Monthly Archives

July 2020

HACHIKU releases 99 Dreams EP, featuring a new cover of The Cranberries ‘Dreams’

by the partae July 6, 2020

written by the partae

Hachiku aka German-Australian bedroom producer Anika Ostendorf compiles her recent series of ‘isolation covers’ with the release of the 99 Dreams EP, featuring a new cover of The Cranberries classic ‘Dreams’, out now on Milk! Records / Remote Control.

Ostendorf decided to use her recent free time to work on her Ableton skills, “Besides gardening, doing 4 years of tax returns, Skyping friends I didn’t even remember by name and fermenting, I’ve been trying to utilise all this free time to expand my musical production vocabulary and learn how to use production software Ableton – the challenge to myself is to record one cover a week trying to incorporate some sort of production technique I wouldn’t usually try with my own songs.”

The first fruit of this project was an inspired cover of Sia’s ‘Chandelier’ which rode the wave of triple j’s Unearthed’s #Covered19 hashtag. It was followed by a version of Nena’s 80’s hit ’99 Luftballons’ sung in Ostendorf’s native tongue of German and premiered on 3RRR’s Local and/or General.

The final cover of the project, a faithful rendition of The Cranberries’ ‘Dreams’ has been a long-time favourite in Hachiku’s live set – most recently seeing audiences sing-a-long on her US tour in January and February supporting Courtney Barnett.

Stream / Download Hachiku – 99 Dreams EP: https://hachiku.lnk.to/99dreams

Hachiku – ‘Dreams (The Cranberries Cover)’

Hachiku Online
Website | Facebook | Twitter | Instagram
Milk! Records

July 6, 2020 0 comments

Where are you currently based? I'm so lucky to have been born and raised in BC, and I currently live in Vancouver on the unceded territories of the Musqueam, Squamish, and Tsleil Waututh nations. How did you first start playing music? My mom swears that I loved music in utero and kicked along to my favourite tracks, and I was singing as soon as I could talk. I think I was around 10 months old in my carseat on a drive with my mom, and she was listening to My Heart Will Go On by Celine Dion. Apparently, I was singing along—we'll use the term "singing" loosely. But it's always been something I've done for as long as I can remember. What's been happening recently? That's a big question. At the start of 2020, I was thinking mostly about my excitement for music and all the songs I was working on. Obviously, the past 6 months were not something I predicted. COVID threw me for a loop in terms of my release planning, especially as I was starting to play more live shows in the city. And, most importantly, the long overdue spotlighting of systemic injustice and white supremacy (including in the music industry) has given me some pause. I've been doing a lot of reading, listening, and discussing—particularly about Canada and the US's histories, and how race-based inequity and violence manifest today—while simultaneously crafting intentional plans about how I'd like to show up as a white artist. You've recently signed with 604 Records, how did this come about and how has the experience been so far? I feel so lucky to be a part of the 604 team. Two summers ago, I quit my full-time office job to pick up contract gigs and pursue music. I went to this music conference in Victoria, BC, feeling total imposter syndrome, and I met Louise Burns (a producer and artist with 604 Records). We started writing and recording together and she was instantly such a mentor and advocate for me. I did another songwriter's workshop about a year later where I met Kevvy (also a producer and artist with 604). Together, Kevvy and Louise pulled me aside and said: "We have a plan for you." We started writing together, and then I got the opportunity to do a demo deal with 604 Records last fall. Those tracks were shared with the whole team, and then I was offered a record deal. Kevvy and Louise have been instrumental in my growth and confidence as an artist. The experience has been a dream, honestly. Before signing, I was concerned that "record deal" would be synonymous with "loss of creative independence." In fact, every single person I've worked with at 604—Kevvy and Louise and Jonathan and others—have supported my vision so fully and only enhanced my artistry. Being in the studio is like dropping into an alternate universe where time is non-linear, there are endless snacks and weird inside jokes, and we just get to try things out and make beautiful music. You have a new single 'Tarot' out now, what influenced the sound and songwriting for this track? I love pop music that is emotionally intelligent, and simultaneously catchy yet lyrically dense. Tarot is an electro-pop song, and at the time of writing it I was listening to a lot of Maggie Rogers, Janelle Monae, and The Japanese House. How did you go about writing Tarot? I was messing around on my new MIDI keyboard and trying to gain proficiency with Garageband. I don't usually write first thing in the morning but I remember being semi-sleepy and laying down a more R&B-influenced beat, usually those vocal "mm, mmhmm"s as part of it. Usually, songs start for me with a few lyric lines that somehow emerge in my brain. I thought of the first two lines: "It's something about energy, position of the moon / I need a way to justify unwelcome thoughts of you" and that set the theme of the song. Where and when did you record and who with? I recorded the unfinished song as a rough demo in my very DIY home studio (aka bedroom with a laptop). I sent it to Kevvy and Louise, and we finished it off between Kevvy's home studio and the studio at 604 Records. Kevvy kept elements from the original demo, which I love! What did you find most challenging and rewarding throughout the creative process? Finishing what I've started. I loved coming up with ideas, but then I don't always see them through. I have a lot of half-finished songs on my computer. You also have an upcoming album on the way, what can we expect? I do! You can expect a few more singles later this year that expand my sound. I see Tarot sitting perfectly next to Flux, my first independent release—they feel like musical siblings. Some of the other singles build off of these and feel even bigger, with more harmonies and more instrumentation. What do you like to do away from music? I work for a couple nonprofits part time locally, so I do that. I always want to be outside and do fun things with people I love, so lots of family dinners and bike rides and park hangouts with friends and hiking. Who are you listening to at the moment? I rediscovered Tierra Whack's record, Whack World, and I've been into that. I'm just digging into HAIM's new record, Women in Music Pt. III. What's planned for the remainder of 2020? Some COVID-safe travel locally. I get to spend some time at a cabin with my family, so we'll do lots of swimming and lounging and likely some competitive games of Spikeball. I'm going on a seven-day canoe trip with a friend at the end of the month. Once I'm back, I hope to plan some smaller, intimate outdoor shows throughout the remainder of summer and fall. I'm also starting to write again, so I'd like to carve out some time to lay down tracks—maybe somewhere outside of the city. Favourite food and place to hangout? I love almost all food and I have a huge appetite. That feels like the hardest question to answer. Lately, I've been wanting sushi if I'm going to indulge in takeout. I also love spreads—is there a better way to describe them? Like a board of cheese, hummus, olives, some crackers, bread, veggies. My favourite place to hang out is anywhere outside with a view of the mountains and the Pacific ocean. Instagram | Facebook | Twitter @michaelaslinger www.michaelaslinger.com

Michaela Slinger

by the partae July 6, 2020

written by the partae

Where are you currently based?

I’m so lucky to have been born and raised in BC, and I currently live in Vancouver on the unceded territories of the Musqueam, Squamish, and Tsleil Waututh nations.

How did you first start playing music?

My mom swears that I loved music in utero and kicked along to my favourite tracks, and I was singing as soon as I could talk. I think I was around 10 months old in my carseat on a drive with my mom, and she was listening to My Heart Will Go On by Celine Dion. Apparently, I was singing along—we’ll use the term “singing” loosely. But it’s always been something I’ve done for as long as I can remember.

What’s been happening recently?

