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The World’s Premier Electronic Music Cruise is Back on the West Coast! Date: 15th - 18th October Tickets | Website | Video | Facebook | Instagram | Twitter | Images For the past 16 years, Whet Travel has curated and produced more half- and full-ship music cruises than any other independent company. Partnering with some of the cruise industry’s most recognized and trusted brands, the revolutionary company has executed more than 50 wildly successful events including Groove Cruise, Motorboat, Zen Cruise, Salsa Cruise, and Groove Island, among others. Innovators since their launch in 2004, Whet Travel was named Inc. Magazine’s No. 4 fastest-growing travel company in the country, has won the prestigious “Charter Partner of the Year” award from Carnival and Norwegian Cruise Lines, and has been featured in USA Today, Billboard, Forbes, and more. Groove Cruise is set to delight the West Coast with the return of its California sailing October 15-18, 2020 aboard the biggest ship yet: The Norwegian Bliss. Groove Cruise “Captains” departing from Los Angeles will partake in six costume parties while dancing for 72 hours to non-stop electronic music from more than 50 diverse artists from all across the electronic music spectrum on multiple hosted stages and paired with unique high-end production designed for “The Ascension”-themed reunion. “By popular demand, Groove Cruise West Coast is back and bigger than ever!” says Whet Travel founder and Chief Excitement Officer Jason Beukema. “With room for over 4,000 ‘Captains’ (our name for Groove Cruisers), both veterans and virgins alike will delight in sailing on the NCL Bliss! Designed to have all the trappings of a major mega-resort, The Bliss features over-the-top amusements such as a two-deck-high racing course where passengers compete against each other in electric go-carts — a first for a vessel based in North America! The Bliss also has a sprawling water park with multistory water slides, a restaurant-lined boardwalk, Tony Award-winning production shows, including Jersey Boys, and a giant spa. Dining options even include a modern Texas barbecue eatery called Q that will feature live pop-country music—a new concept for the cruise line.” The public on-sale begins March 4, 2020 online with payment plans starting at just $92! Captains can follow their inner compass to groovegruise.com to reserve their spot on the next amazing adventure at sea! Features of the NCL Bliss include: An amusement park at sea complete with racetrack, waterslides, mini-golf, aqua park, laser tag, and more. 30+ unique restaurants and bars including Teppanyaki Hibachi, The District Brew House, Margaritaville, The Cellars (Michael Mondavi Family Wine Bar), Los Lobos Mexican Restaurant, The Humidor Cigar Lounge, Whisky and Mojito bars, Starbucks, Coco’s Sweets, and more. The award-winning “Jersey Boys” musical Single studio staterooms for GCFam sailing solo Built in 2018, the Bliss is the largest ship to ever sail from the West Coast! Hidden at the top of the NCL Bliss, The Haven exclusive enclave features luxurious accommodations via a variety of premium suite categories, as well as 24-hour butler service, and concierge service, plus a private sundeck, bar, and restaurant. Not only will Groove Cruise Cali Captains be treated to sets from top DJ/producers, but also unique experiences such as: · Numerous artist/fan activities · Hosted dinners with DJs · Six costume themes · Whet Oasis Zen zone · Undiscovered DJ contest · Non-profit Whet Foundation volunteer opportunity CLICK TO TWEET: Back by popular demand, @GrooveCruise Cali returns this fall for its biggest sailing yet! Join the #GCFam aboard the @CruiseNorwegian's Bliss during the world’s premier #electronicmusic cruise w/ 50+ DJs, costume themes, amusement park at sea & more! GrooveCruise.com For the latest Groove Cruise updates, become a fan on Facebook and follow the event on Instagram and Twitter.

Groove Cruise Cali returns for biggest sailing yet aboard the NCL Bliss – LA to Mexico

GENGAHR ANNOUNCE AUSTRALIAN TOUR SUPPORTS, MERPIRE AND GREEN BUZZARD AUSTRALIAN AND NEW ZEALA

GENGAHR ANNOUNCE AUSTRALIAN TOUR SUPPORTS, MERPIRE AND GREEN BUZZARD AUSTRALIAN AND NEW ZEALAND TOUR KICKING OFF IN TWO WEEKS

SLY WITHERS RELEASE BEHIND-THE-SCENES VIDEO FOR ‘EXPLODE INTO VIEW’ TOURING NATIONALLY IN MAY AND PERFORMING AT SPLENDOUR IN THE GRASS 2020

SLY WITHERS RELEASE BEHIND-THE-SCENES VIDEO FOR ‘EXPLODE INTO VIEW’ TOURING NATIONALLY IN MAY AND PERFORMING AT SPLENDOUR IN THE GRASS 2020

