|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Vulnerable, confronting and deeply honest – as if releasing her most exposing diary entries to the world – Sidney’s latest single ‘Imposter’ sheds light on the singer’s not always pretty mental health journey, showing listeners the close-to-home story beneath the surface. A mental health advocate in her own right, Sidney released this deeply personal anthem in hopes that “listeners will feel seen in their most dark, insecure thoughts but also encouraged to not let them consume you fully and have the final say.”
“[Imposter] has felt breathtaking and special from the very first day we created it and has remained that way for Ben and I since day one.” Sidney speaks on working with producer Ben Oldland and each intricate production choice, “The extended version I wanted to include on the EP because for me [the extra final minute] is the best part; anxiety sometimes takes over my entire body and at times I have to put my head underwater in the bath or sit on the floor of my shower for an hour just to drown them out. That last minute of the song is not meant to be comfortable to listen to, it is made to be an honest representation of the days when mental illness is all-consuming. Like the song says “it’s not pretty”.
Delivering bittersweet melodies threaded through vulnerable lyricism and comforting vocals, Sidney has forged a unique brand of introspective indie-pop that feels soft and homely like your favourite linen. Launching the EP’s first single ‘Tried’ in August, saw Sidney find her community in a jam packed Retreat Hotel for a stripped back single launch, and scoring spots in the likes of Spotify’s Pop n Fresh, Fresh Finds: Pop, The Local List and New Music Fridays AU/NZ Playlists. Followed by releasing pop anthem ‘Nice Guy’ and embarking on her first national tour supporting Harrison Storm, Sidney has been unstoppably working towards the height of this EP’s release, its title track ‘Imposter’ to tie together the year.
Photo: Ellie Meads
Joining the chorus of those who are battling against the politics surrounding the world’s climate change issue, Sydney’s Pop/R&B princess, Taylor B-W, has unveiled her latest, dramatic pop ballad, ‘Last Child.’ Having just released her well-received debut EP, BTW TBW (with already 300,000+ overall Spotify streams in its first month), and preparing to embark on her first Regional NSW tour this October, B-W wants to continue the momentum and present her listeners with a vision very close to her heart. The single release is also accompanied by an epic music video, directed by filmmaker Natasha Sebire.
In 2016, B-W travelled to Africa to volunteer at wildlife conservations. Returning home with a new understanding and awareness, B-W decided to study zookeeping (a little-known fact about Taylor B-W is that she is, in fact, a qualified zookeeper!) in 2017. B-W’s passion for conservation was further ignited as she woke up to the unnerving climate emergency around the world. Global warming is increasing rapidly and animal species are becoming alarmingly endangered as a result.
The major catalyst for ‘Last Child’ was after a significant moment in Jan 2017, when ‘someone’ became President of a major first world country… and this President did not believe in climate change. Being enraged by the overall political ignorance of our climate crisis, Taylor B-W penned ‘Last Child’.
“I wrote ‘Last Child’ with tears in my eyes. Never had I written with such a stream of consciousness, the words just poured out of me. I was mad, I was hurt, and, without trying to sound too mystical, I was empathetic to Mother Earth’s cry for help. I thought of trees, rivers, icecaps, mountains, animals etc as Mother Earth’s children, trying to wash away the harmful impact that the human world has made.’
Working with ARIA award-winning producer, Peter Holz (Gang Of Youths, Peking Duk, Vance Joy), B-W was able to create a soundscape of epic proportions, reminiscent of big ballads like Michael Jackson’s ‘Earth Song’, Adele’s ‘Skyfall’ or Lana Del Rey’s ‘Ride’, and inspired by sounds of the natural world, all of which reflect B-W’s sadness whilst also embracing a resounding hopeful theme for the future.
“I wanted to create a song that sounds like the calm before the storm, and the storm itself! But I also wanted to showcase my optimism for the future. My generation and beyond have been so enthusiastic and vocal about what needs to be done and one can only hope that this will continue to encourage and inspire the rest to push for the same goals. Because that storm, that fire, that flood is, and will keep happening as long as we continue to live, and treat the Earth this way.”
B-W wanted visuals to match such a grandiose song, so she approached adventure filmmaker, Natasha Sebire (also an avid abseiler and rock-climber) for the music video. B-W and Sebire envisioned a very simple concept: the natural world vs the man-made world, shot on a monumental scale. Using Sebire’s own Blue Mountains backyard as the backdrop (a region that was heavily impacted by
the disastrous 2020 bushires), B-W and a skeletal crew hiked and climbed their way through various locations to find the perfect shots that depicted two vastly different looking environments: static shots of hard, empty structures representing the cold and stark human world vs movement shots with dynamic, colourful and vast landscapes to represent the beauty of the natural world. All while B-W, our lonely protagonist, sweeps through each setting, sorrowfully looking at the scary contrasts of our world.
