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Memphis LK – ‘Letters In Concrete’ is out now via Dot Dash / Remote Control
Where are you currently based?
I am based between London and Miami where I’m currently recording
What’s been happening recently and how has your Covid experience been so far?
When Covid first came about I quarantined out in Spain with my family for a few months. It was hard to begin with being stuck indoors everyday but I just used the opportunity to work on my project creating new music and ideas.
How did you first start playing music?
I started writing my own material when I was 14 after finding out my mum had cancer. It was a rough time for me but music really saved me. It was the only thing that could take my mind off all the bad things that I was experiencing at that time.
Your mixtape ‘Long Time Coming’ is out now, what were the influences behind the Mixtape?
I have many influences ranging from classic R&B to modern afro beats with a hint of latin rythm and melodies right back to 80’s hip hop and I love my Drum & Bass!
Please tell us about the process:
The music flowed nicely during the creative process of the mixtape. I didn’t really think too hard, it was more a case of just making music I love and making sure the record has a wide range of sonics and vibes.
How did the concept for the music video come about?
The concept for the video was to have something dark and edgy with a sexy feel to it. The video showcases the storyline that is told through the lyrics of the track with a constant movement which is what gives it that rolling vibe.
Who did you work with and where did you film?
I work with various different film crews from Miami, LA, Spain and the United Kingdom depending on and what we are trying to achieve with each project, I love Kaz Ové’s work and I’m working with a cool Jamaican director at the minute on my next video.
What did you find most challenging and rewarding throughout the creation of ‘Long Time Coming’?
To be totally honest I wouldn’t say it was challenging as I enjoyed every part of creating this piece of work. The rewarding feeling was to finally finish up the project ready for release!
Who are you listening to at the moment?
I am currently listening to mostly latin urban artists ; people like Farruko, Sech and Myke Towers.
What do you like to do away from music?
I like to work out in the gym, go for a bike ride or some basketball or hit the beach, if there is one close by of course!
What’s planned for the remainder of 2020 going into 2021?
I am currently working on finishing up my latin project which I have been working on for some time now and I’m feeling great about it.
Favourite food and place to hangout?
Jerk chicken with rice and peas and a good movie binge on the sofa!
My name is Nicholas Lennox, but most people call me Nick! I play saxophone and percussion, and I also sing background vocals!
Kingston, Ontario, Canada.
Being a band in the era of COVID-19 is incredibly challenging. To say our whole industry has shifted around us is an understatement; much like musicians around the world, we’re doing our best on the streaming front, but we miss live music terribly. Ultimately though we’ve got to keep our heads up, so we’re just doing our best to make the most of the whole scenario by staying creative and focusing on content-creation and songwriting!
I started playing guitar when I was maybe twelve; I was really into Metallica and I wanted to learn nothing but riffs. That was my official start, and I’ve dabbled with other instruments (keys, bass, drums) since, but I picked up the sax in tenth grade because it was kind of a rock ‘n roll instrument and fell in love with it. I learned to read music on it, and I could do things with the sax that I couldn’t with the guitar, so I’ve been playing the sax for about ten years now.
The Wilderness started with Jonas Lewis-Anthony (vocals/guitar), Karl Tombak (bass), Sacha Lansky (lead guitar), and Henry Lawrence (drums) at an open-mic here in Kingston; Jonas reportedly saw the other three performing and begged them to start a band. Liam Neale (keys/percussion) joined after coming on tour as a roadie. I was essentially absorbed into the band; I had jammed with the guys a handful of times and performed with them once or twice, so they eventually just started saying I was in the band.
All six of us come from a variety of musical backgrounds and that really shines through on this record. “Graveyard” specifically is one of Karl’s tunes, and really showcases an almost pop-punk flair. Karl has a background in metal, so the kind of riff-focused writing and fast-paced lyricism come naturally to him.
On the album at large, loads of styles and influences shine through. Jonas shows off his folk chops with tunes like “Pick You Up” and “You Look So Good When You Cry”, “Hurricane” is almost a country tune, songs like “If I Have to Die” and “Citalopram Blues” are hard hitting rock songs, I managed to sneak a little soul in there with “You, the Ocean”, there truly is something for everyone in there.
