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CINEMATIC’ feels obsessed with romance as something slightly unreal. When you were writing it, did Like An Actress already exist in your heads, or did that idea surface later once the song was finished?
We knew that we wanted to do an EP after our second album, but we didn’t know the themes or the form that it would take. We like to let the songs dictate the emotional depth of each release, and Cinematic had this incredible joy and metaphor to it, which felt like a natural theme across all the tracks of the EP.
You’ve said the song feels nostalgic while it’s still happening. Do you think that’s about the way love works now, or more about how you both tend to process emotion?
Nostalgia is such a powerful emotion! It’s obviously a feeling of love & longing for the past, but smothered with a rich tapestry of senses. Love is the only thing I can think of that works similarly & feels alike! Love’s super physical & vivid but full of hope and fear and everything in between – at least in our experience!
The imagery in ‘CINEMATIC’ is very vivid — sneaking into places, kissing in the streets, that rush at night. Do those scenes come first when you’re writing, or do they grow out of the feeling?
The sneaking-in part was a very real experience! We built off that, every other line had to have the same gravitas, and movie scenes were the perfect building blocks for the song.
This EP leans much more into live instruments and a band feel. Was that a conscious reset for you creatively, or did it happen naturally as the songs started coming together?
It was more a result of our new environment and collaborators – we’ve both recently relocated to Sydney, so we’re working with some fantastic new people who have very different ways of working than in Aotearoa. And quite hilariously, when you relocate, your stuff is kinda in random places around your house – it just so happened that my acoustic guitar was always leant up against the couch, & would be the first thing I reached for with ideas.
You’ve mentioned the live show shaping the writing this time. Were there moments where you suddenly knew a song worked because you could already picture it on stage?
Definitely! Cinematic was a major one – as was Suckerpunch. Both have these huge senses of euphoria which gives you the feeling of being on stage. You know it’s a hit when you’re singing it in your living room pretending to hold a mic hahah.
Recording back in Aotearoa with Josh Naley, did being in a familiar place change how open or honest the writing felt?
Yeah Josh is great – it’s nice to have a collaborator that’s been across literally every project we’ve ever put out. There’s a nice grounding to writing in Aotearoa, and with Josh that helped recontextualise some of the wilder ideas we had over in Australia.
Like An Actress circles around themes you’ve explored before — love, loss, identity. Did those ideas come out of real conversations between you, or did the music open those doors on its own?
We’re always talking about our lives to each other – our challenges, joys & everything! It’s natural that lyrically our stories are often touching on those core subjects because our friendship is at the root of Foley – but which conversation or theme we write about 100% depends on the mood of the music. The first lyrics will always depend on how we’re feeling about the chords or melodies we’re constructing on the day.
After the response to ‘HONEY’ and That’s Life, Baby!, did you feel any pressure heading into this EP, or did working in a more organic way actually quiet that noise?
Not pressure, but we definitely had an intention to continue to write experimentally, and figure out what our relocation & life changes had done to the music. That’s Life, Baby! was such a pivotal record because we felt we finally unlocked the Foley sound or very intricate, experimental pop – and wanted to dive further into it, and see what other boundaries we could push!
You’ve worked with some heavy hitters on the technical side. When a song is already emotionally complete, how do you know when polishing it helps — and when it might risk sanding something away?
Haha these have been the best mixes and masters Foley’s ever had! We stumbled across Pedro Calloni who’d written with some of our favourite contemporaries, and he instantly heard what we were going for. Foley’s always been a collaborative project and we always find bringing other creatives on board helps & lifts our songs, and hasn’t ever hindered them!
Right now, does Like An Actress feel like a stepping stone into whatever comes next for FOLEY, or more like a snapshot of exactly where you are at this point in time?
A bit of both! It’s definitely a snapshot of right now – and we’ve made pains to show that in all the imagery, press photos, lyrics – lots of movement metaphors, bright colours, deep blues & some visual nods to our musical upbringings. It’s been awesome crafting this & I’m sure the next one will be a blast too.
Foley: Facebook | Instagram | YouTube | Tik Tok | Triple J Unearthed
These New South Whales today announce a string of Australian headline tour dates from March through to May in support of their fourth studio album GODSPEED. Band pre-sale available through Discord, Patreon, and Bandsintown now. General on-sale Tuesday, 20 Jan, 11:00 AM AEDT via tnsw.co/tour.
The tour marks the first national live shows since their latest album GODSPEED, which landed #4 on the ARIA Australian Album Charts and #9 on the ARIA Vinyl Charts, and was praised locally and internationally across triple j, Apple Music, NOVA, Rolling Stone ANZ, Kerrang!, The Line of Best Fit, CLASH and 10 Magazine among others for their kind of raw energy that can berate authority and blow your haircut off in equal measure.
A reputation shaped by extensive touring – including last year’s live podcast tour which celebrated 500 episodes of their cult series What A Great Punk – These New South Whales assert themselves as a once-in-a-generation Australian punk proposition. Starting March 19, These New South Whales will hit Maroochydore’s Solbar before embarking on a huge 17-show run of regional and capital venues across the country. All tour routing details listed BELOW.
Produced by Ben Greenberg (Depeche Mode, Drab Majesty, Show Me The Body), the follow-up to their ARIA and AIR Award-nominated LP TNSW is a gear switch. With GODSPEED, the group firmly pushes back. As personal as it is politically charged and a damn good time, there’s defiance in the face of doubt, a refusal to be shaped by outside expectations. It’s not about surrendering to the chaos anymore – it’s about cutting through it. This time, TNSW have a clarity in the voice, a rejection of bullshit, a sense of recklessness and an insistence on trusting instinct over influence. The mission statement is laid out within the first thirty seconds, as vocalist Jamie Timony bellows, “The choice is yours / Godspeed.”
