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Music News

MAY-A SOARS ON NEW SINGLE ‘TIME I LOVE TO WASTE’ ANNOUNCES ‘NO PLACE LIKE HOME’ HEADLINE TOUR

by the partae February 20, 2021

written by the partae

Photo by Jess Gleeson

PRAISE FOR MAY-A

“Welcome to your new fave artist”
DORK

“A proper pop whiz”
triple j

“The creative curator combines her artistic prowess
and pours her heart into each original piece”
OUT FRONT

“On the cusp of that low-key, hyper-relatable indie-pop sound
that’s carving new stars out of the next generation”
Pilerats

“Honest, intimate and gentle yet still commanding”
Purple Sneakers

Today Sydney based artist MAY-A continues her ascent with new single, ‘Time I Love To Waste‘. Resuming the narrative arc of the previous release ‘Apricots‘, which recently debuted at #190 on triple j’s Hottest 200, MAY-A shares her first taste of love in the continued story of a blossoming queer relationship.

Listen to ‘Time I Love To Waste‘ HERE and stay tuned for the music video premiere at 4 PM AEDT.

‘Time I Love To Waste‘, MAY-A reveals, was “written on the same day as Apricots. Both were written in the space of 3 hours and are about the same girl.” Recounting their day together, from the cafe they visited the green Lacoste sweater her crush wore, the singer-songwriter describes every moment in vivid detail. “I was sure she liked me when I was writing it,” she continues, “but I’d personally never been interested in someone the way that I was into her. I was completely enamoured. I wanted to give her everything that she wanted and I truly felt like she was completely out of my league.”

Sharing another page of her diary with us, she continues “The lyric ‘She’s the time I love to waste’ is really just about simplicity, and the pure and kind of childish way you know you really like someone when you just wanna waste all your time with them and in those moments nothing else in the world matters everything kind of fades into the background.” Free of fear, doubt, and inhibitions, to reflect on the sickly sweet period of finding first love with earnest vulnerability means the most to Maya. “I’m not very good at expressing my emotions, I kind of just assume that people know how I feel without actually saying anything to them. I find it much easier to express myself in writing and this was the way I chose to tell her how I felt and just how much that day and those little moments meant to me.”

To celebrate the release of her new single, MAY-A is bringing her energetic live show to the stage in Sydney and Melbourne this March as part of her debut headline tour, ‘No Place Like Home‘. “I’m so psyched to play these songs live and reimagine them in different ways to bring out and emphasise the emotions I felt when writing them. I can’t wait to connect to an audience in ways beyond a phone screen” she says. Experience MAY-A’s raucous fusion of punk and pop live at the Lansdowne in Sydney on March 19th and the Northcote Social Club in Melbourne on March 20th. Tickets available HERE with more details below.

Following a breakout year with the release of ‘Apricots‘ and ‘Green‘, both of which received rotation from triple j, and the former landing MAY-A‘s Hottest 200 debut at #190, MAY-A also secured triple j Unearthed’s Feature Artist and #44 Most Played Artist of 2020. Plus widespread international support from NME, Variety, Dork, Out Front, American Songwriter, Elevator, RAGE, Tone Deaf, Pilerats, Sniffers, Coup De Main, Purple Sneakers, Early Rising, Ones To Watch with the success of ‘Apricots‘ accumulating over 3.5 million streams in just three months across DSPs.

Songwriting since age twelve, Maya Cumming has honed a brand of lyricism that marries the classic pop structures and storytelling of the parental favourites that permeated her childhood home, together with the nonchalant Gen Z cool of Clairo, and the suburban poetry of Lorde. With her poignant, elliptical storytelling, clear-eyed observational lyricism, and songwriting full of musical left-turns, as MAY-A she interrogates the realities of youth with clarity and maturity beyond her 19 years, and ‘Time I Love To Waste‘ is the latest piece from her treasure trove. Stay tuned as MAY-A continues to share her goldmine with the world.

‘Time I Love To Waste’ is out now via Sony, buy/stream it here.

TOUR DATES
Fri 19 Mar – The Lansdowne – Sydney (tix)
Sat 20 Mar – Northcote Social Club – Melbourne (early show, late show)
Sat 27 Mar – Lazyfest @ Mary’s Underground – Sydney (tix)

All tickets available HERE.

Stay connected with MAY-A:
Facebook | Instagram | Youtube | TikTok

February 20, 2021 0 comments

Music News

BOB EVANS ANNOUNCES NEW SINGLE AND VIDEO ‘CONCRETE HEART’+ NEW ALBUM ‘TOMORROWLAND’ SET FOR RELEASE APRIL 16 – PRE ORDER NOW

by the partae February 20, 2021

written by the partae

ANNOUNCES NEW SINGLE AND VIDEO
CONCRETE HEART
+ NEW ALBUM TOMORROWLAND
FOR RELEASE APRIL 16
PRE ORDER NOW

MEDIA RELEASE:: FOR IMMEDIATE RELEASE, THURSDAY FEBRUARY 18

Renowned Australian singer songwriter, Bob Evans has today announced his new single Concrete Heart, a stunning, sunny track featuring harmonies from Stella Donnelly, out today, February 18. Concrete Heart is also accompanied by a wonderfully Aussie film clip, perfectly suited to the theme of the song. Concrete Heart and previous single Born Yesterday both precede Bob Evans’ sixth studio album Tomorrowland, a triumphant record scheduled for release on April 16, 2021 – available for pre-order now. Bob Evans is the ARIA-winning alter ego of Jebediah frontman Kevin Mitchell who has graced the Australian music scene for more than two decades and has written some of the country’s most beloved songs.

Preorder TOMORROWLAND here.

Produced by Steven Schram (Paul Kelly, Kate Miller-Heidke), Concrete Heart is Bob Evans at his very best; glistening guitar, Beatles-inspired harmony and melody, and a shining arrangement that pulls it all together. Featuring harmonies from WA’s Stella Donnelly, Concrete Heart evokes classic influences of Crowded House and The Go-Betweens, and yet remains perfectly unique to Bob Evans. Speaking on the inspiration behind the track, he says, “The lyrics are inspired a bit by online conversation on social media. I have been accused of being a ‘bleeding heart’ a few times when putting forward my opinion on a political or social issue, which I think is a hilarious put-down, because it’s basically criticising someone for caring too much! What is so wrong with that? So it got me thinking about owning that label, like, “yep, I am a bleeding heart” because what is the alternative? A cold heart made out of concrete? No thanks. That is not me and I don’t ever want it to be. The music to this one is kind of upbeat and fun sounding though, so I tried to come at this whole idea with a bit of tongue in cheek, like I’m poking fun at the whole thing in a way.”

Filmed, directed, produced and edited by long time Bob Evans and Jedediah collaborator Arlo Cook (Gretta Zilla,The Tommyhawks), the film clip for Concrete Heart is set in a quintessential country Australian pub, and feels like a perfectly accurate visual representation of where you would most want to hear Concrete Heart played live. Speaking on the inspiration behind the clip, Mitchell says, “I came up with the idea of my band playing in a front bar of a pub to a virtually empty room and a disinterested audience. I just thought it was a really simple and funny way to address the message of the song. Arlo made the clip for Born Yesterday with me and we wanted to try and carry over some of that same feeling and aesthetic to this clip, which wasn’t really a straightforward thing to do as they are quite different songs; Concrete Heart is quite upbeat. We decided to really lean in to the Australiana vibe and make it look like it could have been filmed any time between now and 30 years ago.”

