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Zeal & Ardor is truly a musical force like no other. A one-time experiment of Swiss-American mastermind Manuel Gagneux, the avant-garde combination of negro spirituals and black metal embraced on his 2015 album Devil Is Fine quickly connected with several previously unstruck chords – as though American slaves had found Satanism rather than Christianity. After being invited to play the illustrious Roadburn Festival while still a bedroom concoction, a full lineup was soon established, and the global rollout begun. 2018’s follow-up Stranger Fruit took the now-complete band to new heights of powerful weirdness and sharp social commentary, and has already seen their name emblazoned on several high profile end of year lists – including those of the revered Decibel and Revolver magazines. This experiment is emboldened and only just beginning.
Making their debut Australian appearance alongside Deafheaven at the Perth Festival in February 2019,Zeal & Ardor will then perform a string of exclusive headline shows in Melbourne, Sydney, and Brisbane, as well as jumping across for an exclusive appearance in Wellington, New Zealand.
Tickets on sale @ 9am on Thursday December 13
Head to carbonsunset.com for more information
CARBON SUNSET PRESENTS
ZEAL & ARDOR
STRANGER FRUIT TOUR 2019
AUSTRALIA / NEW ZEALAND
SATURDAY 23 FEBRUARY – STAY GOLD, MELBOURNE (18+)
MONDAY 25 FEBRUARY – VALHALLA, WELLINGTON (NEW ZEALAND) (18+)
WEDNESDAY 27 FEBRUARY – CROWBAR, SYDNEY (18+)
THURSDAY 28 FEBRUARY – THE BRIGHTSIDE, BRISBANE (18+)
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ALSO PLAYING EUROSONIC FESTIVAL
‘BURNING RIVER’
NEW SINGLE OUT NOW
Critically acclaimed duo Ferris & Sylvester have announced their first ever headline tour of the UK and Ireland. Running through February 2019 it will see the band play nine-dates, with a London headline show at The Lexington on February 11th. Tickets are available now through ferrisandsylvester.com/tour
Regarding their forthcoming tour Ferris & Sylvester say, “It feels so surreal to be announcing our first headline tour of the UK & Ireland. We’ve done over a hundred shows this year across the UK and Europe, shared the stage with our heroes and met so many brilliant people. And now we get to do our own tour! We cannot wait for the new year, we have so much we want to share with you.”
Ferris & Sylvester have been prolific names on the UK’s live scene and have played to thousands of people this year, with major shows alongside the likes of Jade Bird, George Ezra, Eric Clapton, Robert Plant and many more.
They have played a number of high profile festivals this summer including BST Hyde Park, the main stage at Wilderness Festival and a sold-out show at Reeperbahn Festival among many others. Ferris & Sylvester have now been announced for their first festival of 2019 and will play at Eurosonic in January.
The duo recently released their new single ‘Burning River’, the first taste of an exciting new project inspired by their recent writing trips to Iceland.
Produced by Michael Rendall (Pink Floyd, Paul McCartney, Echo & The Bunnymen), ‘Burning River’ pulls together Icelandic chants, captivating percussion, blues guitars and the pair’s unmistakable harmonies. The result finds Ferris & Sylvester expanding their sound into something that is both their most raw and heartfelt yet.
The track has clocked up well over 300,000 streams on Spotify and its release has led them to receive continued support from the likes of BBC Introducing, The Independent, The Guardian and other tastemakers.
In just a year Ferris & Sylvester have been quick to capture the hearts of fans and critics across the country. Now starting 2019 with their first ever headline tour the band are gearing up for their biggest yet. Full Ferris & Sylvester headline tour dates can be found below:
FERRIS & SYLVESTER FEBRUARY HEADLINE TOUR DATES
4th – Leeds, Oporto
5th – Glasgow, Poetry Club
6th – Manchester, Eagle Inn
7th – Birmingham, Cuban Embassy
9th – Exeter, Cavern
11th – London, The Lexington
12th – Brighton, The Prince Albert
13th – Southampton, The Joiners
14th – Dublin, Sound House
ACCLAIM FOR FERRIS & SYLVESTER
“A rich and fully realised sound that leaves you pining for a full length.”