Hoping to make an impact, no matter how small, B-W releases ‘Last Child’ as her impassioned plea for change on October 6th.
PRAISE FOR TAYLOR B-W
“Propulsive stuff from Taylor. It’s an effective dance/pop hybrid.”
Triple J, Dave Ruby Howe (‘In Ur Net’, 2022)
“She has quickly established her penchant for crafting tracks that feel simultaneously dynamic and well thought-out; they’re always bursting at the seams with explosive energy, but never sacrifice musical acumen.”
Happy Magazine
“Taylor B-W is combining modern electro-pop influences with the nostalgia of ’90s hip hop and R&B to create bouncy, playful tunes that speak to you on both a physical and emotional level”
Like Velvet, Rebecca Costanzo
GIG DATES:
Thu 6th October @ The Potting Shed, Alexandria
Sat 8th October @ The Snug Bar, Gymea
BTW TBW TOUR – REGIONAL NSW
(funded by Create NSW)
Thu 13th October @ Sideway Bar, Canberra
Fri 14th October @ Que Wagga, Wagga Wagga Wed 19th October @ The Joker & Thief, Terrigal Sat 22nd October @ The Victoria, Bathurst
TICKET INFO
Sun 23rd October @ Bootleggers, Katoomba Fri 28th October @ 130 Art Studios, Wollongong Sun 30th October @ Newcastle Hotel, Newcastle
‘Last Child’ is released on Thursday, October 6th (music video on October 7th)
(out 6th Oct)
(out 7th Oct)
Ticket links to her Regional NSW tour are here: https://ffm.live/rzoroj7
Where are you currently based?
Well it’s a good question. Right now, I’m residing in Sydney but when you also travel between worlds and dimensions — who knows where else I am.
How did you first start playing music?
I wrote my first song in my head on a commute to work. It sounded pretty good up there! I taught myself guitar and keys… and I’ve been trying to capture my imagination ever since.
What’s been happening recently?
We just released Lonely LA, we dropped a Japanese version of my first release, SOLO, and I also just featured on two GRUM tracks, which was heaps of fun. Oh, and I got booked to play in the dagobah system.
Your latest single ‘Lonely LA’ is out now, what influenced the sound and songwriting?
Lonely LA is a story about facing change and finding strength as a team. It’s not a love song, it’s a relationship song. From a production side we wanted to capture that sincerity and raw honesty, but structurally the song never repeats. It flickers between different melodies and tempos — but it’s never distracting. I’m very proud of its deceptive simplicity.
How did Lonely LA come about?
Real circumstance, heartbreak, honesty, ego, and a dash of exaggeration.
Where and when did you record/produce/master and who did you work with?
The song has been crafted in Sydney and LA. Produced by an incredible talent in Grant Konemann, who is also deeply involved across the whole EP. I’m very, very fortunate to be working with him. Mixed and mastered by the equally glorious Mathew Neighbour.
How did you approach the recording process?
Because the song tells the story of this very intimate realisation — we wanted to keep as many components from the original demo as possible. The vocal on the track is pretty much the first take from start to finish. We had planned to re-rec as the song evolved but it just felt right. Lonely LA is personal, genuine and raw, which is why the track is quite sparse and the guitar so prominent. We tried to be restrained and make sure every component shined.
Please tell us about the music video animation, how did this come about and who did you work with?
Able Joseph travels gig to gig, place to place, world to world. Each animation and artwork highlights a moment in this journey. For Lonely LA, it was a street rehearsal performed in the vibrant city of Iris — sometime in the future.
These moments are captured by artist and illustrator Trevor Conrad, who is an incredible talent.
Who are you listening to at the moment?
Spacey Jane, Omar Apollo, Mallrat, The 1975, Fred Again, Le Youth, Julia Jacklin, Dave, Lapsley, Shannen James and Cousin Tony’s Brand New Firebird…to name a few.
What’s planned for the remainder of 2022 going into 2023?
If everything goes according to the mighty master plan, we’ve got one more release this year, some co-writes and plenty more multi-verse adventures. Can’t wait.
Favourite food and place to hangout?
Flip Jacks, in the Nightingale Quadrant, do an insane Multi-sense Burger…RaRa’s in Redfern is also a delight.
Facebook | Twitter | Instagram | Youtube | TikTok
Where are you currently based?
I’m a Melbourne gal, through and through!
How did you first start playing music?
