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XG (JAPAN) ICONIC ARTIST GROUP RETURNS WITH 2026 WORLD TOUR: THE CORE

April 23, 2026

The Jungle Giants – Album Launch Parties

April 23, 2026

STEPHEN SANCHEZ: Brings The Lover Down Under Tour to Australia & NZ...

April 23, 2026

FUTURE ISLANDS Share ‘The Ink Well’ and ‘One Day’ New LP From...

April 23, 2026

BAAUER RETURNS WITH U, HIS FIRST ALBUM IN SIX YEARS, ON LUCKYME...

April 23, 2026

Interview: SF WRENS – “The Finish Line” and the Art of Being...

April 23, 2026

Interview: Makua Rothman – “I Just Wanna Live” From Big Waves to...

April 23, 2026

The Temper Trap announce highly anticipated Australian headline dates for September/October 2026

April 20, 2026

MEDIA PUZZLE UNVEIL NEW RACEHORSE: A SURREAL COMMENTARY ON MODERN EXISTENCE

April 20, 2026

SF WRENS DEBUT FRESH NEW SINGLE ‘THE FINISH LINE’

April 20, 2026
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LEWW UNVEILS POIGNANT NEW SINGLE ‘SHOW YA’ FT. SIN SANTOS
Music News

LEWW UNVEILS POIGNANT NEW SINGLE ‘SHOW YA’ FT. SIN SANTOS

by the partae September 7, 2020
written by the partae

SUPPORT FOR ‘SHOW YA’

“Gliding over the record with invigorating wordplay and rapid flows, leww shines with confidence as he vows his diligent grind is bound to pay off.“
– The Local Frequency (AUS)


Melbourne-based R&B artist leww has just revealed his evocative new single ‘Show Ya’ featuring Sin Santos – produced by SB90 (Illy, Allday, KLP).

Opening with ominous synth bass, tense acoustic guitar plucks and the captivating lead vocals of the artist himself, ‘Show Ya’ swiftly unfolds into an exquisite composition of deftly produced R&B. The track’s bridge introduces the slick bars of Sin Santos, before launching into the anthemic final chorus, satisfyingly bringing the song to a close.

leww talks about the inspiration behind ‘Show Ya’:

“I originally wrote this song on the piano in my bedroom, and as I laid out the chords, I realised I wanted to make it a feel-good motivational song. About a day before I went into the studio with SB90 (Stuart B Productions), I tried playing the chords on an acoustic guitar, and that’s when the main riff was born. The lyrics follow my current feelings about where I am in my career and where I want to go with it.”

leww is the music project of multi-instrumentalist Lewis Townley, a Melbourne-based artist who takes inspiration from artists Juice WRLD, Post Malone and Machine Gun Kelly to create fervent pop music. “I grew up around music, and I was lucky that my Dad was into piano, guitars and music production, so we managed to progressively set up a bit of a home studio and a collection of different guitars and keyboards,” Lewis explains.

“I usually write all my songs acoustically with one instrument, with a vision in my head about drumbeats and different aspects to the mix before I head into the studio. This year I have been busy writing, recording and producing songs, expect plenty of new music in the works” he continues.

‘Show Ya’ is available worldwide now

FOLLOW LEWW

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September 7, 2020 0 comments
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The National Gallery of Victoria has announced the second edition of the landmark, city-wide exhibition, Melbourne NOW, which will be centred at The Ian Potter Centre: NGV Australia in 2023. The exhibition will mark the ten-year anniversary of the inaugural 2013 exhibition which was a bold and unprecedented survey of some of the most exciting local contemporary practitioners. Melbourne NOW will again highlight the latest art, architecture, design and cultural practice shaping the cultural landscape of Melbourne. The NGV will dedicate an initial $1.5 million commitment to acquire, commission and present new works by local Victorian artists, designers and architects. In a timely announcement, new works by Victorian artists will begin to be actively acquired and commissioned beginning this year and will continue for the next three years, where the works will be premiered as part of the 2023 exhibition. ‘The NGV is delighted to be able to support our local creative community with the second iteration of Melbourne NOW. We know new and significant works will be created by Victorian artists and designers for this exhibition, which will celebrate the vibrancy and diversity of our creative sector,’ said Tony Ellwood AM, Director, National Gallery of Victoria.  “Embraced by Victorians and visitors alike, the original 2013 Melbourne NOW exhibition was a landmark presentation of the most exciting art and design being made in one of the world’s most creative cities. Ten years on, Melbourne NOW 2023 is set to be an equally momentous event, while playing an important role in the post-COVID recovery of our creative sector. Although we'll need to wait a while to see the exhibition, the NGV will start investing in the work and careers of local artists now - when they need it most,” Minister for Creative Industries Martin Foley. Celebrating new and ambitious local art and design, Melbourne Now will cross a range of contemporary disciplines including fashion and jewellery, painting, sculpture, architecture, ceramics, video, performance, printmaking and publishing. The exhibition will also mark the second edition of the hugely popular ‘Design Wall’ showcasing work by dozens of the city’s most innovative design practitioners, as well as popular NGV Kids interactive projects.  Bold in scale, Melbourne Now will be displayed throughout all levels of The Ian Potter Centre: NGV Australia, including permanent collection galleries, showcasing new works and commissions by emerging, mid-career and senior practitioners as well as local collectives, many presenting for the first time in Australia’s most visited art gallery. At the heart of Melbourne Now will be a collaborative approach to the celebration of Melbourne’s artists and designers, working closely with a range of community, cultural and educational partners. In 2013, the first edition of Melbourne Now delivered a history-making exhibition at the NGV that surveyed the enormous breath of artistic talent in the local community. Marking the first time the NGV exhibited designers alongside visual artists, the exhibition was an overwhelmingly inclusive experience offering free entry to NGV visitors. Ten years later, the next edition of Melbourne Now will again offer free entry to NGV audiences and be complemented by an extensive public program and an exhibition catalogue providing further insights into unique aspects of the exhibition. Melbourne Now will take place in early 2023 at NGV Australia with further information to be announced soon.
Festival NewsMusic News

NGV ANNOUNCES NEXT EDITION OF THE HISTORY-MAKING MELBOURNE NOW EXHIBITION IN 2023 WITH MAJOR COMMITMENT TO LOCAL ARTISTS

by the partae September 7, 2020
written by the partae

The National Gallery of Victoria has announced the second edition of the landmark, city-wide exhibition, Melbourne NOW, which will be centred at The Ian Potter Centre: NGV Australia in 2023. The exhibition will mark the ten-year anniversary of the inaugural 2013 exhibition which was a bold and unprecedented survey of some of the most exciting local contemporary practitioners. Melbourne NOW will again highlight the latest art, architecture, design and cultural practice shaping the cultural landscape of Melbourne.

The NGV will dedicate an initial $1.5 million commitment to acquire, commission and present new works by local Victorian artists, designers and architects. In a timely announcement, new works by Victorian artists will begin to be actively acquired and commissioned beginning this year and will continue for the next three years, where the works will be premiered as part of the 2023 exhibition.

‘The NGV is delighted to be able to support our local creative community with the second iteration of Melbourne NOW. We know new and significant works will be created by Victorian artists and designers for this exhibition, which will celebrate the vibrancy and diversity of our creative sector,’ said Tony Ellwood AM, Director, National Gallery of Victoria.

