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Klangkuenstler, Mall Grab, AZYR, Charlie Sparks, MRD, SNTS, Funk Assault. Horsegiirl, Dyen, KI/KI, Adiel, Hannah Laing, Kobosil, Kettama and many more
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Terminal V just won DJ Mag’s best British Festival award for 2023 off the back of years of insiders leading events at home in Edinburgh, Scotland. Each one brings 40,000 people and hundreds of DJs together for one of the UK’s most electrifying experiences. Now all that is coming to Croatia and will offer the sort of innovative techno never before seen in the region.
Tisno’s blissful Garden Resort is a natural sweeping bay with beautiful beaches, lush green pine forests and stunning views out over the glistening Adriatic sea. For 5 days and nights it will become a secluded and private adult playground with plenty on offer, from dancing under the sun or stars to adrenaline pumping water sports, unmissable boat parties and late night afterparties. It is also a place to soothe the soul and enjoy relaxing hours spent soaking up the vibes and a fine array of local food and culture.
Your musical journey has taken you from Canada to South Africa and now to Australia. How has each location influenced your sound, and what elements from these diverse backgrounds can be found in your debut EP, “Everything Can Levitate”?
Being able to experience different cultures influenced my music taste, whats popular in each country is different – I’m grateful to be able to appreciate all types of music. I think Hip-Hop has a strong following in most countries, the underground/sub-genres from North America are really present on the EP, new-wave drums, ambient leads and deep 808s.
“Everything Can Levitate” is described as the product of online discovery and collaborations during COVID lockdowns, originating from a Discord Server. How did this online collaboration shape your creative process, and how do you think it contributed to the unique sound of your EP?
A lot of the people I work with daily are producers, being able to watch a song progress from a single lead or vocal melody to a fully mastered version means that there is potential for me to change anything at any point of the process – its made my creative process precise as I can go back in the mixing stage and change/add what I want.
You’ve mentioned that the Discord Server played a crucial role in finding your sound as an artist. Could you elaborate on how the collaborative process in this virtual space contributed to the sonic identity of your music?
People on Discord are making everything, you can go in and listen to someone putting vocals on a indie-pop track or watch someone mix techno drums – being able to experience a lot of different musical backgrounds helps me pick and figure out what fits me the most.
Your debut EP spans three years of sonic self-discovery. Can you take us through the evolution of your sound during this period and how you arrived at the distinctive blend of new-wave hip hop that we hear in “Everything Can Levitate”?
I’ve always been a big Hip-Hop/Rap fan, especially of artists from the U.S/NA.
I started making lofi hip-hop with vocals before figuring out how to sing, then it was all about experimentation – I tried recording on anything and everything and quickly realised that I love the underground sound from the U.S, theres a lot of talented creatives in that space that have influenced me, you can definitely hear this on the project.
Born in Canada, raised in South Africa, and based in Australia, your music is described as grounded in the concept of not being grounded at all – of levitating. How does this idea of levitation play into your creative process, and how does it manifest in the themes of your EP?
I believe its really important to record/write the to whatever resonates with you, even if you don’t release it, its grounded in me that if I like something I should create around it – songs/demos can be as deep or casual as I want it to be, if what I’m creating resonates with me at the time then I shouldn’t hold back, I don’t have to release it I’m just happy I made it. Thats what I mean by levitation, its whatever is in the moment, between up or down.
The EP has received attention and co-signs from notable figures like Young Thug and Denzel Curry. How has this recognition impacted your approach to music, and do you feel any pressure following such endorsements?
So the Thug co-sign is still crazy to go back and watch, thats an artist I’ve been a big fan of since before I started music – the encouragement he gave me was pretty unreal.
Denzel I’ve been listening to since highschool and I love his live performances, think I’ve gone to every one of his sets in Perth, shoutout to Casshan for showing him my music – he’s the whole reason I did an EP in 2023, he said to keep dropping singles and then put together a small project, I got so much out of listening to his advice.
On the question about pressure, yes and no, yes because they are who they are and I respect their artistry and no because there has to be a reason that they said what they said.
Your debut has garnered significant international streaming success with over 3 million streams and a growing fanbase. What do you attribute this rapid rise to, and how do you connect with your audience on a global scale?
I started music because of internet culture, it was only right for me to learn how to market/promote my music in internet culture and thats what I attribute 100% of my streaming success to. Theres over 5 billion internet users, I’m confident I can reach the right people.
“Everything Can Levitate” has been praised for breaking down barriers and delivering a sound that is wholly unique. How do you navigate the balance between embracing diverse influences and maintaining a distinct, individual style in your music?
Back to that previous point of going with whatever resonates with me at the time, I think what makes a lot of artists music “unique” is their vocals, the different way they use it and beat/instrumental selection. Knowing what works for my voice or could work (experimentation) is the most important skill for navigating what I want my sound to be but I think it all goes back to experimenting.
The EP has received editorial attention from Spotify, Apple Music, and radio tastemakers like triple J. How do you think this exposure will shape the trajectory of your career, and what doors do you hope it opens for you in the music industry?
I think Triple J paid a lot more attention to my music in 2023 which I’m really grateful for, the Js and major DSPs have opened a lot of doors for me in terms of awareness and more than ever it just means to keep pushing.
Your single “Veins” won the prestigious Triple J x NIDA music video competition. How did the visual aspect of the music contribute to the overall narrative of the EP, and how important is visual storytelling to your artistic vision?
Visuals have become extremely important to me in the past year, sometimes I feel like its even more important than the song because it can end up being the livelihood of the song. The visual aspect of making music has started to heavily influence my creative process, I’ve started recording and writing with images/video loops on my monitor so that way what I’m making is visually making sense with what I overall want to achieve – you can hear the ups and downs of levitating in the EP because of this.
With the 2023 version of Soundcloud rap being mentioned in relation to your music, how do you see your work fitting into the current music scene, and what do you believe sets your sound apart in today’s musical landscape?
I’m coming to terms with what other creatives have told me, in that my music sounds like a bridge between modern pop and underground hip-hop – I didn’t want to put a label on things at first but overtime I’ve come to love it, it makes a lot of sense with everything that I’m trying to achieve.
Different enough to love and not too different to not give it a chance.
“Everything Can Levitate” is described as delivering the energetic culture of the scene on a silver platter. What can we expect next in terms of your musical evolution, and how do you plan to build on the success of your debut EP?
If I’m being honest, ideally I drop 2 or more projects in 2024 if I’m able. I want to be able to describe my music as “float” music, I think a debut EP around levitation was a good start but theres a lot that I’ve learned that I now want to apply to future bodies of work, I now fully know what I want to do.
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Words: Ken Magno
Photography: Josh Ma
Somewhere between humidity and anticipation, the sweat and nerves started kicking in as we made our way to the Sydney’s 17th Edition Laneway Festival. Discussions leading up to the big day revolved around one question: “Will this be able to hold up a torch to the previous year?” – 2023’s Laneway Festival hosted many great names such as Finneas, Phoebe Bridgers, Joji and the overnight EDM sensation Fred Again, the bar seemed impossibly high to meet, though much to our delight, the atmosphere we walked into was the perfect blend of high-octane energy and on stage theatrics that made even the 34 degree heat bearable.
