Together, Thrills, Dinosaur City Records and Spunk Records are presenting two special edition Hometowns shows on Friday 24 July at Oxford Art Factory. Proceeds from the shows go to Sydney’s FBi Radio, who need our support now, more than ever.
The evening will see Hometowns 2019 alumni FLOWERTRUCK, Big White and Solo Career (Body Type’s Annabel Blackman) bring two exclusive, seated shows to Oxford Art Factory’s main stage.
There are only 70 seats available per show – secure your tickets now and spread the word before they’re gone!
Each ticket includes a complimentary drink on arrival. The first 50 ticket purchasers will receive a 12″ vinyl from Spunk Records’ discography*.
This event takes place on stolen land belonging to the Gadigal peoples of the Eora Nation. We pay respects to elders past, present and emerging. Always was, and always will be Aboriginal Land.
In November and December 2019, Spunk Records and Dinosaur City Records took their combined rosters and friends back to their roots for an unforgettable tour of regional New South Wales, known as Hometowns 2019.
The tour saw artists including Jack Ladder, Big White, FLOWERTRUCK, Body Type, Babey, Shining Bird, Emma Russack, Lachlan Denton and Sunscreen return home for some very special performances, entertaining communities often omitted from the regular touring circuit.
The sold-out, all-ages shows took place in community centres, scout halls, warehouse spaces and bowling clubs across Bellingen, Wagga Wagga, Bermagui, Narooma, Wombarra, Kiama and more. Soon after, some of these areas were devastated by the summer fires.
Thanks to RØDE Microphones, live recording engineer Bowen Shakallis, mixing engineer Cody Munro Moore, Harvey O’Sullivan and FBi Radio, you can experience the tour on Bandcamp, and via FBi Radio Live Feed, for the month of July.
Buy the compilation now for $5 (or pay-what-you-can). All proceeds will go to FBi Radio.
Soothsayer is thrilled to announce that beloved Sydney-based producer Dro Carey will be releasing his highly anticipated debut album Nothing Is A Solo Project on Friday 18 September. This exciting news comes with the release of his latest single ‘Hold A Vibe (feat. Alexx A-Game)’, a sun-soaked, Dancehall-inspired track that promises to thaw the winter blues and create an escape to somewhere you’d rather be.
An ode to the good things in life; weed, wine and better times, ‘Hold A Vibe’ features Jamaican artist Alexx A-Game, a widely respected artist who has collaborated with Tory Lanez and Swing Ting and seen support from the likes of COLORS Studios, Mixmag, The FADER, Resident Advisor, The Source and BBC 1Xtra. On this sun-drenched track, Alexx A-Game nods to early-2000s R&B with a playful hook in the chorus that Dro bounced off with the track’s production. This result is a song that Dro never expected to find a home on Nothing Is A Solo Project, “stylistically, it’s definitely an outlier for the record, but the creative risk posed by that extreme level of variety appeals to me.”
While such a fun track may cause some curiosity to those familiar with Dro’s more moody output, Dro Carey has always been an artist that pushes boundaries and exceeds expectations, and this sidestep into the sunshine should come as a pleasant surprise to all.
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THE VIOLET WHISPERS is the brainchild of an emerging Sydney based musician, Nikhil Murthy. Since the release of their debut single Heaven Knows, their eclectic and euphoric brand of rock ‘n’ roll has won acclaim & coverage both nationally & internationally. Heaven Knows has been featured on notable outlets such as Happy Mag, The Bridge on FBI Radio, Peripheral Noise (Three D Radio 93.7fm), Music for The Misfits, Queen City Sounds and Art & Backbeat Podcast.
“The track is a dynamic slice of music that refuses to be categorised by any one genre. We’ve had the track spinning on repeat ever since we first laid ears on it” – Happy Mag
‘Heaven Knows’ is a mix of several genres and is an upbeat, fast-paced alternative pop track infused with a dose of synths. There are more hooks than I can count which leaves this a single that sounds like it’s multiple.” – Music for the Misfits
“That sounds beautiful” – Ashlea Jaye (Peripheral.Noise)
“Such a huge mix of genres! Seems like this one matched them all perfectly together” – DROVES (Band)
“Blend of acoustic instruments and synth feels like a bridge between current indie pop and music of They Might Be Giants from the 1980s “- Queen City Sounds and Art
Hot on the heels of this success comes the announcement of their fiery & explosive new single, Roads in Paris. An energetic call to action to fight for a better political & personal future for all of us. This potent message is set to the diverse mixture of folk, Coltrane-like saxophone, psychedelia guitar textures, rockin’ electronic beats, house inspired pianos & a powerful vocal performance that is sure to cause a stir once released on July 31st, 2020.
https://soundcloud.com/thevioletwhispers
https://www.facebook.com/thevioletwhispersmusic
Where are you currently based and where were you born?