Rolling Stone
“An overlooked masterpiece of Brit Folk that should already have made them household names.”
MOJO
“Alt Simon & Garfunkel… dreamy pop with spikey sentiments.”
The Guardian
“Their contagious blend of country and rambunctious rockabilly is beautifully delivered”
The Independent
“A major new talent.”
Richard Madeley, Radio 2
“Ferris & Sylvester’s harmonies and grounded tones seem like they were born together.”
BBC Introducing
“Something very special indeed”
Ricky Ross, BBC Radio Scotland
What is your name and role within Kids At Midnight?
My name is Jane Elizabeth Hanley and I am the Singer, Songwriter, Engineer, Producer, Mixer, Record Label, CEO…lol yeah it’s just me.
Where are you currently based and what is the music scene like there?
I’m based between Brunswick and a little country town on the coast Cape Paterson where I grew up. I split my time fairly evenly. I romantically can’t let go. I’m just a small town girl.
How did you first start playing music?
I was always singing and dancing at dance school since I was a little girl. I played saxophone in the high school band in year 7 but you can’t sing with a sax in your mouth so I stopped… I kinda wish I hadn’t! But I knew I wanted to write songs so I bought a cheap second hand guitar when I was 16 and taught myself to play by watching Oasis videos.
You’ve recently released a single ‘By Your Side’ what influenced the sound and songwriting for this track?
It’s pretty unashamedly 80s. I’m someone who wears her musical influences on her sleeve. But the sound of a John Hughes soundtrack…the twinklie-ness of the final scene of an 80s movie, it’s just an unashamed romance that’s not cool anymore… that’s what I dig so that’s what I made.
How has ‘By Your Side’ been received by fans and critics?
I’ve had some really lovely messages from fans about it and Dec Byrne’s Unearthed review was pretty perfect he said, “swaying with my high school crush under the disco ball at the end of the year dance to this…” it’s like he pulled the mood file from my brain! So I think it’s being received well! As much as you can really know.
Who are you listening to at the moment?
Jack Rivers album is too sick for words. Haim and Phoenix will always be on rotation with me. And then my classics on rote. Heart, Tom Petty, Fleetwood Mac, Spandau Ballet… I run a Saturday night called ‘I Wanna Be Adored’ which is basically like a Bluelight Disco for adults, it’s all nerdy pop from all eras but it’s like the most amazing night. So I’m always inadvertently listening to the best songs of all time lol
How do you usually go about writing music?
If I’m at home I’ll jump on Ableton and start playing something on the keys or guitar, sing a long in gibberish until it starts to take form or story. Or if I’m driving (things come to me a lot when I’m driving to the coast) I’ll record little voice memos of lines or melodies.
You have an album coming out in 2019, can you please give us an idea of what to expect?
The album is a dreamy indie synth soundtrack to a movie that you can’t remember seeing but you somehow know. I hope it sounds like driving around the coast road in a thinking of the one you can’t have, LA nights, small town summers and slow motion 80s romance.
Where and when did you record?
It’s all recorded in my spare room. I call it the ‘studio’ but my boyfriend also has his computer in there so we have to call it the ‘Studio/Gaming Room’ but that’s just to be nice. He has a little corner.
I hear that you wrote, produced and engineered / recorded the whole album yourself, why did you choose to do everything yourself?
It’s a combination of things. The fact that I can is one. It gives me time to fit recording in with my everyday life but also money is a big thing for an independent artist. I’m one person so the cost of an engineer, studio time, producer, mixer is a little scary. So I did it all myself.
How and where did you learn the skills to write music and also produce and record?
