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MADE IN PARIS ‘THE EXORDIUM TOUR’
PRESENTED BY UNTITLED GROUP
17TH APRIL – OXFORD ART FACTORY, SYDNEY
18TH APRIL – THE NIGHT CAT, MELBOURNE
25TH APRIL – GOODWILL CLUB, PERTH
In support of the upcoming release ‘Exordium’ and its tour dates, one of Australia’s most exciting producers Made in Paris will drop a teaser-a-week of each track, making up the highly anticipated mini-album on her label Upon Access, due for release at the end of the tour on 28 April. Following on from an incredible 2019 with her last single ‘Pursuit’, Made in Paris will be encompassing a vivid journey through her shows with all originals from the mini album and a uniquely aligned lighting design, fans will be entrapped in the Exordium experience that drove Paris to deliver the music she has on this mini-album.
Made in Paris has been dominating radio with ‘Pursuit’ with 90+ spins on Triple J, taking top 30 positions weekly on the Australian Shazam Chart and adds to Spotify editorial playlists globally. Her recent release on Oliver Koletzki’s Stil Vor Talent attracted attention from tastemakers globally, cementing Made in Paris in Europe while attaining a plethora of support from pioneering producers after her remix of Luttrell’s ‘Windowscene’ grabbing over 750k streams. ‘Reconnect’ took triple j play by storm, while ‘Erratic’ EP on Upon Access, welcomed in the year with support from Mixmag, Music Is 4 Lovers, Data Transmission.
Noted by copious media and industry tastemakers as one of the country’s top underground DJ’s, producers and label curators, Made in Paris remains in a league of her own with a solid melodic techno drive. From her three USA tours to Australia’s most acclaimed warehouses alongside Jamie Jones and Stephan Bodzin on their respective 2019 Australian tours, Pitch Music & Arts, Beyond The Valley and Splendour In The Grass, the Sydney artist depicts a true deep and dark production journey from studio to stage.
Tickets on sale 4:30pm AEDT 18th February:
Get connected:
https://www.facebook.com/
Untitled Group are the group behind Beyond The Valley and Pitch Music & Arts Festival, the collective also represents boutique event brands Ability Fest, Grapevine Gathering as well as management and touring arms.
Where are you currently based and what is the music scene like there?
I am currently based in between Brisbane and Byron Bay, my family home is in Byron and often go home to see my parents who own a farm there and help out. Both places for me have a unique place in music. There are some really good promoters who throw some spectacular parties at the moment – Sub Rosa in Brisbane has been a highlight recently bringing some really tasteful international acts like Patrice Baumel, Jeremy Olander, Pig & Dan, Undercatt just to name a few.
How did you first start playing music?
When I was 13 I had gone to Canada on a family trip and was heavily influenced by my cousins who at the time were holding events and listening to Tiesto, Paul Oakenfold, Armin Van Buuran and most of the big trance Dj’s back then. I came back from that trip a bit inspired and very interested by dance music as it was all very new to me.
I saved some money and bought some CDJ’s when I was about 14, I was still in high school but me and a few friends started all djing at these house parties which really shaped my sound, it was a great time as we would be all searching on blogs and sharing music with each other…we all have a few release’s under our belts now which is funny too. After about 2 years I became friends with some of the local promoters in Byron Bay and managed to sneak into some gigs in town in-which they put me on the line up and opened up the door so very thankful to those guys – Webber, Deegs & Dobbie thanks!.
Please tell us a little about where you grew up and how this impacted your music?
I grew up in 10 minute’s from Byron Bay so there wasn’t naturally a lot to do with friends as we were always so spaced away and not being able to drive then was an issue. I would spend most of my teen years just listening & collecting music but I guess living away from friends was also a blessing as I had a lot of spare time trying to learning to use music software after school.
What’s been happening recently?
I’ve been working in studio and finishing some more music, a bit darker and a more peak time techno so pretty keen to get that out and begin to play it out at gigs. I’m also beginning to lock in some shows locally which im looking forward to showcase a lot of unreleased material.
Your new 3 track EP ‘Sour Minds’ is out now, what influenced the sound and writing for this EP?
Fusions of sounds that I really like I guess. Most of the tracks have a progressive vibe and a nice groove underneath with a few afro percussive elements also. i really wanted to have some sort of vocal in every track to just use as an element and carry the track through which really tied the whole EP together. You can hear a bit of everything and I guess that’s me just listening to a bit of everything at the moment.
How did you go about writing Sour Minds?
Sour Minds I wrote over 2 days, I started with a simple drum rhythm and added in some atmospheric elements to get the main atmosphere going which is that main saw synth that you hear in the intro. I had recently just bought the Mini V synth plugin and was playing around with that a fair bit so tweaked some patches and came up with the main arpeggio/lead with a vocading LFO on it to give it a bit of movement.
After that I found some vocals that fitted the right vibe which I actually found on splice, yes Splice! Its an awesome platform and go to when I need to find an element just to get the idea’s flowing. The next day I kind of just refined the song structure and a quick mix down to get it ready to send away as a demo. It was the actually the last track I wrote and became the 1st on the EP
Where and when did you record/produce?
