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“Hottest Creatives to Watch in 2021.” The Australian
“Breathe seems built for American radio and stardom.” Sydney Morning Herald
“A blend of Country, Pop, Indie and Americana with a sprinkle of Fleetwood Mac…” Honey Pop
Today, Byron Bay siblings, THE BUCKLEYS release a remixed version of their second worldwide and fourth Australian single, “Breathe,” via Petrol Records / Universal Music Australia / UMe that is set to hit commercial radio this week.
View BREATHE newsclip video HERE
View “Breathe” LYRIC VIDEO HERE
Listen to “Breathe” HERE
The single was recorded and co-written by Sarah Buckley and two-time Grammy Award winning producer and engineer Chad Carlson, whose credits include Taylor Swift, Jewel and the Hunger Games soundtrack.
“‘Breathe’ was our musical prayer to the world,” explains THE BUCKLEYS singer Sarah Buckley. “I wrote this song at a time when Australia was experiencing devastating bushfires. It was a message of strength, vulnerability, hurt, hope and moving forward. I find myself remembering these lyrics in moments where I just need to stop, close my eyes, listen to the sounds of world around me and just breathe.
Today this song has a far more personal meaning to us. This track was our label chairman and mentor Chris Murphy’s favourite song on our album, his passing earlier this year has been incredibly difficult to come to terms with, we performed the song at his funeral, and now it will always hold a very special place in our hearts.”
The equally emotive “Breathe” music video was created by Louis Murphy the son of the late Chris Murphy and creative direction was provided by Amy Tinkham, who Chris had formed an incredible partnership with. Amy took the lead as the Creative and Live Show Director for The BUCKLEYS album performance, DAYDREAM AT THE CHURCH, Live from Byron Bay.
“It was a wonderful experience to collaborate with both the band and the incredible mastermind that is Chris Murphy. Collectively, we brought his vision to life and created the perfect foundation for THE BUCKLEYS to showcase their music, sound and style in a unique and authentic presentation live from Byron Bay.” Said, Amy Tinkham.
Adds Linda Kury, VP Commercial Partnerships & Label Relations, UMG, “I have had the pleasure of watching THE BUCKLEYS develop an ever-growing fan base in Australia, the US and worldwide. The pandemic limited their ability to tour, but they launched their first single and toured the world, all virtually from Byron Bay. At every virtual club show, radio station visit, press interview and fan listening party, they have won over people with their music and charismatic personalities. They have built solid relationships due to their natural talent and sincere enthusiasm. Now, we look forward to introducing them in person to their fans around the globe.
Over the past year THE BUCKLEYS have continued to impact the Australian and global media, their recent release of their up-tempo track “Money” saw the band transition to commercial radio and the young trio celebrated a series of additions across various radio networks.
Sarah Buckley has also spent the past 12 months working on her song writing and was this week shortlisted for the 2021 APRA Professional Development Awards that will be announced later this month.
Promoters began to book the rising stars on major festival stages and the band were recently announced to play at Byron Bay’s iconic Bluesfest in October later this year, Gympie and Savannah.
“Every so often, something special comes along. Something so cool and authentic that the world has no choice but to sit up and take notice. THE BUCKLEYS are that special something.” American Songwriter
Where are you currently based?
Hollie – I live between two places – Northcote and Ocean Grove, Victoria. Basically, part time city, part time coast life.
Joe- I am based in Brunswick, Victoria. I made the move to Melbourne almost five years ago from rural NSW.
How did you first start playing music?
Joe – I was always fixated on music from a very young age. I’d set up pretend microphones and make my family gather around for living room concerts, singing along to CD’s. When I got my first guitar, I was about eight years old. I’d lock myself in rooms and just listen to notes ring out for hours.
At the age of thirteen I began teaching myself songs on the guitar and jamming with a friend from high school, he was becoming a great guitarist, so in order to start our band I scored a drum kit scholarship at the Clarence Valley Conservatorium to be able to afford lessons and got my chops up on the kit.