Everyone in the band has a different style of writing. Jonas, for example, seems to need nothing more than an acoustic guitar and a pen; he really channels his folk influences and is an excellent storyteller. I’m quite the opposite; I write out charts for the band to play along to and really go into things knowing exactly what the full band should sound like. Ultimately, there always comes a point where we come forward with our creation and release it to the rest of the band, and that is perhaps the most important part of the experience, because that’s where our songs become Wilderness songs.
We recorded “Until Tomorrow” at the Bathouse Studio in Bath ON right at the beginning of March 2020, about a week before the COVID-19 lockdown hit. Our producer was Rob Baker of The Tragically Hip, and Nyles Spencer was our engineer. We couldn’t have asked for a better team.
Too many to count! I myself played three saxophones, a grand piano, a Hammond B3, two tambourines, two shakers, and an EWI. Jonas and Sacha were slinging guitars like gunmen in the Wild West. Liam tickled more keys than a locksmith and Henry laid down more snares than a fur trapper. I’m pretty sure Karl only played one bass but we won’t talk about that. Oh, and everything was recorded in Pro Tools.
That completely depends on the song! Some tunes were performance ready—“Where I Roam” for example had been in our live performance canon for years—whereas others like “You, the Ocean” had never been performed as a band. That one required me to lay down a piano track, conduct the rhythm section of Karl and Henry, and then direct Jonas’s vocal performance.
The process of bringing it all together was the most rewarding for me; taking a song from a napkin sketch and letting your best friends take it to new heights with their own personal touches is truly special. The challenge there of course lies in that dance; it takes a certain vulnerability to trust others with a creation that’s personal and dear to your heart, but again, that’s what it takes to make something really shine.
Graveyard was born out of those nights one spends at a local pub until well past last call. It grapples with the monotonous rhythm of working, getting paid, drinking your pay away, and repeating that cycle. As musicians, our work environment is often those dimly lit bars, and we have a special privilege to be doing what we love in those venues, but even then it’s possible to feel stuck in your hometown, playing the same old songs for the same old faces and hearing the same old praises. Graveyard is about just that.
This EP is a collection of songs from “Until Tomorrow”, recorded live-off-the-floor at the Bathouse. We really thrive as a live band, but since we haven’t been able to play live shows, we wanted to bring a live flair to the music from that album. This project has allowed us to capture our music in a more nuanced way, and each song will have a corresponding video so that listeners can also watch the performance of each tune!
I’m a huge jazz addict! I’ve been listening to a lot of Bob Reynolds, Chad Lefkowitz-Brown, and Joshua Redman, all of whom are saxophonists I admire a lot. I’ve also been heavy into Herbie Hancock lately, specifically the more fusion-type stuff on albums like “Thrust”, some of which I’ve had to learn for my jazz quintet, “Relatively Minor”.
Honestly, I use other music as a distraction from whatever music I’m working on; I switch genres to distract myself. I practice jazz regularly to escape from band stuff and it fills my cup right back up. Other times, I write heavy metal, and it absolutely obsesses me. Of course, when the hour doesn’t allow for that stuff I read lots; I’ve really been into Frank Herbert’s “Dune” series recently.
We’re just hoping to keep creative as possible! As we’ve mentioned, we have those live-off-the-floor videos we’re working on, and we’re in the process of writing our next album! Once performing live can safely be a thing again, we’re going to hit the ground running.
I am an absolute fiend for sushi, and the best place in Kingston has to be Kame. Favourite place to hang out has to be Musiikki Cafe, right downtown K-Town.
THE WILDERNESS IS:
Jonas Lewis-Anthony (lead vocals + guitar)
Sacha Lansky (lead guitar + backing vocals)
Karl Tombak (bass)
Henry Lawrence (drums + backing vocals)
Nicholas Lennox (saxophone, percussion + backing vocals)
Liam Neale (keyboard + percussion)
FOLLOW THE WILDERNESS:
Website | Spotify | Facebook | Instagram | Twitter | YouTube
Title: West Coast ft. Quinn XCII
Label: Ultra Records
Release date: October 16, 2020
In a time when we could all use some good vibes, DVBBS captures the breezy nature of the Golden State on their new track “West Coast,” together with pop sensation Quinn XCII. Close your eyes and let yourself be carried away to the land of palm trees, ocean breeze, and endless summer as DVBBS and Quinn XCII deliver a driving bassline with upbeat melodies; coupled with its carefree lyrics, “West Coast” becomes an anthem for escaping your circumstances to live the way that feels the most authentic to you. The new single follows DVBBS‘ latest album “Nothing To See Here” from August and Quinn XCII‘s 3rd studio LP “A Letter To My Younger Self,” released this summer on Columbia Records. Check out what the artists had to say about their collaboration below.
