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Stay connected with Raj Mahal:
Facebook | Instagram | Spotify | Youtube | Soundcloud
SUPPORT FOR PREVIOUS SINGLE ‘A CURE FOR WELLNESS’
“It’s through this juxtaposition between the trio’s vibrant melodies and vulnerable lyricism that they demonstrate what a wonderfully important band they are.“
– Rock Sound (UK)
Added to Spotify playlist ‘New Punk Tracks’
Added to Apple Music playlists ‘Breaking Rock’ and ‘New in Alternative’
Emo/pop-rock band Happy. have just revealed their latest single ‘Liarliar‘ off their sophomore album ‘Imposter Syndrome‘ – due October 30.
“Each song on our new record ‘Imposter Syndrome’ is a reflection of our experience with it as musicians over the last few years,” explains vocalist/guitarist, Tate Logan. “This includes some of the greatest moments of our entire lives, while others reflect struggle and extreme lows. ‘Liarliar’ is the most honest and straightforward depiction of my experience with depression. We chose to express this visually by breaking the fourth wall between us and our fans. This video is a representation of a therapy session, something I was once extremely familiar with that ultimately saved my life.”
‘Liarliar’ is the third single, following ‘A Cure for Wellness‘ and ‘Sick is the New Sane‘, from the band’s forthcoming new album, ‘Imposter Syndrome’, due out on October 30 via Rude Records. Produced by Marc McClusky (Weezer, Motion City Soundtrack, The Front Bottoms), the album is a narrative on the band’s personal experience with the effects of Imposter Syndrome. They explain, “From the lows of depression, anxiety, and addiction, to the highs of traveling, making friends and living the dream, this record is our everlasting chase for ‘success.’” The album is available for pre-order here: https://happy.lnk.to/
Happy. are Tate Logan (vocals), Sean Bowick (drums) and John Palmer (guitar). Formed in 2016 in Columbia, SC, the group launched with their 4-song EP, ‘The Endless Bummer‘, which was later released on tapes through Ohio’s Real Life Cassette Girls Records. Following this release, Happy. spent the next year dissecting their sound and writing new songs, creating music that promotes positivity, personal growth, and self-defined happiness. The result was their 2018 debut full-length album, ‘Cult Classic‘, which was produced by Cartel’s Will Pugh. Now, they are gearing up for the release of their aforementioned sophomore album ‘Imposter Syndrome’, due out on October 30 via Rude Records.
‘Liarliar’ is available worldwide now through Rude Records
FOLLOW HAPPY.
“A stunning collection of artistically nuanced songs.. On Diamond’s ability to match themes with music becomes more pertinent with each listen.”
★★★★ — Nick Crameri, Sungenre
“This band manages to do something rare these days which is to create/craft a unique sound.. If you want some pointers then it can be described as Murray Street era Sonic Youth in terms of avant rock guitar elements combined with Sandy Denny like vocalese, and in respect of contemporary Aussie music the nearest comparison would be Tropical Fuck Storm, or that band’s predecessors The Drones.”
— Bob Osborne, Aural Delights (UK)
Fearlessly traversing a multitude of genres while probing the deeper parts of the human psyche, Melbourne’s On Diamond return with intriguing new single ‘Candle’. The band broke barriers with their eponymous 2019 debut, featuring the head-turning singles ‘How’, ‘Poison Blood’, and ‘Light’; their genre-defying sound garnering instant success. Now, the beloved quintet are back and excited to reveal their next alt-pop oddity in the introspective mantra that is ‘Candle’.
Out today via Eastmint Records, ‘Candle’ is the first we’ve heard from the band since their critically acclaimed self-titled album earned nominations for The Australian Music Prize and Music Victoria Awards’ Best Album and landed Album Of The Week on RRR, PBS and 4ZZZ. Without skipping a beat, the band’s new single continues with the same impressive momentum, opening with an eerie atmospheric loftiness before breaking into a punchy crescendo of clanging cymbals, psychedelic, reverb-drenched guitar riffs and densely layered ethereal vocals.
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DIY Australian indie-pop artist RACKETT drops new electronic single ‘Everywhere You’re Not’ featuring NY rapper Dante Knows, co-written, produced and mixed by Dave Hammer (Lime Cordiale, Mia Rodriguez), and mastered by Andrew Edgeston (Amy Shark, Tia Gostelow).
Beat driven and bass-heavy, the single punches into a huge dance drop out of a euphoric, stripped back chorus. Featuring 16 bars of rap by NY born, SYD based rapper, Dante Knows, the single is another reveal of what RACKETT fans can expect from her debut mini-album due for release in late November 2020.