In terms of songwriting think you learn over your life of listening. I wanted to write pop songs ever since I was little but I couldn’t, I didn’t play, so once I taught myself what chords were I just ferociously went at it. Songwriting is a luxury I don’t take lightly. In terms of recording, my brother and I went halves in a Tascam 4 track tape recorder in 1997. I tried as hard as I could to record little demos on that but really some years went past, I was in an electronic duo and the guy did all the producing. We got really into it and then he decided to not do music anymore and I was kind of like, “nnnoooooooo what am I going to dooooo??!” And then after a week or so of feeling sorry for myself I just thought, “ Well you’d better learn to do it yourself then hey!” And I got Ableton, watched the Tutorial CD over and over and just tried and failed until I was making things that sounded ok. Then the next thing sounded a bit better. And that took about 3 years until the first thing I released sounded really good.
What programs and equipment did you use?
I used Ableton (bless, saved my life) a Mac, Universal Audio Apollo Twin Duo, a Shure sm7b I’ve had for 7 years I bought because it was the mic Michael Jackson recorded Thriller on, midi keyboard, a Squire Strat because I can’t afford a real Strat and my Taylor Semi Acoustic.
Triple J has been showing you a lot of love, what do you think it is about your music the resonates so well with so many people?
I really don’t know. I don’t think you can know why people like your music. I’ve had some people mention similar things that they can immediately picture themselves in my songs like a movie, I write pretty cinematically, and that’s what I want people to feel., I used to exist solely to consume movies. I’ve always been a daydreamer. Pretending I was this character or that character so maybe, hopefully, that has switched to my songwriting.
You’ve had 2 million Spotify streams to date, how has this massive exposure helped to propel your musical career?
Spotify plays have exposed my music to so many more people than I could have myself. And people all over the world. It’s just opened up the net of people that would’ve heard my stuff. It’s helping with the album and the prospect of touring in the future because you can see where people are listening to there’s some cool stuff coming up. It’s also allowed me to do some mentoring to learning Producers with The Art Centres ‘Operator’ Series, which is pretty cool because when I was learning I felt like I didn’t have anyone to ask, so it’s been really awesome to be able to help other female and female identifying producers who are starting out.
Your previous single was synced with MTV’s infamous Jersey Shore, how did this come about?
That was a while ago. It happened from MySpace! That was when Rich (we’re still great mates) was in Kids At Midnight and we wrote these little electro pop gems and we got a message from the MTV Music Licensing Department and we were like, ‘Yeah right…SUUUUUURE you’re from MTV.’ But it turns out she was. And we signed and the track is on Season 3 and it comes up on the screen and I will always think that is so cool.
What do you have planned for 2019?
The album is out early in the year along with the second single so I just can’t wait for that! I’m completely busting! I’ll be doing a little tour for that. I want to go back to LA for a bit and write for other artists too, so I’m constantly writing tracks. I also want to release other artists on my label.
What do you like to do away from music?
Well I work as a DJ and a Dance Teacher so I’m never really away from music. But when I’m away from music I just want to sit near or IN the water and have some bevies with my mates and tell jokes and get up to shenanigans. I write a lot and have just gone back to tinkering with screenplays I’ve written in the past. Apart from 80s movies I also am a bit obsessed with British historical documentaries (I’m so cool)
Favourite food and place to hangout?
My Mums Spag Bol. Obvs. Fave place to hangout…a mates back yard, my sisters balcony, Cape beach, anywhere there’s my mates, my fam, a Bev, tunes.
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Turning seven is not to be taken lightly! And we at Cake believe if you’re going to throw yourself a birthday party, do it right. It stands to reason then that the 2019 edition will possibly the strongest one yet. Huge drawcards including Bicep (Live), Peggy Gou, Opiuo and Midland will see in the new year alongside many others. And if that isn’t enough to satiate the taste buds, we present you with another round of artists which include international beatsmith Mr Carmack, and a selection of local DJs that should add the cherry to the top of the cake…
LTEC 2019 second round announcement
Mr. Carmack (USA) | Don’t Think | Eat The Beat DJs | Fosta
Jess Zammit | Kiat | Kodiak Kid | Love Deluxe | Luboku
Merve | Moontide | Pounce DJs | Salvador Darling | Stefan Mac | Stretch
The Listening Co.
