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Photo Credit: Yuto Kudo
After making an impressive debut in 2023 with her track ‘Fractured’, Tokyo-based Australian artist and songwriter Joey Sachi returns with another slice of dynamic music in her new single, ‘Reverie’.
A fitting step forward for the musician, ‘Reverie’ sees Sachi flourish as a natural collaborator, teaming up with UK producer Affelaye, to bring ‘Reverie’ together. Recorded between Tokyo and Sydney and produced in the UK, ‘Reverie’ has the same essence of vulnerability and insight that ‘Fractured’ had, but the maturity behind the arrangement coupled with Affelaye’s striking execution has aided Sachi’s continued growth as a musician and storyteller.
The song, the first collaboration between Sachi and Affelaye, was a bucket list opportunity for Sachi. As she describes, ‘Reverie’ has added significance because of the creative dynamic it birthed between the duo.
“Collaborating with Affelaye was a real ‘pinch me’ moment as an artist. I have been a longtime admirer of his music -he was one of the first artists who sparked my deep love of electronic music. His attention to detail and the way he has carved out a distinct sound for himself is nothing short of impressive. He is immensely talented. Reverie came together quite quickly! The process was seamless, we immediately aligned creatively. I’m so proud of what we have created together. Affelaye was a dream to work with. “
JOEY SACHI
Developing her love for music and creativity off a base of musical influences that is far ranging, Sachi’s music vision comes from a background in classical music, and a love for artists including Jamie xx, Daniel Caesar and Sabrina Claudio. As such, Sachi’s original material is textured and diverse in its sonic influences; ‘Reverie’ is another beautiful example of the direction she is continuing to head in.
PRAISE
“Captivating hearts from the very beginning, Sydney-born artist Joey Sachi, now based in Tokyo, unveiled a mesmerizing new track titled Fractured…a captivating prologue to her musical identity. Fractured delves into the realm of electronic-infused pop, allowing Sachi’s impeccable vocals to command the spotlight.”
AAA Backstage
“‘Fractured’ is a delicate and ethereal track that seems to float in the skies, hovering high and fragile with a glowing, radiant beauty. Sachi’s glorious vocals are to the fore, making their way above a wash of ambulant liquid electronica: her ringing bell-like tones almost Arctic cold, observant and studied and yet infused with a melancholia and tristesse that is moving.”
Backseat Mafia
JOEY SACHI: Official Website | Twitter | Instagram | TikTok | YouTube | Triple J Unearthed
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HALF ALBUM NOW STREAMING
ON ALL PLATFORMS
Legendary punk outfit NOFX is gearing up for their final tour by releasing a five-track EP titled HalfAlbum. These tracks stem from the same recording sessions that produced the band’s critically acclaimed releases, Single Album (2021) and Double Album (2022). “These songs were always there,” says NOFX frontman Fat Mike. “It just took me a little longer to polish them up.”
Leading the charge is “I’m A Rat,” a pure shot of NOFX’s signature skate punk energy. Initially performed by Japan’s Hi-Standard, the song gets the full NOFX treatment here, complete with a riotous puppet-themed music video. There’s a fresh take on The Smiths’ classic “The Queen Is Dead,” previously explored in a stripped-down rendition of Fat Mike’s 2019 solo album Cokie The Clown. The EP closes with “The Last Drag,” a powerful companion piece to “The Big Drag” from Single Album.
While more projects are on the horizon, Half Album doesn’t mark NOFX’s final release. Yet, it does signify the start of a new era, hinting at the transformation of NOFX as we’ve come to recognise them.
Fat Mike has never done things by halves until now. As NOFX wind up their time on this planet after 40 years, the seminal punk band—completed by Eric Melvin, Erik ‘Smelly’ Sandin, and Aaron’ El Hefe’ Abeyta—have decided the time is right to do exactly that. Well, kind of. After 2021’s Single Album and 2022’s Double Album, NOFX’s latest release is called Half Album. Because that’s precisely what it is. The fifth side of their epic Double Album. “These songs were all recorded at the same time,” the frontman explains. “It just takes me a while to finish shit. So, this is me tying up loose ends, which is very good for the soul.”