As a band in conversation with a continually shifting hellscape, whatever comes next is anyone’s guess, but the meaning of GODSPEED can be found in the here and now. Switched on and sick of it all, it’s a reminder that salvation has no blueprint. Trust yourself and see. It’s direct, galvanising and, above all, an irresistibly good time. TNSW in a nutshell.
GODSPEED TOUR DATES
Sat 28 Feb – Pirate Life Eleventh Birthday @ Pirate Life Brewery – Yartapuulti / Port Adelaide (TIX)
Thu 19 Mar – Solbar – Murukutchi-dha / Maroochydore (TIX)
Fri 20 Mar – The Brightside – Brisbane, Meanjin (TIX)
Sat 21 Mar – Mo’s Desert Clubhouse – Bundjalung / Gold Coast (TIX)
Fri 27 Mar – Indian Ocean Hotel – Boorloo / Scarborough (TIX)
Sat 28 Mar – Froth Craft Brewery – Goomburrup / Bunbury (TIX)
Sun 29 Mar – The River – Wooditjup / Margaret River (TIX)
Fri 10 Apr – Royal Oak Hotel – Palawa Country / Launceston (TIX)
Sat 11 Apr – Altar – Nipaluna / Hobart (TIX)
Thu 23 Apr – Hamilton Station Hotel – Mulubinba / Newcastle (TIX)
Fri 24 Apr – Gumball Festival – Wonnarua / Hunter Valley (TIX)
Sat 25 Apr – Mary’s Underground – Eora / Sydney (TIX)
Sun 26 Apr – La La La’s – Woolyungah / Wollongong (TIX)
Fri 1 May – Barwon Club – Djilang / Geelong (TIX)
Sat 2 May – Theatre Royal – Djandak / Castlemaine (TIX)
Sat 9 May – Pelly Bar – Marr-ne-beek / Frankston (TIX)
Sat 16 May – Howler – Naarm / Melbourne (TIX)
Tickets are on sale
Tuesday, 20 Jan, 11:00 AM AEDT
via tnsw.co/tour
GODSPEED LP is out now, buy/stream it here.
TRACKLIST
INTRO
INSTINCT
MISS HER
R.I.P. ME
BIG MACHINE
NOBODY LISTENS
PIG
BIRDBRAIN
BE WHAT YOU WANNA BE
ECSTACY
GODSPEED
Stay connected with These New South Whales:
23 Profile | Website | YouTube | Instagram | X | Facebook | TikTok
Stages include Area V where Sara Landry presents Eternalism, Klangkuenstler, Hangar, with the likes of Fantasm, 999999999, I Hate Models, Greenhouse with Robert Hood, Chlär (Live), Yanamaste through to East End Dubs and Patrick Topping, The Terminal featuring Mall Grab, Ben Hemsley, The Lab with emerging Scottish artists and new for 2026, The Block.
Ahead of its return to the Royal Highland Centre & Showground, Edinburgh, on 18–19 April 2026, Terminal V has revealed the stage lineups and day splits for its 2026 edition, alongside a new host of artists that have been added to the line up.
The latest additions include a mix of new school disrupters and legends with Biianco, Natte Vistick, Patrick Topping and Prunk all bringing different flavours of house, trance and techno, while The Lab stage is a dedicated platform for emerging Scottish artists and future-facing sounds with the lineup yet to be announced.
Now firmly established as one of Europe’s leading techno festivals, Terminal V 2026 will welcome over 100 artists across six stages, with 40,000 attendees expected across the weekend.
Each stage is designed with a clear purpose, allowing different parts of the electronic spectrum to exist without compromise, from peak-time headline techno to foundational house, from high-pressure intensity to emerging local voices. Together, the stages form a complete ecosystem where every sound has room to exist properly, and the whole site is steeped in the famously high spec production, light and sound that makes this one of Europe’s leading events.
AREA V is where scale, focus and headline energy come together. The flagship stage returns as the focal point for peak-time techno and on Saturday, Sara Landry brings her UK Festival exclusive of Eternalism, with Clara Cuvé, Novah, Fumi, Adrián Mills and Alex Farell. Sunday sees a powerful close led by Klangkuenstler, alongside Anetha X Patrick Mason, DJ Gigola X ØTTA and Ueberrest and a world exclusive b2b of SPFDJ X SIM0NE.
Expect relentless, high-intensity techno built for pace and endurance at HANGAR. Across both days, this stage delivers uncompromising pressure, featuring artists including 999999999, I Hate Models, Fantasm, Vieze Asbak, Winson and more representing the hardest edge of the Terminal V spectrum.
GREENHOUSE is a stage rooted in history, groove and musicality which on Saturday sees raw, stripped-back techno inspired by the genre’s early forms, with Robert Hood, Chlär (Live), Alarico, Clouds X Tommy Holohan. On Sunday, a shift toward deeply rooted tech house music, led by Patrick Topping, East End Dubs, Traumer, Prunk and La La.
THE TERMINAL is for high-energy sets built for emotional release rather than genre boundaries. Think fast transitions, big moments and no holding back with artists including Mall Grab, Ben Hemsley, Will Atkinson, Morgan Seatree, DJ Gigola, Pegassi and Spray across the weekend.
2026 brings a brand new stage to Terminal V Festival – The Block – with a secret guest lineup – stay tuned.
With a significant site investment and a clearly defined vision across every stage, Terminal V 2026 continues to refine its identity not by expanding aimlessly, but by giving each sound its own space to exist with real narrative and intent.
Secure your Terminal V Festival 2026 weekend tickets with ZERO booking fees, saving up to £16.50 on a weekend ticket or weekend payment plan ticket for a limited time only: https://www.skiddle.com/
For a group of four this would be a saving of £66 on weekend tickets. Tickets are limited and exclusive to Skiddle. Available now until midnight on Sunday 11th January, 2026. Payment plans are also now live for day tickets.