Currently based in the St George area of Sydney. Born and raised in south-west Sydney – Campbelltown followed by Camden.
How did you first start playing the guitar/music?
At 3 years old, I’d mimic my idols as well as my father who was a passionate hobby guitar player. If you asked my parents, they’d say that the only thing that came natural was my work ethic and passion to play. I’d lock myself in my room with a singles record player and try to copy my favourite riffs and guitar solos for hours on end. Eventually, my father began to nurture my passion by creating practice routines that ultimately put me on the path of being the guitarist I am today.
What’s been happening recently?
My focus has been divided amongst a few exciting things – completing my album, filming an episode of Australian Story, booking a tour as well as spending time connecting with the world on a new platform – Twitch.
Your new single ‘Before You Check Out’ is out now, what influenced the sound and songwriting for this track?
The vocals set the tone for the song. With the lyric being deep and at times confronting, I wanted the production to align a little more with the positive aspects of the message. I did this by keeping the tempo fairly up, and choosing appropriate instrumentation. Fingered acoustic, retro slide guitar, light percussion. On the flip side, I used 70’s influenced slide and trumpet to trigger “happy sad” emotions. Depth was achieved through big velvety keys, sub bass and piano from the bridge onwards. It was really important to me that the track stretched beyond simple folk production.
How did you go about writing Before You Check Out?
I wrote BYCO after attending a cousin’s funeral who sadly lost his battle with depression/anxiety. Having recently dealt with my own demons that resembled his, I identified strongly with what he went through and understood why he made such a permanent decision. One morning I woke up rattled with regret that I hadn’t reached out to him earlier and began to query myself on what wisdoms I would have shared. My life transformed for the better when I learnt how our thoughts and beliefs colourise our experience. When we aren’t aware of this, we can be misguided on what the source of suffering truly is. The chorus lines instantly came to mind – Before you check out, before you give in, just know you’re checking out of a place you’ve never been. Ironically, I wrote the rest of the song whilst sitting in front of a sunset that was right in front of me, yet too lost in thought to notice.
And you’ve got a new album due out August 6 too, you sure have been busy! Where and when did you record/produce and who did you work with?
Too busy!!! Ha! I’m looking forward to having my weekends back. The first 5 tracks were produced by myself, co-produced and mixed by Tony Buchen (Montaigne, Mansionair) with half of the recordings engineered at Free Energy Device by Richie B. I decided to take on the rest of the tracks by myself with help from the ears of friends to keep me from falling down unproductive rabbit holes! 😉
How did you approach the recording/production?
Many of these songs were written when I wasn’t intending to return to music. The demos were created over time purely from a place of catharsis. For most tracks, the aim was to do better versions of the demo and in some situations, we reverted back to takes used in the roughs! Influences were sub-conscious with flavours and styles forming organically with time. All songs bar one were chosen unanimously by myself and team. Let’s just say that if everyone around you passionately protests against the removal of a song -Listen! Fortunately, I did and with some love, it’s now close to one of my favourites.
What programs/instruments did you use?
Pro Tools for recording and mixing. Guitars, bass, real drums, sample drums, brass, keys, piano, vocals.
You’ve also made an amazing video to accompany the single, how did the concept for the video come about?
Synchronicity! I wasn’t intending on releasing a film clip with this song. Cornered by my team, the pressure was on to create a clip in 3 days. I had to come up with a simple idea that cost no more than $500 and remembered that I always wanted to do a clip with a projector. With the song being about how projections of the past can colourise our experience, I felt like the idea would make sense both visually and conceptually.
Where and when did you film and who did you work with?
