Broken Stone Records & Remote Control Records are pleased to announce the return of Sydney’s Magnetic Heads. After a sizable pause, Des Miller has reignited the project and shared new single and video for ‘The Street’.
‘The Street’ is a cheery pop banger with streaks of melancholy running down its face. “It’s about the alienation we’ve all experienced. When COVID came around the song took on a very literal meaning,” Miller says. He holds out hope, “I’m so enamoured by the possibility of community, our capacity to assemble. It’s why we love theatre, live music, dancing. Despite my moments of despair, I’m a tragic optimist.”
‘The Street’ film clip was shot in cinematic 4K by director Andrew Lancaster (keyboard player for Custard). The clip sees an inquisitive and creative little boy meet a lonely soul (Julie-Ann Long) living in a caravan. “We worked with a really cool kid, Billy Westbury. His dad has a hobby of painting miniatures, Billy is a dancer. We put a fantastical realist lens on their life, It’s about an unusual friendship.” he says, zooming out from 2020, the most unusual year of all.
The Magnetic Heads project has laid dormant since 2012. Back then the five-piece group happily disseminated a bright, jangling 12 string guitar sound that cherrypicked from Talking Heads, Echo and the Bunnymen and The Smiths.
“I did a solo record and wrote two EPs with Magnetic Heads in 2007. We did a bunch of touring and festivals and then our attempts at recording more music disintegrated.” Family and life got in the way and getting five people together in the same place became almost impossible.
But a few years down the track there was still the issue of unrecorded Magnetic Heads songs tugging at his shirt. Enter Liam Judson, chief songwriter and production whiz of dream-pop soul-mates Belles Will Ring / Lewis Goldmark. “It’s been a long time coming with Liam,” says Miller.
Together they holed up in Judson’s Sonic Funhouse home studio in bushy Blackheath near the top of the Blue Mountains, determined to dust off some unfinished recordings from previous sessions in 2015, some demos and lyrics from as far back 2009 and bring new ideas into high-res. Things had to be put on hold again as bushfires tore through the area. The pendulum of time swung back their way and the result is ‘The Street’ and a forthcoming Magnetic Heads’ debut album to come in 2021.
Stream/download Magnetic Heads – ‘The Street’ via https://magneticheads.lnk.to/
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“Australia’s emerging rap force” – Clash Magazine “Setting himself up as one to watch” – Rolling Stone “Undeniable skill and diversity” – Sniffers |
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Today, Australian rapper Phi11a releases his new single, ‘Dirty Dancer’, co-produced by U.S. super-producer Scott Storch (Beyonce, Dr. Dre, Roddy Rich, Megan Thee Stallion). The up and coming rapper seamlessly glides over an infectiously sexy beat and delivers a hook that perfectly marries the co-melody in the chorus.
“Scott was one of the humblest dudes I have ever met, his genius was apparent from the moment I met him,” remarked Phi11a on working with the illustrious producer. With his flow and lyrics written in 5 hours the day before recording, the rapper admits to having some nerves before laying the track down at the well-known producer’s house. “I wrote this song in 5 hours the day before we recorded it and all I can remember was the nerves, but nerves push you to give your all.”
The single follows ‘Witness’, the second single from the Australian rapper which features emo-trap icon, Trippie Redd. The release went onto amass 3m streams and receive praise from Clash Magazine, NME, Rolling Stone, TRVP, Mixtape Madness, Sniffers, Montreality and the biggest hip-hop blog on Instagram, RapTV. The official video for the track was also premiered by U.S. hip-hop tastemakers, Lyrical Lemonade.
Phi11a announced himself in September 2019 with his debut single ‘Overdose’ and ‘Sad Cowboy Shit’, a 4 track surprise mixtape, produced by U.S. producer, Jimmy Duval (XXXTentacion, Lil Pump, Ski Mask the Slump God and Rich The Kid). For ‘Overdose’ the inner west Sydney local worked with Atlanta producer Supah Mario (Drake, Young Thug) and was praised by Triple J, Acclaim and even received shout outs by the likes of D12 and DMX.