I come from a very musical family and we were all avid church goers growing up; when you combine the two you get many family jams, harmonies galore and a pretty good sense of rhythm (my Mother and brother are both drummers – I do not carry their skillset). My other hugely fond memory surrounding music when I was younger was playing my grandparent’s upright piano next to their bedroom as my grandfather fell asleep. It became a nightly ritual whenever my brother or I were staying down at their place in Lake Tyers. That’s actually where my artist name comes from – my grandfather’s name was Sydney. So that is where ‘Sidney’ was born.
What’s been happening recently?
Great question, it’s all been a bit of a blur actually! Life is pretty busy I have to say. We’ve been on a tight release schedule since June, so preparation for each release has consumed a lot of my creative mind (I honestly wouldn’t have it any other way), I’ve also recently stepped into the role of director and producer for a shoot we did for Mental Health Day which was a challenge but insanely rewarding. It was about a month ago now but I also just came off my first national tour Supporting Harrison Storm which was SUCH an enriching experience – I swear I now have the ‘tour bug’ and want to get on another as soon as possible! On the flipside, away from music, I’ve been spending a great deal of time with mates and family, spending way too much money at Matilda Cafe (I’m currently there as I’m writing this) and patting every dog that comes within a 1km radius.
Your debut EP ‘Imposter’ will be out on October 7, how does it feel to release your first EP?
WILD. That is the only way I can describe it. Ironically, I feel a lot of imposter syndrome about it – like who, me? Putting out real music in the industry? Surely not.
Although, mostly I’m just ready. It’s been such a long time coming and I’m immensely proud of this lil’ project that was birthed in lockdown. I NEVER would have predicted how far it would have come in the past two years – or the amount of people who would become genuine supporters of these songs that I wrote in my bedroom or on the floor of Ben Oldland’s studio, baring my heart and being incredibly honest. It’s surreal and I keep having to remind myself that it’s a privilege that I get to do this! People connect to music in such a unique way, different from day to day conversations, and I love that I get to journey with people; sometimes I will never see the impact a song I have written has on someone’s life, but the fact I get to do that in the first place is crazy and brings my heart so so much joy. Even if one person feels less isolated in their most vulnerable, anxious thoughts because a random singer from Melbourne, Australia sang that she had them too, then I’ve done my job.
This EP is tying up the last couple of years of heartbreak in a neat little package and saying “here you go – it’s time for these stories to be yours too xx”
What influenced the sound and songwriting?
Oh, SO many different artists and things! Too many to list.
Some major artist influences of the overall EP were Lennon Stella and Sasha Alex Sloan. However, each track has its own set of specific ones. Theme wise, the majority of the tracks in this EP were centred around my processing of a particular heartbreak that occurred at the end of 2020 – in between lockdowns. ‘NICE GUY’ was my attempt at being spiteful and sassy (the angry stage), but I came back in the studio the next day and said to Ben ‘nope, I can’t do it, I am just so utterly broken about it still’ and that is how ‘Tried’ was born.
‘Imposter’ was then the final impact of that heartbreak on my mental health and sense of self. I could go on, but I mostly want people to interpret the EP and relate it to their own experiences, so I’ll leave you with that.
How did you go about writing this EP?
Most of the songs began with a chorus or melodic idea that I would have in my bedroom and then brought them into Ben Oldland where we fleshed out the ideas more and turned the EP into the songs as you hear them now. I love including Ben in the writing, however some songs have more of his hand in them than others. The writing process mostly happened towards the start of 2021 with a few outliers that were written towards the middle of 2020.
Where and when did you record/produce/master and who with?
Ben Oldland. He is a gem and a creative genius. We worked together on this EP from start to finish and it would not be the same without him! All production was Ben and mastering was Nick from Panorama Mastering. So grateful to have this crew backing the project!
How did you approach the recording process?
We created most of the songs as demos first when we fleshed out the writing ideas and then came back into the studio to create the final versions a few months after that. Guarantee was the only outlier. It’s actually a funny story looking back with Guarantee, as I’d never worked in a studio before, never written in a co-writing session and merely asked Ben if he would be willing to do one with me so I could learn. I nervously brought in my melodic ideas and the song title/concept, showed him and by the next day he had created the entire soundboard that is now the track and by the end of that week we had this insane song that we were both so taken aback by. It felt like a beautiful accident and it was the beginning of our creative pairing!
