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Picture credit: Shannon Stewart
“One of punk’s new emerging stars.” – Backyard Opera
“Wonderful songwriting that is both aggressive and tender.” – Tone Deaf
“They’ve transformed and blossomed into something remarkably special.” – Pilerats
Tickets on sale from www.slywithers.comThursday, May 14, Altar Bar – Hobart
Friday, May 15, Barwon Club – Geelong
Saturday, May 16, Howler – Melbourne
Thursday, May 21, Solbar – Maroochydore
Friday, May 22, Vinnie’s Dive Bar – Gold Coast
Saturday, May 23, The Brightside – Brisbane
Thursday, May 28, Newcastle Hotel – Newcastle
Friday, May 29, Crowbar – Sydney
Saturday, May 30, UC Hub – Canberra
Thursday, Jun 4, Jive – Adelaide
Friday, Jun 5, The Rosemount – Perth
Saturday, Jun 6, The River – Margaret River
Hot from releasing their booming latest single, ‘Explode Into View,’ Perth outfit Sly Withers have released a brand-new video for the track featuring behind-the-scenes studio footage of them recording the mighty new song.
‘Explode Into View’ has been heralded for taking the high bar the Perth four-piece set for themselves in 2019 and shattering it with an emotional blast, thanks to the stadium-sized production of the new cut. The new video, made with regular collaborator Tim Elphick (director of their previous videos for ‘Sad Guy’ and ‘Good Days, Bad Days’), captures footage from the studio sessions for the recording of the new single, highlighting how the band continue to approach making records the same as they always have – a bunch of mates loving to make music together – despite their exponentially growing audience and reputation.
Sly Withers’ career momentum only seemed to gather speed throughout the last 12 months, following the release of their breakout EP, Gravis, and particularly its killer single ‘Lately’ feat. Carla Geneve, their first release on stalwart indie label Dew Process. Sold out national tours, festival appearances and supports slots with rock and pop power houses alike – from Slowly Slowly to Amy Shark and Tones & I – has seen them capitalise on their high profile with the announcement they’ll appear on the bill at Splendour In The Grass for the first time this July.
Despite all that success, nothing for Sly Withers has changed on an elemental level. The same four members – Jono Mata (guitar / vox), Sam Blitvich (guitar / vox), Joel Neubecker (drums) and Shea Moriarty (bass) – using the same producer as Gravis (Matthew Templeman at his studio in Mount Hawthorn), they now have pulsating self-belief that can only be built on the back of hard work and a brotherhood forged in the trenches. The result is a towering new sound that is much, much greater than the sum of its parts, yet reflects the depth of the emotional core of the band and the love they share for the music they make together.
Speaking about ‘Explode Into View,’ Mata says, “”When I wrote this song I was on the brink of an exciting new relationship which, by no fault of either party, never came to fruition. Some things just aren’t meant to be, and sometimes irrational thinking gets the better of us. The song is about moving on with the feeling that things will never be as good as we imagined, that we seek closure we’ll never get, and how weeks, months and years down the track, a chance run-in or out of the blue text can send us spiralling out of logical thinking and right back to where we started. ‘Explode Into View’ is about finding moments of clarity in times of confusion.”
Shows for their national Explode Into View tour continue to sell at a rapid pace, and tickets are on sale now on sale from www.slywithers.com – get yours before you miss out.
Off the back of unleashing the evocative ‘Pride’ single earlier this year, Sydney songwriter Vetty Vials returns to continue the story, with the release of her debut studio record, Conversations With Myself. A record a long time in the making, Conversations With Myself captures the heart and essence of Vetty Vials and her band as they explore a strengthening band dynamic. For the songwriter herself, this album is a culmination of lessons learned and observations gained through navigating those crucial years of early adulthood.
