October 2020

Prolific songwriter M. Ward has announced his new album Think of Spring today, a collection of songs originally recorded by Billie Holiday – a muse to Ward and many others. To be released via ANTI- on December 11, listen to the first track “For Heaven’s Sake” HERE.

“It still feels good to invent new guitar tunings and use them to help deconstruct old songs,” M. Ward said.  “Billie Holiday’s “For Heaven’s Sake” in a modified open B.”

Ward achieved the intimate sound of this record by filtering the original songs and strings through a single acoustic guitar, using various alternate tunings and a minimal amount of textures and studio manipulation. Most of the songs were recorded on an analog Tascam four track. The title Think of Spring comes from a poem written in 1924 by Jane Brown-Thompson that eventually became “I Get Along Without You Very Well” in 1938 – the first song on the record.

“I first heard [Billie’s album] Lady In Satin in a mega-shopping mall somewhere in San Francisco,” M. Ward explained. “I was about 20 years old and didn’t know much about Billie’s records or her life or how her voice changed over the years. Anyway, the sound was coming from the other side of the mall and I remember mistaking her voice for a beautiful perfectly distorted electric guitar – some other-world thing floating there on this strange mournful ocean of strings and I was hooked for life.”

In April of this year M. Ward also released his critically acclaimed tenth studio release and first for ANTI-, Migration Stories. Recorded at Arcade Fire’s Montreal studio, the collection is languid and hazy, blurring the lines between reality and fantasy as it reckons with a world that feels more divided than ever before, even as its inhabitants grow more inextricably linked by the day. “The relaxed pacing, Ward’s intimate vocals and tips of the cap to Hank Williams, Elvis Presley and the sounds of the West give the album a decidedly nighttime atmosphere, a drizzle of starlight that settles gently on the ears and the mind,” said Associated Press. “The intimate atmospherics, along with Ward’s storytelling acumen, make it an album practically designed for deep listening rather than skipping around to the singles,” added The San Francisco Chronicle.

SUPPORT FOR ‘EMPTY HANDED’

“It’s a song that encapsulates Trace Decay and their brilliance in a tidy few minutes, showing that aforementioned drive for evolution and growth as they mix together a wealth of washed-out and dreamy guitar melodies with the vocals of Jordan De Pas.”
– Pilerats (AUS)

Melbourne-based indie-pop duo Trace Decay have just returned with their endearing new single ‘Empty Handed’ – produced by Edvard Hakansson (IV League, Jack Grace) and mastered by Malcolm Besley (Northeast Party House, Slowly Slowly, City Calm Down).

‘Empty Handed’ opens with captivating backing vocals, dreamy guitars and snappy percussion, before the introduction of lead singer Jordan De Pas’ commanding vocals. The technicolour choruses help propel the track through crescendo and deft instrumentation, rounding out an elegant slice of notable indie-pop.

Jordan talks about the meaning behind ‘Empty Handed’:

“I wrote ‘Empty Handed’ when I was going through a period of transition and was uncertain if I was on the right path to improving my own mental health or making it worse. I was holding myself to double standards and constantly second guessing everything. It got to the point where I almost felt paralysed when I had to make a choice about anything as the fear of getting it wrong would haunt me. The verses are about me struggling with being in that unshakable mindset, trying to find answers anywhere. The chorus of this song was the last thing that was written as I was so stuck with where it should go. 

The songs themes had reared their ugly head and started to manifest in the songwriting process. At which point I realised I should just write about acknowledging that this is a thing and not worry about trying to find this magical resolution which I so desired. Probably one of my favourite lines I’ve ever written is the last line in the chorus which encapsulates my experience of self-doubt and crippling anxiety perfectly.”

Previous releases have been widely embraced by Australian radio stations triple j, triple j Unearthed, 3RRR, 4ZZZ, Edge Radio, PBS FM, Radio Adelaide and Aussie Music Weekly. They’ve also seen support from online blogs Music Feeds, Trouble Juice, The AU Review, Something You Said and The Soundcheck. Their most recent single ‘Photobooth’ was even featured on the new ABC iView show Retrograde.

