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Follow The Avett Brothers:
Spotify | YouTube | Facebook | Twitter | Instagram
The career-spanning, 29-song compilation of unreleased
demos, cover songs and live recordings will be available
digitally on July 24th.
“Culture Abuse are a sort of unicorn band, and they straddle all sorts of seemingly impossible lines. They can play with hardcore ferocity, and they work very much within a punk context… but they also write breezy low-life anthems that would’ve been right at home on ‘90s alt-rock radio. They’ve got charisma, and they’re fun.” – Stereogum
Culture Abuse are a band that can’t sit still. Since their inception in 2013, they’ve relentlessly showed their creativity through music, art exhibitions, photography and live performances. Culture Abuses’ new collections album— Good Shit, Bad Shit, Who Gives a Shit?! (available digitally on July 24th)— encompasses the demo process of writing their records, live recordings from their many years of touring, and their history of collaborating musically with friends. Live songs recorded by fans at the shows, cover songs they’ve laid down for fun, alternate versions of previously released songs, and literally the first recordings of song ideas are all presented on this 29-song album of unreleased recordings from the Culture Abuse archive. Check out the track listing for the collection below.
The first single to surface from Good Shit, Bad Shit, Who Gives a Shit?! is an alternate version of “Heavy Love” (from 2016’s Peach). This stripped-down, slowed-down version of the track features bonus instrumentation and a chilling vocal appearance from Juan Gabe (Comadre), and feels as freewheeling and fascinating as ever.
Listen to (+ share) “Heavy Love (w/ Juan Gabe – Peach Alternate Version, 2016)” here
Culture Abuse comments, “With the state of the live music industry in limbo, we thought now is a better time than any to open ourselves up and give the listener a different take on some of our past work. We take the groovy mid-tempo songs off Bay Dream (2018) and give you our aggressive live set atmosphere. We re-imagined the faster, more upbeat songs from Peach (2016) and slowed them down into an acoustic, stripped-down set.” They continue, “Cover songs from iconic bands like the Sex Pistols, the Buzzcocks and the Equals— we tear ‘em up and piece ‘em back together the way we do when we sit down together and make ‘zines, tour posters and show flyers. Some of our original songs are covered by our close friends within this collection. We’re presenting this release through digital outlets so the songs are at their most accessible. So whatever’s happening in your life, here are some songs to help you take it all on: the good shit & the bad shit.”
With their kinetic D.I.Y ideology, Culture Abuse once again have transcended genre and returned with an electrifying collection that traverses their career and catalog thus far.
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Praise for Spencer.
“a slender piece of twilight soul” – CLASH on ‘Maybe’
“This song feels like the entire autumn season and your favorite worn-in sweater all bundled together.” – Nylon on ‘2much’
“A hazy, soulful, retro-meets-now song that finds the middle ground between alt-R&B and chillwave.” – Brooklyn Vegan on ‘Automatic’
“Put this on your 2 a.m. playlist” – The FADER on ‘Automatic’
“Showcasing his richly textured vocals and shot through with an intriguing sense of nostalgia.” – Pigeons & Planes
“He’s destined for big things because he moves differently.” – Lyrical Lemonade
Today, New York artist Spencer. shares his latest single ‘Maybe’ via 4AD / Remote Control Records. A manifesto on the trials of growing up, the song is paired with a video that sees his soul taking a trip directed by Sabrina Nichols. Spencer.’s dewy, sleek vocals carry along honeyed lyrics that illustrate the feeling of a first love. The 21-year-old musician melds R&B with his velvety vocals, hip-hop in his off-kilter beats, funk in his effervescent basslines, and moody indie rock in his reverb-soaked guitar, which he writes, records and produces almost in isolation, even before quarantine. ‘Maybe’ is preceded by recent singles ‘2 Much’, ‘Automatic’ and ‘Hold It Down’. Spencer. is currently working on his debut full length album.