“Embraced by Victorians and visitors alike, the original 2013 Melbourne NOW exhibition was a landmark presentation of the most exciting art and design being made in one of the world’s most creative cities. Ten years on, Melbourne NOW 2023 is set to be an equally momentous event, while playing an important role in the post-COVID recovery of our creative sector. Although we’ll need to wait a while to see the exhibition, the NGV will start investing in the work and careers of local artists now – when they need it most,” Minister for Creative Industries Martin Foley.

Celebrating new and ambitious local art and design, Melbourne Now will cross a range of contemporary disciplines including fashion and jewellery, painting, sculpture, architecture, ceramics, video, performance, printmaking and publishing. The exhibition will also mark the second edition of the hugely popular ‘Design Wall’ showcasing work by dozens of the city’s most innovative design practitioners, as well as popular NGV Kids interactive projects.

Bold in scale, Melbourne Now will be displayed throughout all levels of The Ian Potter Centre: NGV Australia, including permanent collection galleries, showcasing new works and commissions by emerging, mid-career and senior practitioners as well as local collectives, many presenting for the first time in Australia’s most visited art gallery.

At the heart of Melbourne Now will be a collaborative approach to the celebration of Melbourne’s artists and designers, working closely with a range of community, cultural and educational partners.

In 2013, the first edition of Melbourne Now delivered a history-making exhibition at the NGV that surveyed the enormous breath of artistic talent in the local community. Marking the first time the NGV exhibited designers alongside visual artists, the exhibition was an overwhelmingly inclusive experience offering free entry to NGV visitors.

Ten years later, the next edition of Melbourne Now will again offer free entry to NGV audiences and be complemented by an extensive public program and an exhibition catalogue providing further insights into unique aspects of the exhibition.

Melbourne Now will take place in early 2023 at NGV Australia with further information to be announced soon.

September 7, 2020 0 comments
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Music News

Kyra and Tully Premiere ‘Flowers Wild’

by the partae September 6, 2020
written by the partae
CLICK TO LISTEN TO ‘FLOWERS WILD’

From their upcoming fifth studio release “Time”  (due in November) Kyra and Tully are giving their audience a taste of what’s to come. The album’s 11 original songs span more than two decades, spanning the prior from before the pair had met, to songs written more recently. They are songs filled with heartfelt voices and plenty of harmonies woven in orchestral instrumentation.

The lyrics, which explore everything from the joys and challenges of parenting to the delights of nature, also acknowledge a shared humanity. Recorded at Leopard Frog Studio, in Battersea, Ontario by co-producer and engineer Chris Coleman (Nightsun, Nuvu Music), who also did some of the mixing at his studio in Iqaluit, Nunavut – the new album is a transformative musical journey which is at once self-reflective and observing of the wider world.

About Flowers Wild from Kyra:

I wrote Flowers Wild during a life changing experience the first time we helped to take care of our friends animals, 4 cows, 25 or so chickens, 12 goats,  a great pyrenees mountain dog and their cat, as well as our own dear dog Sodo a golden labrador retriever (since passed) at their 100 acre bio dynamic farm for two weeks over March break.  The farm was still in the grasp of winter when we arrived, frozen solid, though it very quickly changed to a major spring melt down and kept us busy while engaging our special needs son. We had cows and goats breaking out of the fence with the green grass calling, a chicken passed in our care.  A massive vegetable garden was covered in (soon melting) snow- lay on one side of the main house- and the barn where the animals lived- on the other.

At the time I was (am still) struck by the synchronicity of the relationship between the vegetables and the animals, us humans in the middle,  how (in my mind) we all need each other to exist in a healthy and balanced way.   I wrote and completed Flowers Wild song during this animal care giving time, the lyrics are essentially a collection of ideas and feelings captured during our stay and cut and pasted together from a little journal I had written in. The title Flowers Wild actually came from a brainstorming name session with our singer-songwriter pal Tim Sheffield (Clem Chesterfield and one of the back up singers) for a folk collective we’ve been dreaming about for a time”.

CLICK TO LISTEN TO ‘FLOWERS WILD’
September 6, 2020 0 comments
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Music InterviewsMusic News

Suit of Lights

by the partae September 6, 2020
written by the partae

What is your name and role within Suit of Lights?

My name is Joe Darone. Suit of Lights is the name I’ve recorded under for the last 15 years, with various friends. I write and sing the songs, and play keys.

Where are you currently based?

New York City

What’s been happening recently and how has your Covid experience been so far?

This year I was focused on getting the record out – come hell or high water – but I realized that trying to release an album during a pandemic is a bit absurd, right?

Like, let’s keep this in the proper perspective. It’s not that important in the overall scheme of things.

It’s Suit of Lights 15th anniversary, how does it feel to hit this milestone and how has SOL evolved over the years?

It’s an odd feeling, the records are a kind of cataloguing of ideas and emotions and it’s interesting to look back and see – not everything is pretty! But I’d say the main evolution from the first album to the latest album is the level of sophistication in writing and arrangements.

Your new album ‘Hide and Seek’ is out now, what influenced the sound and songwriting?

Well, the idea is that it’s an album of games. From the birth song “Tag!” to the death song “Ring of Roses” and various adventures and follies in-between. I like adventurous music, so groups like Sparks and Cardiacs are heavy influences.

How did you go about writing the album?

“Hide and Seek” was the first song I wrote, about the nature of existence. It seemed like adventure theme-music, the beginning of something.

I started thinking about the overlap in games we play as both children and adults. Titles like “Rock Paper Scissors” and “Tug of War” were just begging to be written.

Where and when did you record/produce and who with?

I produced the album, and it was recorded in several locations.

We recorded Chris Connors’ guitars, plus bass and horns at Concrete Sound, his studio in Brooklyn. Arun’s guitars were done at Rebirth Music, his studio in Austin, TX. Vocals and keys were done at my place in Hoboken, NJ. and we tracked drums and mixed with Jeff Aderman at Big Blue North in Utica, NY.

Oh, and we have an Australia connection – It was mastered at Surgical Sound in Tasmania by Dr. Timo G. Less!

How did you approach the recording process and what did you find most challenging and rewarding?

I aways start with home demos, which become the foundation to record all the real tracks in the studio, but in the past I was always on a budget and watching the clock, so there were always ideas that didn’t make it onto the album. This time, I bought a Neumann U87ai microphone and a Neve Portico 5017, and I went to town on vocal harmonies, doing my best Beach Boys impression.

What programs/instruments did you use?

The drums were recorded in analog using the CLASP system, which stands for Closed Loop Analog Signal Processor. Basically you’re hitting analog tape in real time. Vocals, guitar, bass, drums, keys, and trumpet were done in Logic Pro X.

The album is available for $1.50, where can we listen/purchase?

Limited edition LP, CD and downloads are at www.suitoflights.com

It’s also available on Apple Music, Amazon, Spotify, Tidal, and YouTube

Who are you listening to at the moment?

New Lemon Twigs album, Weyes Blood, Ruby Roses, and I just discovered a band called A Formal Horse.

What do you like to do away from music?

I’ve actually been catching up on reading. Just read autobiographies by Elvis Costello, Christopher Hitchens and Bob Lazar. I’d like to get back to drawing and painting at some point.

Trevor Dunn, Steve Pedulla, and Jamie Egan have all played on previous albums, how do you decide who you are going to work with and how does the collaborative process usually take place?

It’s usually just by chance. From the beginning, there was no set lineup or anything, Arun and I were splitting up everything between the two of us. Then, we started bringing in some of our friends. I didn’t know Trevor personally, I was just a huge Mr. Bungle fan, so I sent him some demos and he was interested.

