NSW based, multi-instrumentalist Miller Roberts delivers a lush homage to Fleetwood Mac’s Rhiannon – set for worldwide release on Friday 26th August 2022. Available on all platforms, the single is reimagined with Miller’s effortless vocal timbre and longtime musical collaborator Jackson Barclay’s airy and light-as-a-feather instrumental. The pair present a thoughtful, indie-folk / dream-pop version of the classic, that is both vulnerable and unguarded, while equally confident and self-assured.
Miller’s Rhiannon follows the release of her sophomore EP ‘All the things I could never say’ in 2021, and her live version of EP single ‘Bad Habit’ on Mahogany’s acclaimed Live Sessions earlier this year. Supported by industry and audiences alike, Miller Roberts has been featured across national tastemaker station Triple J, and on local and international publications including Earmilk, Happy Magazine and Music Crowns. As an independent artist, she has also garnered incredible support across Spotify and Apple Music streaming platforms featuring on multiple editorial playlists including New Music Friday, Coffee & Chill, Office Stereo, Indie Arrivals, Chilled Afternoon, Chilled Waves, Equal AU/NZ, Self-Care, Mellow Days: Apple Music Pop and Chilled Acoustic: Apple Music Acoustic; gathering over 5 million collective streams.
Photography: Juan Castro – Words: Chris Brooks
DJ Diesel, hit the decks at a one off exclusive club gig at 170 Russell in Melbourne on Wednesday the 24th of August, 2022.
Presented by Lucky Ent, Shaq blew the punters away with a night they’ll never forget.
DJ Diesel was supported by Balaram, Big Boss, Chenda, Miicha & Ryscu.
From 13-16 October, Central Victoria’s biggest music conference returns for its second year, bringing together Victoria’s regional and Melbourne music communities for a host of panels, workshops, networking events, and a youth program.
Held on Djarra Country in Castlemaine, the conference sessions cover a myriad of topics and play host to an extraordinary array of music industry professionals including artist managers, booking agents, musicians, academics, activists and more.
The conference kicks off in style at The Taproom on Thursday 13 October with a launch of television and radio broadcaster Myf Warhurst’s book The Time of My Life – described as “a captivating and joyous memoir of wisdom, humour and heart that unleashes the music within us all”. Join Myf in conversation with Gold Sounds Director Fionna Allan, as she shares funny, fabulous and occasionally fraught tales.
Friday 14 October sees the event move to the Phee Broadway Theatre in the centre of Castlemaine. Conference programming will feature sessions on mental health wellness, music and activism, regional festival and venue programming, opportunities and tips when applying for grants and funding, and a session on creative collaboration.
“As our industry recovers from the last few years, focusing on how to look after our own and other’s mental health is as important as ever. Coupled with sessions on how grant funding organisations work, how regional festivals and venues are programmed, and the desire to make important work, either solo or with others, Friday has something for everyone,” said Ms Allan.
On Saturday 15 October, the focus turns to songwriting copyright and licensing, community radio, marketing and PR and youth-focussed events programmed in direct response to young people. Saturday will also feature a special Yarning Strong panel from Support Act, focussing on breaking down barriers for First Nations artists, including guests Mitch Tambo and Dallas Woods.
“The conference panels are a great opportunity to hear about the journeys of a diverse group of industry legends, from the lessons they have learnt over the years to where they are heading. The Yarning Strong session has Dallas Woods returning to the conference again, sharing his knowledge and experience alongside other talented and passionate First Nations people ,” said Ms Allan.
On Sunday 16 October, musicians take centre stage as songwriting clinics featuring Cash Savage another yet to be announced, held by APRA AMCOS.
“Having an esteemed songwriter like Cash Savage share their knowledge and sit with our local musicians to create something together brings us back to the heart of what we do – producing great music. These sessions are supportive, inspiring and a great springboard for budding songwriters to take that next step,” said Ms Allan.