That’s a big question. At the start of 2020, I was thinking mostly about my excitement for music and all the songs I was working on. Obviously, the past 6 months were not something I predicted. COVID threw me for a loop in terms of my release planning, especially as I was starting to play more live shows in the city. And, most importantly, the long overdue spotlighting of systemic injustice and white supremacy (including in the music industry) has given me some pause. I’ve been doing a lot of reading, listening, and discussing—particularly about Canada and the US’s histories, and how race-based inequity and violence manifest today—while simultaneously crafting intentional plans about how I’d like to show up as a white artist.

You’ve recently signed with 604 Records, how did this come about and how has the experience been so far?

I feel so lucky to be a part of the 604 team. Two summers ago, I quit my full-time office job to pick up contract gigs and pursue music. I went to this music conference in Victoria, BC, feeling total imposter syndrome, and I met Louise Burns (a producer and artist with 604 Records). We started writing and recording together and she was instantly such a mentor and advocate for me. I did another songwriter’s workshop about a year later where I met Kevvy (also a producer and artist with 604). Together, Kevvy and Louise pulled me aside and said: “We have a plan for you.” We started writing together, and then I got the opportunity to do a demo deal with 604 Records last fall. Those tracks were shared with the whole team, and then I was offered a record deal. Kevvy and Louise have been instrumental in my growth and confidence as an artist.

The experience has been a dream, honestly. Before signing, I was concerned that “record deal” would be synonymous with “loss of creative independence.” In fact, every single person I’ve worked with at 604—Kevvy and Louise and Jonathan and others—have supported my vision so fully and only enhanced my artistry. Being in the studio is like dropping into an alternate universe where time is non-linear, there are endless snacks and weird inside jokes, and we just get to try things out and make beautiful music.

You have a new single ‘Tarot’ out now, what influenced the sound and songwriting for this track?

I love pop music that is emotionally intelligent, and simultaneously catchy yet lyrically dense. Tarot is an electro-pop song, and at the time of writing it I was listening to a lot of Maggie Rogers, Janelle Monae, and The Japanese House.

How did you go about writing Tarot?

I was messing around on my new MIDI keyboard and trying to gain proficiency with Garageband. I don’t usually write first thing in the morning but I remember being semi-sleepy and laying down a more R&B-influenced beat, usually those vocal “mm, mmhmm”s as part of it. Usually, songs start for me with a few lyric lines that somehow emerge in my brain. I thought of the first two lines: “It’s something about energy, position of the moon / I need a way to justify unwelcome thoughts of you” and that set the theme of the song.

Where and when did you record and who with?

I recorded the unfinished song as a rough demo in my very DIY home studio (aka bedroom with a laptop). I sent it to Kevvy and Louise, and we finished it off between Kevvy’s home studio and the studio at 604 Records. Kevvy kept elements from the original demo, which I love!

What did you find most challenging and rewarding throughout the creative process?

Finishing what I’ve started. I loved coming up with ideas, but then I don’t always see them through. I have a lot of half-finished songs on my computer.

You also have an upcoming album on the way, what can we expect?

I do! You can expect a few more singles later this year that expand my sound. I see Tarot sitting perfectly next to Flux, my first independent release—they feel like musical siblings. Some of the other singles build off of these and feel even bigger, with more harmonies and more instrumentation.

What do you like to do away from music?

I work for a couple nonprofits part time locally, so I do that. I always want to be outside and do fun things with people I love, so lots of family dinners and bike rides and park hangouts with friends and hiking.

Who are you listening to at the moment?

I rediscovered Tierra Whack’s record, Whack World, and I’ve been into that. I’m just digging into HAIM’s new record, Women in Music Pt. III.

What’s planned for the remainder of 2020?

Some COVID-safe travel locally. I get to spend some time at a cabin with my family, so we’ll do lots of swimming and lounging and likely some competitive games of Spikeball. I’m going on a seven-day canoe trip with a friend at the end of the month. Once I’m back, I hope to plan some smaller, intimate outdoor shows throughout the remainder of summer and fall. I’m also starting to write again, so I’d like to carve out some time to lay down tracks—maybe somewhere outside of the city.

Favourite food and place to hangout?

I love almost all food and I have a huge appetite. That feels like the hardest question to answer. Lately, I’ve been wanting sushi if I’m going to indulge in takeout. I also love spreads—is there a better way to describe them? Like a board of cheese, hummus, olives, some crackers, bread, veggies. My favourite place to hang out is anywhere outside with a view of the mountains and the Pacific ocean.

Instagram | Facebook | Twitter

@michaelaslinger

www.michaelaslinger.com

July 6, 2020 0 comments

Music News

HENRY GREEN UNVEILS STUNNING SOPHOMORE ALBUM ‘HALF LIGHT’ [OUT NOW ON AKIRA RECORDS]

by the partae July 4, 2020

written by the partae

Photo credit: Hattie Ellis

Having released a string of stunning ambient indietronica throughout 2020, including ‘Realign’, ‘Fabric’, ‘Tide’, and more recently ‘All’, today, Bristol based musician Henry Green releases his highly anticipated sophomore album ‘Half Light’ on Akira Records. Written, produced, and sung by Green himself, the album is delicately balanced throughout, whilst featuring some standout performances from UK singer-songwriter Andreya Triana and Canadian artist Ghostly Kisses.

The 9 track LP penned over the course of five months is a beautifully intimate, and honest telling of Green’s own vulnerabilities, and how he has faced those challenges head on, sharing “the album was the result of struggle; ongoing issues with self confidence and self expression, and a feeling that I was incapable of making the music I was imagining. Ultimately, ‘Half Light’ feels like a collection of songs that needed to happen, an obstacle that needed to be overcome.”

Listen to “Half Light” here: https://orcd.co/halflight

Having left Bristol in early 2019 to settle down in a sleepy Wiltshire village, the electronic artist and producer wrote and recorded the album in his attic studio in six months. Reflecting on the experience today, the 24-year-old cites the decision to take on all production duties himself as just one of many causes of stress. “I’ve always produced my own stuff to some extent, but I took it too far the other way. And when you spend so much time on your own and have these two conflicting sides in your head, it’s just a constant battle. And then you have these sobering moments when you realise that people are actually listening to your music…”

In some respects, Green was justified in being intimidated by the weight of expectation. Following the successes of his EPs Slow (2015) and Real (2017), and his debut album Shift (2018), he’s racked up more than 90 million collective streams across platforms, and has won the respect of his peers, including former tour-mates London Grammar and Nick Mulvey, and recent remixers Cyril Hahn and Harvey Causon. And yet, their faith is ultimately repaid with ‘Half Light’, a record that finds Green harnessing that initial crisis of confidence to create music that’s both emotionally honest and breaks new ground.

“A lot of the songs are about that struggle to express,” he explains. “Coming into the record I wanted to make something that was a separation from myself, and didn’t feel like such a window into my feelings. But because of my feelings throughout the process I think these are the most honest songs I’ve ever written.”

While tonally intimate, many of the arrangements on ‘Half Light’ are more expansive than anything Green has attempted previously. “I’m always trying to counteract live instruments with something completely synthetic,” Green says of the process. “I like the idea of having something recognisable at the heart of a track, and then everything around it can be ear candy, mangled or manipulated. But at the heart of every track there needs to be something that the listener can identify with.”