Please tell us about the connection between mental illness and the writing of your music:
Wow, tough question. It influences pretty much everything I create for my own project. From the experiences I write about – like ‘Imposter’ being about the time I had a panic attack and felt silly for relapsing – all the way through to the way that I write. The days when I’m being super critical and anxious, I find it hard to write because I become insanely perfectionistic and it becomes really unhealthy. However, there are days where writing music helps me to process all of the whirring thoughts in my head and create some order, creating something beautiful and satisfying. Overall, people seem to relate to my songs that lean into exposing some of the most raw thoughts I have, the jealous thoughts, the insecure thoughts, the self destructive ones, because I think it’s just so common. The thing I try to be careful about though, is not voicing them to bring people down but rather to talk about those times, bring it into the light and show people that despite it, I’m still able to move past them and dream from more. A number of years ago, I was so suffocated by my depression that I was bed ridden for 8 months and dropped out of school. It’s been a huge journey and it’s a long story, but it’s one that makes my journey into music and this project sweeter than ever. I figure that when you hit rock bottom, and you lose all sense of dreaming for things, that when you get that back – what have you got to lose? The music industry can be incredibly destructive for those who struggle with mental illness, but my struggles with mental illness have shaped my perspective to be one of ‘what have I got to lose?’ and ‘I want to share my stories with people and inspire them to pursue their own dreams so that the struggle wasn’t all for nothing’
I’m grateful for the journey. Despite it being something I don’t wish upon anyone.
You’ve just finished touring Australia with Harrison Storm, what did you most enjoy and what did you find most challenging?
I LOVED being able to connect with new audiences and do something that felt impossible. That’s the funny thing about anxiety is it can try to convince you that something isn’t achievable and each day I do that thing, I’m telling it to shove it. So I loved being able to do the thing that scared me! (Not to mention, navigating my first tour whilst the tour manager got Covid on day 1! )
I guess that covers both the challenging and the enjoyable things! Plus Harrison is just such a wholesome, humble human and I was so grateful to have him be the first artist I tour with. He was so encouraging and listening to him play each night was a dream.
Who are you listening to at the moment?
I’ve been loving Kat Edwards recent EP! She is a gun songwriter. Also, I’ve actually been listening to a lot of live music more than ever, so seeing Phoebe Go play live left me speechless.
What do you like to do away from music?
I am a sucker for coffee catch ups with friends. Cute aesthetic cafes and great chats fill my soul, so I try to prioritise them as much as possible! Also, I’ve recently been loving reading a good book in the sun on my front porch.
What’s planned for the remainder of 2022 going into 2023?
Well, anyone who knows me – including my manager Lauren – knows I struggle to use a diary or plan past a day or two. So, I’m honestly not entirely sure! We’ve got a whole timeline going for releases that are coming up, including a live EP (spoilers) that we recorded at Sing Sing studios in partnership with Fender and I’m playing a number of weddings across the summer as well. There are some really exciting gigs coming up too that I’m not yet able to share about! Ideally, I’ll keep working on writing for both this project and for other artists as well and we will see where the wind takes me!
Favourite food and place to hangout?
Gosh, picking one will be the death of me.
Mr Hendricks (delicious coffee)
Matilda Cafe (delicious coffee and french cafe vibes)
Earthly Pleasures Cafe (old school Europe vibes but far away)
Those are my top 3 currently!
It’s release day on a brand new Paces track & if you’ve followed his career for the past 9 years you might have noticed something different. Gone are the tropical percs and the carefree bops, making way to a more edgy tone, mixing modern punk, glitchy electronica and hyper-pop. Mikey is now more “mic-y” than ever, volunteering himself for vocal duties on what is seemingly a string of deeply personal tales.
Following up from the hyper-punk ballad Adrift, the new track from Paces, Butterflies is an affirmation of style and story. Leading with muted power-chords and a sub heavy electronic beat, Paces prays for “…the souls of the butterflies as they hit my windshield.”
Speaking of the moments that inspired the track, Paces says “…when I was adjusting to life as a single dad there were butterflies absolutely everywhere in my town. For about three or four weeks it was just like a huge swarm had engulfed the area, it was really cool! It was also really uncool when I was driving home from dropping my son off for the first time and hundreds of butterflies were just slamming into my windshield and dying. A mix of emotions I won’t soon forget.” From infamously joyous festival sets to a string of life changing events, the once carefree party merchant is now sharing with us his most intimate struggles. Music is taking on a new meaning for Paces with not just a sonic transformation but a rebuilding of purpose. After years of production and performance a new passion for songwriting, as a form of catharsis, has emerged. “I wrote this song in an attempt to capture the chaotic freefall I was experiencing at the time.” Progressing the personal revelations and the journey that began with Adrift.