Fans will be thrilled to know that Bob Evans’ sixth studio album Tomorrowland is due for release on April 16, 2021 and Tomorrowland is set to be a shining addition to his discography. Over five albums, Bob Evans has always been the acoustic melody king, the folk/rock alternative whose songs became favourites, then beloved and finally classics. Now, Mitchell says, “I think this is the most electric guitar I’ve played on a Bob record. I pretty much had an electric guitar in my hand for every song.” Tomorrowland was spawned during one of the worst times for anyone, anywhere: the covid-cursed 2020, a period when initial recording was completed one day after all his gigs were cancelled, and two weeks before Mitchell and everyone else in Victoria went into an agonisingly long lockdown. But the result is euphoric, sparkling – a luminescent rock record from an unstoppable songsmith.

Stay tuned for an exciting tour announce to come very soon!

Concrete Heart is out now via Dew Process.
Tomorrowland is out April 16, 2021 and is available for pre-order now.

Bob Evans is Kevin Mitchell.

Watch: Concrete Heart
Smartlink: Concrete Heart
Pre-order: Tomorrowland

February 20, 2021 0 comments

Music News

DREGG SHARE NEW SINGLE “EVOLVE”

by the partae February 20, 2021

written by the partae

LISTEN

EVOLVE IS THE LATEST RIPPER FROM MELBOURNE’S DREGG

Melbourne based anomalistic collective DREGG, have shared their new track “EVOLVE.” Drenched in heavy guitars and raging drums the band bang out their frustrations with a sound that hungrily consumes metal, hardcore and rap.

Dregg are definitely one of the most original bands going right now. From day one the band have done everything on their own terms, and for that, we love them!

The video, sponsored by EVOLVE Energy and premiered via ROCKSOUND, involves a god damn TANK! One the best videos you will see this year by any Australian artist.

WATCH IT HERE

E V O L V E

“Humans have a long history of adapting to situations and environments they’ve been thrown into. 2020 was no exception and it pushed humanity into new and interesting territory. Without the ability to allow thoughts, feelings and the fundamentals of innovation to advance and improve, the world would have come to an unimaginative decline in ingenuity,” says DREGG on the meaning behind the new track.

CHECK OUT “EVOLVE” NOW
WATCH | LISTEN

DREGG make powerfully energetic music, driven by themes of fierce individualism, with a sound that hungrily consumes metal, hardcore, and rap, only to heave it back up in a colourful rainbow of bombastic brutality and iconoclastic absurdity, lovingly fed to the audience like mother birds. The thought provoking five-piece, known for tongue-in-cheek take on the current state of the world, continues to push the boundaries of hardcore by making music and art intended to provoke and inspire.

DREGG is Christopher Mackertich (vocals), Jordan McQuitty (guitar), Sam Yates (guitar), Aiden Zovic (bass), and Horhay Delalopez (drums).

February 20, 2021 0 comments

Music News

VOID OF VISION TEAM UP WITH ECCA VANDAL FOR ‘DECAY’

by the partae February 20, 2021

written by the partae

Image: Sean McDonald

Fresh from the release of a collaborative effort with label-mates Thornhill earlier this month, Void Of Vision return with an epic team up with none other than Ecca Vandal.

The reimagined version of ‘Decay‘ – taken from Void Of Vision’s 2019 album Hyperdaze – sees Ecca and VOV switch back and forth amongst their iconic brands of chaos.

Void Of Vision vocalist Jack Bergin explains how the unlikely team up came to life:

“We have all been familiar with the name Ecca Vandal for quite a while now, it wasn’t until our run together on Good Things Festival ‘18 that we REALLY pricked up our ears though. Unfortunately we clashed sets each day except for the last, so when I got to run over and catch those last few songs it was everything I hoped for and more, ever since then she’s been a playlist regular.

“We were so stoked that she was down to collaborate and work in her own style so effortlessly. Ecca has such a powerful presence and now it’s been stamped on a little piece of VOV history.”

About Ecca Vandal:

Loud, genre-defying and unafraid to be different, Ecca Vandal is a true original. With her family having arrived in Australia from Sri Lanka via South Africa and being born into a musical household, from a young age Ecca was immersed in diversity in art and music. Spending formative years as a trained jazz musician, her passion for the expression and improvisation of jazz led her to fall in love with the DIY abandon of punk, and her ability to effortlessly balance between soulful melodics, raw energy and unapologetic power on 2016 EP End of Time and her 2017 self-titled album drew universal acclaim from the likes of NME and Rolling Stone.

About Void Of Vision:
Earlier this month Void Of Vision flexed on fellow Hyperdaze track ‘Year Of The Rat’ with a reimagined version featuring Thornhill vocalist Jacob Charlton. The single, referencing everything from sheer VOV heaviness to ethereal vocals, also came alongside an outstanding music video pitting Jack & Jacob together in a fight to the death (of one of them!) Watch the ‘Year Of The Rat’ music video here.

With its release in September 2019, Hyperdaze seized a stark brand of bleakness akin only to Melbourne’s own Void Of Vision. On top of knockout global album reviews upon its release, the band went on to support Northlane around Australia, took to festivals including Heaven And Hell Festival, Schema Festival and UNIFY and headlined across Australia and Japan in early 2020. In 2021 the band are slated to support none other than The Amity Affliction on their Everybody Loves You…Once You Leave Them Australian Album Tour.

Meanwhile, Void Of Vision are set to add to their latest new music releases shortly.

STREAM ‘DECAY’
FEAT. ECCA VANDAL NOW

STREAM THE FULL ALBUM
‘HYPERDAZE’ NOW

CONNECT WITH VOID OF VISION:

February 20, 2021 0 comments

Sydney’s Yuma X - the musical project made up of vocalist Lucy Washington and producer Jake Smith - are swelling emotions with their glistening new single ‘We Could Be So Good’. A levitating, energetic pop song that once again redefines the duo’s capabilities as songwriters and producers, ‘We Could Be So Good’ is their most confident yet In what can only be described as a bittersweet moment, comes the news that after 5 years of collaboration, Yuma X is coming to an end. ‘We Could Be So Good’ will be Washington and Smith’s last release as a duo. Since their impressive arrival in 2015 with the haunting ‘Matchstick’, the pair have been carefully expanding their sound. Last year’s ‘Chasing Patterns’ was a bold, pulsating moment and it was furthered by the electronic experimentations of ‘What You Want’. In 2020, they had been even bolder though with the captivating single ‘Secret Lover’ upping the tempo, ushering us into the club and ‘We Could Be So Good’ extends on that. Over twinkling synths and heartbeat-raising percussion, Washington delivers an instantaneous chorus - one that circles your head long after the song has passed. ‘We Could Be So Good’ was born in a period of experimentation for the group as Smith explains. “We’d been trying out new sounds and seeing what works,” he says, continuing, “We’d definitely been moving towards a sound that’s more fun and dancefloor-centric.” The reason for this is a strive to create music that is tailor-made for an energetic live crowd. Accompanying today’s release is a nostalgia-steeped lyric video that follows the duo through their everyday adventures, documenting their creative processes and offering an insight into their personal lives outside of the band. For Lucy Washington, “WCBSG is a real feel good song, and the visuals in the music video capture that perfectly. I think this song is my favourite we’ve written and it feels like the perfect high note to end on. I’m so grateful for the last 5 years we’ve had and the music we’ve released and everyone who has supported us along the journey. I’m really proud of this one because it's something so positive and happy that came out of the hardest and strangest year. I hope it puts a smile on people’s faces and is the background song to many fun memories people make in the future.” Studio experimentation has resulted in new material that’s even more accessible while still retaining Yuma X’s individual, warm aesthetic. “It’s uncharted territory for us,” says Washington, explaining that it’s the first time they have played with traditional pop song structures. On top of that, Smith adds that it’s been important for them to “incorporate more live instruments.” The updated sound is just as dreamy as ever but the live instrumentation adds an earthiness to it that is sure to shimmer in the live arena. The new material has been inspired by the visceral songwriting of artists like Frank Ocean and Lana Del Rey while also soaking in the music being made on this side of the world. BENEE, Parcels and Mildlife are name-checked by the pair who have long been inspired by the musical community that surrounds them in Australia. Washington and Smith met at a New Year’s Eve party in 2009 and started releasing music as Yuma X in 2015. Since their debut EP Home Recordings, they have amassed over 6 million streams and become an exciting force within the indie-electronica space. In that time, they have also supported some of the most transcendent live acts on the planet including RUFUS Du Sol, ODESZA and Boo Seeka. They count triple j, FBi Radio, Pilerats, Radio Adelaide and Fashion Journal among their growing list of tastemaker fans. The rollout of their music over the past five years has been careful and considered as they took time to hone their songwriting. ‘We Could Be So Good’ proves that the wait has been worth it as they return with their final and most spellbinding release yet. Watch the 'We Could Be So Good' lyric video here:

Music News

YUMA X RELEASE NEW SINGLE & VIDEO ‘WE COULD BE SO GOOD’

by the partae February 20, 2021

written by the partae

Sydney’s Yuma X – the musical project made up of vocalist Lucy Washington and producer Jake Smith – are swelling emotions with their glistening new single ‘We Could Be So Good’. A levitating, energetic pop song that once again redefines the duo’s capabilities as songwriters and producers, ‘We Could Be So Good’ is their most confident yet

In what can only be described as a bittersweet moment, comes the news that after 5 years of collaboration, Yuma X is coming to an end. ‘We Could Be So Good’ will be Washington and Smith’s last release as a duo.

Since their impressive arrival in 2015 with the haunting ‘Matchstick’, the pair have been carefully expanding their sound. Last year’s ‘Chasing Patterns’ was a bold, pulsating moment and it was furthered by the electronic experimentations of ‘What You Want’. In 2020, they had been even bolder though with the captivating single ‘Secret Lover’ upping the tempo, ushering us into the club and ‘We Could Be So Good’ extends on that. Over twinkling synths and heartbeat-raising percussion, Washington delivers an instantaneous chorus – one that circles your head long after the song has passed.

‘We Could Be So Good’ was born in a period of experimentation for the group as Smith explains. “We’d been trying out new sounds and seeing what works,” he says, continuing, “We’d definitely been moving towards a sound that’s more fun and dancefloor-centric.” The reason for this is a strive to create music that is tailor-made for an energetic live crowd.

Accompanying today’s release is a nostalgia-steeped lyric video that follows the duo through their everyday adventures, documenting their creative processes and offering an insight into their personal lives outside of the band.

For Lucy Washington, “WCBSG is a real feel good song, and the visuals in the music video capture that perfectly. I think this song is my favourite we’ve written and it feels like the perfect high note to end on. I’m so grateful for the last 5 years we’ve had and the music we’ve released and everyone who has supported us along the journey. I’m really proud of this one because it’s something so positive and happy that came out of the hardest and strangest year. I hope it puts a smile on people’s faces and is the background song to many fun memories people make in the future.”

Studio experimentation has resulted in new material that’s even more accessible while still retaining Yuma X’s individual, warm aesthetic. “It’s uncharted territory for us,” says Washington, explaining that it’s the first time they have played with traditional pop song structures. On top of that, Smith adds that it’s been important for them to “incorporate more live instruments.” The updated sound is just as dreamy as ever but the live instrumentation adds an earthiness to it that is sure to shimmer in the live arena.

The new material has been inspired by the visceral songwriting of artists like Frank Ocean and Lana Del Rey while also soaking in the music being made on this side of the world. BENEE, Parcels and Mildlife are name-checked by the pair who have long been inspired by the musical community that surrounds them in Australia.

Washington and Smith met at a New Year’s Eve party in 2009 and started releasing music as Yuma X in 2015. Since their debut EP Home Recordings, they have amassed over 6 million streams and become an exciting force within the indie-electronica space. In that time, they have also supported some of the most transcendent live acts on the planet including RUFUS Du Sol, ODESZA and Boo Seeka. They count triple j, FBi Radio, Pilerats, Radio Adelaide and Fashion Journal among their growing list of tastemaker fans.

The rollout of their music over the past five years has been careful and considered as they took time to hone their songwriting. ‘We Could Be So Good’ proves that the wait has been worth it as they return with their final and most spellbinding release yet.

Watch the ‘We Could Be So Good’ lyric video here:

For further info on Yuma X you can check out:

February 20, 2021 0 comments

Music News

LOSER REVEAL NEW SINGLE + VIDEO ‘ALL I NEED’ + LAUNCH ‘RESTLESS NOISE STUDIOS’

by the partae February 20, 2021

written by the partae

Image: Tori Styles

Melbourne’s LOSER reveal their first cut of new music for 2021 today with the release of ‘All I Need’, recorded via the band’s newly launched Restless Noise Studios.

On the track, LOSER vocalist/guitarist Tim Maxwell shares:

“‘All I Need’ is a song about feeling incomplete even though you may have everything you need or want in life, yet you still can’t be satisfied. It’s an ode to all the people out there that may feel this way and to let them know that they are not alone,” adding:

“It’s been such a weird year and it really tested a lot of people’s mental health, this is my song for you to help you get through those tough times.”

Churning away slowly before drawing on big sing alongs and trademark guitar solos, ‘All I Need’ will no doubt making for a future staple live track for the band, who recently supported both Slowly Slowly (solo) and Shihad at their respective sold out Corner Hotel shows.

Today’s release also comes with the reveal of a new music video capturing a year in the life of LOSER. This raw and intimate DIY cut offers a snapshot into the band’s perseverance with self-recording during an interrupted last 12 months.

‘All I Need’ comes after the release of one of the band’s most reactive tracks to date ‘Upside Down’ at the tail end of last year. ‘Upside Down’ saw playlist additions to the likes of New Music Friday AU/NZ, All New Rock, Local Noise, Rock Out, The Punk List, The New Rock + more, triple j/Unearthed play and rotation support, features via The Music, Wall Of Sound & Depth Magazine and has garnered over 40,000 streams to date.

With lockdown cancelling their plans to tour their 2020 debut album Mindless Joy, LOSER brothers Tim and Will Maxwell took to their parents’ garage to build a studio from scratch. Restless Noise Studios (coined after LOSER’s 2018 EP) officially launched to the public in January and will find LOSER recording other artists while continuing to double down on self-recording and producing their own new music.

New single ‘All I Need’ is out now via Domestic La La. LOSER is Tim Maxwell (vocals/guitar), Dragon Maxwell (guitar), Craig Selak (bass) and Jake Farrugia (drums).