TERMINAL V FESTIVAL 2026
STAGE / DAY SPLITS
SATURDAY 18TH APRIL
A-Z (artist order)
AREA V – SARA LANDRY PRESENTS ETERNALISM
SUNDAY 19TH APRIL
AREA V
ANETHA X PATRICK MASON
KLANGKUENSTLER
ØTTA X DJ GIGOLA
SIM0NE X SPFDJ
SOMEWHEN
UEBERREST
+more tbc
HANGAR
999999999
I HATE MODELS
KLOFAMA
LOLA CERISE
NATTE VISSTICK (new addition)
ONLYNUMBERS
NEGITIV
RAXELLER
GREENHOUSE
EAST END DUBS
LA LA
PATRICK TOPPING (new addition)
PRUNK (new addition)
TRAUMER
+more tbc
THE TERMINAL
BENWAL X HELENA LAUWAERT
DJ GIGOLA
MAIN PHASE
MALL GRAB
MORGAN SEATREE
PEGASSI
SPRAY
+more tbc
THE LAB
LINE UP TO BE ANNOUNCED.
THE BLOCK
BRAND NEW STAGE FOR 2026. SECRET GUEST LINE UP.
Scotland’s No. 1 electronic music festival, Terminal V, has revealed the full stage and day splits alongside confirmation of a £1 million investment into the festival site
18th-19th April 2026
Royal Highland Centre & Showground, Edinburgh
Website | Stage Photography | Photography | Artwork | Instagram | Facebook | Tickets
Tickets: https://www.skiddle.com/
Aminé brought the last leg of his aptly titled Tour de Dance to Sydney’s Metro Theatre last Saturday, and dance he did. In the midst of a 40-degree heatwave, Aminé brought the heat to a new level with an effervescent energy that made the Metro come alive.
The artist had me hooked from the start as the house lights dimmed and the theatre was lit by a Keith Haring–esque illustrated sequence of visuals that captured the vibrancy of the rapper’s music. A strong first look at the level of energy the artist would bring. The phrase “Nothing beats an Aminé holiday” lit the screen as he took the stage making the first of many references to the pursuit of a never-ending summer, the core motif of his latest album, 13 Months of Sunshine and a vibe that the artist delivered with every track.
Opening the show with Arc de Triomphe, the second single from the album, the dance-heavy production of this summer anthem matched the fire of Aminé’s energy and got the crowd jumping.
The artists stage presence and charisma is incredibly undeniable, as he promises to make the audience feel sexy and confident throughout the show. “When I say you’re beautiful, you say ‘I know,’” he cheered, hyping up the crowd as they chanted back at him.
A major highlight of the night for me was New Flower! A self-reflective track that features Leon Thomas, chronicling Aminé’s life pre-virality and his journey chasing his dream. The bridge is a key turning point of the song, and its meaning was amplified by Aminé’s vibrant stage presence:
“And when the sun hits your skin
I hope you know you belong where you been
And we’ll grow, that’s for sure, but in the end
We’ll be back in the ground once again”
Hearing these words echoed with adoration by his fans was a beautiful celebration of how far the artist has come and if I wasn’t sold already by his warmth and electricity he really had me with his sincerity.
Underneath Aminè’s charm and free spirited performance there is a level of heart and passion that really moves you. The title track of his album, 13MOS really heroes this, a tribute to his Ethiopian heritage and the short thirteenth month, Pagume. Aminé’s performance of the track was ignited with a sense of passion and energy overlayed with a rhythmic dance beat that really makes you want to move.
The show closed with a stellar run of his biggest hits, ending with Reel It In, Spice Girl, and the viral Caroline – the perfect culmination of a 60-minute show filled with nonstop dancing and major summer energy. If I wasn’t a fan of Aminè before, i certainly am now.
Water Stones feels less like a collection of songs and more like a continuous environment. When you were writing it, were you thinking in terms of individual pieces, or did the album slowly reveal itself as a whole?
The album slowly revealed itself as a whole. I started writing and recording and let it unfold as a collection of songs that reflected my life experiences at the time. Three of them I had written several years ago, but the rest reflected my current and recent experiences.
The title suggests gradual change rather than dramatic transformation. Was there a particular moment or experience that made that metaphor feel right for this record?
After losing several close friends, experiencing the pandemic, going through stage-three cancer, and witnessing the intensity of the 2024 election, I felt drawn to bring healing and positivity into my world and hopefully into the world of others. Holding my guitar, writing, and recording became truly uplifting for me. Through grief and healing, I felt my heart soften. During chemotherapy, instead of giving in to fear, I imagined light flowing through the IVs. My intention throughout the process was healing, staying open, and reaching for a higher vibration.
The last song I recorded was the title track, Water Stones, and my mother died that same day. I placed my hand on my heart and felt deep appreciation for my legacy with her, including the difficulty, the challenges, and the love we shared. That is why I called the album Water Stones. All of these challenges and hardships opened my heart, and a great deal of healing took place. It changed my life.
Your guitar playing on Water Stones feels very intentional, especially in what’s left unsaid. How conscious are you of silence and restraint when you’re composing?
I really don’t think about it one way or the other. Those songs are simply a reflection of how I feel, and I’m not analyzing the process as it’s happening. I’m just feeling. I follow a thread of intuition and whatever wants to come through in the moment. Each choice of notes stays in sync with a deep inner feeling, a sense of wonder and discovery. Writing songs feels like an adventure.
Nature feels present throughout the album, not as a concept but almost as a collaborator. Do you feel these pieces are shaped more by landscape than emotion, or are those two things inseparable for you?