Walking through the entrance, we were welcomed by a cooling mist spread over the whole outdoor area; hordes of young people clad in their jorts, vintage button up tops and doc martens dancing under the sun showers while the music from the four main halls thundered around the venue. We made our way to the first stop of our schedule, the Everything Ecstatic stag featuring Western Sydney’s very own FRIDAY*, one of Sydney’s hidden gems in the local music industry and soon to be superstar. FRIDAY* has made his way through the ranks of Sydney’s underground scene and proven himself time and time again that he is here to stay. Songs like ‘Beaming’ that were reminiscent of a teenage summer and a surprise guest spot from Dylan Atlantis, another local hero, on ‘Concern’, to a spell binding performance of ‘Radiohead’, the audience screaming “I can’t forget about you – I don’t know if you want me to” as if we had all hit the climax of a 2010’s coming-of-age film. FRIDAY* provided the perfect start to what we knew was going to be an unforgettable day.
We then proceeded to the main stages, Good Better Best & Never Let It Rest, where Aussie Rock legends Vacations & Teenage Dads played back-to-back on the joint stages, filling out the main hall where the two stages were located. Laneway had perfected the art of making sure that there were minimal gaps between sets, and the two bands made sure to keep the crowd up and their feet with Vacations closing out with crowd favourite ‘Midwest’ and Teenage Dads electrifying the stage with ‘Sunburnt’.
Back on the parallel side of the showgrounds, Los Angeles hip hop duo Paris Texas earned the Everything Ecstatic stage name with a bass pounding set. The crowd went – in the most respectful and polite way to say – absolutely feral. Mosh pits were opening up left right and centre, the duo even pushing for more despite the ‘No Moshing or Crowd Surfing’ signs. Even Laneway staff turned a cheeky blind eye at the sight of beautiful musical mayhem that was unfolding to the distortion heavy Californian act.
We then went back into the main hall to catch a glimpse of Cordae, who was bouncing around the stage in his stylish fit, being as humble as ever as he led the crowd through his anthemic rap hits such as ‘RNP,’ ‘Chronicles’, and even a tribute to the late Juice WRLD with their Lyrical Lemonade directed track ‘DOOMSDAY’. He then proceeded to spend some time walking through the crowd after his set, aiming to meet as many of his fans and spend some time getting to know everyone, a rare sight to see with names as big as his.
Over on the Hope Springs stage, the fresh faced D4vd graced the stage. D4vd had grown into his own as an artist with a collection of his songs becoming viral on TikTok, among them being ‘Romantic Homicide’ and ‘Here With Me’, a song that he had enlisted some help performing on stage from his younger sister Emily. The crowd swayed in awe of his energy and talent towards his songs, singing his lyrics at the top of their lungs in unison above the melodic instrumental atmosphere provided by his backing band. Following was a passion filled back-to-back performance from two of the UK’s most notable acts, Raye & AJ Tracey back on the main stages. Raye’s mesmerising vocal runs and energetic pop style was put on full display, with the help from her equally powerful band providing a huge sound that helped match her energy through hits ‘Prada’ and ‘Escapism’. AJ Tracey had sparked the crowd with his dynamic performance, heavy hitting track ‘Seoul’ running through the subwoofers giving the crowd a well needed energy hit as we headed towards the headliners. “Thiago Silver is coming” repeated AJ to the crowd throughout his set, a promise that he delivered with the help of an eager fan from the crowd to deliver an explosive ending.
The sun was setting, and the moment many audience members had been waiting for was finally here. The triple headline had begun, with Dominic Fike taking the Never Let It rest stage with a gigantic display of LIFE Magazine covers filling the screen behind him. Since his last trip to Australia in 2019, coming off his newsworthy Columbia signing and EP Release ‘Don’t Forget About Me Demos’, Fike has released 2 albums that have come to a great reception, whilst also having made appearances of HBO’s Euphoria (Elliot’s Song is a guilty favourite, despite some other fans thoughts) and featuring on the soundtrack of two of 2023’s biggest feature films, Barbie & Spider-man: Across the Spider-verse. With his effortless charm, Dominic Fike made up for the time he had been away, even joking about buying a condo in Sydney. He played his top hits, having the crowd jumping with ‘Antpile’ and his rendition of Paul McCartney’s ‘The Kiss of Venus’, even jumping into the crowds and having a softer moment with his fans during ‘Three Nights’. Though by the end of his set, he proved everyone glued to the barricade from the start of the day in their ‘I Love Dominic Fike’ shirts that the wait was all worth it, closing out with a performance of ‘Why’ that mirrored his Coachella set and set his place as one of the greatest acts that Laneway has seen.
Then as the lights dimmed, a curtain was drawn as Steve Lacy’s familiar drone to his intro song ‘Static’ began to hum through the stage. Lacy then quite abruptly burst into a cover of ‘Killing in the Name Of’, a move that was a welcome surprise to everyone as Steve pranced around on stage in his hoodie and oversized sunnies combo, against all the “take it off” chants happening around him. He then joked around with the audience saying, “I’m so sorry for last night” (in relation to his poorly received Brisbane Laneway performance) and “I’ll never leave you again Sydney”, sounding like a character from his 2022 album Gemini Rights apologising to a loved one that he had wronged, before fittingly heading into his song ‘Helmet’. The rest of Lacy’s set was like a cool breeze through his discography, and to answer the question on everyone’s mind after a certain chart topper was excluded from his previous set, ‘Bad Habit’ finished his performance followed by the song that made its way onto everyone’s 2017 playlist ‘Dark Red’, pleasing both long-time fans and newcomers to his music.
Then the night came to its climax. Everyone’s doubts had been dismissed as UK Grime sensation Stormzy made his triumphant return to Sydney’s stages, accompanied by a symphonic band and backing singers that gave his set just a hint of gospel seeping through the grime beats. As if his performances of crowd favourites ‘Clash’ and ‘Toxic Trait’ weren’t fiery enough, throughout his set he had an astounding display of fireworks, smoke machines and pyrotechnics that gave us an amazing ‘you had to be there moment’, coming to a soft close with his more personal song ‘Blinded by Your Grace Pt. 2’ acting as a false ending, even setting off confetti covering the crowds as they acted as a backing choir to one of his most sentimental songs in his catalogue. The crowd began to slowly disperse, thinking the night had come to an end, until his familiar chuckle could be heard through the speakers along with his infamous tagline. He uttered the word ‘Merky’ with a grin and the goosebumps came, along with the crowd running back like a pack of lions. The instrumental to ‘Vossi Bop’ began and everyone knew they we’re in for a had to be there moment. Sweat dripping off his skin, shirt off and proving to be the larger-than-life persona that he is, Stormzy gave us all the perfect ending to what an amazing festival was already, and through his on-stage presence and theatrics, gave us a moment that is hardly forgettable.
Photo Credit: Liam Riley
WIth their new track ‘Now You’re Gone’, Sydney indie five-piece SLIM JIMZ have returned to remind us that the brilliant sonic potential showcased throughout 2023 was only the tip of the iceberg, when it comes to the music they still have in the tank.