With ‘Dirty Dancer’, Phi11a continues to show tremendous versatility when it comes to his lyrical approach, something that only further cements him as one of the most exciting hip-hop voices to come out of Australia. |
‘DIRTY DANCER’ IS OUT NOW
VIA DEF JAM RECORDINGS ANZ
FACEBOOK | TWITTER | INSTAGRAM | TIK TOK
SPOTIFY | APPLE MUSIC | YOUTUBE | SOUNDCLOUD
Hey guys, welcome to The Partae! Congrats on your ‘Wonderland’ release, your Kindisch debut. Where did the inspiration for this track come from?
T : Hey Partae, thanks for having us. Thank you so much, we’re super excited about this release. We love the track, the remixes and the label. We can’t be happier.
P : Regarding this track the inspiration came last year when I was watching a western movie. I can’t remember the name of it but I still remember the guitar loop. We did the track in 1 day or 2. We had this guitar sample and we wanted to use it like an endless riff that stuck in your head.
And there was born Wonderland and its unstoppable melody.
Where did you write it and what key gear did you use? Did it come together naturally?
T : We produced the track in our old studio in Paris. (We are now based in the countryside of France). We used the Korg minilog for the lead which appears on the main break. The bass was done on our ‘best friend’: the Moog Little Phatty. Finally, we use our singing talent to do the voice; that was a challenge because we’re not Adele.
You’ve got Maga and Carlita on the remixes, how do you know both of them? And why did you pick them for this release?
P : When Kindisch approved the track, straight away we wanted to do 2 remixes with 2 different vibes. We chat a lot with Carlita since the Abracadabra party in Tulum in January 2020. We love her style and her energy when she’s playing and we know that she produced very good tracks like Love Wins or El Rithmo del Tambor. It was quite logical to have her on board, and we love the remix she did for us.
T : We met Maga at the party in Tulum too (parties there are the best:)). We wanted him because he has such a great vibe on his productions. He knows how to build a track perfectly. His remix is amazing too.
With him and Carlita it’s THE dream team for us 😉
Generally what’s your structure in the studio, do you always work well together writing music? Or how does it normally flow?
P : We’re doing most of our stuff together. We like it that way; it’s like a good ping pong match, I bring an idea, he brings one too. But lately, due to covid, we’ve had to start almost every new project alone and then we finish or edit together.
T : It’s like an ‘E-ping pong’, but we’d rather be together when it’s time to produce.
You’ve been perfecting your live set, and recently did the incredible stream at a UNESCO site in France to raise funds for Bye Bye Plastic, the set up looks incredible! When did you switch to live, and what do you think the benefits are with live versus DJing?
T : It was one of our goals since day one. We always wanted to perform live. At our debut we had not enough equipment, then we were running out of time to really work on it. Actually it takes so much time to prepare for a whole live set!
P : I’m the musician of our duo, and for me it was so important to play live. For me, it’s what performing should be. I love to DJ, building a set during a party, but live is more challenging and brings a new dimension to our music. Wonderland for example was so powerful live.
What’s next on the horizon for you guys?
P : Many things from a production point of view: 2 remixes are coming out before 2021 on Cosmic Awakenings and Wayu, and for 2021 we should have 3 new EPs and remixes too.
We also want to work on a new live show asap. It’s like a drug now! 😉
Chambord’s ‘Wonderland’ EP is out now on Kindisch. Get it here: https://kindisch.lnk.to/KD182
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‘I Shake That Ath’ is yet another eclectic, perfect sample-heavy pastiche of early-to-mid 2000s and 90s references from Deaton, all pieced together with a gleeful sense of impishness and a radiant positivity. With tinny, programmed percussion, a blown-out beat, and high, cutting synths, ‘I Shake That Ath’ recalls early noughties club-ready hip hop as Deaton Chris Anthony dispels with the insecurities of knowing people are talking about you and embarks on a journey of self-love and celebrating successes. The release follows previous singles, ‘I Love All My Friends’, Deaton’s ode to how impeccably dressed his friends are, and the UK Garage-indebted ‘Tuethday’ featuring Baby A.