I directed and edited myself with help from a DOP friend Andre Moonen who created the film clip for my song “Castles In The Sky”. Projector footage was archival from myself and 2 mates – Sean Boyd who did some work on a mindfulness clip I created some time ago for my vlog and a travel vlogger friend who had footage that took the visuals from being appropriate to also having a narrative.
What did you find most challenging and rewarding during the creation of the video?
Most challenging – committing to a deadline when I know little about film clips and had zero experience working with a projector!
Most rewarding was when we realised we had a clip that didn’t just aesthetically suit the song, but had an underlying narrative that helped to amplify the message.
Who are you listening to at the moment?
Broken Bells, Lana Del Ray, Khruangbin, Tame Impala, Father John Misty, Ry Cooder, Ennio Morricone 😉
What do you like to do away from music?
Go for hikes, take in beautiful views, enjoy all the simple things with my kids, TV series binging, surfing, training
You’ll be featured on Australian Story in early August, can you give us a clue as to what we can expect?
I can definitely guarantee that I’ll be seeing it for the first time when a million others see it! I believe it showcases my experiences as a child touring the world, battling Leukaemia and later in life how I came to get back in touch with myself and my art after dealing with relatable adversities.
You have a massive Australian tour coming that’s kicking off in October followed by Bluesfest in 2021, what do you have in store for these shows?
Contrast to how I grew up playing on stage, these shows will see me play songs and tell stories as a hybrid duo (2 guitars, sampler and at times, a trumpet player). As a kid, I just wanted to play music but these days I enjoy telling a story. Whether it’s about how music helped the healing process when I was sick as a kid to not knowing who Jimmy Page was when he asked me to sign a CD for him. I’m also very open about my struggles and feats with the hope of inspiring.
How do you prepare for shows and what do you most enjoy about playing live?
That’s something I’m still working on. At the moment, after getting comfortable at sound check, I might have a nap followed by some sort of walking meditation to get my mind and body in sync. If nerves run too hot, I have mental “anchors” to help keep me grounded that are used while I shake out my body.
The moment I open my eyes after losing myself to realise that everyone was right there with me. It’s a connection that I’ve never felt off stage. To have so many different walks of life come together over a song or a story is pretty fucking special. Post-show bliss is pretty amazing too!
Any tips for aspiring musicians?
Know why you play and never lose sight of it. For me, one half of the purpose is self-expression and catharsis but equally as important is connection. This means that I not only need to ensure that I’m expressing myself in an authentic way, but the way in which I do this needs to translate! Otherwise, I’ve only satisfied one half of my purpose.
Favourite food and place to hangout?
Pizza! Fucking DF/GF so I haven’t had it in years 🙁
Takeaways on the beach.
DEMONS NATIONAL TOUR
Nathan and his team are working with all venues in line with government regulations in each state and territory, and will proceed only in accordance with safe social distancing and COVID-19 safety procedures on a show by show basis.
FRI 2 OCT | THE RHYTHM HUT, GOSFORD, NSW | ALL AGES – UNDER 18’s MUST BE ACCOMPANIED BY PARENT/GUARDIAN
Tickets available from www.humantix.com.au | 02 4322 5971| Venue Outlet
SAT 3 OCT | STAG & HUNTER, NEWCASTLE, NSW | 18+
Tickets available from www.oztix.com.au | 1300 762 545 | All Oztix Outlets
FRI 9 OCT | BRASS MONKEY, CRONULLA, NSW | 18+
Tickets available from https://brassmonkey.oztix.com.au/outlet/event/18d325c7-57f4-43f7-9779-069c5f32ad7d
FRI 16 OCT | THE PEPPER TREE, ALDINGA, SA | 18+
Tickets available from www.trybooking.com | 0400 144 467 | All Trybooking Outlets
SAT 17 OCT | THE WHEATSHEAF HOTEL, ADELAIDE, SA| 18+
Tickets available from https://tickets.oztix.com.au/outlet/event/6b22d472-26f5-44bb-924d-064150dd769c?utm_source=Oztix&utm_medium=Website&utm_content=EventGuide