Named after the Japanese idiom which describes the calm before a momentous event, “Yoyuu” blossoms out of transcendent strings and reflects the space of Green’s new, bucolic surroundings. Meanwhile, the fluttering percussion and shimmering synth textures of cinematic lead single “Realign” brings to mind the work of Christian Löffler or Bonobo, both of whom remain key influences in terms of production, alongside long-time vocal reference points RY X and Mike Milosh of Rhye.

For “Tide“, Green secured a guest turn from another one of his singing heroes, Bonobo and Flying Lotus-collaborator Andreya Triana, while “Idle” features Canadian artist Ghostly Kisses, his label mate at Akira. Alongside strings and a saxophone player, these were the only outside contributors, bar mixing engineer Tristan Hoogland.

With trademark self-deprecation, Green still very much regards ‘Half Light’ as a document of his learning process, and that’s ultimately reflected in the choice of title. “I almost wanted to hint that this album is a transitional thing,” he explains. “The half light is a lyric in the first verse I wrote for the album, and I love that idea that you’re not fully standing in the sunlight. You’re not yourself and you’re slightly in the dark in your mind, but you know that you still have something to give… So the overriding feeling that I hope people get from [Half Light] is that it’s a defiant record.”

Henry Green’s sophomore album ‘Half Light’ is out now on Akira Records.

For more info on Henry Green, visit:
WEBSITE | FACEBOOK | TWITTER | INSTAGRAM

July 4, 2020 0 comments

Festival News Music News

STAR WARS THEMED TUNISIAN FESTIVAL, LES DUNES ELECTRONIQUES, RELEASES AFTERMOVIE FESTIVAL FEATURING APOLLONIA, ARCHIE HAMILTON + AUDIOFLY RELEASES EPIC THREE MINUTE VIDEO

by the partae July 3, 2020

written by the partae

The time has come to take a trip back to the Tatooine Planet, where last year’s unforgettable Dunes Electroniques unfolded in mystical and magical fashion.

The aftermovie is now complete and comes with a soothing soundtrack as well as stunning visual that places you in the heart the Ong Jmal desert in Tunisia. Drones fly over the village and show up the two different stages, with thematic production amongst the palm trees, dunes and craggy rocks, ancient architecture and wandering camels. You’re given glimpses of the day time and night time dancing, snippets of sets from 30 Tunisian and international DJs who take turns to play across the 40 hours of non stop partying.

The force was throughout across two days and two nights with thousands of smiles exchanged, a human adventure beyond borders. The team would like to say a huge thank you to all who came from the four corners of the world, and thank the artists for their energy and the special partners who made it all possible.

Dunes Electroniques will be back once again, but for now, get lost in the aftermovie below

July 3, 2020 0 comments

It has been some time in the making but things fall into place for a reason and today, Adelaide’s Wing Defence unleash their debut EP, Friends. A fitting name for this duo’s offering, the Friends EP is a great look at the connection between these songwriters and musicians and their growth as creatives. Since their debut release ‘Stuck’ back in 2018, Wing Defence quickly became one of Adelaide’s most exciting new exports, winning praise at BIGSOUND, Groovin’ The Moo and Laneway Festivals, as well as on stages supporting the likes of Polish Club, The VANNS and more. With SA Music Awards, a deal with European label Dock 7 and acclaim from national radio and online outlets under their belt, the early chapter for Wing Defence was a strong one. The six track EP, featuring previously released songs in ‘Relocate’, ‘Weapons’, ‘Hindsight’ and ‘Listerine’, smacks with bright pop-punk energy, putting Skye Walter and Paige Court’s talents as storytellers front and centre. A record of maturing, learning through experience and growth, Wing Defence are united as ever in creating music that represents all facets of themselves. The tracks on the EP came together across a number of different sessions in different locations in Adelaide, with Wing Defence working with the likes of Mario Späte (Montaige, Jess Kent) and their own guitarist, Benny Tamblyn-Morrow and engineers Wade Keighran and Rick O’Neill (Silverchair, You Am I, Powderfinger). Musically, the EP dips in and out with its tone placement. There are moments of reflection (‘Relocate’), moments of bright hope (‘Bob’) and moments of rawness (‘Silence’) that cover their presented emotional spectrum with great care. “Wing Defence seemed to form at a time when all of us were facing a huge crossroad in our lives and needed to find refuge. Needed to find friendship and laughter in the hard times. We needed to make light of our common struggles and lift each other up. Through this, we found really strong friendships, hence the EP titled ‘Friends’. The entire EP really developed and became one huge counselling session!” Wing Defence This sense of friendship and community between Wing Defence and their circle has been brought together in making the music video for their recent single, ‘Relocate’. Created and produced by the band themselves, the video serves as a journal of time spent together in studio, onstage and off - a great memory board. “As we were reflecting on our EP, Friends, getting prepared for release, we got all nostalgic, looking back on where we’d come from and wanted to venture back to our roots. Given the state of the world, we know so many people are resonating with that feeling of good times they’ve had with their friends, remembering those silly times, when things were different and we wanted to capture that for ourselves too.” Wing Defence PRAISE FOR WING DEFENCE “...a way of creating uniquely memorable phrases full of Australiana and wit.” Triple J Unearthed, Tommy Faith “Plenty of hooks but the whole way through, it bubbles away slowly and keeps a little in the tank, which works nicely.” Triple J, Declan Byrne “There’s not much to say about Wing Defence beyond the fact they are brilliant, new and incredibly exciting…” Laundry Echo “Each release from Wing Defence is lyrically earnest and buoyed by the steady pace and lush organic production…” City Mag ‘Friends’ is out now! Facebook | YouTube | Twitter | Instagram | Triple J Unearthed

Music News

WING DEFENCE release long awaited debut EP ‘FRIENDS’

by the partae July 3, 2020

written by the partae

It has been some time in the making but things fall into place for a reason and today, Adelaide’s Wing Defence unleash their debut EP, Friends. A fitting name for this duo’s offering, the Friends EP is a great look at the connection between these songwriters and musicians and their growth as creatives.

Since their debut release ‘Stuck’ back in 2018, Wing Defence quickly became one of Adelaide’s most exciting new exports, winning praise at BIGSOUND, Groovin’ The Moo and Laneway Festivals, as well as on stages supporting the likes of Polish Club, The VANNS and more. With SA Music Awards, a deal with European label Dock 7 and acclaim from national radio and online outlets under their belt, the early chapter for Wing Defence was a strong one.

The six track EP, featuring previously released songs in ‘Relocate’, ‘Weapons’, ‘Hindsight’ and ‘Listerine’, smacks with bright pop-punk energy, putting Skye Walter and Paige Court’s talents as storytellers front and centre. A record of maturing, learning through experience and growth, Wing Defence are united as ever in creating music that represents all facets of themselves.

The tracks on the EP came together across a number of different sessions in different locations in Adelaide, with Wing Defence working with the likes of Mario Späte (Montaige, Jess Kent) and their own guitarist, Benny Tamblyn-Morrow and engineers Wade Keighran and Rick O’Neill (Silverchair, You Am I, Powderfinger). Musically, the EP dips in and out with its tone placement. There are moments of reflection (‘Relocate’), moments of bright hope (‘Bob’) and moments of rawness (‘Silence’) that cover their presented emotional spectrum with great care.