Gold Sounds Music Conference will also feature music interview training and other practical sessions.
Tickets are on sale Thursday 1 September, 2022, via the Gold Sounds website.
Last year’s inaugural conference featured keynote speeches by industry heavyweights Jen Cloher and Liz Stringer alongside workshops run by two of the region’s biggest stars, Dallas Woods and Jess Ribeiro. Held as Victoria was emerging from lockdown in late 2021, the Conference was delivered as part of Music Victoria’s Regional Music Development program. The inaugural event attracted more than 100 people from the music industry and community across the weekend, and won the Mount Alexander Shire Council Community Event of the Year.
Gold Sounds Music Conference 2022 schedule:
Thursday 13 October:
Myf Warhurst – star of ABC’s Spicks and Specks, SBS’s Eurovision coverage and ABC radio broadcaster and podcaster – launches her book The Time of My Life at the Taproom, Walker St Castlemaine. This event is supported by Northern Books and Shedshaker Brewing. All tickets include a signed copy of Myf’s book.
Friday 14 October:
Identity: The Music, The Mind, The Me
Led by Music Victoria’s Mental Health Clinician/Consultant Bree Chapman-Stewart in conversation with Benny Clark (drummer, Baker Boy), BATTS (Musician/advocate) and Kiwat Kennell (Musician and Community and Project Manager at Music Victoria).
Under the Influence: Music & Activism
A lively discussion including Berish Bilander (CEO, Green Music Australia), Dr Catherine Strong (Associate Professor, RMIT University) and more. This session will also present Green Music Australia’s ‘Sound Country’, a green resource for musicians and the music industry.
Where it’s At: Regional Festival & Venue Programming
With Dina Bassile (Director, Tibi Access/Groove Tunes), Emma Ireland (Director, Chill Out Festival Daylesford / Spring Bliss Hanging Rock), Rebecca Strong (Collective Artists/Fairground Festival) and Justin Rudge (Program Director, Port Fairy Folk Festival).
Follow the Money: Grants & Funding
An informative panel presented by representatives from Australia Council for the Arts, Creative Victoria and Regional Arts Victoria.
Team Work is Dream Work: Working in Creative Teams
A panel discussion about the joy of collaboration with Meagan Loader (ABC’s Head of Music & Creative Development), Alastair Burns (Heart Stop Music – Julia Jacklin/Marlon Williams) and more to be announced.
Saturday 15 October:
Yarning Strong: Breaking Down the Barriers
Yarning Strong is a series presented by Support Act that focuses on First Nations mental health and what it looks like in the music industry. This session will feature guest panellists Mitch Tambo (Artist), Dallas Woods (Artist), Larissa Ryan (Artist Manager/A&R Warner Music) and is led by Cerisa Benjamin (Support Act).
Shout it Out Loud: Marketing/PR: Getting Media Ready & Your Message out there
With Jane Gazzo (TV & Radio Broadcaster/Writer), Emily Kelly (Deathproof PR), Eliza Hull (Musician/Writer/Disability Advocate) and facilitated by Josh Meadows (Artists/MainFM broadcaster).
On the Air: Community and Public Radio
A fascinating discussion outlining why Community and Public Radio is so important, with Meagan Loader (ABC’s Head of Music & Creative Development), Shane Homan (Assoc Professor, Monash University) Richard Moffat (Programming Coordinator, MainFM) and more to be announced.
An Introduction to Copyright & Licensing
With Chris O’Neill, Director – Membership & Stakeholder Engagement, APRA AMCOS – part of the public and youth conference program.
Songcraft: In Conversation
APRA AMCOS presents a fascinating discussion and insight into the process of songwriting Jonine Standish (HTRK), Racquel Solier (Mod Con/Various Asses) and one more to be announced, led by Annaliese Redlich (Neon Sunset RRR, Imperial Leather).