Mr. Carmack (USA)
Mr. Carmack, the title of Honolulu based Aaron Carmack, has been taking the instrumental hip-hop world by storm and with featured spots on Los Angeles-based record labels Soulection, Team Supreme and an official release on Mad Decent, he shows no signs of slowing down. His eclectic mix of handclaps and melting beats, with the kind of swing to his percussion that can’t be taught, make a signature to even his most opposed tracks – future-embracing club tracks sit next to lush, delicate soulful tunes – with a shift so subtle it’s unsurprising he’s a multi-instrumentalist playing no short of the French horn, piano, drums, bass, guitar and ukulele. soundcloud
Merve (AUS)
Merve laid down her rhythmic roots in Melbourne, booking, managing and creating sets for music events. It wasn’t long until she found her rightful place behind the decks, playing alongside prominent musicians; Objekt, The Black Madonna, Honey Dijon, Barbara Tucker, Motor City Drum Ensemble, Jane Fitz and Virginia. Her sounds have also echoed through the speakers during peak slots at festivals such as Golden Plains, Hopkins Creek and across the stages of Strawberry Fields. Merve’s sets demonstrate an individual sound that is made up of house, acid, tribal, techno and disco with leftfield oddities sprinkled throughout. soundcloud
Love Deluxe (AUS)
Mysterious Sydney musician Love Deluxe is an unknown quantity but a very familiar feeling. Conjuring images of hot days and longs nights, LD makes music to worship the sun to. Sprinkling cosmic synth lines over dusty drums that pack a punch, Love Deluxe makes you miss what you never had but always deserved. Originally composing music as the band leader at a local discotheque for good-looking tourists and rich locals alike, Love Deluxe takes cues from artists such as Roy Ayers, Man Parrish and Steely Dan alongside Japanese funk maestros like Tatsuro Yamashita and Taeko Ohnuki. His music channels an almost tangible warmth which teleports the listener to another era and often another place. soundcloud
Jess Zammitt (AUS)
Infected with a fascination for exploring the narrative in music, for Jess selection is far more than just sound, genre or labels. The track needs meaning and with meaning comes purpose. Whilst Jess maintains an unfettered approach to such selection, her worldly taste often finds her visiting Belgian New Beat, Dutch EBM chuggers and energetic Italo oddities. The calm nature and ever-present smile of Jess Zammit is one of the more misleading cues in the DJ circuit. Her energy behind the decks is frenetic and her sound, often twisted. This commitment to her craft has seen her support internationals including Hodge and DJ Slyngshot, and landed her sets at this years’ Strawberry Fields and Hopkins Creek festivals. For many, the future would look bright, but for Jess Zammit, the future looks dark, weird and wonderful. soundcloud
Salvador Darling (AUS)
Pursuing dance as a journey of multisensory exploration, the Salvador Darling experience is a holistic marriage of ultra considered production synced with the delivery of music. An artist on many levels, Salvador is deeply involved in the considered curation of aesthetics, the stages, the shows, performances and promoters of his gigs. Ultimately everything is created to come through in the delivery of music that transports listeners to another dimension of visual experience. soundcloud
New Years Day – 1st January 2019
11:00am – 10:30pm, Werribee Park
2nd release tickets: $169,50 incl. BF (SELLING FAST)
LTEC 2019 First round announcement
Bicep (Live) (IRE) | Motor City Drum Ensemble (GER)
Ama Lou (UK) | CC:Disco! (AU) | Chaos In The CBD (NZ)
DJ Boring (AU) | DJ Tennis (ITA) | Esther Silex (GER) | Flava D (UK)
Joe Kay (USA) | Kahn and Neek (UK) | Midland (UK) | Moxie (UK)
Nightmares on Wax (DJ set) (UK) | Opiuo (AU) | Peggy Gou (GER)
Bicep (Live) (UK)
If there is one act who can lay claim to owning 2018 so far it will be Ireland’s Bicep. Their self-titled debut album shot to the top of many best-of-2017 lists, laying the foundation for a 2018 which can only be described as a year where they went from one’s to watch to dead set headliners. Their live shows are selling out globally in record time, the most recent example being three shows at the three thousand capacity Printworks in London which all sold out in minutes of its announcement. The duo is by far one of the biggest electronic music acts in the world, and easily one of Melbourne’s favourite international artists. This will be the first time the duo bring their critically acclaimed live show to Let Them Eat Cake. soundcloud
