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The track is accompanied by a video directed by Taylor Mansfield, the latest in a series of music videos the pair have collaborated on in the run-up to the mini-album, following ‘Honey’ (recently BBC Radio 1 Introducing’s track of the week) and ‘You Cut Me So Much Slack’. The video expands on the themes of the song, namely loss and how to move on after tragedy, as Molly explains; “The video shows me coming back out from the inner chaos in Slack into the ‘real world’ after the relationship has ended. When you end things with someone it can often feel like you see them in everything, and in the video you see him popping up in every room of the house – I can’t escape him. From there it slips back and forth between reality and fever-dreamish scenarios like an anxiety dream come to life.”
Molly’s mini-album follows her breakout EP Porcupine, released last Autumn to wide critical acclaim, including Pigeons & Planes, Dork, The Line of Best Fit, Steve Lamacq at 6Music and Jack Saunders at BBC Radio 1. It also caught the ears of fellow artists, including Arlo Parks, who chose Molly to appear alongside her takeover of Spotify’s ‘Our Generation’ playlist, commenting of Molly’s music “there was just this sense of rawness and earnestness that really reminded me of things that I’ve lived myself.”
The upcoming project’s genesis came from a return to Molly’s birthplace of New Zealand. Originally intended to be a short stay, her time in New Zealand was extended as UK lockdowns prevailed. As well as spending time with the friends and places she left as a teenager, it also fuelled her resolution to reconnect with the memories and tribulations of her past, and process them through her songwriting. Revolving around the adage of looking back in order to move forward, she describes her coming output as “honest, reflective and hopeful.” Her time back home also allowed her to rediscover the catharsis of playing live, with Molly performing a series of full-capacity headline gigs against the backdrop of New Zealand’s low Covid rates and eased restrictions.
Molly Payton’s first offering came in the form of her debut EP Mess, which was co-produced with Oscar Lang, who she met at her new school soon after relocating to the UK at age 16. This was followed up by 2020s Porcupine, which saw her strike up a new songwriting partnership with producer Oli Barton-Wood, embracing a fuller sound, a direct reflection of her contemporary experiences in London and changing tastes. Praised for her evocative lyricism and evolved songwriting, Slack compromises none of her edge, yet is set to offer a more personal look into the workings of the young songwriter, and forecasts bright things as she returns to London.
‘When Skies Were Always Blue’ is out now, buy/stream it here.
Stay connected with Molly Payton:
Facebook | Instagram | YouTube
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‘Country’ evokes a feeling as universal as it is instantly understood, with lines such as “You know that I’m incapable of changing / Some people just get stuck in their ways / Never thought it’d be me like this / I was meant to be brave,” that see Parsons deliver a vocal performance comparable to Brandon Flowers and Dave Le’aupepe, with lyrics just as authentic and meditative. Visually, ‘Country‘ is brought to life against a recurring backdrop of Liam’s childhood, the 1st Eltham Scouts Hall. “I was always too embarrassed to admit that I was a scout to my school friends, the same way I was too embarrassed to admit that I got piano lessons. Both of those things are ridiculous. Scouts is cool and so are piano lessons” he shares.
Good Morning are rulebreakers. Not in a sexy, flamboyant way – more in a casual, resigned kind of way. Accidental and incidental rulebreakers. The creation and release of their sixth album, Barnyard, is the result of a process of patient refinement and the breaking of a couple of self-imposed rules. Thoughtful, catchy, idiosyncratic, and nearly twice the average length of their back catalogue, it’s all the things one might love about Good Morning, this time around presented with the fat trimmed and the edges sharpened. Recorded at Wilco’s famed studio The Loft, for the first time in a long time the record was made with the help of an outside engineer and will see an international release on a record label not operated by a friend, but instead, Polyvinyl, joining the likes of Alvvays, Julia Jacklin, STRFKR, Kero Kero Bonito and more. A milestone in the history of the band it’s also their most meditative record, thoughtful and careful in its evocations. Not too little and not too much, it’s just right – just Good Morning.