“Wing Defence seemed to form at a time when all of us were facing a huge crossroad in our lives and needed to find refuge. Needed to find friendship and laughter in the hard times. We needed to make light of our common struggles and lift each other up. Through this, we found really strong friendships, hence the EP titled ‘Friends’. The entire EP really developed and became one huge counselling session!” Wing Defence

This sense of friendship and community between Wing Defence and their circle has been brought together in making the music video for their recent single, ‘Relocate’. Created and produced by the band themselves, the video serves as a journal of time spent together in studio, onstage and off – a great memory board. “As we were reflecting on our EP, Friends, getting prepared for release, we got all nostalgic, looking back on where we’d come from and wanted to venture back to our roots. Given the state of the world, we know so many people are resonating with that feeling of good times they’ve had with their friends, remembering those silly times, when things were different and we wanted to capture that for ourselves too.” Wing Defence

PRAISE FOR WING DEFENCE

“…a way of creating uniquely memorable phrases full of Australiana and wit.”
Triple J Unearthed, Tommy Faith

“Plenty of hooks but the whole way through, it bubbles away slowly and keeps a little in the tank, which works nicely.”
Triple J, Declan Byrne

“There’s not much to say about Wing Defence beyond the fact they are brilliant, new and incredibly exciting…”
Laundry Echo

“Each release from Wing Defence is lyrically earnest and buoyed by the steady pace and lush organic production…”
City Mag

‘Friends’ is out now!
Facebook | YouTube | Twitter | Instagram | Triple J Unearthed

July 3, 2020 0 comments

Statement from Untitled Group It is with a heavy heart that we must announce the cancellation of all upcoming events at The Drive-In. Unfortunately the current COVID-19 outbreaks in Victoria that have sent many hotspot areas (within close proximity to our venue) into lockdown have prevented the safe execution of this event. The safety of our patrons, staff and artists is our top priority and after consulting with various experts and officials this tough, but necessary decision was made. Further to immediate health concerns, the possibility of artists being able to travel interstate is becoming increasingly uncertain and in some cases is now impossible. We want to particularly thank everyone who bought a ticket & supported our endeavour to keep the music industry alive during these testing times. The Drive-in was set to create over 250 jobs per event & inject over $2 million dollars into a much suffering sector of our economy and we are devastated with this outcome. We are keeping our heads held high, and will redirect our focus towards summer festivals with optimism. REFUNDS: All ticket purchasers will receive an email from Oztix on Monday the 6th of July which will provide further details on the refund process. We look forward to having a dance together this summer.

Festival News Music News

The Drive-In Cancelled

by the partae July 3, 2020

written by the partae

Statement from Untitled Group

It is with a heavy heart that we must announce the cancellation of all upcoming events at The Drive-In.

Unfortunately the current COVID-19 outbreaks in Victoria that have sent many hotspot areas (within close proximity to our venue) into lockdown have prevented the safe execution of this event. The safety of our patrons, staff and artists is our top priority and after consulting with various experts and officials this tough, but necessary decision was made. Further to immediate health concerns, the possibility of artists being able to travel interstate is becoming increasingly uncertain and in some cases is now impossible.

We want to particularly thank everyone who bought a ticket & supported our endeavour to keep the music industry alive during these testing times. The Drive-in was set to create over 250 jobs per event & inject over $2 million dollars into a much suffering sector of our economy and we are devastated with this outcome.

We are keeping our heads held high, and will redirect our focus towards summer festivals with optimism.

REFUNDS:

All ticket purchasers will receive an email from Oztix on Monday the 6th of July which will provide further details on the refund process.

We look forward to having a dance together this summer.

July 3, 2020 0 comments

Music News

SHACKS & PALACES RETURNS WITH SECOND SINGLE ‘ALONE TOGETHER’, WITH VIDEO

by the partae July 3, 2020

written by the partae

“Shacks & Palaces sounds like if MGMT were actually made up of Modest Mouse’s Isaac Brock and The New Pornographers’ A. C. Newman. Aherne utilizes a slightly off-kilter cadence on the verses, reaching high for a hook of pure indie pop bliss as the synths finally take over for the chorus.” – Consequence of Sound

The Temper Trap’s Jonny Aherne has released the second single from his new solo project Shacks & Palaces on Liberation Records. The timely tune — ‘Alone Together’ — comes accompanied with an eccentric music video shot during quarantine with Brooklyn artists Amanda and Steve Carmona.“We were all needing to do something creative. There were a ton of moving pieces and a lot of thought required to navigate them, but Amanda and Steve managed to make it work with just the three of us in the room. I love what they made,” Jonny says of the experience.

The upbeat track was premiered by Consequence of Sound, with Jonny telling them:

“I wrote this song before COVID-19 hit, but now the title ‘Alone Together’ belongs to everyone… It’s about the distance we find in the company of even our loved ones.” Writing the song was both challenging and cathartic for Jonny, who considers its subject matter rather vulnerable. He says, “I suppose I was allowing my shadow self to appear, display faults, foregoing the made-up appearance.”

VIDEO: ‘Alone Together’ by Shacks & Palaces

https://www.youtube.com/watch?v=JMIjCK7o8Us&feature=emb_err_woyt

The Australian-born, Brooklyn-based artist creates buoyant, folk-informed indie pop, sparkling with likenesses to eclectic icons from Modest Mouse to Beach Boys, Dr. Dog to Hamilton Leithauser. The music ranges from infectious to truly exultant, a blissful blend of bouncing melodies, boomerang hooks and colourful production. Aherne’s voice — a jubilant, stony sort of roar — is recognisable from his contributions to the mid-aughts sensation, but here rings absolutely reckless with spirit.

Shacks & Palaces will continue to release music throughout 2020 on Liberation Records. Watch this space.

‘Alone Together’
Shacks & PalacesSingle out now through Liberation RecordsAvailable to buy/stream here

SHACKS & PALACES

July 3, 2020 0 comments

Music News

RATKING – PERTH HARDCORE OUTFIT RELEASE NEW SINGLE ‘NO JUSTICE’ + ANNOUNCE FORTHCOMING EP RELEASE

by the partae July 3, 2020

written by the partae

Perth hardcore lads Ratking have unleashed their hard-hitting new single ‘No Justice’.

The single is the first offering from their new EP that will be released later in 2020.

In a very short amount of time Ratking have added their own fingerprint to the ever-expanding universe of hardcore; blending elements of punk rock, metal and thrash in a way that is both familiar and unique.

From 2013’s ‘Wastelander’ EP, to their 2014 debut album ‘Commonwealth’, to 2018’s incendiary ‘SERF’ EP (and multiple single/video releases in between), each subsequent Ratking release has marked the ongoing evolution of the band as songwriters and performers.

Ratking recently released an epic cover of ‘Come Out And Play’ (The Offspring), which was aired on Triple J’s – ‘Short. Fast. Loud’. The boys have since been bunkered down in the studio recording their brand new EP.

New single ‘No Justice’ is available for download on all major online stores.