Those two things are inseparable for me. Most of the songs I write happen when I’m at home in the mountains where I live. Sometimes when I’m writing, I zone out and feel that beauty come through as I go into a creative place. It gets into my hands. Because I love spending time in nature, taking walks in the mountains, being by rivers, kayaking on lakes, swimming, and backcountry cross-country skiing, these experiences are very healing and empowering. I always feel uplifted when I am with nature and that gets reflected in my songs.
There’s a calm confidence running through the record, but it never drifts into passivity. How do you make gentle music without it becoming something people stop actively listening to?
I think it’s because I feel fully engaged and truly connected to the music, and perhaps listeners feel that too.
Many of the tracks feel emotionally open without pointing the listener toward a specific feeling. Do you think instrumental music works best when it leaves that kind of space?
Yes. I used to sing and write lyrics, but I ended up writing instrumental music because I can express myself more emotionally. Words feel limiting for me. Without lyrics, listeners have the space to connect with the music in their own way. Rather than me creating a story, they can have their own experience.
The album moves at its own pace and doesn’t rush toward resolution. Was that a conscious response to the speed of modern life, or simply where you found yourself creatively at the time?
Just where I found myself creatively at the time. The music flows out of me, and I create a space that feels healing, uplifting, fun, or whatever wants to happen.
When you listen back to Water Stones now, does it feel like a snapshot of who you were while making it, or something that exists independently of you?
Listening back, it feels like a snapshot of my experience and what I was feeling at the time.
This is a record that seems to reward repeat listening rather than instant impact. How important is longevity to you when you’re releasing new work?
I don’t really think about it that way. The music unfolds from authentic experiences, not from anything forced or planned. It is spontaneous and real, without a specific agenda, and is just a flow of emotions and creativity that speaks from the present moment.
If someone sits with Water Stones for the first time, without context or expectation, what do you hope stays with them once the final note fades out?
That the music made them feel something, that it left them feeling better or inspired.
When you began working on Metanoia, did you have a clear emotional destination in mind, or did the album reveal itself gradually as you followed the sounds?
I didn’t have any specific emotional destination, though I did have an initial theme. The basic idea at first was just to explore the concept of change through the lens of Ovid’s Metamorphoses, re-telling and re-interpreting those myths into versions that hew more closely to today’s world.
Every Falling You record has been about some core part of the human condition, and I thought it would be very interesting to see how that condition has changed since antiquity. However, when the pandemic consumed the entire world, it occurred to me that we were all going through profound — and often quite difficult — changes that we never expected.
The word “metanoia” implies a deep internal shift. Was there a specific moment or period in your life that sparked this theme, or did it emerge more subconsciously through the music?
I’d say the original theme started itself changing around autumn of 2020. There were these large wildfires across California and the entire western US and Canada, and there were days where it was difficult to breathe. I would just look at online maps, searching for anywhere within a day’s drive where the air quality was better.
I would tell my canine best friend (a 130 lb giant Alaskan Malamute I named Atlas, who has since passed), “Atlas, we’re going to Tucson because their AQI is green!” or “Atlas, we’re going to Elko, Nevada because we can breathe there!” We did this five or six times, once even driving to Eugene, Oregon to breathe better only to find — after arriving — that it had also fallen prey to the fires just in the intervening eight or so hours since we left.
I realized that, between the fires, the pandemic, etc., no one can escape — the only way out was through. We often use the word “grow” to describe the path of our lives, but I think that word doesn’t capture how the external world throws adversity at us, challenging us to re-examine deeply held belief and value systems we’ve constructed.
Just as arriving in Eugene only to find that it, too, was burning, made me realize that I couldn’t keep running, metanoia requires accepting that you can’t outrun a chaotic, external world breaking you down. What we can do, however, is let it crack open the protective shell we’ve built around these belief and value systems, allowing us to peer inside and take a long, hard look at them.
If we free ourselves from the ones that aren’t working for us, we can walk into a future that, while uncertain, allows us to hopefully create better ones.
Falling You has always felt collaborative at its core. How do you decide which voices belong in a particular project, and what do you listen for beyond technical ability?
Oh, it’s definitely very much collaborative, and I’m very fortunate — and humbled — to be able to work with these amazingly talented people and call them friends.
In the early days, I would attempt to match the vocalist to the music, but I no longer do that. Basically, what always happens is that the vocalist ends up taking the song to places far more beautiful than I ever imagined. Their ideas (they are the vocalists, after all) are always better than mine.
Regarding what I listen for, I just like a lot of different types of music. If the vocalist’s performance moves me, or if I think to myself that they’re way out of my league (hint: they always are), then I’ll ask them if they’d be amenable to collaborating.
Sometimes they’re just very busy (hence the rotation), and sometimes certain ideas will move them more than others, but when they can, it always makes me so happy.
Many of the tracks feel less like songs and more like environments. How conscious are you of space, silence, and pacing when composing?
Oh, I just adore ambient and space music, drones, that kind of stuff. Whenever I play with synths or guitars, I usually just naturally go slow and drone out, often just letting it swallow me for 10–20 minutes before I remember to start recording at all.
With Metanoia, though, a lot of the pacing was driven by the particular myth I had in mind. For instance, on “Throw the Stone”, the change from bluesy guitar to ambient electronica was informed by the myth of Deucalion and Pyrrha, where the stones the characters toss behind them morph into the new inhabitants of the world.
Similarly, on “Alcyone”, the changes were driven by different parts of the story of Alcyone and Ceyx — Ceyx’s decision to leave in the beginning, Alcyone’s prophetic dreams in the middle, and her finding his body in the waves (and then both turning into birds) in the last part.
