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Determination and steadfast dedication have defined ERRA’s path, forging a unique connection with an ever-growing audience, without the advantages of traditional recognition. On their career-defining fifth studio album ERRA, the band confront depression, anxiety and desperation throughout. They take listeners on a near-out-of-body journey to Aokigahara, the infamous Suicide Forest of Japan; into episodic storytelling that would make Black Mirror writers proud; and into the literary works of Cormac McCarthy and Hubert Selby Jr.
ERRA was recorded, mixed, and mastered by Grammy-nominated duo Carson Slovak and Grant McFarland. It’s a definitive mission statement for guitarist Jesse Cash, vocalist J.T Cavey, drummer Alex Ballew, bassist Conor Hesse, and guitarist Sean Price, each of them already well-respected players revered for their inspiring technicality and raw, natural talent.
Rising from Alabama, ERRA’s dedicated fanbase and online community organised around the band’s dense music and heady but relatable lyrics have helped further their mission, resulting in multiple No. 1 Heatseekers placements on Billboard. Previous ERRA albums Impulse (2012), Augment (2013), Drift (2016), and Neon (2018) saw the band spotlighted on tastemaker playlists, as the band’s Spotify plays soared past 72 million. And with vigorous worldwide tours under their belt, ERRA have rightfully earned a sprawling audience devoted to the Alabamians’ catalogue, eager for each new missive.
As their music finds the balance between the crushingly heavy and the headily melodic, its members seek to find harmony between the needs of the individual and the natural flow of this shared reality. ERRA, as a band of brothers and creative force, strive to live in alignment with the present moment. ERRA, the album, represents redemption for the band, who emerged from the creative process with renewed focus, confidence, and certainty of self.
Pre-order ‘ERRA’ album +
Stream ‘Scorpion Hymn’ now:
http://unfd.lnk.to/erra
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Midnight Oil’s mini-album The Makarrata Project topped the ARIA charts last November. A powerful call for justice and recognition for Aboriginal and Torres Strait Islander people, it featured on most critics’ lists for ‘The Best of 2020’. Next month the band will finally bring that acclaimed new music – plus a slew of other iconic Midnight Oil Reconciliation songs – to Australian concert stages for five special outdoor events.
Today, Midnight Oil, Frontier Touring and Roundhouse Entertainment are excited to announce leading First Nations vocalists Dan Sultan, Alice Skye, Troy Cassar-Daley, Tasman Keith & Leah Flanagan will join the band for all Makarrata Live dates. Midnight Oil will also be joined onstage at all shows by backing vocalist Liz Stringer and saxophonist Andy Bickers. Coloured Stone’s legendary frontman, Bunna Lawrie**, will also feature at the WOMADelaide performance.
In addition to appearing as part of the Oil’s set, Dan Sultan, Troy Cassar-Daley, Leah Flanagan and Alice Skye will also perform special guest slots of their own songs on select dates. (For venue specific information and biographical details on each of these guest vocalists please see below).
Sydney bassist Adam Ventoura will also play with Midnight Oil at all these shows due to the sudden passing of longtime band member Bones Hillman late last year. Adam came to the band’s attention when he guested on a recording session at Jim Moginie’s studio involving “Diesel & Dub” creator Declan Kelly. Adam has previously toured with Cold Chisel’s Ian Moss. In addition to appearing at all the Makarrata Live gigs, he will also perform on the Saturday night at WOMADelaide when Midnight Oil will deliver a one off set of Oils material that does not feature the Makarrata guests.
“It will be a moment heavy with emotion to go onstage without our long time brother in music, but Bonesy always made it clear he wanted these gigs to go ahead without him so we know he will be with us in spirit”, said frontman Peter Garrett. “We’ve just started rehearsing with Adam, who, amazingly, has been living under our noses in Sydney. There’s something primal about his playing that caught our ears that makes the band sound great.”
“We’re fortunate that so many of the collaborators on our mini-album can join us onstage for these shows and we remain hopeful that one or two more of our friends might be able to jump up with us here and there as well”, said drummer Rob Hirst. “The message of these songs feel increasingly relevant as public awareness of The Uluru Statement continues to grow. It’s time for Australia to stop dragging the chain on this issue and we call upon the government to begin the process of constitutional recognition for First Australians and to also heed their call for a Voice to the federal parliament.”