In my studio room at my 2 bedroom flat in Brisbane. I often find myself up in the mornings or late afternoons in the studio, its almost a routine for me to hop on in the early mornings for an hour or 3. I wrote the Sour Minds EP over the course of about 2 months early last year, although I had produced ‘The Thoughts, The Fears” about 2 years ago now I revisited that and changed it quite a bit.
What programs/equipment did you use to record/produce?
I wrote the whole EP on Ableton and used a range of VST plugins, I had actually used some old speakers from Pioneer to write & mix down roughly at the beginning of the year. I have recently just purchased some ADAM Audio S2V’s which are freaking awesome and really pin pointed the flaws in my 1st mix down for all three tracks.
Please tell us about your current recording/production setup, what you have in the arsenal and how you came about finding the equipment:
As mentioned I have a pretty simple space as im mostly in the box with Ableton, although I have just purchased some ADAM S2V’s which were an expensive purchase but 100% worth it, they have really given me a bit more depth/clarity and helped me refine my mix down’s at the pre-mastering stage.
I have been really loving the V Collection which has some awesome plugins modelled off some great vintage & modern synthesizers -They sound really organic even though they are digital thanks to the TAE modelling process. Besides that I have a Minilogue which I use often for random sounds like effects and background sounds in tracks.
I’m looking to purchase a DeepMind 12 & ASM Hydrasynth. I luckily have a really good friend who has just built a dream studio of his (little street studios). He has a lot gear which I am able to play with and I guess pick the synths that cater to my taste which is a bonus!. Its good to have his knowledge and bring that back into my studio which is always refreshing for creativity.
What do you have planned for Sour Minds?
I’ve got some shows coming up so I’m am really keen to play it out and see the reaction from people as I haven’t actually played it loud yet. I’ve had some really good feedback from other DJ’s who have played it out loud and they said it works really well, I guess all 3 tracks bring a different vibe to the floor.
What do you like to do away from music?
I play a lot of soccer and often am at the family farm which is kind of therapeutic for me to get away from the city. I also work for JBL in their consumer electronics side of the business as a rep which is awesome. It gives me great insight into fresh products, music, events and how that all correlates into business which is interesting to see.
Who are you listening to at the moment?
Listening to a range of everything really. I have been liking Henrik Schwarz, Guy J, Patrice Baumel, Adriatique & Tiefscwarz. Besides that everything on the Innervisions label has been really inspiring.
You’ve been receiving a lot of support from big names in the dance music scene like Eric Prydyz and the likes, how has the whole experience with these big artists been so far?
Eric Prydz has really been a inspiration to me from the beginning, just his simplicity with production in his music always astonishes me. For him to play one of my tracks in his BBC essential mix a couple of years back was a huge thing for me, I just wrote that track sitting in my bedroom studio and totally forgot about it until I heard it randomly. This for me gave me a bit of confidence to try new things in the studio and really dig deep into production.
What’s in store for 2020?
More music and more shows, I have been working on a lot of new material!.
Favourite food and place to hangout?
Kimchi Pork fried rice. Its always good to just hang out anywhere with friends really, personally my favourite is the lounge room when I have nothing on haha!
Facebook: http://www.facebook.com/maniandyou
Soundcloud: http://www.soundcloud.com/manian
Instagram: http://www.instagram.com/maniandyou
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General Info
Event: Don’t Let Daddy Know
Location: RAI Amsterdam
Date: Friday March 6th 2020
Times: 22.00 PM – 07.00 AM
Age: 18+
Tickets: dldk.com/2020
MAIN
Dimitri Vegas & Like Mike
Brennan Heart b2b Coone – Headhunterz b2b Wildstylez – Lucas & Steve – Mike Williams – Nicky Romero – Oliver Heldens – Sem Vox b2b Dimitri Vangelis & Wyman – Showtek – Sunnery James & Ryan Marciano – W&W
HARDSTYLE
Adrenalize – Ben Nicky presents Xtreme – Coone
Da Tweekaz – Frontliner – Sub Zero Project
hosted by MC Villain
Sexy by Nature
Fedde Le Grand – Lucas & Steve
Sunnery James & Ryan Marciano (3-hour set) – Third Party – Double Pleasure
Where are you currently based and what is the music scene like there?
Currently based out of Toronto! My heart will always have a soft spot for our music scene. There is a real sense of community and people supporting other people that I really love. It makes navigating this crazy industry feel a lot less lonely when you do it together.
How did you first start playing music?
My little 7 year old self in piano and voice lessons! Music and art were the biggest part of my childhood. Fun fact: I played trombone in highschool!
What’s been happening recently?
I find winter, especially post January there’s this surge of change and it sparks a lot of feelings that get put down onto paper. I’ve also been tapping into other creative aspects of the project, creating some cool visuals for live shows, videos, etc. trying to make the Bedhead experience a little more multi-media which is something I’ve always envisioned. Basically it’s a lot of fabric shopping, I love me some new fabrics.
Your new single ‘Fight No More’ is out now, what influenced the sound and songwriting for this single?
The songwriting just flowed from this heavy emotional space I was in. I started writing the song when I found myself feeling overwhelmed and frustrated with my depression, after years of getting help and feeling like I hadn’t made any progress. The song was born from that moment of “enough’s enough”. For the production, artists like Robyn, Lorde and the Naked and Famous were big influences on the sound for this song.
How did you go about writing Fight No More?