STREAM THE NEW SINGLE
‘ALL I NEED’ NOW:
http://loser.lnk.to/allineed

STREAM THE FULL ALBUM
‘MINDLESS JOY’ NOW:
http://loser.lnk.to/mindlessjoy

CONNECT WITH LOSER:

February 20, 2021 0 comments

Music News

ELLE MÚSA RELEASES NEW EP ‘sun, sun, sun’ + OFFICAL VIDEO FOR ‘COCO HONEY YOU AND I’

by the partae February 20, 2021

written by the partae

LOVE FOR ELLE MÚSA

“There’s an instant nostalgia that swings around as summer days end. The idyllic kind in which you’re living completely in the moment. Until the sun dips and the sand cools and then you’re anything but, with the reminder it can’t always be this way. Elle Músa captures the feeling in with her new single, Mango Pops.” – RUSSH

“Elle Músa! I mean the name is cool by itself but, I am additionally glad that this is just another leaf on your brilliant artistic way of life” – Nkechi Anele (triple J)

“There is a distinct warmth and softness which is exemplified by the composition’s subtle percussion, rhythmically simple piano chords, and Músa’s tranquil delivery.” – Atwood Magazine

LISTEN TO ‘sun, sun, sun’

Today, Brisbane multi-disciplinary pop artist Elle Músa shares her wondrous and highly-anticipated new EP sun, sun sun. True to its title, sun, sun sun is pure bliss distilled through five shimmering tracks, each crafting vivid imagery through imaginative lyricism and glowing instrumentation. A transportive feeling of paradise hangs softly in the air throughout the EP, coalescing in a collection of songs taking listeners on a journey to absolute tranquility and dreamy inspiration. The EP release coincides with the official music video for the new single ‘Coco Honey You And I’

On the EP, Músa details; ”sun, sun, sun’ was created sporadically over a couple of years, with some songs being written on the Sunshine Coast, Sydney, Portugal and Bali. I am always writing about love. Love for the simple pleasures of life, for the sun and sea and for people closest to me. Each song should be a little holiday for the mind and soul. Always by the sea and always under the sun. These songs are authentically me… revealing my fears, my naïve self, my love of romance, my love of the ocean and my tendency to sway towards the mystic and the spiritual. I write music to help soothe my heart and to lift my spirits.. I really hope my music can do the same for its listeners.’

WATCH ‘COCO HONEY YOU AND I’ OFFICIAL VIDEO

Featuring previous singles ‘Bibi’s Bay’, ‘Merman’, ‘Geminis’ and ‘Mango Pops’, sun, sun, sun is a remarkable culmination of experiences that have been instrumental in Elle’s growth as a songwriter and musician. Vibrant lyricism meets intricate pop arrangements, both speaking to Elle’s passion for the arts across the disciplines, and her continued love for exploring new sonic influences. Elle’s new single, ‘Coco Honey You and I’ proves a special highlight of the EP. Demonstrating her storytelling strengths and ability to set beautiful scenes with her arrangements and words, the song is about enjoying the pleasures of life and love.

sun, sun, sun
Out Now
1. Coco Honey You and I
2. Mango Pops
3. Geminis
4. Merman
5. Bibi’s Bay

A trained musician and vocalist, Músa has been composing and performing original music in Australia and internationally years prior to the release of her debut release. Her musical influences vary, from Sinatra to Cohen, Blonde Redhead to Devendra Banhart – yet Músa’s sound remains very much her own. The worldly energy of her music remains ever-present, as her travels and experiences writing abroad have galvanised Músa’s music today.

Músa’s musicality and artistic identity has had the strong foundations of a musical family supporting her from an early age, and as she began her foray onto Australian stages as part of indie group Founds, Músa’s songwriting and performance chops grew and embraced its own identity. Debut solo release ‘Apples For You’ introduced Elle Músa as her own artist, with a blissed out sound matching a certain ethereal naivety that propelled the songwriter onto many radars internationally. Follow up single, ‘Henry And Rosa’, brought Músa more exposure, with support from music media tastemakers and Apple Music, not to mention sync success on Love Island UK. Along with her career in music, Elle Músa has also expanded and built on her creative skillset as a short film producer and visual artist; her artwork being featured on display in a number of private Australian galleries.

Follow Elle Músa

February 20, 2021 0 comments

Festival News Music News

AMY SHARK RELEASES NEW TRACK CO-WRITTEN WITH GLOBAL SUPERSTAR ED SHEERAN,‘LOVE SONGS AIN’T FOR US’ FEATURING KEITH URBAN

by the partae February 20, 2021

written by the partae

RELEASES NEW TRACK
CO-WRITTEN WITH GLOBAL SUPERSTAR ED SHEERAN,
‘LOVE SONGS AIN’T FOR US’ FEATURING KEITH URBANPURCHASE/STREAM ‘LOVE SONGS AIN’T FOR US’

WATCH THE MUSIC VIDEO PREMIERE ON YOUTUBE
AT 10.30AM AEDT HERE

NEW ALBUM CRY FOREVER AVAILABLE TO PRE ORDER NOW

NATIONAL CRY FOREVER TOUR TIX ON SALE NOW

MEDIA RELEASE:: FOR IMMEDIATE RELEASE, FRIDAY FEBRUARY 19

Sony Music Entertainment Australia and Wonderlick Recording Company are extremely excited to announce that Australian artist and 8 x ARIA award winner, Amy Shark has released her brand-new single, ‘Love Songs Ain’t For Us’ featuring Keith Urban, the latest offering from her upcoming sophomore album CRY FOREVER, available April 30.

Co-written with UK singer-songwriter Ed Sheeran, ‘Love Songs Ain’t For Us’ is a defining moment for the Gold Coast native and sees a softer side to Shark’s often confronting and melancholy songwriting. Amy’s distinct vocals are on display from the first note with an understated production that will have you immersed in this dreamy love song immediately.

When asked about writing with Ed Sheeran, Amy comments: “Ed asked me if I wrote songs about my man, I told him I do, but love songs aren’t really for us. He then smiled and said, “ok that’s what we’ll do then”. This song is as loved up as you’ll get from me and I love it.”

Joining Amy on ‘Love Songs Ain’t For Us’ is Grammy-award winner Keith Urban, who announced the first shows of his THE SPEED OF NOW TOUR, to hit Australia with 11 shows this December. Amy explains how working with Keith came about. “The song is so classy and timeless I needed to find a class act to join me. Keith is so professional and well respected around the world, so it was a no brainer.”

After bursting on to the global music scene in 2016, Amy Shark’s 5 x Platinum single ‘Adore’ put her on the map as one of Australia’s most formidable emerging songwriters. This was followed by 4 x Platinum and number one Australian Airplay Chart hit, ‘I Said Hi’ and the 2019 2 x platinum single ‘Mess Her Up’. Shark’s debut/breakthrough #1 ARIA album and Platinum-certified LOVE MONSTER was recognised in 2018 with four ARIA awards (Album of the Year, Best Female Artist, Best Pop Release, Best Producer [Dann Hume]) and was nominated for another five. LOVE MONSTER went on to become the highest selling album by an Australian artist for 2018. Not one to slow down, even in a global pandemic, 2020 saw Amy release her ARIA award winning, platinum accredited single, ‘Everybody Rise’, which is nearing 25 million streams globally and spent 12 weeks in the top 10 Australian airplay chart.

The video for ‘Love Songs Ain’t For Us’ was directed by ARIA award winning director, James Chappell. You can watch the premiere on YouTube today at 10:30am AEDT with Amy joining the live chat! Make sure you click the link HERE to join the conversation.

CRY FOREVER is set for release on April 30, 2021 and is available to pre-order now via Wonderlick/Sony Music Entertainment Australia.

Tickets are now on sale for the ‘Cry Forever’ tour. For further information, head to www.amyshark.com.

The CRY FOREVER tour will be held with a commitment to a COVID Safe environment. TEG LIVE will work closely with and comply with all requirements of the public health authorities in respect of these shows.