“Sprinkle some DVBBS sauce on a Quinn XCII vocal, and this is what you get. Whether you’re from the West Coast or East Coast, we’ll be turning up together soon.” – DVBBS
“‘West Coast‘ is about finding that easiness in life that we all need from time to time. The song came about in the studio one day after playing this raw piano melody that inspired this carefree feeling. DVBBS did an amazing job giving the song a fresh approach to a dance record that I’m excited to be a part of.” – Quinn XCII
Few producers have risen to the top in the electronic music scene as quickly as DVBBS, who captured the industry’s attention with hits like “Tsunami” and “Not Going Home” and never let it go. The Canadian brothers Alex and Christopher have been continuously cultivating their sound since their debut in 2012, and have racked up an impressive display of collaborations with renowned names from diverse musical backgrounds. From hip hop superstar Juicy J to the NERVO twins, DVBBS continues to prove there’s nothing they can’t accomplish. The brothers have played everywhere from Lollapalooza to Tomorrowland, though they’ve been busy in the studio during the global pandemic. Quinn XCII‘s unique fusion of pop, hip-hop, alternative, and soul has garnered him a loyal following and over 1.5 billion streams worldwide. He is well known for tracks such as “Love Me Less” with MAX (which was performed on Jimmy Kimmel, The Today Show, and more), “Flare Guns” with Chelsea Cutler, and multiple Global Viral Charts singles on Spotify. Keep an eye out for more new music from DVBBS and Quinn XCII coming to airwaves near you!
Cologne clubbing institution Bootshaus — voted Germany’s favourite club in the 2020 DJ Mag Top 100 Clubs poll — is set to launch its own podcast series. ‘Bootshaus Podcast’ will give listeners an exclusive, behind-the-scenes look at the world of dance music, featuring iconic EDM mainstage artists, heroes of the underground and prolific industry executives.
Tune in as some of dance music’s most sought-after names discuss topics inside and outside the industry.
The mighty Steve Aoki kicks off the series, with other guests upcoming including Felix Jaehn, Headhunterz, Sam Feldt, Boris Brejcha, Bootshaus CEO/Owner Fabian Thylmann, and Parookaville CEO Bernd Dicks. Aoki’s episode gives a deeper insight into a key dance music figure who most people only know for his high-octane music and on-stage theatric, revealing the person behind the public persona.
He reveals exciting plans for virtual festival appearances, how he wants to make a track with Elon Musk, and how his upcoming album ‘Neon Future IV’ contains a whopping 27 tracks. Aoki also spoke about using his voice as an artist and what it was like to grow up as an Asian kid in America. “I grew up in a very conservative area, where racism really flourished and everyone is white” he says on the podcast. “If you are not part of the 96% whites, racism can happen and I thought — that’s just how it is. I learned a lot about having a voice to speak out about injustice.”
Each podcast episode is hosted by German DJ & Moderator Arian Amedia and can be streamed from here.
About Bootshaus
Bridging industrial underground values with mainstream electronic sounds, Bootshaus, Germany’s best nightclub, is a place reserved for the fresher, more edgy end of Techno, EDM, Trap, Dubstep, and much more. Located on the Cologne shipyard premises, this former ship and boat warehouse houses three rooms and an outdoor area, of which the main room can accommodate more than 1000 guests. Big acts like DJ Snake, Yellow Claw, Tiesto, Armin van Buuren, and Deadmau5 love to play Bootshaus as this club attracts one of the most energetic crowds in the world.
First entering DJ Mag’s ranking of world’s best clubs in 2013, Bootshaus quickly climbed the ranks, finishing #6 worldwide, and #1 in Germany, in 2020.
Bootshaus also regularly gets involved in festivals, hosting stages at BigCityBeats World Club Dome, Parookaville Festival, New Horizons Festival, and most recently hosting Europe’s first ‘corona-proof’ concert in Lanxess Arena.