There’s a sense of patience throughout the album — nothing feels rushed. Was slowing things down a deliberate response to the world around us, or simply where the music wanted to go?
I think it’s mostly the latter — thinking about how elements of the myths would manifest in the music kind of drove the slower pacing.
Also, we’ve been working on this since soon after our last record, Shine (which was much more active) was released in 2017. The whole world slowing way down from 2020 through 2023 definitely had an effect as well.
Your work often blurs genre boundaries without ever feeling unfocused. Do you think in terms of genre at all, or is emotion the only framework that matters to you?
That’s very kind of you to say. We do genre-bend quite a lot. I think a lot of it is driven just by emotion or mood, though sometimes it’s a bit more intentional — I wanted to explore a slightly bluesy motif with this record, as I thought it would complement the themes of loss in a lot of the myths in Ovid’s work.
Several moments on the album feel deeply intimate, almost private. Do you ever struggle with how much of yourself to reveal through music, or does sound make that easier than words?
That is a very insightful observation. The way I see it, I can’t help but reveal aspects of myself through music, since the most honest music involves bringing something inside of you outside of you.
However, given that I prefer to be more in the background — and since I feel that the vocalists deserve far more attention than I do, as they bring the magic and all — I think for me it’s less of a private act and more of an anonymous one, though I guess this interview has shattered that illusion.
The album carries themes of grief and resilience without ever becoming heavy-handed. How do you approach difficult emotional material without overwhelming the listener?
This is actually something I put a lot of thought into. The majority of Falling You material is definitely on the moodier end, and I honestly find a real beauty in a deep, sorrowful melancholia.
Artists who do that really well — David Sylvian, First Aid Kit, This Mortal Coil, Billie Holiday, Stars Of the Lid, Opeth, a lot of bluegrass and folk — are some of my favorites.
However — and I know this is quite cliché — I find that adding uplifting or hopeful elements does two things: they better define the darkness, yet also provide a respite from it.
Another thing is that the vocalists really do a lot of the emotional heavy lifting themselves. The soundscapes can help set the mood and occasionally speak to it, but the vocals and lyrics really deliver it on a human level.
After completing Metanoia, do you feel changed by the process itself, or do you only discover that transformation once the music is released into the world?
Yes, most definitely. Every record changes me. Every time I manage to dig around inside and expose something through music, it affects me.
Every time I work with someone and they show me — through their contributions — things of such immense beauty that I can’t create any words with this tired alphabet that do it justice, I am moved to a different square on the board.
When listeners sit with this record in silence — headphones on, no distractions — what do you hope they come away feeling, even if they can’t quite put it into words?
Firstly, I’m grateful for anyone taking the time to experience the music we make. If they listen to the entire album — all almost 80 minutes of it — I hope they feel that the investment of their time was worth it, that the journey was an interesting one.
I hope they come away appreciating the value of stories. Many of these songs are retellings and reinterpretations of stories from antiquity. If we’ve managed to add our story to the countless others humans have professed, sung, and played for one another, that’s a success for me.
Photo Credit: Arianne Armida
Sydney-based pop duo FOLEY have been on a dream run in the last 12 months – the innovative pairing of Ash Wallace and Gabe Everett have truly redefined their chemistry through the release of their acclaimed sophomore album That’s Life, Baby!
Following on from their infectious track ‘HONEY’ in 2025, the group returns for a brand new year: ushering in a new EP titled Like An Actress and sharing a brand new cut from it in ‘CINEMATIC’. Recorded on home turf in Aotearoa, New Zealand with collaborator Josh Naley, FOLEY pour bright pop and electronic influences into matured lyricism and delivery.
“‘Cinematic’ is about a love so beautiful and promising that you feel like it may not be real – at the start of a relationship the glow around a person can be so overwhelming and you find yourself romanticising everything.
Often we can have that self doubt of ‘is this actually real’, but ‘Cinematic’ is about embracing that feeling and leaning even further. Kissing in the streets at night, breaking into a stadium, and going home with butterflies in your stomach. It’s nostalgic even in the moment it happens, and you know that this could be encapsulated in a Hollywood movie because it’s so outrageously perfect.” FOLEY
Mastered by Grammy nominated engineer Nathan Dantzler (Sabrina Carpenter, Niall Horan) and mixed by acclaimed engineer Pedro Calloni (Chappell Roan, Alex Warren), the single is an opportunity for FOLEY to navigate themes of love and expression in a striking way.
Like An Actress adds to the impressive catalogue of work FOLEY have been building in recent years. As FOLEY describes, this project captures the essence of the group, balanced by music that allows for nuanced themes.
“We approached this EP with more organic instruments – so that the studio experience was more physical and band driven. The live show is such a crucial part of the project, so we wanted to write the songs even more locked into the show, with live instruments and feel. A lot of them were written with live piano, acoustic guitar, and live drums which is a real change up for us. It really unlocked a new energy in the studio – and the songs have a joy in them that I think you can really hear.
Thematically it’s built upon the topics we frequently chat about in our friendship – love, loss, exploration, identity. Because it was written way more organically than previous records, the themes and lyrics feel more joined into the sonics of each track, rather than being a layer of emotion over the top. Everything feels very cohesive, dreamy and fluid which is a fun change!” FOLEY
FOLEY’s music has been attaining new levels of success with each release; ‘HONEY’ itself landing a #1 position on the Hot 20 Aotearoa Singles charts, as well as coming in as the #1 Most Added Song on NZ radio in November.
That’s Life, Baby! – released in February 2025 – was included on Rolling Stone AU/NZ’s list of THE 80 BEST NEW ZEALAND ALBUMS OF THE 2020s SO FAR, coming in at #50. For FOLEY, the accolades bolster numerous award nominations, including one for ‘Best Group’ at the 2025 Aotearoa Music Awards, as well as an expansion of their live footprint. They have toured internationally through South Korea and North America, while also continuing to blaze a trail for themselves in Aotearoa and Australia.