Hollie – Yeh! I was pretty similar actually, I grew up in a family of performers so I was always surrounded by people performing music, dancing etc, basically a lot of big personalities. I started learning the piano with my Nanna, but quickly became uninterested in playing covers and wanted to write songs of my own. I would have books and books of little poems with this monophonic 80’s Casio that only played one note at a time but it had a recording function so I would layer parts for hours over the best/worst beats you’ve ever heard. I was probably 13 when I started having a crack at writing songs on guitar, dad bought me an SG shaped black Ibanez electric guitar but I never played it because I had my eye on his 70’s acoustic guitar that I still play to this day.
What’s been happening recently and how has your Covid experience been?
Joe – As you know Melbourne has just endured it’s fourth lockdown. This time around I have personally lost one The Stained Daisies show, of which we rehearsed for months in advance training extra band members, one Tug show on the 12th and we are still holding our breaths about whether we will be able to do the launch for DEA on the 18th of June.
Covid sucks.
Hollie – Thank goodness for the daily quiz.
Your new single ‘Dea’ is out now, what influenced the sound and songwriting?
Joe – I was at the back end of writing my last album “Songs to Track Down To”, a very mellow bunch of folk songs, when I decided to start writing and recording something that completely polarised what I was pushing out at the time. I began working on the “Queen of Smiles, Blues & the Devil” concept. I had planned that it was to be a straight up rock album with the same kind of poetic value that the previous album had, only yelling it this time. So I guess the sound and energy I was pushing in Dea was a product of me somewhat challenging myself to embrace an essence of anger whilst I worked on something very peaceful.
How did you approach the song writing process and how did you come to work together?
Joe – I approached Hollie online with the instrumental version of the track and asked if she would like to contribute some kind of vocal layering to flesh out the groove. Once she had done that we decided it wasn’t finished and Hollie agreed to throw some words at it. She was given the album name “Queen of Smiles, Blues & the Devil” and came back with what is now “DEA”.
Hollie – I remember constantly sending you updated versions of little clips being like, “do you like this?” “what about THIS?” until I realised you just wanted me to do my thing haha.
Joe, how was the experience working with Hollie?
Joe – Working with Hollie was everything you’d hope for in a collaboration. It was a great mix of fun and serious as we dipped into each other’s worlds for a moment.
Hollie, how was the experience working with Joe?
Hollie – Same! Working with Joe was just so easy considering we didn’t really know each other before this. I agree, a healthy amount of being ridiculous and then working hard.
Where and when did you record/produce master and who with?
Joe – The Instruments were all recorded and mixed by myself at my home studio in Brunswick. All of Hollie’s parts were recorded and mixed by Hollie on top of the instrumental track. It was then mastered by Aidan Bateman.
How did you approach the recording process?
Joe – My zoom R24 is my writing tool. I’ll have a riff or a groove and just keep adding layers of instruments into the recording device, and that is the product you hear. That’s how Joe Terror music has always worked.
Hollie – I basically imported the track Joe sent me into logic and just wrote everything directly in producing and mixing as I went along.
Who are you listening to at the moment?
Joe – This week I have been listening to “Still Sad”, a playlist by Mikey Young & Anthology records, a follow up to the 2019 “Sad About The Times”. It’s brilliant. Also, Big Thief Live at Bunker Studio, Pig Lib by Stephen Malkmus and the Jicks, Hurtsville by Jack Ladder and a heap of Sarah Mary Chadwick.
Hollie – I’ve been getting stuck into the album “On” by Altin Gün, Pete Drake, but mostly the song “forever”, The Kevin Fingier Collective and Imarhan.
What do you like to do away from music?
Joe – I enjoy working in the country and being in the bush. I have also recently taken a liking to bartending. It can be a fun social environment and somewhat keeps me out of trouble.
Hollie – I’m usually chipping away at something, whether it’s in the garden, or writing something, painting, drawing, cooking etc. I also tend to plant my feet either in the dirt or by the water.
What’s planned for the remainder of 2021?
Joe – I’ll be trying to tackle as many Joe Terror shows as I can in the next couple of months along with another few singles from the album. For the majority of September, I will be back in the country looking after a bunch of goats and recording some new stuff. Most of October I’ll be touring the East Coast with The Stained Daisies. Then maybe in November I can finally have the full album out and see out the year with Joe Terror shows.
Favourite food and place to hang out?
Joe – Space food sticks. On the moon.
Hollie – Wait woah, I want to be on the moon too so naturally I’ll also need some space food sticks, if you have any.