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THE SOUND – SEASON TWO | The critically acclaimed show returns Sunday 1 November, 6pm on ABC + iview
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After garnering widespread praise from critics and public alike, Mushroom Group is thrilled to confirm The Sound will return to ABC screens with season two this November – just in time for Ausmusic Month!
The weekly hour-long show will make its return from Sunday 1 November at 6pm (local time). Viewers can watch The Sound on the tele each Sunday evening, or catch encore screenings on Saturdays at 1.30pm, or catch up with episodes via ABC iview.
It’s been seven months since COVID crippled Australia’s live music industry, leaving artists, venues, crew and music lovers without a vital part of our country’s culture and economy. Born out of this crisis, The Sound’s purpose is clear: to showcase Australian music.
With unique, multi-platform content curated and filmed by the Mushroom Vision team, season two will continue to highlight the vast array of local talent within our industry, with artists given the opportunity to perform for prime-time audiences on our national broadcaster.
In a word, season one was epic: 85 artists filmed at 58 locations nationwide. Performance clips on socials reached 1.68m+ viewers, while media resoundingly embraced the show with rave reviews:
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THE SOUND
SEASON TWO
#TheSoundAU
SUNDAY 1 NOVEMBER, 6PM ON ABC TV + iview
ENCORE SATURDAY 7 NOVEMBER, 1:30PM
Stream on iview
AUSSIE ARTISTS TALK ABOUT THE SOUND:
‘ABC TV has a proud history of exposing local talent and it’s great to see them stepping up again at a time when live Australian music really needs some extra support.’
– Jimmy Barnes
‘It’s great to have our music back on free to air TV with ABC. All power to The Sound. Long may it run.’ – Paul Kelly
‘To have a show like this on TV that showcases Australian music is so important to our industry and the artists.’ – Guy Sebastian
‘I’m really excited about the show. Having a musical show with all sorts of people contributing… It feels old school but entirely fresh – and one of the things we all need right now.’ – Kylie Minogue
‘I’m very excited to be performing on The Sound, its format is really original. I’m honoured to be a part of it.’ – Missy Higgins
‘I was thrilled when The Sound began… If there’s anything to be glad for [in the pandemic] the whole of the country is facing inwards and supporting homegrown talent. That’s what we’ve always wanted.’ – Kate Ceberano
‘If this show is one of the results of this difficult time, then it’s good that we can see a positive thing come out of it, for musicians and Australian audiences. Very happy to be involved.’ – Julia Stone
‘As live music lovers, we’re all being confronted by this moment. The Sound connects live musicians to the audience – like the new in-between – and we’re grateful and excited’
– Electric Fields
‘I’m really happy to be performing on The Sound. In the tradition of great Australian music shows like Countdown, it’s amazing to have the opportunity to showcase the broad range of talent in the Australian music scene.’ – Illy
‘The Sound has arrived at exactly the right time. It’s amazing to have Australian artistry and music at home on TV as we all wait for live music to return. So stoked to be a part of it.’ – Ian Kenny (Birds Of Tokyo, Karnivool)
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Broken Stone Records & Remote Control Records are pleased to announce the return of Sydney’s Magnetic Heads. After a sizable pause, Des Miller has reignited the project and shared new single and video for ‘The Street’.
‘The Street’ is a cheery pop banger with streaks of melancholy running down its face. “It’s about the alienation we’ve all experienced. When COVID came around the song took on a very literal meaning,” Miller says. He holds out hope, “I’m so enamoured by the possibility of community, our capacity to assemble. It’s why we love theatre, live music, dancing. Despite my moments of despair, I’m a tragic optimist.”
‘The Street’ film clip was shot in cinematic 4K by director Andrew Lancaster (keyboard player for Custard). The clip sees an inquisitive and creative little boy meet a lonely soul (Julie-Ann Long) living in a caravan. “We worked with a really cool kid, Billy Westbury. His dad has a hobby of painting miniatures, Billy is a dancer. We put a fantastical realist lens on their life, It’s about an unusual friendship.” he says, zooming out from 2020, the most unusual year of all.
The Magnetic Heads project has laid dormant since 2012. Back then the five-piece group happily disseminated a bright, jangling 12 string guitar sound that cherrypicked from Talking Heads, Echo and the Bunnymen and The Smiths.
