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Chicago’s BELLHEAD have just announced one of the most highly anticipated releases of 2025 as ‘Threats’ is now available on CD, Digital Download, and Streaming on all major platforms. The first single and title track “Threats”was previewed a few weeks ago on March 10th via Bandcamp pre-order and is already being critically praised. ‘Threats’ is the first EP of new material since BELLHEAD released ‘Good Intentions’ in 2023.
Longtime fans will be rewarded for their patience and loyalty to the band, while people new to BELLHEAD will be immediately hooked by this release.
Are there songs about Death? Check.
Songs about Revenge? Yep.
Drowning? You know it.
Heartbreak? Got You Covered!
Femme Fatales, Murder, and Sorrow?
Yes!!!
All the familiar elements that fans have come to expect from BELLHEAD are still there, and yet with this release, the duo has grown in their songwriting, implementing refreshing styles and approaches to their storytelling.
Gone is their distinctive Black and White branding, having been replaced by vibrant yellow. The Anachronistic artwork of the previous releases, now issues a harsh warning along with a full color photo. Ivan Russia and Karen Righeimer-Schock let you finally see who exactly is making good on these “Threats”
Engineered by Neil Strauch and mastered by Carl Saff, the EP which will be released via Oppressive Sky Records includes five new songs alongside two remixes. Darkwave’s rising stars Clubdrugs provide a hallucinogenic fueled trip through a Haunted Mansion on the remixed “Heart Shaped Hole”, while Stabbing Westward’s Chris Hall provides additional vocals on the remixed “Bad Taste” that gives it a club filling stomp one does not often associate with BELLHEAD, leaving you with your fists pumping and feet moving.
THREATS! tracklisting:
Threats
Heart Shaped Hole
Shutters + Stutters
No Dead Horses
Double Jeopardy
Bad Taste (Stabbing Westward Remix)
Heart Shaped Hole (Clubdrugs Remix)
Since the release of ‘Good Intentions’ back in 2023, BELLHEAD have grown in popularity thanks in part to their never ending tour schedule and fiery interactive live performances. They have performed over 50 shows from one end of the country to the other, sharing the stage with such legendary acts as Stabbing Westward, Julien-K, Gene Loves Jezebel, Clan Of Xymox, Night Club, and performing at some high profile fests. In support of ‘Threats’, BELLHEAD will be hitting the road once again with Summer tour dates and additional appearances on Festival Stages.
BELLHEAD 2025 TOUR DATES
06/27/25 – Coles’s – Chicago, IL – BELLHEAD (w/ King Sans / Braince / Wet Chain)
07/26/25 – Crucible- Madison WI- Electronic Saviors Vol 7 Live showcase w/Bellhead,Null Device, Sensuous Enemy, Interface
08/08/25 – Lamplighter Lounge – Memphis, TN – BELLHEAD (w/ Ego Likeness)
08/09/25 – Healer – Indianapolis, IN – BELLHEAD (w/ Plague Garden / In A Darkened Room / Grave Love / Final Girl / Broken Nails / Waiting for Meteors / Twice Dark)
08/10/25 – Livewire – Chicago, IL – BELLHEAD (w/ In a Darkened Room)
09/11/25 – Burlington Bar – Chicago, IL – BELLHEAD (w/ Feyleux)
09/12/25 – Turnstiles – Grand Rapids, MI – BELLHEAD (w/ Feyleux)
09/13/25 – Historic Masonic Temple – Bay City, MI – BELLHEAD (w/ Feyleux)
More dates to be announced
’Threats’ can be ordered here :
https://bellhead.bandcamp.com/album/threats
‘Threats’ can be found on Spotify here:
Threats – Album by Bellhead | Spotify
Band Links:
https://bellhead.bandcamp.com/
https://www.facebook.com/bellheadband/
https://www.instagram.com/bellheadband/
Spotify:
https://open.spotify.com/artist/2kG1HBhqba49nSNiN92pVg
Mailing list sign up:
*All photos by Fleurette Estes Photography
Shay Wolf is an alt-pop dream weaver—spinning vibrant, cinematic soundscapes that shimmer with emotion and imagination. Hailing from the wide-open prairies and now rooted in Winnipeg, she brings haunting vocals and a luminous stage presence that pull you into a world where reality and reverie effortlessly intertwine. A classically trained pianist turned singer-songwriter, Shay blends sweeping pop melodies with introspective vulnerability and flashes of joyful defiance. Think Charlotte Cardin meets AURORA with a touch of Lana Del Rey—but always grounded in the wild beauty of her prairie roots.