Their first release for 2024, ‘Now You’re Gone’ demonstrates continued maturity of the Slim Jimz sound as their dynamic as both musicians and songwriters has strengthened. Since their debut in 2019, the band has developed a core sound and vision that has been beautifully brought to life across a number of releases, including their Sky Turns Blue EP and 2023’s ‘Enjoy The View’ and ‘25’.
‘Now You’re Gone’ is a culmination of their growth to date, and a refresher of this sound that has endeared Slim Jimz to many around the country.
As the band explains, the song is about “not wanting there to be bad blood after a relationship has ended”. Recorded at The Grove Studios, Slim Jimz worked with Jack Nigro on mixing and Darren Ziesing on mastering.
“Stylistically we wanted to write an emotive song that captured the hardship of reflecting on the ending of a relationship and then choosing to walk away. The process of writing ‘Now You’re Gone in true form, began as a bit of a tangled mess. We seemed to keep writing interesting hooks across different sections and genres that weren’t really connected.
When we jammed the chorus at practice the first time, the attitude of the song instantly formed, however, we just couldn’t figure out how to really make the second half of the song hit hard. We arrived in the studio with a bunch of cool different parts that weren’t so coherently connected, and our producer Jack was pulling his hair out, realising how much work still needed to be done, structurally. He really encouraged us to strip back the song, to just drums at the beginning and for every section to build on the section before it.
By building the song slowly, it allows the second half of the song to really charge. Sonically, all band members have very different tastes in music that really shine in this song. There’s this mix of funk, heavy bass riffs, a big solo and almost punk vocals on what you’d still call an indie-rock track.”
ZEDDIE STRAIGHTLINE, SLIM JIMZ
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Slim Jimz have been met with immense support throughout their career thus far; with a first play for their previous track ‘Enjoy The View‘ on triple j Unearthed Radio, as well as spins from triple j (Home and Hosed), 2SER, SYN, 4ZZZ and many more. They’ve also had the pleasure of rubbing shoulders with some of the biggest names in Australian indie rock – supporting the likes of Rum Jungle, South Summit, Good Lekker and New Zealand band Masaya along the way.
Having enjoyed widespread love from many corners of the Australian music community in the last year in particular, Slim Jimz’s purview has remained on continuing to develop their sound. While initial comparisons to bands like Ocean Alley gave early buzz to the music Slim Jimz were creating, their current output is taking threads of those early influences and weaving them with fresh writing and lyrical perspectives.
2024 stands to be an exciting year for the group, with ‘Now You’re Gone’ being the first of an extended roll out of material to make fans and newcomers alike jump on board.
PRAISE FOR SLIM JIMZ
“If you like Ocean Alley or Rum Jungle, these guys are for you!…This song can really bring home and I love how big they take it! It’s a real anthem that leaps out of the radio.“
Ash McGregor on Home & Hosed, triple j
“these guys sound ready for big stages and adoring fans!”
Declan Byrne, triple j
“Love the tones on this one, all parts come together super nicely. The mix is just great.”
Lachie Pringle, triple j
“You can picture the heat rising off these boys and their instruments after smashing this one out live.”
Dave Ruby Howe, triple j Unearthed
“a gentle, subtle yet powerful track that uses the vulnerability of its indie rock foundations to create a song charged with meaning. In particular, the track’s approachable and comforting vocal performance exudes an essence of warmth that not only aids the sincerity but makes ‘Better Off’ a calm, easy listen.”
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Title: All Night
Label: Dharma Worldwide
The production maestro teams up with Sarah de Warren – under her alter ego gritney – for a diversified psy-trance-influenced gem that combines elements of driving bass, progressive melodies, and gritney‘s ethereal vocals to make for a real club heater. Fans will get plenty of chances to hear “All Night” live this year as KSHMR embarks on a 15-stop North America club tour starting on February 9th. He’s hitting some of the continent’s most famous clubs, such as DC‘s Echostage, LA‘s Academy and Exchange, Chicago‘s PRYSM, and Brooklyn‘s Avant Gardner, to name a few, leading his way and building up the momentum for his mainstage performance at Ultra Music Festival next month. KSHMR also just launched his new bi-weekly Dharma Radio show, which began with broadcasts on Insomniac Radio‘s online platform and will be internationally syndicated on dozens of stations around the world. It’s also available on YouTube, Soundcloud & Apple Podcasts. With such an incredible beginning to the year, we can’t wait to see what else KSHMR has up his sleeve.
“Working with gritney was so easy and natural. We had just written ‘Tears On The Dancefloor‘ together with Hannah and were eager to start something new. gritney actually came to my birthday, and it was there that I played her the beat for ‘All Night.’ It didn’t take her long to write the lyrics, and from there, it was just a matter of perfecting the production. I’m really happy with psy-trance influence and a melody reminiscent of old dance tracks from when I was young” – KSHMR
KSHMR
Niles Hollowell-Dhar is a globally acclaimed artist who originally began in hip-hop and moved into pop music with the 2010 global smash “Like A G6.” From there, he transitioned into dance music, producing tracks like the 2013 hit “Tsunami.” Next, he launched his own artist project, KSHMR, and took the scene by storm with 10 Beatport #1, such as “Wildcard” and KSHMR‘s most streamed hit to date – “Secrets“‘ with Tiësto. After releasing his debut album “Harmonica Andromeda,” he firmly cemented his reputation as one of the most dynamic and diverse acts in global electronic music, gaining DJ Mag‘s prestigious “Best Live Act” award. As a pioneer and music enthusiast who values creative freedom, he created his Dharma Worldwide label in 2017 and, subsequently, Dharma Studio in 2020, where producers can find his tutorials and sound packs. His sound pack series “Sounds of KSHMR” is among the most used in modern music, and his latest release, “Sounds of KSHMR” Vol. 4‘ debuted as the #1 pack on Splice and has remained in the Top 10 since. In 2023 we saw KSHMR release his eagerly anticipated collaboration with MC Stan “Haath Varthi,” taken from his album “KARAM,” which dropped in November 2023 and featured the biggest artists in Indian hip-hop.
gritney
Meet gritney, the rebellious alter ego of EDM‘s enchanting vocalist, Sarah de Warren. A maverick who defied the rules from her school days, gritney‘s journey pulses with an unyielding passion for music cultivated in solitude, self-taught in production and songwriting within the sanctuary of her teenage bedroom. Relocating to Manchester at 18, she immersed herself in the vibrant rave scene, finding her muse in trance and techno. In the electronic music realm, gritney‘s distinctive voice cut through the noise on SoundCloud, earning her recognition from industry giants. Signed as a songwriter with Ultra, she crafted beats for Kaskade, Gareth Emery, KSHMR, Nicky Romero, and more, with her vocals elevating Eli Brown‘s festival anthem ‘Be The One‘ to dance scene acclaim. Unapologetically mischievous and armed with strong opinions, gritney invites all to engage in the discourse around her artistry. With collaborations on the horizon with KSHMR, Maddix, Eli Brown, Valentino Khan, and Discolines, gritney‘s artist journey is unfolding – a riveting tale yet to reach its crescendo. Watch this space for your next favorite sound.