Everyone on Hide and Seek has played on previous SOL albums, except the trumpet player David Levy (Norah Jones, Deep Purple), he was a friend of Chris Connors. Oh, and Evan Hooker from Ruby Roses and Arun’s kids Ruby and Hugo sang some backups.

You were in the band The Fiendz, how have you developed as a musician and person since?

Well, the first Fiendz single came out when I was 15. So we were literally growing up in that band, immature and not great with communication. Add in a little bit of success and failure and it eventually became toxic. I’d like to think that I’ve matured in the decades since then.

Musically, I’ve always played by ear so in terms of learning actual music theory, it’s been a very slow process. You can play punk rock drums without knowing any theory, but playing keys kinda forces you into it.

What’s planned for the remainder of 2020 going into 2021?

Our record has just hit radio and debuted at #30 most added on the NACC charts, which is pretty great. I’m really curious to see how COVID plays out in the states, it’s an embarrassing mess and tough to make plans too far ahead.

Favourite food and place to hangout?

I love spicy food! Indian, Nashville hot chicken, and Jamaican Jerk. I have about 20 different hot sauces in my fridge.

I like hanging out in coffee shops.

Listen/Buy: https://suitoflights.com/album/hide-and-seek

 www.suitoflights.com

September 6, 2020 0 comments
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Brisbane indie five-piece THE BONNIE DOONS fuse influences with new single 'FRED'
Music News

Brisbane indie five-piece THE BONNIE DOONS fuse influences with new single ‘FRED’

by the partae September 5, 2020
written by the partae

With a finessed scope on just how much a solid groove and beat can elevate a tune, Brisbane’s The Bonnie Doons present their new single, ‘Fred’.

Where earlier material saw the band embrace a quintessential surf-rock vibe, ‘Fred’ sees The Bonnie Doons incorporate more pop elements into their songwriting – the end result being an irresistibly catchy number, primed for spring/summer.
Existing in a similar vein to the likes of Ocean Alley, San Cisco and GUM, The Bonnie Doons’ music is effortless and easy to sink into. The band has been writing and performing together since 2017, developing themselves into one of Brisbane’s hardest working new acts. Releasing their debut EP Face To Face last year, they leant into the momentum swirling around the band locally and began work on its follow up, The Betweeners, due out this year.

As the first offering from this new EP, ‘Fred’ is delivered with charm. Vocals are rich, guitars and the rhythm section add weight to the earthiness of the song itself. Riding some great grooves and roots-influences, ‘Fred’ is a step in a new direction for The Bonnie Doons – one the band is loving exploring. “In this track I talk about staying true to who you are and not letting your emotional attachments to things or people keep you from doing what’s right for you. Breaking down the barriers of guilt, letting something go and moving on.” Torian Brewer, The Bonnie Doons

Produced by songwriter Kane Kennedy and mixed/mastered by ARIA-winning engineer Govinda Doyle (Angus and Julia Stone), ‘Fred’ is a strong return for the act, as they look towards a brand new chapter of music. “This record was a new approach to music for me personally, we steered further from the Aussie surf-rock sound to a more pop-like 90’s vibe. I still hear similarities between this and our previous record, mainly in the guitar work, but it was ultimately Torian’s vocals that gave us the ability to pursue a different genre and direction with the music.” Kane Kennedy, The Bonnie Doons

Having cut their teeth on larger stages supporting the likes of Wolfmother and Bootleg Rascal, The Bonnie Doons are levelling up with the release of new music, anticipating a return to live performance as soon as the climate allows. In the meantime, ‘Fred’ is here to satiate the appetites of fans and newcomers alike.

‘Fred’ is out now!
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September 5, 2020 0 comments
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Stanley Odd
Music InterviewsMusic News

Stanley Odd

by the partae September 5, 2020
written by the partae

Where are you currently based?

We’re sort of interspersed across the Central Belt of Scotland – from Glasgow to Edinburgh

What is your name and role within Stanley Odd?

I’m Solareye. I rap, record, some production and jump about.

How did you first start playing music?

Sheesht. My Dad had a good record collection and a guitar, so I started mucking about with that when I was about 12 or 13. Got into bands in my teens but was always really into hip-hop and rap so started adding little raps into the songs. That gradually morphed into a live hip-hop group with ma pals that I grew up with. We started touring round Scotland and it sort of grew from there.

How did Stanley Odd form?

Well – me and Veronika Electronika were meant to be playing a DJ/Emcee-type set and the DJ couldn’t make the show. A couple of pals joined us on guitar and drums. That was the organic start of the live hip-hop group. We’re now a six piece – Samson on kit and production, AdMack – bass and synths, Thilo – keys and more synths, Scruff Lee on guitar, Veronika singing and me rapping.

What’s been happening recently and how has your COVID19 experience been up until now?

We were meant to do a small venue UK tour April and May, then festivals for the summer, then a bigger tour and album launch in autumn. None of that transpired. BUT. Instead we finished the record in the first couple of months of lock-down – all recording individually then sending bits back and forth. Samson produced and mixed it. The record is finished and we’re mad happy with it. We’re none releasing a new single and video every six weeks for the rest of the year and putting the album out in March 2021. Change and adapt eh. It’s dead exciting to be able to focus on so many different songs off the record in six-week blocks. And we’re working with a bunch of great folks to make the videos, so every cloud has a silver lining.

Your new single ‘Night Rip’ is out on August 14, 2020, what influenced the sound and songwriting?

‘Night Rip’ is an example of how we’ve approached the whole record this time round. It’s about making music, not even thinking about what style or genre folks might want to box it in. It’s on some dark-pop analogue synth electro with breakbeats vibes – with no raps, which is a first for us. Just Veronika and me in a melancholy duet about breaking up.

How was Night Rip written?

We wrote it in the studio – before lockdown. We’ve been booking 4 or 5-day blocks of studio time and working on a bunch of demo ideas each time – everyone makes beats, instros and ideas them uploads them to DropBox. So we pick a few then develop them in the studio. The guys filled the studio up with analogue synths – Korg MS-20, Roland Juno, SH-101, Moog Sub Phatty, 808s – then start replacing sounds in the demos and building the song.

This one, I remember we’d been working on stuff all day and the band all went out for food quite late at night. Veronika had this line ‘Oh I’m restless, yes I’m restless’ and we stayed at the studio and wrote the story of a moonlight flit – somebody leaving everything behind in the middle of the night, or sort of chasing the daylight of dawn and disappearing. Then we sang it together so that the situation could be that both people in the relationship were feeling the same but not telling the other.

We tracked the drums another day me and Samson. Then Samson produced and mixed it during lockdown.

Where and when did you record, produce and master and who with?

We do everything ourselves. We’ve almost always recorded, mixed and mastered ourselves. I think we’re just too attached to stuff and don’t want to let it go. We have done some great work with other people occasionally but generally prefer to keep it all in house. This record, we tracked a bunch of it together with sometimes everyone actually recording their own parts. Samson mixed it and produced it with production elements again from everyone. It’s funny – because we’re a live band and have such a hip-hop production ethic, we always end up recording, then sampling the recordings and rebuilding them. That kind of lends itself to just getting on and doing it all yirsel.

What programs/instruments you use?

OK

Ableton for ideas, production, development and live stuff. We also use Push for live (sometimes 2 or 3 between us)

Pro Tools for mixing and mastering

Moog Sub Phatty

Microkorg (still!)

Roland Juno-6

Roland SPD-SX

Novation Bass Station

A beat up SM58 or Electro Voice ND967

Fender Tele

Fender/ Musicman basses

Ampeg amps

Korg MS20

What do you like to do away from music?