Off the back of unleashing the evocative ‘Pride’ single earlier this year, Sydney songwriter Vetty Vials returns to continue the story, with the release of her debut studio record, Conversations With Myself. A record a long time in the making, Conversations With Myself captures the heart and essence of Vetty Vials and her band as they explore a strengthening band dynamic. For the songwriter herself, this album is a culmination of lessons learned and observations gained through navigating those crucial years of early adulthood. Written over the last three years, Conversations With Myself shines with honesty and candid execution. Perspectives and standpoints change creatively and personally over time, and what Vetty Vials does with this album is wear her maturation and creative development on her sleeve. “I was lucky enough to co-write some of the songs on this record with Tim Maxwell from Loser; that really changed the writing process for me as it gave me a fresh perspective on changing some of my old habits and getting a new sound.” Vetty Vials ‘Pride’ proved an early example of the direction Conversations With Myself was to head in. Continuing to thread strong indie rock influences with pop-punk tenacity (‘Too Much To Ask’, ‘Nowhere Feels Like Home’), the record bursts with a very natural energy. Fans of Vetty Vials first became aware of this young songwriter’s talent back with her debut EP I am okay, I promise in 2017 - this album is a fitting graduation. Across the course of eight tracks, Vetty Vials’ unique voice flourishes (‘Say’, ‘Tired’). “The line ‘Conversations with myself’ in the lead single ‘Tired’ stuck with me and became the inspiration for the record as a whole, because that’s essentially what songwriting is to me. Another way to get your feelings out when you feel no one will listen.” Vetty Vials PRAISE FOR VETTY VIALS “Hi-octane energy with plenty of heart and guts. Good combo all round, Vetty Vials!” Triple J, Declan Byrne “A dynamic blend of garage rock and nostalgic indie tones that at times recalls the punky shimmers of femme 90s alt rock with a glossy garage backdrop, and ultimately signals a confident step into some renewed sonic waters.” The Soundcheck “Slick and shiny, so smooth it’s like it’s running on rails. This is the sound of rock hair flailing, of hands raising, and of singing along into your hairbrush to the glorious chorus. Hackles, raised.” The Underground Stage “There is a raw and captivating presence in Vetty Vials which is hard to ignore.” Happy Magazine The release of Conversations With Myself this February coincides with a string of live shows Vetty Vials will be performing throughout Australia. A perfect opportunity to see this music realised in both acoustic and full band mode, the tour is just the beginning for Vetty and her band, ready to tackle 2020 hard. Official Website | Facebook | Instagram | YouTube

Sydney’s VETTY VIALS celebrates the release of much-anticipated debut album, CONVERSATIONS WITH MYSELF

Dot Dash Recordings and Remote Control Records are pleased to announce a new EP from Western Australia's Methyl Ethel. Hurts To Laugh will be released Friday 10th April via Dot Dash / Remote Control. Overnight triple j's Good Nights premiered the EP's lead single 'Majestic AF'. Listen via methylethel.lnk.to/hurtstolaugh. To celebrate the new single and EP Methyl Ethel will be supporting Peter, Bjorn & John on their American tour dates throughout March and April. On return to Australia, Methyl Ethel will tour in solo mode at intimate venues in Perth, Melbourne, Sydney and Brisbane. Full tour dates and ticket links below. Hurts To Laugh marks the ongoing output of Methyl Ethel producer and multi-instrumentalist Jake Webb’s restless mind. Time and again he’s proven that while there’s no distinction between music and art, psychologically speaking there is a difference between feeling and emotion. One is a conscious response to a set of circumstances, the other is the unconscious conditions of our very being that only occasionally surfaces through feelings. Hurts To Laugh excavates this ambiguous site, implied by its very title. You can laugh so hard it hurts - pure joy. Or laugh despite the pain - despair. These paradoxes run throughout the EP, as well as everything that came before. 'Majestic AF' stumbles into its bubbling oscillator and analogue polyrhythms, while a kick-free drumbeat marches right into an atonal synth melody supporting Webb’s equally idiosyncratic falsetto. Hurts To Laugh was recorded at the same time as 2019's Triage and both releases feature cover art by Sydney-based artist Loribelle Spriovski. Triage was Webb's third and final album in a trilogy of obliquely expressed relationship drama, starting with 2015’s Oh Inhuman Spectacle which features certified ARIA Gold single 'Twilight Driving'. 2017's Everything Is Forgotten birthed the sensational single 'Ubu' which is now certified ARIA Platinum. Methyl Ethel is a project that’s the brainchild of a single mind—writer, performer and producer Webb—while also being a live band of five members. It makes music that draws from myriad influences and a history of new wave and indie rock, while sounding like its own thing entirely. Both familiar and alien, intimate and aloof, you never quite know what you’re in for, but the trip is bound to be enchanting. Pre-order / pre-save Methyl Ethel - Hurts To Laugh via methylethel.lnk.to/hurtstolaugh Methyl Ethel - Solo - Tour Dates [Australia] Wed 15 April - The Outpost, Brisbane Thur 16 April - The Night Cat, Melbourne Fri 17 April - Mary’s Underground, Sydney Sun 19 April - Goodwill Club, Perth Tickets on sale Friday 28 February via methylethel.com Methyl Ethel - Solo - Supporting Peter, Bjorn & John [USA] Mon 23 March - Teregram Ballroom, Los Angeles CA Tues 24 March - La Santa, Santa Ana CA Wed 25 March - New Parish, Oakland CA Fri 27 March - Doug Fir Lounge, Portland OR Sat 28 March - Crocodile, Seattle WA Tues 31 March - Urban Lounge, Salt Lake City UT Wed 1 April - Bluebird, Denver CO Fri 3 April - Amsterdam, St. Paul MN Sat 4 April - Empty Bottle, Chicago IL Sun 5 April - Loving Touch, Ferndale MI Tues 7 April - Johnny Brendas, Philadelphia PA Wed 8 April - Union Stage, Washington DC Fri 10 April - Webster Hall, New York City NY Sat 11 April - Brighton Music Hall, Boston MA All tickets via methylethel.com Methyl Ethel - Hurts To Laugh 1. Majestic AF 2. Honest 3. Charm Offensive 4. What Memory Found 5. The Quicker Methyl Ethel - Hurts To Laugh is out Friday 10th April via Dot Dash / Remote Control!