AMY SHARK ‘CRY FOREVER’ TOUR 2021

Saturday 12 June 2021                Sydney | Qudos Bank Arena
Friday 18 June 2021                     Melbourne| Rod Laver Arena
Saturday 19 June 2021                Hobart | Wrest Point Lawns
Friday 25 June 2021                     Gold Coast | HOTA
Saturday 26 June 2021                Brisbane | Riverstage
Thursday 1 July 2021                    Adelaide | AEC Theatre
Saturday 3 July 2021                    Perth | RAC Arena

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February 20, 2021 0 comments

Photo credit: Jess Brohier PRAISE FOR JUNE JONES “With Leafcutter she bends synth-pop convention in a fearlessly honest set that explores her experiences as a “deeply emotional” trans woman." - UNCUT "Unnerving and beautiful, it’s a strikingly rendered portrait of disaffection." - THE FADER "Fans of John Grant, Kate Bush and Björk will find a lot to love here — Leafcutter is by very definition art pop, but it never ventures out of the realm of accessibility." - Beat “Leafcutter is a reminder that there is strength in vulnerability and something truly powerful about a well-written song.” - STACK “June Jones' voice is one that envelops you and never lets you go. The emotion she lacquers every word with becomes your emotion; her world becomes your own.” - MTV A prolific artist and singular voice in the world of Australian music, June Jones releases her sophomore album Leafcutter today on Emotion Punk Records in collaboration with Remote Control Records. Despite this being Jones’ first self-produced record, Leafcutter feels in many ways like a logical sequel to her previous releases, which include two albums with Two Steps on the Water, the self-proclaimed “emotion punk” band she fronted from 2014 to 2018. Like her past albums, Leafcutter is a collection of songs exploring different aspects of her experience as “a deeply emotional trans woman, a lesbian with ADHD.” Her signature vocals – dynamic in their ability to move between syrupy cool and impassioned exclamation – are present as ever at the forefront of this record. To celebrate Leafcutter's release, Jones has announced album launches in Sydney & Castlemaine, plus an additional Melbourne show, on top of her two sold-out shows at Howler for the Brunswick Music Festival. Details below. Lyrically, the songs have a confessional intimacy that Jones has become known for. On her latest single, 'Home', she uses the five senses to describe her relationship to her body, being loved, and learning to love herself. The verses are both poetic and analytic – “The sound of my voice in your ear / I wonder who it is you hear / And if you can discern the beating of my wings / The nutrients inside a tear” – culminating in a resplendent chorus in which she sings “But this is now / And this is home / And home is all I ever wanted” in a voice that is unmistakably hers. Throughout 'Remember', the second track on the album, Jones uses her voice as an instrument, singing deep dyadic chords reminiscent of a Gregorian chant, panned between left and right ears. This millennium-old vocal style is counterbalanced with synths that reference both Madchester rave and hair metal, as well as viola, saxophone, intricate drum patterns, and a casually cool bass line. All these elements work together to create a sound that is at once familiar and unlike anything else that has come before. It is this atemporal collaging of old and new styles that defines Jones’s self-taught approach to production on Leafcutter. As a producer, Jones reminds us that everything new is a rearranging and reimagining of traditions. “I made the whole album on a tiny refurbished Lenovo Thinkpad that I bought off a guy at a McDonalds. 18 months and over 1000 hours of work later, the album is finally finished. As someone diagnosed with ADHD as an adult, I have been almost entirely self-taught as a musician, whether it’s singing, writing songs, learning an instrument, or producing my own music, I just haven’t been able to sit still long enough to get through a lesson. But there have definitely been moments along the way where I have learned a lot from people, like sitting in the studio with Geoffrey O’Connor throughout the process of making Diana, or getting feedback on mixes from my dear friend and superproducer Geryon. Sometimes I wish I could approach learning in a more structured and systematic way, but I get overwhelmed by the infinite possibilities of music, so I’ve always felt more comfortable intuiting my way through things.” Leafcutter manages to feel both intuitive and unpredictable in a way that calls to mind a classic Björk or Kate Bush album, finding a tentative home in the nebulous definition of art-pop. From above it is a pop record, but from within it resembles a labyrinth overflowing with intricate details that reveal themselves with each listen. Jones’s intuition informs both the album’s pop sensibility and experimentation. One thing that she delivers yet again is a record bursting with songs that get stuck in your head. Leafcutter, insectoid in name, is home to no shortage of earworms. “One of my favourite albums of all time is Carly Rae Jepsen’s Emotion. For me, it’s a perfect pop album, with bangers from start to finish. In a funny way, I aspire to achieve that kind of consistency with every album I make. I feel like I am probably more prone to boredom than most, and it’s a state that I find almost painful. If there’s one thing I want to avoid as an artist, it’s being boring.” And boring this album is not. Every song feels like its own little world which Jones invites us into, where we are asked to sit and feel with her for a few minutes before moving next door to another one, with similarities and differences, made up of things both familiar and strange. On Leafcutter, Jones pulls off the unlikely feat of finding harmony in that which, according to our own intuitions, should be dissonant. In the second last line of the opening track, 'Jenny (Breathe)', she sings “There are as many worlds as minds here to perceive them”, and so too is the case with the quantum art pop of Leafcutter. Buy / Listen June Jones - Leafcutter: junejones.lnk.to/leafcutter UPCOMING SHOWS Instore Performance Saturday 27 February - 3PM Rocksteady Records, Melb Free Entry, Limited Capacity, All Ages (postponed from Friday 19th February) Leafcutter Album Launches Saturday 13 March Howler, Melb - Brunswick Music Festival w/ Geryon & Kalyani SOLD OUT Friday 23 April - 8PM The Thornbury Theatre, Melbourne w/ Elle Shimada & Katie Dey Tickets Sunday 25 April – 2:30PM The Bridge Hotel, Castlemaine Free Entry Saturday 8 May – 9PM Vic on the Park, Sydney w/ Marcus Whale Free Entry June Jones Youtube | Facebook | Instagram | Bandcamp

Festival News Music News

JUNE JONES Releases her new album Leafcutter Announces album launch dates

by the partae February 20, 2021

written by the partae

Photo credit: Jess Brohier

PRAISE FOR JUNE JONES

“With Leafcutter she bends synth-pop convention in a fearlessly honest set that explores her experiences as a “deeply emotional” trans woman.” – UNCUT

“Unnerving and beautiful, it’s a strikingly rendered portrait of disaffection.” – THE FADER

“Fans of John Grant, Kate Bush and Björk will find a lot to love here — Leafcutter is by very definition art pop, but it never ventures out of the realm of accessibility.” – Beat

“Leafcutter is a reminder that there is strength in vulnerability and something truly powerful about a well-written song.” – STACK

“June Jones’ voice is one that envelops you and never lets you go. The emotion she lacquers every word with becomes your emotion; her world becomes your own.” – MTV

A prolific artist and singular voice in the world of Australian music, June Jones releases her sophomore album Leafcutter today on Emotion Punk Records in collaboration with Remote Control Records. Despite this being Jones’ first self-produced record, Leafcutter feels in many ways like a logical sequel to her previous releases, which include two albums with Two Steps on the Water, the self-proclaimed “emotion punk” band she fronted from 2014 to 2018. Like her past albums, Leafcutter is a collection of songs exploring different aspects of her experience as “a deeply emotional trans woman, a lesbian with ADHD.” Her signature vocals – dynamic in their ability to move between syrupy cool and impassioned exclamation – are present as ever at the forefront of this record.

To celebrate Leafcutter‘s release, Jones has announced album launches in Sydney & Castlemaine, plus an additional Melbourne show, on top of her two sold-out shows at Howler for the Brunswick Music Festival. Details below.

Lyrically, the songs have a confessional intimacy that Jones has become known for. On her latest single, ‘Home’, she uses the five senses to describe her relationship to her body, being loved, and learning to love herself. The verses are both poetic and analytic – “The sound of my voice in your ear / I wonder who it is you hear / And if you can discern the beating of my wings / The nutrients inside a tear” – culminating in a resplendent chorus in which she sings “But this is now / And this is home / And home is all I ever wanted” in a voice that is unmistakably hers.

Throughout ‘Remember‘, the second track on the album, Jones uses her voice as an instrument, singing deep dyadic chords reminiscent of a Gregorian chant, panned between left and right ears. This millennium-old vocal style is counterbalanced with synths that reference both Madchester rave and hair metal, as well as viola, saxophone, intricate drum patterns, and a casually cool bass line. All these elements work together to create a sound that is at once familiar and unlike anything else that has come before. It is this atemporal collaging of old and new styles that defines Jones’s self-taught approach to production on Leafcutter. As a producer, Jones reminds us that everything new is a rearranging and reimagining of traditions.