“‘Everywhere You’re Not’ is about freedom and liberation from an ex-lover. It’s a realisation that the world is a big place full opportunities and the awakening of possibilities from the limitations of staying in one place, with one person. As a massive Dante Knows fan I was thrilled to have him on the single, I saw him perform in Sydney in late 2019 and have been following his music ever since. I think he’s one of the most talented artists I’ve discovered and as the first feature I’ve ever released, it’s a big moment for me” – RACKETT
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GAUCI – ‘Heartbeat‘ (Visualiser)
GAUCI share: “Heartbeat is about those intimate moments of exchanged whispers before confessing your unconditional love. It’s the feeling of being in a packed room unable to pay attention to anyone except the person you want to leave with.” Completing the release is a visualiser creatively directed by Tom Vanderzeil and Ana Gabrielle.
With each release Antonia and David Gauci and Felix Lush delve deeper into their textured sphere of sentimental electro, packaging inimitable pop smarts inside a tastefully nostalgic exterior. Their unique brand of sweeping, 80’s synth-pop reminiscent of Future Islands and Chromatics, meets the soaring euphoria of CHVRCHES and the crying-on-the-dancefloor release of Robyn, has built the group a cult following.
Locally championed by FBi Radio, Noisey, RUSSH Magazine and more inbetween performing at sold out hometown shows, GAUCI‘s danceable live show toured Australia’s east coast earlier this year, following appearances su
The group’s immaculate production, palpably analogue with a contemporary, widescreen definition, helps them pull this out-of-time balancing act off both live and throughout their self-titled debut. Joining ‘Heartbeat‘ and the cinematic synths and 808s of ‘To Save A Moment‘, and ‘Paradise‘ includes live favourite ‘Anxious‘ and the nineties rom-com dowsed ‘November‘. Now with their forthcoming debut EP, GAUCI are ready to welcome us into their world and show their mastery over their craft.
‘Heartbeat by GAUCI is out now, buy/stream it here.
GAUCI EP
16 October 2020
TRACKLIST
1. To Save A Moment
2. Anxious
3. Heartbeat
4. Paradise
5. November
Artwork by Joanna Frank.
GAUCI TOUR DATES
Sat Jan 16 – Torch Fest – Sydney
Sat Jan 23-Sun Jan 24 – Yours & Owls Festival – Wollongong
Tickets available here.
Stay connected with GAUCI:
Facebook | Twitter | Instagram | Bandcamp | Soundcloud | Youtube
Image: Wyatt Clough
This year Silverstein celebrate their 20th anniversary with the release of their ninth studio album, A Beautiful Place To Drown, out now from UNFD. The long-running band have been staying busying despite their tour plans being postponed, and today they’re back to share an alternate version of album stand-out ‘Infinite’ recorded entirely during quarantine.
The new take fully reimagines the song as a smoldering pop gem, highlighting Silverstein’
Many of A Beautiful Place To Drown‘s lyrics focus on everyday mental health challenges and ‘Infinite’ seems have taken on new meaning in the wake of the pandemic. For the song’s accompanying video, the band reached out to their fans, opening up the phone lines for them to relay messages of how they’re feeling during quarantine. Excerpts from the messages can be seen over the music video’s footage of empty and eerily calm locations in the band’s home country of Canada.
Silverstein guitarist Paul Marc Rousseau discussed the new version of ‘Infinite’ and the song’s evolving meaning, saying:
“‘Infinite’ was born in the black hole of anxiety — unable to remember ‘normal,’ the fear of not knowing when the feeling will end, or if it will end at all. I think everyone has experienced that type of anxiety to some extent, and for me being locked down in the early stages of covid-19 poured gas on the fire.
“Facets of anxiety that once felt difficult to name or truly pin down slowly became concrete, tangible things. The sadness I was experiencing was no longer abstract or personalised, it was something practically everyone on Earth was relating to in real time. As days became weeks and weeks became months, it was hard, if not impossible, to see any light at the end of the tunnel. I love the album version of ‘Infinite.’ It screams into the void. It captures the emotional and physical frustration, the anger of being trapped in an anxious loop. But as of late, I feel more sadness than anger, and I thought ‘Infinite’—which for months now has felt more relevant than I ever could have known—could be rearranged to feel more like I feel.”
