CIRCUS RECORDINGS
MIGUEL LOBO – ‘STAY AWAKE/ ANOTHER DAY’
OUT NOW
Hailing from Talavera de la Reina, electronic music producer and DJ Miguel Lobo has spent his career crafting an inimitable sound packed full of percussive grooves. A purveyor of house music, he brings his multitude of influences together in his debut album ‘Moving Faces’ on Yousef’s seminal imprint ‘Circus Recordings’ with first EP ‘Stay Awake / Another Day’.
Releasing music since 2009, Circus Recordings is one of the worlds most respected and consistent imprints, bringing together global icons of electronic music alongside new and emerging names. Marking a notable moment for the imprint, ‘Moving Faces’ LP will be the first album project released on Circus Recordings by an artist other than label head, Yousef. Miguel joins a list of top tier producers such as Carl Cox, Sven Väth, Marco Carola, Scuba, Green Velvet, and Steve Lawler who have also released on the imprint.
Making waves through the underground scene as an international touring DJ, the last few years have seen Miguel Lobo releasing on a number of respected and established labels including 8Bit, Defected and Knee Deep In Sound. Affirming his abilities as a producer, Miguel has seen strong support from DJs across the board from Hot Since 82, Marco Carola, Nick Curly, Nicole Moudaber, and Oxia.
Not one to follow trends or conform to genre barriers, Miguel Lobo has created his own original style and sound. His investigative musical ideology sees him bring together many influences across ‘Moving Faces’ LP.
“In the album I wanted to capture the different styles and moods with which I identify, sometimes experimental sometimes dark and moody and sometimes focused on the club. This is why I chose the name ‘Moving Faces’ for the LP as I share my multiple faces with the listener.” Miguel Lobo
Releasing first album EP ‘Stay Awake/Another Day’ kick starts the album journey. ‘Stay Awake’ conjures the nostalgia of watching DJ heroes play until the small hours of the morning, via moody basslines and infectious grooves blended with the smooth vocals of Rion S. Meanwhile, ‘Another Day’ presents Miguel’s melodic side with a euphoric mix, stitched together by the oozing groove that underpins the wider ‘Moving Face’ LP project.
Made entirely with the self-taught production techniques of Miguel, ‘Stay Awake/Another Day’ EP provides a sure taster of what’s to come on the forthcoming LP; set to land as a multi-purpose project ‘Moving Faces’ feels fit for clubs, festivals or even the comfort of ones living room.
Miguel Lobo’s ‘Stay Awake / Another Day’ LP is out now on Circus Recordings
‘Moving Faces’ LP will be available 1st May via Circus Recordings
|
|
|
|
|
|
|
|
“The Melbourne band went viral last year with a few ace footy songs and this proves they’re not just a novelty band with some sick punk/garage rock” – Declan Byrne, triple j
“Maybe the most fun you can have while indefinitely confined to your room for the foreseeable future. Legitimately though, this is a blast!” – Tommy Faith, triple j Unearthed
The Picket Palace boys have just released their tongue-in-cheek video for their latest track “No Fun Intended”. The song has already made waves being premiered on triple j, on high rotation on SYN FM and Spotify playlisting including “New Punk Tracks” (155k followers).
“This was the last time we all got to hang out before all the craziness so we got kinda drunk and turned the lights out,” said the band of the video.
Inspired by the desire to revert back to a child in times of anxiety, ‘No Fun Intended’ doesn’t stray from the playful, chaotic & distinctly Australian sound the boys are known for.
“Anxiety makes you so worked up about everything that you aren’t really able to effectively deal with anything and you regress into a useless little baby. I wanted to play with how grotesque and stupid that transformation is,” says lead singer Seamus O’Connell.
The song features a running lyric only Australians would understand, “yeah, nah.” It’s contradictory yet we don’t question it, because we understand what it means without having to define it. Seamus explains he incorporated the line because “it calls back to the franticness and indecisiveness of anxiety and circular thinking.”
This release signifies the Picket Palace boys coming into their own, solidifying their sound outside of The Footy Record they became known for.