Raised by chemists – his mother a Jamaican immigrant and first in her family to attend university, and his dad a British immigrant with a love of soul music – in Rochester, NY, Spencer. credits the city’s rich and underappreciated creative scene for fostering his growth as an artist. Through a love of Erykah Badu and Miles Davis (his middle name’s namesake), an invitation to join a program by the best jazz school in the country and access to an early generation iPad to discover and create music, Spencer. paved his own path. Less than a year after dropping out of college in the summer of 2018, he’d racked up millions of streams on Spotify with self-released singles ‘Want U Back’ and ‘To Be You’, garnered glowing reviews on both sides of the Atlantic, and signed a record deal.
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Cheap loving is so deceiving
I can’t follow you
Call it treason
I won’t fight we found a reason
Not afraid of love anymore
It’s a bore but I don’t get sore
Still not enough time to wonder what for
Where a heart plus a heart can equal love
Go make your own world
If there’s not enough to choose from
I just needed to find a reason
I don’t buy in call it treason
I can’t sell what I don’t believe in
Not afraid of not knocking on your door
Forget the score, there’s gotta be more
Looking for love in the middle of a war
Where a heart plus a heart can equal love
Go make your own world
If there’s not enough to choose from
That’s the world I’ll choose to remember
Make a dream last forever
Close your eyes but never surrender
Where a heart plus a heart can equal love
Go make your own world
If there ain’t enough to choose from
Where a heart plus a heart can equal love
Go make your own world
If there’s not enough to choose from
That’s the world I’ll choose to remember
Make a dream last forever
Close your eyes but never surrender
Where are you currently based?
I am based in Singapore.
How has your COVID19 experience been?
I have been very fortunate to have found myself in a safe place and not experiencing a lot of negative news. All tours have been cancelled but that has allowed me to stay more time in the studio. I have also spent more time with family which has been great.
How did you first start playing music?
I started playing music in my room at 12 years old, I would close the door and put on the headphones, and stand up, dreaming of what it could be transmiting emotions and good vibes through music to big crowds.
Your new release “Voyage, Voyage” is out now, what influenced the sound and songwriting for this single? How did you go about writing “Voyage, Voyage”?
It is a cover version of the 80’s classic by Desireless. We wanted to maintain the celebration feeling and talk about travelling at a difficult time like this.
Where and when did you record/produce?
The song was produced between my studio in Singapore, and Imanbek’s studio in Kazakhstan.
What programs/equipment did you use?
I am working with Logic Pro and an Apple computer.
What did you find most challenging and rewarding about creating “Voyage, Voyage”?
I always say that when creating a cover version, it should honor the original as much as possible, either maintaining the same level of quality and feeling, or bringing a new meaning to the song. The original is a truly masterpiece and it was hard to maintain a similar level of emotion.
What do you like to do away from music?
When I am not in the studio I am normally practicing some sports and spending time with my wife and kids.
Who are you listening to at the moment?
I love to discover nice Spotify playlists. It is a great way to know new music and artists.
What’s planned for the remainder of 2020?
A lot of patience and hard work, hoping the crisis will be over soon and travel restrictions lifted.
Favourite food and place to hangout?
I love mediterranean food and I am now really missing places like KM5 in Ibiza.
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Where are you currently based and what is the music scene like there?
We’re from Sydney. The scene feels like it’s in suspended animation while everyone works out what the new world is going to look like, when venues will reopen, and how long the government will be able to get away with playing at culture wars and try to starve the arts.
How did you first start playing music?
Year 3 guitar lessons (if you don’t count recorder lessons which you shouldn’t)
How did Key Out form?
We’d crossed paths over the years playing in bands like Ides of Space and Sounds Like Sunset, and had free time and demos a few years ago.
Your new album ‘Anthropomorphia’ will be released on the 26th of June 2020, what influenced the sound and songwriting?
The sound fell into place while we were recording. The experience of making our last record with Greg Walker, and talking to him about micing techniques and his different approaches to catching interesting sounds was a big influence. We did a lot of de- and reconstructing of songs and playing around with different elements. The songwriting is influenced by an interest in animals and life in the suburbs. They are the two recurring themes throughout the album.