Music Interviewing Skills
A practical session led by music broadcaster Jane Gazzo, this 3 hour session will equip radio presenters and musicians with the skills to undertake great interviews. Presented by the Community Media Training Organisation and taking place at Castlemaine Community House.
With support from The Push, Saturday’s program will include targeted sessions for Young People, curated in response to their direct requests. The sessions will cover topics such as songwriting, touring and more. Details of these sessions will be in the coming weeks.
Sunday 16 October:
321 Songwriting Sessions
A day of in-person collaborative sessions curated by Cash Savage and another yet to be announced, presented by APRA AMCOS. 321 sessions are a fantastic opportunity to sharpen and hone songwriting skills. Participation is by application only. To register your interest, head to the Gold Sounds website for more information.
SOCIAL DISTORTION & BAD RELIGION AUSTRALIA & NEW ZEALAND CO-HEADLINE TOUR GENERAL TICKETS ON SALE NOW!
We are witnessing music history in the making; despite “growing up” in the same scene Social Distortion & Bad Religion have never toured together! Both bands have been excited about the possibility and have worked towards this end for YEARS. Last week the Los Angeles Punk and Orange County Rock n’ Roll legends Bad Religion & Social Distortion announced an Australia & New Zealand co-headlining tour. The tour will kick off on February 15 in Auckland and wrap Wednesday 22 in Perth.
“I’ve been a huge Social Distortion fan for over 40 years, and I guarantee you no one is more excited about this tour than I am. Sick Digital Boys 2023!” – Brian Baker, Bad Religion
“We are really looking forward to this incredible tour with our good friends Bad Religion. It’s been years since we’ve played a show together and it’s about time we take it on the road. Not only are we excited for this reunion, but to also return to Australia and finally hit New Zealand!!! See you all soon!” – Mike Ness, Social Distortion
SOCIAL DISTORTION & BAD RELIGION
WEDNESDAY 15 FEBRUARY 2023 – TRUSTS ARENA, AUCKLAND
FRIDAY 17 FEBRUARY 2023 – RIVERSTAGE, BRISBANE
SATURDAY 18 FEBRUARY 2023 – HORDERN PAVILION, SYDNEY
SUNDAY 19 FEBRUARY 2023 – MARGARET COURT ARENA, MELBOURNE
WEDNESDAY 22 FEBRUARY 2023 – RED HILL AUDITORIUM, PERTH
General tickets on sale now from destroyalllines.com.
ABOUT BAD RELIGION
Aside from essentially defining the California half-pipe punk blueprint, Bad Religion has defied the usual trend shifts or values-ditched ubiquities of the typical punk band storyline. The band morphed along with challenging album after album amid astoundingly consistent touring, retaining their core audience while roping in subsequent generations of anxiously energetic kids.
The band has long settled into the current lineup who have arguably enacted to most muscular Bad Religion ever to grace a stage: Greg Graffin (vocals) and Jay Bentley (bass) join Brian Baker (guitarist since ’94), guitarist Mike Dimkich (9 years in), and drummer Jamie Miller, who’s already been with the band for seven years.
Bad Religion is in an almost singular position in the history of punk. Having formed right on the heels of the original explosion, they led the west coast arm of hardcore’s birth, adding their melodic riffs, zooming harmonies, and viciously verbose lyrical punch to the basic bash of hardcore. Then the band continued to expand their template through the ‘80s and into the indebted “neo-punk” sound of the early ‘90s and weathered the questionable dichotomies of the “alternative rock” era by doing what they’ve always done – releasing explosive album after album to consistent acclaim from fans and critics. They’ve continued to throw songwriting and production wrenches into the works so’s not to bore themselves or their never-diminishing following. Their catalog of releases is extensive, including 17 studio albums, eight full decade-specific performances in their bio-documentary series Decades, and releasing a biographical accounting of their history in 2020 Do What You Want: The Story of Bad Religion.
The band’s rep, as socially aware thought-provokers, can’t obscure the fact they’ve remained one of the most viscerally powerful live bands on the planet, remembering the beats and riffs that get your ass off the couch in the first place.