I started writing Fight No More about 2 years ago in the summer at this park near where I live. It started with a few melodies and the main lyric in the chorus. The baseline intro was the next thing written. From there I usually noodle around with a piano or guitar to start putting the pieces of the puzzle together. Although the songwriting process changes every song, I usually start with chords and melodies, and the lyrics sprinkled in between.
Where and when did you record/produce and who did you work with?
I first recorded the song with Feurd Moore, who I’ve worked with before on an earlier project. It started as just a basement recording, but we knew we had something special. There were so many things that Feurd added in that I can’t imagine the song without now, like the guitar licks and bright synths. Later on, we brought on Derek Hoffman of Fox Sounds (who also mixed the track) who really just took what we had to the next level, giving it that extra kick (literally)
How did you approach the recording process?
With this track I really grasped the importance of emotion when delivering a vocal performance, which is a very vulnerable place to be away from the park by yourself to a booth with other people. Having Derek and Feurd there made the process a lot more comfortable, and they are wonderful friends and mentors.
What programs/equipment did you use to record?
We’re all about ProTools!!
What do you like to do away from music?
I love being creative and crafty! I paint a lot, and love taking photos of pretty much everything, but especially nature and animals. My favourite things are going on nature walks, and exploring new places with my friends.
Who are you listening to at the moment?
Tame Impala’s new record The Slow Rush!!
What’s planned for 2020?
I have a Sugar Beach session with 102.1 The Edge AND a show at the Rivoli on Feb 27th! More shows to come throughout the year, and the release of my EP. I have a few other surprises up my sleeve, stay tuned!
Favourite food and place to hangout?
Wow I love so many foods, I will never say no to pizza or pasta (please don’t make me choose haha!)
As much as I love going out to see shows at the Horseshoe Tavern, there’s nothing like going over to my friends’ place, staying in and playing some board games.
As much as I love going out to see shows at the Horseshoe Tavern, there’s nothing like going over to my friends’ place, staying in and playing some board games.
Socials: @heyitsbedhead
Website: bedheadmusic.com
“From fatherhood to reckoning with life-long regrets to existentially questioning whether he really did make it,Barriers is a breaking down of the walls he built to protect himself from the most trying tribulations he’s ever dealt with. It’s also his most sonically diverse and musically risky record yet.” – Billboard
“Three albums in, Iero has made huge strides in his evolution. Lyrically dense and sonically expansive, Barriersis a deeply gratifying and fully engaging listen that tempers suffering with just enough hope to keep going.” – AllMusic, 4.5/5
“Barriers is filled with hat-pin turns both sonically and emotionally.” – Alternative Press
“Introspective but riff-heavy.” – The Boston Globe
In the midst of international sensationalism and associated chaos theory, (past, present, and future) Frank Iero has always found sanctuary in one place and one place alone. His basement.
Hot off the heels of some BIG announcements pertaining to his ‘other job’ and in cellabration of his most accomplished and successful work to date – the critically-acclaimed 2019 Steve Albini recorded double opus Barriers (out now via UNFD) Frank opened up his inner sanctum home studio to a camera crew in order to document a visual representation of the most personal track on the album: Basement Eyes.
A true look beyond the candelabra, the Basement Eyes video is a fascinating insight into the pscyhe and process that Frank utilizes in creating music. Featuring studio reels, recording notes, tape mixes and title boards from the actual recording of Barriers, the grainy “heart on the sleeve” celluloid also features never before seen documentation of Frank’s ever expanding collection of instruments, guitars, pedals and most importantly fan art gifted to him over the years that adorns the walls of his home.
“We are proud to present you with our latest music video,” says Frank excitedly. “It was directed by the talented David Brodsky and Allison Woest for My Goodeye Visuals. This song is very much about beginnings and ends. Many incredible feats have begun in a basement or a garage. I personally have started almost every musical or creative project of my career in a basement somewhere,” he continues. “I have learned to play instruments, started bands, painted, filmed videos, played shows, written and even recorded records there. It is my preferred creative space and the nucleus of where inspiration and ideas get formed into living, breathing pieces of art.”
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In his final national tour ever, legendary songwriter, “voice of the Stolen Generations” and 2020 Victorian Australian of the Year Archie Roach AM will take his brilliantly reviewed Tell Me Why show to capital cities May through September.
This spectacular live concert will celebrate Roach’s eponymous memoir and companion album. Audiences will hear seminal songs from his back catalogue alongside influential music from his youth and three new autobiographical songs written since completing his memoir.
With well documented health challenges, including a stroke and lung cancer, Archie Roach is by most measures not a well man, but once he takes to the stage a certain majesty takes over and the stories and the songs are as compelling as the voice that sings them.
“Some songwriters wrap themselves in cloaks, whether of enigma or inanity, and some bare their souls. Then there’s Archie Roach.” – Sydney Morning Herald (Jan 2020)
Roach will be joined onstage by his five-piece band, including award-winning jazz composer and improviser Paul Grabowsky, and special guest vocalist Emma Donovan.For Archie announcing this as his last national tour has not been an easy decision to make. “Releasing my debut album, Charcoal Lane back in 1990, was the most amazing experience in my life. I never imagined that I would be here three decades later still recording and singing on stages in Australia and the world. Music has kept me going, kept me alive. It’s something that I have come to love, especially the relationship I have with those who come to my shows. I am also most grateful to all the people that I have worked with through the years.”
