacy, as the tempo and vulnerable production emphasis the authenticity behind Second Idol’s song writing.

Finally, ‘The Way It Is’ caps off the EP with a familiarising mixture of candidness and insolence, conveyed through clean and fuzzy guitars, sturdy drums and fervent vocals. It summarises a thoughtful and pensive body of work, shining a light on the trio’s diversity and liberation through their dynamical aptitudes and the EP’s subject matter.

Lead single ‘White Noise’ was widely embraced by Australian radio stations triple j, triple j Unearthed, FBi, The Faction, Edge Radio, 2SER, 2XX FM, RTR FM, 4ZZZ, SYN FM and WXRY Unsigned (USA). The band have also seen immense online praise from Pilerats, Milky, Out Now Magazine (IRL), The Underground Stage, Australian Music Scene, Temporary Dreamer, Something You Said, AAA Backstage and The Music.

‘Defence Mechanisms’ is available worldwide now

SECOND IDOL
UPCOMING SHOWS

SUN 23 MAY | KELLY’S ON KING, SYDNEY NSW
SAT 29 MAY | THE TOTE, MELBOURNE VIC
SAT 19 JUN | CHIPPO HOTEL, SYDNEY NSW
SAT 31 JUL | DICEY’S SATURDAYS, WOLLONGONG NSW
SUN 1 AUG | SIDEWAY BAR, CANBERRA ACT

Click to stream ‘Defence Mechanisms’

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This Donovan / Cream tinged jam riffs out in the British California of our minds where it’s always sunny yet somewhat dark. The song’s style twangs like a whistle in the distance on a runaway train; a call and answer of thick western sound. Written for an ex-lover on the plains of Saskatchewan, “Sunshine” features four time Juno winner and former guitarist of the sheepdogs Leot Hanson on lead guitar especially during the middle 8, along side skull creek producer Aspen Beveridge, completing this small town imagination.

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