Tickets for Makarrata Live are on sale now for Sirromet Wines, Mount Cotton, Hope Estate, Hunter Valley and Stage 88, Canberra. The current Covid-safe capacity has almost been reached for Mt Duneed Estate, Geelong but organisers remain hopeful a limited number of additional tickets may also become available if Victorian Covid protocols are eased. As always fans are asked to avoid purchasing through reselling sites such as ViaGoGo which typically cost a lot more.
Raised between inner city Melbourne and the Northern territory town of Yuendumu, Dan Sultan began playing music at a young age. Inspired by classic guitar rock and the tribal culture of his heritage, Sultan quickly proved himself an Australian favourite, winning multiple ARIA awards, playing the country’s largest music festivals; also appearing in film.
Looking forward to performing on these shows, Dan says “The best thing about doing some shows with Midnight Oil is that I get to see them live so much in such a short space of time. Oils concentrated. Can’t wait.”
Alice Skye is a Wergaia/Wemba Wemba person living and writing music in Naarm (Melbourne). Since her first album ‘Friends with Feelings’ she has signed with Bad Apples, the Indigenous-driven label that celebrates and prioritises blak excellence. Alice’s upcoming sophomore album ‘I Feel Better but I Don’t Feel Good’ was produced by local artist Jen Cloher. Her work continues to look inwards and explores finding staunchness in softness.
Troy Cassar-Daley is a proud Gumbaynggirr/Bundjalung man who comes from a long line of story tellers. His songs authentically soundtrack the Australian culture, winning him numerous accolades including 37 Golden Guitars, 4 ARIAs, 2 APRA awards, 9 Deadlys (Australian Indigenous Artist Awards), 4 CMAAs, 2 NIMAs (National Indigenous Music Awards) as well as an induction into the prestigious Australasian Roll Of Renown. The latest addition to his legacy is his upcoming album The World Today (out March 19 through Sony Music).
Hometown pride runs deep for 24-year-old rapper Tasman Keith, whose music is indebted to giving back to the community that raised him. From a small town on New South Wales’ mid-North Coast, Keith is carrying on the Gumbaynggirr storytelling traditions of his family through his eclectic and emotive tracks.
Originating from Darwin, Leah Flanagan grew up in a household filled with music and culture – boasting a proud Italian, Indigenous (Alyawarre) and Irish heritage that she credits as early influences to her sound. Flanagan’s latest album ‘Colour By Number’ is out now through her own Darwin based, Indigenous owned and operated label Small Change Records.
Bunna Lawrie is a member and respected elder of the Mirning Aboriginal tribe from the Coastal Nullabor, South Australia. He is a Mirning whaledreamer and songman, medicine man and story teller of his tribe. He is Coloured Stone‘s founding member and chief songwriter.
These concerts seek to elevate The Uluru Statement From The Heart which calls for a Makarrata – or “truth telling” – to account for the theft of lands and displacement of First Nations people.
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“Riding a current of heavy rhythm, the track races through a haze of melodic guitar noise” STEREOGUM
“90s fans, Narrow Head are here so you no longer need to pretend that any of the Helmet, Quicksand or Smashing Pumpkins reunion material is actually good.” DECIBEL
“Acclaimed for their shimmery pop melodies and feedback-soaked shoegazery, the quintet evoke the bittersweet alt-rock of Smashing Pumpkins, Nothing and their ilk.” REVOLVER
“…their combination of nu-metal and ’90s grunge makes for pleasurable sonic immersion” PASTE
“Duarte’s drawl evokes Liam Gallagher’s nonchalant delivery, making the track an exciting trip in nostalgia” UPROXX
“a catchy dose of ’90s shoegaze and grunge worship” BROOKLYN VEGAN
“As the album title suggests, truly is a world of its own – and its emotional weight and power will transport you, whether you like it or not, into the darkest parts of Jacobs mind, as well as your own.” KERRANG!
“For an album whose influences are so explicit, 12th House Rock still manages to feel vibrant, breathing life into an established sound.” METAL HAMMER
US five-piece NARROW HEAD reveal their brand new video for single ‘Hard To Swallow’, the final track to be released from their hugely acclaimed 2nd album ’12th House Rock’, which is out now via Run For Cover Records.