METHYL ETHEL Announce new EP Hurts To Laugh Share new single ‘Majestic AF’ Solo Tour Dates Announced

TSHITAKI Announce “World Keeps Turning” Album Out 27th March + 15-Date East Coast Tour

Where are you currently based and what is the music scene like there? I live in Los Angeles, CA. The music scene is wide and varied, but is a surprisingly small world. I’m always meeting musicians that know friends of mine or have played music with them. There is a lot of music to be heard on any given night and that is an exciting thing to be around. How did you first start playing music? There was a family heirloom upright piano in my house growing up. I started playing around with that as a child. I would sit and figure out melodies of songs I heard my parents listening to, and come up with my own ideas. Later, I started learning saxophone in school and by my teenage years, picked up the guitar and quickly got very serious about it. What been happening recently? I'm consistently working on new music for Missives, collaborative projects, and instrumental music. Looking forward to releasing my debut single Dissolve. Your new single 'Dissolve' is about to be released from your debut EP, what influenced the sound and songwriting for Dissolve and the EP? My influences span quite a far and wide spectrum. Since I first heard "Music for 18 Musicians" by Steve Reich, the idea of repetitive musical figures changing over time or staying constant while everything changes around them has been an important part of how I hear musical ideas. Moving harmony versus static figures, textures, and atmosphere inform a lot of my sound. My music is an amalgam of that minimalist influence and inspiration from artists like FKA Twigs, Thom Yorke, James Blake, and Bjork. The songwriting revolves around concepts of discovery, transformation, loss, acceptance, and the passage of time. How did you go about writing Dissolve? I had recently bought a Dave Smith Instruments Prophet 08 synth. I was exploring the sounds it was capable of and stumbled into a bass line that felt like it was falling over itself. It turned into a fully realized song shortly after that once I added a beat, some synth pads for harmony and a vocal melody. Lyrically, the song is about experiencing loss and navigating the disorientation that comes along with it. Where and when did you record and who with? Dissolve and the other tracks on “Patterns of Us” (EP) were recorded in my studio over the course of the last couple years. I've worked as a composer, producer, and multi-instrumentalist for years now and wrote, recorded, and mixed everything myself. I have two tracks with guest vocalists, very close friends of mine, Patrick Joseph and Eleanor Crane. I’m lucky to have close friends who are also incredibly talented artists in their own right. How did you approach the recording process? Recording and writing happen simultaneously. They are both the process of creation and flow back and forth between each other. I record one sound or instrument that then inspires an idea for another layer or texture, and so on and so on until a structure begins to emerge. This happens fairly quickly, so I often have place-holder takes of various parts or instruments. Once I have a solid song idea mapped out, I go back and refine individual instruments as needed. I definitely enjoy using recording as a way to explore different sounds, or altering instruments or objects to make them sound like something else. What programs/instruments did you use to record? I use Pro Tools for recording and mixing. I use some software synths, but the majority of the EP utilized hardware synths like the Prophet 08, Moog Sub37, and Mother 32. There is also a fair amount of guitar as that is my primary instrument. And a lot of guitar that doesn't sound anything like a guitar. I use an Echoplex Digital Pro Plus looper to create atmospheric and ambient textures using the guitar. I also like using vocal loops to create textures and pads. There are percussive elements in the songs sourced from random objects like a paper wrapper, scratching on cloth, tapping on things, etc. What do you like to do away from music? I spend a lot of time camping, hiking, and being outside. Anywhere I can find mountains, water, and quiet. I read as much as I can, and watch movies and documentaries. I enjoy spending time with friends and family. Who are you listening to at the moment? Thom Yorke's latest album Anima has been in heavy rotation for me. As well as Bon Iver's most recent album and Magdalene by FKA Twigs. Anything by Max Richter. What's planned for 2020? I'll be releasing my debut EP "Patterns of Us" and continuing to work on new music for Missives, possibly for another EP or a full length depending on how everything shapes up. Favourite food and place to hangout? Pho or sushi (at least today). My favourite place to hangout is in the Sierra Nevada mountains of California or Northern New Mexico where I grew up. There is also a neighborhood bar here in LA that I go to fairly regularly with friends. It feels like it should be a bar in a random mountain town somewhere, but it sits in the middle of Eagle Rock, a north east LA neighborhood I’m quite fond of.