Of the track, Deaton Chris Anthony shares: “I Shake That Ath is a cheeky track for the haters. The notion when you’re at your “All Time Highs”, all haters can see is that phat ath. Sonically set in 2007 with a “Boogy Woogy” Chant that is as healing as it is groundbreaking. This empowering song, finished during Quarantine, functions as a positive response to the beginning of a new decade. 2020; It’s all about shaking it off and moving forward to All Time Highs.”
The Boogy Woogy is a collection of dance tracks incepted during OG BO Y sessions. Finished throughout quarantine with the help of Deaton’s biggest inspiration, his bunny Boogy. The album reincarnates past-eras bounciest sounds. Short and sweet structures that fit snug within 15-second selfies. The perfect progression of DCA’s rave anthems, ‘RACECAR‘ and ‘1999 She‘. Boogy Woogy shows growth, learning from the past, moving forward to the future. Imagine Deaton in the year 2002 thinking, “I wonder what music in 2020 would sound like,” he then makes an album and calls it Boogy Woogy.
Working across fashion and music, Deaton Chris Anthony is a post-internet age artistic polyglot fluent across multiple mediums, a kind of start-up Tyler, the Creator for a generation that favors open authenticity and boundless creativity. His DIY approach to fashion and music share a common DNA: slicing up and repurposing old materials into something entirely new and wholly his own. Having previously collaborated with like-minded artists Clairo, Omar Apollo, UMI, Jean Dawson and winning praise from Vogue, The FADER, Billboard, The New York Times, Ones to Watch, and others, Boogy Woogy is set to be Deaton Chris Anthony’s first since his breakthrough 2019 album, BO Y.
Known for his engaging and heartfelt live shows, DCA is also thrilled to be teaming up with JADU, an iOS app that lets fans record performances alongside 3D holograms of their favorite musicians and influencers. The next-best-thing to a show during these socially distanced times, stay tuned for more details on how to JADU with DCA.
The Boogy Woogy EP by Deaton Chris Anthony is out now, buy/stream it here.
Stay connected with Deaton Chris Anthony:
Instagram | Facebook | Twitter | Website | Youtube
What is your name and role within LIMBS?
Hey I’m Austin and I sing in LIMBS.
Where are you currently based? And how did LIMBS form?
I’m currently based in Tampa, Florida, as is one of our other members, Tyler. The rest of the band lives in northeast America (two in Connecticut and one in New York). At one point all of the members still lived in Florida when the band branded to LIMBS in 2014.
What’s been happening recently and how has your COVID experience been so far?
Being in quarantine has been challenging to say the least, but thankfully I’ve still been able to do a few of things I love other than music like go surfing, fishing and learning new recipes. I absolutely love to cook and all this down time has allowed me to try new ideas in the kitchen and perfect some of my favorite home cooked meals.
You have just dropped a surprise EP called ‘Only The Lonely Know’, what influenced the sound
and songwriting behind this release?
I’m so excited to share this EP with everyone. We wanted these songs to be a representation of us at our very best as musicians. We were able to collectively write these tunes together, having a unified theme of going heavier and a little darker than our previous releases while still retaining catchy post-hardcore influenced choruses that hopefully get stuck in your head. 🙂
Where and when did you record/produce and who with?
This EP was a massive collective effort: starting with Jordan, Tyler and myself recording most instruments and vocals with our friend/producer Matt Johnson in Florida. From there, our drummer Joey teamed up with engineer Nick Bellmore to track drums in Connecticut. After all instruments were tracked, the songs were sent to our man Sam Guaiana in Toronto, Canada to work his magic in producing and mixing. And FINALLY, from there, the EP was sent to Mike Kalajian in New York for mastering. Writing and recording an entire EP between multiple states and countries remotely and on COVID lockdown was one of the most tedious but insanely rewarding experiences ever. I’m so thankful for everyone who had a helping hand in bring OTLK to life and I couldn’t be prouder of the results! The summer of 2020 was a wild ride but in the end, we came out with what I feel is our best material to date.