Joe Terror IG HERE
Hollie Joyce IG HERE
Spotify link HERE
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Haviah‘s forthcoming Stock Exchange mixtape will also feature collaborations with Grandtheft, Mala Rodriguez, TOBi, and more. The title refers to a reckoning Haviah had internally over the last year in regards to how artists are forced to validate their value based on random data (followers, subscribers) and losing a part of the authentic human-to-human universal experience of art. She adds,“These statistics that we use to compare ourselves to others and to define our successes, have become proof of our worth. It’s all perception. These ideas around perceived value got me thinking about the Stock Exchange. Seeing parallels between the way it flows – the constant rising and falling – all dictated by the general public’s perception of an entity’s value, and ultimately how that influences the moves that we make as individuals.”
Action and advocacy aren’t new words in Haviah Mighty’s vocabulary – they go beyond lexicon. Haviah became the first hip hop artist, as well as the first Black woman, to win the Polaris Music Prize for her breakthrough 2019 album, 13th Floor. The project and the hard-hitting singles that followed highlight her vast sonic influences ranging from classic Rap/Hip-Hop elements to Caribbean rhythms, frenetic electro and diverse instrumentation, while tackling marginalisation, racism, the Atlantic slave trade, loneliness, self-worth, and more. Garnering praise from Rolling Stone, the BBC, GQ, Pitchfork, NPR Music, Consequence, The Source, Complex, and others, stay tuned for more music and news from Haviah Mighty soon.
‘Protest ft. Yizzy‘ is out now, buy/stream it here.
Stay connected with Haviah Mighty:
Instagram | Facebook | Twitter
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ALPHA LP
Charlotte Day Wilson
Out July 9
Pre-order HERE
Stay connected with Charlotte Day Wilson:
Facebook | Instagram | Twitter | YouTube
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LITTLE SIMZ
SOMETIMES I MIGHT BE INTROVERT
Out September 3rd
Age 101
Pre-order 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
Sud Sonico cultural association returns with its boutique festival featuring avant-garde live music, outdoor tours and more cultural activities.
AVANT Festival is a new boutique music festival showcasing the best of the natural and architectural beauty of Apulia, Southern Italy. The festival, following two cancellations in 2020, returns on 17th-18th July in Lecce, a city renowned for its Messapian Roman origins and sparkling Baroque style. The festival is about a slow, intimate experience, delving into the local culture and tradition, with activities and locations selected to enjoy the territory at the purest, yet smoothest form.
AVANT Festival has the aim of bringing together diverse yet quality avant-garde musicians within South Italy’s Baroque city. The lineup of the first edition sees Raster’s sonic electronic musician Grischa Lichtenberger, Austrian experimental drummer Black Pulse, Italian saxophonist Laura Agnusdei and electro-folk local trio Turbo Sud.
The event does offer a view on to special sites through a programming of indoor and outdoor activities. Spectators are called to participate to a hiking tour and lunch on the Adriatic seacoast of Apulia, kicking off in Porto Badisco – a small bay near to Otranto – and continuing through Grotta dei Cervi cave, known for its spectacular paintings all among Europe, and Torre S. Emiliano, a coastal defensive tower placed on one of the most evocative scenarios of Salento.
The concerts are set for Saturday 17th and Sunday 18th July at Corigliano d’Otranto castle. The daily hiking walk is scheduled for Sunday, 18th July. Tickets on sale now, more information on http://avantfestival.com/.
The eventi is organized by Southern Italy’s cultural association Sud Sonico in cooperation with Berlin’s creative agency Digital In Berlin. The featuring partners are Forum Austriaco di Cultura Roma, Conservatorio Tito Schipa, Goethe Institut, MUNDI Festival, 18° Meridiano, ARTEN Events, Cinema Del Reale, Big Sur, MIXOLOGY, Environ Festival, Mexico 70 Record Shop, 4 Balconi B&B. The media partners are Soundwall, ZERO, FACE Magazine, Kalporz and Sentireascoltare.
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Image Credit: Tiff Williams
In true Strict Face fashion, the Adelaide-based producer has added his distinct percussive flair on his “Re-Strict” of FOURA and Big Skeez’s “On Tonight”.