Make more music.

Sulk about not getting to play live the noo.

Go for a run I suppose.

Who are you listening to at the moment?

For unapologetic DIY pop: Carla J Easton

New production: Dunt, SHEARS

Podcast/ video stream: You Call That Radio

Scottish rap: Spawn Zero, Empress, Steg G & Freestyle Master, CCTV, Shogun, Togo Fam +++

Always: MF Doom, Pharoahe Monch, Aesop Rock

What’s planned for the remainder of 2020?

A new single and video every 6 weeks. Next one – KILLSWITCH – is out 25/09

Favourite food and place to hangout?

Lockdown has been all about get those home cooking skills up. Now we’re making homemade bhuna and naan bread so I feel like I’m all set here thanks.

 

https://www.facebook.com/stanleyodd

https://www.instagram.com/stanleyodd/

https://twitter.com/StanleyOdd

September 5, 2020 0 comments
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DEATON CHRIS ANTHONY SHARES NEW SINGLE 'TUETHDAY' FT. BABY A TAKEN FROM FORTHCOMING BOOGY WOOGY EP
Music News

DEATON CHRIS ANTHONY SHARES NEW SINGLE ‘TUETHDAY’ FT. BABY A TAKEN FROM FORTHCOMING BOOGY WOOGY EP

by the partae September 5, 2020
written by the partae
Photo by Deaton Chris Anthony

PRAISE FOR DEATON CHRIS ANTHONY

“a dreamy, elegiac, sweet song about hanging with your well-dressed buddies that blends electro-R&B thump and indie rock desolation and ends somewhere near ‘My Boo'”
The New York Times

“bizarre and brilliant…a complete joy to listen to”
The FADER

“Take a ride with Deaton Chris Anthony and sounds, styles, and voices will flash past…the songs vary from party starting electronic beats through bass-heavy rap to sprawling, dreamy pop”
Complex

“a playful collection of sample-heavy songs that bridge the gap between R&B and electronic pop”
Vogue

“Tony Hawk-approved LA producer and fashion designer with a penchant for ‘80s-’90s nostalgia.”
NME

Rising Los Angeles-based, bedroom R&B artist Deaton Chris Anthony today shares his latest single ‘Tuethday’, featuring lo-fi neo-soul singer baby a. Listen HERE.

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 favours 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. In true DCA style, ‘Tuethday’ is a rushing, exuberant collage of reference points: an iLoveMakonnen interpolation, a shuffling, UK Garage beat, shimmering, 90s R&B synths, PC Music-leaning vocals courtesy of baby a, and the unabashed, heart-on-his-sleeve sentimentality of contemporary alt-hip hop’s softer moments.

Of the track, Deaton Chris Anthony shares that: “Basically I needed baby a’s help to welcome UK Garage back to the States… ‘Tuethday’ is our ‘Gotta Get Thru This’ moment. Finished during Quarantine, we made this song so when we’re able to party again; goodbye 2020. Hello 2002.”

‘Tuethday’ is the second single lifted from his forthcoming new EP, following the charming and elegiac ‘I Love All My Friends’, Deaton’s ode to his friends and how impeccably dressed they are. Having previously collaborated with like-minded artists Clairo, Omar Apollo, UMI, Jean Dawson and winning praise from Vogue, Billboard, Complex, The New York Times, and others, Deaton’s forthcoming Boogy Woogy EP, named after his beloved pet bunny Boogy, is set to be his first since his breakthrough 2019 LP BO Y.

‘Tuethday ft. baby a’ by Deaton Chris Anthony is out now, buy/stream it here.

Stay connected with Deaton Chris Anthony:
Instagram | Facebook | Youtube | Twitter | Website

September 5, 2020 0 comments
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Annual conference within Moscow Music Week showcase festival will happen on 3rd and 4th of September in partnership with Institute of Musical Initiatives (IMI). 6th year in a row musical industry professionals will gather to discuss the most  pressing and sensitive issues, which are common concerns of Russian market representatives: music distribution, digital marketing, streaming platforms management and many more, in the context of this tough year that changed the normal course of things. Due to pandemic this spring clubs, music spaces and concert halls stopped working. How it affected musicians, industry and listeners? What can venues and musical events expect in future? How did organizers manage to cope with switching to online and is there any future for this format? These and many other questions will be discussed by conference participants within lectures, workshops and discussions with Russian and foreign colleagues. This year's conference's leitmotif is digital communications. Conference program includes such themes like: • Streaming services in pandemic period: how to find your listener. Opportunities for independent musicians. • Clubs on lockdown: economics, problems and ethics • Musician profession: art vs management • What to do if online concerts will be back? Experience and future of the format in Russia • I will survive? Or how industry copes with pandemia consequences. European experience. And many more. Among speakers and curators are managers and art-directors of clubs and concert venues (Dom Pechaty, Tele-Club, Punk Fiction, 16 TONS), festivals organizers (Park Live, SOUND UP, BOL’, Picnic Afishy, Ural Music Night), marketing agencies, streamings and record labels representatives (Effective Records, Yandex.Music, Booking Machine Agency, Future Communications) and of course artists (The Retuses, Intourist, Pasosch, CPBCH). Main conference partner IMI is a non-commercial organization which develops music industry within the space of Russian-speaking culture. IMI leads a media industry, publishes books for those who are interested in music business, arranges music conferences and showcases in regions. More information at i-m-i.ru and in IMI’s social networks. Conference partners: Mixmag Russia, Yandex.Music, Moscow Music School, Afisha, ONErpm Russia TuneCore, RMA business school Detailed conference schedule at MMW website and on conference Facebook page. Moscow Music Week is 4-days-long showcase festival and conference from 2th to 5th September, with offline and online programs, the only festival format event in 2020 in Moscow. Musical part will include around 100 artists distributed across 20+ thematic showcases. Once again MMW visitors will be the first to hear musicians, who will become leading voices of the scene in a couple of years.  From dark jazz to emo noise, traditional Caucasian motifs, modern punk, local hip-hop and experimental improvisation. Ionoff Music and BOL’ festival showcases, electronic night program from Dissonance, Quintessence, Oberwave etc.  Full line up includes Lalalar (TUR), CENTR, Hadn Dadn, SOUYZ (BLR), Bad Zu, Zaur Nagoev, Intourist, Lucidvox, Fardi, USSSY, CEO of Everything, Dima Midborn, Wooden Whales, LUTIK, Echo Pamira, Archanga, Hit 'em up, Donatello!,  Tundra Art Ensemble, luni ana, Autosport, Vsadniki JKH, Akul'e Slezy and many more. Open and free online showcase with live streams from Experimental Music Showcase with USSSY and new band called Tvar', Hungarian Showcase with local scene representatives: Platon Karataev, The Qualitons и Torts from Budapest (with the support of Hungarian Cultural Centre and HOTS (Hungarian Oncoming Tunes) and also stream from Kazan club Werk with participants of club’s community — MITYA and Sveta Luk'yanova (ЯNA). Stream will be available on Youtube and Facebook. Links to the stream will be published n the date of event. TICKETS FACEBOOK INSTAGRAM VKONTAKTE
Festival NewsMusic News

Moscow Music Week 2020 conference will discuss pandemic consequences and new ways of music industry development on 3-4 of September

by the partae September 5, 2020
written by the partae

Annual conference within Moscow Music Week showcase festival will happen on 3rd and 4th of September in partnership with Institute of Musical Initiatives (IMI).