PICKET PALACE
Birthed and nurtured in a sweaty loft apartment above a picket fence workshop in Brunswick, Picket Palace crank out razor-sharp punk belters and anxious, rambling reflections with an enthusiasm that is innocent, unpretentious and completely infectious. Urgent, punchy rhythms underpin distinctive, angular guitar lines and lyrics so honest and guileless that you’ll feel like the band have set your own half drunken conversations to music.
The boys soared to virality after releasing the highly animated film clip for ‘Anthony McDonald-Tipungwuti’ which has since garnered half a million views respectively, plucking the boys out of Melbourne’s underground garage-rock scene and into national consciousness.
Their follow up record, aptly named ‘The Footy Record’, began almost as a joke – a couple affectionate punk rock tribute to the band’s favourite footballers, written mostly to amuse themselves. But once they introduced a couple of those tracks into their live set everyone fell in love with their raucous, ridiculous energy, and the band realised they were too good to be wasted as unheralded throwaways.
Recent performances include a slot on the main stage of the sold out Beyond The Valley festival over new years, alongside a sold out headline show at Northcote Social Club last September. Their live show is an exuberant, exhilarating trip that is somehow both ferociously energetic and sincerely heartwarming — an adorable riot, not to be missed…
FACEBOOK | INSTAGRAM | TWITTER | SOUNDCLOUD | SPOTIFY
|
|
|
Of the track, Alice Ivy shares: “Don’t Sleep is one of those songs that came out of nowhere! Imbi, Boi and I were in the studio on the last day of a songwriting camp (shoutout Ricochet!) and at the start of the session we were all feeling pretty burnt out. But something special happened between us and I think it had a lot to do with how inspired we were feeling after a week at an all-female/non-binary camp. We came up with a super powerful song and it’s definitely one of my favourite collabs I’ve ever been a part of. The lyric, “Our bodies are ours so keep your hands away” hits me every time I hear it. It’s an empowering song… so obviously I had to recruit a bunch of junior motocross riders to tear it up in the video!”
‘Don’t Sleep’ marries the vibrant, organic production and Avalanches-inspired, collage-style of her debut record with a turn towards the contemporary, electronically-tinged alt-pop of Flume and Jamie XX, riding its combination of lofty, analog synths, tropical drums and bright guitars to a monumental chorus.
Like her contemporaries Mark Ronson and KAYTRANADA, Alice Ivy sits at the intersection of producer and tastemaker. A revered collaborator, she’s equally adept at uncovering new dimensions to those who you thought were well established, household names as she is seeking out and helping to break new ones. For Alice Ivy though, platforming new artists and helping new voices to break-through to the mainstream goes beyond just tastemaking.
Between releases, Alice Ivy has grown into one of Australian electronica’s most prominent advocates for female producers, putting her in step with other tireless voices such as KUČKA and Grimes. Through her choice of collaborators, many of whom are female and non-binary, Alice Ivy is working to diversify the sound and look of the traditionally male-dominated studio space – a cause moves forward again throughout her second LP. Across Don’t Sleep, her refined curatorial skills are on full display, as Thelma Plum, Ecca Vandal, Ngaiire, Benjamin Joseph of Safia, Odette, Bertie Blackman, Imbi and many more come together within Alice’s creative orbit.
‘Don’t Sleep (feat. Imbi & BOI)’ by Alice Ivy is out now via Dew Process,
buy/stream it here.
Stay connected with Alice Ivy:
Facebook | Twitter | Instagram
|
|
Stay connected with Triple One:
Website | Facebook | Twitter | Instagram | Youtube
|
|
|
|
|
|
|
|
|
|
|
Melbourne indie rockers Big League are returning with the second single from their upcoming full length “A Symbol Like a Cloud”.
The new single “Earth = Active Neutral” is haunting atmospheric jangle pop, the uneasy nature of the song captured by Gordon Holland with an eerie clip.
The release is set to continue the steady rise of the band since the release of their debut album , “I Thought Thunderbolt” that lead to critical acclaim from outlets such as Beat, The Music & Happy Mag as well as appearances at SXSW and extensive touring in Australia and the United States.