Spotify URL: https://open.spotify.com/
Instagram: https://www.instagram.com/
Photo: Ellie Meads
Joining the chorus of those who are battling against the politics surrounding the world’s climate change issue, Sydney’s Pop/R&B princess, Taylor B-W, has unveiled her latest, dramatic pop ballad, ‘Last Child.’ Having just released her well-received debut EP, BTW TBW (with already 300,000+ overall Spotify streams in its first month), and preparing to embark on her first Regional NSW tour this October, B-W wants to continue the momentum and present her listeners with a vision very close to her heart. The single release is also accompanied by an epic music video, directed by filmmaker Natasha Sebire.
In 2016, B-W travelled to Africa to volunteer at wildlife conservations. Returning home with a new understanding and awareness, B-W decided to study zookeeping (a little-known fact about Taylor B-W is that she is, in fact, a qualified zookeeper!) in 2017. B-W’s passion for conservation was further ignited as she woke up to the unnerving climate emergency around the world. Global warming is increasing rapidly and animal species are becoming alarmingly endangered as a result.
The major catalyst for ‘Last Child’ was after a significant moment in Jan 2017, when ‘someone’ became President of a major first world country… and this President did not believe in climate change. Being enraged by the overall political ignorance of our climate crisis, Taylor B-W penned ‘Last Child’.
“I wrote ‘Last Child’ with tears in my eyes. Never had I written with such a stream of consciousness, the words just poured out of me. I was mad, I was hurt, and, without trying to sound too mystical, I was empathetic to Mother Earth’s cry for help. I thought of trees, rivers, icecaps, mountains, animals etc as Mother Earth’s children, trying to wash away the harmful impact that the human world has made.’
Working with ARIA award-winning producer, Peter Holz (Gang Of Youths, Peking Duk, Vance Joy), B-W was able to create a soundscape of epic proportions, reminiscent of big ballads like Michael Jackson’s ‘Earth Song’, Adele’s ‘Skyfall’ or Lana Del Rey’s ‘Ride’, and inspired by sounds of the natural world, all of which reflect B-W’s sadness whilst also embracing a resounding hopeful theme for the future.
“I wanted to create a song that sounds like the calm before the storm, and the storm itself! But I also wanted to showcase my optimism for the future. My generation and beyond have been so enthusiastic and vocal about what needs to be done and one can only hope that this will continue to encourage and inspire the rest to push for the same goals. Because that storm, that fire, that flood is, and will keep happening as long as we continue to live, and treat the Earth this way.”
B-W wanted visuals to match such a grandiose song, so she approached adventure filmmaker, Natasha Sebire (also an avid abseiler and rock-climber) for the music video. B-W and Sebire envisioned a very simple concept: the natural world vs the man-made world, shot on a monumental scale. Using Sebire’s own Blue Mountains backyard as the backdrop (a region that was heavily impacted by
the disastrous 2020 bushires), B-W and a skeletal crew hiked and climbed their way through various locations to find the perfect shots that depicted two vastly different looking environments: static shots of hard, empty structures representing the cold and stark human world vs movement shots with dynamic, colourful and vast landscapes to represent the beauty of the natural world. All while B-W, our lonely protagonist, sweeps through each setting, sorrowfully looking at the scary contrasts of our world.
Hoping to make an impact, no matter how small, B-W releases ‘Last Child’ as her impassioned plea for change on October 6th.
PRAISE FOR TAYLOR B-W
“Propulsive stuff from Taylor. It’s an effective dance/pop hybrid.”
Triple J, Dave Ruby Howe (‘In Ur Net’, 2022)
“She has quickly established her penchant for crafting tracks that feel simultaneously dynamic and well thought-out; they’re always bursting at the seams with explosive energy, but never sacrifice musical acumen.”
Happy Magazine
“Taylor B-W is combining modern electro-pop influences with the nostalgia of ’90s hip hop and R&B to create bouncy, playful tunes that speak to you on both a physical and emotional level”
Like Velvet, Rebecca Costanzo
GIG DATES:
Thu 6th October @ The Potting Shed, Alexandria
Sat 8th October @ The Snug Bar, Gymea
BTW TBW TOUR – REGIONAL NSW
(funded by Create NSW)
Thu 13th October @ Sideway Bar, Canberra
Fri 14th October @ Que Wagga, Wagga Wagga Wed 19th October @ The Joker & Thief, Terrigal Sat 22nd October @ The Victoria, Bathurst
TICKET INFO
Sun 23rd October @ Bootleggers, Katoomba Fri 28th October @ 130 Art Studios, Wollongong Sun 30th October @ Newcastle Hotel, Newcastle
‘Last Child’ is out now!