Written over the last three years, Conversations With Myself shines with honesty and candid execution. Perspectives and standpoints change creatively and personally over time, and what Vetty Vials does with this album is wear her maturation and creative development on her sleeve. “I was lucky enough to co-write some of the songs on this record with Tim Maxwell from Loser; that really changed the writing process for me as it gave me a fresh perspective on changing some of my old habits and getting a new sound.” Vetty Vials
‘Pride’ proved an early example of the direction Conversations With Myself was to head in. Continuing to thread strong indie rock influences with pop-punk tenacity (‘Too Much To Ask’, ‘Nowhere Feels Like Home’), the record bursts with a very natural energy.
Fans of Vetty Vials first became aware of this young songwriter’s talent back with her debut EP I am okay, I promise in 2017 – this album is a fitting graduation. Across the course of eight tracks, Vetty Vials’ unique voice flourishes (‘Say’, ‘Tired’). “The line ‘Conversations with myself’ in the lead single ‘Tired’ stuck with me and became the inspiration for the record as a whole, because that’s essentially what songwriting is to me. Another way to get your feelings out when you feel no one will listen.” Vetty Vials
PRAISE FOR VETTY VIALS
“Hi-octane energy with plenty of heart and guts. Good combo all round, Vetty Vials!”
Triple J, Declan Byrne
“A dynamic blend of garage rock and nostalgic indie tones that at times recalls the punky shimmers of femme 90s alt rock with a glossy garage backdrop, and ultimately signals a confident step into some renewed sonic waters.”
The Soundcheck
“Slick and shiny, so smooth it’s like it’s running on rails. This is the sound of rock hair flailing, of hands raising, and of singing along into your hairbrush to the glorious chorus. Hackles, raised.”
The Underground Stage
“There is a raw and captivating presence in Vetty Vials which is hard to ignore.”
Happy Magazine
The release of Conversations With Myself this February coincides with a string of live shows Vetty Vials will be performing throughout Australia. A perfect opportunity to see this music realised in both acoustic and full band mode, the tour is just the beginning for Vetty and her band, ready to tackle 2020 hard.
![Dot Dash Recordings and Remote Control Records are pleased to announce a new EP from Western Australia's Methyl Ethel. Hurts To Laugh will be released Friday 10th April via Dot Dash / Remote Control. Overnight triple j's Good Nights premiered the EP's lead single 'Majestic AF'. Listen via methylethel.lnk.to/hurtstolaugh. To celebrate the new single and EP Methyl Ethel will be supporting Peter, Bjorn & John on their American tour dates throughout March and April. On return to Australia, Methyl Ethel will tour in solo mode at intimate venues in Perth, Melbourne, Sydney and Brisbane. Full tour dates and ticket links below. Hurts To Laugh marks the ongoing output of Methyl Ethel producer and multi-instrumentalist Jake Webb’s restless mind. Time and again he’s proven that while there’s no distinction between music and art, psychologically speaking there is a difference between feeling and emotion. One is a conscious response to a set of circumstances, the other is the unconscious conditions of our very being that only occasionally surfaces through feelings. Hurts To Laugh excavates this ambiguous site, implied by its very title. You can laugh so hard it hurts - pure joy. Or laugh despite the pain - despair. These paradoxes run throughout the EP, as well as everything that came before. 'Majestic AF' stumbles into its bubbling oscillator and analogue polyrhythms, while a kick-free drumbeat marches right into an atonal synth melody supporting Webb’s equally idiosyncratic falsetto. Hurts To Laugh was recorded at the same time as 2019's Triage and both releases feature cover art by Sydney-based artist Loribelle Spriovski. Triage was Webb's third and final album in a trilogy of obliquely expressed relationship drama, starting with 2015’s Oh Inhuman Spectacle which features certified ARIA Gold single 'Twilight Driving'. 