A Beautiful Place To Drown debuted on seven Billboard charts (including #122 Top 200, #5 Rock Albums, and #3 Current Alternative) and fittingly encapsulates the best of Silverstein while pushing their sound into daring new territory. The band may be proud torchbearers of the emo and post-hardcore scenes but appearances from artists that range from Princess Nokia to Underoath’s Aaron Gillespie, Beartooth’s Caleb Shomo, Simple Plan’s Pierre Bouvier, and more, are indicative of Silverstein’s wide-reaching impact and their ability to reach listeners in all worlds of music.
‘Infinite’ is the second album track to get the reimagining treatment, following the release of ‘Where Are You (Alternate Version)’ in June. The band also released their ‘Quaranstein‘ video and put its performances out as a digital EP (with all proceeds going to the NAACP and Black Legal Action Centre), and played a special livestream event professionally shot and recorded for fans last month.
‘Infinite (Alternate Version)’ is streaming everywhere now.
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Ben Harper has unveiled his new album Winter Is For Lovers (ANTI- Records), and in many ways his entire musical life has culminated in this moment. The solo recording, which features just Harper and his Monteleone lap steel guitar, is a 15-song work of original instrumental compositions imagined as a symphony. Harper has pushed musical boundaries since his 1994 debut and his lap steel guitar has played a tremendous role in his distinct sound throughout his career. But he’s never made an album that so purely distills his reverence for the instrument, and his mastery of it.
Starting today fans can order Winter Is For Lovers here from a limited 2000-piece pressing of the album on 180g vinyl, autographed, numbered and hand stamped. Orders will be fulfilled this week. The release date for the standard vinyl and digital version will be announced later this year.
Meditative and affecting, the music featured on Winter Is For Lovers is deeply ingrained in Harper’s DNA and leads directly back to The Folk Music Store, the influential California instrument shop his grandparents opened in the 1950s. The store hosted luminaries of all stripes, including Sonny Terry, Brownie McGhee, the Rev. Gary Davis, Doc Watson and John Fahey. While Harper worked in the shop throughout his childhood, he met and even strung guitars for iconic players like Ry Cooder, Leonard Cohen, Taj Mahal, David Lindley and Jackson Browne.
Winter Is For Lovers philosophically explores the American Primitive movement pioneered by Leo Kottke and the aforementioned John Fahey. It swirls with the music Harper heard growing up, listening to the blues, Hawaiian and classical guitar masters in his mother’s record collection. He gravitated early on to the distinct wail of the slide guitar, learning finger picking from slide master Taj Mahal and later studying with Chris Darrow of Nitty Gritty Dirt Band – a lap steel virtuoso who had a major influence on Harper’s lifelong embrace of the instrument.
While Harper was composing parts of the album he was also reading Infinite Jest, and Winter is deeply influenced by the book’s unique narrative structure. As Harper learned that author David Foster Wallace fused together a series of short stories to create a bigger narrative, he saw a similar potential with the pieces that would become Winter Is For Lovers, melding together a series of works named after, and inspired by, locations across the globe that hold a special place in his heart.
Says Harper:
This is my first entirely instrumental album. It is stark, bare bones, just me and my lap steel guitar. It is purposefully produced to sound intimate and spare, as if I am playing in your living room. Upon first listen it may be surprising or catch some people off guard because it is dramatically stripped-down in contrast to a lot of what we hear today.
I am a big fan of flamenco, classical, Hawaiian and blues guitar, and I hope these influences are all somehow represented within Winter Is For Lovers.
I have been composing this record for most of my adult life, and the challenge this record presented to me was completely new. To record an entire album with one guitar and no words, where every single nuance was under a microscope, was more demanding than any record I have made to date, and also more rewarding.
Ben Harper is a 3-time GRAMMY Award winner and has earned 7 nominations. He has produced albums for Mavis Staples, Blind Boys of Alabama, Natalie Maines and Ricky Lee Jones among others. His beloved songs have hundreds of millions of streams and he has headlined the world’s greatest venues and festival stages. Harper’s previous full length release was 2018’s GRAMMY-nominated No Mercy In This Land, his second album recorded with harmonica legend Charlie Musselwhite. In 2016 Harper and his longtime band The Innocent Criminals returned with Call It What It Is, deemed “brilliant” by the Atlantic. Harper, a longtime activist, wrote the album to confront police brutality.
Winter Is For Lovers tracklist:
1. Istanbul
2. Manhattan
3. Joshua Tree
4. Inland Empire
5. Harlem
6. Lebanon
7. London
8. Toronto
9. Verona
10. Brittany
11. Montreal
12. Bizanet
13. Toronto (Reprise)
14. Islip
15. Paris
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Adelaide’s Paradise Club have dropped their intriguing new video for “The Seed”, lifted from their debut self-titled album, out now via Farmer & The Owl.