ABOUT SOCIAL DISTORTION
Mike Ness (Guitar, Vocals) Jonny Wickersham (Guitar) Brent Harding (Bass) Dave Hidalgo Jr. (Drums)
Here’s how you know you’ve made it in the music business: You’ve stayed strong for four decades on your own terms, on your own time, by your own rules, and over that time your influence has only grown. Each of your albums has been stronger than your last. You’ve been brought onstage by Bruce Springsteen, because he wanted to play one of your songs. You’ve seen high times and low ones, good days and tragic days, but every night you give 100%, and every morning you wake up still swinging.
This is the short version of the Social Distortion bio — the long version could be a 10-part mini-series. But over the past 40 years, the punk godfathers in the band have all but trademarked their sound, a brand of hard rockabilly/punk that’s cut with the melodic, road-tested lyrics of frontman Mike Ness. Their searing guitars and a locomotive rhythm section sound as alive today as they did in ’82, as do Ness’ hard-luck tales of love, loss and lessons learned. “The most common thing I hear is, ‘Man, your music got me through some hard times,'” Ness says. “And I just say, ‘Me too.'”
Now in their fourth decade, Ness and Social Distortion have officially done one of the most non-punk things possible: They’ve failed to burn out.
Mixing Springsteen’s factory-overalls ethic with Southern California punk energy and black leather, Social Distortion formed with Ness and high school buddy, the late Dennis Danell, in the late 1970s; the group broke in 1983 with the thrashing plate of punk and displeasure “Mommy’s Little Monster.” Their 1988 follow-up, “Prison Bound,” hinted at a sonic change to come, and by the band’s self-titled 1990 record and 1992’s “Somewhere Between Heaven and Hell,” their sound had solidified into the instantly recognizable brand of rock n’ roll that’s defined them since.
Now, Social Distortion consists of Ness and longtime guitarist Jonny Wickersham, along with bassist Brent Harding and drummer David Hidalgo, Jr.
These days the band is rarely off the road for long, and continues to grip fans who have been around since “Mommy’s Little Monster” while drawing new ones who discover the band through hand-shot YouTube clips. “I see people bringing their kids to shows,” Ness says. “And I see kids bringing their parents.”
Social Distortion is a mix of potent power, appeal across all age brackets and a genuine satisfaction at reaching as many people as they have. “I write songs for myself, and I hope that other people will like them too,” Ness says. “I think every record you make is showing people what you’ve learned over the past few years. It’s showing people, ‘This is what I know.’ “
“Ness is one of the most underrated pure songwriters in rock.” – Los Angeles Times
Where are you currently based?
How did the band form?
Tetsuians formed out of the ashes of a previous band The Wireless, with Andrew Jackson and I (Trent Price), teaming up with Amber Craske on bass. That line-up lasted for two albums.
What’s been happening recently?
The addition of Chris Corvetti (lead guitar) and Luke Guan (bass) has been pretty revelatory. The sound we imagined we could produce with a full line-up was realised almost immediately. It’s a credit to their innate ear for what works musically.
You have a new album on the way which you are launching on Saturday September 3rd @Mama Chen’s Footscray, Melbourne. What do you have instore for this show?
We have Melbourne band Billy Cart supporting us, who have promised to bring some interesting visual effects and undisclosed ‘surprises’, so not to be upstaged, I guess we’ll have to execute some upside-down drum solos. Failing that I’ll probably have to nail myself to a gantry or something.
What influenced the sound and songwriting for this album?
A lot of Supergrass, Wild Flag and Teenage Fanclub. So if you love them you’ll probably hate us.
How did you approach the songwriting process?
It’s become almost clichéd now but 90% of this album was written in lockdown, but I had a pretty serious hospital scare last year which gave me a lot of downtime to hone the lyrics, which in retrospect was kinda useful. I wouldn’t recommend it as a regular writing technique though.