How did the concept for the releases’ music videos come about?
Our bassist, Chris, is a videographer and is also our visual/social curator. He took the themes from our EP and created the visualizations accurate to lyrical content.
Who are you listening to at the moment?
Currently I’m listening to the record ‘tryhard ‘by The Band Camino on repeat. It’s just a flawless album front to back.
What do you like to do away from music?
Away from music, most of my time is spent going on surf trips, antique shopping with my wife and working on boats.
What’s planned for the remainder of 2020 going into 2021?
It’s still too up in that air to know for certain. Obviously we’d love to be touring again but people’s safety through the pandemic is top priority. Guess we’ll just have to wait and see.
Favourite food and place to hangout?
Favorite food: Yellow Curry with chicken // Favorite Place to hang out: the beach!
Crocodylus are stoked to announce the Social Climber tour, hitting venues across NSW in November and December. They’ve also gifted us with a new single/video “Camouflage”, out today via Bargain Bin Records!
Boasting a classic Crocs feel, “Camouflage” is another tantalizing appetiser before the main course arrives in 2021. A ditty about a recurring eye infection and retreating from the world out of self-consciousness, “Camouflage” takes its cues from some of the punk rock greats. The accompanying video is the kind of cooked hallucinatory dream one has after isolating from the world for far too long and there’s a lot of skin-on-skin that will leave you screaming in these pandemic times…
Frontman Josh Williams elaborates: “At the start of each year I get this eye infection and that’s the time I know I need to hibernate to get better. So that’s what this song is about, an eye infection. I get kind of embarrassed, as you can tell from the opening lyrics ‘Don’t wanna be seen’. I hummed the song in my head at work and wrote it on guitar as soon as I got home. We then had a producing day with Owen Penglis and tightened the song up a bit. It’s influenced by such bands like The Saints, The Damned and The Clash maybe just not as cool.”
Jumping in the van next month to launch their Social Climber / Camouflage 7” (also out today!) the trio will bring their wares and a couple of new tunes from their forthcoming debut album to venues in Wollongong, Sydney, Byron Bay and Newcastle.
The Social Climber tour also marks their first proper run of dates since the pandemic put a halt to live music earlier this year. After a massive start to 2020 that saw Crocodylus selling out shows across the country, the band were only just getting warmed up until, well, we all know how the story of this year goes. Crocs haven’t been completely out of commission though, they managed to sneak in some socially distanced and very sold out live shows back in August. And don’t let the seated format fool you, the trio still slayed back-to-back sets with Monster Children witnessing the spectacle, saying “Croc boys tore the house down, rebuilt it, and tore it all down again.”
Released last month, “Social Climber” (the single) is Crocs most affecting song yet, revealing a new side to the band that was completely welcomed. The single premiered on triple j’s Home & Hosed and earned a perfect score from host Declan Byrne, rightly declaring, “Crocodylus have nailed this one”.
Tickets for the Social Climber tour are on sale now and we expect them to be snapped up really quick, so don’t wait.
CROCODYLUS SOCIAL CLIMBER TOUR
TICKETS ON SALE NOW VIA CROCODYLUSBAND.COM
Friday November 20
Wollongong Uni Bar, Wollongong
Tix here
With Lincoln’s Gold
Saturday November 21
Oxford Art Factory, Sydney
Tix here
With Misty Lanes
Thursday December 3
The Northern, Byron Bay
Tix here
With Flying Machine
Saturday December 5
The Cambridge Hotel, Newcastle
Tix for the 6pm show here
Tix for the 9pm show here
With Fungas
CROCODYLUS – SOCIAL CLIMBER / CAMOUFLAGE 7″
LISTEN / BUY HERE
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With each release this year, Triple One have consistently demonstrated their cross-genre versatility and dexterous flow, and on ‘Sunshine’ the group return with their most infectious crossover effort yet. Already a live favourite with Triple One punters over the past year, the vibrant ‘Sunshine’ now sees an official release. Riding over a surprising soulful sample from gospel group The Dixie Nightingales, this new single is a sultry pop-laced offering from Triple One, chronicling young love and the fast-paced chase of courtship. Billy Gunns dabbles in sample-based production for the first time, with the hook carefully tweaked and nurtured since 2017.