Watch the video for ‘Hard To Swallow’ – HERE
Jacob Duarte from the band explains a bit more about the new video: “We shot the video in the middle of nowhere Texas at this insane house that was rundown but still liveable, courtesy of the Allison Brothers. Kinda like a house from a horror movie, Texas Chainsaw or House of 1000’s Corpses. The house is surrounded with trees and a couple of acres of land with no cell phone service so you’re totally isolated. Gives you this creepy feeling like someone could be watching. The first time I visited the spot I knew I wanted to do a video there, it came out exactly how I imagined it.“
Delving into deep-seated themes of self loathing, desolation, self-medication, the loss of loved ones and hopeful redemption,’12th House Rock’ is, as the title suggests, a rock-focused LP themed on transition– exploring the vast abyss of darkness just before the sun cracks upon the horizon. Today the band has revealed a track by track guide that dives into the album’s concepts, themes and production via Stereogum – read it HERE
12th House Rock is out now on Run For Cover records.
ABOUT NARROW HEAD
NARROW HEAD formed in 2013 but became fully realised as a band in Houston with the release of their 2016 debut LP Satisfaction and the lineup of Duarte, guitarist William Menjivar and drummer Carson Wilcox. Playing in the TX scene instilled a can-do attitude, an ability to explore several different ideas along with a strong set of DIY ethics, qualities that still form the basis of the band to this day.
Though the primary trio was present throughout the entire cycle, fate would intervene on bass as the undeniable chemistry between the band and then strictly producer Ryan Chavez led to his inclusion in Narrow Head. The newly minted four piece would handle the bulk of the remainder of the LP, bringing in Erica Miller (Big Bite, Casual Hex), vocalist/lyricist on “Delano Door,” and mastering guru Sarah Register (Big Thief, U.S. Girls, Protomartyr) to put the final touches on the record. Guitarist Kora Puckett (Bugg, ex-Sheer Mag), who previously logged hours as a live member in the tours preceding the LP, would join Narrow Head as a full-fledged member following the album’s completion.
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LISTEN: https://indiig.ffm.to/drifting
Multi-talented, lo-fi hip-hop rapper, Indii G shares his new single “Drifting.” The vibey lo-fi hip-hop track featuring minimalist guitars and soulful melodies, demonstrates Indii’s keen ability for producing bedroom indie pop hits.
“This song is a product of me sitting around feeling nostalgic about my childhood. Growing up and having people that were once so important to you just fade away is still crazy to me,” explains Indii. “’Drifting’ highlights one person in particular because without her and the times we spent together, I definitely wouldn’t be who I am now and I feel she deserves to know that.” The video, featuring a treatment written by Indii and directed by Aaron Marsh, attempts to recreate those special moments while juxtaposing them with the representation of absence depicted with a cat plushie.
CHECK OUT “DRIFTING” NOW
WATCH | LISTEN
A modest rapper on the rise, citing collabs with Powfu and Sadboyprolific Indii G. started making music as a diary, putting his feelings into fruit for hip-hop heads and DIY chillwave enthusiasts alike. With more than a million streams on Spotify, the Louisiana native is building momentum with his velvety echoed layers, infectious beats and gentle, harmonic vocals. Since his start in 2016, his diary has blossomed into an Ep and over a dozen singles including “Secrets,” and “Story’s End.”
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Fat Wreck Chords and pioneers of SoCal Punk NOFX, are pleased to announce the release of their new single, “Fuck Euphemism.” The second track is lifted from their upcoming full-length titled Single Album, due out on February 26th.
“We had to make a lyric video for this song because these might be my favourite lyrics I’ve ever written. Oh what fun it is to write a song that’s completely PC, but sure as hell sounds like it isn’t.” Fat Mike addressing sobriety, sexuality, gender, and more.
Watch the music video for “Fuck Euphemism” HERE
Stream the track on all platforms HERE
Nearly 40 years in, what else is there to say about NOFX?
And aside from the occasional negative headline, how can one of the pioneers of SoCal punk—a style hardly known for experimentation—surprise anyone these days?
The answers lie on Single Album (Fat Wreck Chords, Feb. 26), NOFX’s 14th full-length studio album. There’s the nearly six-minute post-hardcore opener (“The Big Drag”). The meta sendoff for the band’s best-known song (“Linewleum”). The reggae-inflected song about a mass shooting (“Fish in a Gun Barrel”). Even a piano ballad (“Your Last Resort”).
It is, as frontman and bassist Fat Mike repeatedly describes, “a dark album.” That wasn’t the original intent. By early 2020, NOFX—which includes guitarist El Hefe, guitarist Eric Melvin, and drummer Smelly—had written and recorded enough songs for a planned double album to be released that fall. Like so much about 2020, those plans changed.
