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Tassie legends Luca Brasi shine the spotlight on mental health in a stark new lyric video for ‘The Truth’, and collaboration with mental health and suicide prevention charity SPEAK UP! Stay ChatTY!.
Luca Brasi frontman Tyler Richardson has bravely stepped up to talk about his personal experiences with mental ill health and the ways in which he is able to move through it in a new video for Stay ChatTY’s ‘Stories Worth Sharing‘ series.
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To further celebrate the important work that SPEAK UP! Stay ChatTY does, the band have also launched of an exclusive new Luca Brasi t-shirt design, with 100% of profits from all sales donated directly to the charity.
“Organisations like SPEAK UP! Stay ChatTY are so important in the space of mental health awareness. We are incredibly lucky to have these people creating awareness about the importance of speaking up and seeking support.”
A limited run of this special design is available now via the band’s merch store.
artistfirst.com.au/
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Credit: Jeff Andersen Jnr
In celebration of her current single ‘Never Gonna Be The Same’ and off the back of a sold out, four date Melbourne residency at the Northcote Social Club, Mia Wray has announced her first headline East Coast tour, where she’ll play to fans in Brisbane at Black Bear Lodge (Wed 26 May), Sydney at The Lansdowne (Wed 2 June) and Melbourne at The Corner Hotel (Thurs 17 June).
The Melbourne artist has been causing a buzz with her hugely powerful live show. As well as her own dates, Mia has joined The Rubens for select shows on their national 0202 Album tour, so far playing to fans across QLD and NSW, with shows across VIC, TAS and ACT still to come. This Wednesday Mia will also be supporting The Teskey Brothers at their sold-out shows at The Forum, ahead of taking the stage at the Sidney Myer Music Bowl this Saturday for a live performance as part of Music From The Home Front.
The run of shows comes off the back of an incredible response to her current single ‘Never Gonna Be The Same’, a commanding anthem that sees Mia continue to lean into her own power. The single has been embraced by the likes of triple j, triple j unearthed (named as one of the station’s 10 artists to watch in 2021), HIT Network, Music Feeds, Rolling Stone, NME & more. ‘Never Gonna Be The Same’ followed ‘Work For Me’, one of the most exciting debuts of 2020, which was added straight to full triple j rotation, over 10 Spotify editorial playlists, Apple Music support including a spin and plug by Elton John on his Beats 1 radio show, an acappella performance of Work For Me on ABC’s The Sound and championed across the likes of NME, Rolling Stone, Pilerats and more.
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Title: Far From Home EP
Label: SJW Entertainment
Hot on the heels of the release of his single – “Danca,” the Nigerian newcomer Acebergtm gives himself another great introduction to the world with his debut EP “Far From Home.” Featuring “Danca” and five brand new tracks, “Far From Home” is an eclectic and sultry fusion of R&B and rap that spans from the breezy melodies and catchy vocal hook of “Rockstar” to the Latin-influenced romance of “Bella” to the EP‘s most hard-hitting track “Loyal.” Acebergtm demonstrates a dynamic style that draws inspiration from artists such as Drake, J. Cole, and Burna Boy, fitting fans with tracks that will go from the club to the bedroom. This talented artist signed to SJW Entertainment and is now part of a growing global community, with “Far From Home” hinting at a very promising future.
“As a kid growing up in a city populated with creatives, ‘Far From Home‘ was inspired by the thought of me trying to be abstract. As a rapper trying to show more versatility and fitting into my own niche in the music industry, the EP represents a journey, untold stories, and the passion for being extraordinary” – Acebergtm
Hailing from Lagos, Nigeria, Acebergtm grew up with exposure to a variety of different music genres and fell in love with hip-hop and rap, citing Wyclef Jean as one of his earliest inspirations. In tandem with music was his passion for songwriting and poetry, which led him to begin writing his own songs at age 15. He eventually entered the studio circuit, networking with different producers and fledgling artists such as Kel P, Phantom, Tempoe, WineXroll, JFred, Fredibeat, Oshobeats, Mcomms, and Graydon. During those early years, he cut his teeth as both a rapper and a singer in the Nigerian music scene. Now ready to take on a global circuit, Acebergtm makes a strong debut with “Far From Home,” and we can’t wait to see what the future holds for him.