Missives

PRAISE FOR JAY COOPER "Australian mood lord" Tim Shiel (triple j) "Arca meets SOPHIE meets something new and fresh and exciting" Andy Garvey (triple j Unearthed '21 Personnel') "He continues to strive towards being one of Australia's most exciting rising names" Pilerats "Shallow Anthem defies its name" Purple Sneakers Today Australian raised, Canadian based producer Jay Cooper releases his debut EP INTERIM, a concept project about navigating the city as an artist, building and destroying to forge the new. Listen HERE. Of the EP Cooper says “The concept of INTERIM is navigating a building, one that's constantly shifting and changing as you move. It's like urban life, trying to scale this structure and forge a path for yourself. It's up to you who you trust and how you move through the levels. It's a recurring dream I have where I'm in some kind of living & breathing building that's endless, and everybody I know is in there somewhere. These songs will have views into the basement, as it fills up with water, the elevators, the echoing stairs, the rooftop overlooking the garden maze, the ventilation system, a forgotten outpost, and wings of the building that you weren't supposed to go to.” INTERIM traverses further into the bleary-eyed RNB of previous singles ‘21 Personnel’, ‘nonethewiser’ and 'Shallow Anthem', taking the time to formally introduce us to Cooper’s world. Inspired by moments of reprieve and reflection on relationships and his career trajectory, the sheer unpredictability of life dawned on Cooper. A lack of roots and being adaptable begs the question, does one rely on their instincts and emotions or stick to what they know? Over eight tracks the EP unpacks how an artist's creative world is built and deconstructed, what values are compromised or upheld. Ultimately dependant on one's ability to keep up. Catching himself moving through these motions, INTERIM illustrates the internal conflict of “wondering if you’re acting as a true reflection of yourself, or just another moving part within the building." Having gained early acclaim under the JaysWays moniker, Cooper’s previous releases have featured on playlists across Spotify, triple j Unearthed and FBi Radio, with support from Pilerats, Purple Sneakers, CLIPPED.TV and more. Since relocating to North America Cooper has worked in collaboration with artists such as Annahstasia, Selasie Wussah, Robert Glasper and Common plus more as a singer-songwriter and producer. His work with Annahstasia on the album Sacred Bull went on to see the artist tour alongside Lenny Kravitz on his Raise Vibration tour. Actively maintaining a steady creative flow, the release of INTERIM demonstrates Jay Cooper's fierce creative direction and his multidisciplinary abilities continue to shine. INTERIM by Jay Cooper is out now. Buy/stream it on Spotify, Apple Music, Soundcloud, Bandcamp and more. INTERIM TRACK LIST 1. CHOICE II 2. Shallow Anthem (ft. Apollo Renegade) 3. 21 Personnel 4. Irrelevant 5. Ellipsis 6. Some Continuity 7. Nobody / A Place To Vent 8. Outpost Stay connected with Jay Cooper: Website | Facebook | Twitter | Soundcloud | Bandcamp

JAY COOPER RELEASES DEBUT EP ‘INTERIM’

Karnivool are thrilled to announce The Decade of Sound Awake tour where, exclusively for Australia, they will play the whole album in its entirety. Marking some of the band's biggest headline shows to date, the tour takes in Brisbane, Sydney, Melbourne, Adelaide and Fremantle. Karnivool's Sound Awake captured a moment in time when circumstance, influence and individuals collided, restructured and, with a lot of time, pain and joy became elevated above the sum of the parts. A decade and platinum sales have passed the landmark moment in the career of this band who have always gone their own way - meandered when they could have rushed, explored a sonic roadmap forward, then sideways, then backwards. And then forward again. Sound Awake is an album heavily informed by the art and science of Cymatics and questioning of an ever changing world. From the structured rage of 'Set Fire to the Hive’, the monster riffing of 'Goliath’ and the single that was never a single 'New Day’, Sound Awake is a record full of fan favourites that Kenny, Drew, Hoss, Steve and Jon see as their benchmark. Attaining worldwide success over this last decade, it launched Karnivool to an intensely loyal, passionate audience that lifted them from an opening act with some interesting tuning to international festival headline act with, well, more interesting tuning in more interesting places... Youngstown, Istanbul, Glasgow, Helsinki, Pune, Bratislava, Auckland, Cape Town, Moscow, Wiesbaden and some place they were told was Chicago, but clearly wasn’t. The Decade of Sound Awake tour will visit Brisbane, Sydney, Adelaide, Melbourne and Fremantle for ONE NIGHT ONLY. No additional shows, no encore performances, no take backsies. Don't miss out. KARNIVOOL - THE DECADE OF SOUND AWAKE TOUR SIGN UP AT KARNIVOOL.COM FOR PRE-SALE TICKETS TICKETS ON SALE THURSDAY FEBRUARY 27 AT 10AM Friday April 17 Fortitude Music Hall, Brisbane Saturday April 18 Enmore Theatre, Sydney Wednesday April 22 Thebarton Theatre, Adelaide Thursday April 23 Festival Hall, Melbourne Friday April 24 Fremantle Arts Centre, Fremantle Karnivool @karnivool_official @karnivool

KARNIVOOL ANNOUNCE ‘THE DECADE OF SOUND AWAKE’ NATIONAL TOUR PLAYING THEIR SEMINAL ALBUM ‘SOUND AWAKE’ IN FULL

One month out from their Australian tour and Milwaukee via Hobart band Violent Femmes have locked in all supports. True to their eclectic nature the Femme’s choices span the sublime to the ridiculous and include band South Sudanese performer Gordon Koang (with full band), all female Cretan traditionalists Bandidas, indigenous singer / songwriter Chris Tamwoy and Femmes’ bass player Brian Ritchie’s own side act The Toilet Brushes… Full details below. With Melbourne, Gold Coast and Sydney all long sold out plus extra seats added in Perth and just a trickle of tickets left in each other city Australia’s love affair with ageless trio stands strong some 37 years since they first toured the continent. Watch Violent Femmes - Busking in Sydney, 1990 Feel Presents... VIOLENT FEMMES MARCH '20 Thursday 19th March 2020 - Odeon, Hobart TAS with guests The Toilet Brushes - SOLD OUT - Friday 20th March 2020 - Forum Theatre, Melbourne VIC - SOLD OUT with guests Bandidas Saturday 21st March 2020 - Sandstone Rocks, Sandstone Point QLD w/ Hoodoo Gurus - SOLD OUT - Sunday 22nd March 2020 - Miami Marketta, Gold Coast QLD with guests Spirit of Churaki & Chris Tamwoy - SOLD OUT - Friday 27th March 2020 - Enmore Theatre, Sydney NSW with guests Gordon Koang Saturday 28th March 2020 - Thebarton, Adelaide SA with guests Gordon Koang Sunday 29th March 2020 - Concert Hall, Perth WA (no support) Tickets on sale now www.feelpresents.com/ www.vfemmes.com/