Melbourne label Off the Hip Records issued “I Thought Thunderbolt” on limited edition orange vinyl for Record Store Day 2018.
The new record is due out later in 2020.
Links
Big League: Best in Show. Live Session in Portland, Oregon
https://www.youtube.com/watch?v=0A2pQfNkYnc
Facebook https://www.facebook.com/bigleagueband
Instagram @bigleagueband
Where are you currently based and what is the music scene like there?
Currently in Narrabeen in Sydney, the scene on the beaches isn’t too bad and Sydney overall is really pretty good, The last few years have seen a heap of really good rooms of all different sizes really flourish.
How did you first start playing music?
I started learning guitar when I was about 12, I’d had piano lessons a few years before that, but I was never really that interested in the piano, wish I’d stuck with that now though.
Started playing in bands around 13 or 14 at school, mainly cover bands, which I found a bit boring so started writing some of my own stuff.
What’s been happening recently?
We’ve just been flat out rehearsing for the upcoming Album tour in April / May, as well as starting to sort songs for the next album, can’t wait to start playing this tour though, Hoping the dreaded Covid19 doesn’t stop people heading out to local shows.
Your new album ‘World Keeps Turning’ is out on the 27th of March, what influenced the sound and songwriting for this album?
We really wanted to make an album that would be listened to as an album, not just a bunch of songs or a few singles and fillers, we worked pretty hard to pick the 10 tracks that we thought fit together best and also kept interest throughout the whole LP, Influences for this one have come from all over the place, we’re 90’s kids at heart, bands like Dinosaur Jr, Sugar, melodic pop punk had a big influence on a lot of the guitar sounds, I would like to think that we have found our own sound by now too and the album also sounds pretty unique to the Tshitaki sound.
How did you go about writing the music?
I’ll usually get a riff or melody stuck in my head and we are pretty luck these days with things like iPhones that we can just put the idea straight down into a voice memo and then work it out later, I find lots of songs come along while travelling or walking, I guess it’s a repetitive rhythm sort of thing, once I have the riff and melody down it’s a matter of demoing at home then bringing the idea in to jam it after that, lyrics usually come after for me, I find it’s easier once the song has a feel to write about a particular subject or theme.
Where and when did you record and who with?
Early last year we built a studio in my factory where we rehearse, I have the control room there as well, the 2 rooms are separated by about 30 meters of multicore that runs across a driveway through a pvc pipe, we did all the tracking there between August and September, We had heaps of fun trying out different mics, different amps, different direction set ups, took us a couple of months to finish tracking, then we sent to Lachlan Mitchell to mix, I’ve worked with Lachlan before and really like the mixes he’s done, from there it went to Joe Carra’ at Crystal Mastering down in Melbourne for a fine polish in mastering.
How did you approach the songwriting process?
We took our time with this bunch, I’d bring a riff or an idea in and we’d jam it for a bit and see if it worked, if it did I’d start trying different melodies over the top of it and then we’d feel it out and structure it from there, there were a bunch of songs that didn’t make it on, not because they weren’t good songs, more because they didn’t feel right with the rest.
How did the concept come about for the ‘Inside Out’ film clip?
We wanted it to be create a raw, pretty live feeling clip, the original idea was to have ½ the clip inside and then the other half outside, unfortunately our Aussie summer served us up about 2 weeks of straight rain in the window we had to shoot the clip, so change of plans and location, we ended up at an amazing property in North Western Sydney that Mullo’s (bass) had been working on throughout the summer installing a bushfire sprinkler system, It kind of turned out really well because if it wasn’t for the rain, we probably wouldn’t have gotten to use this awesome space. The song is about the internal battle we go through of what we want and what we really need, We’re pretty stoked to get this one out there!
Where and when did you film and who with?
North West Sydney in an amazing recycled timber barn, this place was really quite amazing in the middle of the bush with no houses for miles,
We pulled our old mate ‘Fox’ Damien Foxton up to direct and edit the clip and Ash Brennan was behind the camera, these guys are awesome, Shelly, who’s Ash’s partner was assisting for the shoot as well, Heaps of fun!