How did you go about writing ‘Anthropomorphia’?
We worked on sketches over a few months – some words here, a line of guitar or synth there – until we had versions of the final tracks. We then spent a weekend recording some live takes which we planned to overdub a few parts on, but we ended up spending the summer pulling them apart and putting them back together. A good part of the writing happened while recording and messing with structures and arrangements.
Where and when did you record and who with?
We recorded ourselves at home. The self-recording process gave us time and space to experiment a bit more than we have in the past. We had no real expectations and just followed what seemed right in the moment. The song Dog for example was tracked as an angular dirty guitar number, but just fell into place when we muted drums, switched out some loud guitars for an acoustic and let the extra space be part of it.
Once we had tracked everything we handed it all over to Wayne Connolly to mix and master it, which really helped to organise the songs and straighten out some of the messes we had made. We couldn’t be happier with the job he did.
What programs/instruments did you use?
The main pieces of the puzzle were a homemade Jazzmaster style guitar, a Yamaha FG180 acoustic (Elliott Smith’s early guitar of choice), an old FM synth called a Yamaha DX7 (with 64 classic 80s sounds used on Twin Peaks, by Van Halen, Aha, Tina Turner and more) a MPC sampler and a Rogers drumkit.
What did you find most challenging and rewarding during the creation of the album?
Learning technical elements on the job was probably the most challenging and rewarding. Things like programming the old synths, sequencing drums, and the tracking itself. Doing that gave us a different perspective about the songs we were putting together and shaped where we ended up.
How did you come to release with Half A Cow Records?
We’ve been big fans for a long time, and probably caught Nic in a moment of weakness when we sent him our previous record and asked if he’d help us put it out!
What do you like to do away from music?
We variously enjoy writing about performance and politics, watching rugby league, eating vegan food, and getting involved in other minor creative endeavours.
Who are you listening to at the moment?
As I type, Don’t Look Back by Kotomi & Ryan Elder, which was Rick and Morty’s wistful season 4 closer is on. But spinning this week has been Built to Spill Plays the Songs of Daniel Johnson, Joyce Manor – Songs From Northern Torrence, Kate NV – Room For The Moon, Rolling Blackouts Coastal Fever – Sideways to New Italy and 070 Shake – Modus Vivendi.
What’s planned for 2020?
Hopefully playing songs off our new record to people in some public places, and improving our shaky grasp of the new instruments we’ve discovered while making this record so we can use them properly to make another.
Favourite food and place to hangout?
Gigi’s Pizza Newtown and Petersham Bowlo.
Where are you currently based?
Currently residing in Melbourne, Australia
How did you first start playing music?
My mum signed me up for piano lessons when I was 8 and I took to it pretty quickly. Throughout school I picked up the violin and saxophone for a bit, but ultimately stuck with the keys. I didn’t start singing until I was about 16, in church.
What’s been happening recently?
I’ve just released the film clip for my first single ‘I Should Know Better’ and planning on the release for my second single. I have a heap of new music ready to go, so I am really excited to share that with the world. I also play keys in a couple of my good pal’s bands (Libby Steele & Big Creature, go check them out!) and studying my Bachelor in Psychological Science, so even though we’re in lockdown at the moment, things are still nice and busy!
Your new single ‘I Should Know Better’ is out, what influenced the sound and songwriting?
I’m a big fan of pop music and rnb, so I guess I wanted to combine the two worlds. I really love the sound that SB90 has (he produces most of my stuff at the moment) and I love working with my cowrite, Evangeline. She writes these amazing melodies that force me way out of my comfort zone (I’m talking range and agility!) I think I’ve really found my voice and my vibe after working with this dream team.
How did you go about writing I Should Know Better?