July 3, 2020 0 comments

Music News

HOLIDAY PARTY’S GLISTENING DEBUT SELF-TITLED ALBUM IS OUT NOW

by the partae July 3, 2020

written by the partae

“….‘Holiday Party’ is an album of pure, much-needed sunshine..”
– NME Australia

“If there’s a band for right now, it’s Holiday Party….”
– Declan Byrne, triple J

“the duo are steadily carving themselves a well-deserved niche.”
– Purple Sneakers

Holiday Party today mark a career milestone with the release of their highly anticipated self-titled debut album. Eight multilayered songs long, Holiday Party serves as an episodic track by track inspired by the many stages of a relationship breakdown.

Holiday Party is representative of the duo’s signature brand of intelligent, junkyard pop. Lovers of popular culture and creating sparkling aural soundscapes, Mel Tickle and Luke McDonald present a superlative body of work that cleverly depicts the duality of human nature; oscillating between poisonous rumination and happy resolution. “The album chronicles a breakup. Whether that’s with a partner, a friend, or a version of yourself,” explains Luke.

Presented as a Side A and B, Holiday Party unravels as an emotive journey, much like a movie soundtrack to a broken-down relationship, and draw notes from their influences The Avalanches, J Dilla and Beach House. To break up the two sides, acting as an intermission, the track ‘When I Think About Love’ however is an experimental sound that sits between genres and is reminiscent of post-rock/electronic artists like Vessels and Flying Lotus. Luke explains this track as: “..built from rhythm-sparse fragments of the record. It’s a chance for reflection, an introduction to Side B. It serves as an anxiety-ridden stream of consciousness that pulls threads of the album together.” Holiday Party also includes their previously released tracks ‘Dream State’, an Alice In Wonderland-esque ode to internal turmoil, ‘No One’ featuring local Brisbane singers for what Mel explains as: “an indulgent “Like A Prayer”-esque choral moment”, their most recent single ‘Let Down‘ and ‘I’m Still Here’, their very first release as a band.

The two have been busy the past few years, with notable achievements such as playing at BIGSOUND, full rotation on Double J for ‘Let Down’ and ‘No One’ as well as airplay on triple j and community radio stations 4ZZZ, FBi Radio, PBS and Triple R. The band have been branded a triple j unearthed feature artist, and also received nominations two years in a row for the electronic/dance category at the Queensland Music Awards. ‘No One’ was added to Spotify playlists Broads Chords, New Music Friday AU & NZ and Indie Mixtape, and chosen as rage’s ‘Wild One Of The Week’.

To put their best work forward, the duo has surrounded themselves with pioneers of the Australian music industry including; the co-writing skills of Peter Bernoth & Scott Bromiley (The John Steel Singers), mastering by Jonathan Boulet (Party Dozen, The Holidays, Wolf & Cub), and mixing from Miro Mackie (Cold War Kids, St. Vincent, Mallrat). They’ve also received praise nationwide from the likes of Mixdown Magazine, NME Australia, Happy Mag, rage and most recently Belgian outlet Dansende Beren. Join in the journey and get your heart and ears around the latest offering from Holiday Party.

Holiday Party’s new album is out NOW.

CONNECT ONLINE WITH HOLIDAY PARTY

July 3, 2020 0 comments

Festival News Music News

JOSH PYKE SHARES NEW SINGLE ‘DON’T LET IT WAIT’ + NEW ALBUM ‘ROME’ SET FOR AUGUST 28 RELEASE + NATIONAL FANS FIRST TOUR THROUGH OCT

by the partae July 2, 2020

written by the partae

SHARES NEW SINGLE DON’T LET IT WAIT

FORTHCOMING ALBUM ROME
SET FOR AUGUST 28 RELEASE

NATIONAL FANS FIRST TOUR THROUGH OCTOBER

MEDIA RELEASE:: FOR IMMEDIATE RELEASE, FRIDAY JUNE 26

One of Australia’s favourite storytellers, Josh Pyke has today shared his affecting new single Don’t Let It Wait, a bittersweet song written to inspire us all to enjoy every moment. This is the fourth single to be shared from Pyke’s impending album Rome, set for release on August 28, with the track complemented by a fittingly heartwarming video.

“Don’t Let It Wait is a song that now feels entirely prescient. I hope the sentiment in the song is one that people feel as we move out of the worst of Covid-19,” explains Pyke. “Releasing music during this time has been a huge challenge, but this is what I love and how I engage with the world, and the idea of holding back on that goes against what this particular song is about. It feels especially right to release this song at a time like thisas it is about grabbing a moment. Tell the person you love how you feel, dive into the ocean when you have the chance. We get so caught up in the daily grind we often leave things for later, and by the time we come back around, the moment has passed. This song is a reminder to myself as much as anyone to seize the day.”

The video for Don’t Let It Wait was worked from conception to completion by Jefferton James and Dimity Kennedy from Mountain Folks Films and features Dimity’s 91-year-old Nana dancing to the song in her living room. “It’s a celebration of life, organic and joyous and perfectly embodies the idea of seizing a moment,” explains Pyke. “Jefferton and I have been working together since 2010, and he’s done lots of clips and art for me in the past. He’s responsible for all the clips for Rome so far, as well as the album art, and the lyric book art. He’s an all round creative legend.”

Rome is Pyke’s long-awaited follow-up to Pyke’s 2015 LP But For All These Shrinking Hearts – which debuted at Number 2 in Australia – and marks his return to his solo career following a two-year break from the stage.

Never one to sit idle, Pyke offers insight into his busy schedule between his last two LP drops, explaining,“I wrote a lot, released a psychedelic rock album under the pseudonym Sword Owls. I produced songs for film and TV including a bunch of stuff with Justine Clarke and the Beached Az crew. I wrote 6 kids books, two of which have come out in 2019 and the rest are due for release in 2020/21. I continued my work running the JP Partnership grant, and my other advocacy work with the Indigenous Literacy Foundation. It was an immensely busy and rewarding creative period and it recharged my batteries and allowed me some mental perspective that has me keen and ready to fire the album and touring lifestyle back up again.”

Rome was written, recorded and produced by Pyke in his own home studio, Timshel Industries, with Pyke playing most instruments himself with some added help from friends Josh Schuberth, Elana Stone, Stephanie Zarka, Glenn Hopper and Matt Fell, who would each pop around to lay some parts down when required. “I can’t imagine making a record any other way in the future,” explains Pyke who then jumped on a plane to Portland Oregan to mix the album with Grammy-nominated producer/engineer Tucker Martine (The Decemberists, Sufjan Stevens, My Morning Jacket).

“The title Rome refers to the expression that ‘all roads lead to Rome.’ We can’t escape ourselves. We can’t avoid what stares us in the face as our personal realities, and if we don’t address these things we risk becoming ruins of ourselves.”

Collaborating with Crowbar, the new album will coincide with the release of a limited run of Rome Shiraz by Josh Pyke, put together by Tim Sproal of Minim & Boomtown wines in Castlemaine, Victoria. “I’m a firm believer in creativity as a way to enhance people’s experiences. This album feels like a red wine album. It’s a listening album, sit back with a glass of wine and fully engage.”