2017's Everything Is Forgotten birthed the sensational single 'Ubu' which is now certified ARIA Platinum. Methyl Ethel is a project that’s the brainchild of a single mind—writer, performer and producer Webb—while also being a live band of five members. It makes music that draws from myriad influences and a history of new wave and indie rock, while sounding like its own thing entirely. Both familiar and alien, intimate and aloof, you never quite know what you’re in for, but the trip is bound to be enchanting. Pre-order / pre-save Methyl Ethel - Hurts To Laugh via methylethel.lnk.to/hurtstolaugh Methyl Ethel - Solo - Tour Dates [Australia] Wed 15 April - The Outpost, Brisbane Thur 16 April - The Night Cat, Melbourne Fri 17 April - Mary’s Underground, Sydney Sun 19 April - Goodwill Club, Perth Tickets on sale Friday 28 February via methylethel.com Methyl Ethel - Solo - Supporting Peter, Bjorn & John [USA] Mon 23 March - Teregram Ballroom, Los Angeles CA Tues 24 March - La Santa, Santa Ana CA Wed 25 March - New Parish, Oakland CA Fri 27 March - Doug Fir Lounge, Portland OR Sat 28 March - Crocodile, Seattle WA Tues 31 March - Urban Lounge, Salt Lake City UT Wed 1 April - Bluebird, Denver CO Fri 3 April - Amsterdam, St. Paul MN Sat 4 April - Empty Bottle, Chicago IL Sun 5 April - Loving Touch, Ferndale MI Tues 7 April - Johnny Brendas, Philadelphia PA Wed 8 April - Union Stage, Washington DC Fri 10 April - Webster Hall, New York City NY Sat 11 April - Brighton Music Hall, Boston MA All tickets via methylethel.com Methyl Ethel - Hurts To Laugh 1. Majestic AF 2. Honest 3. Charm Offensive 4. What Memory Found 5. The Quicker Methyl Ethel - Hurts To Laugh is out Friday 10th April via Dot Dash / Remote Control!](https://thepartae.com/wp-content/uploads/2020/02/METHYL-ETHEL-1170x767.jpg "METHYL ETHEL")
METHYL ETHEL Announce new EP Hurts To Laugh Share new single ‘Majestic AF’ Solo Tour Dates Announced
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Barrelling out of the illustrious rock n’ roll crucible of Sydney’s Northern Beaches, Tshitaki are an unrelenting assault of choppy guitars offering up a groundswell of in-your-face, turbo charged surf rock. As the band gear up for their album launch in March and get set to take their turbocharged rock n’ roll on an extensive tour to push their baby out in to the big wide world, with World Keeps Turning to be available on all major streaming and downloading platforms, as well as a super limited release of 150 individually numbered vinyl pressings.
Keeping it to the bare essentials as a three piece, Tshitaki distil fuzz guitars over a tightly wound rhythm section creating a searing assault on your more genteel senses, divining their own unique brand of musical alchemy.
With the spirit of DIY infusing the recording and production of their highly anticipated sophomore album, World Keeps Turning, the band have jacked up excitement levels with the release of the first taster from the LP, single ‘Surfing In The Sink’, which recalls the buzzsaw sound of the Pixies, Husker Du and Dinosaur Jr.
Tshitaki – World Keeps Turning Album Launch Tour
Thursday 2nd April 2020 – La La La’s – Wollongong NSW
Friday 3rd April 2020 – Katoomba Family Inn – Katoomba NSW
Saturday 4th April 2020 – 4 on the Floor – Orange NSW
Saturday 11th April 2020 – Mayfield Bowlo – Newcastle NSW
Sunday 12th April 2020 – Frankies Pizza by the Slice – Sydney NSW
Friday 17th April 2020 – Young Street Supper Club – Frankston VIC
Saturday 18th April 2020 – Last Chance Rock’n’Roll Bar(matinee) – Melbourne VIC
Saturday 18th April 2020 – Whole Lotta Love – Brunswick East VIC
Saturday 25th April 2020 – North Narrabeen SLSC – Narrabeen NSW
Saturday 2nd May 2020 – Transit Bar – Canberra ACT
Sunday 3rd May 2020 – Servo Food Truck – Port Kembla NSW
Thursday 7th May 2020 – TOMCAT – Brisbane QLD
Friday 8th May 2020 – Rompa Room – Gold Coast QLD
Sunday 9th May 2020 – Banshees – Ipswich QLD
Friday 29th May 2020 – Hideaway Bar – Newtown NSW
Tshitaki Online: Facebook
07 Finchop
08 Holiday
09 Sun Goes Down
10 World Keeps Turning
Tshitaki release new album ‘World Keeps Turning’ independently on Friday 27th March 2020
Where are you currently based and what is the music scene like there?