I met this guy at a birthday party who was a friend of a friend and we were all getting along really well. He was a bit cocky and said some things that were a bit across the line, but I kind of just laughed them off. Further into the night I offered to drop him and a friend off into the city as I was headed home and they took me up on my offer. In the car he made a brag remark about being an A-grade asshole and I, thinking nothing of it, made a witty remark about that being the reason why his ex girlfriend left him. Although I had intended it to be a witty remark (probably a little bit in retaliation to all of the shit he had dealt me throughout the night) he lost his shit and launched a tirade of horrible comments towards me and my “lack of tact”, so I kicked him out of my car. It was that moment I made a conscious decision from now on, assholes won’t ever get the better of me. Hence “I should know better, better than to care”.
Where and when did you record/produce and who with?
I started working with Evangeline and SB90 last April and I Should Know Better was the second song we’ve written. All up I think we’re at about 9 or 10 tunes now. We roll into a session with nothing before hand and kind of just let the creative process flow. Pretty much every session has ended in a fully finished song. It’s such an easy way to work and I find that we get a lot done in a short time.
What did you find most challenging and rewarding throughout the creative process?
I find my own self doubt and insecurities get the better of me quite often during the creative process so it’s really nice to work with people I’m close with and that I trust. The most rewarding thing is getting to sing the song back with just a piano or guitar. The live show (with a full band) is really fun, but if the song stands on its own two feet with just an acoustic accompaniment, I know it’s a winner.
How did the concept for the music video come about?
Gary Robertson is the videographer that I worked with. I’ve known Gary for years and have worked with him on another solo project. He’s so great because he always has a heap of ideas for things to try. Originally, I wanted to put together a video with choreography and dancers, but then decided I wanted to tell the story of the song and Gary suggested we do the one shot take. It was so crazy how easy it all came together on the day. I had a great team – my friend Sara De La Cruz styled the whole thing and my friend Nerida Beardsell did hair and makeup. My long-term pal Zach Bres, a very talented writer, played the bad boy wrapped in denim. I’m very fortunate to be surrounded by amazing talent and wonderful supportive friends!
Where and when did you film and who with?
We filmed at my house earlier this year. The team consisted of Gary Robertson (videographer) Sara De La Cruz (stylist) Nerida Beardsell (hair and makeup) Zach Bres (legend bad boy actor who is actually the nicest and kindest man in the world)
Please tell us about how the music video came together:
I was really fortunate to get to work with the team I did. I’d been wanting to work with Sara for ages but I wanted to wait until I had the opportunity to work on a really cool project. She actually got in before me and reached out via insta and we met like 5 days before we filmed and cha<ed about the vision over an Aperol Spritz and a charcuterie board (she won my heart and I knew we were destined to be friends forever by ordering that for the both of us, ps). Zach and I had been talking about working together for years (he’s a talented writer and rapper) and so he was all about getting involved in this. Nerida was an angel and jumped on board the day of and Gary took care of the filming. These are my go-to people for everything in future and I can’t wait to get started on the next single with them!
You have some new music on the way, what can we expect?
I’m really happy with the new stuff that has come about. There are two new ones that I’m set to release: “All I Ever Wanted” and “Say You’ll Be There”. “All I Ever Wanted” was written about a boy who ended up being nothing like he claimed to be and taught me a thing or two about resilience and self-esteem. I’m really glad that situation happened but it also sucked big time. The timing of finishing this song was reflective of my personal state. I’d been working on it for a little while with the boys from Entente Music (Michael Best and Ezekiel Fenn) and as we’d kind of finished up with it, I realised how much I’d worked through and how at peace I was with everything that had gone down. It taught me that I need to work on not taking things so personally. People do things and say things that are entirely out of your control and most of the time, it is not a reflection on who you are. It’s important to be kind and considerate of other’s feelings but we are the ones that teach other people how we want to be treated. “Say You’ll Be There” is a friendship pop anthem written about a good friend of mine, Sally Van Der Zwart who is an absolute angel and has taught me a lot about myself and sums up every angle of what it means to be a friend. She is an incredible singer, songwriter, keys player who has new music landing very soon and you guys need to check her out.
What do you like to do away from music?