“When you write a double album, you write differently,” Mike says. “I was writing really different songs, and some fun songs, but you have to make a double album interesting enough to listen to the whole way. I wanted to make a perfect double album, and I didn’t accomplish that. So I decided to just make a single album, hence the title.”
Recorded at Motor Studios in San Francisco with Bill Stevenson and Jason Livermore (Rise Against, Alkaline Trio, Teenage Bottlerocket), Single Album pares down the roughly 23 songs NOFX tracked. “I just kept adding songs,” Mike says. “I was maybe a little out of my mind.”
How so? “I was pretty high on drugs that year,” he adds. While fans may wonder what else is new, Single Album casts the frontman’s habits in a surprisingly harsh light. While “Grieve Soto” eulogises beloved Adolescents founder Steve Soto, it takes a meta turn when Eric Melvin warns Mike to be “cautious, more respectful, less obnoxious.”“Birmingham” has what people in recovery call “a moment of clarity,” when he realised he was an addict.
“That was a clarity moment in my life when I was by myself, and the sun’s coming up, and I’m scraping cocaine off the floor, like, ‘Eww, gross. I shouldn’t be doing this,’” Mike says. “So what did I do? I ordered more.” After being hospitalised with a bleeding ulcer—a terrifying experience that caused him to vomit blood—Mike entered rehab in fall 2020. He promptly wrote another new album while there and has been sober since.
Unsurprisingly, Single Album represents his most personal work to date. Heartbreak permeates “I Love You More Than I Hate Me” and “Your Last Resort.” “Fuck Euphemism” dives into Mike’s sexuality for a “pronoun bar fight.” “Doors and Fours” is a grim look into the early ’80s LA punk scene, when dozens of people—many of them Mike’s friends—overdosed on a prescription drug combo. “The Big Drag” is a personal vow to make the most of life, even when it undeniably sucks. “It’s one of my favourite NOFX songs ever. I don’t get sick of listening to that song,” Mike says of “The Big Drag.” “No measure is the same length. Every time a new chord change happens, there’s a different rhythm to the guitar. The bass never stays on one note. You’re not sure when the chords are going to change because they always change at a different point.”
In other words, it’s unpredictable—just like NOFX. Turns out there is a lot to say about them, even after all this time.
Fat Wreck Chords will release Single Album on Feb. 26, 2021.
Pre-order Single Album HERE (limited coloured vinyl)
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“I was in tears the whole time writing that song for Chachi, like weeks. I had tears all over my jeans, all over the piano; I just had to push through it. I thought, ‘There’s only one way out of this.’”
Chachi wasn’t any old dog. She was singer, songwriter, guitarist and now pianist Sarah McLeod’s one constant in a life lived more on the road than off. For fifteen years, Chachi was there on the road with her. When she passed away in July 2020, there really was only one way to deal with her loss – to sit at the piano and find the words to express her feelings.
“I find that playing the piano seems to change the whole mood of things I write,” she admits. “It’s so much more emotive. The guitar for me is more of an upbeat, goodtime rock’n’roll situation, but piano really draws on the heart strings and I love it. It makes me write in a different way. It makes me feel different. I sit at the piano, I light scented candles, I’m emotional.”
Her legion of fans will be seeing and hearing a whole other side of Sarah McLeod when she hits the road in February for her first “electric” tour. Sure, they’ll hear their favourite songs, not only from her last solo album, 2017’s Rocky’s Diner, and even a few from her solo debut, 2005’s Beauty Was a Tiger, but also songs from the band that put her on the international map, The Superjesus – only not how you remember them. “I’ve rewritten The Superjesus songs as beautiful piano pieces, to give them a different edge – or lack of edge.”
Sarah was supposed to go out on her first electric tour of Australia in March 2020 – she’d done the solo sitting on a stool with an acoustic guitar thing enough times – but like everything else, that had to be shelved as the nation went into lockdown in order to minimise the impact of COVID-19. Sarah had been doodling around the piano for a little while but with lockdown she finally took the opportunity to get serious about the instrument. Not that she was about to study the books and learn how to play the conventional way. That’s never been her way at all – not even as a guitarist.