I live in Los Angeles, CA. The music scene is wide and varied, but is a surprisingly small world. I’m always meeting musicians that know friends of mine or have played music with them. There is a lot of music to be heard on any given night and that is an exciting thing to be around.
How did you first start playing music?
There was a family heirloom upright piano in my house growing up. I started playing around with that as a child. I would sit and figure out melodies of songs I heard my parents listening to, and come up with my own ideas. Later, I started learning saxophone in school and by my teenage years, picked up the guitar and quickly got very serious about it.
What been happening recently?
I’m consistently working on new music for Missives, collaborative projects, and instrumental music. Looking forward to releasing my debut single Dissolve.
Your new single ‘Dissolve’ is about to be released from your debut EP, what influenced the sound and songwriting for Dissolve and the EP?
My influences span quite a far and wide spectrum. Since I first heard “Music for 18 Musicians” by Steve Reich, the idea of repetitive musical figures changing over time or staying constant while everything changes around them has been an important part of how I hear musical ideas. Moving harmony versus static figures, textures, and atmosphere inform a lot of my sound. My music is an amalgam of that minimalist influence and inspiration from artists like FKA Twigs, Thom Yorke, James Blake, and Bjork. The songwriting revolves around concepts of discovery, transformation, loss, acceptance, and the passage of time.
How did you go about writing Dissolve?
I had recently bought a Dave Smith Instruments Prophet 08 synth. I was exploring the sounds it was capable of and stumbled into a bass line that felt like it was falling over itself. It turned into a fully realized song shortly after that once I added a beat, some synth pads for harmony and a vocal melody. Lyrically, the song is about experiencing loss and navigating the disorientation that comes along with it.
Where and when did you record and who with?
Dissolve and the other tracks on “Patterns of Us” (EP) were recorded in my studio over the course of the last couple years. I’ve worked as a composer, producer, and multi-instrumentalist for years now and wrote, recorded, and mixed everything myself. I have two tracks with guest vocalists, very close friends of mine, Patrick Joseph and Eleanor Crane. I’m lucky to have close friends who are also incredibly talented artists in their own right.
How did you approach the recording process?
Recording and writing happen simultaneously. They are both the process of creation and flow back and forth between each other. I record one sound or instrument that then inspires an idea for another layer or texture, and so on and so on until a structure begins to emerge. This happens fairly quickly, so I often have place-holder takes of various parts or instruments. Once I have a solid song idea mapped out, I go back and refine individual instruments as needed. I definitely enjoy using recording as a way to explore different sounds, or altering instruments or objects to make them sound like something else.
What programs/instruments did you use to record?
I use Pro Tools for recording and mixing. I use some software synths, but the majority of the EP utilized hardware synths like the Prophet 08, Moog Sub37, and Mother 32. There is also a fair amount of guitar as that is my primary instrument. And a lot of guitar that doesn’t sound anything like a guitar. I use an Echoplex Digital Pro Plus looper to create atmospheric and ambient textures using the guitar. I also like using vocal loops to create textures and pads. There are percussive elements in the songs sourced from random objects like a paper wrapper, scratching on cloth, tapping on things, etc.
What do you like to do away from music?
I spend a lot of time camping, hiking, and being outside. Anywhere I can find mountains, water, and quiet. I read as much as I can, and watch movies and documentaries. I enjoy spending time with friends and family.
Who are you listening to at the moment?
Thom Yorke’s latest album Anima has been in heavy rotation for me. As well as Bon Iver’s most recent album and Magdalene by FKA Twigs. Anything by Max Richter.
What’s planned for 2020?
I’ll be releasing my debut EP “Patterns of Us” and continuing to work on new music for Missives, possibly for another EP or a full length depending on how everything shapes up.
Favourite food and place to hangout?