Ticket links to her Regional NSW tour are here: https://ffm.live/rzoroj7
Melbourne alternative rock outfit, Ultravlt, strike out at bad friends, particularly those who wait to watch others fail, with fierce new single “Okay“.
Written from the grip of the pandemic in 2020, Ultravlt have taken the time to master their craft and launched into 2022 stronger than ever. With five tracks released just this year, “Okay” marks the sixth addition to the bands collection and portrays the four-piece at their most fiery.
Produced, mixed and mastered by Evan Lee and Ash Daws at The Loud Noise Estate (Young Lions, Inertia, The Beautiful Monument), “Okay” plays on Ultravlt’s heavier sound, featuring hard-hitting drums, intricate guitar riffs, thick basslines and welcomes synth and samples to the party.
Lyrically the track explores the pain that accompanies the spiral when meaningful relationships turn toxic. “Okay” uncovers songwriter and vocalist Sarah Jones‘ experience with feeling manipulated and treated badly by those she trusted the most.
“Okay” comes complete with a music video directed and produced by Crow River Visuals (Windwaker, Make Them Suffer), spotlighting the band performing their new single with all the energy and angst they can muster, mirroring the energy and passion of this song.
“Okay” follows on from their late August release, “I Never Liked You In The First Place“. The previous single showcases Ultravlt’s dynamic songwriting ability, exploring how breaking ones own heart and dealing with another’s toxicity is often easier than pulling away. Scenestr Magazine described the track as a ‘high-energy blast of bouncy-aggressive riffs‘ with triple j producer Sara Glaidous affirming ‘Ultravlt have nailed the air-out-your-laundry lyricism against a backdrop of playful post-punk.’
The group have been playing music together for four years, but it wasn’t until 2021 that Ultravlt became the fully established four-piece they are today. The lack of touring and being able to physically connect during the pandemic saw the band focus heavily on performing covers of well-known songs in the interim.
With their ramped-up online presence, the band caught the attention of none other than Willow Smith. Smith posted the band’s cover of her song “t r a n s p a r e n t s o u l” on her Instagram page, attracting attention from the pop star’s worldwide 10 million people following.
2022 has seen Ultravlt collect new fans across the live circuit playing a show a month in their hometown of Melbourne, supporting well loved local bands including Drastic Park, The Motion Below, Vermont, Days Like These and more. Ultravlt pride themselves on their ability to deliver an honest and energetic live experience fuelled by relatability and individuality.
After the inaugural launch of ‘Greater Good’ in 2021, Good Intent are back at it again with their independent artist initiative. The program gives back to the independent artist community, by providing in kind services and a cash grant totalling $20,000 AUD (double their first year pool).
‘Greater Good’ is a program designed to provide a launchpad for exceptional emerging artists, by utilising Good Intent’s Artist Services’ pro-bono, a cash grant of $4,000 AUD to help further develop their career, plus a stack of goodness from their new partners Studios 301, Billy Zammit, Make Merchandise, PLAKKIT and Ben Mitchell.
“Last year we were blown away by hundreds of applicants from across the country. The team and I discovered so many amazing new acts and had some great conversations helping guide some incredible talent. We were chatting to some mates with similar values in giving back to the community, and decided to bring it all together this year for something that’ll really be a kick-start to an emerging artist’s career,” says Artist and Label Services Manager Rick Bridgman.
The Artist Services’ contribution will cover Artist Management Consultation, PR, Radio Plugging, DSP and Playlist Pitching, Digital Marketing and Label Services. Through their sister company Good Loco, the offering will also boast hire and a photoshoot with acclaimed creative Billy Zammit (DMA’s, Triple One, Ninajirachi, Young Franco).
Further new additions feature a package from Sydney-based recording powerhouse Studios 301 including Dry Hire of Studio 2, Mix & Dolby Atmos Music Mix from Stefan Du Randt and Mastering from Steve Smart (Flume, King Stingray, DZ Deathrays). The team at Make Merchandise have offered up a fresh batch of AS Colour Staple Tees and printing to fire up the act’s merch game, and PLAKKIT are on board providing a capital city run of posters and distro to get the word out about the artist’s music and touring efforts. Creative assets will be provided by independent Graphic Designer / Illustrator and long-time collaborator Ben Mitchell (Bootleg Rascal, Critical Slide).
“The prodigious Jelly Oshen was the winner in 2021 and we loved working with Jelly and his family on his releases. We can’t wait to check out a bunch of new acts in 2022 and pass on the experiences that we’ve learned over the years, from working with some of the best in the business throughout the course of our respective careers.”