“In The Superjesus I play in different tunings and that’s cool,” she explains, “but I don’t know what the chords are called. I’ve never known what any of the chords are called. I just play by ear. So when I got to piano, I have no idea how to read music so I just sit there and tinker until I find sounds, which takes forever, but I’m really committed to the style. I’m finding really interesting voicings these days, like moving the bass around, and it’s making me a better guitar player, strangely.”
It’s also made Sarah a better lyricist. “For some reason, every word counts now. Every time I open my mouth to say something, I feel like it’s high-class real estate and I only have a certain number of lines that I can put in a song. It’s not like a novel, so every line has to count; every line has to help deliver the story in its most imaginative and descriptive way to take the listener on a journey. So, I find myself blabbing less and being more to the point and more colourful.”
Of course, it’s all very well feeling excited about her newfound skills as a pianist, but she’s not about to launch herself on an unsuspecting audience cold. Sarah is still the feisty, powerful, magnetic rock guitarist and performer, and that was the side she’d intended to showcase on that aborted 2020 electric tour. She’d even modified her guitar herself in order to become her own bass player. Adding a second outlet to her guitar that independently picks up the signal of the two bottom strings, she detunes them and put them through a bass amplifier, which provide the bass parts. Meanwhile the other outlet carries the guitar parts from the other six strings to a guitar amplifier – very clever. Throw in a foot pedal by which to control percussion parts and she’s the total one-woman band – One Electric Lady. And joining Sarah McLeod on the tour is – solo pianist Sarah McLeod.
“I thought that perhaps it was a bit brazen of me to come out and do a whole tour on piano while I’m still finding my way, so I thought that perhaps what I would do is do the electric show, which I haven’t ever toured – I’ve only done one show here, one show there – and I’ll put myself on as support playing the piano, ‘cause I know the headliner and she’s been good to me, I think she likes me! Pull some strings so to speak!! And I thought that would be a good way of edging my way into live performance as a pianist.
“The piano song stories are mainly just things in my life, my relationships and my connections with people, so the piano songs are all very personal, so far. With the guitar songs I write a lot of cheeky stuff, I write some fictitious stories, but with piano, I’m writing very vulnerable, direct from the heart songs, which I’ve never actually done before.”
And of course, alongside all those other songs, you’ll hear Chachi’s Theme, Sarah’s tribute to her beloved rock dog and sidekick, sitting somewhere on the other side of the rainbow bridge, tail wagging, where she’ll be listening out for her mummy’s’ voice and hearing the growing confidence in her art, her craft… and her piano playing.
TOUR DATES 2021
Friday, 5 March 2021 – Ballina RSL, Ballina NSW
Ticket Link: www.trybooking.com/BLBWX
Saturday, 6 March 2021 – The Lounge, Nundah QLD
Ticket Link: https://bit.ly/2YieBvw
Sunday, 7 March 2021 – Wallaby Hotel, Mudgeeraba QLD
Ticket Link: N/A – Free Event
Thursday, 11 March 2021 – The Vanguard, Sydney NSW (2 x sessions)
Ticket Link: https://moshtix.com.au/v2/event/sarah-mcleod-one-electric-lady-tour-/122064
Friday, 12 March 2021 – Royal Hotel, Queanbeyan NSW
Ticket Link: https://tickets.oztix.com.au/outlet/event/07197120-234a-46ce-9497-a8bbeb6ba882
Tickets Sold: 16
Saturday, 13 March 2021 – Brass Monkey, Cronulla QLD (2 x sessions)
Ticket Link: https://brassmonkey.oztix.com.au/outlet/event/db8ab600-1601-4dda-a83c-0a0c5b317ab6 (early) / https://brassmonkey.oztix.com.au/outlet/event/4032ae68-c6f6-43a7-aef2-8a72005b0f38 (late)
Friday, 19 March 2021 – Grace Emily, Adelaide SA
Ticket Link: https://tickets.oztix.com.au/outlet/event/c97205e4-2b2c-4501-b041-11572505d767
Saturday, 20 March 2021 – Soundcity, Port Lincoln SA
Ticket Link: https://www.soundcity.com.au/event-tix/
Thursday, 25 March 2021 – Northcote Social Club, Melbourne VIC
Ticket Link: https://northcotesocialclub.com/gig/138890417979/
Friday, 26 March 2021 – Sooki Lounge, Belgrave VIC
Ticket Link: https://tickets.oztix.com.au/outlet/event/00e88cb3-97c1-42c7-b09f-21f75f70402c
Saturday, 27 March 2021 – Meeniyan Town Hall, Meeniyan VIC
Ticket Link: http://lyrebirdartscouncil.com.au/upcoming-events/
Social Links
https://www.facebook.com/sarahmcleodofficial
https://www.facebook.com/sarahmcleodofficial
- Twitter
https://twitter.com/SarahMcLeod1
- Patreon
https://www.patreon.com/mcleodswolfpack
- Spotify
https://open.spotify.com/artist/7bIYFyhnGYw8A4kUsGtQl0?si=HywNrCBfTL20CLMjI8EdYg
Spotify Steaming Links
- Chachi’s Theme
https://open.spotify.com/track/6ggVUL34RO06Lr8PP1MFpz
- Bad Valentine
https://open.spotify.com/track/5O0ELGHB0xPnaMXPemqP9L
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TRACKLIST
DIE 4 U
RUN
Sleep on Me
Dicey
Stay connected with Creams:
Instagram | Facebook | Spotify | YouTube
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SUPPORT FOR PREVIOUS SINGLE ‘MASSIVE CHECKS’
“Ragged and brash stuff from KAI CULT, I’m feeling it in every pore of my body.”