Thirty years after the release of Roach’s two-time ARIA Award-winning debut album Charcoal Lane (1990), Tell Me Why is a compelling account of resilience, strength of spirit, and great love. Through stories of the iconic songwriter and activist’s life, this is an intimate, moving and often confronting musical journey as Roach searches for a deep sense of belonging.
The much lauded Tell Me Why memoir and companion album have shown how inseparable are his life and his songs, with the first single from the album ‘Open Up Your Eyes’ already shortlisted for the prestigious 2020 APRA Song of the Year, the largest peer-voted music award in Australia.
From a stolen child and teenage alcoholic to seeker, lover (with his life partner the late Ruby Hunter), father, musical icon, social advocate and First Nations leader, not many have lived a life as compelling as Archie Roach.
“This is a phenomenal work by one of the most articulate and recognisable members of the Stolen Generation. It will be read, studied and discussed for many years to come.”
– Weekend Australian“This powerful memoir is a generous gift to the whole of Australia. A captivating unputdownable story.” – Herald-Sun
– Weekend Australian“This powerful memoir is a generous gift to the whole of Australia. A captivating unputdownable story.” – Herald-Sun
It has been 12 years since then-Prime Minister Kevin Rudd delivered the Australian Government’s National Apology to Aboriginal and Torres Strait Islander peoples. Roach’s story shows how his extraordinary odyssey through love and heartbreak, family and community, survival and renewal is a testament to the healing power of music.Roach has also received a Human Rights Achievement Award for his iconic Stolen Generations song, ‘Took the Children Away’; a first for any songwriter.
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Meadow – March 27 – 29, 2020
Bambra, Victoria
MUSIC – CAMPING – BYO
Final Release Tickets on sale now
The seventh annual Meadow festival lineup just got even tastier. Festival organisers, The Locals are proud to announce the final pickings for the smorgasbord of aural delights set to take over the iconic Bambra Bowl this March.
Joining previously announced festival headliners Angie McMahon and Rolling Blackouts Coastal Fever will be beloved 80s channeling Italo-disco heavyweight Donny Benét, dynamic alt-country outfit Caitlin Harnett & The Pony Boys, newfangled rock supergroup Mr. Teenage, and euphonious wordsmith POOKIE, as well as exploratory indie outfit Snowy Band and regular Meadow frequenters The Attics.
Nestled amongst the mighty Otway gums, Meadow takes place in the regional Victorian town of Bambra for three days and two nights of non-stop audio-visual stimuli. The tasty lineup is coupled by an even more mouth-watering spread of local produce and regionally focussed sips, with craft beers from Salt Brewing, gin from Great Ocean Road Gin, plus hand-picked cool climate wines from neighbouring Otway Hinterlands vineyards including acclaimed newcomer, Heroes. Select food stalls will boast some of the best bites of the region, operated by local restaurants and businesses such as Sticks And Bones BBQ (Geelong), Pete’s Woodfired Pizzas (Aireys Inlet), Tin Can Alley Café (Lorne) plus more still to be announced.
The final release tickets now moving fast with just over five weeks to go.
Don’t sleep on it.
MEADOW 7
March 27-29, 2020
Bambra, Victoria
Final release tickets available at $185.00 + BF
Glamping available – $330 for two people, $450 for four people
Includes double mattress, super soft linen bedding, towels, cushions, blankets, chairs,
LED lanterns and decorations.
+ Children under 12 free and Children over 12 can enter on a full price ticket
On Sale now until 24 February (unless sold out prior)
2020 LINEUP
ANGIE MCMAHON
ROLLING BLACKOUTS COASTAL FEVER
FRANKIE COSMOS
SHEER MAG
DONNY BENET
DYSON STRINGER CLOHER
CLOSE COUNTERS
YOUTH GROUP
LOURE
ELIZABETH
EMILY WURRAMARA
COOL SOUNDS
3K
DARCY JUSTICE
SWEET WHIRL
FIRST BEIGE
ELLE SHIMADA COLLECTIVE
COLETTE
EGOISM
SURPRISE CHEF
100
CAITLIN HARNETT & THE PONY BOYS
MR. TEENAGE
POOKIE
SNOWY BAND
SWAZI GOLD
THE ATTICS
MATT BOURKE & THE DELUSIONAL DRUNKS
Tickets, information, artist profiles – https://www.meadowmf.com/
Newly signed to ANTI- Records, Christian Lee Hutson today announced his new album Beginners—produced by Phoebe Bridgers—will be released on May 29th, 2020.
Christian Lee Hutson also shared the Zoe Donahoe and Adam Sputh-directed video for the stirring first single “Lose This Number,” which features backing vocals by Bridgers and a string arrangement by Nathaniel Walcott (Bright Eyes). “I think ‘Lose This Number’ is about someone fixating on the past, wishing they could go back and change things,” explains Hutson. “My friends Zoe and Adam made fake rain, granny’s basement, dragged a mattress onto a rooftop, and vacuumed up thousands of feathers in order to bring their beautiful video for this song to life.” Donahue and Sputh add, “We believe in the imagery that Christian’s music already presents, and wanted to create something that allows you to bask deeper in its lyrical and sonic intimacy, instead of distracting you. We opted for something overwhelmingly honest that takes you with Christian through a few dreamy scenarios in life, which often tend to unfold through immeasurably small moments.”