VIOLENT FEMMES All Supports Announced

Your new self titled album is out now, how has the response been from peers, fans and industry? Our new album is titled 'Vol. 3', so I guess as the name probably suggests it's the 3rd one we've recorded since starting the band back in 2012. The album is actually released in a few days so as I'm writing this it's still not out in the world yet! Looking forward to finally having it out, we've released a handful of singles over the last year in the build up to it and the response from peers and fans has been great, industry not so much, haha. I've never worried too much about the industry though, you gotta just make the music you want to make and hope for the best, can't let the machine dictate how you create. What have you learned through the creation and release of this album? One thing that always drives me nuts is taking too long to release something, I think a lot of artists suffer this plight. The time from conception to birth is way longer than 9 months, I wanna try and avoid that as the years go by. In the creation process we made solid draft copies of everything before taking it to our producer Chris Taylor (Grizzly Bear band member and producer, excellent cook and motorbike enthusiast), I like that method but I want to always change things so next time I would want to get the producer in earlier so they can have a bit more say early on in how the songs should go. What did you find most challenging and rewarding during the creative process? Most challenging is getting everything recorded in the small window of time you have that the budget can afford. There is not a lot of time for experimenting hence the aforementioned draft copies, we needed a solid script before the ad libs came in. It is rewarding though after 5 days of mania to listen back and feel that sense of pride of creating something that only a week ago was silence. It's a hard one to answer, but are there any tracks that stand out to you most? If so which and why? I think for me (Joshua Moriarty) it's the song Waste. Lyrically it has the most potent lines, I think the story is cohesive (if I do say so myself, ha..) and gels perfectly with the music, it has the apocalyptic melancholy I wanted to lock down for that song. How was the music written? I wrote a lot of the music myself on the acoustic guitar while in LA across the course of a year. When I got back to Melbourne we amplified everything and then the other boys brought their songs to the table and we nutted it out in the jam room. We had also done a few writing trips through the year to different locations in Victoria where we would setup the computer and record a bunch of jams etc, sift through the best bits. How were the lyrics written? I took the most care I've ever taken on this record to get the lyrics right!! Took me months and months, I figure if you are gonna say something you may as well say it right and make it compelling, I didn't settle on any phrase until it was perfect. The chorus of Tear It Down took me months, I tweaked it over and over and over until I had it exactly right. I would demo things on Ableton then go for a bike ride and listen and make notes and repeat the process until it was perfect. I don't think their is one lyric on the record I would change, very happy with the message How do you usually go about writing music and was anything new or different with your approach to writing for this album? I'll write a lot of stuff just sitting around with an acoustic guitar, I have a wee one and I'll watch the telly with it in my hands twiddling away, something about that unconscious way of playing can lead to cool ideas. You gotta keep fishing, casting the line out. Then we bring those small ideas into the rehearsal rooms and see what feels good and if they stick after 6 months then we know it's a keeper. What are your plans for the album? Put it on the internet and hope for the best, what the fuck else does anyone do?? Any advice for less experienced musicians who are wanting to make a living in the music industry? Get lots of followers on tik tok. Who are you listening to at the moment? Kashmir from Denmark are a band favourite. I missed that most recent Father John Misty record so getting into that currently. The Phoenix Foundation from New Zealand are one of my fave bands ever so I'm always listening to them. Ainslie Wills is a bad ass, Lee Hazelwood, The Karen O and Danger Mouse record is sick too. What's planned for 2020? Play, make more music, write, record, play, make more music, rest, perform, record, basically all I've been doing the last 15 years so can't see it changing, it's either that or become a pool boy or go back in time and get good at cricket. Our new album is titled 'Vol. 3', so I guess as the name probably suggests it's the 3rd one we've recorded since starting the band back in 2012. The album is actually released in a few days so as I'm writing this it's still not out in the world yet! Looking forward to finally having it out, we've released a handful of singles over the last year in the build up to it and the response from peers and fans has been great, industry not so much, haha. I've never worried too much about the industry though, you gotta just make the music you want to make and hope for the best, can't let the machine dictate how you create. What have you learned through the creation and release of this album? One thing that always drives me nuts is taking too long to release something, I think a lot of artists suffer this plight. The time from conception to birth is way longer than 9 months, I wanna try and avoid that as the years go by. In the creation process we made solid draft copies of everything before taking it to our producer Chris Taylor (Grizzly Bear band member and producer, excellent cook and motorbike enthusiast), I like that method but I want to always change things so next time I would want to get the producer in earlier so they can have a bit more say early on in how the songs should go. What did you find most challenging and rewarding during the creative process? Most challenging is getting everything recorded in the small window of time you have that the budget can afford. There is not a lot of time for experimenting hence the aforementioned draft copies, we needed a solid script before the ad libs came in. It is rewarding though after 5 days of mania to listen back and feel that sense of pride of creating something that only a week ago was silence. It's a hard one to answer, but are there any tracks that stand out to you most? If so which and why? I think for me (Joshua Moriarty) it's the song Waste. Lyrically it has the most potent lines, I think the story is cohesive (if I do say so myself, ha..) and gels perfectly with the music, it has the apocalyptic melancholy I wanted to lock down for that song. How was the music written? I wrote a lot of the music myself on the acoustic guitar while in LA across the course of a year. When I got back to Melbourne we amplified everything and then the other boys brought their songs to the table and we nutted it out in the jam room. We had also done a few writing trips through the year to different locations in Victoria where we would setup the computer and record a bunch of jams etc, sift through the best bits. How were the lyrics written? I took the most care I've ever taken on this record to get the lyrics right!! Took me months and months, I figure if you are gonna say something you may as well say it right and make it compelling, I didn't settle on any phrase until it was perfect. The chorus of Tear It Down took me months, I tweaked it over and over and over until I had it exactly right. I would demo things on Ableton then go for a bike ride and listen and make notes and repeat the process until it was perfect. I don't think their is one lyric on the record I would change, very happy with the message How do you usually go about writing music and was anything new or different with your approach to writing for this album? I'll write a lot of stuff just sitting around with an acoustic guitar, I have a wee one and I'll watch the telly with it in my hands twiddling away, something about that unconscious way of playing can lead to cool ideas. You gotta keep fishing, casting the line out. Then we bring those small ideas into the rehearsal rooms and see what feels good and if they stick after 6 months then we know it's a keeper. What are your plans for the album? Put it on the internet and hope for the best, what the fuck else does anyone do?? Any advice for less experienced musicians who are wanting to make a living in the music industry? Get lots of followers on tik tok. Who are you listening to at the moment? Kashmir from Denmark are a band favourite. I missed that most recent Father John Misty record so getting into that currently. The Phoenix Foundation from New Zealand are one of my fave bands ever so I'm always listening to them. Ainslie Wills is a bad ass, Lee Hazelwood, The Karen O and Danger Mouse record is sick too. What's planned for 2020? Play, make more music, write, record, play, make more music, rest, perform, record, basically all I've been doing the last 15 years so can't see it changing, it's either that or become a pool boy or go back in time and get good at cricket.