I really enjoy being outdoors in good weather with friends. I used to play a lot of sport and go horse riding, two things that I rarely do now, but I’ve found a place that’s about 40 mins away from my house where I can go riding, so I try and do that as much as I can. I love animals and growing up, horses were my way of connecting with something when life got really hard to navigate. I’ve recently taken up drawing again too. At the beginning of lockdown, I kind of realised I don’t do much that makes me happy apart from music, so I’m trying to make a conscious effort to make time for these things.
Who are you listening to at the moment?
I’ve been listening to a lot of different stuff lately. Straight up, I’m obsessed with pop music. Tove Lo and Halsey are two of my go to’s at the moment. I’ve also been sifting through a heap of early 2000’s RnB. I’m doing my best to learn some old jazz numbers from the likes of Nina Simone and Etta James (on keys and vocally) and I love listening to instrumental classical music when I’m studying. Locally, Melbourne has so much to offer and I’m constantly in awe of the local artists that are writing with other artists and / or putting their own new music out; Jess Fairlie, JANEVA, Blush’ko, Tanya George, Libby Steele, Belove, Stellar Perry, Big Creature…eek, I know I’ve probably forgotten a heap! There is so much hard-working talent around this city and I adore all of it!
What’s planned for the remainder of 2020?
Unfortunately, with the current climate that we are facing with COVID-19, gigs have been cancelled indefinitely in Australia. I was hoping to be out and playing more with the band this year, now that I have a full live set. But I’ll continue to keep writing new tunes and hopefully 2021 will be the year for the live show to hit the stages.
Favourite food and place to hangout?
I don’t really have a favourite food, because the food I enjoy or get a craving for is so dependent on how I’m feeling. If I had to pick one because the survival of the human race depended on it, I would probably say Vietnamese. There’s an amazing place North side not far from where I used to live that I would frequent quite often. As far as hangouts, I don’t mind a bar with a super relaxed vibe for a drink. Otherwise I really enjoy spending time with friends and family for dinners at home.
Facebook: https://www.facebook.com/sullypsullivan
Instagram: https://www.instagram.com/_sullywitha_y_/
Triple J Unearthed: https://www.triplejunearthed.com/artist/sully-0
- Statement from Festival Director Peter Noble
- 2021 Early Bird tickets go on saletoday at 9am for one week only
- Bluesfest will make an historical First Artist Announce on July 8th
- Bluesfest is fully committed to presenting an outstanding event in accordance with government regulations.
In what will be regarded as an incredible act of bravery Bluesfest has announced Early Bird tickets to its 2021 festival will go on sale today. This announcement comes one week ahead of what is said to be an historical First Artist Announcement next week on July 8th.
“Right now the only constant is change, and we are ready for it”, says Festival Director, Peter Noble OAM. “We believe in music and we are coming back for Bluesfest 2021, not just for us, but because the industry needs us to come back. Our industry, the music business has its back against the wall. COVID has shut us down. Since the middle of March, almost everyone in our industry has received no income. As the Festival Director of Bluesfest and a music industry veteran I strongly feel that we must make positive steps to move forward and show the thousands of people that depend on us that there is a future coming – our industry and events will come back. We know there will be more challenges, however, we also know that we are a resilient industry that loves and wants to get back to the business of entertaining. As those challenges present we will meet and rise to every single one of them to deliver Bluesfest. We call on our industry to get behind us at this time because we are leading the charge. If we find that the internationals can’t come, we will add more Aussies. If we find the internationals can come, we might add more internationals. What our team is dedicated to doing is everything it takes to present Bluesfest Easter 2021 in a manner where it will be our most legendary festival yet.”
At this point in time the government will allow Bluesfest the capacity to host 7500 people seated onsite. It is envisaged this figure will increase as restrictions are gradually lifted between now and next April. Bluesfest has made it clear to its patrons that there is no risk in buying tickets as all monies will be securely held in a locked account should the unlikely need to refund become a necessity. “When purchasing tickets you can feel proud that not only are you supporting Bluesfest, you are supporting the greater music industry get back up on its feet and that’s something to sing about”.