PREMIERE LINK
MONDAY 6 SEPTEMBER
5PM LA
8PM New York
7PM Mexcio City
9PM Rio De Janeiro
TUESDAY 7 SEPTEMBER
10AM Melbourne
1AM London
9AM Tokyo
BARNYARD LP by Good Morning
is out Oct 22, pre-order here
TRACKLIST
To Young To Quit
Depends On What I Know
Wahlberg
Yng_Shldn
Matthew Newton
Tree
I’ve Been Waiting
Burning
Big Wig // Small Dog
Never Enough
Green Skies
Country
Stay connected with Good Morning:
Official Website | Instagram | Twitter | Bandcamp | Facebook
Mulholland Drive, the fourth studio album from Idris Vicuña’s Eyedress project, showcases the Filipino producer/singer’s latest evolution in his approach to off-kilter electronic pop. The new project features a wide range of collaborators while always staying true to Vicuña’s vision—including King Krule, synth-funk icon DāM-FunK, Vex Ruffin, Dent May and more.
The 15 songs featured on the album are Vicuña’s most realised yet and embrace positivity as well as the wondrousness of life itself.
The new album builds on the sustained excitement surrounding his 2020 album Let’s Skip to the Wedding, which has continued to reach new heights since its release. The album has broken into U.S Billboard’s Heatseeker’s Albums Chart at #17 behind the viral success of hit singles “Jealous“, which has been featured in over 5 million videos on TikTok, and “Romantic Lover” which exploded on TikTok and streaming platforms recently, entering at #22 on Rolling Stone’s Trending 25 chart and peaking at #26 on Spotify’s Viral 50 chart in the US.
To date in Australia, single Jealous is at 8.2M streams / views on Spotify, Apple Music and Youtube combined.
Sydney is No.9 on Eyedress’s Top 20 cities for Spotify streams around the world with 44,276 listeners per month.
Melbourne is No.13 with 36,504 listeners per month.
Today, Canadian Country Artist Sarah Wickett, released the music video for her new ‘Desi Pop-Country tune “Momma’s Boy”.
“Momma’s Boy” was filmed in Sarah’s hometown, Beaverton, Ontario, and brought to life with the help of Barmilan Films. The music video captures the realities of being in an interracial relationship, and follows the story of two couples struggling to stay together, dealing with cultural differences, family expectations, and interfering mothers!
“The music video showcases interracial couples capturing two completely different relationships, but despite the difference, the couples are facing the same issue – their inteferring mothers. I sing about a very relatable experience which transcends cultural boundaries, in a way that also transcends musical genres,” said Sarah.
After moving from Beaverton to Toronto to enroll in the Journalism program at Humber College, Sarah became immersed in the musical city, fueling her determination to pursue her dream of making it in the music industry. Shortly after, she turned her dream into a reality and released her self-titled EP, launching her into the country music scene, and earning her showcases at Canadian Music Week and the 2017 Canadian Country Music Awards. This led to her sharing the stage with other well known artists such as Bobby Wills and Wes Mack, and performances at incredible venues including The Opera House, Casino Rama, and festivals all across Ontario.
Sarah continued to release more music, including two of her most successful songs to date, ‘What We Do’ and ‘Accent’, which earned over 300,000 streams in 2020. She continued to push the envelope in 2021, releasing the singles; ‘Potential’ and ‘Two Feet’. She was also named the Ontario Artist of the Month by the Country Music Association.
Tim Green’s special 8-track compilation album ‘In New Light’ on his brand new label ‘For A Memory’, celebrates his 15 years of releases. Nine artist friends and contemporaries remix their favourite tracks from Tim’s back catalogue. The result is a rich and lively diversity, both within the LP and compared to the originals.
Fifteen years of releasing music is a milestone for any artist; but through his career, Tim has established himself as a truly talented and chameleonic producer, creating emotive, genre-spanning cuts on labels like All Day I Dream, Anjunadeep, Cocoon Recordings (his acclaimed debut LP ‘Her Future Ghost’). He’s also remixed Friendly Fires, Paul McCartney, Cassius, Booka Shade, further underlining his abilities as a multi-faceted producer, whilst still amassing millions of streams on Spotify/DSPs, plus securing the top spot in Beatport’s Organic House category; from artists and tastemakers, to the mainstream, Tim’s success continues to grow.
Her Future Ghost (Dave DK Remix): the remix adds a bounding beat and more vocals, half-heard dialogues adding a surreal edge to the dreamy subtle melodies of the original. By contrast, Curious Smile (Alejandro Mosso Remix) eschews the strong vocal and lyrics of the original, substituting pizzicato notes and swoony, zoomy synths with Laurie Anderson feel.
New Life (Lost Desert Remix): Lost Desert, Lee Burridge’s compadre on their shared album, brings an upbeat vibe to Green’s signature interplay of complex synth chords, the hop and skip beat pattern keeping feet moving. Dodjo (Amonita Remix) has pure pianoesque melody and breathy vocals while chords from what sounds almost like progressive rock guitar sweep in dramatically.