PRAISE
“Foley are setting the stage for a massive 2025”
ROLLING STONE AU/NZ
“You two are experts when it comes to producing pop music that’s as considered and clever as it is playful and hooky.”
ABBY BUTLER, TRIPLE J
“The songwriting, production, arrangement – everything. You’ve both done a madness on this. This the kind of song people should get VERY excited for.”
JERRY AGBINYA, TRIPLE J UNEARTHED
“Foley immediately pull you into their world of perfect pop! <3 Obsessing over the fresh feel to this upload! This is the ONE!”
ANIKA LUNA, TRIPLE J
‘CINEMATIC’ is out Wednesday 14 January
‘LIKE AN ACTRESS’ is out Wednesday 25 February
Foley: Facebook | Instagram | YouTube | Tik Tok | Triple J Unearthed
Of course a singer as dramatic as YUNGBLUD, full of raw energy and flair, would choose a 42° day to make his return to Australia after a whopping 3 years.
This heat didn’t deter any of his superfans though, people queuing up from as early as 3pm the day before the show, with at least 40 people lined up by midnight. Absolute dedication. More fans queued throughout the burning heat that day. I myself delayed my arrival in favour of sitting in my car until it was time to head in. Upon approaching the venue, the aircon leaked out from the front gates, and all I could think was “Thank you Qudos”.
The energy was electric as people trickled into the venue, the pit slowly filling, just a sea of people waiting to see this rising rock star.
“Have you heard their new stuff?” the PA asked just before the opener’s set. Yes, I have, and it is excellent. As promised, Dune Rats certainly got the stage warmed up (if it wasn’t already, thanks again heat wave). The crowd was jumping and it was all around just an epic, sweaty time. Leaving the stage with a dramatic guitar throw (that thing went meters into the air, I swear), it was time for the countdown to the Idol himself to begin.
As we waited with extreme anticipation, Black Sabbath rang out over the arena, and just like that, we knew it was time.
To say that YUNGBLUD was anything other than absolute mayhem and electricity would simply be a lie. From the very moment he took to the stage, Dominic Harrison absolutely dominated.
From confetti to pyrotechnics, there was never a dull moment. In true YUNGBLUD fashion, Harrison invited a crowd member on stage to play “Fleabag” and we were honestly blown away, as this fan from Wollongong performed the song on a guitar that was upside down. Talk about a high-pressure performance. During this incredible display, the crowd seemed to brace themselves for what was coming next, and it did not disappoint.
Dom dove headfirst into a sea of adoring fans, only after standing tall with them, chanting the lyrics to a fan favourite.
But the moment that really stole the show was when Harrison paid tribute to his “friend in the sky”, the late great Ozzy Osbourne.
His cover of “Changes” has already received critical acclaim, earning him one of his first Grammy nominations for Best Rock Performance. It was an emotional moment for the crowd and for the singer himself, but no one in the building let him sing alone.
YUNGBLUD has been performing in Australia since he was 15, the singer saying that we were “the first country to believe in us”. It truly felt like such a special moment to share. Even in an arena of 20,000 people, it felt like he was talking to each of us personally.
Closing out the show with the lead single from the Idols record, “Zombie” was another emotional performance, but also one filled with energy from fans who screamed the lyrics back at him. With just a touch more confetti and a promise to meet fans outside by the merch stand, the rock show that stunned us all was over. YUNGBLUD is truly an incredible performer, and we can only hope it’s not another 3 years before we get to see this icon in his element again.
Photography: Jordan Munns
Words: Charlotte Najjar
‘Never Alone’ brings together three very distinct creative voices. At what point did the collaboration stop feeling like a feature and start feeling like a shared organism with its own identity?
A collaboration with Adriatique had been discussed for quite some time, and I knew that sooner or later it would happen. It really started to feel like a shared organism once the track was finished and ready to be released, especially after the Adrians played it all over the world.
You’ve spoken before about evolution rather than repetition. What was something in your own sound or process that you consciously refused to fall back on while making this record?
I consciously tried not to overproduce the track, or in other words, not to get lost in too many details. A minimalist approach and an openness to something new were very important to me.
The track is engineered for peak-time impact, yet it carries a strong emotional undercurrent. How do you personally judge when a record has the right balance between physical energy and emotional weight?
That happens in the places where the track is played and through the feedback from the people there.
Working with Adriatique often carries a certain expectation within the melodic techno world. Did that pressure sharpen your instincts, or did it give you permission to push further than usual?
To be honest, it never felt like pressure. I make music as well as I can and try to stay true to myself. Only when I feel connected to what I’m doing and genuinely enjoy the process do the best things emerge.
Vincent Vossen’s contribution adds a subtle emotional tension to the track. How did his approach reshape moments of the arrangement that might otherwise have gone in a more traditional club direction?
Vincent and I share a special connection, and that’s something you can clearly hear reflected in the track.
There’s a sense of restraint in ‘Never Alone’ — nothing feels overcrowded. Was minimalism a deliberate philosophy here, or did it emerge naturally through collaboration?
My approach is always to work in a minimalist and very structured way (very German of me, I know), even though it doesn’t always work out that way.
You’ve released music across Afterlife, Siamese, and now X Recordings. Do different labels subtly change how you think about storytelling within a track, even before a note is written?
Everything in life influences us, so I’d be lying if I said it didn’t. That said, it’s less about the labels and more about the music itself, which is where I draw my inspiration from.
When DJs respond early and strongly to a record, as they already have with ‘Never Alone’, does that validation influence your confidence, or do you deliberately tune it out to protect your long-term vision?