“I did a solo record and wrote two EPs with Magnetic Heads in 2007. We did a bunch of touring and festivals and then our attempts at recording more music disintegrated.” Family and life got in the way and getting five people together in the same place became almost impossible.
But a few years down the track there was still the issue of unrecorded Magnetic Heads songs tugging at his shirt. Enter Liam Judson, chief songwriter and production whiz of dream-pop soul-mates Belles Will Ring / Lewis Goldmark. “It’s been a long time coming with Liam,” says Miller.
Together they holed up in Judson’s Sonic Funhouse home studio in bushy Blackheath near the top of the Blue Mountains, determined to dust off some unfinished recordings from previous sessions in 2015, some demos and lyrics from as far back 2009 and bring new ideas into high-res. Things had to be put on hold again as bushfires tore through the area. The pendulum of time swung back their way and the result is ‘The Street’ and a forthcoming Magnetic Heads’ debut album to come in 2021.
Stream/download Magnetic Heads – ‘The Street’ via https://magneticheads.lnk.to/
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“Australia’s emerging rap force” – Clash Magazine “Setting himself up as one to watch” – Rolling Stone “Undeniable skill and diversity” – Sniffers |
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Today, Australian rapper Phi11a releases his new single, ‘Dirty Dancer’, co-produced by U.S. super-producer Scott Storch (Beyonce, Dr. Dre, Roddy Rich, Megan Thee Stallion). The up and coming rapper seamlessly glides over an infectiously sexy beat and delivers a hook that perfectly marries the co-melody in the chorus.
“Scott was one of the humblest dudes I have ever met, his genius was apparent from the moment I met him,” remarked Phi11a on working with the illustrious producer. With his flow and lyrics written in 5 hours the day before recording, the rapper admits to having some nerves before laying the track down at the well-known producer’s house. “I wrote this song in 5 hours the day before we recorded it and all I can remember was the nerves, but nerves push you to give your all.”
The single follows ‘Witness’, the second single from the Australian rapper which features emo-trap icon, Trippie Redd. The release went onto amass 3m streams and receive praise from Clash Magazine, NME, Rolling Stone, TRVP, Mixtape Madness, Sniffers, Montreality and the biggest hip-hop blog on Instagram, RapTV. The official video for the track was also premiered by U.S. hip-hop tastemakers, Lyrical Lemonade.
Phi11a announced himself in September 2019 with his debut single ‘Overdose’ and ‘Sad Cowboy Shit’, a 4 track surprise mixtape, produced by U.S. producer, Jimmy Duval (XXXTentacion, Lil Pump, Ski Mask the Slump God and Rich The Kid). For ‘Overdose’ the inner west Sydney local worked with Atlanta producer Supah Mario (Drake, Young Thug) and was praised by Triple J, Acclaim and even received shout outs by the likes of D12 and DMX.
With ‘Dirty Dancer’, Phi11a continues to show tremendous versatility when it comes to his lyrical approach, something that only further cements him as one of the most exciting hip-hop voices to come out of Australia. |
‘DIRTY DANCER’ IS OUT NOW
VIA DEF JAM RECORDINGS ANZ
FACEBOOK | TWITTER | INSTAGRAM | TIK TOK
SPOTIFY | APPLE MUSIC | YOUTUBE | SOUNDCLOUD
Hey guys, welcome to The Partae! Congrats on your ‘Wonderland’ release, your Kindisch debut. Where did the inspiration for this track come from?
T : Hey Partae, thanks for having us. Thank you so much, we’re super excited about this release. We love the track, the remixes and the label. We can’t be happier.
P : Regarding this track the inspiration came last year when I was watching a western movie. I can’t remember the name of it but I still remember the guitar loop. We did the track in 1 day or 2. We had this guitar sample and we wanted to use it like an endless riff that stuck in your head.
And there was born Wonderland and its unstoppable melody.
Where did you write it and what key gear did you use? Did it come together naturally?
T : We produced the track in our old studio in Paris. (We are now based in the countryside of France). We used the Korg minilog for the lead which appears on the main break. The bass was done on our ‘best friend’: the Moog Little Phatty. Finally, we use our singing talent to do the voice; that was a challenge because we’re not Adele.
You’ve got Maga and Carlita on the remixes, how do you know both of them? And why did you pick them for this release?