From his first appearance in the Hottest 100 with Middle of the Hill coming in at number 19 in 2005, to the 2017 release of his greatest hits album The Best of Josh Pyke + B Sides and Rarities, and now to Rome in 2020, Josh Pyke has been a part of the Australian music landscape for over 15 years. Well loved for his intricate storytelling, thoughtful folk pop arrangements and finely honed stage chops, Pyke has released six studio albums, all of which have gained prestigious accolades and critical acclaim.

Rome is set for release on August 28 via Wonderlick Entertainment / Sony Music Entertainment Australia.

Josh Pyke will be hitting the road to celebrate Rome and will play an intimate run of fans first shows through October.“I was so looking forward to hitting the road before Covid hit and I’m truly chomping at the bit to share these songs with a live audience,” Pyke says. “I’ll be playing solo and find that expressing these songs in that context really resonates. By the time I’m able to play again, it’ll be a celebration of not only these songs but of performance in general. It’ll be a joyful return to the stage and the world in general.”

Tickets to the fans first tour are available from http://www.joshpyke.com

STREAM DON’T LET IT WAIT
VIEW DON’T LET IT WAIT

PRE-ORDER ROME HERE
TICKETING INFORMATION HERE

ROME TRACKLIST
1. Old Times’ Sake
2. Doubting Thomas
3. I Thought We Were A River
4. Home
5. Still We Carry On
6. Don’t Let It Wait
7. The Closing Eye
8. You’re My Colour
9. I Don’t Know
10. Old Songs Now
11. Where Goes The Girl

July 2, 2020 0 comments

PRAISE FOR MAX LEONE "Max Leone, pop’s newest face, is worthy of your attention" Pilerats “A thrilling sign of of things to come from this up-and-coming artist" Earmilk “Burgeoning pop star" Billboard "A real winner, complete with smooth vocals and sticky melodies" PAPER Magazine "Max Leone is making a case for himself as one of pop's next young stars" Pigeons & Planes Today, rising Los Angeles-based songwriter and producer Max Leone shares his new single, ‘Malleable’ which saw its world premiere on triple j's Good Nights earlier this week. 'Malleable' is the fourth track to be lifted from his forthcoming debut EP. Listen HERE, watch HERE. Off the strength of just a smattering of singles, Max Leone has already emerged as one of 2020’s breakout new artists across the first half of the year. ‘Malleable’ follows the previously released ‘First Grade’, ‘The Beach’ and ‘Cautious’, which premiered with Billboard, received full rotation across triple j and won praise from Pilerats, Purple Sneakers, Ones to Watch, Earmilk and more. With a lilting guitar line tinged with a classical flourish, crackling tape hiss and Max’s wounded vocals carrying the track’s opening half, ‘Malleable’ is reminiscent of some of Leone’s idol Frank Ocean’s recent downtempo work, settling into the cross-section of ambient, poignant R&B and wistful indie before resounding percussion shatters the track open at the halfway mark. Touching on themes of self-doubt and superficiality, Leone’s forthright lyricism laments the loss of a friend who he thought he once knew, someone who was too easily willing to mould their personality to please those around them. “You’ve changed and it sucks / There’s nothing I could have done,” he confesses on the diaristic chorus. Of the track, Max shares: “Malleable is about that friend you have who is always changing themselves to fit in with the people around them, and sometimes it feels like you don’t really know them at all." Trained as a guitar principal at Berklee College of Music before eventually dropping out, the music Max is now producing represents the marriage of his formal musical background and his affection for contemporary alt-pop and R&B, spending countless after-school hours as a teenager teaching himself production via YouTube and uploading remixes to Soundcloud. Like his previous singles, ‘Malleable’ keeps one foot in both of these worlds while also seeming to exist entirely outside of them, packaging an enviable amount of compositional finesse into a highly consumable, sub-three-minute bedroom-pop gem. Inspired by childhood influences such as Otis Redding and Nina Simone, Leone’s music is defined by the combination of soulful, acoustic-led songwriting with the left-of-center production choices of Lorde and fellow Darkroom-signee Billie Eilish, harnessing the DIY, genre-averse pop intelligence of bedroom stars Omar Apollo and BENEE. 'Malleable' by Max Leone is out now via The Darkroom, buy/stream it here. Stay connected with Max Leone: Twitter | Instagram | Youtube | Soundcloud

Music News

MAX LEONE SHARES FOURTH SINGLE ‘MALLEABLE’

by the partae July 2, 2020

written by the partae

PRAISE FOR MAX LEONE

“Max Leone, pop’s newest face, is worthy of your attention”
Pilerats

“A thrilling sign of of things to come from this up-and-coming artist”
Earmilk

“Burgeoning pop star”
Billboard

“A real winner, complete with smooth vocals and sticky melodies”
PAPER Magazine

“Max Leone is making a case for himself as one of pop’s next young stars”
Pigeons & Planes

Today, rising Los Angeles-based songwriter and producer Max Leone shares his new single, ‘Malleable’ which saw its world premiere on triple j’s Good Nights earlier this week. ‘Malleable‘ is the fourth track to be lifted from his forthcoming debut EP. Listen HERE, watch HERE.

Off the strength of just a smattering of singles, Max Leone has already emerged as one of 2020’s breakout new artists across the first half of the year. ‘Malleable’ follows the previously released ‘First Grade’, ‘The Beach’ and ‘Cautious’, which premiered with Billboard, received full rotation across triple j and won praise from Pilerats, Purple Sneakers, Ones to Watch, Earmilk and more.

With a lilting guitar line tinged with a classical flourish, crackling tape hiss and Max’s wounded vocals carrying the track’s opening half, ‘Malleable’ is reminiscent of some of Leone’s idol Frank Ocean’s recent downtempo work, settling into the cross-section of ambient, poignant R&B and wistful indie before resounding percussion shatters the track open at the halfway mark. Touching on themes of self-doubt and superficiality, Leone’s forthright lyricism laments the loss of a friend who he thought he once knew, someone who was too easily willing to mould their personality to please those around them. “You’ve changed and it sucks / There’s nothing I could have done,” he confesses on the diaristic chorus.

Of the track, Max shares: “Malleable is about that friend you have who is always changing themselves to fit in with the people around them, and sometimes it feels like you don’t really know them at all.”

Trained as a guitar principal at Berklee College of Music before eventually dropping out, the music Max is now producing represents the marriage of his formal musical background and his affection for contemporary alt-pop and R&B, spending countless after-school hours as a teenager teaching himself production via YouTube and uploading remixes to Soundcloud. Like his previous singles, ‘Malleable’ keeps one foot in both of these worlds while also seeming to exist entirely outside of them, packaging an enviable amount of compositional finesse into a highly consumable, sub-three-minute bedroom-pop gem.

Inspired by childhood influences such as Otis Redding and Nina Simone, Leone’s music is defined by the combination of soulful, acoustic-led songwriting with the left-of-center production choices of Lorde and fellow Darkroom-signee Billie Eilish, harnessing the DIY, genre-averse pop intelligence of bedroom stars Omar Apollo and BENEE.

‘Malleable‘ by Max Leone is out now via The Darkroom,
buy/stream it here.