If the phrase “tying up loose ends” sounds somewhat like Mike doesn’t care, he does. A lot because these aren’t just leftover songs or an afterthought. Put those two records and this EP—sorry, this half album—together, and you get what Mike considers an actual double album. And a good one at that. “I don’t think there are any good double albums,” he says. “The White Album is a great album, but it’s not a great double album. There are a lot of shit songs on there. I don’t think there’s any shit songs on this—I wrote it to make a great double album.”
He put a lot of thought and effort into it, too. For example, the last song on Half Album is called “The Last Drag.” A counterpart to Single Album’s opener “The Big Drag,” it took Mike five years to finish, and not only brings the whole 25-song double album full circle (“They’re great bookends,” he proclaims) but also reveals the profound depth of his songwriting—something that people often overlook. “The Last Drag” song not only sees Mike sing from the point of view of one of his exes, but it incorporates a simultaneously humorous and depressing homage to Lesley Gore’s classic 1963 hit “It’s My Party.” It might not sound like it would work on paper, but it really does, mixing humour and pathos to devastating effect.
“My ex went to Vegas to detox while we were doing [Mike’s musical] Home Street Home,” he explains. “It was supposed to be for 10 days, and it was during the [adult video industry’s] AVN Awards, and she just had a two-and-a-half-week party with all her friends without her fiancé. So, if you read the lyrics, there are a lot of harsh words in there, but it really wasn’t easy to write from her point of view. That’s why it took me five years. And the fucked thing is, no-one’s going to understand what I’m singing about. They’ll think it’s me. Only she and I will know, and it’s going to bum her out. “He knows this because it already bums him out. “The worst thing is it didn’t even help,” he continues. “It’s just reliving bad memories. Thinking about it, writing lyrics about it, and going over it over and over—that’s not healthy. Not healthy.”
If that’s the depressing note on which Half Album ends, what precedes it is a little less bleak. Opener “Fake-A-Wish Foundation” is the second NOFX song after the Single Album “My Bro Cancervive Cancer,” about a guy called Brett who pretended to have brain cancer to hang with bands and get free merch. It’s a gorgeous, lilting ballad that might sound sad but contains some truly comedic and biting lyrics. Then there’s “I’m A Rat”—written by Mike but first recorded by Japanese punk band Hi-Standard,” and included on last year’s Fat Mike Gets Strung Out.
It’s one of 14 NOFX songs so far, only recorded by other bands worldwide and not NOFX themselves. It is also remarkable that it contains 54 chords that aren’t repeated in a row. All three versions demonstrate what the world knows deep down but probably needs to be told again, which Mike is doing by including it in this release. “I want to be recognized as a great songwriter,” he admits, “which I’m not. But I will be within a couple of years. Punk rock songwriters are not known as songwriters. Take Brett Gurewitz from Bad Religion—unless you’re a punk rocker, he gets no credit. Tim Armstrong gets some because he writes for so many people, like Pink! And some movie soundtracks, but he’s still not known for songwriting. My thing is thinking of things that haven’t been done. Thinking of things, the world’s missing, and why, and will it work?”
If anyone can change that attitude about punk rock musicians, it’s Fat Mike. This is precisely why he wrote “The Humblest Man In The World.” After all, who else would or could write a balls-out punk rock song that aims directly at himself for not just wanting to be so recognized but knowing that he should and will be? “I’m calling myself out,” he admits, “because I’m not the humblest man in the world. And even saying that is the most arrogant thing you can say. I think I could be a better me with some humility. One of my big personality flaws is my arrogance. I see it and everyone else sees it, so I thought I’d just put it on the table with this song.”