Where and when did you record/produce/master and who did you work with?
This is our second album with Brad Jackson at Supersonic Recordings, who’s been brilliant to work with. One of the easiest guys to work with but he has a subtle way of pushing you to do better, so there’s no risk of getting too comfortable. The album was mastered by John Ruberto at Mastersound. What’s great is that John wasn’t going for overall volume and really focused on bringing out the textures of the recordings. It’s still a punchy record, but it steers away from the current trend towards waking the dead. Streaming has had a massive influence (largely negative) on that type of recording.
Please tell us about the recording process:
We did basic tracking in early 2021, then went away to muse on how the finished product might sound. You always have an idea, but sometimes it’s good to let it gestate and experiment a bit. Being in and out of lockdown meant we had a mixture of home and studio overdubs. We were recording the same time as our mates the Maggie Pills were recording their new album, so we saw a lot of them and got to hear a lot of sneak previews. It’s gonna be sick when it comes out!
What do you have planned for the remainder of 2022 going into 2023?
After our album launch at Mamma Chen’s we’re going to be supporting Grups for their residency at the Tote on September 17. The vinyl for our new album is running a bit late, so while we’ve got CD’s we’re likely to have another special vinyl launch on the next month or so. We’re also in talks about some gigs on the Apple Isle in January so stay tuned…
Who are you listening to at the moment?
‘Cockroach in a Ghost Town’ by Slang and ‘Chomp’ by Pylon.
Favourite food and place to hangout?
If you like chocolate and records, you can’t go past Oh! Jeans Records in Fitzroy. The have the best collection of NZ artists and confectionary you’ll find this side of the Tasman Sea and probably the best coffee in Melbourne. It’s also run by two of the loveliest people you’ll ever meet.
Where are you currently based?
Living in Thornbury, Melbourne. Teaching creative writing in Primary Schools all over town.
Your latest single ‘Red Dirt Angel’ is out now, what influenced the sound and songwriting?
Sonically, much of it came from this world of Australiana bush electronica. I think of Tornado Wallace’s Voices and Hunters & Collectors When The River Runs Dry when I consider the song.
How did you go about writing Red Dirt Angel?
This doesn’t happen often, but it stemmed directly from a dream I was repeatedly having. I was following some faceless person leading me endlessly through the Australian outback and I woke up with the phrase “red dirt angel” on the tip of my tongue. I also like to riddle our music with references to the TV show Round The Twist – Red Dirt Angel includes this line about the Gum Leaf War, an episode set in the bush. These disparate puzzle pieces snapped into place and the song was done in a day or two.
Where and when did you record/produce/master and who did you work with?
In line with this whole Australiana bush theme, we booked Echidna Studios out in Christmas Hills, deep in the bushy hills outside of Melbourne to explore the songwriting, producing it all myself with our live sound engineer Guy Faletolou behind the desk. To polish the songs off in a more realised studio aesthetic, we went to Stephen Charles at The Aviary in Melbourne to approach it through a fresh lens. Our previous albums were produced by sonic wizard Matthew Neighbour who mixed the majority of these songs from LA, and mixed them well.
How did you approach the recording process?
It was all about embracing the essence of the band members. They’re such unique performers, but my fastidious approach to songwriting hasn’t always allowed room for them to shine within the recordings. ‘Smiles of Earth’ was all about songwriting in a way that left room for them to explore.
Please tell us about your new album that’s being released on August 26:
Our previous album New Romancer was a deeply personal collection of songs that were written and recorded in a deeply insular way. A couple of years later, despite the ever-present pandemic, I found myself in a place of spiritual peacefulness. I wanted to write songs from this place. No matter what the subject matter is, Smiles of Earth asks the question of how we can view or experience it from a place of gratitude. How do we celebrate this experience rather than lament it?
You have a massive Tour coming up, where are you headed?