FRI 30 OCT | CAMELOT LOUNGE, SYDNEY, NSW | ALL AGES – UNDER 18’s MUST BE ACCOMPANIED BY PARENT/GUARDIAN
Tickets available from www.stickytickets.com.au | 02 9550 3777 | Venue Outlet
SAT 31 OCT | SMITHS ALTERNATIVE, CANBERRA, ACT | ALL AGES – UNDER 18’s MUST BE ACCOMPANIED BY PARENT/GUARDIAN
Tickets on-sale soon
SUN 1 NOV | HERITAGE HOTEL, BULLI, NSW | 18+
Tickets available from https://codeone.oztix.com.au/outlet/event/a929a516-f7cd-4ab7-abab-fa2e8df6c7ea
THU 12 NOV | SOOKI LOUNGE, BELGRAVE VIC | 18+
Tickets available from www.oztix.com.au | 1300 762 545 | All Oztix Outlets
FR 13 NOV | THE CATFISH, FITZROY, VIC | 18+
Tickets available from www.trybooking.com | 0426 892 044 | All Trybooking Outlets
SAT 14 NOV | LIVE AT THE BUNDY, BUNDALAGUAH, VIC | ALL AGES – UNDER 18’s MUST BE ACCOMPANIED BY PARENT/GUARDIAN
Tickets available from www.trybooking.com| 0429 352 373 | All Trybooking Outlets
FRI 27 NOV | THE BAROQUE ROOM, KATOOMBA, NSW | 18+
Tickets available from www.trybooking.com| 0426 892 044 | All Trybooking Outlets
SAT 3 APR, 2021 | BLUESFEST, NSW | AA
Tickets available from www.bluesfest.com.au
SUN 4 APR, 2021 | BLUESFEST, NSW | AA
Tickets available from www.bluesfest.com.au
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Tickets will be on general sale from Thursday 15th July at 9am via this link, with a pre-sale available for O2 Priority customers from 9am Tuesday 14th. Album and merchandise bundles will also be available, as well as an optional charity donation option to Mike’s chosen charity Show Racism the Red Card. Tickets are also available in Euros, USD, AUD, all via Ticketmaster. The show will be streamed globally from 9pm GMT.
Adelaide Guitar Festival is giving audiences a backstage pass to South Australia’s vibrant live music scene with today’s announcement of an online video series showcasing some of the state’s most talented guitarists.
Professionally filmed in the wings of Adelaide Festival Centre’s Festival Theatre, The Backstage Sessions will feature 15-minute sets from Adelaide Guitar Festival favourites along with accomplished emerging artists.
Audiences will be treated to candid performances set against the unique backdrop of memorabilia collected from previous Adelaide Festival Centre productions.
Spanning rock, jazz, blues, classical and experimental, new videos will appear weekly on Adelaide Guitar Festival’s Facebook page from Friday, July 17, until the virtual event concludes on Sunday, August 9.
Adelaide Guitar Festival Artistic Director Slava Grigoryan: “After the loss of this year’s festival, we’ve looked for alternative possibilities for engaging some of our incredible local artists in a series of mini-concerts which capture the intimacy and joy of these rare collaborations. This is an initiative which we hope to continue long after social-distancing restrictions are lifted, and we’re seeing our audiences again ‘in the flesh’. We hope you enjoy watching these as much as we enjoyed making them!”
Adelaide Festival Centre Artistic Director & CEO Douglas Gautier AM: “This month was set to see the biggest Adelaide Guitar Festival yet, with performances scheduled to take place across the state from July 1 to August 9. So to revel in the spirit of the festival that would have been, we’ve created something very special for guitar enthusiasts.
“This is an important opportunity to support South Australian musicians at a time when they have faced significant challenges in making a living out of what they do best. We hope The Backstage Sessions encourages more initiatives to help the local music industry recover from what has been a very difficult year so far.”
The line-up for The Backstage Sessions includes Chris Finnen, Cal Williams Jr & Kory Horwood; Kelly Menhennett & Band; The Tom Kneebone Trio; Mike Bevan & Alain Valodze; The Django Rowe Quintet and The Yearlings featuring Slava Grigoryan.
Videos can be viewed at facebook.com/adelaideguitarfestival and on the Adelaide Guitar Festival website. Audiences are invited to like and follow Adelaide Guitar Festival on Facebook to receive notification of the latest posts.
Visit: www.adelaideguitarfestival.com.au
FB @adelaideguitarfestival IG @ADLGuitarFest
TW @guitar_festival Hashtag #ADLGuitarFest
Where are you currently based?