The first song on the album, and one that truly encapsulates the Paradise Club vibe, “The Seed” expertly weaves shimmering guitars with pulsating beats and rich synths while the lyrics explore going through a rocky patch and coming through the other side with fond memories.
“The Seed” has been brought to life by a fascinating video created by the band themselves, filmed in and around Antakirinja country (Coober Pedy) – the very same ruddy backdrop where Mad Max Beyond The Thunderdome was shot. Embarking on an 18-plus hour round trip up the Stuart Highway, on their album release day no less, Paradise Club stayed in one of the outback town’s famed dugouts, which you’ll see pop up in the clip alongside a wandering, blazed 3D being.
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‘Can’t Get You Out Of My Head‘ by Tom Snowdon is out now, buy/stream it here.
For our friends at community radio, you can also download the track via AMRAP here.
The single is out 2nd September
The EP will be released 7th October
Out on Pieater
Stay connected with:
Tom Snowdon: Facebook | Twitter | Instagram
Pieater: Pieater.net | Instagr
Where are you currently based?
London
How did you first start producing and mixing?
I came from a rock and metal background originally. I was never into actual instruments myself but my friends were and I loved being around that environment. I was lucky enough to have a computer at the time, and managed to start teaching myself how to produce. I was then introduced to Pendulum who were obviously the only people doing rock and drum and bass at that time, and it sort of stemmed from there.
How did your career start?
I got in with Monstercat when they just started, around 2010. I put out a few beat sample packs with them, but then Mike Darlington really encouraged me to go farther and that’s when I put out my first EP, The Takeover.
How has your COVID experience been so far?
It’s given me more time to work on music that’s for sure. I probably wouldn’t have finished the album as quick as I did if I had still been touring. It’s been rough not being able to test my songs live though!
What influenced the sound and songwriting for your epic new album ‘The Promised Land’?
The whole album was inspired by a lot of different themes, mainly how nature and technology clash and interact. There wasn’t any particular moment that inspired the entire album but I went on a journey of discovery for the past couple of years, listening to a broader range of music and tying my vast range of influences into the album.
What did you find most challenging and rewarding through the process of creating this album?
This is my debut album so the finished product was the most rewarding. The most challenging was probably admitting that it was done, because I’m always looking to keep improving the tracks!
Your sound has evolved from the stereotypical Drum ‘n Bass sound to a more mature and cross-genre sound, please tell us about how and why this has come about:
The main thing that I wanted to do with the album was start expanding from drum ‘n’ bass and start doing other genres. People have this impression of me, because I make drum ‘n’ bass all the time, that I only listen to drum ‘n’ bass and that’s completely untrue. People who know me know I listen to and love literally all kinds of music.
I love everything from, as I say, film and video game scores to screamo to french house to electro house to old school garage to whatever. You name it! I listen to everything. I really tried to hone that in when I pulled influences for the album, just to show people that it doesn’t have to come from drum ‘n’ bass at all. A lot of them don’t even come from dance music. Very rarely, except maybe some sound design and mixdown things.
The main goal with it was to start introducing MUZZ as a multigenre brand and artist rather than drum ‘n’ bass only.
Where do you see Drum ‘n Bass progressing in the coming years?
The future of any genre is to evolve it and mash it with other styles and new sounds, which is what I’ve always done since I started making music, and this album explores those new territories. I love the genre, and always will, but I also love many other genres and don’t want to close those doors.
What do you like to do outside of music?
Gaming, food, traveling!
Which artists are you listening to at the moment?
Grimes, Rezz, Charli XCX, Fade Black, Oakwite, Loathe, G Jones are currently on repeat for me.
What is planned for the remainder of 2020?
Just to continue promoting this album as much as possible. It’s been such a process having it come together, I’m so happy it’s finally out!
Favourite food and place to hangout?
You can’t beat Middle Eastern food, and I honestly just love being in my studio in my own world.
Twitch: twitch.tv/monstercat
YouTube: youtube.com/UKFDrumandBass
Facebook: facebook.com/MUZZHQ
It comes after a whirlwind response to his latest EP Northern Rivers, which has already picked up 2 million streams since its release in November 2019.
“‘Hold You’ was written somewhere between Byron Bay and Vancouver, and it explains the feeling of falling headfirst into a romance. Reminiscing on the moments you’ve shared together, but also the obstacle of a long distance love.”
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