Where are you currently based?
First of all, thanks for interview! My studio is based in Amsterdam, I live in the city center next to the canals and I really like it there. Walking around in this neighborhood in the evening, for me is the perfect setting to get inspiration from.
How did you first start playing music?
I started DJing at local clubs very long ago, learning how to beat match and playing with vinyl. Just at the moment I got that under control, the technology had evolved and the CDJs came with a sync button, which made the art of beatmatching less relevant. To be able to stand out again I thought it was the right time to start making my own music and so bought FL Studio (this was in 2007), which after a while I switched for Logic Pro.
What’s been happening recently?
I spent a lot of time in my studio developing my own sound, as want to explore the space in-between indie bands and electronic club music. I just released my album called ‘Enroute’.
Your album Enroute which is a collection of single releases dating back to 2017 is out now, what influenced the sound and songwriting over this period?
After we parted Volt & State in 2016, I wanted to focus on making music without looking at what label to release on, or what would be right to do career-wise. Also with Volt & State we did lots of shows, what made me adjust all music we made, into playable version for the crowd to enjoy live. The music I make now, still has the progressive house melodies but is not 100% for clubs or festivals, but also very suitable for listening.
How did you go about writing the music?
When I’m in the studio I always start with writing a melody as a base, and I’m super picky about that. Sometimes I can spend 3 months straight, only writing melodies on a piano preset. If they don’t completely blow me away, I don’t finish them and just continue searching for perfect loop that exactly brings me the emotions I’m looking for.
Where and when did you record/produce/master?
The melodies of the first records, such as Moving On, Arrive, On Your Mind, Higher and Hold You Now, were made in Paris (France) and in Arnhem (The Netherlands) where I lived during the Volt & State era. The other tracks mostly from Amsterdam as I currently live there.
What programs/equipment did you use?
Logic Pro, Dynaudio bm5a mk2 speakers, Apogee soundcard, Korg MS 10 and a basic keyboard.
Josha Daniel is featuring artist on 4 tracks, how did you come to work together and what do you like most about his voice?
A few years ago, we (Volt & State) were working on a track with Devi from NEW_ID, when he invited us to come along to a live show of the band where his brother was playing in. I really liked that show, and later in the Armada studios we met again and found out we shared the same taste and ideas about music. Josha is also working in that crossover field between dreamy energetic electronic music mixed with indie band influences, which I think is really unique. Also I was blown away by his songwriting and voice. The fact that he can write, sing but also is a super talented producer, having his own style, I think is really special.
What’s your vision for the Quentyn project and your label Enroute Records?
With Quentyn (and my label Enroute Records) I focus on music that makes you feel you’re in a movie, cruising at night or daydreaming at a party. It’s right in that space between indie-bands and electronic club music – often influenced by the 80’s. What I used as inspiration for my album Enroute, soundwise would be if Swedish House Mafia or Avicii would meet Justice, Roosevelt, M83 or Metronomy. Also CHVRCHES, Miike Snow and Eric Prydz have been great influences for me.
With Enroute Records I want to build that bridge between Indie bands and EDM, genre wise it could be described as Synthpop, Indietronica, Electropop, Indie Dance but I’m not sure there really is a name for this genre yet.
Who are you listening to at the moment?
Currently to Cobra Man, Metronomy, Roosevelt, Still Corners, Vargas & Lagola, Thomas Azier, Luttrell, Solomon Grey, Apparat, Justice, Klahr, problem solved and M83. Most of the time tho, I’m listening to the ‘work in progress’ Soundcloud playlist of Josha Daniel’s second album, it’s almost finished and the tracks are insane!
What do you like to do away from music?
I think about music way too much so mostly it would be chilling with friends, while talking about music haha. I love to take my little boat and go on the Amsterdam canals with my friends or chill in the parks. I love walking or running at night to get inspiration. My family lives in Norway and also really love to visit them over there.