6th year in a row musical industry professionals will gather to discuss the most  pressing and sensitive issues, which are common concerns of Russian market representatives: music distribution, digital marketing, streaming platforms management and many more, in the context of this tough year that changed the normal course of things.

Due to pandemic this spring clubs, music spaces and concert halls stopped working. How it affected musicians, industry and listeners? What can venues and musical events expect in future? How did organizers manage to cope with switching to online and is there any future for this format? These and many other questions will be discussed by conference participants within lectures, workshops and discussions with Russian and foreign colleagues. This year’s conference’s leitmotif is digital communications.

Conference program includes such themes like:

• Streaming services in pandemic period: how to find your listener. Opportunities for independent musicians.
• Clubs on lockdown: economics, problems and ethics
• Musician profession: art vs management
• What to do if online concerts will be back? Experience and future of the format in Russia
• I will survive? Or how industry copes with pandemia consequences. European experience. And many more.

Among speakers and curators are managers and art-directors of clubs and concert venues (Dom Pechaty, Tele-Club, Punk Fiction, 16 TONS), festivals organizers (Park Live, SOUND UP, BOL’, Picnic Afishy, Ural Music Night), marketing agencies, streamings and record labels representatives (Effective Records, Yandex.Music, Booking Machine Agency, Future Communications) and of course artists (The Retuses, Intourist, Pasosch, CPBCH).

Main conference partner IMI is a non-commercial organization which develops music industry within the space of Russian-speaking culture. IMI leads a media industry, publishes books for those who are interested in music business, arranges music conferences and showcases in regions. More information at i-m-i.ru and in IMI’s social networks.


Conference partners: Mixmag Russia, Yandex.Music, Moscow Music School, Afisha, ONErpm Russia TuneCore, RMA business school

Detailed conference schedule at MMW website and on conference Facebook page.

Moscow Music Week is 4-days-long showcase festival and conference from 2th to 5th September, with offline and online programs, the only festival format event in 2020 in Moscow.

Musical part will include around 100 artists distributed across 20+ thematic showcases. Once again MMW visitors will be the first to hear musicians, who will become leading voices of the scene in a couple of years.

From dark jazz to emo noise, traditional Caucasian motifs, modern punk, local hip-hop and experimental improvisation. Ionoff Music and BOL’ festival showcases, electronic night program from Dissonance, Quintessence, Oberwave etc.

Full line up includes Lalalar (TUR), CENTR, Hadn Dadn, SOUYZ (BLR), Bad Zu, Zaur Nagoev, Intourist, Lucidvox, Fardi, USSSY, CEO of Everything, Dima Midborn, Wooden Whales, LUTIK, Echo Pamira, Archanga, Hit ’em up, Donatello!,  Tundra Art Ensemble, luni ana, Autosport, Vsadniki JKH, Akul’e Slezy and many more.

Open and free online showcase with live streams from Experimental Music Showcase with USSSY and new band called Tvar’, Hungarian Showcase with local scene representatives: Platon Karataev, The Qualitons и Torts from Budapest (with the support of Hungarian Cultural Centre and HOTS (Hungarian Oncoming Tunes) and also stream from Kazan club Werk with participants of club’s community — MITYA and Sveta Luk’yanova (ЯNA). Stream will be available on Youtube and Facebook. Links to the stream will be published n the date of event.


TICKETS

FACEBOOK

INSTAGRAM

VKONTAKTE

 

September 5, 2020 0 comments
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COSMO’S MIDNIGHT ANNOUNCE SOPHOMORE ALBUM 'YESTERYEAR ' OUT FRIDAY, OCTOBER 2 + SHARE REMIX FOR LATEST SINGLE
Music News

COSMO’S MIDNIGHT ANNOUNCE SOPHOMORE ALBUM ‘YESTERYEAR ‘ OUT FRIDAY, OCTOBER 2 + SHARE REMIX FOR LATEST SINGLE

by the partae September 5, 2020
written by the partae

Twin star outfit Cosmo’s Midnight today announce their long-awaited sophomore album Yesteryear, to be released worldwide on October 2 via  Black Butter Records.. Celebrating the news, the duo also shares a new remix from Brame & Hamo for their recent album-titled single.

After releasing the psychedelia-infused 70s pop single “Yesteryear” with an iso-inspired film clip back in June, the uplifting track receives a club fit-out for dance heads everywhere. Irish-bred, Berlin-based duo Brame & Hamo put their famed house reputation to task, transporting the single to new darker, melodic and higher-tempo territory.

“Slicing up and vocoding the original vocal performance Brame & Hamo take ‘Yesteryear’ out of the clouds and into the clubs. For us, this remix embodies a post-covid, sweaty warehouse rave with it’s dark, hypnotic blend of trance, breakbeat, techno and electro.”
Cosmo and Pat Liney on the remix

The Yesteryear LP will arrive on October 2, representing a new and self-assured chapter for the Sydney-based duo who have spent years honing their sonic identity to become a confident live project of intelligent design and feel. From their bedrooms many years ago, to studios and sold-out stages across the world today, Cosmo’s Midnight have keenly enveloped an essence of timelessness within their sound, soon to be heard on their second album. Having excelled in their lane as songwriters and producers, the pair have fed their curiosity to master a sophisticated blend of disco, funk, psychedelic, soul, hip-hop and pop influences in their output while retaining clear-cut melodic progressions and ideas that stick around long after the record ends, often reflected back in their worldwide following and loyal fanbase. Familiar faces Ruel, Matthew Young and Age.Sex.Location are among the tracklist’s artist collaborations, topped off with a special appearance from Wollongong’s Stevan.

“Our second album is more or less summed up in the title track ‘Yesteryear’. It’s about reflecting on the past with not only nostalgia but also an element of melancholia ~ all the formative experiences that we absorb growing up both good and bad. It’s an album inspired by personal growth, looking back on these experiences, learning from them and moving forward with optimism. Stylistically we have always looked back to genres our parents introduced to us growing up; disco, funk, psychedelia, alt-pop of the 70s and 80s. In ‘Yesteryear’ we have homed in on that, moving away from overly produced sounds to more organic instrumentation, focused on feeling rather than thinking.”
Cosmo’s Midnight

In 2020, Cosmo’s Midnight continue to hold their reputation as one of Australia’s best loved duos in left-field sound. Their debut in triple j’s Hottest 100 countdown with their gold-certified single “C.U.D.I (Can U Dig It)”, was followed by the release of “Down For You” with global pop phenomenon Ruel, seeing over 16 million online streams/views to date alongside a live debut at Sydney’s Laneway Festival. The arrival of “Yesteryear” kept the momentum strong, placing the duo on the cover of Spotify’s The Local List playlist and receiving acclaim from the likes of NME and Rolling Stone Australia. Previously, the pair have shined in performances at Splendour in the Grass, Australia-wide festival tours of St. Jerome’s Laneway Festival and Listen Out, and sold-out headline shows in the US, Asia and major Australian venues on national tours. In 2018, their widely-appraised, debut triple j Feature Album What Comes Next put gold-certified favourites “History”, “Talk To Me” and “Get To Know” out into the world, kickstarting a meteoric rise that hasn’t slowed down since.

As Cosmo’s Midnight continue their trajectory of fearless exploration and reserved sophistication in 2020, turn up the dial on a new remix of “Yesteryear” today ahead of their sophomore album in October, promising some of their most exciting work yet.