All The Colours

Photo credit: The Sauce / Tyler Bell “An electrifying bout of rock revival” – Ones To Watch "The bigger the stage, the better Ocean Alley get" – triple j After less than a week on sale, Ocean Alley are thrilled to announce the Sydney and Brisbane legs of their upcoming Australian tour have sold out, with second shows added and on sale now. The surf-rockers have expanded the tour to a total of seven shows across five cities, adding an all-ages show to Brisbane’s Fortitude Music Hall on Saturday 23 May, and a hometown encore performance at Sydney’s Hordern Pavilion on Saturday 6 June. Perth outfits Psychedelic Porn Crumpets and Dulcie will both continue their support run across these dates. All shows are selling fast, tickets on sale now from oceanalley.com.au. These shows mark Ocean Alley’s first national headline tour since 2018, when they last toured off the back of their then newly-released, critically acclaimed second album Chiaroscuro. In the two years since, the band have been writing and recording new music between international tours and festival appearances, releasing singles ‘Stained Glass’, ‘Infinity’ and most recently ‘Tombstone’ in that time. Launching into the new decade, Ocean Alley are fresh off the national Laneway Festival run and a stint in New Zealand over the New Year period, however 2019 ended with 30 sold out performances around the world after playing their biggest international shows to date. The band gave a career-defining, Saturday night main stage performance at Splendour In The Grass and were widely-praised for electric and commanding sets at Bluesfest, One Night Stand, Land of Plenty, Spilt Milk and the sold out, inaugural A Day For The Beaches – a community event they curated on the Northern Beaches to raise money for local charities. To round out their breakthrough year, smash hit single and #1 Hottest 100 of 2018 'Confidence' saw the band receive their first ARIA nomination for Song of the Year, and stand-out moments from that 12 month journey are chronicled in the new 'Tombstone’ video. Hailing from Sydney’s Northern Beaches, Ocean Alley have solidified their position as one of Australia’s most exciting and increasingly booming exports. Having surpassed 200 million catalogue streams, as well as achieving the impressive feat of attaining more than 1.5 million monthly Spotify listeners, Ocean Alley continue to captivate audiences worldwide with their infectious blend of psychedelic surf-rock, selling out a slew of shows at home and abroad, plus performing festivals including Falls Festival (AU), Reading & Leeds Festival (UK), BottleRock (US), Sziget (HU) and Bay Dreams (NZ). OCEAN ALLEY AUSTRALIAN TOUR 2020 with Psychedelic Porn Crumpets & Dulcie Tickets on sale now from oceanalley.com.au Friday 1 May – Fremantle Arts Centre, Perth SELLING FAST Friday 8 May – Thebarton Theatre, Adelaide SELLING FAST Friday 15 May – Melbourne Arena, Melbourne SELLING FAST Friday 22 May – Fortitude Music Hall, Brisbane SOLD OUT Saturday 23 May – Fortitude Music Hall, Brisbane NEW SHOW ADDED Friday 5 June – Hordern Pavilion, Sydney SOLD OUT Saturday 6 June – Hordern Pavilion, Sydney NEW SHOW ADDED Presented by triple j, Lonely Lands Agency & UNIFIED Music Group OCEAN ALLEY – ‘Tombstone' [Single] OUT NOW Available to stream and purchase here.