The two-piece have sold out headlining shows in their hometown and supported the likes of Art Vs. Science, San Mei and Shag Rock. When they aren’t writing pop hits you can find them either running music festivals in Queensland (Arcadia Music & Arts Festival), managing up and coming Melbourne artists (IJALE + Quiet Blue) or studying at university.

In the coming weeks, Trace Decay will reveal an accompanying music video for ‘Empty Handed’.

‘Empty Handed’ is available worldwide now

FOLLOW TRACE DECAY

“Truly love Danika Smith’s brand of soulful folk. Dark and curious, it moves you with its textures and complexities driving a sense of wonder and makes you feel the true weight of the armour she sings about pressing down on your Soul.”
– Nkechi Anele, triple j Roots ‘N’ All

“Suit of Armour may be Smith’s debut as a solo artist, but the song reflects an artist with a captivating confidence both in her writing and delivery” – Evan Crandell, Indie Shuffle

“Smith’s voice brings the listener into her world without subjecting them to the constriction at the heart of the song.” – Shana Hartzel, Swelltone (US)

Melbourne’s Danika Smith has been weaving raw, timeless folk with supple jazz and soul undertones long before she made waves with her debut single of 2019. Danika’s thoughtfully packaged tunes explore tender topics of love, loss and growth through honey stick melodies and charismatic satire. But something’s shifting. It’s 2020, where women in music are being recognised and supported, so she feels it’s time to get experimental. Folk is heaven, no doubt, but curiosity, desire and the inner groove has unavoidably begun Danika Smith’s metamorphosis. Enter ‘Sweet Mellow D’, with the worldwide premiere last weekend courtesy of renowned broadcaster, DJ and record collector, Gilles Peterson on his BBC6 radio show. Out today via Ditto, the arrival of ‘Sweet Mellow D’ marks the second of two tracks to be lifted from Danika’s anticipated debut album due for release in early 2021.

Following from the success of Danika’s debut single ‘Suit Of Armour’ last year, ‘Sweet Mellow D’ expands on Danika’s already established and singular sound, branching further into sprawling atmospheric, soulful folk with purposeful, rhythmic storytelling. Co-produced with Grammy nominated engineer Nick Herrera, and featuring Paul Bender (Hiatus Kaiyote, Swooping Duck) on bass and Maria Moles (On Diamond, Jaala) on drums, ‘Sweet Mellow D’ marries lilting guitar plucking with soulful siren vocals and haunting production in a stunning example of Danika’s impressive musicianship and sheer breadth as a budding artist on the rise.

“Sweet Mellow D feels like a song of recognition of my personal growth. I believe we all have to go on a journey of healing within our lifetime. One of unlearning and relearning, in order to truly know ourselves and to live a life that is fulfilling and meaningful. ‘I feel like I’m only starting to know myself now’. The day this song was inspired, I was sitting there with the nylon on my lap, and I felt mellow and content. I thought about those swirling years of pain and confusion in contrast to the peace, and so I put it into song, with deep gratitude to the power of music.” – Danika Smith

Since moving to Melbourne in 2014, Danika Smith has become a staple of the local music scene, laying down tracks with 30/70, TomGirl and Allysha Joy and touring nationally. With her solo project, Danika has performed at Strawberry Fields, Brunswick Music Festival and PBS FM Drive Live and has graced the stages of a plethora of Melbourne music venues including The Night Cat, Colours, The Evelyn, The Gasometer and The Penny Black among others. Her debut long play is set to be released in early 2021 and brings together a cohesive and cathartic body of work, carefully curated over the past six years. You won’t want to sleep on it.

‘Sweet Mellow D’ is out now via Ditto and a limited run of 7″ including ‘Sweet Mellow D’ (SIDE A) and ‘Suit of Armour’ (SIDE B) are available via Northside Records and Danika’s Bandcamp.

Credits
Written by Danika Smith
Produced by Nick Herrera and Danika Smith
Recorded and Mixed by Nick Herrera
Mastered by Lachlan Carrick
Guitar/Vocal – Danika Smith
Bass – Paul Bender
Drums – Maria Moles

Danika Smith Facebook Danika Smith Instagram Danika Smith Spotify Danika Smith Bandcamp

 

In 2014, the world discovered French producer Feder, along with his single “Goodbye (feat. Lyse)”.  When the record first initially released, it topped the European charts before becoming a worldwide hit in just a matter of a few weeks. The single reached #1 on iTunes in over 20 countries and became the 50^th most tagged song on Shazam in the history of the platform. Upon its arrival to France, “Goodbye (feat. Lyse)” ranked at #1 in the Spotify Viral chart and spent 7 weeks at #1 in the Shazam chart (the record for the Year 2015).