KSHMR’s North America Club Tour (Tickets):
Feb 09 – Echostage – Washington, DC
Feb 10 – Rebel – Toronto, ON
Feb 16 – 1015 Folsom – San Francisco, CA
Feb 17 – Nova – San Diego, CA
Feb 23 – TBC
Feb 24 – Big Night Live – Boston, MA
Mar 01 – Harbour Event & Convention Center – Vancouver, BC
Mar 02 – PRYSM Nightclub – Chicago, IL
Mar 08 – Academy – Los Angeles, CA
Mar 09 – Exchange – Los Angeles, CA
Mar 15 – New City Gas – Montreal, QC
Mar 16 – Harrah’s Resort – Atlantic City, NJ
Mar 29 – NOTO – Houston, TX
Mar 30 – Great Hall at Avant Gardner – Brooklyn, NY
Apr 05 – The Church Nightclub – Denver, CO
Strongly influenced by the expression of her subconscious mind, cinematic romance and alternative rock, Kate Von Heart is a Montreal-based singer-songwriter with a bewitching sensibility. And, TODAY she released That Isn’t You And Me (Part I).
This new EP is styled as gloomy rock, and it intricately captures the poignant mourning of a romanticized yet ultimately disappointing relationship. This musical journey is characterized by catchy melodies, emotionally raw lyrics infused with a hint of sarcasm, and her warm, passionate vocals. The album’s musical backdrop spans from comforting melancholy to cathartic intensity, creating a rich and engaging experience for the listener.
‘Ego’, the newest single from Sydney band Pallas Haze, combines an intense instance of self-reflection with some serious boogie sensibilities. The band has found their place somewhere between indie rock and RnB, ultimately producing something sinfully groovy with this dance-oriented track. The song was mixed by Jack Nigro (DMA’s, Skegss, Middle Kids, Pacific Avenue), and mastered by Darren Ziesing (Rüfüs Du Sol). Instantly memorable and lined with dulcet vocals and some insanely funky guitar flourishes, ‘Ego’ pushes Pallas Haze well and truly into the territory of ones to watch in the indie scene.
“Our songs start with a motif, often a catchy guitar riff or a melodic phrase that resonates with each of us. This creates the backbones of the track. Everything else is built around it, whilst staying true to the integrity of the track’s initial meaning. Despite us all growing up with different musical influences, we each bring an element of unique taste which blends together to create what we describe as The Pallas Haze Sound.” PALLAS HAZE
Thematically, ‘Ego’ situates itself in the middle of an intense moment of self-reflection, and in particular on the idea of pride and self-centredness: “Gotta get myself off the bottom shelf. Aren’t I better than that?” Sonically, on the other hand, this brand new single embodies a breezy sound and mood entirely separate to the song’s lyrical qualities. With its elements of self-consciousness and simultaneous care-free vibes combined, Pallas Haze achieve a sense of blissful balance.
“Our music is neither happy or sad, it is reflective and represents a sense of escapism as music allows us to escape from all stresses of life…this is what we want our audience to experience with us.” PALLAS HAZE
Consisting of drummer Kapil Bhuta, lead Guitarist Ananya Bhindi, lead singer Zac Harvey and bassist Luca Benvenuto (the first two of which are first cousins who have played music together from an early age), Pallas Haze as a whole has only existed since early 2023. Bhindi and Harvey met on the judging panel for a Battle of The Bands, became fast friends, and subsequently spent a month writing songs together as a duo. The band soon incorporated Bhuta and Benvenuto, finding a sense of collaborative harmony and completing their full established line-up. The group played the Winter Wine Festival together in July of 2023, alongside Matt Corby, Sons of the East and Cat Empire.
With the band on track to start 2024 with a bang, ‘Ego’ is the first step in what is sure to be an exciting new year for Pallas Haze.
‘Ego’ is out Now
Pallas Haze: triple j Unearthed | Instagram | YouTube
Photo by: Emily White
Following two revered albums, ‘Dissolve’ in 2017 and ‘Avalanche’ in 2019, London-based electronic songwriter and producer Tusks, aka Emily Underhill, has returned with her third. ‘Gold’ is released on April 12th via One Little Independent Records, and new single ‘Adore’ is out alongside the announcement of UK in-store live dates as well as a tour supporting Tinlicker.
‘Gold’ took form slowly over several months spent rewriting and reworking; half created at home in the middle of London and half during two solitary trips to Devon, where many of the songs found their inspiration. In need of some space, away from a shared house that had just been through a pandemic together as well as from a relationship that was coming to an end, she traveled to the south-west. It was here that she would get the bulk of her writing done, recognising there were some things she would have to work through alone, and in no small part it came to her in the form of a torrential storm. Bringing the album back to London, Tusks partnered with producer Tom Andrews to bring the tracks to life from studios like Ten87 in Tottenham and SS2 Recording in Southend.
Synth-heavy and fuelled by emotionally charged layers of heavenly vocal harmonies, the album is densely constructed, meticulously produced and cathartic. Across ten tracks of deeply resonant electronic pop, the soundscapes crafted here sway from the blissful, ambient and thought-provoking, to slow-building ragers. Through pressure and release, ‘Gold’ explores dynamics, nuances and emotions using an array of atmospheric and kinetic textures as well as Tusks’ singular, powerful voice.
Anyone familiar with her career to date will note that Tusks’ relationship with music as a means to communicate vulnerability is well documented. There’s a raw, exposed nature to her writing that feels authentic and intimate. She often describes the complications and subtleties of relationships in a way that’s reflective and relatable. ‘Gold’ maps various stages in the breakdown of a romance, but it also stops to consider the impact of isolation, individually and socially, as well as anxiety, mental health and the wider effects of austerity.
“A lot of this album was inspired by contrasting experiences” Underhill explains, “Processing a breakup and then falling in love again. Being constantly surrounded by people in lockdown, then suddenly being completely alone and free. Being in the city vs being in nature. We wanted to echo these contrasts in the production of the music so constantly moved between lo-fi and hi-fi production – sampling our own drum beats, recording them through compressed tin can mics and processing through loads of analogue gear and a 404 then switching to cleaner, larger sounding kits achieved by recording with mics in back rooms and the ceiling to give the impression of space. There was a huge analogue influence on the production and mix too by using loads of analogue synths and modular, putting a lot of the stems through tape and getting to be really creative with using delay throws and feedback on the 501 Space Echo. It was such a fun process and allowed Tom and I to delve into doing exactly what we love.”
In its production, ‘Gold’ is a musician’s album, Tusks pushed herself further during the creative process, slaving over each snare sample and the tone of each synth note. She describes LP opener ‘Wake’ as “like the orchestra tuning up”, it invites the listener in and slowly spreads itself out curiously. “The demo sounded like this folk song sung over a synth drone, which we then used as a skeleton for the track and built it up with so many layers of textures and synths. That’s kinda what the song’s about for me – the journey of the synths and playing with as much texture and sound as possible; we did stuff like include samples from the NASA website of audio recordings of the Mars Rover. It’s very exploratory, I think it’s about discovery, and about trying to figure out what’s going on in your head.”