“I made the whole album on a tiny refurbished Lenovo Thinkpad that I bought off a guy at a McDonalds. 18 months and over 1000 hours of work later, the album is finally finished. As someone diagnosed with ADHD as an adult, I have been almost entirely self-taught as a musician, whether it’s singing, writing songs, learning an instrument, or producing my own music, I just haven’t been able to sit still long enough to get through a lesson. But there have definitely been moments along the way where I have learned a lot from people, like sitting in the studio with Geoffrey O’Connor throughout the process of making Diana, or getting feedback on mixes from my dear friend and superproducer Geryon. Sometimes I wish I could approach learning in a more structured and systematic way, but I get overwhelmed by the infinite possibilities of music, so I’ve always felt more comfortable intuiting my way through things.”

Leafcutter manages to feel both intuitive and unpredictable in a way that calls to mind a classic Björk or Kate Bush album, finding a tentative home in the nebulous definition of art-pop. From above it is a pop record, but from within it resembles a labyrinth overflowing with intricate details that reveal themselves with each listen. Jones’s intuition informs both the album’s pop sensibility and experimentation. One thing that she delivers yet again is a record bursting with songs that get stuck in your head. Leafcutter, insectoid in name, is home to no shortage of earworms.

“One of my favourite albums of all time is Carly Rae Jepsen’s Emotion. For me, it’s a perfect pop album, with bangers from start to finish. In a funny way, I aspire to achieve that kind of consistency with every album I make. I feel like I am probably more prone to boredom than most, and it’s a state that I find almost painful. If there’s one thing I want to avoid as an artist, it’s being boring.”

And boring this album is not. Every song feels like its own little world which Jones invites us into, where we are asked to sit and feel with her for a few minutes before moving next door to another one, with similarities and differences, made up of things both familiar and strange. On Leafcutter, Jones pulls off the unlikely feat of finding harmony in that which, according to our own intuitions, should be dissonant. In the second last line of the opening track, ‘Jenny (Breathe)’, she sings “There are as many worlds as minds here to perceive them”, and so too is the case with the quantum art pop of Leafcutter.

Buy / Listen June Jones – Leafcutter: junejones.lnk.to/leafcutter

UPCOMING SHOWS

Instore Performance
Saturday 27 February – 3PM
Rocksteady Records, Melb
Free Entry, Limited Capacity, All Ages
(postponed from Friday 19^th February)

Leafcutter Album Launches
Saturday 13 March
Howler, Melb – Brunswick Music Festival
w/ Geryon & Kalyani
SOLD OUT

Friday 23 April – 8PM
The Thornbury Theatre, Melbourne
w/ Elle Shimada & Katie Dey
Tickets

Sunday 25 April – 2:30PM
The Bridge Hotel, Castlemaine
Free Entry

Saturday 8 May – 9PM
Vic on the Park, Sydney
w/ Marcus Whale
Free Entry

June Jones
Y outube | Facebook | Instagram | Bandcamp

February 20, 2021 0 comments

Festival News Music News

MODERN DAY ENTERTAINMENT, UNIFIED MUSIC GROUP & RED HILL ENTERTAINMENT TEAM UP TO BRING LIVE MUSIC TO THE NBL

by the partae February 20, 2021

written by the partae

Modern Day Entertainment, UNIFIED Music Group and Red Hill Entertainment are thrilled to announce they have teamed up to bring Australian music onto the courts for the inaugural NBL Cup.

The NBL Cup is a first of its kind competition (played within the regular NBL season) where all nine teams will descend on Melbourne for the event, which begins on Saturday February 20 and will feature 36 games (18 double-headers) across John Cain Arena and the State Basketball Centre over a four-week basketball bonanza.

“It will provide great value for all sports fans, particularly families, who can watch the biggest stars of the league in double headers for the price of one game. We encourage everyone who hasn’t been to an NBL game before to come along and experience a fantastic night of entertainment,” the NBL’s owner and executive chairman, Larry Kestelman, said.

The NBL is in a unique position to align itself with the Australian music industry (in a way no other sporting code has done) by providing an incredible platform to shine the spotlight on and champion the next generation of homegrown talent.

With the pandemic annihilating the live music industry like no other (and shows being virtually non existent in Victoria for the past 12 months), herein lies the perfect opportunity to give music fans that haven’t been to a concert/festival in a long time to see a live performance by an incredible up and coming Australian artist, whilst at the same time giving artists that haven’t been on stage for just as long, an exciting platform to express their craft.

On the partnership, Co-Founder of Modern Day Entertainment Julian Palei said, “With the NBL perfectly placed as Australia’s premiere destination for sports fans and families, it felt like a natural fit for live music to be included as part of their program. We’re extremely excited at Modern Day Entertainment to join forces with Jaddan and UNIFIED Music Group in bringing emerging Aussie talent to the courts, and building on the amazing work the NBL is doing by creating an all round entertainment experience for patrons.”

Artists to perform during the NBL Cup:
Saturday 20 February – New wave multi-instrumental loop artist Steve Cousins
Sunday 21 February – 18 y/o “glock-pop” songstress Matilda Pearl
Saturday 27 February – Hip hop and RnB artist Jordan Astra
Saturday 6 March – Fast rising Melbourne based MC Jordan Dennis
Sunday 7 March – Jamaican-Australian singer, rapper, producer and multi-instrumentalist Jaycee
Wednesday 10 March – Energetic hip hop artist on the rise YNG Martyr
Saturday 13 March – Pop/rap artist and producer Sophiya

CEO and Founder of UNIFIED Music group Jaddan Comerford adds, “Bringing music to the NBL has been a dream for years and to now be doing it with Julian and our friends at Modern Day Entertainment we are over the moon. Music and basketball has always been closely linked and we are thrilled to be able to put up and coming Australian music in front of basketball fans. This is just the beginning and we are grateful to the NBL for the opportunity they are giving to the Australian music industry.”

Co-Founder of Modern Day Entertainment Nic GidleyKing adds: “It’s an absolute pleasure to be pursuing this venture with a company like UNIFIED Music Group, who I very much admire and respect. Being in the position to work with the NBL and deliver a unique experience for Australian musicians & sports fans is an opportunity I’m proud of and grateful for.”

Director of Red Hill Entertainment Aidan McLaren adds: “To be able to give new and emerging artists a platform like the NBL Cup to reach and entertain new fans is something really special and important. The atmosphere of these events is going to be amazing and for many of the acts involved it will be their first ever time performing in a stadium. We couldn’t be more excited to be partnering with the NBL, Modern Day Entertainment and Unified Music Group on these events and are really excited to see where this partnership and the entertainment element of NBL Cup will grow in the future.”

UNIFIED Music Group is a globally renowned multi-service music company providing a range of services including artist management, recorded music, publishing, live events and merchandise to a diverse roster of local and international artists.

Modern Day Entertainment is the management company and independent record label behind Jamaican-Australian rising star Jaycee, and HipHopCharts.com.au (Australia’s first and only dedicated hip hop chart).

CONNECT WITH UNIFIED MUSIC GROUP:

February 20, 2021 0 comments

Music News

EATS EVERYTHING SERVES A SHINING REWORK OF OBSKÜR’S ‘BAYSIDE’ ON FFRR CHAMPIONED ACROSS RADIO 1 WITH CONTINUED SUPPORT FROM PETE TONG, DANNY HOWARD AND ANNIE MAC, ‘BAYSIDE’ SITS COMFORTABLY IN R1’S B PLAYLIST

by the partae February 20, 2021

written by the partae

FFRR
OBSKÜR – ‘BAYSIDE’ (EATS EVERYTHING REMIX)
OUT NOW

Newcomers OBSKÜR have seriously been making waves with their latest track ‘Bayside’ released on FFRR at the end of 2020. Since its release it has generated almost 12 million combined streams and in the last weeks been added to BBC Radio 1’s B list, hotly tipping OBSKÜR as artists to watch. Now, as the track grows and progresses, UK dance music favourite Eats Everything steps up to provide his rework – out today.