How was the filming/editing experience?
It was heaps of fun; we left most of that to Fox.
You have an Australian tour kicking off In April, how do you prepare for live shows and what do you have planned for this tour?
It’ll be loud, full of melodic fuzz and the drums will literally beat whatever is left of this Corona Virus within 100km to a pulp, we’ve had a pretty hectic rehearsal schedule leading up to these shows, I think we’ve been in the rehearsal room for about 15hours a week for the last month, Going hard.
Any show that you are really looking forward to playing?
All of them really, It’s our first time in Melbourne and QLD so we’re really looking forward to those legs, And we always love playing in our hometown Sydney, We’re just really keen to play these songs into of a whole bunch of new ears and hope to make a bunch of new friends along the way.
What do you like to do away from music?
Surfing, love just being in the water, Camping and going on adventures with my dogs, I have a cattle x and a dingo, we love tracking into the bush and getting in touch with nature, besides that, work, but we all gotta eat ;-), works not so bad, I run a screen printing company, so it’s a lot of fun too.
Who are you listening to at the moment?
Tropical Fuck Storm, Amyl and the Sniffers, Plants from Wollongong, Don’t Praise the Machine, Major Arcana have all been getting a regular spin lately, but during the recording, especially while I was writing the lyrics, I was going back to old favorites like Paul Kelly, Gareth Liddiard, the Drones and Steve Poltz gave me a lot of a good kick in the pants to write better songs lyrically.
What’s planned for 2020?
Cure for COVID-19 hopefully!!, then we can get back on the road, we’ll start working on the new album around August, until then we are on the road around Australia, (virus permitting), we had plans to head to Japan and Indonesia in June/July but it looks like the world may be in a total shutdown now ;-((
Favorite food and place to hangout?
The Beach and the Mountains, I did a 2 week road trip in February and found some awesome spots on the mid north coast of NSW, such a magical part of the world, favorite food, how can I pick, Chocolate, Humus and Mexican, Love a Taco salad with a nice Pale Ale! Yes!
Ivy League Records is incredibly proud to announce Rolling Blackouts Coastal Fever’s highly anticipated second album, Sideways To New Italy – featuring recent single ‘Cars In Space’ and new single ‘She’s There’ – will be released on Friday 5 June. Lead by singer-songwriter-guitarists Tom Russo, Joe White and Fran Keaney, and rounded out by bassist Joe Russo and drummer Marcel Tussie, Sideways To New Italy is a stunning return for the five-piece following their internationally acclaimed debut album, Hope Downs (2018).
Premiered by Annie Mac on BBC Radio 1 alongside the album announcement, new single ‘She’s There’ is a cosmic Rolling Blackouts C.F. offering; a wistful love song championed by surging guitar riffs, driving beats and the band’s limitless energy. Forever evolving and reshaping Australian guitar pop into a force of their own, ‘She’s There’ is a bright and stunning glimpse into a triumphant second record by the Melbourne five-piece.
After enough time away from home, even the familiar starts to feel foreign. For Rolling Blackouts C.F, returning to Melbourne after long stretches looking out at the world through the windows of aeroplanes and tour vans lead to a dislocation, like being the knot in the middle of a game of tug-o-war. Sideways to New Italy sees the band interrogate their individual pasts and the places that inform them. In clicking the scattered pieces back into place, they have crafted for themselves a new totem of home to carry with them no matter where they end up.
The eponymous New Italy is a village near New South Wales’s Northern Rivers – the area Tussie is from. A blink-and-you’ll-miss-it pit-stop of a place with fewer than 200 residents, it was founded by Venetian immigrants in the late-1800s and now serves as something of a living monument to Italians’ contribution to Australia, with replica Roman statues dotted like souvenirs on the otherwise rural landscape. The parallel between these remnants of home and the band’s own attempts to maintain connections and create familiarity during their disorienting time on the road were not lost on Russo. “These are the expressions of people trying to find home somewhere alien; trying to create utopia in a turbulent and imperfect world.”