Cosmo’s Midnight ‘Yesteryear’ will be available Friday 2nd October via Black Butter Records

Connect with Cosmo’s Midnight
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Connect with Brame & Hamo
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Junior Jack & Pat BDS Release Techno EP 'Klimax' Geared For Peak Time Moments
Music News

DEEP DARK & DISTINCTLY TECHNO… JUNIOR JACK AND PAT BDS BRING AN UNDERGROUND PEAK TIME MOMENT WITH NEW RELEASE ‘KLIMAX’

by the partae September 5, 2020
written by the partae

ADESSO MUSIC
JUNIOR JACK & PAT BDS – ‘KLIMAX’
OUT NOW

Remaining one of Italy’s premiere House music exports Junior Jack’s achievements are multitude, as a producer, he’s created some of the best House records of the early 2000s becoming a big star and major contributor to the sound and style of the time. Since then he has been a prolific and varied producer, continuing to release tracks, diversifying his sound, always with his ear to the underground and creating many early morning dancefloor moments.

He now comes to us with a strictly for the club release in partnership with friend and fellow producer Pat BDS. They have their own Adesso Music imprint to which they can release those tracks which are firmly aimed at the darker and techier side of dance music. Make no mistake this is a label that specialises in a tougher rawer sound.

With previous releases which include the 2019 debut ‘Flash’ and 2020’s ‘Tecky Dream’ they now release ‘Klimax’. A three-part package that includes the Original, JJ Rework and Alex 47 Remix.

With three different flavours that are all aimed at the dancefloor, the Klimax Original brings about a feeling of 4 am in a club and a perfect rolling techno track. Subtle beats and percussion build into a momentous track full of warm bass and energy.

The ‘JJ Rework’ is techy deep and driving – with bright synth stabs and an underlying underground dark feel. Atmospheric, with gentle and rolling builds.

Meanwhile, the ‘Alex 47 Remix’ is bursting with deep and warm bass and tension building drops – this is instrumental and deep techno at its finest. A track that slowly builds around a hypnotic beat.

Further remixes to follow from Darius Syrossian and Patrice Baumel complete the package.

Junior Jack & Pat BDS ‘Klimax’ is out now on Adesso Music 

Connect with Junior Jack
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Drum & bass star MUZZ expands his horizons on stunning debut album "The Promised Land"
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Drum & bass star MUZZ expands his horizons on stunning debut album ‘The Promised Land’

by the partae September 5, 2020
written by the partae

It’s been 10 years since UK drum & bass star MUZZ’s first release, but it’s been well worth the wait for his debut album. “The Promised Land” releases today, September 3rd, via Monstercat, and it’s a bombastic ride through his widescreen vision of bass music.

The album is set in a futuristic sonic landscape, contrasting moods of darkness and euphoria; light and dark; heavy and subtle. At its core lies his trademark high-octane drum & bass epics, but this record sees MUZZ take his sonic palette and adapt it brilliantly to a range of tempos, rhythms and song structures. With a clutch of carefully-picked vocal guests providing strong songwriting and powerful performances, it’s a very complete and mature piece of work and is painstakingly structured to take the listener on a rollercoaster of emotions. Elements of rock, pop, dubstep, hip-hop and classical are woven throughout, making for an album where there’s never a dull moment; particularly when it’s all filtered through MUZZ’s pristine, hard-hitting production style.

From the soaring cinematic strings of instrumental opener ‘Valhalla’ into the trademark rowdy roll of ‘Nemesis’, and the feel-good half-time soulful vocal number ‘Start Again’, the album begins with a huge bang. MVE’s infectious vocals grace the powerful single ‘Out There’, leading on to the potent blend of old skool breaks and gnarly bass house of ‘Born For This’. Cammie Robinson’s sweet tones power euphoric synth-driven single ‘Star Glide’, while ‘The Sanctuary’ pushes MUZZ’s production to its limits, overflowing with fills and cuts and rasping bass tones. ‘Salvation’ is one of the album’s most distinctive moments, blending Bloodhounds’ heavy metal sound with pummelling D&B motifs. ‘The Warehouse’ see PAV4N and Miss Trouble bring hip-hop flavour to a dark, nasty beat, before Danyka Nadeau’s sweet vocals and soft piano chords arrive on the blissed-out ‘Somewhere Else’. Album closer ‘Catharsis’ features a usual suspect in MUZZ collaborations, Koven. Koven’s huge voice rocks an unusual reggaeton-flavoured beat to great effect.

“I wrote “The Promised Land” ultimately as a defining body of work where people can hone in on my musical style, my passion for deep storytelling and my diverse range of musical influences”, MUZZ says. “This album is my expansion from being recognised as just a drum & bass act — even though I was never about that from day one — as 5 of the 11 tracks are other genres and tempos. However, none of the drum & bass tracks on ‘The Promised Land’ are traditional; I’d describe every track on the album as being a hybrid of many genres, influences and styles.”

LIVESTREAM EXPERIENCE 
MUZZ’s debut “The Promised Land” proves his versatility in the dance space while still maintaining his signature style that fans have come to know and love. To showcase this impressive body of work, MUZZ has debuted the album in a full concert livestream experience at Bournemouth International Centre, joined by a full band, custom album visuals, and guest appearances from featured vocalists and collaborators including Koven, Miss Trouble, and Bloodhounds.  

Watch the audio and visual elements of this album come together here.

About MUZZ

MUZZ is a producer and DJ renowned for the pulsating fusion of Drum & Bass and Industrial rock overlaid with orchestral arrangements and euphoric hooks. He has become one of the hottest go-to names for fierce, high octane music. He holds a unique power of bringing together both the drum & bass world and the wider electronic music into his devoted fanbase. Having released over 40 tracks and remixes and been nominated 4 years consecutively for Best DJ & Best Producer at the Drum and Bass Awards together with millions of YouTube views and millions of Spotify plays without any major playlisting, there is undoubtedly something for everyone, whether it be his energy-laced DJ sets or his stunning musical productions.

CONNECT WITH MUZZ
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September 5, 2020 0 comments
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Braxton keeps up his run of remarkable releases with his brilliant remix of Matt Fax feat. RBBTS ‘Set Your Sails’ on Colorize, out now. The label invited him to choose any track from Fax’ album ‘Progressions’ to rework, a vote of confidence fully justified by the result.   The Brighton-based producer is a by-word for quality and thoughtful composition, finding favour as a regular with imprints including Anjunadeep and Colorize. He has put lockdown to best possible use already, with his recent double A side ‘Torn/Chiaroscuro’ (Anjunadeep) gaining attention from Phil Taggart, Jaguar’s BBC Introducing Dance Show, and more.   His entrancing rework of the driving dance-led cut from French DJ/producer Matt Fax adds dreamy synth chords and a breakbeat element, giving full rein to the haunting, sumptuous vocals of European duo Anne Kalstrup and Hendrik Burkhard aka RBBTS. ‘Set Your Sails’ (Braxton Remix) is Out Now. Get it here: https://colorize.ffm.to/0227r1 Hey Braxton, thanks for speaking with us! Congrats on your new release, the absolutely stellar remix of Matt Fax ‘Set Your Sails’. Can you tell us how this remix came about?  Thank you for having me! Well Colorize got in touch with Matt’s new album and let me choose a track to remix, there were a couple on there I liked but this one really stood out.  Have you got much of a relationship with Matt Fax too, or is it more the label? How did you pick this song as the one you wanted to remix, what swayed you?  I think it was the vocals mainly, I prefer to remix tracks with vocals because it gives me more flexibility to bring something different to the track. I had a go at remixing another track but I struggled to do something meaningful with it, then this one came along and I could really get stuck in.   A lot of the tracks you’ve released have these really special vocals. Is this something you look for in a track you want to remix, is it one of the key components that grabs you?  Yeah absolutely, a lot of the music I make has a kinda anthemic quality, sometimes it’s subtle and sometimes it’s really in your face. I like my tracks to sit somewhere between the club and headphones, and vocals really help me to get that balance across. And when it comes to making an original track, what is it that you tackle first? Do you pick or write a vocal, then create the track around it, or the opposite?  It’s usually the opposite, but there’s never a right or wrong way really, the most important thing I’ve found is to let the track develop as naturally as possible. Sometimes vocals it will happen early on in the writing process, and it’ll involve humming along some sort of topline idea before getting the vocals down properly. Other times I’ve gotten to the ‘end’ of the process with a track before deciding I want vocals on it. I try and keep all options open at every stage as it allows much more freedom to experiment during the writing process.  What can we expect from you in the rest of 2020? You’re an Anjunadeep favourite, will we be seeing your name on the label again this year?  I very much hope so, it’s a label I’ve admired for such a long time now and to be working with them is still a little bit mind-blowing :)  And on a more personal note to finish – what has this time in lockdown taught you?  I learned that people deal with complex situations in completely different ways and we all need to show a lot more empathy in order to better understand each other. Thanks for your time!  No, no……Thank YOU! x
Music InterviewsMusic News