Her music is all about embracing the tender chaos of being human—grappling with loss, leaning into transformation, and finding hope in unexpected places. There’s a quiet magic to her sound, an invitation to wander through the in-between and come out feeling just a little more seen. Following the release of her debut Stay EP in 2023, Shay is stepping into a new chapter with Sunny Days—a radiant, feel-good anthem about renewal and joy. “As thoughts of what a sunny day meant to me swirled through my head,” she shares, “I was reminded of ‘Here Comes The Sun’ by The Beatles. A perfectly arranged song that is sweet, hopeful, and simple. I was inspired by The Beatles’ use of lyrics and arrangement as I was writing ‘Sunny Days.”
Toronto’s Dead Romantic are turning up the volume — emotionally, sonically, and unapologetically — with their newest single “Stay High,” now officially out and already resonating with fans. Following the gritty impact of “Affliction”, “Stay High” pushes into more euphoric territory while still packing the raw intensity the band is known for. It’s a soaring, defiant anthem about the hunger to hold onto something real when everything else is falling apart.
Dead Romantic isn’t interested in playing it safe — they’re here to hit a nerve. The project is helmed by multi-platinum producer and guitarist Mike Krompass (whose credits include Kelsea Ballerini, Steven Tyler, and more), and features a powerhouse team of collaborators who bring a wide range of backgrounds and instincts to the table. Together, they’ve forged a sound that hits with modern rock muscle but isn’t afraid to get melodic, emotional, or even a little unhinged. Every track feels like a balancing act between chaos and control — just when you think the floor might fall out, they pull you into a chorus that feels like salvation.
Whether it’s the anthemic urgency of “Yesterday,” the confrontational edge of “Fight Me,” or the atmospheric rush of “Stay High,” Dead Romantic makes music that’s meant to be felt in the chest. There’s something cinematic in the way their songs build and break — a kind of tension that mirrors real life. They’re not trying to polish the rough edges; they lean into them. That’s what makes their upcoming debut EP such a compelling ride: it doesn’t shy away from the ugly truths or the moments of fragile clarity. It captures the highs, the lows, and all the beautifully chaotic in-betweens.
On stage, they’re a different beast entirely. Their live shows are less about performance and more about catharsis — sweat, volume, emotion, connection. You don’t just hear Dead Romantic. You feel them. And with “Stay High” now in the world and more on the way, they’re staking their claim as one of the most exciting rock acts coming out of Canada right now. If you’re not paying attention yet, now’s the time to start.
Techno pioneer Dr. Motte joins forces with international producer Marc van Linden to deliver Our Future Is Now, the official anthem for this year’s Rave The Planet Parade in Berlin. More than just a track, this release is a sonic manifesto that calls for unity, hope, and the unstoppable energy of rave culture.
Combining iconic synth stabs, acid-drenched 303 sequences, and Dr. Motte’s intimate spoken-word monologue, Our Future Is Now channels the raw power of the dancefloor into a bold statement. It reminds us that the future we envision is already being shaped in the here and now. This is a celebration of our culture’s roots and its forward momentum. A call to connect. A pulse shared by ravers across the globe.
All proceeds from this release go directly to Rave The Planet’s non-profit mission. The organization works to protect, promote, and celebrate techno culture as UNESCO Intangible Cultural Heritage. It also keeps the spirit of the original Love Parade alive through the annual Rave The Planet Parade in Berlin.