It strengthens my confidence 100% and gives me energy and reassurance that I’m on the right path.
Looking back at your output since 2018, what part of your earlier work feels most distant from who you are now, and what part still feels fundamentally unchanged?
Everything feels exactly right. Every release was a step that led me to where I am now.
‘Never Alone’ suggests connection, unity, even dependence. In an industry that can often feel isolating, what does that title reflect about where you’re at personally as an artist right now?
Never Alone means you can’t do this on your own. I’m grateful to have people who believe in me, and that gives me strength.
What stood out most was the emotional range in the set. It wasn’t just hard techno for the sake of intensity; there were moments that felt almost cinematic, where distorted melodies cut through the noise and gave everyone a split second to breathe before being thrown straight back into chaos. Those transitions hit hard. You could see it on people’s faces. Eyes closed, jaws clenched, hands in the air like they were bracing for impact.
The sound system was pushed to its limits, but in the best way possible. Every low end punch landed square in the chest, while the highs sliced cleanly without ever feeling muddy. The lighting stayed dark and aggressive, perfectly matching the mood: minimal, strobing, unforgiving.
By the final stretch, sweat was dripping from the ceiling and nobody wanted it to end. Walking out into the Sydney night felt surreal, like waking up from something intense and slightly unhinged. It wasn’t just a set, it was a full-body experience. One that’ll stick with me for a long time.
There are albums you listen to, and albums you inhabit. Metanoia, out now from Falling You, belongs firmly to the latter.
Created by composer and sound sculptor John Michael Zorko, Metanoia unfolds as a deeply immersive emotional environment rather than a conventional collection of tracks. Built from atmospheric synths, textured guitars, and cinematic sound design, the album moves slowly and deliberately, allowing space for reflection, memory, and emotional shift.
The title Metanoia—a word describing a profound change of heart or mind—perfectly frames the listening experience. Across eleven tracks, Zorko explores grief, beauty, cosmic longing, and quiet resilience. Nothing here is rushed. Each piece feels intentional, patient, and inward-looking.
Collaboration sits at the heart of the album. A carefully curated group of guest vocalists drift through the record, their voices carrying much of its emotional gravity. Rather than dominating the compositions, these performances emerge organically, blending into the soundscape and reinforcing the album’s sense of shared emotional space. Songs like “Alcyone,” “Flesh to Tree,” and “Ariadne” feel both intimate and vast, while the closing moments of “(trying to weave) A Thread of Happiness” land with a rare softness.
Genre lines dissolve throughout Metanoia. Ambient, dream pop, and cinematic post-rock coexist without friction, creating a sound that feels expansive yet deeply personal. It is an album best experienced in full—headphones on, distractions removed—where its slow-building arcs can fully take hold.
In a culture defined by speed and noise, Metanoia offers something increasingly rare: music that asks for presence rather than attention. It doesn’t demand reaction. It invites stillness.
On 24th January, the legendary FAC51 The Haçienda returns to Bangkok to transform Ambience Space into a multi-room, day festival experience and the venue’s first event of this scale in a landmark moment for the city’s evolving cultural landscape. A Bangkok debut DJ set for Basement Jaxx headlines with ex Joy Division and New Order bassist Peter Hook playing alongside Manchester legends like 808 State, Jon Dasilva, DJ Paullete, and more heady house and tech from Move D, Huerta, Liquid Earth and others.
Born in Manchester in 1982, The Haçienda defined modern club culture and launched a global movement that still resonates today. Its return to Bangkok celebrates a long-standing musical connection between Manchester and Krung Thep, first forged in the 80s, carried forward by new generations and still live on today’s dancefloors.
Basement Jaxx are Brit Award-winning pioneers whose explosive DJ sets blend house, breaks, carnival energy and timeless classics. 25 years on from Rooty, they remain one of dance music’s most electrifying forces.
Very Special Guest Peter Hook makes a rare appearance. He is the Haçienda’s original owner and founding architect of Manchester’s sound with his bass playing in Joy Division and New Order and is a direct link to the club’s origins, bringing its spirit, stories and attitude to Bangkok.
Fellow Manchester legends 808 State, acid house trailblazers and electronic music pioneers, Jon Dasilva, a seminal Haçienda resident and early sonic architect, DJ Paulette, another Haçienda resident, LGBTQ+ pioneer and UK club icon also play. Add in Move D, a deep, emotive selector and long-time cult favourite, Panorama Bar regular and modern house standout Huerta and hardware-driven house, electro and tech-funk innovator Liquid Earth and together, the line-up reflects the Haçienda’s original forward-facing ethos by bridging legacy and future dancefloor sounds.
Room 2 is hosted by Mixmag & Transport. Celebrating Transport’s 10th Anniversary, this room unites one of the world’s leading dance platforms with Bangkok’s longest-running underground party.
Room 3 is a Bangkok Collectives Showcase featuring Yellowfang, Pissawong, More Rice, Kangkao, Romrom and more, alongside pop-up record stalls and official Haçienda merchandise.
Produced with support from Maho Rasop, Bar Temp, Transport and Bangkok Community Radio and with tickets strictly limited to 2,000, this is a must-attend event that will go down in history.
Full Line-up:
Basement Jaxx (DJ Set) • Peter Hook • 808 State • Jon Dasilva • DJ Paulette • Move D • Huerta • Liquid Earth • Yellowfang • Pam Anantr • Ché Wax • Overmars • Transport 10th Anniversary (Room 2) • Pissawong • More Rice • Kangkao • Romrom • Olbi Iyah (Room 3)
Tickets are strictly limited to 2000 and are on sale now at; https://www.ticketmelon.com/
FAC51 THE HAÇIENDA, BANGKOK
24 Jan 2026 | 14:00-24:00
Ambience Space, City Centre (10400)
First-ever multi-room dance festival with 2,000 capacity
77 Unveils First Events of 2026 to build on a breakout first year
Zamna, Dennis Ferrer, Trikk, Julya Karma, Magdalena and more feature
As it enters the new year, London music venue 77 has announced its 2026 opening schedule, continuing its focus on music-led events within a purpose-built space designed around sound, lighting and a deep connection between artist and crowd.