“PLAY DEAD know how to utilise the ‘less is more’ ethic in their song writing perfectly” When The Horn Blows
“A mighty lashing of punk” Charlie Ashcroft (Amazing Radio)
“We love an act that knows how to make an entrance and that’s exactly what South London outfit, PLAY DEAD, have done.” CLOUT
Shaun is the second single from south London garage punk trio, PLAY DEAD. Following their debut, Whitstable, which received wide praise from the likes of When The Horn Blows, Clunk Magazine, Left Bank Magazine and Joyzine, Shaun shows the grittier side of PD while maintaining their idiosyncratic tongue-in-cheek.
It’s a story about Ollie’s nan’s boyfriend, a gentle giant with a short fuse who got arrested for punching a man off his bike in Brixton. He enjoys pies, pints and Coldplay.
About Born out of bedroom boredom, PLAY DEAD are three teenagers from Herne Hill with sharp tongues and an appetite for noise.
Influences The Chats, Slaves, IDLES, The Streets, Shame, Sleaford Mods
Members Joe Blair – Guitar + vocals Ollie Clarke – Bass + backing vocals Louis Englefield – Drums
Where are you currently based?
I’m based in a small, sleepy town in the countryside, about half an hour outside of Bristol, England.
How did you first start playing music?
Like a lot of children, I asked for a guitar for Christmas one year and that was my first introduction to music. I had lessons for a couple of years, but my interest was always in discovering the instrument myself, working out how I wanted to play it and that carried through to other instruments, and eventually production.
What’s been happening recently?
I finished the new record early this year, and now I’m taking this time to experiment with ideas for the next record. I rarely have these sustained periods of flow, my inspiration generally comes in short bursts, so I’m just enjoying this moment and trying to understand what the next record will be.
Your new album ‘Half Light’ is out now, what influenced the sound and songwriting?
The main influence was a struggle to express. I never intended for this record to be so intimate, but the sound of Half Light reflects the process.
How did you go about writing the album?
The process was kind of fragmented. Off the back of the last record, I jumped in to a few different projects and didn’t really focus on album two for a while. I’d be working on very loose ideas, sketches that I thought had potential.. but rarely structured, never taking on a solid form. We moved out of the city mid 2019, and I knew that I’d have to dive properly in to the process as soon as we moved in. But I just hit a wall, self doubt started to creep in and I didn’t believe that I was capable of making a record. It was only September time that I made a breakthrough.. I wrote the opening track ‘All’, and the rest followed in four or five months.
Please tell us about your mindset before, during and after the release and how this contributed to the album and how and what affected you:
It certainly feels strange now it’s released. It’s such a personal record, I really wrestled with these tracks and it’s difficult to see them in any other light than the one they were conceived in. I’m so pleased that these songs are connecting with people, that they can take on a whole new meaning to others.
Where and when did you record/produce and who with?
I produced the whole record in my loft. In hindsight, I wish the process had been a little more collaborative. I love working at my own speed, and I enjoy having that flexibility and control, but I really missed that connection with others. The brightest moments were with other creatives.. Andreya came over for a couple of sessions, my friend Jade came to record saxophone. I also worked remotely with Ghostly Kisses, Melis and Niamh Fahy (strings).
What programs/instruments did you use?
I work in Logic Pro, but I try to work outside of the box as much as possible. I’m always trying to find a balance between electronics and acoustic elements. I used a lot of acoustic guitar on Half Light, but not as a writing tool or a human element to anchor each track down, but more as a texture. I’d resample or manipulate a lot of takes, almost forming parts out of smaller fragments as opposed to writing them on the guitar itself. Most of the synth sounds on the record are from my Prophet, or Moog. Alongside that, most of the percussion on the record is formed out of found sound, field recordings etc.
What did you find most challenging and rewarding during the creation of the album?
The reward definitely came in those moments of quick release. After prolonged periods of little movement, having those days where the ideas would flood were special. The challenging part was not being able to express myself or manifest those ideas more regularly. I’d spend days trying to force ideas and would end up feeling so much worse because of it.
What do you like to do away from music?
I really enjoying cooking! It’s always been another passion of mine. I can see a lot of similarities between the two.
Who are you listening to at the moment?