Buy/Stream: https://paradise.ffm.to/rtp025
More Info:
https://soundcloud.com/dr-
https://soundcloud.com/
https://soundcloud.com/
Saturday, June 21 – Lo’99
Saturday, June 28 – Wongo
Saturday, July 5 – PARIS (4-hour set)
Friday, July 11 – Pola & Bryson (UK)
Saturday, July 12 – MOTEZ
Friday, July 18 – Osmosis Jones b2b Prizefight (3-hour set)
Saturday, July 19 – Tiff Cornish + Lowdown
Sunday, July 20 – Garden Party ft. Aphrodite (UK)
Friday, July 25 – Flowidus (NZ) + Freaks & Geeks (UK)
Saturday, July 26 – Midnight Dance Party + Liam V
Saturday, August 2 – POOLCLVB
Saturday, August 16 – Airwolf Paradise
Saturday, August 30 – Shake Daddy
SINGLE TAKEN FROM FORTHCOMING NEW ALBUM THE BALLAD OF MONTE LOCO
DUE OUT FRIDAY JUNE 27 – PRESAVE NOW
TOURING NATIONALLY AUGUST – OCTOBER FOR THE ‘THE BALLAD OF MONTE LOCO’ TOUR
An upbeat coalescence of dub, Spaghetti Western hues and revolution, today ARIA Award-winning ska collective Melbourne Ska Orchestra unveil a brand new track Bom Bom Bom; a charismatic sonic powder keg that also accompanies a music video and the announcement of a new forthcoming Melbourne Ska Orchestra album, with The Ballad Of Monte Loco set for release on Friday June 27. And with a huge global tour set to span Australia, Japan and Canada from July to October 2025, the arrival of The Ballad Of Monte Loco kicks open the doors to a thrilling new MSO musical saga ahead of a huge run of shows.
Opening with the whirring sound of a film projector and hypnotic hooks, Bom Bom Bom swings into a track punctuated by tremolo guitar picking, dub beats and smoky soundscapes, perfectly setting the scene both for a dusky desert caper as well as a call to action, with Bom Bom Bom’s lyrics soaked in powerful protest as Melbourne Ska Orchestra leader Nicky Bomba elaborates, “Bom Bom Bom is a rally cry wrapped in rhythm. It’s about waking up, standing up, and remembering that the power belongs to the people. There’s a fire underneath it all—a deep frustration with systems that divide and distract—but also a joy in coming together to shake the walls with music. It’s protest through party. It’s a revolution… with a horn section.”
“There’s definitely a nod to The Skatalites and Toots,” adds Bomba, “but also the storytelling vibe of Gil Scott-Heron, the space-dub of Lee Scratch Perry, and that Spaghetti Western cinematic scope—Morricone still guiding us like a desert prophet. We utilise a few different languages too, Sally Ford bringing the Texacali spirit to the MSO sound.”
Produced by Nicky Bomba and the MSO crew, Bom Bom Bom was recorded in-house with a tapestry of sound design courtesy of award-winning composer Wally Maloney. And with soundscapes spanning the full gamut of the cinematic West including church bells, whips, horses and whistles (also extending to the broader The Ballad Of Monte Loco album), it’s fitting that the accompanying music video for Bom Bom Bom embraces a spirit befitting the silver screen, with the clip once again bringing on board a long-time MSO collaborator to bring the Western vibes to visual fruition. “We wanted to capture some of the cinematic energy of Sergio Leone classics like The Fistful Trilogy and merge it with some of the wilder, more surreal visions of the West,” shares Bomba. “We love the craziness of films by Alejandro Jodorowsky, so we hoped to bottle a bit of that energy as well. We figured a good tribute to these cinematic ideas would be a trailer to our fictional Western film The Ballad Of Monte Loco. We worked with long-time collaborator and friend Clayton Jacobson—he’s got the eye for mixing real grit with cinematic magic. He’s done some of our most popular music videos and he just gets it.”
Along with Bom Bom Bom, Melbourne Ska Orchestra’s most recent singles Walls of Jericho and John Wayne have steadily painted a picture of what lies at the heart of the group’s upcoming new album, The Ballad Of Monte Loco; a tantalising combo of Western badlands smoulder fused with reggae, horns and beyond across its 13 tracks. Opening with a haunting church bell, galloping percussion and ghostly melodies, The Brave, The Mean and the Wild Ones perfectly sets the scene, detailing “how the West was won” merged with perky saxophone solos, genuine horse gallops, sweeping horns and honky tonk piano. From here, The Ballad Of Monte Loco continuously feels like a full body immersion into a celluloid fever dream, with hazy dub swoon (No Doubt About It and Read Between The Lines), prowling Western soundscapes, Latin piano lines and sprinkling percussion (Pay No Mind), mesmerising grooves set against sparkling horns and commanding urgency that transcends language and time (No Me Mientas), as well as a whispered and haunting interlude (Fortune Teller). The second half of The Ballad of Monte Loco then immediately journeys between upbeat cinematic storytelling (John Wayne), jubilant positivity (Spring In My Step), funked-up jaunt (When Bootsy Came To Town), and a powerful call to arms coated with modern panache and vintage saloon vibes (Realidad). And while the entirety of The Ballad Of Monte Loco is equally eclectic yet cohesive, closing track One Thing ends on a commanding note, deftly balancing its languid vocals, cloudy arrangements and bewitching harmonies with a sturdy closing message to persevere against the odds.