How has your musical style changed since your previous alias Volt & State which you parted ways in 2016?
More freedom, which feels great!
What’s planned for 2021?
First we’re going to release remixes from my album tracks. I’m very excited about this as the remixers will be J.Laser (toured and collaborated with M83), Big Data, Roisto and Anoraak. After this I have some collaborations lines up with Lodola, Pikes, Antoine Larsen, Kashika and Andrew Shier. Some of these tracks will even be more indie band influenced. Also super excited we’re going to release Josha Daniel’s second album on Enroute Records, I think this really outstanding!
Favourite food and place to hangout?
Eating pizza near the Amstel during the summer, would be my favorite spot and food combination. Already looking forward to that!
https://instagram.com/quentynmusic
https://facebook.com/quentynmusic
https://soundcloud.com/quentynmusic
Title: Fool For Ya
Label: Ultra Records
Canadian duo DVBBS makes an electrifying statement with their newest track “Fool For Ya,” the first single from their forthcoming album “SLEEP.” When it seems like the world has been dormant for over a year amid the global pandemic, “Fool For Ya” serves as an alarm clock to wake you up to the new age. DVBBS throw it back sonically to their earlier releases with driving basslines, high-energy melodies, and catchy vocal riffs to make for a nostalgic and yet fresh banger that is ready for the festival main stages across the globe. The new release teases the tone for the “SLEEP” album, making us wonder what else DVBBS has up their proverbial sleeves. “Fool For Ya” follows the duo’s recent releases – “I Don’t” with Johnny Orlando, “Too Much” with Dimitri Vegas & Like Mike as well as their 2020’s summer anthem “Tinted Eyes,” featuring blackbear and 24kGoldn, which is still going strong on Spotify with 1M streams weekly. Stay tuned for more tracks from “SLEEP” album and the full release coming soon!
“‘Fool For Ya‘ is the alarm clock to our new album ‘SLEEP‘. Every song off this album represents a dream… Imma Fool For Ya.” – DVBBS
Few producers have risen to the top in the electronic music scene as quickly as DVBBS, who captured the industry’s attention with hits like “Tsunami“, “IDWK“, and, “Not Going Home” and never let it go. The Canadian brothers Alex and Christopher have been continuously cultivating their sound since their debut in 2012, and have racked up an impressive display of collaborations with renowned names from diverse musical backgrounds. From hip hop superstar Juicy J to the NERVO twins, DVBBS continues to prove there’s nothing they can’t accomplish. The brothers have played everywhere from Lollapalooza to Tomorrowland, though they’ve been busy in the studio during the global pandemic. Keep an eye out for more new music from DVBBS coming to airwaves near you!
Where are you currently based?
I live in Sydney, Australia. I’m from Tasmania originally, and I moved here just over a year ago now.
How did you first start playing music?
I have always been a singer, but it was when I got my first guitar that I started properly playing music. I taught myself from YouTube, and started turning my poetry into songs.
What’s been happening recently?
I’ve just started rehearsing with my band! It’s really fun and exciting. We will be doing more stripped back versions and we have Harpist too, which will be so amazing to perform with! It sounds very dreamy. All of the band are female too. There will be some epic acapella vocal harmonies happening haha.
Your new single ’10:45′ will be released on Friday April 16th, what influenced the sound and song-writing?
I was listening to a lot of Roy Orbison and Perfume Genius around the time “10:45” was written, and it was during COVID last year too! It’s original title was actually “Sun Dial”, and I wanted the song to sound bright and happy… like the sun! But, then my lyrics took a sad turn haha, and I started singing about how all of these amazing things were “Too Good to be True”, which is the pre-chorus. So “10:45” really took on a life of its own throughout the writing process. I love that though.
How did you go about writing 10:45?