Braxton

by the partae September 4, 2020
written by the partae

Braxton keeps up his run of remarkable releases with his brilliant remix of Matt Fax feat. RBBTS ‘Set Your Sails’ on Colorize, out now. The label invited him to choose any track from Fax’ album ‘Progressions’ to rework, a vote of confidence fully justified by the result.

 

The Brighton-based producer is a by-word for quality and thoughtful composition, finding favour as a regular with imprints including Anjunadeep and Colorize. He has put lockdown to best possible use already, with his recent double A side ‘Torn/Chiaroscuro’ (Anjunadeep) gaining attention from Phil Taggart, Jaguar’s BBC Introducing Dance Show, and more.

 

His entrancing rework of the driving dance-led cut from French DJ/producer Matt Fax adds dreamy synth chords and a breakbeat element, giving full rein to the haunting, sumptuous vocals of European duo Anne Kalstrup and Hendrik Burkhard aka RBBTS.

‘Set Your Sails’ (Braxton Remix) is Out Now. Get it here: https://colorize.ffm.to/0227r1

 

Hey Braxton, thanks for speaking with us! Congrats on your new release, the absolutely stellar remix of Matt Fax ‘Set Your Sails’. Can you tell us how this remix came about? 


Thank you for having me! Well Colorize got in touch with Matt’s new album and let me choose a track to remix, there were a couple on there I liked but this one really stood out. 

Have you got much of a relationship with Matt Fax too, or is it more the label? How did you pick this song as the one you wanted to remix, what swayed you? 


I think it was the vocals mainly, I prefer to remix tracks with vocals because it gives me more flexibility to bring something different to the track. I had a go at remixing another track but I struggled to do something meaningful with it, then this one came along and I could really get stuck in.  

A lot of the tracks you’ve released have these really special vocals. Is this something you look for in a track you want to remix, is it one of the key components that grabs you? 

Yeah absolutely, a lot of the music I make has a kinda anthemic quality, sometimes it’s subtle and sometimes it’s really in your face. I like my tracks to sit somewhere between the club and headphones, and vocals really help me to get that balance across.

And when it comes to making an original track, what is it that you tackle first? Do you pick or write a vocal, then create the track around it, or the opposite? 


It’s usually the opposite, but there’s never a right or wrong way really, the most important thing I’ve found is to let the track develop as naturally as possible. Sometimes vocals it will happen early on in the writing process, and it’ll involve humming along some sort of topline idea before getting the vocals down properly. Other times I’ve gotten to the ‘end’ of the process with a track before deciding I want vocals on it. I try and keep all options open at every stage as it allows much more freedom to experiment during the writing process. 

What can we expect from you in the rest of 2020? You’re an Anjunadeep favourite, will we be seeing your name on the label again this year? 

I very much hope so, it’s a label I’ve admired for such a long time now and to be working with them is still a little bit mind-blowing 🙂 

And on a more personal note to finish – what has this time in lockdown taught you? 


I learned that people deal with complex situations in completely different ways and we all need to show a lot more empathy in order to better understand each other.

Thanks for your time! 


No, no……Thank YOU! x

 

September 4, 2020 0 comments
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Music News

2020 AIR Awards – Independent Label Of The Year Nominees

by the partae September 4, 2020
written by the partae

The 2020 AIR Awards will celebrate the success of the Australian Independent recorded music sector on Thursday 1st October, thanks to the continued support of the South Australian Government. The event has traditionally been a closed-door industry invite only event, this year, it will be held from Adelaide’s Lion Arts Factory as a hybrid virtual event that will be broadcast via YouTube. To watch the awards, subscribe to our YouTube channel HERE.

AIR is also thrilled to announce the nominees for the 2020 Independent Label Of The Year Award are:

ABC MUSIC | SPINNING TOP RECORDS | ELEFANT TRAKS | I OH YOU | SWEAT IT OUT

Thanks to moshtix; Australia’s most trusted independent ticketing company and supporting partner of the 2020 AIR Awards, the recipient will receive a digital marketing package valued at $10,000 to help showcase their talent to the music public.

In 2019, Chapter Music took home the Best Independent Label award. Chapter Music Co-founder Guy Blackman commented on the win, “We were very chuffed to win Best Independent Label at the AIR Awards last year, especially knowing that it was voted for by our peers in independent music. Running a label can be a fairly behind the scenes, anonymous task, so having people take notice and express their appreciation meant a hell of a lot. Best of luck to all this year’s nominees!”

AIR will hold its 2020 Indie-Con Australia conference virtually this year on the 1st and 2nd of October – Tickets and program to be announced soon.

Follow AIR and join the conversation:
air.org.au | twitter.com/ausindies | facebook.com/australianindies | instagram.com/ausindies
@australianindies | @southaustralia | #AusIndies | #indieconaus | #ADLCoM | #SeeSouthAustralia | #ADLcityofmusic