For more information on the ‘Greater Good’ and how to apply, visit www.goodintent.com.au
Good Intent first launched in late-2018 and offers a range of services across artist management, PR, radio plugging, venue and event bookings, tastemaker club and radio promotions, playlist pitching, digital marketing and label services.
Current and previous PR and Label Services clients include the likes of BMG, Sony, Universal, Hands
The agency also runs Good Loco – a photography and videography suite and space for hire located in Marrickville, Sydney.
Applications for Greater Good are open now
GREATER GOOD INITIATIVE
The winning recipient will receive the below:
Grant For Release Promotion & Career Development
• A cash grant of $4,000 AUD to kick start Artist’s career.
• Funds to be used for but not limited to: Release Promotion, Touring Expenses and Marketing.
Artist Services Supported Release
• 1 x Single Campaign project managed by the Good Intent senior management team (Rob Carroll, Rick Bridgman and Nick Moran).
• PR and Label Services provided by Good Intent, which includes PR, Radio Plugging, DSP Servicing and Digital Marketing Service.
• Artist Management Consultation Meetings.
Studios 301 Package
• Dry Hire of Studios 301’s ‘Studio 2’.
• Mix and Dolby Atmos Music Mix from Stefan Du Randt (Mac Miller, Coldplay, Guy Sebastian, Elton John).
• Mastering from Steve Smart (Flume, King Stingray, DZ Deathrays).
• Click here to learn more about Studios 301 and Studio 2.
• Click here to learn more about Dolby Atmos Mix.
EPK Development
• Photography Shoot by Billy Zammit (DMA’s, Triple One, Ninajirachi, Young Franco).
• Photography Studio Hire at Good Loco in Marrickville, Sydney.
• EPK Development in collaboration with Billy Zammit and the Good Intent team.
Merchandise Package
• 30 x AS Colour Staple Tees + 2 Colour Print courtesy of Make Merchandise.
Poster Print & Distribution
• 50 x B0 Full Colour Print + Distribution courtesy of PLAKKIT.
Creative Assets Assistance
• Release Graphic Design / Illustration by Good Intent collaborator Ben Mitchell (Bootleg Rascal, Critical Slide).
Where are you currently based?
Up until about four days ago – Perth, now we’re based in Brisbane!
How did Supathick form?
Everyone’s been friends for years at this point, we all met through studying music and playing in different projects around Perth. Supathick begun as a way to get everyone in the room to make music together, rather than separately
What’s been happening recently?
Other than driving for 5 days across the country, we put out our second EP which we’re super proud of.
Your latest EP ‘In The Thick Of It’ is out now, what influenced the sound and songwriting?
This second EP is undeniably different than the first. I was getting into pop as a genre a lot more, and really enjoyed experimenting with different sounds, arrangements, and instrumentations that reflected a shinier more produced genre.
How did you go about writing In The Thick Of It?
A few different ways! Love Back and Own My Mind were both fully written instrumentals that I’d fleshed out before I sent them to Blake Rose to work on vocals with. Healin’ was written with Al Whiteman of Great Gable, and I think he added some really beautiful parts to the track. We wrote that one mainly on acoustic guitars. Finally, I wrote Little Bit More in one night after talking to my dad about old rich people.
What does this EP mean to you?
It’s a stepping stone for me. I’m proud of all the EP as a body of work, but Supathick is still finding it’s sound. It still feels like early days!
Where and when did you record/produce/master and who with?
We recorded with the one and only Sam Ford of Tone City Recording In Scarborough, Perth, for two weeks in late 2021.
How did you approach the recording process?
The main difference was programming the drum kit, and incorporating more electronic chatacteristics into the songs like vocoder, autotune and synth bass.
What’s planned for this EP?
We played some beautiful shows in Perth to celebrate this EP release, and they coupled as farewell shows too. I won’t forget them for a long time.
Any upcoming shows?
We’ll be returning to WA in April to support the Cat Empire (dream come true), with more shows on the east coast before then in the works!
How are you anticipating your move to Australia’s East Coast?
We feel very lucky to be here, and we’re ready to work. We already got to watch King Stingray with Dulcie & Jess Day at the Triffid which was amazing and we’re so excited to witness more music.
Who are you listening to at the moment?
I’m always stuck on the 1975. So guilty. I’ve been smashing Pinegrove’s latest album too. Other than that – an absurd number of silly podcasts.
What’s planned for the remainder of 2022 going into 2023?
We’re headed to Byron Bay in December to record some new music! SO excited for that.
Favourite food and place to hangout?
If anyone can tell me where the hell to get a continental roll in Brisbane – I’m all ears!