Motor City Drum Ensemble (GER)
Ama Lou (UK)
Authentic, natural, soulful, Ama Lou has already gracefully established herself as a rising star with just a handful of songs. Born and raised in London and classically trained as a singer, she made her musical and visual introduction to the world with ‘TBC’ in 2016, which immediately put her on the map as one to watch. A complete DIY artist, Ama Lou writes and produces her own music (alongside collaborations) and creates all her own visuals and films with her sister Mahalia. Her next project ‘DDD’ is a three-part film and EP directed and co-produced by her, made up of a triptych of music videos individually set at Dawn, Day and Dusk, following the character of Ama Lou, a younger in an LA crime ring, over the course of a single day. soundcloud
CC:Disco! (AU)
Playing disco, house and boogie cuts with her heart at the controls, CC triggers a joyous feedback loop that infects the dancefloor. There’s no pretention, only pure feeling. A mainstay of the Melbourne club scene, CC began connecting with audiences just like the heroes before her – through FM radio. Having presented shows since the age of 15, her weekly slot on local institution PBS FM ‘Smoke and Mirrors’ is now celebrated as the essential start to every Friday night. All of this airtime has primed her to knock out guest spots on NTS, Red Light Radio and Dublab. In recent years, CC’s devotion has seen her graduate to touring DJ and main stage festival act. soundcloud
Chaos In The CBD (NZ)
Perhaps best known for their stratified, ear-catching rhythms, Chaos In The CBD is the house moniker of New Zealand brothers Ben and Louis Helliker-Hales. Though their music evokes the time-honoured heritage of classic house, their interpretation of jazz brings a unique inventiveness to the genre. With ever-strengthening production credentials, and infectious, joyous rapport while performing, Chaos In The CBD has marked themselves as one of the most eminent underground house artists to emerge out of the South Pacific. The pair split their time between the studio and performing around North America, Europe and the UK, as well as their native home in New Zealand. soundcloud
In 2016, Tristan Hallis, better known as DJ Boring, sent shockwaves through the underground when his track “Winona” appeared on the iconic Slav Youtube channel. The track, comprised of simple, melodramatic chords, modulated acidic klangs, a syncopated, chilled out 909 groove, and a sampled Winona Ryder interview, not only changed the landscape of house music but seemed to define dance music for a new generation. Hallis’ abilities are beyond simply being able to write clever melodies and stomping rhythms. His unique talent lies in knowing when to pull back, when to go all in, when to pause – an instinct that usually takes years of development, and that he further demonstrates with his prowess behind the decks. Since his debut on DJ Haus’ E-Beamz, he has released music on Lost Palms, LPH White, and his newly founded label, Vienna. soundcloud
Founder and A&R of Life and Death, Manfredi Romano grew up tour-managing punk bands and organising left-field music events in Italy around the turn of the millennium. Manfredi then went on to form DAZE, Italy’s first booking agency solely devoted to electronic music. Drawing on two decades of experience behind the scenes, Romano shifted focus in 2010, establishing himself as a DJ in his own right and building upon his vinyl record collection – which now numbers over eleven-thousand strong. Today the Italian is considered one of the world’s most revered selectors, an artist who commands your attention in a way that is undeniable. soundcloud
Midland (UK)
Moxie (UK)
Nightmares on Wax (DJ Set) (UK)
Opiuo (AUS)
Peggy Gou (GER)
New Years Day ‐ 1st January 2019
11:00am – 10:30pm Werribee Park
Lineup
Bicep (Live) (IRE)
Motor City Drum Ensemble (GER)
Ama Lou (UK)
CC:Disco! (AU)
Chaos In The CBD (NZ)
DJ Boring (AU)
DJ Tennis (ITA)
Esther Silex (GER)
Flava D (UK)
Joe Kay (USA)
Kahn and Neek (UK)
Midland (UK)
Moxie (UK)
Nightmares on Wax (DJ set) (UK)
Opiuo (AU)
Peggy Gou (GER)
Just Announced!