September 4, 2020 0 comments
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Seattle band's sophomore album features singles 'Take A Chance', 'Turns Blue', 'High School (Don't Like Them)' and '(God Damn!) What I Am' Seattle trio Naked Giants today share their second studio album The Shadow, released via New West Records. A culmination of experiences lived over a hectic three years of touring worldwide and meticulously honing their skills as songwriters, the album is an impactful release for Naked Giants as they continue to make their mark internationally as a dynamic group.  Already, 2020 has seen Naked Giants release a slew of songs from the new album; leading with ‘Take A Chance’ in June, ‘Turns Blue’ and 'High School (Don't Like Them)' in July and more recently, the cracking ‘(God Damn!) What I Am’.    To listen to The Shadow, you’re invited to get to know Naked Giants a little better. The record was made as the band’s live reputation grew around the world off the back of the release of their 2018 debut album SLUFF, and tours with Car Seat Headrest (both as his live band and as main support band). The music that features on this album demonstrates maturity in songwriting, the further development of an already strong musical partnership, and a dive into a rich soundscape. Dictated by a wide range of influences from rock to post-punk and grooves in spades, The Shadow is a journey of Naked Giants’ artistry - made to be immersed in. “In the years since our previous album SLUFF was recorded, we have toured around the world, honed our musical skills and found our own little place in the music industry - but we have also seen our share of shadows, and it is through acknowledging these shadows that we grow the most. Each song on The Shadow examines an aspect of this growth through a different musical lens, adding up to a series of rock and roll vignettes of light, shadow, anxiety and responsibility.” Naked Giants  The 11 track album was recorded in Portland, Oregon with Chris Funk of The Decemberists on production, Adam Lee (Stephen Malkmus & The Jicks) on mixing and John Baldwin (Benjamin Booker, The White Stripes) on mastering duties.   The music is frantic, fun and leaves rooms to explore experimentation amongst the tightly composed arrangements that come together seamlessly. ‘(God Damn!) What I Am’ is a perfect example of Naked Giants’ all-in approach to playing with harmony, punk-tinged rhythms and gritty swagger. Chest thumping percussion and rousing vocals make the song perfect for sweaty live venues, primed for audience participation. The Shadow plays with tone and mood well too, going from the punchy highs of ‘Television’ and ‘(God Damn)...’ to the more melodic and paced out sounds of ‘The Ripper’ and ‘Turns Blue’. The album gives the listener time to breathe without losing momentum.   “We threw in all our influences, from the usual suspects of punk rock and new wave to spaced-out 80’s balladry, fuzzy garage-metal and psychedelic desert folk (with synths and tape loops added to taste). And with Chris Funk leading the way, our somewhat scatterbrained sprawl of musical and conceptual ideas are tied together in an artful way.” Naked Giants Steadily building up their reputation as a tremendous live act, Naked Giants were named Seattle’s best live band by The Seattle Times at the end of 2018 and Rolling Stone named the band one of the “30 Best Artists We Saw” during SXSW that year as well.  The Shadow is available across digital platforms, on compact disc, and standard black vinyl.  A limited Coke Bottle Clear Vinyl Edition will be available at Independent Retailers and is also available via NEW WEST RECORDS.      PRAISE FOR NAKED GIANTS  “A one-of-a-kind band.”  Paste Magazine   “Naked Giants might just be your new favorite band (we promise!).”  Alternative Press   Naked Giants The Shadow Track Listing:  1. Walk Of Doom  2. High School (Don’t Like Them)  3. Take A Chance  4. Turns Blue  5. (God Damn!) What I Am  6. The Ripper  7. Unpeeled  8. Television  9. Better Not Waste My Time  10. The Shadow  11. Song For When You Sleep  The Shadow is out now! Website | Facebook | Twitter |  YouTube | Instagram  
Music News

Seattle’s Naked Giants unveil new album ‘The Shadow’

by the partae September 4, 2020
written by the partae

Seattle band’s sophomore album features singles ‘Take A Chance’, ‘Turns Blue’, ‘High School (Don’t Like Them)’ and ‘(God Damn!) What I Am’

Seattle trio Naked Giants today share their second studio album The Shadow, released via New West Records. A culmination of experiences lived over a hectic three years of touring worldwide and meticulously honing their skills as songwriters, the album is an impactful release for Naked Giants as they continue to make their mark internationally as a dynamic group.

 Already, 2020 has seen Naked Giants release a slew of songs from the new album; leading with ‘Take A Chance’ in June, ‘Turns Blue’ and ‘High School (Don’t Like Them)’ in July and more recently, the cracking ‘(God Damn!) What I Am’.

To listen to The Shadow, you’re invited to get to know Naked Giants a little better. The record was made as the band’s live reputation grew around the world off the back of the release of their 2018 debut album SLUFF, and tours with Car Seat Headrest (both as his live band and as main support band). The music that features on this album demonstrates maturity in songwriting, the further development of an already strong musical partnership, and a dive into a rich soundscape. Dictated by a wide range of influences from rock to post-punk and grooves in spades, The Shadow is a journey of Naked Giants’ artistry – made to be immersed in.

“In the years since our previous album SLUFF was recorded, we have toured around the world, honed our musical skills and found our own little place in the music industry – but we have also seen our share of shadows, and it is through acknowledging these shadows that we grow the most. Each song on The Shadow examines an aspect of this growth through a different musical lens, adding up to a series of rock and roll vignettes of light, shadow, anxiety and responsibility.” Naked Giants 

The 11 track album was recorded in Portland, Oregon with Chris Funk of The Decemberists on production, Adam Lee (Stephen Malkmus & The Jicks) on mixing and John Baldwin (Benjamin Booker, The White Stripes) on mastering duties.

The music is frantic, fun and leaves rooms to explore experimentation amongst the tightly composed arrangements that come together seamlessly. ‘(God Damn!) What I Am’ is a perfect example of Naked Giants’ all-in approach to playing with harmony, punk-tinged rhythms and gritty swagger. Chest thumping percussion and rousing vocals make the song perfect for sweaty live venues, primed for audience participation.

The Shadow plays with tone and mood well too, going from the punchy highs of ‘Television’ and ‘(God Damn)…’ to the more melodic and paced out sounds of ‘The Ripper’ and ‘Turns Blue’. The album gives the listener time to breathe without losing momentum.

“We threw in all our influences, from the usual suspects of punk rock and new wave to spaced-out 80’s balladry, fuzzy garage-metal and psychedelic desert folk (with synths and tape loops added to taste). And with Chris Funk leading the way, our somewhat scatterbrained sprawl of musical and conceptual ideas are tied together in an artful way.” Naked Giants

Steadily building up their reputation as a tremendous live act, Naked Giants were named Seattle’s best live band by The Seattle Times at the end of 2018 and Rolling Stone named the band one of the “30 Best Artists We Saw” during SXSW that year as well.

The Shadow is available across digital platforms, on compact disc, and standard black vinyl.

A limited Coke Bottle Clear Vinyl Edition will be available at Independent Retailers and is also available via NEW WEST RECORDS.

PRAISE FOR NAKED GIANTS

“A one-of-a-kind band.”
Paste Magazine  

“Naked Giants might just be your new favorite band (we promise!).” 
Alternative Press

Naked Giants The Shadow Track Listing: 

1. Walk Of Doom
2. High School (Don’t Like Them)
3. Take A Chance
4. Turns Blue
5. (God Damn!) What I Am
6. The Ripper
7. Unpeeled
8. Television
9. Better Not Waste My Time
10. The Shadow
11. Song For When You Sleep

The Shadow is out now!
Website | Facebook | Twitter |  YouTube | Instagram

September 4, 2020 0 comments
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Music News

Adam Webster

by the partae September 4, 2020
written by the partae

That undeniable feeling when you suddenly smell fried food by the seaside. Smooth dreamy vibes and sparkling stratocasters. Premiere solo release by Collingwood’s Adam Webster (Colour Picture Book, The Funky Truth) “Sunshine and Onion Rings” is the soundtrack to the dog days of summer.  Adam Webster has an affinity for dogs, rivers, and towns with small populations.

“It just feels so good to take yourself less seriously. This song came together so naturally and easily it was just so much fun to work on.” This track is a slight departure from the pure analog tape recordings of Colour Picture Book’s 2018 vinyl release.  After really getting to play with all the classic analog tools of my dreams at Revolution on the last record, I think I got a bit of it out of my system. I just didn’t really care how I got the sounds this time. I was just messing around, there were no rules or expectations. If it sounded good, felt good, we kept it. You know what happens to your soul when you smell some hot eats on the pier, by the water… it’s about that feeling, that vibe… and if you’re as lucky as I am, there are people who can light that same feeling up inside you no matter where you are.” – Adam Webster
September 4, 2020 0 comments
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