In response to the announcement regarding the $250 million bail out offered to the Arts Sector by the Prime Minister Peter Noble says “This funding is desperately required by independent Australian music operators who have their backs against the COVID wall. Government should support the independents and recognise that the multi-nationals have the monetary reserves to ride this crisis through.”
Annually Bluesfest employs approximately 1000 employees and contractors – not including the artists and their crews. “When you factor in the full artist crews, their managers, the agents, publicists, drivers, security teams, and everybody else – that’s thousands of people we are responsible for and therefore we know that we have no choice but to get back to business and that’s exactly what we’ve been doing since Bluesfest 2020 was banned in March. We decided the week we were shut down by government order that Bluesfest 2021 was on, and that is why we are at the point where we are in a position to go on sale with our Early Bird tickets today and announce our first artist announcement next week. “We invite our industry to move forward with us to a future we can all celebrate the live performing arts again. Bluesfest is an all-independent Australian company. Please join us to invest into the live industry’s future.”
Bluesfest is are committed to presenting Bluesfest 2021 and are working on different plans for the different scenarios that the government will roll out between now and then. Due to the fluid nature of this situation Bluesfest will create a new space on its website where it will host its full Mission Statement for 2021 along with updated information as it comes in hot from the PMs office. This along with a FAQ section will help answer all the questions as they arise so fans and ticketholders can remain fully updated. Get your Early Bird tickets now.
“What I can say is whilst we don’t know what the future holds for the greater music industry you can be assured we here at Bluesfest are fully committed to presenting an outstanding event in accordance with government regulations”. Festival Director, Peter Noble OAM.
Artist: LOVRA feat. French Pirates
Title: Wallet, Keys & Phone
LOVRA is a talented woman from Berlin in worldwide demand as DJane as well as successful producer. By combining the attraction for music from the 80s and 90s and her natural sense for modern melodies with danceable UK House beats and striking vocals she is creating her own distinctive sound.
She is known for her remix of the Robin Schulz & Piso 21’s “Oh Child” and being resident at David Guetta’s BIG party in Ibiza, Ushuaia Beach Club. Being member of the Ministry Of Sound roster for three years, she already dropped beats in cities including Singapore, Bangkok, Dubai or London and played as support for legendary acts like Armand van Helden, Basement Jaxx, Todd Terry, Felix da Housecat and many more. In 2019, she even accompanied Kingande and David Guetta on their European tours.
LOVRA also played at top international festivals such as Tomorrowland, Parookaville, Melt! World Club Dome, Helene Beach, Nature One, Beats for Love, Sea You, Electrisize and many more.
The talented artist has recently signed a contract with Stefan Dabruck Management and signed Sony Music/SDM joint venture label Famouz Records. With “Wallet, Keys & Phone” LOVRA now presents her brand new single featuring French Pirates.
LINKS
Fontaines D.C. have shared a new song and accompanying music video. A live favourite, ‘Televised Mind’ heaves, drones, and churns – a perfect embodiment of the bruised and battered – albeit beautiful – throughline on the band’s forthcoming LP, A Hero’s Death (out Friday 31 July via Partisan Records / Liberator Music). Listen/watch below, and feel free to share.
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Music Victoria is thrilled to reveal that the 16th annual Music Victoria Awards will return in 2020 during Melbourne Music Week to celebrate the vast achievements of Victoria’s music community over the last year. Despite live music coming to a standstill since COVID-19 restrictions came in place, there have been huge achievements by the Victorian music community.
This year, Music Victoria is pleased to introduce three new and updated Award categories including the Outstanding Woman in Music Award which recognises the achievements of not only musicians but also women behind the scenes, such as industry professionals, management and crew, as voted by the Music Victoria Board. For the first time, the Awards will also present the new industry-voted category for Best Producer as well as the merging of Best Male and Best Female Musician to become the public-voted award for Best Musician. The Archie Roach Foundation Award for Best Emerging First Peoples Act will continue to provide one deserving artist with a cash grant and access to mentorship as part of the award.