Out officially last month via NLV Records, “On Tonight” was the first track released via the label for Naarm/Melbourne-based producer FOURA and Western Sydney Afroswing artist Big Skeez, who are both also new signings to the label.
In its first month, “On Tonight” has received radio support from the likes of triple j, FBi Radio, PBS, SYN and more. It also copped a few playlist additions on Spotify, Apple Music and Amazon, as well as coverage across Purple Sneakers and Life Without Andy, among others.
Strict Face’s “On Tonight [Re-Strict]” comes a month after the single’s official release. On his rework, he takes it from the UKG realm into a drum-fuelled, flute-tinged wonderland, very true to his signature production style.
“Nina [Las Vegas] played me the demo of “On Tonight” late last year and I was immediately hooked, so naturally I said ‘yes’ straight away when I got asked to remix it a few months later,” Strict Face said. “It’s one of my favourite tracks of 2021, so I hope my twist on the song did it justice.”
He nods to the original with the inclusion of some subtle, dreamy chords, keeping the emotive energy of the original in step with the club-ready atmosphere he’s crafted.
“Aaaaah this remix!!! Strict Face absolutely killed it,” said FOURA. “His percussion creates the perfect club atmosphere that I knew he would bring but the subtle chords keep the emotional feel and presence of the original. It’s a dream and I can’t wait to play it in DJ sets.”
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“On Tonight” Video Directed by Murli Dhir Strict Face is no stranger to the NLV Records roster. After appearing on the label’s very first Sampler back in 2015, he’s since released two EP’s and a mixtape, as well as countless singles with the label. His sound flawlessly ties together the soundsystem-centric world of dance music and pop production, while expertly drawing in elements of genres like grime and dancehall. His deft ear has seen him land production credits for Le1f, Cadence Weapon and Cakes Da Killa, with remixes for Dawn Richard and Dro Carey. Along the way, he’s supported the likes of Pearson Sound, Zed Bias, Machinedrum, Cashmere Cat and Murlo, and has played at Laneway Festival, FOMO and Paradise Festival. Strict Face is currently working on new music. More to come in 2021. FOURA and Big Skeez’s “On Tonight [Re-Strict]” is out now via NLV Records. |
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Artist: FOURA
Title: On Tonight (feat. Big Skeez) [Re-Strict]
Written by: FOURA, Big Skeez
Produced by: FOURA
Mixed by: Swick
Remixed by: Strict Face
Mastered by: Wayne Sunderland
Release Date: 11/06/2021
Label: NLV Records
Catalogue Number: NLVR0061
GET IN TOUCH WITH FOURA
Spotify | Apple
Facebook | Instagram | Youtube
Soundcloud | Tik Tok
GET IN TOUCH WITH BIG SKEEZ
Spotify | Apple
Facebook | Instagram | Youtube | Twitter | Soundcloud
GET IN TOUCH WITH STRICT FACE
Spotify | Apple | Bandcamp
Facebook |Instagram | Youtube | Twitter
Soundcloud
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BUY/STREAM: MONOLINK – UNDER DARKENING SKIES LP
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An African-Canadian rapper and producer with an undeniably compelling sound, Noble’s music takes the listener on his life journey with percussive beats and thought-provoking wordplay. In 1997, Noble connected with a group of talented emcees in Texas, who helped cultivate his ability on the mic and gave him the confidence to become a genuine artist in his own right.
In 2001, Noble began working as a pastor with inner-city youth. Doing life with people at a street level transformed the way Noble saw himself as a person and as an artist. He took to heart the lessons learned from these experiences and channeled them into his rhymes. Creating music with depth became Noble’s top priority from there. “Music is me telling my story. I’m not just writing rhetoric. It’s my life story in the form of a song that anyone with a pulse can relate to.”