The album continues its excursion further, with epic and dreamlike musicality that soars upwards. On tracks like ‘Adore’ and ‘Artificial Flame’ it’s used to examine two opposite ends of the partnership spectrum; “Adore is about falling in love with someone at the start of a relationship when you’re asking yourself if it’s a good idea, if you should fall for that person or whether you should keep yourself guarded. Artificial Flame is about the point I’d also realised I was no longer in love with my partner at the time. It’s about coming to that realisation and processing it.” It was while thunder rolled and rain poured outside that Underhill was able to deal with some of these things, “I didn’t really speak to anyone for days, and the storm came over. Weirdly, that ended up inspiring the chorus hook because I couldn’t light a fire without using a load of firelighters, which then made this massive green flame. I was kinda staring at it, then the phrase Artificial Flame popped into my head and seemed to sum up everything I was feeling.”
Delving into the technicals of the record allowed for further experimentation across the board, for example they were able to lift parts out of songs and into others where they saw fit, adding thematic continuity and patchworking ideas they felt had value. A discarded brass recording from ‘Read The Room’ was sampled and added to ‘Tainted Plates’. They also played with processing through tape and 404 to retain the lo-fi quality Tusks was adamant in keeping throughout.
Album highlight ‘The Way’ was written about finding the calm past the turmoil, “I’d been out in the storm for a couple of hours, in these mental 45 mile an hour winds listening to Porridge Radio, I came home and instantly sketched out this whole song on bass guitar. It was another one where it just kinda came out in one go from somewhere within me, like it had been building up over time. It’s addressed to anxiety. It’s about realising that whatever is going to happen, is going to happen anyway – that’s just the way it is. I find that very calming.”
‘Read The Room’ is a one-take piano and vocal recording, stripped back to a melancholy mood-piece to convey reminiscing on a failed relationship. Follow-up ‘Strangers’ paints a vivid picture of “how you feel when you decide to end a relationship and realise what you’re about to lose – that person who you’ve shared so much with and been so close to for so long is just going to become a stranger. I found it so hard to come to terms with that fact.”
On the title track Underhill singles out the government’s handling of the pandemic. “It was written in response to seeing how the Tories acted and realising that if you have a certain amount of money and status, nothing else seems to matter – you can get away with anything. I felt like we were watching in real time how they just didn’t seem to care if people died or if any of this horrific stuff happened, so long as they weren’t going to get in trouble for it or their friends got rich. Somehow, they just seem to be immune to any kind of punishment and let off the hook. It’s more joyous at the end because that’s supposed to be about their downfall. I feel like I was hoping that would come by the time this came out…”
Joint closers ‘Body Ache’ and ‘Cold Storm’ perfectly encapsulate what ‘Gold’ is; a force of nature, as impactful in its quieter moments as it is when it strikes. Like the people and relationships it represents, it’s complex, with a depth and richness that’s observed within the smallest sonic eccentricity and decision. Like anything, Tusks knows that her artistic strength comes from a careful balance, a push and pull that can be felt tangibly across ‘Gold’ and its conception.
Early on Tusks drew comparisons to Sigur Rós and Explosions In The Sky, gaining support from the likes of BBC 6 Music’s Lauren Laverne, BBC Radio 1’s Annie Mac and Huw Stephens, Rolling Stone, Billboard, Mixmag, MOJO, Wonderland and more. She released her debut album ‘Dissolve’ to critical acclaim, produced alongside Brett Cox (Jack Garratt, Alt J, Marika Hackman). Second album ‘Avalanche’ led Tusks further into the world of grunge and shoegaze. Taking inspiration from My Bloody Valentine, Marika Hackman and Wolf Alice, the album went on to gain her support from ever widening audiences across the world, as well as syncs on hit shows such as Netflix’s ‘13 Reasons Why’.
Having previously supported Khurangbin, Ásgeir, Bear’s Den and Submotion Orchestra, Tusks embarked on her first European and UK headline tour at the start of 2020, including nights at London’s prestigious Village Underground (which she recorded and released as a live album) and Berlin’s Berghain Panorama Bar. In 2021 she collaborated with CJ Mirra on the soundtrack for feature film ‘A Banquet’.
Tracklist
- Wake
- Adore
- Artificial Flame
- Tainted Plates
- The Way
- Read The Room
- Strangers
- Gold
- Body Ache
- Cold Storm
Live dates
Supporting Tinlicker;
Tue 27 Feb – Poland, Poznan – Tama
Wed 28 Feb – Austria, Vienna – Ottakringer Brauerei
Thu 29 Feb – Hungary, Budapest – Akvárium Klub
Sat 2 Mar – Czech Republic, Prague – Roxy
Sun 3 Mar – Switzerland, Zurich – Kaufleuten
Tue 5 Mar – Italy, Milan – Magazzini Generali
Thu 7 Mar – Germany, Cologne – Live Music Hall
Fri 8 Mar – Belgium, Antwerp – Trix
Sat 9 Mar – Netherlands, Amsterdam – Gashouder
Mon 11 Mar – Denmark, Copenhagen – Pumpehuset
Wed 13 Mar – Germany, Hamburg – Fabrik
Thu 14 Mar – Germany, Berlin- Huxleys
Fri 15 Mar – Germany, Frankfurt – Batschkapp
Sat 16 Mar – France, Paris – Elysee Montmartre
Thu 21 Mar – UK, Manchester – New Century Hall
Fri 22 Mar – UK, Bristol – Marble Factory
Sat 23 Mar – UK, London – Troxy
Wed 27 Mar – UK, Belfast – Mandela Hall
Thu 28 Mar – Ireland, Dublin – Vicar Street
Instore headlines;
Sat 13 Apr – UK, London – Rough Trade East
Tue 16 Apr – UK, Nottingham – Rough Trade
Wed 17 Apr – UK, Brighton – Family Store
Thu 18 Apr – UK, Bristol – Rough Trade
PRAISE FOR TUSKS
“Hugely satisfying”
DIY
“A force to be reckoned with”
Wonderland
“Atmospheric and reflective”
The Line of Best Fit
‘Adore’ is out Thursday, January 18th
‘Gold’ is out Friday, April 12th
Canadian electronic music artist and producer KASIA is celebrating the music video release for her current single, “Heartstrings”. The video is now available on YouTube.
“Heartstrings” Music Video: youtube.com/watch?v=C6b2Fv1CTf8
Written and produced by the Vancouver-based artist, “Heartstrings” has a foundational sound in the house genre but is infused with bass house and pop elements while being enveloped in an ethereal house ambiance. Its catchy uplifting atmosphere is punctuated by heavy synth drops and honesty in its lyrics.
KASIA says, “The genesis of ‘Heartstrings’ comes from my own experiences of navigating the aftermath of an abusive relationship. Songwriting became my sanctuary, and creating melodies and verses was spiritually healing. For this song, I wanted to create a feeling of empowerment and a cathartic connection with the audience. For the video, I aimed to visually encapsulate the journey of resilience and self-discovery, weaving a tapestry of emotions that mirrors the transformative power of reclaiming one’s narrative.”