“We’ve been holding onto ‘Sunshine’ for a while now, just waiting for the right time to release it, since we all feel that it’s such a special song,” the group says. “Ever since Marty heard the original song by The Dixie Nightingales, we knew that we could flip the sample into something of our own. The last Panic Force singles have touched on our emo roots a lot more, and with ‘Sunshine’ we wanted to show our progression with pop sounds, but still make it sound hard as nails.” The result is a single doused in feel-good electricity while retaining the bittersweet undertones that keep Triple One‘s versatility alive.
The release of Triple One’s long-awaited debut LP follows three EPs and a torrent of standalone singles that have catapulted the foursome from underground buzz act to garnering national and international acclaim, including lead single ‘Loverose‘, their ARIA Gold-certified anthem ‘Butter‘ and radio favourites ‘So Easy‘ and ‘Handyman‘. Triple One‘s notoriously chaotic live gigs include a sold-out national tour in 2019, and show-stealing sets at Listen Out, Hidden, and Falls Festival. Along the way, they’ve impressed and surprised with their insatiable, all-consuming appetite to continuously venture into uncharted artistic terrain, and a rebellious desire to constantly fold new sounds and textures into their brand of unbounded, unclassifiable hip-hop.
ABOUT PANIC FORCE
Panic Force pushes that sonic envelope even further, offering the chance to watch one of Australian hip hop’s most versatile outfits apply themselves to a full-length project. Traversing thrilling peaks and pitch-black lows, Panic Force is a triumph of raw reflection, acknowledging our flaws and all the things that ultimately make us human. Set against the backdrop of a planet in physical and moral decay, Triple One’s debut sees the foursome deliver 12 tracks that highlight their signature diversity while also pushing them, lyrically, conceptually, and sonically, into new territory, exploring themes of relationships and escape, temptation, the hubris of man and much more.
‘Sunshine‘ by Triple One is out now, buy/stream it here.
TRIPLE ONE
PANIC FORCE
30 Oct 2020
Pre-order here.
Stay connected with Triple One:
Website | Facebook | Twitter | Instagram | Youtube
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Asha Imuno – Good News is out now
via b4 / Remote Control Records
Asha Imuno
instagram | twitter | youtube
b4
website | instagram | facebook | twitter
Prolific songwriter M. Ward has announced his new album Think of Spring today, a collection of songs originally recorded by Billie Holiday – a muse to Ward and many others. To be released via ANTI- on December 11, listen to the first track “For Heaven’s Sake” HERE.
“It still feels good to invent new guitar tunings and use them to help deconstruct old songs,” M. Ward said. “Billie Holiday’s “For Heaven’s Sake” in a modified open B.”
Ward achieved the intimate sound of this record by filtering the original songs and strings through a single acoustic guitar, using various alternate tunings and a minimal amount of textures and studio manipulation. Most of the songs were recorded on an analog Tascam four track. The title Think of Spring comes from a poem written in 1924 by Jane Brown-Thompson that eventually became “I Get Along Without You Very Well” in 1938 – the first song on the record.
“I first heard [Billie’s album] Lady In Satin in a mega-shopping mall somewhere in San Francisco,” M. Ward explained. “I was about 20 years old and didn’t know much about Billie’s records or her life or how her voice changed over the years. Anyway, the sound was coming from the other side of the mall and I remember mistaking her voice for a beautiful perfectly distorted electric guitar – some other-world thing floating there on this strange mournful ocean of strings and I was hooked for life.”