Among Wolves (Volen Sentir Remix), the forthcoming single: RA top rankers, Russian duo Anjei and David inject a jazzier feel to the original’s raindrop piano and more portentous synth chords, with a brisk beat and an ocean-floor-deep bass riff.
Over The Water (Tim Green & Izhevski Remix) goes for sustained vocal notes behind the beat as fanfares of horns raise the temperature, with a tranquil interlude in the breakdown. The Incident (Mathew Jonson & Quenum Remix) is a conversation you can dance to, with plangent notes in call and response mode. In Colliding (Janus Rasmussen Remix), Reykjavik’s Rasmussen also opts for a dreamy breakdown, but swaps the original’s interweaving arpeggios for a fast tap-dance of drums and fuzzy bass. One half of Faroese-Icelandic duo Kiasmos, his remix will be the second single from the LP.
‘It’s 15 years since my first record, ‘Little Flies’ on Four:Twenty music,’ Tim says. ‘I feel the nicest way to celebrate the milestone and highlight my back catalogue is via my new record label ‘For a memory’, as a home for my discography, beginning with friends and artists I love remixing their favourite tracks for this compilation album.’
‘In New Light’ drops November 26th on For A Memory, smart link to follow. The first single ‘Tim Green – Among Wolves’ (Volen Sentir Remix) is out September 3rd.
Tracklist:
Her Future Ghost (Dave DK Remix)
New Life (Lost Desert Remix)
Dodjo (Amonita Remix)
Among Wolves (Volen Sentir Remix)
Curious Smile (Alejandro Mosso Remix)
Over The Water (Tim Green & Izhevski Remix)
The Incident (Mathew Jonson & Quenum Remix)
Colliding (Janus Rasmussen Remix)
Connect with Tim on:
Spotify | Instagram | Soundcloud | Facebook
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TRACKLIST
As The World Looks Down
Changes Up Ahead
Costly (I Can’t Let You Down)
Growing Out
Sutherland St.
Sortie
Common Connections
Oxford Style
Starving
Hansel & Jasnel
Stay connected with Bored Shorts:
Facebook | Instagram | Youtube | Unearthed | Bandcamp
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The ensuing tracks of Sometimes I Might Be Introvert, produced by Inflo in LA and London, run into each other seamlessly and enlist the rapidly emergent likes of Cleo Sol, Obongjayar, and even The Crown actress Emma Corrin, to create a kind of rangy, nimble storytelling which conjures up the febrile, strident world we live in with unflinching energy and vividness. These songs are flash-lit Polaroids, ready framed and developing before our very eyes, and their creator is nowhere and everywhere, documenting a new natural history in which moments of tenderness (“Miss Understood”) coexist with shocking violence (‘Little Q Pt 2’), and unabashed celebrations of femininity sit alongside deeply personal glimpses of introspection (‘I See You’).
LITTLE SIMZ
SOMETIMES I MIGHT BE INTROVERT
Age 101
LISTEN HERE
TRACKLIST
Introvert
Woman ft. Cleo Sol
Two Worlds Apart
I Love You, I Hate You
Little Q Pt 1 (Interlude)
Little Q Pt 2
Gems (Interlude)
Speed
Standing Ovation
I See You
The Rapper That Came to Tea (Interlude)
Rollin Stone
Protect My Energy
Never Make Promises (Interlude)
Point And Kill ft. Obongjayar
Fear No Man
The Garden (Interlude)
How Did You Get Here
Miss Understood
Stay connected with Little Simz:
Website | Facebook | Instagram | Twitter | YouTube
All Hope Remains are a 3-piece Australian skate punk band from Geelong, Victoria. Forming in 2017 influenced by bands such as Strung Out, Raised Fist and fast melodic punk rock they have released a number of EP’s and toured extensively across Australia and Japan.
https://open.spotify.com/
Over lockdown the band concentrated their energy into recording a new album. All the parts were recorded isolating from each other with the band not once together in the same room. Just three guys recording their bits at home in isolation.
All Hope Remains have already released various EP’s and singles and completed numerous across Australia and Japan, opening for iconic bands Zebrahead, Death by Stereo and Shames.
With debut EP “Hindsight” receiving great reviews and second EP “Feel the Fire” cementing their place in the fast skate punk scene the new album is sure to open many more doors for the band.