“Heartstrings” comes after a series of breakthroughs for KASIA in her entry and subsequent rise as an artist and producer in the electronic music genre. A former synth pop artist and international model, KASIA started making her own electronic music in 2021 and through her first wave of singles, she has earned representation from 9MM LABEL, 404 Deep House Records, and Powher Sound, while forming new creative partnerships with the likes of The Funk Hunters, Jonathan Campbell of Twelve Twelve Music, and Sam Ryan of SOS Music. On stage, she hit a new milestone in 2023 as a performer in the Rifflandia Music Festival in her home province of British Columbia.
In continuing her momentum, “Heartstrings” also serves as the first release from KASIA’s debut 2024 album, which promises to offer similar spiritual and energizing rewards to those listeners who discover it.
KASIA’s “Heartstrings” music video is available on YouTube. The single is also currently available on all digital streaming platforms.
For more about KASIA, please visit KasiaMusic.io or follow her on social media:
Instagram: @KASIASMusic Facebook: @KASIA.OFC
X: @KASIAMusic_ YouTube: @KASIAMusic
Spotify: tinyurl.com/KASIAonSpotify TikTok: @kasiamusic_
Behind The Gallery has today announced that the iconic photos taken by Jonathan Rach on Nine Inch Nails Self Destruct Tour will go on show for the first time in a world-exclusive gallery exhibition from 6 – 10 March 2024 at 524 Flinders Street, Melbourne to celebrate the 30th anniversary of the iconic Nine Inch Nails album, “The Downward Spiral”. The exhibition will include several photos never seen before.
Behind The Gallery has collaborated with award-winning documentary and feature film writer/director Jonathan Rach, who captured the iconic era-defining photography during the 1994-97 extensive global tour.
An incredible 45 images will be on display showcasing an array of both personal and pivotal moments for the band taken during the tour which included Australia.
In a worldwide first, Jonathan’s celebrated collection will feature a selection of recently rediscovered images dating back to his time with Nine Inch Nails. The collection also features renowned artists David Bowie, Lou Reed, and moments from the ground-breaking 6-night run at Hollywood Palladium in 2018 for fans and collectors alike to enjoy. Limited edition numbered prints signed by Jonathan are available for purchase.
On bringing his esteemed collection to Australia, Jonathan Rach said, “I was witnessing truly honest and iconic moments in music history. The result is what will be on display in Melbourne.”
Behind The Gallery’s Creative Director Stephen Dallimore said, “We are extremely honoured to be trusted to showcase this collection of photographs for the Nine Inch Nails community. Jonathan’s images provide a rare insight into one of music’s most important artists and celebrated tours in music culture. We look forward to creating a special event for the fans and collectors, this is not to be missed!”
Behind The Gallery presents: “The Photography of Jonathan Rach: Images of Nine Inch Nails, The Downward Spiral and more”. Opening night will take place on Wednesday 6th March. Fans are also invited join the celebration of the album release anniversary on Friday 8th March at the gallery, followed by an Artist Talk with Jonathan Rach on Saturday 9th March. The exhibition will take place at 524 Flinders Street, Melbourne.
Website Link: https://www.behindthegallery.com.au/pages/jonthan-rach-nine-inch-nails-the-downward-spiral
Facebook: https://fb.me/e/419AxqP9D
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BigCityBeats
WORLD CLUB DOME
Future Edition
DAVID GUETTA, the #1 DJ of the World,
3 ARE LEGEND exclusively in Germany, and
DJ SNAKE with the only festival show in Germany are coming to Frankfurt.
DJ Mag UK: WORLD CLUB DOME best festival in Germany and Top 10 festival worldwide.
New in the Line Up:
DAVID GUETTA, 3 ARE LEGEND (Germany exclusive),
Angerfist, Cassö, Ćelo & Abdï, Claptone, Da Tweekaz,
DJ Rush, Imanbek, James Hype, KI/KI, Joel Corry, Moguai, Steve Aoki, Sub Zero Project, and many more.
Elrow Comeback in Germany
Hex, Masquerade, Pyramid as additional Stage Host
The BigCityBeats WORLD CLUB DOME in Frankfurt, named by DJ Mag UK as the best festival in Germany and Top 10 among the most important festivals globally, has once again secured the world’s best DJ: David Guetta, the Number 1 DJ of the World, will grace the Mainstage at Deutsche Bank Park in September.
The Future Edition of WORLD CLUB DOME, taking place on September 6th, 7th, and 8th, will cater to the tastes of all club music enthusiasts. A diverse lineup ranging from Techno to Hardstyle, Hip-Hop, and Pop, featuring the best acts from popular genres. The new lineup phase of “the world’s largest club” introduces star headliners such as David Guetta, 3 Are Legend, Steve Aoki, Claptone, Imanbek, James Hype, Joel Corry, Hugel, Moguai and Salvatore Ganacci. 3 Are Legend, the legendary trio, makes an exclusive appearance in Germany at WORLD CLUB DOME, along with Imanbek, the multi-platinum star known for the Saint Jhn Remix of “Roses.” Additionally, icons of the Harder Styles, including Angerfist, Da Tweekaz, SEFA and Sub Zero Project, join the lineup.
Following Badmómzjay and Haftbefehl, two more big names in German Hip Hop, Ćelo & Abdï, will perform on the Outdoor Mainstage. German electronic artists are also part of the lineup, with Die Gebrüder Brett, Gestört aber GeiL, Lari Luke, Mausio, Nicolas Julian, Quarterhead and Twocolors being announced in the new lineup.
As the first festival in Germany, WORLD CLUB DOME brings the recent sensation to Germany: CASSÖ. The British producer and DJ, known for the track “Prada,” with over 21.7 million monthly listeners and 360 million streams, will make his debut in Germany. The track has captivated the entire electronic music scene, prompting the Number 1 DJ of the World, David Guetta, to create a remix.
Techno enthusiasts can look forward to acts like DJ Rush, making his debut at WORLD CLUB DOME, along with Alignment, Anna Tur, Encountear, KI/KI, Marco Faraone, Nusha, Simina Grigoriu and Stella Bossi.
Celebrating its 11th edition, the WORLD CLUB DOME Festival transforms the Frankfurt Deutsche Bank Park stadium grounds into a futuristic world. Exploring themes of Artificial Intelligence, Virtual Reality, ChatGPT, sustainability, and diversity, the festival looks beyond traditional boundaries. Visitors will embark on a futuristic journey, celebrating together peacefully to the beats of tomorrow.
The festival promises top-notch festival vibes and experiences. The Future Edition’s theme will attract over 180,000 festival-goers from around the world, just an hour’s flight from major European cities and 10 minutes from downtown Frankfurt. The 700,000-square-meter area will be transformed into a futuristic world with arenas, two All-Star Mainstages, WCD Pool Sessions, and a booming Hardstyle stage. World Clubbers can enjoy the sunshine at the WCD Pool Sessions or on the lawns in front of the Hardstyle stage and the Outdoor Mainstage or inside the stadium at the Indoor Mainstage, where their favorite headliners will perform some of the biggest tracks with 1.8 million watts of sound.