Pho or sushi (at least today). My favourite place to hangout is in the Sierra Nevada mountains of California or Northern New Mexico where I grew up. There is also a neighborhood bar here in LA that I go to fairly regularly with friends. It feels like it should be a bar in a random mountain town somewhere, but it sits in the middle of Eagle Rock, a north east LA neighborhood I’m quite fond of.
1. Patterns of Us
2. Something More
3. Long Gone (feat. Patrick Joseph)
4. Reach Inside (feat. Eleanor Crane)
5. Dissolve
Missives Socials:
IG | Twitter | Soundc
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INTERIM TRACK LIST
1. CHOICE II
2. Shallow Anthem (ft. Apollo Renegade)
3. 21 Personnel
4. Irrelevant
5. Ellipsis
6. Some Continuity
7. Nobody / A Place To Vent
8. Outpost
Stay connected with Jay Cooper:
Website | Facebook | Twitter | Soundcloud | Bandcamp
Karnivool are thrilled to announce The Decade of Sound Awake tour where, exclusively for Australia, they will play the whole album in its entirety. Marking some of the band’s biggest headline shows to date, the tour takes in Brisbane, Sydney, Melbourne, Adelaide and Fremantle.
Karnivool’s Sound Awake captured a moment in time when circumstance, influence and individuals collided, restructured and, with a lot of time, pain and joy became elevated above the sum of the parts. A decade and platinum sales have passed the landmark moment in the career of this band who have always gone their own way – meandered when they could have rushed, explored a sonic roadmap forward, then sideways, then backwards. And then forward again.
Sound Awake is an album heavily informed by the art and science of Cymatics and questioning of an ever changing world. From the structured rage of ‘Set Fire to the Hive’, the monster riffing of ‘Goliath’ and the single that was never a single ‘New Day’, Sound Awake is a record full of fan favourites that Kenny, Drew, Hoss, Steve and Jon see as their benchmark.
Attaining worldwide success over this last decade, it launched Karnivool to an intensely loyal, passionate audience that lifted them from an opening act with some interesting tuning to international festival headline act with, well, more interesting tuning in more interesting places… Youngstown, Istanbul, Glasgow, Helsinki, Pune, Bratislava, Auckland, Cape Town, Moscow, Wiesbaden and some place they were told was Chicago, but clearly wasn’t.
The Decade of Sound Awake tour will visit Brisbane, Sydney, Adelaide, Melbourne and Fremantle for ONE NIGHT ONLY. No additional shows, no encore performances, no take backsies. Don’t miss out.
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One month out from their Australian tour and Milwaukee via Hobart band Violent Femmes have locked in all supports.
True to their eclectic nature the Femme’s choices span the sublime to the ridiculous and include band South Sudanese performer Gordon Koang (with full band), all female Cretan traditionalists Bandidas, indigenous singer / songwriter Chris Tamwoy and Femmes’ bass player Brian Ritchie’s own side act The Toilet Brushes… Full details below.
With Melbourne, Gold Coast and Sydney all long sold out plus extra seats added in Perth and just a trickle of tickets left in each other city Australia’s love affair with ageless trio stands strong some 37 years since they first toured the continent.
Watch Violent Femmes – Busking in Sydney, 1990
with guests The Toilet Brushes
with guests Bandidas
with guests Gordon Koang
Our new album is titled ‘Vol. 3’, so I guess as the name probably suggests it’s the 3rd one we’ve recorded since starting the band back in 2012. The album is actually released in a few days so as I’m writing this it’s still not out in the world yet! Looking forward to finally having it out, we’ve released a handful of singles over the last year in the build up to it and the response from peers and fans has been great, industry not so much, haha. I’ve never worried too much about the industry though, you gotta just make the music you want to make and hope for the best, can’t let the machine dictate how you create.
What have you learned through the creation and release of this album?
One thing that always drives me nuts is taking too long to release something, I think a lot of artists suffer this plight. The time from conception to birth is way longer than 9 months, I wanna try and avoid that as the years go by. In the creation process we made solid draft copies of everything before taking it to our producer Chris Taylor (Grizzly Bear band member and producer, excellent cook and motorbike enthusiast), I like that method but I want to always change things so next time I would want to get the producer in earlier so they can have a bit more say early on in how the songs should go.