That track follows—”The Queen Is Dead.” Eagle-eared listeners will recognize it as a song that first appeared on, You’re Welcome, the Cokie The Clown full-length from 2019. This is a reworked, punked-up version of that original, but it’s no less powerful or poignant a tribute to its subject. As to why it’s included here again—well, it’s another way to prove the versatility of his songwriting. Which ultimately, it all comes down to that wish to be regarded as a great songwriter. “I like playing songs in different genres,” he says, “and a great song can be played in any genre. I just like to showcase that.”
Though he has plenty more in the pipeline, Half Album isn’t the last record that NOFX will release. It is, however, the beginning of the end (or the end of the beginning of the future) of NOFX as we know them. It’s also proof, despite its title, that Fat Mike doesn’t do things by halves. This might be called Half Album, but it’s part of a much bigger legacy and an even greater whole.
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‘Wish We Could’, the 2nd single from the upcoming ‘Enhancer’ album, explores the feelings of longing that arise within a new relationship. The moody vocals and mellow choruses are met with a triumphant chorus and drum and base loop, giving us an exciting taste of what’s to come in the next chapter of Northeast Party House‘s sound. |
Two musical superstars collide on R3HAB and Jason Derulo‘s new collaboration “Animal,” a dance-pop crossover that will have clubs heating up even if Summer hasn’t really yet arrived. The track is an exemplary fusion of R3HAB‘s high-energy, dynamic electronic vibe, while Derulo brings his signature sexy pop style. Opening with soulful vocals and a groovy house beat, “Animal” immediately sets the tone for a sultry good time with someone special. R3HAB layers in sparkling progressive melodies and an energetic buildup, making for a fun track suitable for singing to on the radio or dancing the night away. R3HAB and Jason Derulo formerly collaborated on R3HAB‘s official remixes of Jason Derulo‘s “Goodbye” with David Guetta, Nicki Minaj and Willy William in 2018, “Take You Dancing” in 2020, as well as “Spicy Margarita” with Michael Bublé just last month.
“Jason and I have been tossing ideas back and forth for a few years in search of a perfect match. Then he sent me ‘Animal’ and everything quickly fell into place. This record is a perfect bridge between my dance vision and Jason’s uplifting pop touch. Jason is one of the defining artists of our generation. He’s passionate about his work and has a clear artistic vision, which makes the creative process flow. It’s been great working together, and we hope you love “Animal” as much as we do.” – R3HAB
“R3HAB and I have had a few great remixes and it felt like the natural next step to make a whole record together. We tossed ideas back and forth for a while before landing on ‘Animal.’ After that, everything came together easily and we’re happy to finally share it with the world.” – Jason Derulo
R3HAB
Multi-Platinum DJ and producer Fadil El Ghoul, better known as R3HAB, has been trailblazing his way through dance music for the past fifteen years. From his breakthrough remixes for Rihanna, Drake, Taylor Swift, Calvin Harris, Sia, Jason Derulo, Ed Sheeran, Tyga, Ellie Goulding, The Chainsmokers, P!nk, to name only a few, to anthems such as Multi-platinum-certified “All Around The World (La La La),” “Lullaby” with Mike Williams, “Flames” with ZAYN and Jungleboi, or “Creep” with Gattüso, to his collaborations with the likes of Ava Max, Luis Fonsi, Sean Paul, Afrojack, Armin van Buuren, Lukas Graham, Icona Pop, and more, R3HAB has proven to be one of the most forward-thinking artists in the game. His work has collected over 10 billion streams to date, including over 1 billion in 2023 alone. He is Spotify‘s Most Discovered Artist, one of Spotify‘s top 300 most streamed artists, ranked #14 on the prestigious DJ Mag‘s Top 100 DJs chart, and has earned over 80 Gold and Platinum certificates. On top of that, he performed at the world’s top festivals, such as EDC, Ultra Music Festival, Tomorrowland, Balaton Sound, Coachella, Summer Sonic Festival, DWP Jakarta, and more. With his combination of innate artistry and innovative attitude, R3HAB has earned his place as a household name in dance music.