The Deutsche Bank Park, surrounded by green fields, blue water, and picturesque forests, will host the festival. Each year, BigCityBeats turns this urban archipelago into the Mecca of club music culture, attracting international festival travelers. In 2024, a futuristic landscape will emerge in the midst of Frankfurt. Over three days, a new district will come to life on 700,000 square meters. Sports fields will transform into helicopter landing pads for the planet’s top DJs. The world’s longest red carpet will become a Walk of Fame for visitors and artists alike. Large festival stages and intimate club floors will be set up on green lawns, in forests, by swimming pools, with the stadium as the Colosseum of the modern era, featuring the monstrous MainStage forming the world’s largest dancefloor.
After completing the current phase of the WORLD CLUB DOME Future Edition 2024, the lineup is as follows in alphabetical order:
3 ARE LEGEND – ALFRED HEINRICHS – ALIGNMENT – ANGERFIST – ANIME – ANNA TUR – APASHE & BRASS ORCHESTRA – ASK:ME – AUDIOTRICZ – BADMÓMZJAY – BIIA – BROKEN ELEMENT – CASSÖ – CELO & ABDI – CLAPTONE – D-BLOCK & S-TE-FAN –
DA TWEEKAZ – DARREN STYLES – DAVID GUETTA – DIE GEBRÜDER BRETT –
DILLON FRANCIS – DJ RUSH – DJ SNAKE – DR. RUDE – EL MUERTO live – ENCOUNTEAR – FELIX JAEHN – FELIX KRÖCHER – FLYMEON – GESTÖRT ABER GEIL – GPF – GUZ – HAFTBEFEHL – HELENA HAUFF – HUGEL – IMANBEK – JAMES HYPE – JOEL CORRY – KARLA BLUM – KI/KI – LARI LUKE – LE SHUUK – LORENZO RAGANZINI b2b PAOLO FERRARA – MANDY – MAR-T – MARCO FARAONE – MAUSIO – MELANIE RIBBE – MOGUAI – NICOLAS JULIAN – NUSHA – OLEXESH – PAJANE – PAUL ELSTAK – QUARTERHEAD –
ROBIN SCHULZ – ROOLER – SALVATORE GANACCI – SEFA – SICKMODE –
SIMINA GRIGORIU – STELLA BOSSI – STEVE AOKI – STVW – SUB ZERO PROJECT – T.N.T. – TINI GESSLER – TWOCOLORS – VEGA – ZSÁ ZSÁ – many more to be announced soon.
Significant developments are also happening with the Stage Hosts. Elrow, the craziest and most colorful party brand from Barcelona, makes its comeback in Germany at WORLD CLUB DOME. HEX, the celebrated techno label by Lorenzo Raganzini & Paolo Ferrara, comes to Frankfurt for the first time. Pyramid, the techno night from Amnesia Ibiza, returns to the WCD Pool Sessions. Masquerade, Claptone’s award-winning Pacha Ibiza event, will once again captivate the audience on the Frankfurt Berg Stage. More hosts will be announced soon.
Tickets for the Future Edition of BigCityBeats WORLD CLUB DOME are currently available in Phase 2 for €185.00 (3-day club ticket) plus fees at https://future.worldclubdome.com. Tickets in this price tier are limited and should be secured quickly.
Video link Line Up Announcement:
https://www.instagram.com/p/C2uvgEQoEQH/
BigCityBeats WORLD CLUB DOME
Future Edition
September 6th/7th/8th, 2024
Deutsche Bank Park
Mörfelder Landstraße 362
60528 Frankfurt am Main
Germany
https://future.worldclubdome.com
ABOUT BigCityBeats
Event- und Festivalagentur mit eigenem Label, Radioshows, Merchandise-Vertrieb, Live-Entertainment – BigCityBeats zählt seit 18 Jahren zu den erfolgreichsten Entertainment-Brands Europas. Der Sound der Metropolen. Mit diesem Gedanken ins Leben gerufen, hat sich BigCityBeats bereits kurz nach dem Katapultstart Anfang des neuen Millenniums zu einer Plattform avanciert, die Veranstaltungsproduktionen neu definiert und dem bisherigen Stempel eine völlig neue Signatur gab. Von der Großstadt in die Welt ins Universum. Von Frankfurt am Main nach Düsseldorf, Asien, in die Schwerelosigkeit, in die Karibik, an Hollywood vorbei, und ins All – wo Bernd Breiter zusammen mit der ESA den 1. „Club“ im Space bauen ließ. Das 1. DJ-Set aus dem Weltall, gespielt von ESA-Astronaut und ISS-Kommandant Luca Parmitano, das zur Cruise Edition übertragen wurde. Damit schreibt BigCityBeats Musik-Geschichte.
ABOUT WORLD CLUB DOME
Der WORLD CLUB DOME ist eine Festival Kreation von BigCityBeats. Nachdem das Team um BigCityBeats 2013 bei seiner ersten Ausgabe des WORLD CLUB DOME 25.000 Besucher begrüßen durfte, haben sie mit brennender Leidenschaft für Musik einen langen Weg beschritten und sind schnell zu einem der größten Festivals der Welt herangewachsen. Mit über 180.000 Besuchern bei den Sommerausgaben und bis zu 100.000 Besuchern bei den Winter Editions feierte der BigCityBeats WORLD CLUB DOME 2023 sein 10-jähriges Bestehen.
PRE-SAVE/STREAM ‘NO RETALIATION, PART 1” THE SOLO’S’ HERE
Amsterdam, datum – The wait is over! Radical Redemption finally releases the first album of his most personal project up to date. With ‘No Retaliation, Part 1: The Solo’s’ the Dutch hardstyle DJ closes off a hard period filled with loss and grief and makes his first steps towards a brighter future. The album contains 12 brand new tracks including his recently released single ‘Won’t Bow Down’.
Even though Radical Redemption is one of the most loved DJ’s in the scene he went through a rough period the last couple of years. Being a DJ/producer for more than a decade, his career was an accumulation of success and highlights until a few years ago. Corona kicked in, he ended the collaboration with his booking agency and label after more than 10 years resulting in a long lawsuit but the most impact on his life and career was of course the loss of his father in 2021. Somehow Radical Redemption managed to turn all this into something positive thanks to his music and fans!
With the release of ‘No Retaliation, Part 1: The Solo’s’ on January the 26th Radical Redemption is back stronger than ever. The album is part of a trilogy that embodies everything Radical Redemption stands for. Working on the project for three years was and emotional and personal journey in which Radical Redemption grew a lot as an artist and producer. ‘The Solo’s’ will be followed by the release of ‘The Collabs’ and ‘The Orchestra of Eternity’ later this year. Together the three albums form a tribute to Radical Redemptions late father and creative partner/sounding board. The albums are connected through their artwork, which all contain one letter that together from the word ‘DAD’. With this tribute he hopes to put this difficult period behind him and focus on a bright future full of music.
In a personal message to his fans Radical Redemption explains the following:
“Before you lies the most personal album I have produced in my career. It tells my story, a story of loss, uncertainty, change and mental challenges. But also a story of strength, determination and perseverance. Life happened to me, just like it will happen to any other human being.
Losing my dad in the summer of 2021 had a huge impact on my life.
At the end of 2022 I decided to leave my bookings-agency & music label after 10 years, unfortunately their response was not as expected.
I was removed from line-ups, erased from playlists, they seized my house, my bank account….