What did you find most challenging and rewarding during the creative process?
Most challenging is getting everything recorded in the small window of time you have that the budget can afford. There is not a lot of time for experimenting hence the aforementioned draft copies, we needed a solid script before the ad libs came in. It is rewarding though after 5 days of mania to listen back and feel that sense of pride of creating something that only a week ago was silence.
It’s a hard one to answer, but are there any tracks that stand out to you most? If so which and why?
I think for me (Joshua Moriarty) it’s the song Waste. Lyrically it has the most potent lines, I think the story is cohesive (if I do say so myself, ha..) and gels perfectly with the music, it has the apocalyptic melancholy I wanted to lock down for that song.
How was the music written?
I wrote a lot of the music myself on the acoustic guitar while in LA across the course of a year. When I got back to Melbourne we amplified everything and then the other boys brought their songs to the table and we nutted it out in the jam room. We had also done a few writing trips through the year to different locations in Victoria where we would setup the computer and record a bunch of jams etc, sift through the best bits.
How were the lyrics written?
I took the most care I’ve ever taken on this record to get the lyrics right!! Took me months and months, I figure if you are gonna say something you may as well say it right and make it compelling, I didn’t settle on any phrase until it was perfect. The chorus of Tear It Down took me months, I tweaked it over and over and over until I had it exactly right. I would demo things on Ableton then go for a bike ride and listen and make notes and repeat the process until it was perfect. I don’t think their is one lyric on the record I would change, very happy with the message
How do you usually go about writing music and was anything new or different with your approach to writing for this album?
I’ll write a lot of stuff just sitting around with an acoustic guitar, I have a wee one and I’ll watch the telly with it in my hands twiddling away, something about that unconscious way of playing can lead to cool ideas. You gotta keep fishing, casting the line out. Then we bring those small ideas into the rehearsal rooms and see what feels good and if they stick after 6 months then we know it’s a keeper.
What are your plans for the album?
Put it on the internet and hope for the best, what the fuck else does anyone do??
Any advice for less experienced musicians who are wanting to make a living in the music industry?
Get lots of followers on tik tok.
Who are you listening to at the moment?
Kashmir from Denmark are a band favourite. I missed that most recent Father John Misty record so getting into that currently. The Phoenix Foundation from New Zealand are one of my fave bands ever so I’m always listening to them. Ainslie Wills is a bad ass, Lee Hazelwood, The Karen O and Danger Mouse record is sick too.
What’s planned for 2020?
Play, make more music, write, record, play, make more music, rest, perform, record, basically all I’ve been doing the last 15 years so can’t see it changing, it’s either that or become a pool boy or go back in time and get good at cricket.
![Photo credit: The Sauce / Tyler Bell “An electrifying bout of rock revival” – Ones To Watch "The bigger the stage, the better Ocean Alley get" – triple j After less than a week on sale, Ocean Alley are thrilled to announce the Sydney and Brisbane legs of their upcoming Australian tour have sold out, with second shows added and on sale now. The surf-rockers have expanded the tour to a total of seven shows across five cities, adding an all-ages show to Brisbane’s Fortitude Music Hall on Saturday 23 May, and a hometown encore performance at Sydney’s Hordern Pavilion on Saturday 6 June. Perth outfits Psychedelic Porn Crumpets and Dulcie will both continue their support run across these dates. All shows are selling fast, tickets on sale now from oceanalley.com.au. These shows mark Ocean Alley’s first national headline tour since 2018, when they last toured off the back of their then newly-released, critically acclaimed second album Chiaroscuro. In the two years since, the band have been writing and recording new music between international tours and festival