On “Lose This Number,” Hutson reveals one of his greatest strengths as a songwriter: a rare ability to infuse his lyrics with myriad idiosyncratic detail, yet leave the narrative slippery enough for the listener to fill in their own meaning. Throughout the song, his storytelling is threaded with incisive turns of phrase (e.g., “It’s like I was born on the back of a bullet/With your name written on it”). News of Beginners and “Lose This Number” follows the Los Angeles-based Hutson’s previous single “Northsiders,” released last year as an early preview of the album to praise from outlets including The New York Times, Rolling Stone (‘Song You Need To Know’), Stereogum, Uproxx, Paste, and Brooklyn Vegan, among many others.
On Beginners, Hutson embeds every lyric with his most intimate self-dialogue, sharing painful confessions and private jokes, imagined conversations and elaborate daydreams. The album spotlights a nuanced songcraft and understated candor that all but erases the distance between feeling and expression. Throughout this collection of songs, Hutson ultimately speaks an illuminating truth about regret and forgiveness and the endless confusion in growing up.
“I went with Beginners as the title because that’s where I feel like I am in my life—like I’m still just learning and trying to figure out how to navigate the world,” Hutson notes.
Hutson—who also co-wrote a song on the 2018 boygenius EP and two on the 2019 Better Oblivion Community Center LP—and Bridgers recorded Beginners at L.A.’s legendary Sound City Studios, but purposely preserved the homespun quality of his cell-phone-recorded demos. The album mines its subtle textures from Hutson’s warm vocals and graceful guitar work, and also unfolds flashes of sonic brilliance achieved with the help of its guest musicians—including Bridgers herself, as well as Walcott (who created all the string arrangements for the album, in addition to playing trumpet).
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A.Swayze & the Ghosts have unleashed ‘Mess of Me’, a rollicking punk anthem that’s as fun and bold as their theatrical live shows. The track received its world premiere by Matt Wilkinson on Beats 1 and is accompanied by a groundhog-day inspired video, directed by Nick Green.
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Sydney’s Micra have today released their swirling and euphoric new single, ‘Chemical Freedom’ via Liberation Records. ‘Chemical Freedom’ marks the start of an exciting chapter for the rising dreampop duo and is a spellbinding example of their ability to turn a melting pot of influences into their own hallucinatory indie pop perfection.
A technicolor journey through #NSFW chemical-fuelled erotic encounters, the theatrics of ‘Chemical Freedom’ is presented in a stunning music video directed by Justin Ridler. Having worked in the past with Baz Luhrmann and Iraxta Ansa, Justin perfectly captures the essence of the track using motion capture animation through psych-tinged lens distortion. The song and video arrives as music lovers around Australia continue to battle with state governments over harm minimisation approaches to chemical consumption. Speaking on video, Justin said “I was really interested in Roger Penrose’s theory of the fractal universe and I think that plays into the clip. There’s also a kind of paradigm shift that’s occurring in the contemporary cultural landscape around drug use which I wanted to reflect in the abstract narrative that plays out.”
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Where are you currently based and what is the music scene like there?
I live in Vancouver, BC. The music scene has a ton of brilliant and diverse artists, but many from here leave for opportunities in Montreal and Toronto, where I lived for a few years. There are financial and socio-political challenges that this city poses, which make it tough for artists to stick around. I do miss that side of the country, but the west coast has always been home.
How did you first start playing music?
I started when I was 6 and saw a piano for the first time at my school. I was immediately obsessed.
How did Noble Oak start?
The project came about after I received a Rhodes piano from a very close friend, and I became lost in its sound. I had been writing songs on and off since I was a kid, but it was the arrival of this new instrument that really drove the creation of Noble Oak.
What’s been happening recently?
Lots of preparation for new songs, shows and the release of my next record, Horizon on Last Gang Records.
Your new single ‘Morning’ is out now, what influenced the sound and songwriting for this track?
The sound is very much an extension of the sound I’ve been working to create over the last 8 years. I can’t put my finger on any one single influence for the piece.
How did you go about writing Morning and what is the meaning behind the song?
It took a very long time to complete Morning, over 5 months in fact. I was stuck on the direction of the piece after composing the initial opening and piano melody. It was a few months later that the song came to completion once I figured out the vocal melody. I was in a deeply confused and uncertain place, which ended up being the exact place I needed. The song reflects on the depths of entrapment we feel in our lives, and what we can do to survive it and change it.
Where and when did you record and who with?
Morning was written during the first half of 2017 and recorded and engineered alone in my home studio.
What programs/equipment did you use?
I used Ableton Live, which has been the foundation for my production across the Noble Oak project. I’ve begun to use Logic for some songs, since it has some terrific sounds and processing. Other equipment used include my Nord Stage for piano layers, my upright piano, a Telecaster for the guitar parts, OP-1 and MicroKorg for some of the synth parts, and a collection of drum samples.
How did you approach the recording and production for Morning?
The same way I approach every song I make- by letting the ideas spill out as naturally as they can. Nothing is ever forced, if an idea comes and is good, it remains.