After a hugely successful inaugural Autumn/Winter season, the new programme continues 77’s commitment to bringing together a community of dedicated music fans, showcasing house and techno from internationally respected artists in a space crafted for an immersive music experience.
Alongside its in-house programme, 77 will also be partnering with Zamna and Lone Collective, marking the beginning of a new series of collaborative event nights that bring globally recognised brands and distinctive curatorial identities into the space.
Successful event ACASO have also chosen 77 as their preferred destination, adding further depth and profile to the line-up and cementing the venue’s reputation as a trusted home for electronic music.
January is led by a standout collaboration on Saturday 24 January with Lone Collective and the globally recognised Zamna brand which hosts immerse showcases across the globe.
February sees house and techno royalty step into the booth, including US pioneer Dennis Ferrer on Friday 6 February as he brings his timeless, soul-driven sound to Marylebone. Later in the month, Magdalena and Yvonne Simone land on Friday 20 February with a refined blend of melodic depth and groove-led energy. The cult Zamna brand then returns on Friday 27 February.
March continues the momentum with line-ups including CIZA, Julya Karma, Nowa, Trikk and Novak, with Julya Karma, Nowa and Trikk all part of the Innervisions label family, reinforcing 77’s commitment to genre-spanning programming.
More artists and events will be announced across the coming weeks, with the opening setting the tone for what promises to be a defining year ahead.
77 A-Z Lineup 2026
ACASO
Amirita
AYA
CIZA
Culoe De Song
Dennis Ferrer
Indigenous
Julya Karma
Kasango
Le Blanc
Lone Collective
Magdalena
Novak
Nowa
Temple Tales Presents
Trikk
Vidojean
Yvonne Simone
Zamna
More to be announced
Chinese Laundry is underway with its most expansive summer program to date, continuing its legacy as Sydney’s home for tightly curated electronic music events. The clubbing institution welcomes global icons, rising experimentalists, national heavyweights, and community-shaping collectives, reinforcing its role as a vital platform for Australian talent and a destination for discerning dancers.
For 30 years, Chinese Laundry has championed underground electronic expression with a community-first ethos, supporting emerging artists while attracting the world’s most respected selectors across a myriad of scenes and subgenres. Its intimate atmosphere remains a space where club enthusiasts come for music-first experiences: close-knit dancefloors, a phone-free dancefloor, and diverse programming that strengthens Sydney’s nightlife.
This summer channels that legacy with a lineup spanning techno, house, drum & bass, and deep progressive journeys, welcoming standout local collectives and residents.
Program Highlights
- January 9 sees Berlin-based Alex Kassian kickstart the year with his signature blend of psychedelic house, cosmic disco and melodic techno.
- January 9 sees Berlin-based Alex Kassian kickstart the year with his signature blend of psychedelic house, cosmic disco and melodic techno.
- January 10 welcomes Merve b2b Ben Fester, delivering a high-energy, back-to-back session that cuts across house, techno and breaks. Joined by Marli, expect fast-moving selections and dancefloor-focused momentum built for peak-time club energy.
- January 17 brings UK DJ/producer IMOGEN, who delivers a raw, club-focused sound spanning techno, electro and bass, shaped by her roots in London’s underground and appearances at venues like fabric and Berghain. Joined by Amsterdam-based AMORAL, whose driving grooves and rolling basslines balance power and precision for a high-impact club session.
- January 23 presents Mandidextrous. Expect a fusion of free tekno, 4×4 beats and D&B-inspired energy from the Bristol-based artist, a pioneering figure in the tekno and speed bass scene known for explosive, high-velocity sets that push beyond genre boundaries.
- January 24 sees Olivia Mendez take a vinyl-only approach, delivering deep, minimal and hypnotic techno selections. Her sets prioritise groove, texture and flow, creating an immersive late-night atmosphere.
- January 31 closes out the month as trance legend John 00 Fleming returns with an extended progressive odyssey. With a career dating back to the late 1980s and founder of the influential JOOF Recordings, Fleming’s transcendent sets blend progressive, psy and classic trance.
While more names are yet to be announced for the months ahead, Chinese Laundry collaborates with Sydney collectives and resident DJs, expanding pathways for emerging talent and nurturing sonic communities that represent the depth of Australia’s electronic landscape.
Chinese Laundry’s fresh approach to programming reflects decades of community development, mentorship, and cultural stewardship in Sydney nightlife. Together with collectives, residents, and visiting tastemakers, the team curates weekly experiences with artist discovery at their core, bridging new electronic movements with the club’s long-standing reputation for unforgettable electronic music experiences. Tickets are available here.
ABOUT CHINESE LAUNDRY
Chinese Laundry is a landmark of Australian club culture, celebrated for its rave rooms, underground spirit, and three-decade legacy in electronic music. Chinese Laundry’s Sussex St location has an illustrious history dating back over 100 years. The venue became notorious in the ‘60s for hosting underground parties, both legal and illegal, to celebrate music, expression, and freedom. Today, the club delivers intimate dancefloors, discovery-led programming, and state-of-the-art sound. Chinese Laundry was a key platform in supporting emerging talents like Flume and Dom Dolla, while hosting electronic luminaries such as Sasha, Jeff Mills and Goldie. Chinese Laundry remains steadfast in its commitment to nurturing both current and future generations of musical talent, eagerly supporting innovative and distinctive concepts.
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