P : When Kindisch approved the track, straight away we wanted to do 2 remixes with 2 different vibes. We chat a lot with Carlita since the Abracadabra party in Tulum in January 2020. We love her style and her energy when she’s playing and we know that she produced very good tracks like Love Wins or El Rithmo del Tambor. It was quite logical to have her on board, and we love the remix she did for us.
T : We met Maga at the party in Tulum too (parties there are the best:)). We wanted him because he has such a great vibe on his productions. He knows how to build a track perfectly. His remix is amazing too.
With him and Carlita it’s THE dream team for us 😉
Generally what’s your structure in the studio, do you always work well together writing music? Or how does it normally flow?
P : We’re doing most of our stuff together. We like it that way; it’s like a good ping pong match, I bring an idea, he brings one too. But lately, due to covid, we’ve had to start almost every new project alone and then we finish or edit together.
T : It’s like an ‘E-ping pong’, but we’d rather be together when it’s time to produce.
You’ve been perfecting your live set, and recently did the incredible stream at a UNESCO site in France to raise funds for Bye Bye Plastic, the set up looks incredible! When did you switch to live, and what do you think the benefits are with live versus DJing?
T : It was one of our goals since day one. We always wanted to perform live. At our debut we had not enough equipment, then we were running out of time to really work on it. Actually it takes so much time to prepare for a whole live set!
P : I’m the musician of our duo, and for me it was so important to play live. For me, it’s what performing should be. I love to DJ, building a set during a party, but live is more challenging and brings a new dimension to our music. Wonderland for example was so powerful live.
What’s next on the horizon for you guys?
P : Many things from a production point of view: 2 remixes are coming out before 2021 on Cosmic Awakenings and Wayu, and for 2021 we should have 3 new EPs and remixes too.
We also want to work on a new live show asap. It’s like a drug now! 😉
Chambord’s ‘Wonderland’ EP is out now on Kindisch. Get it here: https://kindisch.lnk.to/KD182
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‘I Shake That Ath’ is yet another eclectic, perfect sample-heavy pastiche of early-to-mid 2000s and 90s references from Deaton, all pieced together with a gleeful sense of impishness and a radiant positivity. With tinny, programmed percussion, a blown-out beat, and high, cutting synths, ‘I Shake That Ath’ recalls early noughties club-ready hip hop as Deaton Chris Anthony dispels with the insecurities of knowing people are talking about you and embarks on a journey of self-love and celebrating successes. The release follows previous singles, ‘I Love All My Friends’, Deaton’s ode to how impeccably dressed his friends are, and the UK Garage-indebted ‘Tuethday’ featuring Baby A.
Of the track, Deaton Chris Anthony shares: “I Shake That Ath is a cheeky track for the haters. The notion when you’re at your “All Time Highs”, all haters can see is that phat ath. Sonically set in 2007 with a “Boogy Woogy” Chant that is as healing as it is groundbreaking. This empowering song, finished during Quarantine, functions as a positive response to the beginning of a new decade. 2020; It’s all about shaking it off and moving forward to All Time Highs.”
The Boogy Woogy is a collection of dance tracks incepted during OG BO Y sessions. Finished throughout quarantine with the help of Deaton’s biggest inspiration, his bunny Boogy. The album reincarnates past-eras bounciest sounds. Short and sweet structures that fit snug within 15-second selfies. The perfect progression of DCA’s rave anthems, ‘RACECAR‘ and ‘1999 She‘. Boogy Woogy shows growth, learning from the past, moving forward to the future. Imagine Deaton in the year 2002 thinking, “I wonder what music in 2020 would sound like,” he then makes an album and calls it Boogy Woogy.
Working across fashion and music, Deaton Chris Anthony is a post-internet age artistic polyglot fluent across multiple mediums, a kind of start-up Tyler, the Creator for a generation that favors open authenticity and boundless creativity. His DIY approach to fashion and music share a common DNA: slicing up and repurposing old materials into something entirely new and wholly his own. Having previously collaborated with like-minded artists Clairo, Omar Apollo, UMI, Jean Dawson and winning praise from Vogue, The FADER, Billboard, The New York Times, Ones to Watch, and others, Boogy Woogy is set to be Deaton Chris Anthony’s first since his breakthrough 2019 album, BO Y.