Jason Derulo
Forward-thinking, genre-defying, and massively creative, Derulo has staked his claim as one of the most dynamic forces on the global pop landscape. Since breaking through with his 5 x RIAA platinum-certified single, “Whatcha Say,” the award-winning singer-songwriter has sold more than 250M singles worldwide and achieved 15 platinum singles, including “Wiggle,” “Talk Dirty,” “Want to Want Me,” “Trumpets,” “It Girl,” “In My Head,” “Ridin’ Solo,” “Don’t Wanna Go Home,” “Marry Me,” “The Other Side,” “Get Ugly,” “Swalla,” “Savage Love” and “Take You Dancing.” Since the start of his solo recording career in 2009, he has earned over 18B worldwide streams and built an unstoppable social media following of over 117M followers across all platforms. Now at work on his highly anticipated fifth album – and full-length debut for Atlantic Records – Derulo has delivered an ongoing series of smash singles that have drawn a stunning 500M+ views, including the irresistibly buoyant “Acapulco,” the RIAA platinum-certified “Take You Dancing,” and Jawsh 685 x Jason Derulo‘s 3 x platinum-certified chart-topper, “Savage Love (Laxed – Siren Beat).” The latter track – and its official BTS remix – proved an unstoppable international sensation upon its 2020 arrival, peaking at #1 on Billboard‘s Hot 100 as well as atop charts in 16 additional countries around the world. A truly multi-dimensional creator, Derulo has also established himself as an actor and businessman. With his TikTok regularly amassing over 10M views per post, Derulo notes that the platform has drastically reshaped his relationship with his fans. Derulo is now amongst TikTok’s biggest superstars, currently, the 4th most followed male on the video-sharing platform with the 11th biggest account overall. He continues to see his already astronomical TikTok presence growing daily, now boasting more than 56M followers worldwide and over 1B likes. Reclaiming his title as the TikTok king, in 2022 he released the summer smash single “Slidin’” with a fan-challenged TikTok video to his own rendition of the electric slide.
Can you share a bit about your journey in the music industry so far, from starting your own label at a young age to where you are now with your fourth studio album?
This is gonna be a deep dive, huh? Let’s do it. Basically, I started my own label at 19 to have complete creative control and freedom. Despite all the attention I was receiving, every label I talked to wanted to change something about me, whether it was my sequined wardrobe, my weirdo dancing or the sound of my sampled breathe-snares. Luckily, I am stubborn as fuck and following a mere possibility of quick success has never really been an option in my head.
Establishing my own record label enabled me to “license” my music to other international labels, while still being in creative control. I did that on Pseudo Visions, Boyology and also had my very brief major-label-crash-and-burn-moment with ‘Nothing 2 Lose’ and ‘We & I’ in 2018. I worked with brilliant people along the way and appreciate their hard work – but with this forthcoming album, I needed a reset, to explore pop music completely freely again, without my own or anybody else’s commercial awareness = your boy is completely independent, yet again.
‘He’s Dancing So Well (I’m Better)’ is a captivating track with a unique blend of sounds. Could you tell us more about the inspiration behind the song and its production process?
I am obsessed with juxtapositions, how lyrical and musical elements can create confusion to a point where you have to stop trying to “figure it out” but just go with your body and your immediate emotional response. I love to write on the guitar because I suck at it and that pushes me to be less analytical and more intuitive. For some reason, I also hate my own voice on top of a guitar, so after writing ‘He’s Dancing So Well (I’m Better)’, I immediately made the string arrangement. I’ve always dreamt of doing a string-based dance song, like ‘Cloudbusting’ (Kate Bush), ‘Be Mine’ (Robyn), ‘Viva La Vida’ (Coldplay) or ‘Hyperballad’ (Björk) and this song seemed like the right fit. I took the song and string-arrangement to Steffen Lundtoft, he accidentally pushed a shuffle button on his drum machine and suddenly the loneliness and melancholy of the lyric and strings had a freaky, out-of-control and uplifting counterpart. It suddenly provided a possibility to dance with the sadness of losing him.
Your upcoming fourth studio album is highly anticipated. What can listeners expect from this new project, especially in terms of its sound and themes?