Following a change in the Awards’ eligibility timeline, all nominations for best album, song and individual genre awards in 2020 must be taken from music released between 1 September 2019 and 30 June 2020, to bring the Awards in line with the past financial year. However, no one will be disadvantaged by the new timelines, as any music released from 1 July to 30 August 2020 that would have previously been considered this year will be recognised in the 2021 Awards.
“It’s been an incredibly tough year for the industry, but also a year where community spirit, ingenuity, and resilience have really come to the fore. The Victorian music community has so much to be proud of, and I encourage everyone to get involved with the Awards through submissions, voting and the event itself.” – Laura Imbruglia, Music Victoria Awards Event Producer
Submissions are now open until 5pm Monday 20 July for the venue, festival, and producer categories as well as all genre categories for artists and releases. Submissions are only open to Music Victoria Members, so what are you waiting for? Sign up for a Music Victoria membership today and nominate yourself or those you love for your favourite Victorian releases, acts, venues and festivals of the year.
The categories open for self-submission are:
Best Regional and Outer Suburban Venue (under 50 gigs per year)
Best Regional and Outer Suburban Venue (over 50 gigs per year)
Best Venue (under 500 capacity)
Best Venue (over 500 capacity)
Best Festival
Best Producer
Plus:
Best Blues Album
Best Country Album
Best Electronic Act
Best Experimental or Avant-Garde Act
Best Folk or Roots Album
Best Jazz Album
Best Heavy Album
Best Hip Hop Act
Best Reggae and Dancehall Act
Best Rock/Punk Album
Best Soul, Funk, R’n’B or Gospel Album
Best Emerging First Peoples Act (Archie Roach Foundation Award for Emerging Talent)
Best Intercultural Music Act
Best Regional and Outer Suburban Act
The remaining categories (Best Band, Best Album, Best Song, Best Solo Artist, Best Musician, Best Breakthrough Act, Best Live Act, and Outstanding Woman in Music) will be nominated by an expert industry panel and revealed along with the nominees for the above categories in October.
Eligibility Criteria
– At least 50% of the act has been living in Victoria for the last two years, or uses Melbourne as a home base. If you are performing under a solo artist name, you must reside in Victoria to be eligible (residency of backing band is not considered).
– Created or produced multiple singles, an EP or album (category dependent) released between 1 September 2019 – 30 June 2020
– Ran a music festival or active music venue in Victoria between 1 September 2019 – 30 June 2020
Submissions are now open until 5pm Monday 20 July
All nominees will be announced in October.
Members submit your entry or nomination via
www.musicvictoria.com.au/
Not a member, sign up here musicvictoria.com.au
Music Victoria thanks Major Partners Bendigo Bank, City of Melbourne and Melbourne Recital Centre, and Event Partner Moshtix for their ongoing support of the Music Victoria Awards
Today Death Bells announce their new album New Signs of Life and share its title-track, a grandiose statement, influenced by the theme song of HBO’s classic television program Six Feet Under. The album is due 25th September via Dais Records, pre-order here: https://n-s-o-l.com/
The LA-via-Australia duo deliver a shopping list of personal neuroses charged with wry optimism in ‘New Signs of Life‘, dressing it with jagged guitars, brass, and percussion that provides a deliberate pace for Death Bell’s new chapter. As method gives way to melody, ‘New Signs of Life’ exudes an urgent hope laced with drive and verve
“We started writing ‘New Signs of Life’ in Calgary whilst on tour around this time last year. More than anything, the song is about resilience in the face of change. It’s a very deliberate statement and sets the tone for what’s to come musically from us,” the band explain
Death Bells is the longtime musical collaboration between Will Canning and Remy Veselis. Formed in 2015 during their late adolescent years in Sydney, Australia, the act has proven to be a mainstay in the alternative underground musical landscape both in their homeland and overseas during their five-year history. Blurring the lines of post-punk and garage rock, Death Bells has morphed and transformed as the two members have grown up throughout their late teenage years living together into early adulthood. With Canning’s distinctive baritone and the kinetic collection of reverb-drenched leads by Veselis being a constant during their musical output, the two made the permanent move 7,000 miles away to Los Angeles, California in 2018 where the current incarnation of Death Bells has blossomed.