I’ve been listening to my label mates Zola Blood’s recent EP, and my friend Liam Mour’s new EP. Both are ace. Also, two of my best mates have started releasing under the name Aforest. They’ve been holding on to these brilliant songs for a long time, so it’s great to see them finally released and being well received.
What’s planned for the remainder of 2020?
A lot of plans are on hold, due to the pandemic, so I’m focusing on new music for the rest of the year. I’m so fortunate to have my studio space at home, I love having a space that’s always accessible. I’m taking it slow at the moment, not forcing anything but thankfully, the ideas are flowing naturally. So I’m just trying to enjoy that, enjoy the process.
Favourite food and place to hangout?
Favourite sweet food.. Almond Croissants. Favourite savoury food.. I love Nasi Goreng, or a Thai Curry. Or a burger.. I love burgers.
And favourite place to hang out.. not particularly adventurous but I just love walking my dog around the fields around where we live.
Buy/stream: https://orcd.co/
What is your name and role within Marvell?
Tom Marvell, lead singer.
Where are you currently based and what is the music scene like there?
We are based on the Northern Beaches, Sydney. The music scene here is a weird one, we have so many great bands getting around and not enough great venues.. Moonshine Bar in Manly was the probably the venue of choice for bands up and coming, but since the renovation has since lost that reputation! Mona Vale Pub aka “The Parkhouse” has seen the opportunity and stepped up live music and is now the best place to see bands weekly, obviously pre-COVID, we have had crowds upwards of 500 people there. Would love to see more venues make it a weekly thing to have local and traveling bands play and let the talent around to have a platform to show off.
How did you first start playing music?
Mum and dad always had a musical talent, Max (my brother and co-lead singer) and I grew up with mum singing and dad playing guitar. That lead to us learning various instruments, and eventually both learning guitar; Max was always the singer and happy to put on a show for the family but for myself,, I never really started singing until I was 17 and even then was too shy to sing infront of anyone. Since then, singing to an audience has become my favourite thing to do! The only time I ever get nervous to sing is if there is no one in the crowd, you could put us In front of 50,000 people tomorrow and we would thrive!
How did Marvell form?
Before we had a band, Max and myself decided to give the music thing a go and started writing music, which led to us getting into the studio and recording our first EP in Melbourne. After it was finished, our producer Jan and his manager Michael Parisi said to us, “The next thing you need to do is get yourself a shithot band,” so we started recruiting as soon as we got home. I had been telling our guitarist Jesse that we were starting a band for years, so he was the first call we made. He was in straight away! Followed by our OG drummer and life long friend BJ who was also keen, we then tried a few bass guitarists and ended up meeting a young Harry Frank, who settled in nicely and that gave us the full line up. Since then, we have had a few line up changes with, Theo Henry taking over on the drums and Dylan Frost on bass guitar.
Your new single ’19 Homes’ is out now, what influenced the sound and songwriting for this track?
The sound of that track really just came from that Kings of Leon style riff at the start that transformed from acoustic guitars to an almost bluesy rock anthem. It was written almost entirely by Max when we were looking for a house to rent at the time and must have been turned down by about 20 real estate agents. The pure frustration turned into “19 homes in 90 days”…we later got a great house and an even better song, so in the end it all worked out.
How did you go about 19 Homes? Where and when did you record and who with?
We recorded the song in Melbourne with producer Jan Skubiszewski at his live-in style farmhouse studio, Red Moon Studios.
It’s honestly one of my favourite places in the world, an absolute please to write and record music there.
How did you approach the recording process?
We were without a bass guitarist, and had only had our new drummer Theo onboard for about three weeks, so Jan (producer) became our bass guitarist. We basically spent the first two days just playing through songs, re-writing parts and getting our drummer and jan up to speed on the material. It was so much fun and it all came together rather smoothly, so after that we were popping out a new finished track every two days.
What equipment/programs did you use?
Jan has his studio beautifuly set up with an insane collection of acoustic and electric guitars, boxes of pedals, Hammond organs, crazy percussion instruments, multiple guitar amps and an amazing ear for setting up room mics all through the barn turned studio! As for the programs, that’s just numbers and letters to me!
What did you find most challenging and rewarding during the creation of 19 Homes?
Well Jesse our lead guitarist ended up shooting himself in the hand with an arrow from a bow that I had brought down to the studio for down time activities; we hadn’t even recorded a full song and thought he was going to be off the guitar for months. After a long night in the hospital and getting surgery on the hand, the arrow had missed all bones, tendons and nerves and walked in and finished the record like a fucken boss!