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“Filming the video was an incredible process. From sitting down with Freya for the first time to try and tease out ideas, to seeing the end product come together, it felt as though the intention for the track was being solidified. I think my favourite part was watching the process of turning an idea into an art form, something I’m familiar with in music but had never witnessed in visual form.” – NIDALA
Colours of My People is a 100% carbon neutral reconciliation project driven by Barker’s relentless hope in humanity and her staunch activism as a protector and carer of Country. Thanks to the support of local Bundjalung businesses Spell and Ella’s Farm, NIDALA will be dedicating 20% of all the EP’s proceeds to planting trees, hoping to demonstrate that music can be a direct tool for creating tangible positive change in the world. She is also dedicating a further 20% of the proceeds towards funding Indigenous run initiatives, ranging from mental health services to creative mentoring, as a means to amplify the positive work of her people. Arriving at a time that needs it, NIDALA’s EP invites us to connect with each other and do better as citizens of this shared planet.
Colours of My People EP is out now via LUSTRE
Colours of My People EP Tracklisting
1. One Of Those Days
2. Said Too Much
3. Colours Of My People
4. Body Of Mine
‘Colours Of My People’ Video Credits
Custodians and Wisdom Keepers: Aunty Lois Cook & Auntie Delta Kay
Masters of Movement: Ella Noah Bancroft, Kirilly Lowcock, Waangenga Blanco
Production Manager : Chantelle Canellis
Creative Director: Freya H Johnson
Director: Freya Haley
‘Colours Of My People’ Djugun Translation
Babala, Lyan binmal
Walgar, lyan jalnga
Babala, ma medjan nan
Walgar, ma wanden
Brothers, feel from your heart, in kindness
Sister, feel from you heart, and speak proudly
Brothers, stand and see
Sisters, gather
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“Maisie Cohen was the brainchild of the project, who quite literally turned a song about road tripping, into a road trip throughout regional NSW. The destination was Mungo National Park with its unique and arid landscape, visiting many quirky/colonial regional towns along the way, taking advantage of the signature architecture and landscapes there within. It was ironic as I was able to share this journey with Maisie as well as Drew Norley and Ariki Hita, who helped with the video production. We all got along really well and were great Travel Companions. I really wanted to dance the waltz because I thought it complimented the longing feeling in the song and managed to include some scenes of beautiful Kiera dancing with me which added to the dreamlike element of the song. A few of my family members feature in the clip, my sister and her partner are mentioned in the storyline and my niece played the role of my imaginary daughter. Really proud and chuffed that they participated”. Rita B
PRAISE FOR RITA B
Scenestr
Travel Companion “…the video may be a pretty literal interpretation of the track and its thematic elements”
The Music
“At first, I thought the folk band was there to soften the Stella Donnelly-like frankness of Rita B’s badass lyrics but now I realise they are as much the bark as they are the bite. Killer!”
Nkechi Anele, former Roots ‘n All presenter, Triple j
“relatable, funny and just downright entertaining”
Divide and Conquer
‘Travel Companion’ is released on Wednesday 1st September
Website | facebook |Instagram| Youtube | Triple j Unearthed
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Injury Reserve was originally a trio, consisting of rappers Ritchie With a T, Stepa J. Groggs, and producer Parker Corey. Their mixtapes Live From The Dentist (released in 2015) and Floss (2016) earned them underground buzz, and they capitalised on the attention with their debut album in 2019, the eponymous Injury Reserve.
The group’s momentum was put on hold when in June of 2020 Groggs tragically passed away. By the Time I Get to Phoenix was largely completed ahead of Groggs‘ passing with his contributions, and will be the first Injury Reserve music to be released since their eponymous debut album. Ritchie and Corey took the past year to complete the record, and the title has meaning past simply referencing Injury Reserve‘s hometown. It’s a homage to a song that has been covered countless times, which is in line with Injury Reserve‘s ethos and approach when it comes to creating music. The group pulls from several styles and eras of hip hop, but runs each one through the Injury Reserve lens, putting their own distinct and cohesive sound across their references. Nowhere is that dynamic more present than on By the Time I Get to Phoenix.
‘Superman That‘ is out now, buy/stream it here.
Pre-order By the Time I Get to Phoenix here.
Injury Reserve
By the Time I Get to Phoenix
Outside
Superman That
SS San Francisco (feat. Zelooperz)
Footwork in a Forest Fire
Ground Zero
Smoke Don’t Clear
Top Picks For You
Wild Wild West
Postpostpartum
Knees
Bye Storm
Stay connected with Injury Reserve:
Twitter | Instagram | Facebook