All over the east coast of Australia with a smattering of festivals to bookend the tour.
Any shows that you are particularly keen to play and why?
Brisbane’s a really bright beacon right now. My family’s from there originally. We’ve always been shown so much love up there and it’s been so, so long since we played there.
What can we expect from your live show?
Inclusivity and a lot of love. We’re all such tight-knit friends and it’s often said how much this shows while we play. I like to think that permeates the audience’s experience in such a way that we all feel like friends.
Who are you listening to at the moment?
Vulture Prince by Arooj Aftab has been my album of the year. Pakistani born, raised in Saudi Arabia, lives in Brooklyn. The album reflects that. So worldly and so other-worldly at the same time. Beautiful.
Dragon New Warm Mountain I Believe In You by Big Thief is a smasher. So many songs and all them so profoundly good. I also have a soft spot in my heart for a long-ass title.
What do you like to do away from music?
I teach story and creative writing to children/ teenagers which keeps me reading a lot. I spend so much time in fantasy and sci-fi worlds. That kind of world building just blows my mind every day. Spending a lot of time in the garden these days. Bit of carpentry to keep the dirt beneath my fingernails. Gonzo (band-mate Francesca Gonzales) and I spend a fair whack of time at the nail salon which undoes the aforementioned nail-dirt.
What’s planned for the remainder of 2022 going into 2023?
It’s obviously been an insular couple of years so the plan is just to get out there. Tour Australia, tour America, tour the UK. Tour anywhere that’ll have us, basically. I’d love to make another album next year but we owe the ether many shows before that happens.
Favourite food and place to hangout?
Picante Cafe in North Fitzroy, Melbourne. It’s totally unassuming and I love it for that. I’ve been going there religiously for 10 years. It’s where I return to when my creative page is blank. I like the simpler places, unadorned places. I love sitting at shitty airport cafes for that reason. Something about places that aren’t really trying to be anything else allows for my creativity to flourish. Real world places.
Tetsuians have cemented themselves in the Melbourne/Naarm music landscape with their unique mixture of punchy indie riffs and melodic undertones. A warm indie pop-rock sound that takes influence from bands such as Wilco, Supergrass and Wild Flag.
The bands third album Repairs and Alterations heralds a bigger sound, with thicker licks and refined song writing, set for release tomorrow on the 30th of August 2022.
The band have released a number of singles leading up to the album release, most recently Walk It Off and Shadow In The Sky.
The album launch is scheduled for Saturday September 3rd @Mama Chen’s Footscray, Melbourne
Photo by @crookedgrain_
Following singles ‘Bucket of Water’, ‘Bark All Night’ and ‘Miranda’ (out 19 August), Little Lunch Records is excited to announce the debut album from Renovator’s Delight, Bark All Night.
From a slowly overflowing bucket of water, to peering a little too deeply into the depths of your cup of black coffee; Bark All Night is full of small observations and big pictures. Not too melancholic to lose its playfulness, not too varnished to lose the splinters, Renovator’s Delight’s left-of-centre guitar pop and oddball instrumentation is all about trying to see things more clearly. The album takes a brief stroll through teen angst in coastal morning mist, before tripping headlong into the inner-city cigarette smoke haze of adult heartache — and leaves you wondering if the cracked pavement in-between isn’t where it all makes the most sense.
Bark All Night is out on 26 August, available on 12” vinyl
and digitally through all streaming platforms.
Catch Renovator’s Delight on tour-
FRI 7 OCT EORA/SYD PETERSHAM BOWLING CLUB
SAT 8 OCT MEANJIN/BNE IT’S STILL A SECRET
SAT 15 OCT NAARM/MEL MERRI CREEK TAVERN
In-between writing jangly pop with Meanjin/Brisbane-based band Dumb Things, Renovator’s Delight (aka Madeleine Keinonen) has crafted a melancholic yet playful album of left-of-centre guitar pop that’s just the right amounts of unvarnished and unhinged.