With the pair firmly championed across Radio, ‘Bayside’ has seen prime time play from Pete Tong, Annie Mac, Danny Howard, Jaguar on BBC Introducing and been made ’Tune Of The Week’ on both Arielle Free & Nick Grimshaw’s shows. OBSKÜR have also since made an appearance on Mista Jams’ Capital Dance show as he invited them on to get to know the young producers and talk ‘Bayside’.

‘Bayside’ features a vocal sample from A.D.O.R’s classic ‘One For The Trouble’. It’s filled with 909 drum machines & stabbing synths, very much sitting in the upper realms of hard-hitting house that’s at the forefront of the Dublin’s underground music scene. In true Eats Everything fashion, he’s put a fun and choppy house spin in his rework of ‘Bayside’, retaining the upbeat nature of the original, pushing the track further into the next realm of dance music.

Daniel Pearce, better known as Eats Everything, is an English DJ and record producer who came to prominence in 2011 with the release of “Entrance Song” on Pets Recordings. Since then, he has received critical acclaim for a number of solo releases on Dirtybird, Hypercolour and Futureboogie. Since 2011, Eats has played at a number of the world’s biggest clubbing institutions such as Fabric, DC10, Amnesia, The Warehouse Project, Space and Watergate, as well as festivals like Glastonbury, Bestival, Creamfields and Secret Garden Party. Over his career he has risen to critical acclaim with numerous accolades including three BBC R1 Essential Mixes, highest new entry in Resident Advisor’s prestigious ‘Top 100 DJs Poll’ coming in at number 13, Best British DJ at DJ Mag Awards, Best Breakthrough producer and more and is an asset to the ‘Bayside’ family which continues to dominate the airwaves.

OBSKÜR – Bayside (Eats Everything Remix) is out now via FFRR

Connect with OBSKÜR

Connect with Eats Everything

February 20, 2021 0 comments

Music News

US HOUSE MUSIC SPEARHEAD JOESKI COMPLETES VIRAK ‘SUGAR’ REMIX PACKAGE FOLLOWING REMIXES FROM JUNIOR JACK & KOLOMBO

by the partae February 20, 2021

written by the partae

LISTEN TO ‘SUGAR’ (JOESKI REMIX) HERE

ADESSO MUSIC
VIRAK – ‘SUGAR’ (JOESKI REMIX)
OUT NOW

Continuing to outline their commitment to showcasing new talent from around the globe, Junior Jack & Pat BDS present the next release on their Adesso Music imprint: Virak – ‘Sugar’ (Joeski Remix) out today.

An exciting new talent and French virtuoso, Virak has had three of electronic music’s heavyweights remix his ‘Sugar’. With the Junior Jack and Kolombo remixes released prior to now, Joeski’s rework arrives as the final of the ‘Sugar’ Remix package.

‘Sugar’ is built on bold drums, driving bass and a deeply moving atmosphere. Joeski’s remix is lightly melodic with much focus kept on the delicate vocals as well as the dynamic and progressive bass tones.

With over 30 years’ experience, Joeski is a firm fixture in the U.S and Canadian club circuit. His output has seen him deliver hits such as Electrik Soul, Siesta, Chez and Camouflage whilst the Joeski name has been synonymous on line-ups alongside Danny Tenaglia, Louie Vega and Roger Sanchez. His ability to stay in the game is generated by his talent of captivating new generations of club-goers and supporting new talent in their rise, as he is doing in his rework for Virak.

Virak is also no stranger to the DJ booth. Now residing in Thailand where he has a number of residencies, he started his career in 2006 and has frequented many of the prestigious clubs in France such as Les Caves: (Courchevel), Le Milk (Montpellier) as well as open format sets at some of the world’s most tropezian bars and beach clubs. Championed by Junior Jack, the Adesso Music team and beyond, Virak is a sure one to watch for 2021.

Virak – ‘Sugar’ (Joeski Remix) is out now Adesso Music

Connect with Junior Jack

Connect with Virak

Connect with Joeski

February 20, 2021 0 comments

Music News

Julia Sound Video Premiere

by the partae February 19, 2021

written by the partae

A composer, songwriter, mixer, sound designer, and producer – Julia Sound (aka Lin Gardiner) has a decorated history in the music business that has spanned years (and countries). With “Fly Again” she marks a new departure into a hip-hop world tinged with ambient doom. “The single came about as I had been playing with binaural beats for that low drone,” says Gardiner, “I was in an ambient dub kind of a mood after working on a different song from the album, so I started building out this beat. Normally I would add more elements and layers, but Jo’s free flow was so good I didn’t want to add anything else.”

Created during the pandemic, “Fly Again” is amongst a myriad of songs to come from an upcoming album – but it is this track that directly references the state we currently find ourselves in. Jo says “The beat is so deeply beautiful, and I started to flow over it, a piece of poetry that came out in a more unstructured format with the repeated sung part giving hope that one day we will travel again without fear. In the meantime, I hope that we can find adventure in our everyday living and let this music take us to a beautiful place in our minds.”

A standout in the video game, film and TV industries as well, Gardiner is a force to be reckoned with in the field, and a consistent and constant creative who can bring out the same in others.

LISTEN/WATCH

https://www.youtube.com/watch?v=e9uMKpkq1Fk

SOCIALS

https://boomsmackrecords.bandcamp.com/

https://www.facebook.com/BoomsmackRecords/

https://twitter.com/boomsmackrecord

February 19, 2021 0 comments

Music News

Jeff Mills – The Clairvoyant 3 x Vinyl, Digital Out on Axis February 26th

by the partae February 19, 2021

written by the partae

Tracklist

01. The Séance
02. Psuedoscience
03. Second Sight
04. Someone Who Feels Things
05. Calling All Loved Ones
06. Shadow With A Golden Aurra
07. I Feel A Presence
08. Three Signs From The Other Side_ Sign 1
09. Three Signs From The Other Side_ Sign 2
10. Three Signs From The Other Side_ Sign 3
11. Questions Decisions And Consequences
12. The Feeling Anything Is Possible
13. Dancing Shadows
14. Ganzfeld Experiments
15. The Spirit World
16. From The Mind’s Eye (digital bonus)

Jeff Mills_The Clairvoyant
Commentary

“There are many ways to imagine the future. One might be to look back in the past to see what has similarities to what we are seeing today. Another way might be to invent and build a time machine to jettison ahead in time to get a glimpse. And, one way might be to use our natural senses to feel what the future might be like. Though all are intriguing to explore, this album is about the latter option.

We are a species of human animals and we are guided by the ways of “knowing” from feeling; by the ways of intuition, premonitions and sensing. Each one of us are born with this special tool set that tells us when the time is right, when enough is enough and when there may be more or less to it. It has been these skills that has allowed humanity to survive and flourish for thousands of years. It is also safe to say that we do not know all there is to know about this skill.

A Clairvoyant is a person who claims to have a supernatural ability to perceive events in the future or beyond normal sensory contact. 100 years around 1920, a person with such abilities that could summon, speak to the decease and spirits were in high demand due to post World War I battle casualties, the Spanish Flu virus pandemic of 1918, the social and civil unrest and many more events that made uncertainty the norm. Ironically, the we were doomed to repeat some of these events and what we’re experiencing today. The general impression of Clairvoyant was that of a conductor of faux hope, scam artist that preys on grief and desperation or someone that believes in their natural ability a bit too much! In many cases, this might have credit, but also, it was this person, with this way of supposedly channeling the beyond that gave people hope, optimism, resolve and much needed closure.