“This album was born in a time of uncertainty, but also one of reflection and fire,” says Bomba of the upcoming album. “The Ballad of Monte Loco is our imagined Western world, where rhythm is resistance, and people rise together through music. It touches on revolution, false prophets, joy as rebellion, and the power of truth when it’s sung loud. We wanted it to feel like both a warning and a celebration.”
One of Australia’s most commanding collectives, Melbourne Ska Orchestra amalgamate some of the country’s finest musicians and performers, helmed with formidable dexterity by Nicky Bomba (John Butler Trio, Bomba, Bustamento). Forming in the early 2000s, MSO are an energy-infested orchestra with a difference, with the group comprising up to 26 members spanning vocals, horns, keys, percussion, woodwind and more. Releasing their self-titled debut album in 2013, MSO would earn the first of many ARIA Award nominations, ultimately going on to take out Best World Music Album in 2016 for their second full-length, Sierra Kilo Alpha, as well as Best World Music Album in 2019 for their multi album box set One Year of Ska. And proving their relentless work-ethic alongside their world-class skillset, One Year of Ska also found Melbourne Ska Orchestra releasing a song every week for an entire year.
Over the years Melbourne Ska Orchestra have ticked off multiple sold out shows on home soil, dozens of major festival appearances, twelve international tours, and a sea of awards and nominations. But it’s not just the group’s prolific output that has found them so hotly in demand worldwide, with MSO’s explosive live performance and genre-defying genius generating acclaim and huge nods of approval from reggae and ska legends including Stranger Cole, Owen Grab, Carlos Malcolm, Ranking Roger and Neville Staples.
In 2025, Melbourne Ska Orchestra’s world domination continues, both via the upcoming release of The Ballad Of Monte Loco as well as an upcoming huge global tour that will see them travel through Australia, Japan and Canada throughout July, August, September and October 2025. And whetting the appetite with today’s new single, dropping Bom Bom Bom ahead of the release of The Ballad Of Monte Loco later this month, there are truly some unforgettable moments still to come, as Nicky Bomba concludes, “We’re buzzin’! There’s nothing like the full MSO experience live—up to 20 of us on stage, blasting brass, thundering percussion, and skankin’ til the roof lifts. It’s not just a gig—it’s a full-blown brass opera with boots, sweat, and soul. We’re bringing the world of Monte Loco to life in every town we hit.
“This isn’t background music. This is a dancefloor sermon. A brass-laced vision quest. A reminder that when we gather in rhythm, walls fall and hearts rise. Bom Bom Bom is just the beginning. Monte Loco awaits…”
Bom Bom Bom is out now
The Ballad Of Monte Loco is due out Friday June 27.
Tickets for Melbourne Ska Orchestra’s ‘The Ballad Of Monte Loco’ Tour are on sale now from www.melbourneskaorchestra.com/.
MELBOURNE SKA ORCHESTRA – THE BALLAD OF MONTE LOCO AUSTRALIAN SHOWS
Tickets available from http://www.melbourneskaorchestra.com/
FRI 01 AUG | LIBERTY HALL, SYDNEY
Tickets available from www.moshtix.com.au | 1300 GET TIX | All Moshtix Outlets
SAT 02 AUG | UC HUB, CANBERRA
Tickets available from www.moshtix.com.au | 1300 GET TIX | All Moshtix Outlets
SAT 09 AUG | TANKS ARTS CENTRE, CAIRNS
Tickets available from Ticketlink.com
FRI 29 AUG | THE WOOL EXCHANGE, GEELONG
Tickets available from www.oztix.com.au | 1300 762 545 | All Oztix Outlets
SAT 30 AUG | THEATRE ROYAL, CASTLEMAINE
Tickets available from www.oztix.com.au | 1300 762 545 | All Oztix Outlets
FRI 05 SEP | ALTAR BAR, HOBART
Tickets available from www.moshtix.com.au | 1300 GET TIX | All Moshtix Outlets
FRI 12 SEP | THE GOV, ADELAIDE
Tickets available from www.oztix.com.au | 1300 762 545 | All Oztix Outlets
SAT 13 SEP | PORT BEACH BREWERY, FREMANTLE
Tickets available from www.oztix.com.au | 1300 762 545 | All Oztix Outlets
FRI 19 SEP | THE TRIFFID, BRISBANE
Tickets available from www.moshtix.com.au | 1300 GET TIX | All Moshtix Outlets
SAT 20 SEP | MIAMI MARKETTA, GOLD COAST
Tickets available from www.oztix.com.au | 1300 762 545 | All Oztix Outlets
FRI 03 OCT | 170 RUSSELL, MELBOURNE
Tickets available from www.moshtix.com.au | 1300 GET TIX | All Moshtix Outlets
“Hers” is described as your most insular and intimate project yet. How did self-producing this album influence its emotional tone and creative direction compared to working with outside producers?