– Declan Byrne – triple j (AUS)
“It’s another masterclass in unhinged, eccentric punk.”
– Hysteria Magazine (AUS)
“Delivering a chaotically warped and colourfully explosive new video that’s a fiery reminder of the debt-riddled dystopian world we’re currently living in.”
– ABC’s Rage (AUS)
Video added to rotation on ABC’s Rage
Following on from his critically praised single ‘Massive Checks’, Melbourne-based DIY post-punk artist KAI CULT has just unveiled his latest idiosyncratic cut ‘Cigarette Burns’ – produced by the artist himself and mixed by Ashwin Rao from the Singaporean Garage Rock band Knightingale.
The track is two and half minutes of frenetic punk rock, opening with uncompromising drums, fierce guitars and KAI CULT’s striking lead vocals. Intense melodies mix with deftly produced instrumentation to build to the song’s anthemic, gung-ho choruses, before careering towards its wholly satisfying ending.
KAI CULT talks about the inspiration behind ‘Cigarette Burns’:
“The track reflects on mixed feelings while going through tough times, sometimes it may seem like things are okay but deep down they may not be. I set out to capture the mental extremes of what society is undergoing currently in the pandemic.”
To coincide with the release, KAI CULT will also reveal an accompanying music video, directed and edited by the artist himself and shot by friend Sam Van Munnen. The clip was shot across various Melbourne locations, including cobblestone side-streets, beautiful parks and a rooftop carpark in the heart of Brunswick. Taking inspiration from alternative rap artists Death Grips, Yung Lean and Clams Casino, the video features hazy film grain, VHS layers, and bold RBG colour inverts. KAI CULT adds “with the clip, my drummer Darcy and I wanted to show how much fun we have hanging out and playing music with each other, and also show viewers that you don’t need a huge budget to make a fun video, just a keen eye and also to exhibit some colourful personality!”
Previous single ‘Massive Checks’ was embraced by triple j Unearthed and Australian community radio stations 2SER, 4ZZZ, Radio Adelaide and 2XX FM. The track also received support from Australian blogs Hysteria Magazine, Heavy Mag and The Soundcheck, and the accompanying video clip was added to Rage and featured as their esteemed Wild One of the week.
‘Cigarette Burns’ is available worldwide now
FOLLOW KAI CULT
FACEBOOK | INSTAGRAM | TWITTER | SOUNDCLOUD | SPOTIFY | APPLE MUSIC
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Juan Wauters – Real Life Situations
1. A JPW Headspace 2020
2. Monsoon (with Homeshake)
3. Sentimiento Queens
4. Locura
5. Ventana
6. Presentation (with Nick Hakim & Benamin)
7. Unity (with Cola Boyy)
8. Real (with Mac DeMarco)
9. Keep Cool
10. Carmina Pensá
11. A Peter Pan Donuts Conversation
12. Lion Dome (with Air Waves)
13. JPW Talking
14. Acordes (with Tall Juan)
15. Bailando
16. Estás Escuchando (with El David Aguilar)
17. Crack Dabbling
18. A JPW Theme Song
19. Yendo
20. Powder
21. NY Weaz
Where are you currently based?
Gold Coast, Australia.
How did you first start playing music?