Following the releases of their debut E.P, much-loved first album, and seven-inch single on Funeral Party Records and their 2019 single on Metropolitan Indian, Death Bells have joined the Dais Records family for their highly anticipated sophomore album New Signs of Life. Three years in the making, the release sees the act embrace their diverse tastes to deliver unforgettable hooks and more expansive sounds across its nine graceful songs.
Engineered and mixed under the attentive eye of Colin Knight at Paradise Studios throughout mid-to-late 2019, New Signs of Life is the band’s most complete work to date. Along with classic Death Bells brooding romanticism, the themes of the record divulge personal insight into their move across the world and both the strained and new relationships that have materialized throughout their existence. Slated for release on September 25th, New Signs of Life is as advertised – it is the career-defining new chapter to commence the new decade.
Photo credit: Miranda MacDougall
June 22, 2020 (Vancouver, BC) – Canada’s most celebrated indie label 604 Records starts the summer strong with the announcement of their newest signing, Vancouver indie-pop artist Michaela Slinger. Making her label debut on July 3 with the stunning release of “Tarot,” the single is now available to pre-save across streaming platforms. Bringing together her dreamy vocals and prolific songwriting, “Tarot” is just a hint of what’s to come from Slinger’s forthcoming debut full length release.
“I first heard about Michaela from a couple of our in-house producers, Louise Burns and Kevin “Kevvy” Maher, who kept raving about how great she was, so I listened to what they were working on” recalls Jonathan Simkin, 604 Records President. “I was so impressed, and we quickly offered her a demo deal. The songs she recorded are great, and it was a no-brainer to offer her a full deal. I’m so glad I did, and even happier she accepted. Michaela’s a great artist and songwriter, and a great person to work with. I’m looking forward to working with her and helping her career to flourish in the future.”
Echoing the excitement, Slinger adds, “I feel thrilled and privileged to get to work with 604 Records. I’ve wanted to do this forever, but it’s terrifying to take the leap and to trust your very vulnerable, personal creative vision with others. I’ve been supported and mentored from the moment I walked in the door—special thanks to Louise Burns, Kevvy, and Jonathan Simkin—and can’t wait to share more music.”
Infectious yet soothing, Slinger combines youthful, energetic, and harmony-rich melodies with old soul lyricism — think Maggie Rogers meets Joni Mitchell. Slinger’s background of musical theatre makes her a compelling live performer whether she’s dancing to high-tempo tracks or alone with her guitar for an acoustic song. Slinger independently released her successful debut single, “Flux” (prod. by Nygel Asselin) in July 2019, which earned over 250K streams. Post-Flux, Slinger’s career began taking new shape: she was accepted as one of two fully-funded artists to complete Canada’s Music Incubator in Toronto, and returned home to play Vancouver’s historic Vogue Theatre as a finalist in the Elevate Music Project. Less than a year later, Slinger’s career has come full circle, releasing a brand new track on a freshly minted record deal.
On her new release, Slinger notes, “Tarot was one of the first songs I ever demoed and self-produced on Garageband at home. I had just purchased a MIDI keyboard and was trying to push myself to write a song a day in April 2019. I didn’t achieve a song a day, but lots of uninhibited, curious experimentation happened, such as the low percussive hums you hear throughout the track. Those are original from me in my thin-walled apartment, messing around with layering my own vocals as samples”.
Between her own writing prowess and newly acquired team at 604 Records, Michaela Slinger is sure to be an artist to watch as we close out 2020. For more information information, please visit: www.michaelaslinger.com.
To pre-save “Tarot” and follow Michaela Slinger, please visit: https://smarturl.it/MichaelaSlingerTarot
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