Stay connected with Max Leone:
Twitter | Instagram | Youtube | Soundcloud

July 2, 2020 0 comments

Music News

BUDDY SHARES NEW SONG ‘FACES’ FEAT. LUCKY DAYE

by the partae July 2, 2020

written by the partae

PRAISE FOR BUDDY

“One of this year’s brightest insurgents”
The New Yorker

“Buddy is crossing generations, building new paths”
The New York Times

“an emerging artist to be reckoned with”
NPR

“Buddy’s knack for filling up empty space in bursts like this shows he can more than carry a song all his own”
Pitchfork

Buddy continues his prolific first half of 2020 by sharing another new song. ‘Faces‘ features his Grammy-nominated label mate Lucky Daye (Keep Cool / RCA Records), and slows the tempo to a subtle groove as Buddy and Daye glide across soft strings and a propelling bassline. The new track marks the first in a handful of new collaborations from Buddy to come this year. Listen HERE.

‘Faces‘ follows Buddy’s cinematic visual for ‘Bad Boys‘, taken from his critically-acclaimed joint project with fellow LA rapper Kent Jamz Janktape Vol 1. released in April, and ‘Black 2‘, the sequel to ‘Black‘ from his 2018 debut album Harlan & Alondra featuring ASAP Ferg.

‘Faces‘ is the latest entry in a momentous past few months for Buddy that have poised him to become one of the year’s greatest breakout stars. Last year, he released the deluxe edition of his critically-acclaimed album Harlan & Alondra, joined Vince Staples on an explosive North American tour, performed at NPR’s Tiny Desk, The Late Late Show with James Corden and The Tonight Show with Jimmy Fallon. The same year, Buddy also played a major role in the Grammy-nominated Revenge of the Dreamers III album, featuring on seven tracks on the Director’s Cut version including fan favorites ‘Costa Rica‘ and ‘1993‘.

‘Faces‘ feat. Lucky Daye by Buddy is out now, buy it/stream it here.

Stay connected with Buddy:
Facebook | Instagram | Twitter

July 2, 2020 0 comments

Music News

THE AVETT BROTHERS ANNOUNCE THE THIRD GLEAM, NEW ALBUM AVAILABLE AUGUST 28

by the partae July 2, 2020

written by the partae

3x GRAMMY Award-nominees The Avett Brothers announce The Third Gleam, the highly-anticipated third installment in their ongoing Gleam series, to be released August 28 on Loma Vista Recordings. The album marks a return to The Avett Brothers’ roots, both sonically and in form with Seth and Scott Avett playing as a trio with longtime bassist Bob Crawford, and follows in the band’s tradition of sharing what’s on their minds and in their hearts as their lives, and the world around them, continue to evolve. In a poignant video shared with their fans, Seth and Scott express that while The Third Gleam was recorded ahead of the pandemic and social reform movements that have swept the nation, the new music captures their personal experiences and perspectives on themes that are undeniably universal and timely. Throughout the eight-song collection, the band delves into isolation, incarceration, and injustice, as well as resilience, redemption, and love, offering a gleam of hope in a dark and uncertain time (see track listing below). Watch the band’s video below or here.

“The Third Gleam was finished before a virus and its carnage swept through humankind in the spring of 2020,” share Scott and Seth. “It was finished before the most recent injustices against black lives inspired outrage and a much-needed call for social reform and revolution. Through the fever pitch of fear over the pandemic, outcry in the wake of widely observable bigotry, and mourning over the death caused by both, we are united in conflict…put to task in the arenas of our fortitude, our morality, indeed the strength of our own souls, individually and collectively. It is a time of heightened experience; heightened response; heightened resolve. If you are reading or hearing this statement now, you are a part of it.

“And yet, neither of these massive fundamental concerns are entirely new to us. Sickness…in body and in mind are old news for our species, and in truth have found us susceptible throughout our complex history. And so our plagues, biological, behavioral and systemic, are intrinsically a part of us. We navigate them poorly at times and heroically at others.

“To the point of this writing, as it pertains to the announcement of a record release, it barely warrants mentioning that an 8-song collection is a whisper of an offering in a time of blaring considerations. As I mentioned before, Scott and I finished this album just before these two fundamental concerns overtook nearly the entire planet. Consequently, as the timeline goes, the songs were not informed specifically by the urgent and pivotal concepts which are now center stage. However, as these factors have been and will remain a part of us as a whole, independent of a specific moment in history, the songs of this particular piece do connect somehow to this particular time. Our personal perspectives and experiences are inherently the common thread, which is an element we have found to be imperative in our process of making art. Even so, there are themes which have made their way into this chapter of songs that are undeniably universal, and anchored in our current world… Isolation, resilience, frustration, confusion, contemplation and hope are here, both in regards to our own lives and as a consideration of the human experience in general. There is humor and love, both for life itself and as it binds a pairing of people. We touch on historical prejudice, faith, economic disparity, gun violence, incarceration, redemption, and as is increasingly standard with our records, stark mortality. This is by no means a record defined by any specific social or cultural goal, nor is it informed by a singular challenge posed to humanity. It is merely the sound of my brother and I in a room, singing about what is on our minds and in our hearts at the time…sharing it now is about what sharing art is always about: another chance that we may partake in connecting with our brothers and sisters of this world, and hopefully joining you in noticing a speck of light gleaming in what appears to be a relatively long and dark night.”

The Third Gleam follows The Avett Brothers’ tenth studio album Closer Than Together, which was released in October 2019 to critical-acclaim with NPR’s All Songs Considered featuring it on their New Music Friday upon release, Forbes declaring it a “literate, eloquent, beautiful and passionate work,” and American Songwriter proclaiming, “all of it is worth hearing.” The North Carolina Music Hall of Fame inductees rose to mainstream success with their 2009 major label debut, I and Love and You, and continued to climb the charts with 2012’s The Carpenter, 2013’s Magpie and the Dandelion, and 2016’s True Sadness, which debuted at #1 on Billboard’s Album Sales chart, #1 on Billboard’s Top Rock Albums chart, and #3 on the Billboard 200 albums chart. In 2017, The Avett Brothers released their documentary May It Last: A Portrait of The Avett Brothers, co-directed by Judd Apatow and Michael Bonfiglio, which followed the band as they wrote True Sadness. The album earned the band their second GRAMMY nomination for Best Americana Album, and their performance of “Ain’t No Man” received a nomination for Best American Roots Performance.

The Third Gleam track list

1. Victory
2. I Should’ve Spent The Day With My Family
3. Prison To Heaven
4. Back Into The Light
5. Women Like You
6. Untitled #4
7. I Go To My Heart
8. The Fire

Follow The Avett Brothers:
Spotify | YouTube | Facebook | Twitter | Instagram

July 2, 2020 0 comments

Music News

CULTURE ABUSE RETURN WITH GOOD SHIT, BAD SHIT, WHO GIVES A SHIT?! COLLECTION

by the partae July 2, 2020

written by the partae

The career-spanning, 29-song compilation of unreleased
demos, cover songs and live recordings will be available
digitally on July 24th.

“Culture Abuse are a sort of unicorn band, and they straddle all sorts of seemingly impossible lines. They can play with hardcore ferocity, and they work very much within a punk context… but they also write breezy low-life anthems that would’ve been right at home on ‘90s alt-rock radio. They’ve got charisma, and they’re fun.” – Stereogum

Culture Abuse are a band that can’t sit still. Since their inception in 2013, they’ve relentlessly showed their creativity through music, art exhibitions, photography and live performances. Culture Abuses’ new collections album— Good Shit, Bad Shit, Who Gives a Shit?! (available digitally on July 24th)— encompasses the demo process of writing their records, live recordings from their many years of touring, and their history of collaborating musically with friends. Live songs recorded by fans at the shows, cover songs they’ve laid down for fun, alternate versions of previously released songs, and literally the first recordings of song ideas are all presented on this 29-song album of unreleased recordings from the Culture Abuse archive. Check out the track listing for the collection below.