This album is a body! A body that dances, protects itself, goes WILD, rests, moves forward, injures and gets back up again. First and foremost, I’ve always strived for a kind of bodily presence in my music but this time I made it my whole approach; instead of producing the songs so I could dance to them, I danced my way to the productions, translating the movements my body made into sounds.
Thematically, I guess there’s a lot of liminality, which in many ways has been a constant in my life. Being an artist and being gay is a pretty intense combo and though I’ve accepted long ago that I can’t follow many pre-paved paths, I think I’ve dared to look into my doubts about belonging, both to places, people and in the world on this album.
Collaborating with Steffen Lundtoft from Lowly for your new album sounds intriguing. How did this collaboration come about, and how has it influenced the direction of your music?
MASSIVELY, oh my god. On Boyology I challenged myself to give in to the sonics of mainstream pop music that I grew up with, while juxtaposing it with almost unpleasantly direct and diary-like lyrics. I worked on that album for 5 years and I had a hard time coming out of the more structured and controlled approach to production that I’d practiced on that album. Steffen, on the other hand… he’s a firework of freedom, playfulness and never really knows what he wants to create, before it’s suddenly there. I was deeply provoked by that in the beginning of our collaboration but I knew that he was what I needed; a friend who could bring me out of control in a way that felt safe (Steffen has been my drummer for 12 years, since I started my career).
You’ve been announced as a performer at Roskilde Festival, which is a significant milestone. How does it feel to be part of such a renowned event, and what are you looking forward to the most about the experience?
Yeah, it’s a bucket list moment, for sure. Somehow I am really happy that it took 12 years to get that slot, cos I got to find myself as performer before standing that test. I can’t wait to give back to the audience what I, myself, have received from my heroes on that festival.
Your music has been described as genre-busting and unconventional. What drives you to push the boundaries of pop music, and how do you balance experimentation with accessibility in your sound?
I’ve thought about whether there could be an anthropological explanation, having to do with queerness and the whole ‘belonging’ theme… The genre-thing and unconventionality are not things I strive to do, I simply just can’t conform. And just as that can be frustrating on a personal level, so has it in my career, you know… sometimes wishing to be more “normal”, whatever that means. Ultimately it comes down to self acceptance and music has been THE place I could find that, always.
“Friction is freedom” is a powerful statement you’ve made about your music. Could you elaborate on what this means to you personally and how it manifests in your creative process?
On Boyology I had to repeat this sentence over and over again. In continuation of your last question, that album was at times pretty uncomfortable to make, cos I chose to explore conformity in the sound as an artistic approach. The only way I could do it was to create a friction, a counterpart in the lyrical approach. In other words, knowing that friction is always where I’m heading, I can “forgive myself” for going 100% Backstreet Boys in one part of the process, cos I know I’m gonna create other nuances at a later point.
As someone who interacts with teenagers through your high school concerts, why is it important for you to discuss topics like sexuality and identity freedom with young audiences?
Well, I’m just trying to make things a little bit better than when I was a teen, so I’ve played around 200 concerts and high schools the past years. The teens often start out pointing at me, laughing and whispering to each other, some yell “gayyyy” and try to bully me off stage. I am confronting my own school-trauma and overcoming it every time, though it can be intense. By the end of the show it has opened up a dialogue, some of them become huge fans and others have just met a different type of man (me) and they experience that I’m not dangerous. My hope is just that it creates a fundament of understanding and acceptance between them.
Your music videos have garnered millions of views and have been praised for their visionary quality. How do you approach the visual aspect of your music, and how does it tie into the overall storytelling of your work?
I mean, you can’t take the MTV out of a 90s kid! Every time I visited my grand parents, who had the channel, I’d stay up all night watching videos. Madonna, Michael Jackson, Britney, Destiny’s Child, George Michael, David Bowie and the list goes on. I didn’t even understand English but I understood what they wanted to express through those videos. The music video can be such a powerful tool to expand the universe of an album, which is what I’ve attempted to do on all my albums. The current consumer-climate has put the format in a difficult spot though and I’ve heard many business peeps claim that the THE MUSICVIDEO IS DEAD. I don’t believe that but I do believe we all, as consumers, need to choose patience, focus and poetry very actively, cos we’re so affected by the high pace of things online.