Mr. Carmack (USA)
Don’t Think
Eat The Beat DJs
Fosta
Jess Zammit
Kiat
Kodiak Kid
Love Deluxe
Luboku
Merve
Moontide
Pounce DJs
Salvador Darling
Stefan Mac
Stretch
The Listening Co.
TICKETS ON SALE NOW
www.letthemeatcakenyd.com.au
2nd release tickets: $169,50 incl. BF (SELLING FAST)
Join Us: www.facebook.com/
After a solid 2018 of shows and releases, Perth based rapper José Halftime is closing off the year in style with his latest single ‘Cashmere’. The self produced street anthem is a testament to Jose’s brand that has earned him a spot in the new wave of Australian Hip-Hop, playing showcases across the country including the annual WVS showcase in Melbourne and Get Bodied Festival in Perth earlier this year.
‘Cashmere’ serves as a reminder to those persisting with their dreams as Jose urges his audience to keep pushing through any hardships they may have been dealt. The comforting message of support is also met by an effortless swag that see’s Jose glide through this release with raw talent that is relatable to his listeners.
“I hope people can enjoy the vibe and message which is overcoming any hardships and keeping persistent” – Jose Halftime
To compliment this release, Jose has also gifted us with visuals to ‘Casmere’ that will be available on the 19th of December. The JUSTPLAY MEDIA directed visuals see Jose holding his head high and keeping control in a confined junk yard and later on in the Perth city streets, it can be viewed exclusively via the thumbnail below.
Serving as a motivational track, ‘Cashmere’ is also a vibe that would be played at house parties and Hip-Hop heavy club nights, you can find out more about the release and future happenings with Jose Halftime via his social media links below.
German House pioneer Motor City Drum Ensemble AKA MCDE is easily one of the most celebrated house acts of this generation.
His technical ability, turntable skills and vast musical taste has seen him perform across the globe at all the premier venues and festivals. With his deep knowledge of electronic music and a great ear for melodies, he has become a mainstay of the contemporary house scene.
The tastemaker, who will be playing at the upcoming Let Them Eat Cake NYD 2019, has announced that he will play a headline sideshow at The Forum. This is a very rare opportunity to see the scene legend in one of Melbourne’s most famous venues.
MCDE will be supported by the city’s best selectors in Andras and DJ JNETT.
Friends of Friends w/
Motor City Drum Ensemble
The Forum Theatre, MEL
Friday 11th January
8PM – 1AM
Featuring
Motor City Drum Ensemble (GER)
Andras
DJ JNETT
Tickets on sale now from:
www.novel.com.au/upcoming-
Facebook event:
https://www.facebook.com/
‘Greatest Rock Song of All Time’ Breaks Records as it passes 1.6 Billion Streams
Universal Music Group (UMG), today announced “Bohemian Rhapsody,” the iconic single by British rock legends Queen, officially became the world’s most-streamed song from the 20th Century, as well as the most-streamed Classic Rock song of all time. UMG’s teams around the world have actively promoted discovery across streaming platforms, physical reissues, merchandise and experiential programs to introduce ‘Bohemian Rhapsody’ to new fans more than 40 years after it was first recorded. Today, the original song and official video for “Bohemian Rhapsody,” taken from Queen’s seminal 1975 album A Night At The Opera, surpassed 1.6 billion streams globally across all major streaming services.
“Bohemian Rhapsody” is regularly cited as one of the greatest songs ever recorded. In 2004, the song was inducted into the Grammy Hall of Fame and Freddie Mercury’s vocal performance was named by the readers of Rolling Stone magazine as the best in rock history. In Australia, the single re-entered the ARIA Top 20 in November 2018, the first time since its inclusion in the Wayne’s World film in 1992.
The instantly recognizable anthem also has been buoyed by the success of the biographical film Bohemian Rhapsody, which tells the incredible story of the band’s storied career. In just five weeks on release the film has become the highest grossing music biopic in history.