Please tell us about how the concept for the Morning video came about:
I wanted to work with my friend and creative visionary Nancy Lee to devise a world that best represented the feeling of the song. Nancy has been experimenting and studying VR and volumetric video production for several years and was graciously happy to put their skills to use on this video. With a bit of programming help from some friends, the result turned out fantastically.
Where did you film and who with?
It was all filmed at their studio, with only myself, Nancy and a small team of assistants providing graphical textures and programming advice for Unity, the software where all the depth/image data and graphics were realized together.
What did you find most challenging and rewarding during the filming and editing process?
Most challenging was making sure all of the shots aligned perfectly with the words, since it was sometimes tough to tell which part was being sung based on the moving volumetric image. Most rewarding was seeing all the various components layered together so nicely in the final edit.
You have an upcoming album ‘Horizon’ label release coming up soon, what can we expect?
Expect a ton of new sounds and energies! I’m quite proud of this record so hopefully this will be your new favourite too.
What do you like to do away from music?
I like spending time with my loved ones, walking by the ocean and skiing/hiking in the mountains as much as I can.
Who are you listening to at the moment?
Some old and some new stuff, ranging from Joni Mitchell to Bruce Hornsby, The Japanese House and Tame Impala.
What’s planned for 2020?
More music, the long-awaited release of Horizon, and hopefully a tour or two!
Favourite food and place to hangout?
Sushi is my favourite food of all time, and if I’m not hanging with friends at someone’s home, or working on music, you can probably find me outside by the beach.
https://www.instagram.com/nobleoaksongs/
https://www.facebook.com/nobleoak
Today, Boiler Room announces the much-anticipated lineup for Boiler Room TEN: Sydney. Cruising into final release tickets, this year’s stellar lineup boasts international talent and homegrown favourites including DJ BORING, Bambounou, Nazira and more. Taking place in the city’s Roundhouse, the underground music platform will be celebrating ten years of connecting music and culture to millions around the world, and in true Boiler Room fashion, will be broadcast to the world live from 19:00-22:00 AEDT on Saturday, March 21.
Kicking off the Australian celebrations and joining the list of locals is DJ and selector Ayebatonye, who will ignite the Roundhouse dancefloor with her renowned mix of uplifting house cuts and global rhythms. French tech innovator Bambounou will make his return to Sydney, distilling his love of dystopian sci-fi and techno into a powerful forward-thinking birthday set. The Parisian-born producer is no stranger to Boiler Room, delivering one of 2019’s most memorable moments at Italy’s roBOT Festival.
The anything-but-dull DJ BORING will make his well-awaited homecoming following last year’s epic Boiler Room throwdown at AVA Festival, Belfast. The now London-based producer first made waves with the 2016 track “Winona”, characterised by atmospheric synth, melodramatic chords and a poignant sample of a now-infamous Winona Ryder interview. Montreal’s Ex-Terrestrial will join the international ranks, debuting his unique sound to Sydney’s Roundhouse, following the release of his dreamy ambient debut album Gamma Infolded in November 2019.
Sydney’s Merph will also take to the Boiler Room TEN stage, with her genre-spanning selections indicative of a passion for research and exploration. A well-seasoned act on the local circuit, Merph has supported the likes of Motor City Drum Ensemble, Moodymann and Jayda G, as well as headlining Melbourne’s Carefree & Daydreams and Canberra’s Dente. Rounding off the bill is the electrifying Nazira, a key player behind Kazakhstan’s underground electronic scene. Following her Boiler Room debut in 2019, Nazira will join the birthday lineup to deliver on her much-loved blend of techno thumpers and frenetic beats.
Emerging from the UK’s rich pirate radio heritage in 2010, Boiler Room started a movement which would change the way we listen to and experience music across the globe. From a warehouse with a webcam taped to a wall, to curating monumental events featuring some of the music industry’s most influential DJs, Boiler Room has rooted itself into the DNA of dance music culture since its inception.
Boiler Room’s impressive archive includes over 4,000 events, featuring 5,000 artists, spanning 150 cities and countless memories made for the millions who have experienced a Boiler Room event. Highlights include music deity Carl Cox’s mega set in Ibiza, techno powerhouse Sama’, the energetic David August and Honey Dijon’s viral Sugar Mountain set on Australian soil in 2018, which remains one of the most iconic Boiler Room moments with over 4 million streams to date.
Over the past ten years, Boiler Room has continued to evolve, delving into new realms of music, everything from jazz to grime, as well as pioneering thought-provoking documentaries and short films focusing on the music space. Entering the new decade, Boiler Room promises to bring even more unmissable memories to the stage, connecting people through music, no matter the time or location.
Boiler Room TEN: Sydney is the first event in a series to mark the music platform’s tenth birthday. Kicking off in Sydney, Boiler Room will be curating a number of iconic sets throughout the year, showcasing more of the best music talents coming together under one roof across Australia.
With some of the world’s most exciting acts in electronic music, this is one birthday party not to be missed. Final Release tickets are available via Ticketek. Hurry, tickets won’t be around for long.
Boiler Room Ten Sydney
Roundhouse, UNSW
March 21 2020, 7 pm – 2 am AEDT
Tickets (FINAL RELEASE) HERE
How did you first start playing music?
All of us have played music from young, in high school bands and for school. It was sort of a natural progression for us to continue playing music with people going on from this, however we only met each other years later as complete strangers in a new band around 2010.