I first picked up a guitar in grade 4. I had just moved schools and pretty much everyone I wanted to be friends with played in a band together. I actually started playing bass first because they needed one for the band – but before long migrated to a 6 string. I began writing songs for the band and it pretty much went from there.
What’s been happening recently and how has your Covid experience been so far?
I feel pretty guilty about this answer, but it has literally been an excuse for me to hermit in my studio and make music all day every day. It sucks that live shows had a massive break, but we’re getting back into it now.
You’ve teamed up with Namaste with your new single ‘OneNotTwo’; how did you come to work together?
Namaste reached out to me after hearing one of my tracks on TripleJ Unearthed and sent me a few beats. They were obviously talented producers so I started sending them every song I would write. They heard the chords for OneNotTwo and instantly jumped on board.
What influenced the sound and songwriting for this track?
I’d be lying if I said anything other than my fiance. The song is pretty much the story of how we met, and a sticky situation that came up super early in our relationship.
How did the creative/songwriting process take place?
I wrote the full story out one night, then spent probably the next 2 months going back and forth with Namaste tweaking lyrics. We added instruments, took them out again, fiddled with structure, changed melodies etc. but we finally decided to keep it as simple as possible, and let the story of the song do the talking.
Where and when did you record/produce/master and who with?
Hahah, I recorded the vocals in my closet with a mattress flipped up against the wall, in an attempt to mute out all the cars that were driving by. Guitars were literally just plugged straight into a Scarlett Solo that I bought from a Cash Converters for $80. Quality investment.
What programs/instruments did you use?
FL Studio till death. Not 100% sure on what Namaste uses, but they definitely have secret sauce that they dribble on everything to make it sound fucking mint. They pretty much took my ratchet demo and converted into what it is now.
What did you find most challenging and rewarding throughout the process of creating
OneNotTwo?
Honestly, getting everything ready in time. I set a ridiculous timeframe to get it sorted by and it was an absolute miracle it worked out.
Please tell us about your goal to release a new track each month of this year?
I just want to give more music to the people who have been supporting me. I think albums are the ideal way to consume music, and it’s definitely my preferred way to listen – but I just don’t feel I have the resources to properly promote an entire album of songs. When, say Drake, drops an album, he can tour the world for 6 months to a year promoting it. I cannot! Also, at this point in my career, I’m still figuring out my sound (and my life) and can’t pinpoint a musical sonic that I can stick to for an entire album. I want to just put out my favourite songs month by month, and see what happens.
Who are you listening to at the moment?
I listen to a lot of different music, but Anderson .Paak, Frank Ocean, J.Cole, Kendrick, James Brown, Earth, Wind & Fire, Doja Cat, Dua Lipa, JK-47, Dave; are all in my recently played.
What do you like to do away from music?
I fucking love cooking, I find it very similar to making music – in a weird way. Making handmade pasta, pizza, bao buns etc; I just love making dough ahah. I also love skateboarding and have been doing that since I was like 14 too.
What’s planned for 2021?
I’m fully independent and plan on staying that way, so this year I want to make as much music as I can, and learn as much as I can from every release. I’m bound to make mistakes but that’s all part of it.
Favourite food and place to hangout?
I make a pretty skitz pizza? So I would probably just want to eat that in my little apartment with my girl.
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With their debut EP last year, The Lazy Eyes went on to sell out headline shows, amass over a combined 1.5 million streams and receive praise from the BBC’s Jack Saunders, Apple Music’s Matt Wilkinson, Bandcamp, NME, DIY Mag, The Line of Best Fit, i-D, Clash and many more. Locally they secured the #17 Most Played Artist of 2020 on triple j Unearthed following their Feature Artist spotlight, alongside playlist additions from FBi Radio, SYN and 2SER, with praise from Pilerats, Monster Children, Life Without Andy, Frankie Magazine and more. EP2 follows what under traditional circumstances would have been a breakout year for the band spent showcasing at a would-be SXSW, The Great Escape and Splendour In The Grass. Instead they regrouped to their creative hub, ‘Lindfield Studios’, revitalised and focused on bringing more recordings to life with their new lineup.
Now with new music under their belt, if their position in the coveted NME 100 is any indication of the year ahead, The Lazy Eyes promise to hold nothing back.
‘Where’s My Brain???‘ is out now via The Orchard, buy/stream it here.
TOUR DATES
Sat 20 Feb – Workers Club, Melbourne – Tickets
Fri 26 Feb – Black Bear Lodge, Brisbane – Tickets
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