PLAY/LISTEN
Title: Loving You Kills Me
Label: Dim Mak Records
Following her stunning 2020’s debut on Dim Mak with “Nervous Habits,” featuring Joey Fleming, GG Magree returns to Steve Aoki‘s label with her new single “Loving You Kills Me,” an emotive gem that fuses rock and trap influences. Opening with moody guitar chords, Magree‘s heartfelt vocals immediately shine through as she belts out lyrics that paint a picture of loving someone so much that it hurts. The track’s bass-heavy, electric drop adds a dark and gritty edge to the otherwise romantic context, letting the world know that GG Magree is much more than just another pretty voice. The Australian powerhouse formerly made a name for herself through the raucous “Frontlines” with Zeds Dead & NGHTMRE, “Ghost” with Jauz or “Save My Grave” with Zeds Dead & DNMO. Read more about GG‘s inspiration behind “Loving You Kills Me” below:
“I’m such an intense lover. I think I buried myself somewhere when I wrote ‘Loving You Kills Me.’ You know that feeling ‘I want to be with you till I die’ or ‘I love you so much I want to eat you alive.’ That’s how I love and why I gave birth to ‘Loving You Kills Me.’” – GG Magree
GG Magree‘s indisputable talent as a DJ, producer, and singer/songwriter has made her a triple threat in the electronic music industry. She first made waves in 2016 with her vocal debut “Frontlines,” in collaboration with Zeds Dead & NGHTMRE, which has amassed over 31M streams on Spotify alone. GG is also well known for her replay-worthy remix of Billie Eilish‘s “Wish You Were Gay,” in addition to releases such as “Flatline” alongside Sullivan King, “You Don’t Know Me,” and “Bodies.” In her native Australia and beyond, Magree has become a highly sought after artist known for bringing electric energy to audiences worldwide; by far the best way to experience GG Magree is at a live show. She has graced the stage with the likes of Pharrell, DJ Snake, Wu-Tang Clan, Zeds Dead, Virtual Self, Iggy Azalea, NGHTMRE, and many more.
Hey Felipe, thanks for taking the time to speak with us! How are you?
I’m fine, even with this pandemic I try to remain calm, positive and focus on my productions, it’s a pleasure to talk to you.
Where are you in the world right now?
I’m in Presidente Venceslau, the city where I was born in the countryside of São Paulo, Brazil
How has the last year been for you in lockdown? Have you been able to take any positives from it?
It’s been a time full of ups and downs, in many moments it’s very difficult because I’m not sure when or how the return will be, but whenever is possible I always try to keep positive thinking, and like it or not, I ended up having more time to spend with my family and myself, I have used this creative leisure to inspire me even more in the productions that are going full steam.
You’re one half of the acclaimed duo Dashdot. What was your journey like to become a successful producer and DJ?
It’s been an amazing journey, where I collect memories and beats from the most different places and tracks. I’ve made countless friends, met wonderful people and had the pleasure of producing some of the soundtracks that are part of many people’s lives.
What is your favorite memory as Dashdot?
It’s hard to choose a particular memory, but I’ve always enjoyed the international tours, we’ve had the chance to play around Europe, Asia, Australia, North and South America
What made you want to start your solo project FFLORA?
I was at a time in my life looking for more independence and a slightly more specific sound line, I already had the idea of creating a parallel project, and this whole pandemic ended up accelerating this idea.
What was the inspiration behind the new track on Ame Records?
There were some incredible inspirational vibes that kicked in from time to time during these lockdown moments, and Colors is definitely one of my favorite quarantine productions. I hope that I can sign other tracks on Ame, a brand that I identify a lot with.
How was it making with no chance to play it out or have any crowd interaction?
This is one of the biggest differences on my production process, I’d always tested my songs countless times before releasing the final version. However, I had to adapt and somehow teleport myself into the minds of different people in the crowd pretending to be listening to the track.
What would be your dream first gig back?
To tell you the through, I just want to be able to play again. Of course there are some special places and festivals, Like Ame Club itself, Warung, Green Valley, Lollapalooza, Rock In Rio and etc… But what I really want at this moment is to be able to play, doesn’t matter where.
What’s the thing your most excited about when we can return to live shows?
I’m looking forward to testing my quarantine productions, there’s a lot of music that I really believe in!
I’ve probably made more that 50 tracks these last months.
Have you discovered any records in lockdown that you’re dying to play out?
I don’t think there’s a specific track, but there’s a lot of good stuff that was produced in quarantine, whether from Brazil or abroad.
What else have you got coming up?
I have a lot of news ahead of me, from new releases and lives sets and the development of an own label.
https://www.beatport.com/release/colors-feat-dcw-extended/3396530