Brian May, Queen’s guitarist and founding member said, “So the River of Rock Music was metamorphosed into streams! Very happy that our music is still floweing to the max!”
Sir Lucian Grainge, Chairman and CEO of Universal Music Group, said, “’Bohemian Rhapsody’ is one the greatest songs by one of the greatest bands in history. We are so proud to represent Queen and are thrilled to see the song still inspiring new fans around the world more than four decades after its release. My congratulations to Queen and Jim Beach on an incredible achievement that is a testament to the enduring brilliance of Queen.”
UMG represents Queen’s iconic catalog globally outside North America, as well as providing support to the band across global merchandise, retail licensing and brand management through Bravado, UMG’s brand-management and merchandise company. UMG also produces and distributes audio-visual releases from Queen via the company’s Eagle Rock division, the leading producer and distributor of music programming for broadcast, DVD, Blu-Ray, TV and digital media. These releases include Queen documentaries, concert films and their award-winning immersive virtual reality film ‘VR The Champions’. In North America, Queen’s recorded music catalog is represented by Hollywood Records.
Where are you currently based and what is the music scene like there?
I live in Melbourne, the best music scene in the world.
How did you first start playing music?
I grew up attending gigs and festivals with my family, eventually leading to learning various instruments and forming bands with friends.
Your new track ‘Catch Me On Your Way Down’ is out now, what influenced the sound and songwriting for this track?
The songwriting side of the track came from reference literature and personal experiences. The combination of the two helped to create something that is largely autobiographical but also ambiguous.
The sound of the song came from the hybrid between west-coast US rock and alt-country. Picture a crossover between artists like Tom Petty, Gillian Welch, Ryan Adams, Middle Kids etc.
Where and when did you record?
Catch Me On My Way Down was recorded between June 2017 and March 2018. Mostly out of a studio called The Aviary in Abbotsford. It’s part of a larger body of work that was pieced together throughout that time period.
What programs and equipment did you use?
Everything was tracked live into Pro Tools, with a few overdubs done at home by myself through Logic Pro. The track was produced and mixed by Greg Rietwyk. He uses a varied mix of outboard gear and plugins. I recall there being a lot of the Valhalla and Fabfilter plugs throughout the mixes, as well as a bunch of outboard compressors and EQ’s. A Roland Space Echo was used extensively when we had access to it.
How do you usually go about writing music?
I believe I’ve only recently found my writing niece, which I outlined briefly above. The use of reference literature to assist in creating and conveying personal experiences has enabled me to write far more in-depth and consistent songs. Typically I will start a song with a melody or chord progression and build the lyrics over it. Once I’ve reached a point I’m happy with, it will be taken to the band where everyone will add their spin on it, and normally more adjustments will happen from that point onwards.
How do you prepare for live shows and how would you describe your live shows?
Rehearse, rehearse, rehearse. The live shows are extremely dynamic, I’d say it’s indicative of my songwriting. The set will often move from brash and overdriven tones to something slightly more stripped back and melodic. I can really display the different styles that my music covers in a gig, everything from rock to folk, to blues and acoustic.
Who are you listening to at the moment?
I’ve had Laura Jean’s record ‘Devotion’ on repeat since it’s release, one of the records of the year in my opinion.
Hiss Golden Messenger is a fairly recent discovery of mine, if you like folk/rock then he is definitely for you, released a million records and never written a bad song.
Your Smith is another new discovery, she’s only released a few tracks but you can tell she’s on the cusp of something huge. Really consice and creative pop-centred around good songwriting.
What do you like to do away from music?
Kick the Sherrin and shoot the rock.
What do you have planned for the remainder of 2018 going into 2019?
Single launch on December 14! As for 2019, hopefully, get stuck into the rest of the release for the EP, some more shows and hit the studio again.
Favourite food and place to hangout?
Anything that involves pasta at the Blackburn Hotel.
https://www.facebook.com/riverbluemusic/
https://twitter.com/river__blue?lang=en
I love Crab! And obviously since last month my new favorite hangout is the Skate Park. My hair and make up artist also skates, so we hang out and skate around together. Sometimes we even go eat Crab too. Haha. It’s a pretty good life.