…but what do you do when this happens to you? Be afraid, hold back, run away, or stand-up and fight? The fire inside me was ignited like never before, I knew, I will get out of this stronger & better. The music basically wrote itself, inspiration hit like in the early days.
The importance of looking forward became clear, life is just too short to stay in the past.
I don’t have time to be hateful towards people, because there is too much to be grateful for.
Producing this album allowed me to deal with my emotions, it provided closure.
It helped me to process everything that has happened over the last 3 years.
I can really say, for me there will be no retaliation.
It is time to tell my story. Thank you for your time and listening.”
Joey – Radical Redemption
About Radical Redemption
Radical Redemption, the man that single handedly revolutionized the hard dance industry. His bombastic productions will echo through eternity. Huge melodies, knife sharp synths, melancholic atmospheres, pounding kicks and immense rhythmic sections define his unique sound. Resulting in global hits such as ‘America’, his ‘Brutal’ saga, 20.000 Volts (with Yellow Claw), ‘Hard to Tell’ and ‘Stronger & Better’.
He is the only hard dance artist to sell more than 60.000 tickets with his solo-events, such as ‘The Road to Redemption’, ‘Command & Conquer’ and ‘The Orchestra of Eternity’
He produced more than 6 artist albums and – his 7th solo album – is in the works, planned for 2024/2025. Always striving for the next level in his music- and show production. Aiming for the best performance possible, anytime, always.
For the last 3 years, Radical Redemption worked on a new, game changing show – apart from his DJ sets. In October 2023 he launched his worldwide exclusive live-act, ‘Radical Redemption & his Orchestra of Eternity’ during a sold-out show in Amsterdam. A once in a lifetime experience, combining the elegance of a 20-piece orchestra with the power of his hard dance music.
Enter the world of Radical Redemption.
SUPPORT FOR SINGLES OFF ‘THE NIGHTTIME, THE WIND, THE CROCODILE’
“This is the most heartwrenching, stand-in-a-field-and-cry piece of music I’ve heard all year. Will always love hearing what you’ve written.” – ★★★★★
Pip Rasmussen – triple j (AUS)
“Davies’ raw Australian lilt still remains centre stage, carrying the narrative of feeling lost and directionless.”
NME (AUS)
“Really loving the tender restraint, the air between the microphones, the gentle melodies and the climactic pay-off towards the end of the song – proof that subtlety goes a long way.” – ★★★★
Colby Robertson – triple j (AUS)
“Jack Davies is one of the most brilliant songwriters in the country right now.”
Pilerats (AUS)
‘This Highway Is Stained’ added to Spotify’s ‘Chilled Afternoon’
‘Clothes Peg’ added to Apple Music’s ‘indie + chill’
‘Clothes Peg’ added to triple j Unearthed Rotation
Boorloo/Perth-based indie-folk band Jack Davies and The Bush Chooks have just unveiled their alt-country debut album, ‘the nighttime, the wind, the crocodile‘ – produced by lead vocalist Jack Davies and Broderick Madden Scott.
‘the nighttime, the wind, the crocodile’ is an inviting 11-track amalgamation of nostalgia, mellifluous vocal layers and vintage-filtered instruments. Creating an artful balance between tradition and modern folk, the collection gracefully blankets each track in a sepia-toned haze, seamlessly intertwining threads of the past with the present.
Jack Davies and The Bush Chooks talk about the inspiration behind ‘the nighttime, the wind, the crocodile’:
“‘the nighttime, the wind, the crocodile’ is set in a nighttime scene. A crocodile descends from the sky like an apocalyptic cartoon, hungry for guts. The listener sits below, hands over their ears and their eyes closed. The trees sways, the moon watches. I think the idea of the album is to open your eyes in that scene and witness the crocodile. To remember that morning is around the corner, and darkness around the next. To attempt to keep looking long enough to see the colours shift, the crocodile disappear, reappear; and find beauty in the never-ending psychedelic whirl of fears and changes that we are plunged into as thinking, feeling human beings.”
Focus track ‘My Hard Times‘ and ‘The Colours‘ opens the record, resonating with sentiment and vivid imagery, adorned with introspective reflections and compelling storytelling. Singles ‘Clothes Peg‘ and ‘This Highway Is Stained‘ follow, with acoustic strumming and gentle instrumentation providing a kaleidoscope of sonic hues.
Marking the centre of the compilation, ‘Orange Peel‘ weaves rapid guitar arpeggios and lush strings, incorporating lyrical palettes of memory and ambience. In contrast, ‘You‘ve Got The Fear‘ introduces a rich rhythm arrangement, laying the foundation for whispered vocal tales that ebb and flow.
‘Everybody‘s Looking‘ and ‘Thinking About The Blues‘ further amplify the sonic diversity with retro-infused guitar and strings, evoking a sense of old-timey musicality that crescendos to a captivating climax before ‘Pleased To Meet You‘ follows, providing an intimate sense of comfort.
Closing the release, ‘You Deserve To Be Loved‘ and ‘Little Dog‘ stand as poignant echoes to the project, painting amber hues that leave a lingering resonance of heartfelt emotion and reflective grace.
Jack Davies and The Bush Chooks were selected as triple j Unearthed‘s Feature Artist, as well as their music video for the single ‘Half Frozen Beer‘ being featured as rage‘s ‘Wild One‘. The band has also won the WAM Award for ‘Best Folk/Singer-Songwriter Act‘ for four consecutive years since 2020. Their previous releases have garnered widespread recognition on Spotify, Apple Music, triple j and triple j Unearthed, along with support in the blogosphere from NME, Pilerats, The AU Review, LivewireAU, MILKY and numerous Australian community radio stations.
‘the nighttime, the wind, the crocodile’ is out now
JACK DAVIES AND THE BUSH CHOOKS
‘THE NIGHTTIME, THE WIND, THE CROCODILE’ ALBUM TOUR
Tickets available via www.
TUE 6 FEB | KING STREET, MULUBINBA/NEWCASTLE NSW*
WED 7 FEB | LA LA LA’S, DHARAWAL/WOLLONGONG NSW*
THU 8 FEB | THE GREAT CLUB, EORA/SYDNEY NSW
FRI 9 FEB | THE BRIGHTSIDE, MEANJIN/BRISBANE QLD
SAT 10 FEB | HOWLER, NAARM/MELBOURNE VIC
SUN 11 FEB | LION ARTS FACTORY, TARNDANYA/ADELAIDE SA
SAT 24 FEB | THE RIVER, WOODITCHUP/MARGARET RIVER WA*
FRI 1 MAR – SUN 3 MAR | NANNUP MUSIC FESTIVAL, NANNUP WA
Solo shows*
‘the nighttime, the wind, the crocodile’ Track List:
1. ‘My Hard Times’
2. ‘The Colours’
3. ‘Clothes Peg’
4. ‘This Highway Is Stained’
5. ‘Orange Peel’
6. ‘You’ve Got The Fear’
7. ‘Everybody’s Looking’
8. ‘Thinking About The Blues’
9. ‘Pleased To Meet You’
10. ‘ You Deserve To Be Loved’
11. ‘Little Dog’
FOLLOW JACK DAVIES AND THE BUSH CHOOKS
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BANDCAMP | WEBSITE