The first single to surface from Good Shit, Bad Shit, Who Gives a Shit?! is an alternate version of “Heavy Love” (from 2016’s Peach). This stripped-down, slowed-down version of the track features bonus instrumentation and a chilling vocal appearance from Juan Gabe (Comadre), and feels as freewheeling and fascinating as ever.

Listen to (+ share) “Heavy Love (w/ Juan Gabe – Peach Alternate Version, 2016)” here

Culture Abuse comments, “With the state of the live music industry in limbo, we thought now is a better time than any to open ourselves up and give the listener a different take on some of our past work. We take the groovy mid-tempo songs off Bay Dream (2018) and give you our aggressive live set atmosphere. We re-imagined the faster, more upbeat songs from Peach (2016) and slowed them down into an acoustic, stripped-down set.” They continue, “Cover songs from iconic bands like the Sex Pistols, the Buzzcocks and the Equals— we tear ‘em up and piece ‘em back together the way we do when we sit down together and make ‘zines, tour posters and show flyers. Some of our original songs are covered by our close friends within this collection. We’re presenting this release through digital outlets so the songs are at their most accessible. So whatever’s happening in your life, here are some songs to help you take it all on: the good shit & the bad shit.”

With their kinetic D.I.Y ideology, Culture Abuse once again have transcended genre and returned with an electrifying collection that traverses their career and catalog thus far.

CULTURE ABUSE – GOOD SHIT, BAD SHIT, WHO GIVES A SHIT?! – OUT FRIDAY JULY 24

Good Shit, Bad Shit, Who Gives a Shit?! — Track Listing:

1.    Bee Kind To The Bugs (Live at Moth Club, London 2019)
2.    Goo (Field Recording, Ferry from Denmark to Sweden 2019)
3.    Problems (Sex Pistols Cover, Dr. Martens Cassette 2018)
4.    Submission (Sex Pistols Cover, Dr. Martens Cassette 2018)
5.    Rock Steady (“California Speedball” Demo, Amsterdam 2017)
6.    Chinatown (Live at LDB Fest, Louisville 2019)
7.    Police On My Back (The Equals Cover, Los Angeles 2018)
8.    Bee Kind To The Bugs (Instrumental Home Recording by David, 2017)
9.    Bay Dream (Live at LDB Fest, Louisville 2019)
10. Turn It Off (Peach Alternate Version, 2016)
11. Chinatown (Peach Alternate Version, 2016)
12.  Heavy Love (w/ Juan Gabe – Peach Alternate Version, 2016)
13. Should I Stay or Should I Go (The Clash Cover – Live at the Moth Club, London 2019)
14. Tre Cool (“Dave’s Not Here” Demo, Amsterdam 2017)
15. Calm E (Live at For The Children, LA 2019)
16. For You To Know (“California Speedball” Home Recording by David, 2017)
17. Dream On + So Busted (Live at LDB Fest, Louisville 2019)
18. Bee Kind To The Bugs (Bay Dream Demo, Amsterdam 2017)
19. Bluebird On My Shoulder (Bay Dream Demo, Amsterdam 2017)
20. Rats In The Walls + Weed Break + Dip (Live at LDB Fest, Louisville 2019)
21. Flintstones (“Dozy” Demo, Amsterdam 2017)
22. What Do I Get (Buzzcocks Cover – Live at Kung Fu Necktie, Philly 2019)
23. Bluebird On My Shoulder (Home Recording by David, 2017)
24. Rats In The Walls (Bay Dream Demo by David + Nick, Oakland 2016)
25. Helpless (Neil Young Cover by the Stainer, SF 2020)
26. After Hours (Velvet Underground Cover by Nick, Oakland 2020)
27. Clay Pigeons (Blaze Foley Cover by Jake Woodruff + David, San Antonio 2019)
28. Feels So Weird (“Bay Dream” Home Recording by David, 2017)
29. Jealous (Cover by Jake Woodruff, 2016)

July 2, 2020 0 comments

Music News

SPENCER. Shares new single & video ‘Maybe’

by the partae July 2, 2020

written by the partae

Praise for Spencer.

“a slender piece of twilight soul” – CLASH on ‘Maybe’

“This song feels like the entire autumn season and your favorite worn-in sweater all bundled together.” – Nylon on ‘2much’

“A hazy, soulful, retro-meets-now song that finds the middle ground between alt-R&B and chillwave.” – Brooklyn Vegan on ‘Automatic’

“Put this on your 2 a.m. playlist” – The FADER on ‘Automatic’

“Showcasing his richly textured vocals and shot through with an intriguing sense of nostalgia.” – Pigeons & Planes

“He’s destined for big things because he moves differently.” – Lyrical Lemonade

Today, New York artist Spencer. shares his latest single ‘Maybe’ via 4AD / Remote Control Records. A manifesto on the trials of growing up, the song is paired with a video that sees his soul taking a trip directed by Sabrina Nichols. Spencer.’s dewy, sleek vocals carry along honeyed lyrics that illustrate the feeling of a first love. The 21-year-old musician melds R&B with his velvety vocals, hip-hop in his off-kilter beats, funk in his effervescent basslines, and moody indie rock in his reverb-soaked guitar, which he writes, records and produces almost in isolation, even before quarantine. ‘Maybe’ is preceded by recent singles ‘2 Much’, ‘Automatic’ and ‘Hold It Down’. Spencer. is currently working on his debut full length album.

Raised by chemists – his mother a Jamaican immigrant and first in her family to attend university, and his dad a British immigrant with a love of soul music – in Rochester, NY, Spencer. credits the city’s rich and underappreciated creative scene for fostering his growth as an artist. Through a love of Erykah Badu and Miles Davis (his middle name’s namesake), an invitation to join a program by the best jazz school in the country and access to an early generation iPad to discover and create music, Spencer. paved his own path. Less than a year after dropping out of college in the summer of 2018, he’d racked up millions of streams on Spotify with self-released singles ‘Want U Back’ and ‘To Be You’, garnered glowing reviews on both sides of the Atlantic, and signed a record deal.

Spencer. – ‘Maybe’ is out now
via 4AD / Remote Control Records.

Spencer.
Website | Twitter I Facebook | Instagram
4ad.com
remotecontrolrecords.com.au

July 2, 2020 0 comments

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CULTURE ABUSE RETURN WITH GOOD SHIT, BAD SHIT, WHO GIVES A SHIT?! COLLECTION

The career-spanning, 29-song compilation of unreleased
demos, cover songs and live recordings will be available
digitally on July 24th.

SPENCER. Shares new single & video ‘Maybe’

July 2020

SHACKS & PALACES

The career-spanning, 29-song compilation of unreleased demos, cover songs and live recordings will be available digitally on July 24th.

The career-spanning, 29-song compilation of unreleased
demos, cover songs and live recordings will be available
digitally on July 24th.