appearances, releasing singles ‘Stained Glass’, ‘Infinity’ and most recently ‘Tombstone’ in that time. Launching into the new decade, Ocean Alley are fresh off the national Laneway Festival run and a stint in New Zealand over the New Year period, however 2019 ended with 30 sold out performances around the world after playing their biggest international shows to date. The band gave a career-defining, Saturday night main stage performance at Splendour In The Grass and were widely-praised for electric and commanding sets at Bluesfest, One Night Stand, Land of Plenty, Spilt Milk and the sold out, inaugural A Day For The Beaches – a community event they curated on the Northern Beaches to raise money for local charities. To round out their breakthrough year, smash hit single and #1 Hottest 100 of 2018 'Confidence' saw the band receive their first ARIA nomination for Song of the Year, and stand-out moments from that 12 month journey are chronicled in the new 'Tombstone’ video. Hailing from Sydney’s Northern Beaches, Ocean Alley have solidified their position as one of Australia’s most exciting and increasingly booming exports. Having surpassed 200 million catalogue streams, as well as achieving the impressive feat of attaining more than 1.5 million monthly Spotify listeners, Ocean Alley continue to captivate audiences worldwide with their infectious blend of psychedelic surf-rock, selling out a slew of shows at home and abroad, plus performing festivals including Falls Festival (AU), Reading & Leeds Festival (UK), BottleRock (US), Sziget (HU) and Bay Dreams (NZ). OCEAN ALLEY AUSTRALIAN TOUR 2020 with Psychedelic Porn Crumpets & Dulcie Tickets on sale now from oceanalley.com.au Friday 1 May – Fremantle Arts Centre, Perth SELLING FAST Friday 8 May – Thebarton Theatre, Adelaide SELLING FAST Friday 15 May – Melbourne Arena, Melbourne SELLING FAST Friday 22 May – Fortitude Music Hall, Brisbane SOLD OUT Saturday 23 May – Fortitude Music Hall, Brisbane NEW SHOW ADDED Friday 5 June – Hordern Pavilion, Sydney SOLD OUT Saturday 6 June – Hordern Pavilion, Sydney NEW SHOW ADDED Presented by triple j, Lonely Lands Agency & UNIFIED Music Group OCEAN ALLEY – ‘Tombstone' [Single] OUT NOW Available to stream and purchase here.](https://thepartae.com/wp-content/uploads/2020/02/Follow-Ocean-Alley.jpg "Follow Ocean Alley")
Photo credit: The Sauce / Tyler Bell
“An electrifying bout of rock revival” – Ones To Watch
“The bigger the stage, the better Ocean Alley get” – triple j
After less than a week on sale, Ocean Alley are thrilled to announce the Sydney and Brisbane legs of their upcoming Australian tour have sold out, with second shows added and on sale now.
The surf-rockers have expanded the tour to a total of seven shows across five cities, adding an all-ages show to Brisbane’s Fortitude Music Hall on Saturday 23 May, and a hometown encore performance at Sydney’s Hordern Pavilion on Saturday 6 June. Perth outfits Psychedelic Porn Crumpets and Dulcie will both continue their support run across these dates.
All shows are selling fast, tickets on sale now from oceanalley.com.au.
These shows mark Ocean Alley’s first national headline tour since 2018, when they last toured off the back of their then newly-released, critically acclaimed second album Chiaroscuro. In the two years since, the band have been writing and recording new music between international tours and festival appearances, releasing singles ‘Stained Glass’, ‘Infinity’ and most recently ‘Tombstone’ in that time.
Launching into the new decade, Ocean Alley are fresh off the national Laneway Festival run and a stint in New Zealand over the New Year period, however 2019 ended with 30 sold out performances around the world after playing their biggest international shows to date. The band gave a career-defining, Saturday night main stage performance at Splendour In The Grass and were widely-praised for electric and commanding sets at Bluesfest, One Night Stand, Land of Plenty, Spilt Milk and the sold out, inaugural A Day For The Beaches – a community event they curated on the Northern Beaches to raise money for local charities. To round out their breakthrough year, smash hit single and #1 Hottest 100 of 2018 ‘Confidence‘ saw the band receive their first ARIA nomination for Song of the Year, and stand-out moments from that 12 month journey are chronicled in the new ‘Tombstone’ video.