In April of this year M. Ward also released his critically acclaimed tenth studio release and first for ANTI-, Migration Stories. Recorded at Arcade Fire’s Montreal studio, the collection is languid and hazy, blurring the lines between reality and fantasy as it reckons with a world that feels more divided than ever before, even as its inhabitants grow more inextricably linked by the day. “The relaxed pacing, Ward’s intimate vocals and tips of the cap to Hank Williams, Elvis Presley and the sounds of the West give the album a decidedly nighttime atmosphere, a drizzle of starlight that settles gently on the ears and the mind,” said Associated Press. “The intimate atmospherics, along with Ward’s storytelling acumen, make it an album practically designed for deep listening rather than skipping around to the singles,” added The San Francisco Chronicle.
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SUPPORT FOR ‘EMPTY HANDED’
“It’s a song that encapsulates Trace Decay and their brilliance in a tidy few minutes, showing that aforementioned drive for evolution and growth as they mix together a wealth of washed-out and dreamy guitar melodies with the vocals of Jordan De Pas.”
– Pilerats (AUS)
Melbourne-based indie-pop duo Trace Decay have just returned with their endearing new single ‘Empty Handed’ – produced by Edvard Hakansson (IV League, Jack Grace) and mastered by Malcolm Besley (Northeast Party House, Slowly Slowly, City Calm Down).
‘Empty Handed’ opens with captivating backing vocals, dreamy guitars and snappy percussion, before the introduction of lead singer Jordan De Pas’ commanding vocals. The technicolour choruses help propel the track through crescendo and deft instrumentation, rounding out an elegant slice of notable indie-pop.
Jordan talks about the meaning behind ‘Empty Handed’:
“I wrote ‘Empty Handed’ when I was going through a period of transition and was uncertain if I was on the right path to improving my own mental health or making it worse. I was holding myself to double standards and constantly second guessing everything. It got to the point where I almost felt paralysed when I had to make a choice about anything as the fear of getting it wrong would haunt me. The verses are about me struggling with being in that unshakable mindset, trying to find answers anywhere. The chorus of this song was the last thing that was written as I was so stuck with where it should go.
The songs themes had reared their ugly head and started to manifest in the songwriting process. At which point I realised I should just write about acknowledging that this is a thing and not worry about trying to find this magical resolution which I so desired. Probably one of my favourite lines I’ve ever written is the last line in the chorus which encapsulates my experience of self-doubt and crippling anxiety perfectly.”
Previous releases have been widely embraced by Australian radio stations triple j, triple j Unearthed, 3RRR, 4ZZZ, Edge Radio, PBS FM, Radio Adelaide and Aussie Music Weekly. They’ve also seen support from online blogs Music Feeds, Trouble Juice, The AU Review, Something You Said and The Soundcheck. Their most recent single ‘Photobooth’ was even featured on the new ABC iView show Retrograde.
The two-piece have sold out headlining shows in their hometown and supported the likes of Art Vs. Science, San Mei and Shag Rock. When they aren’t writing pop hits you can find them either running music festivals in Queensland (Arcadia Music & Arts Festival), managing up and coming Melbourne artists (IJALE + Quiet Blue) or studying at university.
In the coming weeks, Trace Decay will reveal an accompanying music video for ‘Empty Handed’.
‘Empty Handed’ is available worldwide now
FOLLOW TRACE DECAY
“Truly love Danika Smith’s brand of soulful folk. Dark and curious, it moves you with its textures and complexities driving a sense of wonder and makes you feel the true weight of the armour she sings about pressing down on your Soul.”
– Nkechi Anele, triple j Roots ‘N’ All
“Suit of Armour may be Smith’s debut as a solo artist, but the song reflects an artist with a captivating confidence both in her writing and delivery” – Evan Crandell, Indie Shuffle
“Smith’s voice brings the listener into her world without subjecting them to the constriction at the heart of the song.” – Shana Hartzel, Swelltone (US)
Melbourne’s Danika Smith has been weaving raw, timeless folk with supple jazz and soul undertones long before she made waves with her debut single of 2019. Danika’s thoughtfully packaged tunes explore tender topics of love, loss and growth through honey stick melodies and charismatic satire. But something’s shifting. It’s 2020, where women in music are being recognised and supported, so she feels it’s time to get experimental. Folk is heaven, no doubt, but curiosity, desire and the inner groove has unavoidably begun Danika Smith’s metamorphosis. Enter ‘Sweet Mellow D’, with the worldwide premiere last weekend courtesy of renowned broadcaster, DJ and record collector, Gilles Peterson on his BBC6 radio show. Out today via Ditto, the arrival of ‘Sweet Mellow D’ marks the second of two tracks to be lifted from Danika’s anticipated debut album due for release in early 2021.