The process of this song was pretty organic. I co-wrote and co-produced this with my partner Tim McArtney, and we wrote the song on the grand piano, with just vocals, recording sections at a time. Most of the song was written within the first 2 days, by the third day we were deeeep in production land! I don’t like forcing anything whilst writing, so I just let the song take on a life of its own. The chords itself are quite bright and “happy” sounding, but then the vocal melody is super melancholic. I love this contrast.
What does 10:45 mean to you?
The meaning behind “10:45” to me, is recognising when you’re in a really good place in your life with someone, where everything seems to be going smoothly, and you so start to doubt. The chorus repeats “Don’t tell me it’s too good, Don’t tell me it’s too good, to be true”, and I feel like it’s that point in time, where you’re freaking out a bit, cause you’re waiting for something bad to happen?! Yet, when you’re in that good place, you’re wearing rose-tinted glasses, so you don’t really want to know the truth. Then I sing “Tell me, Tell me, Tell me” in the backing vocals, which is my subconscious almost anticipating and waiting for something bad to happen. So there’s this push and pull in “10:45”, of wanting to know the truth but trying to live in the moment.
Where and when did you record/produce/master and who with?
I recorded, co-produce and co-wrote “10:45” with my producer, and partner Tim McArtney. The song writing itself only took a couple of days. We spent a LOT of time together adding a lot of production to this track, particularly lots of vocal harmonies, and even got our friend Dora to come play violin throughout the track! I always get my music mastered with Little Wing Sound, George Georgiadis is fantastic.
How did you approach the recording/production process?
As always, very organically! I love using a lot of midi strings layered with real strings, to create a really lush and buzzy effect. I also love trap drums mixed with layers and layers of vocal harmonies and strings. Tim and I also find ourselves sifting through fun atmospheric soundscapes, or using plug-ins like Crystallizer or Tremolator (Soundtoys), on strings and voice, and speeding up time/momentum of the effect! My favourite plug-in by far is probably Tremolator. I’m obsessed with it. I love putting it on my vocals.
What programs/equipment were used?
Instruments used in “10:45” were the Yamaha C7 grand piano, Fender 1971 Tele, Moog Sub 37 anddd we even recorded our own snare sample on a Black Beauty snare drum (they sound amazing). Used a bunch of plug-ins, mainly Valhalla reverbs and Kush Audio plug-ins.
How did the concept for the music video come about?
I wanted to create something visually bold, yet beautiful and surreal. I am obsessed with surrealist style movies, with clever use of colour and intense/confusing storylines. I was inspired by my favourite directors David Lynch (Twin Peaks, Blue Velvet), Darren Aronofsky (Black Swan, Mother!) and Stanley Kubrick (The Shining).
Where and when did you film and who did you work with?
We shot the “10:45” film clip in Stanwell Park and Avalon Beach, haha! There were some studio scenes, beach scenes, and underwater swimming scenes. I was swimming in a sea pool in Stanwell Park at 10:45pm ironically hahaha. It was absolutely freezing. For the second part, we had to shoot in Avalon because I borrowed this amazing old vintage Harvester Scout truck. The truck is a heritage listed vehicle, so you could only drive it in a registered area. It was also very old… You probably wouldn’t want to drive it very far, or for very long. Haha.
I worked with Sam Brumby for this film clip, and it was just the two of us brainstorming ideas, based on the surreal movies and directors that I really love – David Lynch, Darren Aronofsky, Stanley Kubrick. Sam Brumby is a really talented and amazing director, and such a great guy to work with in general.
What did you find most challenging and rewarding during the creation of the music video?
I really loved absolutely every aspect of it!
The hardest part was definitely trying to swim underwater for long periods of time.
Who are you listening to at the moment?
Zella Day & Weyes Blood. They just released a song together called ‘Holocene’ . It’s beautiful.
What do you like to do away from music?
Painting and Ice-Skating.
What’s planned for 2021?
To try and release as much music as possible, and finally play gigs! Fingers crossed.
Favourite food and place to hang-out?
I adore this cute café in the middle of Surry Hills called ‘Kawa’. Great coffee, hash browns and vibe.