OCEAN ALLEY SELL OUT IN SYDNEY AND BRISBANE SECOND SHOWS ADDED, ON SALE NOW

Where are you currently based and what is the music scene like there? I’m Based in Brisbane, I moved from the UK 13 years ago. If you look at the scene in Australia from history back in the 80s / 90s then you can’t compare with the enthusiasm of both venues and punters. Db limits and pokies have plagued the scene somewhat. Venues don’t have the budget or are not prepared to pay for original artists the way cover bands and Tributes get paid. Apparently bands back then were finding a gig at least 3 times per week. Now we have agents selecting their "favourites". Brisbane is a place of diverse talent but we still haven’t seen anything that will put Australia back on the map yet for A & R visits. However, please feel free to check out my new single called 'DumbStruck' How can we progress and expose new music? Great question! and I believe radio have much to answer for where educating the public and artists are concerned. A particular radio station for example, still have the same play list from when I moved here 13 years ago!! Friends and family in the UK are always saying to me "have you heard this new song" "have you seen this new rocking band" well no I haven’t ha ha, because radio in Australia does not fully support the cause for what’s developing and happening overseas unfortunately. How did you first start playing music? My late father use to sing to me and my brother. We shared a room growing up and my old man would pick a classic tune and play and sing to us on his rusty old acoustic guitar instead of reading a bedtime story. Bearing in mind we were 6 and 4 year old knippers. My father taught me the "3 chord wonder" as he called it haha. I practiced those 3 chords for weeks, I then taught myself some more from guitar books, that was before google lol. It was when I met a good old pal at the first year of high school that it really began. I taught him a scale or two and now he is a top blues rock player in the South West of the UK. We put together a little novice garage band and rehearsed in bedrooms, garages and school halls. We had real passion man! We learn’t fast and soon booked our first gig at Plymstock Comprehensive School haha. It was the Christmas school disco that we would premiere at the age of 14. From here we grew as trio with myself on bass. Let’s just say the rest is history! What's been happening recently? It’s been a hectic few weeks of late getting everything across the line ready for the single, video, EP and live show launch, and now interviews and promo. March 28th I marry the most amazing lady, so as one can imagine there is much to do. I’m also a full time driving instructor in Brisbane. Your new single is out now, what influenced the sound and songwriting? I wrote ‘DumbStruck’ over 14 years ago back in the UK, as a band then with my brother Del on drums we jammed it but never recorded these songs. At the time I was listening to a mix of bands from Trouble, Kyuss, Audioslave, Soundgarden to Stereophonics and HIM. I put an emphasis on melody and hooks as this formula gives colour and emotion. This was probably inherited from growing up listening to The Beatles. With ‘DumbStruck’ it was a progressive experience to write. It has evolved from its basic form and has guitar work that Slash himself could have written haha. The Canadian guitarist who wrote the solos, performed, mixed and mastered on the track goes by the name of Trevor (Hanuman) Stefiuk. Where and when did you record/produce? It has been an ongoing project that has spanned over the last two years with Allan Lahey at Taramalin Sound recording studio in Kingston QLD. Allan has been a pioneer and platform for original artists to record in Brisbane for many years. Due to life’s obstacles and funding it has taken longer than I had hoped, but it was worth the wait. Ben Kerswell played a major role in instrumentation and producing something a bit more contemporary. Unfortunately, Ben has had a life changing illness that stopped him in his tracks. Therefore, I was required to hire guys to help perform and complete the last track called 'Plunge' While in the process of mastering the track Strive and Repair, the decision was made to invest in a music video to align with this rocking tune. So if you like it rocking and loud this is your chance to hear something new. On the 28th February 2020 the EP ‘A Thousand Years High’ will be launched in Brisbane and be available online and for hard copies of the CD. I am proud of what has been achieved here as a whole, and I humbly say that the single ‘DumbStruck’ needs to be heard on every radio station across the globe to justify its existence! You have a EP on the way, how did you go about writing the EP and what influenced the writing? All of the 5 songs were written firstly on the acoustic guitar over a decade ago. It was a great formula, I would pour a glass or two and put pen to paper. Melody always comes first with me then lyrics to fit the vocal melody. I was heavily influenced from the stoner rock and the grunge era. AIC showed how vox harmonies can be used with heavy crunching riffs. Over the years, vocally I have been influenced by Chris Cornell, Layne Staley. In the early days it was Axl Rose, David Coverdale, Paul Rodgers and Sebastian Bach I took vocal lessons from. What have you found most rewarding and challenging during the creation of the new EP? We all knew that the final track recorded on the EP 'Plunge' was going to be a challenge. With its unconventional structure and longer than average duration it turned out to certainly be that. All efforts and focus went into a performance for recording that we were happy with. The result is an epic, progressive original sounding track. Funding and time was a major factor for completing this EP. What's the EP title? ‘A Thousand Years High’ What do you like to do away from music? I like to spend time with my kids, however they are now adults and doing their own thing! I like to walk somewhere scenic, visit the mountains and coast, wine and dine. I went through an obsessive stage of practicing the ancient Martial art known as the commercial name of Ninjutsu Who are you listening to at the moment? Clutch, Killswitch Engage and Paradise Lost What's planned for 2020? Get married in March and to push this EP, Single and video and obtain as many gigs as possible. I will be writing and still have some heavy tunes to show the lads to later record a full album. Favourite food and place to hangout? Being a pomme I do like a decent hot Indian curry. There are a few good Thai restaurants at Westfield Garden City and Raby Bay harbour that I like to visit.