The album plays in the way of a metaphysical séance and should be listened to in a darkened, candle lit room. A silent space, free of outside noise, chatter or talking and other visual distractions. The album should be listened in full – from beginning to end”.

– Jeff Mills

https://www.axisrecords.com/

https://www.facebook.com/AxisRecords.official

/https://www.youtube.com/user/AxisRecords1

https://vimeo.com/axisrecords

February 19, 2021 0 comments

Music News

King Gizzard & The Lizard Wizard ANNOUNCE NEW ALBUM ‘L.W.’ & NEW SONG ‘PLEURA’

by the partae February 19, 2021

written by the partae

Artwork by Ashley Goodall

King Gizzard & the Lizard Wizard are excited to announce their seventeenth studio album L.W., to be released February 26, 2021. The album serves as a direct follow-up to last year’s full-length K.G., and is the third volume in the band’s explorations into microtonal tunings (which began with 2017’s Flying Microtonal Banana). Pre-save the album HERE.

Following the recent releases of ‘If Not Now, Then When?’ and ‘O.N.E.’, both included on L.W., the band has also shared new track ‘Pleura’ – hear the track HERE, and watch the video HERE. The video, which consists of a live performance from the band’s studio and was filmed just last night, was directed by John Angus Stewart, who also helmed the band’s 2020 concert film Chunky Shrapnel.

“I think a true document of live music shouldn’t rely entirely on editing,” Stewart says. “There is something that happens with the way we perceive images, if something “live” is too produced, your mind sort of loses interest. With this format, we wanted to leave the editing up to the viewer. The decision of who to look at, and at what time determines each individual viewing experience. With each watch your experience will be completely different, which mirrors Gizzard’s experience playing the song live. The process is the same, yet the result is different.” WATCH THE VIDEO HERE.

Freewheeling six-headed freak-rock beast King Gizzard & The Lizard Wizard return with seventeenth album L.W.

Serving as both a companion piece to its 2020 predecessor K.G. and a stand-alone work in its own right, L.W. sees the illustrious innovators produce a truly original work. After a full decade of increasingly frenzied productivity, the inability to tour during 2020 and into 2021 allowed the band to find a window of time in which, as frontman Stu Mackenzie puts it, “reset our brains, and try to figure out how to do a different thing.”

Where in the past King Gizzard might have recorded fourteen or fifteen songs to make the cut on a ten-track album, thanks to having extra time on their hands, they instead recorded nineteen complete tracks back to back. “For me personally, making a record is always a certain percentage of fun and a small percentage of agonising over it too,” says Mackenzie. “But there’s always a wild alchemy going into it. Like, you don’t really know what you’re doing, you’re just kind of throwing all of your emotional energy into nothing, which becomes…something?”

The result is a twin-set of records that expands upon the band’s microtonal explorations first heard on 2017’s Flying Microtonal Banana – regarded by many fans, and Stu himself, as one of their favourite Gizzard albums. Then as now, the band embarked upon a search for “the notes between the notes”, via modified instruments and the middle eastern tunings usually found on the bağlama, a Turkish stringed instrument. “We wanted to make new music that was somehow more colourful this time around, and which maybe reflected the many new things that we have learned along the way,” Stu explains. “After recording Flying Microtonal Banana the songs expanded when we played them live, so we felt ready to tackle the microtonal landscape again. Making these two new records was not expected, but because they were recorded in a way that was new to us – not being in the room at the same time – there was a feeling of almost being over-prepared, which is definitely not normal for us. Whatever normal is.”

On L.W. very different – and occasionally wonky – worlds collide. Album opener ‘If Not Now, Then When?’ morphs from mangled eastern rock into taut funk in a manner that somehow makes complete sense, while the amorphous and exotic ‘Pleura’ is a pungent gumbo of heady microtonal strings, tumescent riffs and endless surprises. Then there’s the slinky ‘Ataraxia’ which slithers like a sidewinder through the dusty catacombs of the imagination and the utterly disorientating ‘See Me’, which is nothing less than the national anthem of a scorched planet hitherto undiscovered. Here is an album that pulls, pushes and contorts western music into new shapes. Though some might categorise it as such, this is not ‘world music’ but ‘universal music’.

Only when this new clutch of songs was nearing completion did it become apparent they would form two separate releases. Such creative ambition and bold ideas have been King Gizzard’s stock in trade since day one. Let’s not forget this is a band whose innovative ideas have included – amongst other things – giving away the parts of an entire album for scores of international indie labels to press and sell themselves, have written a suite of songs that clock in at precisely 10 mins and 10 secs each, as well as a sludgy-stoner concept album about a lonely robot. Why record one album when you can record two?

Narratives are woven through the music across both release: L.W. ends, for example, with the same track that K.G. opens with (‘K.G.L.W’, obviously). Fans of the band will already be aware of similar such patterns embedded throughout their oeuvre: the award-winning, hard-riffing 2016 album Nonagon Infinity was a never-ending Möbius strip of music that looped in on itself. It was the type of iridescent collection of interlocking songs that you could imagine playing forever in a black hole as it spins on ever-deeper into the darkest reaches of the cosmos.

“I like to order a record early,” says Stu of these intricate structures and grand thematic concepts, in whose creation piles of maps and diagrams are often required. “That’s something that I often do. And usually, the easiest one to slot in is the opener, so listening back to L.W. a theme song of sorts emerged. The outro is like a mirror image of the intro. And as we worked on it, it kept growing, as a lot of our songs do. In this case it just kept getting more and more ridiculous. I’m not sure how he acquired them, but Joe (Walker, guitarist) got all these crazy samples that he put on there. There’s an MRI machine, hammers, power tools, a drawbridge, a chainsaw, an angle-grinder. Cookie played a hammer and an anvil. It’s very metal. Literally.”

As the band enter their second decade – and their frontman still only thirty years old – the creative future of this most 21st century of outfits only promises to be bolder, madder and more imaginative than ever. Their place in the pantheon alongside such disparate predecessors such as Grateful Dead, Hawkwind, Frank Zappa, The Doors, Black Sabbath and AC/DC is assured; though rest assured The Gizz prefer to always face the future than the past.

“We’re actually probably not as considered as people think that we are,” Stu concludes. “I’m always just trying to be in the band that I want to be in. But I’m also trying to be the band that I wish I could follow as a fan; so we’re both of those things at the same time. And I think that’s where my decision making lies: I’m always asking, what is the most fun thing we can do? If there’s a strategy at all, then it’s that.”

If the rumours emanating out of Melbourne are to be believed, King Gizzard are about to entire another fertile purple patch.

King Gizzard & The Lizard Wizard are: Stu Mackenzie (vocals/guitar), Ambrose Kenny-Smith (harmonica/vocals/keyboards), Cook Craig (guitar/vocals), Joey Walker (guitar/vocals), Lucas Harwood (bass) and Michael Cavanagh (drums).

Album discography: 12 Bar Bruise (2012), Eyes Like the Sky (2013), Float Along – Fill Your Lungs (2013), Oddments (2014), I’m In Your Mind Fuzz (2014), Quarters! (2015), Paper Mache Dream Balloon (2015), Nonagon Infinity (2016), Flying Microtonal Banana (2017), Murder of the Universe (2017), Sketches of Brunswick East (2017), Polygondwanaland (2017), Gumboot Soup (2017), Fishing for Fishies (2019), Infest The Rats’ Nest (2019), Chunky Shrapnel (live album) (2020), K.G. (2020).

February 19, 2021 0 comments

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