“10:45” Music Video: https://www.youtube.com/watch?
Instagram: https://www.instagram.com/
Spotify: https://linktr.ee/bambiohara
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“We’re so drawn to Iluka – a gorgeous, stirring voice that grabs you by the guts and doesn’t loosen its grip for a moment” – Tone Deaf
“If this is indeed the first taste of things to come for the Sydney-based songwriter, you’ll want to keep a very close eye on what comes next” – Happy Mag
“ILUKA has already proven herself as an all-round tastemaker, with a treasure trove of bright choruses and gilded film clips behind her.” – Life Without Andy
“Until the rest of the world steps up and realises how wonderful ILUKA is I guess we’ll just have to centralise the ILUKA Fanclub HQ to this corner of the office. She only writes good songs.” – Dave Ruby Howe
ILUKA today releases her infectious new collaboration ‘Mess’ featuring the inimitable Lime Cordiale. Premiered on triple j’s Good Nights earlier this week, ‘Mess’ is an ode to the wild abandon of youth in all its heartache and glory and confusion, a celebration of innocence, the lonely and unruly nights and the love gone stray; bittersweet and full of sparkle. This latest release from the Sydney singer-songwriter continues to highlight ILUKA’s versatility and unmatched ability to deftly bridge the gap between retro indie pop and soul.
Produced by Aron Forbes (Billie Eilish, Halsey, Banks), ‘Mess’ is a sparkling, theatrical pop anthem featuring nostalgia-tinged lyrics coupled with doo-wops layered over bright piano chords. The combination of ILUKA’s distinctive vocals are perfectly complemented by Lime Cordiale’s Louis Leimbach who’s smooth and sultry tones reminisce on the night that was.
Of the writing of the song ILUKA writes “I have been friends with Louis and Oli (Lime Cordiale) for years and so when I had the idea for the song I sent it straight through to them as a rough voice memo, warts and all. I envisioned it as a story between two lovers reflecting on a past relationship and a more carefree time in their life. They loved the song and idea so together we fleshed it out and ‘Mess’ was born!”
“When she played the first acoustic phone recording of ‘Mess’ we were hooked and definitely a bit chuffed to be asked to collab on the track” Lime Cordiale continues “Iluka has always been an artist that has really impressed us.” Lime Cordiale writes “We grew up playing together, sharing stages in venues and house parties throughout the Northern Beaches of Sydney and eventually touring Australia. An incredible songwriter and performing artist who we are big fans of. ‘Mess’ really captures the beauty of the dazed and foolish moments we had growing as artists and friends together. Warehouse dwellings and carefree nights.”
Alongside the track, ILUKA also releases the official video. Directed by Sophia Devries and filmed in an old converted church in the Blue Mountains, the video perfectly encapsulates the wild and unbridled spirit of youth exploring the aftermath of the night before.
Of the video, Sophia Devries writes “The ‘MESS’ music video was a hybrid vision between Iluka and me, we both wanted to create a surrealistic, almost dream-like environment the characters exist in. The highly-stylised aesthetic draws inspiration from the likes of Wes Anderson and Glen Luchford. We had such a talented team to bring this vision to life including DOP Jack Shepherd and colourist Matt Fezz. It was shot at an amazing old church that has been restored as a home in the Blue Mountains.”
‘Mess’ is the follow up to ILUKA’s previous singles ‘Willing To Break’ and ‘A Beautiful Done’ which were released late 2020 and is OUT NOW via BMG.
Growing up in the Blue Mountains, ILUKA felt an undeniable pull to songwriting and alongside her Father, she spent years channelling her artistic energies inside her into music. Skip forward a decade or so later (and with countless worldly experiences under her belt) ILUKA found herself at the renowned Stella Sounds Studios in LA working with Grammy-nominated producer Justin Stanley (Mark Ronson, Beck). After spending the last year toiling in LA and Nashville and working with writers and producers all over America, ILUKA has transcended the traditional genre confinements to form her own variation of pop music. Now she tells universal tales of hope and love, struggles and sacrifice through a meticulously modern lens – pop music with a soul and purpose.’