Who are you listening to at moment?
I’ve got a strange array of music going at the moment, I’ve fell in love with a few of THE VANNS’ new tracks, but also have had other bands/artists playing loudly at work like Brad Cox, Counting Crows, CCR, even James Blunt.Then all the standards on the radio…
What do you like to do away from music?
I’m a carpenter by trade, so that tends to keep me pretty busy but if I’m not working or at the local pub, I’m always keen on a good snob lunch, watching the footy, heading down to the snow, or curling up and sleeping on the couch.
What’s planned for the remainder of 2020?
We have a few things in planning for the remainder of this crazy year including a long awaited tour, but it’s just too hard to be sure of anything for this year anymore
Favourite food and place to hangout?
I love my food and I love my snob lunches! Two favourite places to eat on the Northern Beaches at the moment would be BERTS in Newport, all the seafood there is insane, especially the anchovies and oysters !!
And SAKÉ in Manly, the toothfish and prawn dumplings are crazy delicious and the cocktails are crazy good, just be ready to empty the wallet !
https://www.facebook.com/MARVELL.OFFICIAL/
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UK artist Alex Lleo has been creating lush, soulful melodic music since childhood, touring and performing as a teen throughout the UK and Europe at the turn of the decade, then breaking onto the scene with two back-to-back releases in 2018. Three-track EPs Park Studios, JQ and Emanate each caught the attention of fans and industry alike with their raw honesty and contagious mellow vibes, garnering Alex Lleo an international, dedicated fan base. Now the rising artist is thrilled to reveal his first new material in two years, with his stunning new single ‘4:05’ out Friday 10 July via AWAL.
Grounded in acceptance and undulating with reciprocal gratitude for both himself and others, Lleo recalls a moment of introspective clarity on ‘4:05’. Wrapped up in exquisite vocals, a soft tinkering of keys and warm guitar melodies that stick with you long after the final strum, ‘4:05’ is an emotive number as familiar as a home, yet fresh like a long-awaited summer holiday. Recorded in New York City with Alex Lleo’s full six-piece band and produced by Sahil Ansari, ‘4:05’ is a stunning display of Lleo’s uncanny ability to somehow stop you in your tracks and propel you forward in the same breath.
STREAM ALEX LLEO ‘4:05’ ON BANDCAMP
STREAM ALEX LLEO ‘4:05’ SPOTIFY / APPLE MUSIC
“‘4:05’ seemed a unanimous choice to start us off. I think everyone just instinctively knew how this one needed to be, ‘cruisey’. It also felt pretty fitting from a personal point for me. The idea for this one came during a moment of weird uncertainty about not only my music, but some relationships that had suffered thanks to some poor decision making. This idea of ‘go out for yourself for once’ was set as a sort of reminder to anyone that often puts others before themselves, to take time out and recharge. It was my attempt at trying to acknowledge and thank those people in my life, whilst simultaneously prompting the value of independence for everyone!” – Alex Lleo
Growing up in the small town of Lickey Hills in Worcestershire, England, Alex Lleo has always found inspiration in nature, constantly referencing it in his work and seeking it out in his travels, touring extensively throughout the UK, Europe, and most recently the U.S which lead to recording a bulk of new material in New York. Cutting his teeth with a formative residency in the alps of Norway, Alex Lleo’s seasoned musicianship has since seen him support the likes of Leif Vollebekk and Matt Corby, plus headline his own shows in Scotland, and back home at London’s famous St Pancras Old Church.
‘4:05’ is out Friday 10 July via AWAL
Spotify / iTunes / Apple Music
Bandcamp
‘4:05’ Credits
Alex Lleo – Composer, Vocals, Acoustic Guitar
Quinn Devlin – Fender Rhodes, Piano, Juno 60, Rainstick
Zach Calluori – Electric Guitar
Andy Shimm – Electric Bass
Jordan Wolff – Drums
Eli Aleinikoff – Tenor Sax, Soprano Sax
Sarah Cicero – Vocals
Sahil Ansari – Producer, Mixer, Engineer, Shakers, Tambourine, Maraca
Mastered by Christian Wright, Abbey Road