With your diverse musical influences ranging from classical to pop, how do you incorporate these varied elements into your songs while maintaining your own unique style?
Friction is freedom, baby! Music is just a playground, a laboratory, a bathtub full of plastic stuff to shove up your butt and try how it feels; it most likely won’t hurt you but sometimes it just doesn’t work and that’s cool. Then you try a different combination and suddenly it feels like you opened a new door in yourself.
Collaborating with artists like Tessa and Danny L Harle in the past, how do these collaborations shape your approach to music-making, and are there any dream collaborations you’d like to pursue in the future?
I find myself in a really interesting position career wise. The fact that I’m hard to place for people mixed with my curiosity for music experiments, enables me to navigate pretty freely and collaborate with both mainstream superstars like Tessa, left-pop-pioneers like Danny and Planningtorock and of course making the album with Steffen, two old friends in a dark studio in my hometown. They all inspire me so much. And when it comes to dream collaborations… well, let’s just say you won’t have to wait long.
Looking back on your previous album, Boyology, and considering your evolution as an artist, how do you feel you’ve grown creatively since then, and what lessons have you learned along the way?
I learned to measure success in new ways. Boyology was a commercial FLOP, none of the songs or videos gained the numbers I’d been so lucky to experience from the beginning of my career – and honestly, that was a tough blow – but an important one too. That’s when I checked my “popstar values” and realized that I needed to create healthier and more sustainable criteria of success for myself. I initiated the school concerts to try and make a direct difference, that I could see in a room, instead of looking at streaming counts. I began working mainly with close friends again to make sure every aspect of my career creates long-lasting memories and relations, that makes me happy when I listen to the music, watch the videos or play shows. In that way, the music can flop all it wants but it will still be meaningful.
https://www.instagram.com/asbjornmusic
After navigating the unpredictable tides of the music industry, earth2zoe re-
This journey began five years ago in 2019 when earth2zoe was working closely with Warner Music Canada. “Typical” was one of her very first sessions, initiated during her collaboration with the label. Although the track was started, it remained unfinished for years. However, the essence of the song’s theme continued to resonate with earth2zoe as she navigated through her personal and professional growth.
The topic of the song, dealing with the pressures of societal expectations and the desire for individuality, became increasingly relevant to earth2zoe as she matured. In 2023, she and her team reconvened to breathe new life into the track, infusing it with the depth and maturity that comes with years of experience and self-discovery.
Reflecting on the collaborative process, earth2zoe recalls the journey of “Typical,” which began five years ago during a time of uncertainty and exploration. “It’s surreal to think about how this song started half a decade ago,” she muses. “Back then, we were delving into a topic that seemed distant, yet somehow inevitable—a theme that continued to echo in my life over the years. Revisiting the initial demo compared to what we’ve created now is like witnessing a transformation from night to day. It’s a testament to evolution not only of the song but of myself as an artist and individual.”
Hailing from the mystical Canadian Northwest Coast (aka Prince Rupert) let me introduce you to Somber Seas—they’re like nothing you’ve heard before! Picture indie rock vibes blending seamlessly with dreamy synth tunes, all inspired by the rhythm of the tides. It’s like they’ve bottled up the essence of the coast and turned it into music.
Originally from Prince Rupert but now making waves in Vancouver, these guys are all about breaking boundaries. They’re not afraid to mix things up and explore new sounds, which keeps their music fresh and exciting.
Seriously, if you’re into discovering new sounds that’ll transport you to another dimension, Somber Seas is the band to watch. Their energy is off the charts, and their music is like a breath of fresh air in a sea of same-old stuff. Trust me, you don’t want to miss out on this musical journey!
Asbjørn releases ’He’s Dancing So Well (I’m Better)’, the first single from his forthcoming (yet to be titled) fourth studio album.