CARNAGE is out now – listen here
With their headline performance at Melbourne’s Palais Theatre on Friday 2 December officially sold out, promoters Frontier Touring and Supersonic are pleased to announce Nick Cave and Warren Ellis will perform a second show at the iconic St Kilda venue, with a new show added today for Wednesday 30 November.
The Australian Carnage tour follows the release of Cave and Ellis’ widely acclaimed CARNAGE album, and sees the pair return to the seaside suburb where The Bad Seeds played their first ever live show back in 1983.
These unmissable Palais shows – part of Cave and Ellis’ national 17-date CARNAGE tour – are presented in conjunction with ALWAYS LIVE, the state-wide celebration of contemporary live music supported by the Victorian Government through Visit Victoria. The Palais gigs will be preceded by two sold out shows at Hanging Rock, in VIC’s Macedon Ranges.
In September, Cave announced the release of his new book Faith, Hope and Carnage, co-written with Observer journalist Seán O’Hagan, the pair examining questions of faith, art, music, freedom, grief and love over 40 hours in conversation.
Tickets to the 2nd Palais Theatre show go on sale Monday 10 October (1pm AEDT) via frontiertouring.com/
NICK CAVE & WARREN ELLIS
PALAIS THEATRE, ST KILDA
NOVEMBER/DECEMBER 2022
Presented by Frontier Touring and Supersonic
NEW SHOW:
Tickets on sale Monday 10 October (1pm AEDT)
via frontiertouring.com/
Wednesday 30 November
NEW SHOW!
Palais Theatre | St Kilda, VIC
Licensed All Ages
Ticketmaster.com.au | T: 136 100
Friday 25 November
Hanging Rock | Macedon Ranges, VIC
SOLD OUT
Saturday 26 November
Hanging Rock | Macedon Ranges, VIC
SOLD OUT
Friday 2 December
Palais Theatre | St Kilda, VIC
SOLD OUT
** For information on the full national tour dates, contact Valerie MacIver at VMPR valerie.maciver@vmpr.com.au or 0413 382 631.
Patrons are advised to purchase tickets only through authorised ticket sellers. We cannot guarantee any ticket purchase made through any means other than the official ticketing agents listed on the Frontier website.
nickcave.com | facebook.com/nickcaveofficial | facebook.com/warrenellismusic
Twitter: @nickcave | @warrenellis13 | Instagram: @thewarrenellis | @nickcaveoffical
Spotify | YouTube
alwayslive.com.au | facebook.com/
Twitter: @alwayslivevic | Instagram: @alwayslivevic
Fitzroy’s filthiest icon The Old Bar turns 21 this year and they are throwing themselves a big birthday bash on Saturday December 3.
The Oldie will celebrate two decades of blood, sweat and beers with an epic lineup, featuring Cash Savage and The Last Drinks, SPOD, Skyscraper Stan and The Commission Flats, Ute Root and Streetsweeper. Proudly presented by ALWAYS LIVE and Mountain Goat, the show kicks off at 7pm and tickets will only be available on the door.
Melbourne’s divest dive bar is renowned for showcasing some of this country’s biggest talents on the smallest stage. This massive handpicked lineup represents everything the owners – Joel Morrison, Singa Unlayati and Liam Matthews – love about the place, with many of the artists cutting their teeth in the legendary venue including Cash Savage and The Last Drinks who considers The Old Bar their spiritual home.
“Cash is pretty much our patron saint of the Oldie,” says Morrison. “From playing heaps and heaps of gigs here early on and just generally being here all the time (including being told to stop being so loud in the front bar when there were quieter gigs on midweek), to coaching the Old Bar Unicorns footy team and celebrating all our milestones along the way, Cash has always had our back and it’s a very special bond we don’t take lightly. Seeing Cash and The Last Drinks play for the first time at Oldie you just knew they were world class and if we helped along the way then that’s one of the reasons Oldie is a special place.”
The Old Bar has well and truly earned its status as a shining beacon of filth in a sea of gentrification. While the building may be falling apart, The Old Bar remains a steadfast haven in the face of an ever-changing suburb where every new development is slicker than the last.
“When I see a cool dive bar in a film I get so warm and fuzzy and always wanted to be a part of that,” adds Matthews. “The reality though is very different, keeping the place (kinda) clean is almost impossible, stopping jerks from breaking shit and writing their names on everything is an ongoing nightmare and the building is slowly crumbling around us. But the alternative is that fake dive bar aesthetic that some go for which just sucks. The area keeps getting shiny around us but we are just the lump of coal in the diamond mine – is that a saying? It is now.”
This show is part of ALWAYS LIVE, a new state-wide celebration of contemporary live music supported by the Victorian Government through Visit Victoria.
|