MARSHALL | BRISBANE ROCKERS RELEASE NEW SINGLE ‘DUMBSTRUCK’ + ANNOUNCE UPCOMING EP RELEASE + LAUNCH SHOW

Channel Tres returns in April-May 2020 The Compton-born artist will perform headline shows in Perth, Melbourne, Brisbane and Sydney Single ‘Controller’ has amassed 60 million+ streams since its 2018 release Tickets on sale Friday 28 February Frontier Touring and I OH YOU are thrilled to announce today that for the third consecutive year, Compton-born artist Channel Tres will return to Australia this April-May, performing four sweaty headline shows in Perth, Melbourne, Brisbane and Sydney. While in the country, he’ll also hit the stage nationally with Groovin The Moo festival. ‘Can’t wait to come back to Oz and see my people’ – Channel Tres 2020 is shaping up to be a huge year for the artist, with Channel heading to Australia fresh off the back of his highly-anticipated set in the Californian desert at Coachella 2020. His last tour down under went ballistic; just watch this footage out of Melbourne! ‘True to form, the production is tight, the delivery executed with flair and for Channel Tres, it’s an indicator of a powerful musical presence continuing to grow.’ – Music Feeds ‘Channel Tres made sure that his second visit to Australia within nine months was one that fans would remember, ripping through a run of exceptional tracks.’ – Tone Deaf Also booked for Manchester’s Parklife in June and Melt! in Germany in July, first up Channel will head down under for four killer shows: Mojos Bar in Perth on Wednesday 29 April; Melbourne’s The Corner Hotel on Friday 1 May; Brisbane’s Outpost on Tuesday 5 May; followed by Sydney’s Oxford Art Factory on Thursday 7 May. Tickets are on sale Friday 28 February via frontiertouring.com/channeltres. Name-checked by the likes of Sir Elton John, Anderson .Paak, Disclosure, Mark Ronson, Robyn and Childish Gambino, Channel first broke into the LA rap scene back in 2018 with his debut single ‘Controller’. Praised by Pitchfork as his ‘commanding first impression’, ‘Controller’ has amassed more than 60 million combined streams to date. https://www.youtube.com/watch?v=n82NSRfmM4M&feature=youtu.be&fbclid=IwAR0Zq99RVY3sWoIdgFRx85D2e5fRqbXgsFNM6F1ukOsG_QsVuRgDs2Yyk0s 2019 saw Channel take his mesmerising mix of music, movement and energy to the world’s most elite festivals including Primavera Sound, Movement, and Splendour in the Grass - blowing the roof off three headline AU/NZ shows while in town - and finished the year off joining Toro Y Moi for a stellar 11-city tour across North America. Along the way Channel has been profiled by FADER and befriended, remixed and collaborated with a who’s-who of chart-toppers including English singer-songwriter James Blake; King Princess (check out track ‘Hit The Back’ released last month); the first official remix for Tyler, The Creator (the epic ‘EARFQUAKE’) and peers Baauer and Danny Brown (who he collaborated with on single ‘READY TO GO’). Between all this, he also released the excellent Black Moses EP. Watch: James Blake x Channel Tres in the Studio With the likes of Pitchfork, NPR, Gorilla vs. Bear, triple j, BBC Radio 1, Beats1 and KCRW lining up as early champions, find out just why Channel Tres is the name on everyone’s lips when he hits our shores again in April-May! CHANNEL TRES AUSTRALIA APRIL & MAY 2020 Presented by Frontier Touring & I OH YOU FRONTIER MEMBERS PRE-SALE via frontiertouring.com/channeltres Runs 24 hours from: Wednesday 26 February (11am local time) or until pre-sale allocation exhausted GENERAL PUBLIC ON SALE Begins: Friday 28 February (11am local time) Mojos Bar | Perth, WA 18+ oztix.com.au | Ph: 1300 762 545 Corner Hotel | Melbourne, VIC 18+ eventbrite.com.au | Ph: 1300 438 849 Outpost | Brisbane, QLD 18+ moshtix.com.au | Ph: 1300 438 849 Oxford Art Factory | Sydney, NSW 18+ moshtix.com.au | Ph: 1300 438 849 ** While in Australia, also performing nationally at Groovin The Moo (not promoted by Frontier Touring & I OH YOU)

Channel Tres announces headline shows in Perth, Melbourne, Brisbane & Sydney | April-May 2020

COURTNEY BARNETT

COURTNEY BARNETT MTV Unplugged (Live In Melbourne) out now on CD & vinyl Watch performance of ‘Nameless, Faceless’ Supporting Nick Cave & The Bad Seeds in UK + Ireland

caroline are pleased to share their debut live session and signing to Rough Trade Records - the track is called 'Dark blue'. The session was shot in January 2020, in a disused swimming pool in North London. The band hail from London. caroline began as a three-piece (Jasper Llewellyn, Mike O'Malley, Casper Hughes) in early 2017, initially evolving out of weekly improvisation sessions. Bringing together shared influences in, and experiences of playing, midwestern ‘emo’ guitar music, Appalachian folk, minimalist classical and various forms of dance music. The group spent a year and a half playing privately, without a project name. Reiterating, deconstructing and re-building the same small handful of songs over and over again, the group slowly expanded their on-stage members before playing their debut show as caroline in 2018. caroline are currently working on their debut album. caroline are - Jasper Llewellyn - acoustic guitar, cello, drums, vocals, Mike O'Malley - electric guitar, vocals Casper Hughes - electric guitar, vocals Oliver Hamilton – violin Magdalena McLean – violin Freddy Wordsworth - trumpet, bass Alex McKenzie – clarinet Hugh Aynsley - drums, percussion.

CAROLINE Sign to Rough Trade Records Share debut live session ‘Dark blue’