Following from the success of Danika’s debut single ‘Suit Of Armour’ last year, ‘Sweet Mellow D’ expands on Danika’s already established and singular sound, branching further into sprawling atmospheric, soulful folk with purposeful, rhythmic storytelling. Co-produced with Grammy nominated engineer Nick Herrera, and featuring Paul Bender (Hiatus Kaiyote, Swooping Duck) on bass and Maria Moles (On Diamond, Jaala) on drums, ‘Sweet Mellow D’ marries lilting guitar plucking with soulful siren vocals and haunting production in a stunning example of Danika’s impressive musicianship and sheer breadth as a budding artist on the rise.
“Sweet Mellow D feels like a song of recognition of my personal growth. I believe we all have to go on a journey of healing within our lifetime. One of unlearning and relearning, in order to truly know ourselves and to live a life that is fulfilling and meaningful. ‘I feel like I’m only starting to know myself now’. The day this song was inspired, I was sitting there with the nylon on my lap, and I felt mellow and content. I thought about those swirling years of pain and confusion in contrast to the peace, and so I put it into song, with deep gratitude to the power of music.” – Danika Smith
Since moving to Melbourne in 2014, Danika Smith has become a staple of the local music scene, laying down tracks with 30/70, TomGirl and Allysha Joy and touring nationally. With her solo project, Danika has performed at Strawberry Fields, Brunswick Music Festival and PBS FM Drive Live and has graced the stages of a plethora of Melbourne music venues including The Night Cat, Colours, The Evelyn, The Gasometer and The Penny Black among others. Her debut long play is set to be released in early 2021 and brings together a cohesive and cathartic body of work, carefully curated over the past six years. You won’t want to sleep on it.
‘Sweet Mellow D’ is out now via Ditto and a limited run of 7″ including ‘Sweet Mellow D’ (SIDE A) and ‘Suit of Armour’ (SIDE B) are available via Northside Records and Danika’s Bandcamp.
Credits
Written by Danika Smith
Produced by Nick Herrera and Danika Smith
Recorded and Mixed by Nick Herrera
Mastered by Lachlan Carrick
Guitar/Vocal – Danika Smith
Bass – Paul Bender
Drums – Maria Moles
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TRACKLIST
I’m Amazing
Kamikaze
Want U Around (feat. Ruel)
Stayback
Hey Boy (feat. Kali Uchis)
Dos Uno Nueve (219)
Useless
Bi Fren
The Two Of Us
Stay connected with Omar Apollo:
Facebook | Twitter | Instagram | Youtube
In 2014, the world discovered French producer Feder, along with his single “Goodbye (feat. Lyse)”. When the record first initially released, it topped the European charts before becoming a worldwide hit in just a matter of a few weeks. The single reached #1 on iTunes in over 20 countries and became the 50th most tagged song on Shazam in the history of the platform. Upon its arrival to France, “Goodbye (feat. Lyse)” ranked at #1 in the Spotify Viral chart and spent 7 weeks at #1 in the Shazam chart (the record for the Year 2015).
Six years later, “Goodbye (feat. Lyse)”made an appearance on TikTok, where a new generation repurposed the track by making it more down tempo. This version inevitably went viral on the platform, with more 600,000 users using the sound in their ‘challenge’ videos. One user’s video in particular has already accumulated 25 Million views! As a result of the TikTok videos, “Goodbye (feat. Lyse) [Slow Version]” entered the Global Shazam chart at #31, giving the single a second life across the globe.
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