The record’s very present geographic identity emerged from the band losing their grip on their own, whether that was through the pressure of touring, the dissolution of relationships, a frustrating distance from their daily lives – or some combination of all three – which stemmed from having been slingshot all over the world. The past two years have seen Rolling Blackouts C.F. play the world’s biggest music festivals, from Coachella, Governors Ball, Pitchfork Music Festival, Primavera, and Shaky Knees to Lowlands, Pukklepop, Green Man and Splendour in the Grass, plus sold-out headline shows across London, San Diego, San Francisco, Denver, Chicago, Toronto, Vancouver, Philadelphia, New York City and of course, landing back at home for their sold-out Australian album tour.
In addition to the specific town, the songs on the record exist variably in Darwin (‘Cameo’), Melbourne (‘Beautiful Steven’), Los Angeles (‘The Cool Change’), the tiny town of Rushworth (Not Tonight) and the driver’s seat of a car at a drive-in movie (‘Cars in Space’). Rolling Blackouts C.F are well-versed in a detailed and cinematic style of songwriting, where landscapes, interactions and memories materialise as characters and stories that reflect the tight, swirling guitars that emote alongside the trio’s voices.
“I felt completely rudderless on tour,” Keaney says. “It’s fun but you get to a point where you’re like, Who am I anymore? You feel like you’re everywhere and nowhere at the same time. And no one in particular.” Russo adds, “We saw a lot of the world, which was such a privilege, but it was kind of like looking through the window at other people’s lives, and then also reflecting on our own.”
Sideways To New Italy is the first new music from the band since 2019’s 7”, two-single release of ‘In The Capital’ and ‘Read My Mind’, which followed the band’s 2018 debut album, Hope Downs. Featuring singles ‘Mainland’, ‘Talking Straight’, ‘An Air Conditioned Man’, ‘Time In Common’ & ‘Sister’s Jeans’ – Hope Downs was embraced by lovers of their early EPs, Talk Tight and The French Press, and new fans alike. The record quickly became one of the most internationally acclaimed Australian albums of the year, appearing in many sought after Best of 2018 lists, coming in at #5 on Rough Trade’s Albums of the Year list, #3 on MOJO’s Album of the Year List (+ was named MOJO’s Debut Album of the Year), #2 on UNCUT’s Albums of the Year, being shortlisted for the prestigious AMP Award & receiving tremendous support from the likes of FBi Radio, PBS, Triple R, triple j, Double J, Pitchfork, The Guardian, Paste Magazine, NME, Rolling Stone US, BBC 6 Music, Stereogum, DIY Mag, and countless others.
Sideways To New Italy is out on digital, CD and Sub Pop’s limited Loser-edition coloured vinyl on Friday 5 June, available to pre-order now!
|
|
|
|
|
|
|
|
|
|
|
Mushroom are thrilled to reveal the new hazy pop delight from Owl Eyes titled ‘Tokyo’. Another radiant slice of music which today the moniker of Melbourne-based singer-songwriter Brooke Addamo announces will be alongside six other phenomenal tracks on her highly anticipated EP Invisible Woman – set for release Friday 29 May 2020.
Written in the wake of a relationship breakdown, ‘Tokyo’ which received a worldwide premiere on triple j Good Nights, is an intricate and lush reflection of Owl Eyes’ heartache when falling out of love with someone yet feeling sanctuary in one of the world’s busiest cities. Earlier this year she returned to Japan to play Snow Machine Festival and a few intimate headline shows which were captured by Ellie Coker and shared by RUSSH magazine.
Dreamy synths are met with crisp percussion, tangled in a beautifully warped yet lush melody. Owl Eyes’ familiar vocals paint a picture of Tokyo. In the lush video, which premiered via Fashion Journal, Japanese neon signs dance around her, haunting echoes of a past life remain close to her skin too. ‘Tokyo’ illuminates the elegance of Owl Eyes – the alt-pop star’s chic style with femme fatal essence dripping throughout.
|
|
|
|
|
|
|
|