’He’s Dancing So Well (I’m Better)’ is a refreshing approach to the Scandinavian experimental pop genre; opening with fervor and intensifing with an energetic string ensemble, only to suddenly morph and shuffle like a body in manic movements, all while Asbjørn‘s longing voice whispers; “I will dance with myself forever. He never needs to know. He’s dancing so well, but I’m better.”
On the track, Asbjørn says “To me, dancing is a necessary tool to express vulnerability. By giving the emotions a physical outlet, I gain strength to share from a rawer place than I’m actually comfortable with. The songs production is a direct result of me dancing and translating that movement into beats, juxtaposing the string orchestras softness with a manic danceability that my brain would never have come up with.”
’He’s Dancing So Well (I’m Better)’ is available on all digital streaming and download platforms, listen here.
Asbjørn’s untitled fourth album has been produced by Asbjørn himself, in close collaboration with Steffen Lundtoft from the internationally recognized band, Lowly. The album is set to be released later in 2024 with more music to come before its release!
Asbjørn recently announced he will be appearing at Roskilde Festival in Denmark this June, one of Euorpe’s largest festivals.
ABOUT ASBJØRN
Asbjørn is a popstar unlike any other.
In 2012 he starts his own label – at only 19 years of age – to keep creative control and gains more than 8 million views on his visionary interconnected music videos.
His genre-busting pop receives praise from Lykke Li as well as Denmarks biggest female rapper, Tessa, who invites him on as feature on 2022-single ’Farver’.
He’s been covered by tastemaker-blogs including DIY Magazine, The Line of Best Fit and Highsnobiety along with his music being featured on Germany’s Next Top Model during national prime time TV.
Even with a tour schedule of major festivals and headliner concerts, Asbjørn still manages to play more than 50 concerts a’ year in high schools and talk to the teenagers about sexuality and identity freedom. You get the picture…
The DNA of Danish pop-rebel Asbjørn is unconventional; an indie-darling with a wildcard to the pop mainstream. “Friction is freedom”, in his own words. “As a kid, my parents would put on classical, folk and world music in the morning and when I came home from school, I’d make choreographies to Destiny’s Child, Britney and Madonna.” Underneath the surface of his beautifully crafted melodies the friction unravels in a plethora of polyrhythms and playful unpredictability, urging music-journalists to call him “a modern critics’ wet dream”, “an ode to all those who don’t fit in” and “much needed CPR to a genre at risk of losing its edge”.
Asbjørn’s last LP Boyology (2022) included collaborations with PC Music’s Danny L Harle (Charli XCX, Caroline Polacheck, Dua Lipa) and Planningtorock (Lady Gaga, Robyn, Romy). His fourth yet to be titled album is set for release in 2024 featuring the first single ’He’s Dancing So Well (I’m Better)’ out now.
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Lemon Bucket Orkestra returns with their latest single, “Shchedryj Vechor,” heralding the arrival of their upcoming album, “Cuckoo,” set to drop digitally on May 17th. Known as Toronto’s trailblazing Slavic-Balkan-Klezmer-Party-
Having garnered numerous awards and acclaim, Lemon Bucket Orkestra has graced stages worldwide, from WOMAD in England to Pohoda in Slovakia, leaving audiences spellbound with their genre-defying performances. Praised by The Guardian for their “gorgeously sung and passionately played” shows and hailed by The New York Times as “charismatic…handsome and ambitious,” the ensemble promises an electrifying experience.
Their live performances are a rollercoaster of emotions, seamlessly blending precision and abandon, taking listeners on an immersive journey from euphoria to catharsis. Now, they channel that same energy into “Cuckoo,” infusing Ukrainian polyphony, Balkan rhythms, and Western musical elements. Adding to the allure is the collaboration with Macedonian master trumpeter Nizo Alimov, formerly of Kocani Orkestar, promising an experience described by the Winnipeg Free Press as “Amazing, frenetic, gloriously anarchic and ultimately joyous.”