Known for his engaging and heartfelt live shows, DCA is also thrilled to be teaming up with JADU, an iOS app that lets fans record performances alongside 3D holograms of their favorite musicians and influencers. The next-best-thing to a show during these socially distanced times, stay tuned for more details on how to JADU with DCA.
The Boogy Woogy EP by Deaton Chris Anthony is out now, buy/stream it here.
Stay connected with Deaton Chris Anthony:
Instagram | Facebook | Twitter | Website | Youtube
What is your name and role within LIMBS?
Hey I’m Austin and I sing in LIMBS.
Where are you currently based? And how did LIMBS form?
I’m currently based in Tampa, Florida, as is one of our other members, Tyler. The rest of the band lives in northeast America (two in Connecticut and one in New York). At one point all of the members still lived in Florida when the band branded to LIMBS in 2014.
What’s been happening recently and how has your COVID experience been so far?
Being in quarantine has been challenging to say the least, but thankfully I’ve still been able to do a few of things I love other than music like go surfing, fishing and learning new recipes. I absolutely love to cook and all this down time has allowed me to try new ideas in the kitchen and perfect some of my favorite home cooked meals.
You have just dropped a surprise EP called ‘Only The Lonely Know’, what influenced the sound
and songwriting behind this release?
I’m so excited to share this EP with everyone. We wanted these songs to be a representation of us at our very best as musicians. We were able to collectively write these tunes together, having a unified theme of going heavier and a little darker than our previous releases while still retaining catchy post-hardcore influenced choruses that hopefully get stuck in your head. 🙂
Where and when did you record/produce and who with?
This EP was a massive collective effort: starting with Jordan, Tyler and myself recording most instruments and vocals with our friend/producer Matt Johnson in Florida. From there, our drummer Joey teamed up with engineer Nick Bellmore to track drums in Connecticut. After all instruments were tracked, the songs were sent to our man Sam Guaiana in Toronto, Canada to work his magic in producing and mixing. And FINALLY, from there, the EP was sent to Mike Kalajian in New York for mastering. Writing and recording an entire EP between multiple states and countries remotely and on COVID lockdown was one of the most tedious but insanely rewarding experiences ever. I’m so thankful for everyone who had a helping hand in bring OTLK to life and I couldn’t be prouder of the results! The summer of 2020 was a wild ride but in the end, we came out with what I feel is our best material to date.
How did the concept for the releases’ music videos come about?
Our bassist, Chris, is a videographer and is also our visual/social curator. He took the themes from our EP and created the visualizations accurate to lyrical content.
Who are you listening to at the moment?
Currently I’m listening to the record ‘tryhard ‘by The Band Camino on repeat. It’s just a flawless album front to back.
What do you like to do away from music?
Away from music, most of my time is spent going on surf trips, antique shopping with my wife and working on boats.
What’s planned for the remainder of 2020 going into 2021?
It’s still too up in that air to know for certain. Obviously we’d love to be touring again but people’s safety through the pandemic is top priority. Guess we’ll just have to wait and see.
Favourite food and place to hangout?
Favorite food: Yellow Curry with chicken // Favorite Place to hang out: the beach!
Crocodylus are stoked to announce the Social Climber tour, hitting venues across NSW in November and December. They’ve also gifted us with a new single/video “Camouflage”, out today via Bargain Bin Records!
Boasting a classic Crocs feel, “Camouflage” is another tantalizing appetiser before the main course arrives in 2021. A ditty about a recurring eye infection and retreating from the world out of self-consciousness, “Camouflage” takes its cues from some of the punk rock greats. The accompanying video is the kind of cooked hallucinatory dream one has after isolating from the world for far too long and there’s a lot of skin-on-skin that will leave you screaming in these pandemic times…
Frontman Josh Williams elaborates: “At the start of each year I get this eye infection and that’s the time I know I need to hibernate to get better. So that’s what this song is about, an eye infection. I get kind of embarrassed, as you can tell from the opening lyrics ‘Don’t wanna be seen’. I hummed the song in my head at work and wrote it on guitar as soon as I got home. We then had a producing day with Owen Penglis and tightened the song up a bit. It’s influenced by such bands like The Saints, The Damned and The Clash maybe just not as cool.”