Two mighty Melbourne producers unite for a magical moombahton moment. Watermelon Boy’s reconnaissance of rhythms from the global south, meets head on with bass music badass Big Boss for the insatiable Just Start Party. Leading with robo-española over a crunchy carnival beat, the rhythm of Just Start Party rides uphill like a rollercoaster ‘til the inevitable plunge. With tasty use of flute, tuned percussion and organic tones, this track is 1st degree dancefloor arson. Both producers have big releases coming this year so the timing of this collaboration is delicious and opportune.
PLAY
https://biglink.to/JustStartParty
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Crumb’s second album, Ice Melt, takes its name from the coarse blend of salts that you can buy from your local hardware store for $9.99 a bag. When sprinkled on your wintry steps, this mixture absorbs water and gives off heat, transforming the snow and ice into a viscous, briney slush and, eventually, nothing at all. Beginning with the dynamic chaos of ‘Up & Down‘, and ending with Crumb’s closest thing to a lullaby, Ice Melt’s ten tracks combine, like ice sculptures melting into a glistening puddle, into the liquid record of a tumultuous, cathartic journey to safer ground. “Is it like magic or a dream?,” frontwoman Lila Ramani sings on the title track, weaving mythological undercurrents into mundane earthly processes. “It all drips down into the sea.”
From the start, Crumb was a nebulous project, stitched together from various locations, inspirations, experiences, and relationships. Even in their early days, living in jam-packed Boston apartments in 2016, the group knew that cohesion was best achieved through plumbing their individual strengths—Ramani’s earliest songwriting, which catalysed the group’s first two EPs, Crumb (2016) and Locket (2017); Bri Aronow’s knack for building (dis)affecting soundscapes; Jesse Brotter’s melodic bass playing, a Crumb mainstay; and Jonathan Gilad’s drums, which give the music an otherworldly vitality. Even as their fan base grew, they chose to remain independent, self-releasing each album, and now Ice Melt, through their own label, Crumb Records. These early decisions have made Crumb a project of self-discovery, four creative minds converging around an idea that is always shifting and reforming.
Early 2020 found the members of Crumb convening in Los Angeles to work with producer Jonathan Rado, engineer/mixer Michael Harris, and walls of instruments and vintage hi-fi recording equipment at Electro-Vox Studios and Sonora Recorders. Working with Rado and Harris allowed Crumb to tap into atmosphere-creation like never before, building experimental, hypnotic compositions that are at turns head-nodding and surrealist, energetic and euphoric. Spectral synth drones buoy lilting bass and drums through noise guitar interruptions, digital glitch, and processed vocals on ‘Trophy‘. ‘Balloon‘ builds into a warbling disco with helium-sucking alien voices inviting you to dance.
Ramani, who made many of the album’s initial demos on a trip to Los Angeles in 2019, characterises the album as a “return back down to earth,” a deeply felt examination of “real substances and beings that live on this planet.” Ice Melt finds Ramani’s vocals in deeper interplay with her indelible guitar lines, which weave in and out of every track, the tones of each calibrated for the specific feeling of the moment. Aronow, inspired by their interest in the uninhibited nature of improvisation, transmutes colors and textures into the sonic backdrop of each track, creating the layered, synth-anchored nervous system of the album.
And if Ramani and Aronow provide something like the heart and gut to Ice Melt, Gilad and Brotter provide the bodily grounding, the arms and the legs of the project’s multiplex anatomy. Gilad’s thrashing, leveling percussion—using an expanded palette of samples and drum machines alongside his live kit—provides a focused, rhythmic vessel while allowing the album to reach ecstatic heights. And beyond Brotter’s bass, dexterous and elegant as ever, his attention to creative detail is apparent in every measure and miniscule production choice—well exemplified by his delicate backing vocals, which add a tenderness to tracks like the mercurial ‘Tunnel (all that you had)‘.
Pre-save / Pre-order Crumb – Ice Melt: https://crumb.ffm.to/
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