Hailing from Sydney’s Northern Beaches, Ocean Alley have solidified their position as one of Australia’s most exciting and increasingly booming exports. Having surpassed 200 million catalogue streams, as well as achieving the impressive feat of attaining more than 1.5 million monthly Spotify listeners, Ocean Alley continue to captivate audiences worldwide with their infectious blend of psychedelic surf-rock, selling out a slew of shows at home and abroad, plus performing festivals including Falls Festival (AU), Reading & Leeds Festival (UK), BottleRock (US), Sziget (HU) and Bay Dreams (NZ).
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Allan Lahey.
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2019 saw Channel take his mesmerising mix of music, movement and energy to the world’s most elite festivals including Primavera Sound, Movement, and Splendour in the Grass – blowing the roof off three headline AU/NZ shows while in town – and finished the year off joining Toro Y Moi for a stellar 11-city tour across North America.
Along the way Channel has been profiled by FADER and befriended, remixed and collaborated with a who’s-who of chart-toppers including English singer-songwriter James Blake; King Princess (check out track ‘Hit The Back’ released last month); the first official remix for Tyler, The Creator (the epic ‘EARFQUAKE’) and peers Baauer and Danny Brown (who he collaborated with on single ‘READY TO GO’). Between all this, he also released the excellent Black Moses EP.
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Courtney Barnett – MTV Unplugged Live In Melbourne is now out physically on CD and aqua blue vinyl via Milk! Records / Remote Control. Stream here and watch full video playlist here. Watch the video for ‘Nameless, Faceless‘ via the image below.
On October 22nd 2019, Courtney Barnett performed a unique and special show at the invitation of MTV Australia in her hometown of Melbourne. The “Unplugged” performance features Barnett as you’ve never heard her before, warm, vulnerable and emotional. Under a garland of lights and a canopy of florals in the outdoor courtyard of Howler, Barnett performed a stirring set of eight songs to an intimate audience including ‘Depreston’, ‘Avant Gardener’ and ‘Sunday Roast’. Joined by her usual band Dave Mudie and Bones Sloane, she also enlisted cellist Lucy Waldron.
Barnett made the night even more iconic by inviting some of her favourite musicians to collaborate including legendary songwriter Paul Kelly, angelically-voiced New Zealander Marlon Williams and Milk! Records label-mate Evelyn Ida Morris. The performances included covers of Leonard Cohen, Archie Roach and Seeker Lover Keeper as well as a never-before-heard original track from Courtney herself titled ‘Play It On Repeat’.
Courtney Barnett said about her performance “I love playing to Melbourne crowds…I wanted to have a mixture of old songs, new songs and covers, and tracks that we don’t perform all the time – it’s been interesting to see the songs through a different filter, and it brings out this other emotional side to the music and the lyrics”.
She continued, “Unplugged is so nostalgic for me. We had two Unplugged Records in our CD collection growing up and I know those records inside out because we listened to them every day.”
Buy / Stream Courtney Barnett – MTV Unplugged (Live In Melbourne) via https://courtney-barnett.
caroline are pleased to share their debut live session and signing to Rough Trade Records – the track is called ‘Dark blue’. The session was shot in January 2020, in a disused swimming pool in North London. The band hail from London.
caroline began as a three-piece (Jasper Llewellyn, Mike O’Malley, Casper Hughes) in early 2017, initially evolving out of weekly improvisation sessions. Bringing together shared influences in, and experiences of playing, midwestern ‘emo’ guitar music, Appalachian folk, minimalist classical and various forms of dance music.
The group spent a year and a half playing privately, without a project name. Reiterating, deconstructing and re-building the same small handful of songs over and over again, the group slowly expanded their on-stage members before playing their debut show as caroline in 2018. caroline are currently working on their debut album.
caroline are – Jasper Llewellyn – acoustic guitar, cello, drums, vocals, Mike O’Malley – electric guitar, vocals Casper Hughes – electric guitar, vocals Oliver Hamilton – violin Magdalena McLean – violin Freddy Wordsworth – trumpet, bass Alex McKenzie – clarinet Hugh Aynsley – drums, percussion.