Six years later, “Goodbye (feat. Lyse)”made an appearance on TikTok, where a new generation repurposed the track by making it more down tempo. This version inevitably went viral on the platform, with more 600,000 users using the sound in their ‘challenge’ videos. One user’s video in particular has already accumulated 25 Million views! As a result of the TikTok videos, “Goodbye (feat. Lyse) [Slow Version]” entered the Global Shazam chart at #31, giving the single a second life across the globe.

CONNECT W/ FEDER

Canadian electro/progressive gender-fluid star Velvet Code collaborates with multi-platinum producer FORD on the incredible new version of the artist’s previous hit single ‘Break The Silence’, combining the might of their production talents with an earworm of a vocal and a deliciously unusual rhythm. This new version is a Halloween-inspired spookfest, taking a darker tone than the bouncy original — which picked up over 2 million streams since its release in 2019.

The track is released on Velvet Code’s very own label, SO FIERCE MUSIC. The inclusive label focuses on equality, diversity, and creativity and is truly starting to create a movement already. The label head itself produces a variety of ‘80s and ‘90s-influenced progressive and electro house, and counts over 2 million streams for Velvet’s album ‘Dreamer’ as well as a Billboard Dance Chart Top 30 for the single ‘Mary Offered You Ladybugs And Love Yous’.

FORD, who is transgender and non-binary, counts nearly 400 production credits to its name, including an incredible 56 Billboard hits and multi-platinum sales and streams awards in the process. Aside from producing for artists including Michael Jackson, Ludacris and Rob Thomas, it is also an acclaimed artist in its own right.

The intro teases you with an almost hardstyle-esque array of tough percussive hits and twisted electro blasts, leading on to a 4/4 kick thumping away under the swinging triplet rhythmic feel. The chorus lays on heavy ‘80s vibes with big synth chords and arena-style refrain, getting those hands reaching skyward. The arrangement strips back down instead of exploding into some OTT drop, and is all the more powerful for it. With a song this strong at its heart, a spacious production is needed to let it breathe, and this duo have found the perfect sweet spot between intensity and airiness.

Velvet Code – ‘Break The Silence’ feat. FORD is out now on SO FIERCE MUSIC

CONNECT WITH VELVET CODE

Today, Australian photographer David Herington shares his new zine, Stage Right. An ode to the live music scene, the book contains photographs and stories from the regional-based photographer and tour manager/guitar tech including behind the scenes, never seen photographs of Skegss, Dune Rats, DZ Deathrays, and more.

Figuring that concerts were already being photographed by lots of photographers in pits all around the world, Herington wanted to capture a side of touring that wasn’t seen as often but makes up a large portion of a bands time on the road – the driving, the waiting, and the ups and downs of touring that are often left undocumented.

The book contains the last live photograph taken at a DZ Deathrays show in Australia before the restrictions were in place. Herington shares, “When physical distancing put a pause on live music it was a very strange feeling. There is a photograph of DZ Deathrays in the zine that shows the drummer, Simon, standing on his kick drum and waving goodbye to the audience. This was in Canberra on March 13, 2020, and we were supposed to be at a festival in Sydney the following day but that was canceled due to COVID-19 concerns. The photograph is poignant for me because it was the last time any of us were able to do what we love and the wave goodbye feels fitting.”

Detailing some of the darker and more humorous sides of touring through diary entries throughout the book, Herington shares stories of assault rifles in mysterious Slovakian vans to blood-stained hotel rooms and on-stage vomit buckets whilst also reminiscing on the sweeter side of touring. He shares, “I think the biggest lesson I have gained while touring is regardless of where people are from and what their situation is, music has the ability to bring people together in a very special way.”

Stage Right by David Herington is now available to buy here.

Front cover taken of Shane Parsons of DZ Deathrays at The Tivoli, Brisbane (2019)

Stay connected with David Herington:
Instagram | Official Website