Jumping in the van next month to launch their Social Climber / Camouflage 7” (also out today!) the trio will bring their wares and a couple of new tunes from their forthcoming debut album to venues in Wollongong, Sydney, Byron Bay and Newcastle.
The Social Climber tour also marks their first proper run of dates since the pandemic put a halt to live music earlier this year. After a massive start to 2020 that saw Crocodylus selling out shows across the country, the band were only just getting warmed up until, well, we all know how the story of this year goes. Crocs haven’t been completely out of commission though, they managed to sneak in some socially distanced and very sold out live shows back in August. And don’t let the seated format fool you, the trio still slayed back-to-back sets with Monster Children witnessing the spectacle, saying “Croc boys tore the house down, rebuilt it, and tore it all down again.”
Released last month, “Social Climber” (the single) is Crocs most affecting song yet, revealing a new side to the band that was completely welcomed. The single premiered on triple j’s Home & Hosed and earned a perfect score from host Declan Byrne, rightly declaring, “Crocodylus have nailed this one”.
Tickets for the Social Climber tour are on sale now and we expect them to be snapped up really quick, so don’t wait.
CROCODYLUS SOCIAL CLIMBER TOUR
TICKETS ON SALE NOW VIA CROCODYLUSBAND.COM
Friday November 20
Wollongong Uni Bar, Wollongong
Tix here
With Lincoln’s Gold
Saturday November 21
Oxford Art Factory, Sydney
Tix here
With Misty Lanes
Thursday December 3
The Northern, Byron Bay
Tix here
With Flying Machine
Saturday December 5
The Cambridge Hotel, Newcastle
Tix for the 6pm show here
Tix for the 9pm show here
With Fungas
CROCODYLUS – SOCIAL CLIMBER / CAMOUFLAGE 7″
LISTEN / BUY HERE
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With each release this year, Triple One have consistently demonstrated their cross-genre versatility and dexterous flow, and on ‘Sunshine’ the group return with their most infectious crossover effort yet. Already a live favourite with Triple One punters over the past year, the vibrant ‘Sunshine’ now sees an official release. Riding over a surprising soulful sample from gospel group The Dixie Nightingales, this new single is a sultry pop-laced offering from Triple One, chronicling young love and the fast-paced chase of courtship. Billy Gunns dabbles in sample-based production for the first time, with the hook carefully tweaked and nurtured since 2017.
“We’ve been holding onto ‘Sunshine’ for a while now, just waiting for the right time to release it, since we all feel that it’s such a special song,” the group says. “Ever since Marty heard the original song by The Dixie Nightingales, we knew that we could flip the sample into something of our own. The last Panic Force singles have touched on our emo roots a lot more, and with ‘Sunshine’ we wanted to show our progression with pop sounds, but still make it sound hard as nails.” The result is a single doused in feel-good electricity while retaining the bittersweet undertones that keep Triple One‘s versatility alive.
The release of Triple One’s long-awaited debut LP follows three EPs and a torrent of standalone singles that have catapulted the foursome from underground buzz act to garnering national and international acclaim, including lead single ‘Loverose‘, their ARIA Gold-certified anthem ‘Butter‘ and radio favourites ‘So Easy‘ and ‘Handyman‘. Triple One‘s notoriously chaotic live gigs include a sold-out national tour in 2019, and show-stealing sets at Listen Out, Hidden, and Falls Festival. Along the way, they’ve impressed and surprised with their insatiable, all-consuming appetite to continuously venture into uncharted artistic terrain, and a rebellious desire to constantly fold new sounds and textures into their brand of unbounded, unclassifiable hip-hop.
ABOUT PANIC FORCE
Panic Force pushes that sonic envelope even further, offering the chance to watch one of Australian hip hop’s most versatile outfits apply themselves to a full-length project. Traversing thrilling peaks and pitch-black lows, Panic Force is a triumph of raw reflection, acknowledging our flaws and all the things that ultimately make us human. Set against the backdrop of a planet in physical and moral decay, Triple One’s debut sees the foursome deliver 12 tracks that highlight their signature diversity while also pushing them, lyrically, conceptually, and sonically, into new territory, exploring themes of relationships and escape, temptation, the hubris of man and much more.
‘Sunshine‘ by Triple One is out now, buy/stream it here.
TRIPLE ONE
PANIC FORCE
30 Oct 2020
Pre-order here.
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