How did WAWAWOW form?
A couple of us originally started in a previous band, called Lenox, playing a more contemporary style of easy listening music with a good singer friend of ours who was keen to play gigs with some of his originals. I think eventually he got tired of us jamming for too long and ruining his music, and we parted ways. Within a couple of weeks we had caught up again as instrumentalists just to play around with all manners of instruments, including stand up drums and a drum sampler/sequencer. Eventually we found a sound with the bass synth and we played our first gig with a set of janky party music as a three-piece at the Marly Bar, to a questionable but generally positive reception.
What’s been happening recently?
We’ve just released our debut album, Pink Elephant, which has been a huge project for us and a massive relief that it’s finally out. Alongside this we’ve taken on two new members, Duncan Bell who plays the baritone guitar and Adam Pilcher our new lead guitarist. They have been absolutely amazing at dealing with our unusual approach to music, and it’s been surprising how well they’ve picked up the nuances of each song. Since they’ve joined we’ve played around 10 gigs and they’ve been a great success – looking forward to a packed year of playing our music now that we’re back.
Your new album ‘Pink Elephant is out on the 14th of February, what influenced the sound and songwriting?
Honestly we never have good answers to this question. I think we wrote all of our music without much thought as to how it would appeal or what sound we were trying to emulate. We combined our impossible array of contrasting tastes in music, from hip-hop and electronic to indie rock and psychadelic blues music, which ended up being quite evident in the mish-mash of styles you can hear on our album. We like to call it Psych-junk, but really it’s all over the place. I think the main thing that united us at the start was a passion for creating ‘fun music’ that we could imagine getting into as punters at a gig.
How did you go about writing/conceptualise the music for Pink Elephant?
Our writing process was generally fed by collective hours of jam sessions and obsessively recording everything we played. Eventually we could isolate parts or riffs from each jam that we liked and start to build songs from there. Shaun (our drummer) was integral in the structuring process, coming to us each week with rough mixes, structures and suggestions for song concepts, that we would then vote on and discuss. Pink Elephant started as a continuous live set, that eventually we stuffed into a digestible album format with a few extra frills, but our main focus was re-creating the feeling of a live show and really testing the limits for what kind of strange sounds and effects we could get away with showcasing.
Please tell about the experimental process that you took to record/produce this album:
After recording 3 singles over a couple of years prior, we came to the conclusion that recording in a studio over a few days would never work for us. The jam style of our music never lent itself well to getting a good take when put on the spot in a studio, and the recordings always lacked some of the live energy we had been getting from the recorded jams. Our guitarist at the time, Hayden, was a bit of a mad scientist on the guitar, and his inspired moments happened so sporadically that capturing them on a quality recording was almost impossible. We decided that tracking everything ourselves, from the comfortable confines of Shaun’s homemade studio/garage was our best shot at getting the most organic sound from our recordings. We recorded every rehearsal, effect and sample we could get our hands on throughout a 12 month period, filling up terrabytes worth of hard drives – sometimes using the original jam recording in the final track and sometimes re-recording parts 20 times before getting something we liked. It was a huge task but we ended up really squeezing out what we wanted, and we’re very satisfied with the final result.
Where and when did you record and who with?
We recorded everything at Shaun Allen’s house in Stanmore throughout 2018 and 2019, starting to submit our stems to Dane Burge for mixing in late 2018, and eventually getting the album mastered by Streaky in December 2019 in London.
What programs/instruments did you use?
We started recording through Garage Band (which was surprisingly effective for a free software) and eventually graduated to using Logic. This was a great way to get into the DAW world, as it is quite intuitive and visual, while providing a heap of inbuilt effects and samples to get us started. We recorded using all of our usual live instruments, including Shaun’s Tama Star Classic drum kit, various Fender Strat/Teles, a Squier Jazzmaster baritone, a Nord Lead A1, Novation Bass Station, Moog Sub Phatty and a wealth of pedals and effects units (honourable mention to the Earthquaker Devices ‘Data Corrupter’ pedal).
What did you find most rewarding and challenging through the songwriting and recording process?
One of the most challenging parts of songwriting and recording was that we didn’t have a dedicated songwriter/vocalist to bring formed ideas to the table. We wrote everything instrumentally while rehearsing together – adding vocals last, often written by both Shaun and Wade, our main vocalist. We used a stern democratic process involving voting and janky versions of lobbying and insider trading to bring our own favourite ideas into the music. Essentially it worked great, as we all felt our creative voices were being expressed fairly, but it means things took a while to iron out, and a lot of debate was had over the quality and appeal of countless parts of the album. What made it all the more rewarding was that once it was finished, we had settled every disagreement and included as much as possible of each of our visions, that we can all proudly say that this is our best work to date.
What do you have planned for Pink Elephant?
We have just had vinyls pressed and delivered, which is hugely exciting for us and marks one of the big milestones we’ve been aiming for. We’ll be selling these, alongside our ‘TAWAWOWELS’ at most of our gigs coming up! Other than that, a healthy amount of gigging and enjoying a well-deserved period of time outside of the studio, and hopefully a small festival or two!
What do you like to do away from music?