Brisbane’s Good Boy today return with their next politically-charged tune, ‘CRF’. The new single follows the band’s surprise track, ‘Sodabread’, which dropped earlier this month. The tracks offer up the first taste of Good Boy’s forthcoming debut album, due for release in the second half of 2019.
STREAM ‘CRF’ HERE
Having developed a loyal following through their often ruthless and always honest lyrical commentary on the world around them, Good Boy continue this trend with CRF. As best put by vocalist Rian King, “CRF stands for nothing, not unlike all round dislikeable bloke and pig in a wig, the dishonourable Joe Hockey. This absolute scumbag spends tax payer money on fancy food and plonk. He is a bit of a shit political figure and has little backbone. Enjoy the song”
After expanding to a quartet with the addition of bass guitarist Marli Smales, Good Boy are continuing to produce their beloved Aussie-tinged punk sound, with as much attitude as ever. This time around
however, the new-and-improved Good Boy welcome a horn section, whipped up by talented instrumentalists Daniel Grima and Matt Luff.
To bring ‘CRF’ to life, Good Boy worked with producer Tim Morrissey (The John Steel Singers) on the track, with engineering and mixing by Aidan Hogg, and mastering by Mikey Young.
More on Good Boy:
Good Boy are endearingly unstoppable crafters of political and quintessentially Australian punk-fueled tunes, and if the last couple of years are anything to go by, the quartet are here to stick around.
With their debut release ‘Transparency’ scoring a high rotation add on triple j in late 2015, the then-trio landed in the top 15 most played tracks on the youth broadcaster, kicking off what was to be a hectic and fruitful musical trajectory.
In January 2016, the band was announced as winners of the triple j unearthed Laneway Festival competition, opening the Brisbane main stage to a packed-out crowd. Their debut EP ‘No Love For Back Home’ dropped that March, clocking up a massive amount of love from critics and fans alike, and saw the band play to capacity crowds in Melbourne, Sydney and Brisbane on their EP launch tour. All within the band’s first year, they racked up supports with Viet Cong, Homeshake, British India, The John Steel Singers, Jonathan Boulet, Velociraptor, Palms, and Northeast Party House to name just a few.
Not ones to rest on their laurels, Good Boy released their sophomore EP ‘Plum’ in the latter half of 2016. Recorded with Cam Smith at Incremental Records (Velociraptor, Deafcult) and mixed and mastered by Mikey Young (Eddy Current Supression Ring, Dick Diver), the release marked a sonic evolution for the band from their first release. Lead single ‘Poverty Line’ followed in the footsteps of ‘Transparency’, with an add to triple j high rotation and satiating the appetites of Aussie youths across the country with its relatable millennial charm.
After touring with Japandroids and ending 2016 in style playing Festival Of The Sun and Falls Festival, Good Boy went from strength to strength in 2017. Stepping out on tour with fellow Brissy rockers The Creases, playing a national sold out tour with Skeggs, and opening for Grinspoon on their 20 Year Anniversary tour of ‘Guide To Better Living’, as well as playing Splendour In The Grass and Yours & Owls festivals, last year saw an impressive expansion to their ever-growing resume.
In 2017 Good Boy also released a split 7 inch with Melbourne wunderkind Jarrow, featuring the trio’s brand new single ‘Braap’. To cap off the year, Good Boy released their latest EP ‘Shirk Life’ through Barely Dressed Records; a poignant look at life an early 20-something year old living in Brisbane in 2017. Weaving elements of humour and politics with the band’s unwavering maturity and millennial sensibilities, ‘Shirk Life’ saw the band release their most affecting record to date.
This year, Good Boy have made some changes. Punters can expect a brassy horn section meandering throughout new tunes, kicking off with surprise track ‘Sodabread’, and latest single ‘CRF’ as well as the introduction of fourth member Marli Smales on bass guitar. Teasing an extended release due out 2019, keep an eye out for the good things Good Boy are working on.
‘CRF’ OUT NOW
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