Away from music, we all have jobs and generally separate lives, our guitarist adam is a Nurse, while our other guitarist Duncan is a Science Educator at primary schools. Wade is a commercial photographer and Shaun runs admin at Macquarie university while also producing multiple podcasts (one of them his own – ‘In Brackets’ which contains a healthy amount of WAWAWOW’s outtakes). We all treat the band as a creative escape from our daily lives, and something fun to liven up our weekends, which I think has helped us not to burn out over the past few years.
Who are you listening to at the moment?
Pretty much anyone and everything! We’ve always appreciated a healthy dose of local music, including Pyjama Sundayz, Wartt Gun, Light Entertainment, Lord Dodongo, NARLA, Turtle Skull and Psychadelic Porn Crumpets, but outside of that we all have very different music tastes – Wade is mostly into Hip Hop including J Cole, Childish Gambino and Eminem, while Shaun loves a dose of band music including Supergrass, Regurgitator, Devo and Cog.
What’s planned for 2020?
2020 should be full of gigs for us – we are really hoping for some small festival slots after playing Psyfari and the King Street Crawl a couple of times in previous years. Ultimately we’re looking forward to playing some fun shows and getting involved in the live music scene again after an 18 month hiatus.
Favourite food and place to hangout?
I mean, not sure how to answer this. We hangout together at Zen rehearsal studios in St Peters, and bars like The Townie, Botany View Hotel, Brighton Up Bar and The Bank where we play a lot of gigs. I’d hazard a guess that we all enjoy pizza, hopefully WITHOUT pineapple but this remains unconfirmed.
David Ellefson, legendary co-founder and bassist of iconic ‘Big 4’ Thrash Metal titans Megadeth, will bring his eponymous solo band, including vocalist Thom Hazaert, to Australia in May, reuniting with Megadeth’s classic Peace Sells era guitarist Chris Poland for a once in a lifetime thrash event!
This will be the first time David & Chris have toured together in 37 years!!
Fresh off the boat from Megadeth’s MEGACRUISE, where Ellefson and Hazaert performed a crushing set of tracks from their debut 2019 release Sleeping Giants, alongside Megadeth classics and deep cuts, featuring guest appearances from Megadeth’s Kiko Loureiro and Dirk Verbeuren, dedicated to Dave Mustaine, absent from the cruise due to his throat cancer diagnosis. Now Ellefson’s More Live With Deth tour comes to Australia, featuring full sets from Ellefson and Poland, with an epic finale any thrash fan will not want to miss!
Ellefson and Poland appeared together on Megadeth’s debut, 1985’s Killing Is My Business.. And Business Is Good and their landmark 1986 album, Peace Sells But Who’s Buying, widely regarded as one of the most influential thrash albums of all time.
With a career spanning four decades, David Ellefson is a Grammy-Award winning musician and best-selling author, with one of the most recognisable and distinctive bass guitar sounds in Metal. The opening bass riff to Peace Sells was immortalised as the intro music to the long running MTV News, and is ranked #11 in the 40 Greatest Metal Songs Of All Time by VH1.
In 2019, Ellefson also released his second memoir MORE LIFE WITH DETH, co-written with Hazaert, recounting both the early days of Megadeth, and his journey since re-joining the band in 2010.
Chris Poland’s unique lead playing on the first two Megadeth albums, undeniably contributed to their rise to the top of the thrash pile. He left the band in 1987 and returned for 2004’s The System Has Failed.
After his departure from Megadeth, Poland went on to release his classic 1990 solo debut Return to Metalopolis, celebrating its 30 year anniversary in 2020 with a reissue from Ellefson’s Combat Records, as well as Damn The Machine, Ohm (which would later include late former Megadeth drummer Nick Menza), and several other acts that perfectly showcased his distinct jazz-infused thrash/rock style, as well as performing on albums for Lamb of God, Tourniquet, and more.
In 2020, Poland was inducted into the Metal Hall of Fame, at a star-studded induction ceremony, which also included inductees Steve Vai, Joe Satriani, Prong, Don Dokken, Geoff Tate, and more, where he was inducted by Hazaert, and Vio-lence/former Machine Head guitarist Phil Demmel, who also joined him onstage for a blistering live performance.
In 2019 Poland reunited with Ellefson, making a guest appearance on Sleeping Giants, which also included contributions from Mark Tremonti (Alter Bridge, Creed), Eric AK (Flotsam and Jetsam), DMC, John Bush (Armored Saint, Ex-Anthrax), and more. Poland later joined Ellefson, Hazaert, and the “Sleeping Giants” band live in Fullerton, CA at The Slidebar, for a surprise guest appearance that set the internet on fire, with Mega-fans hungry for more! And from that moment, MORE LIVE WITH DETH was born.
Ellefson says of Poland: “It was great to reconnect with Chris, musically and personally, who is still, and always has been, one of the most innovative players in metal. Playing with him live again was amazing, and the fans really loved it. We’re so excited to be able to do it again, and bring it to Australia!”
Grab your tickets now for the most exciting Thrash reunion of the year!
TOUR DATES
Friday, May 22: Max Watts, Melbourne
Saturday, May 23: Manning Bar, Sydney
Sunday, May 24: Crowbar, Brisbane
Monday, May 25: The Basement, Canberra
Tuesday, May 26: Enigma Bar, Adelaide
Pre sale begins, Friday, Feb 21
General on sale, Mon, Feb 24
Tickets & VIP upgrades available from
www.destroyalllines.com
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