I think more than anything, it made the album a more singular vision, musically. Collaborating with other people means that micro decisions go in directions you wouldn’t have gone yourself, and sometimes that can be a great thing. But with this record, I knew I wanted to be incredibly precise and stubborn with every small decision. Which of course almost drove me crazy.
You’ve mentioned this album reflects on a long-term relationship rather than infatuation. How did writing from that perspective change your lyrical approach or musical choices?
Lyrically it had the biggest impact. Put quite plainly, it meant that when it came to writing about love, it was a totally new perspective. One that I foolishly thought might be simpler and involve less chaos. That wasn’t the case!
You likened making the album to ‘having a year to write a really important email.’ Can you expand on how that slower, more reflective process shaped the final product?
I’ve definitely done so in the past, but with this record I gave myself a little longer to stew with the songs.. I think self-editing over a long time has become something I believe in, and with this album there was more of that. I’d like to think that brought about a more lived-in album this time around.
There’s a distinct sonic atmosphere in “Hers”—twilight tones, creaking piano, woodwinds. How intentional was that aesthetic, and what emotions were you hoping to evoke through these textures?
Very intentional. I think overall, I didn’t have too much of an idea what I was trying to get across emotionally – but it felt like I knew deep down this music needed those textures, and of course the warmth and gravity that comes with them. And I wanted ‘production’ in the conventional sense to feature very lightly on this record. All of this record is just arranging and recording great players.
You’ve been candid about the ‘British shame’ around writing love songs. How do you balance vulnerability and self-consciousness in your songwriting?
With difficulty! It’s an ever-changing wave I think. There are moments I allow myself to write the thing I might not have written on another morning. It’s basically one long journey of self-acceptance. I’m not sure you every fully reach a destination, but I think sometimes you make things along the way you can stand behind and that’s definitely something
With six studio albums under your belt now, how do you feel your relationship with songwriting and storytelling has evolved?
It’s a strange one. I think I’ve gone through a lot of stages, just like everyone else does growing up. I sort of feel like I’ve come back to melodrama and comedy in a full circle really. But I also feel very open to what the future might hold. I know I want to keep breaking my own mould somehow.
Your lyrics often mix dry wit with deep emotional weight. Is humor a coping mechanism in your writing, or does it come naturally as part of your personality?
It comes naturally for sure. I’m definitely that cliché kid that realised comedy was a powerful way to get through school.. and then of course you realise it’s also a very powerful way to get through life. I think it feels incredibly good to laugh. And I’m generally of the thinking that life is full of suffering, so laughter is the bravest, smartest thing to be trying to do.
You’re about to tour major venues like London’s Roundhouse and LA’s Greek Theatre. How does the scale of these shows affect how you present such intimate music live?
We shall see I guess! I know that I’d like the shows to feel like they hold the space.. generally I’m just going to aim for it to be the greatest live performances we’ve given yet. No pressure
Many of your fans connect deeply with the emotional honesty in your music. What kind of conversations or feedback have most moved you since releasing “Hers”?
It’s early days still I guess, but a lot of people have told me how important the album has become to them already, and that means a lot of course. Starting out, all you really can hope for is to have a place on the shelf next to people’s favourite albums.
You started releasing music at a young age and have built a dedicated following over time. Looking back, what would you tell your younger self as you release this sixth album?
Don’t freak out, I’ve been sent by an online music platform to speak to you. Also, shave your “beard”.
Matt Maltese: Website | Instagram | TikTok | X | Facebook | Spotify | Apple Music
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After a long hiatus, Ben Heyworth is back under his own name with new project, showcasing brand new material. He’s older, wiser, more acoustic and slightly less ginger, but still as melodic and soulful as ever. His songs lean into stories about the people, places and events that have shaped his life in Manchester UK, including the strange cornucopia of residents that live around the creative hotspot (and bakery central) Ancoats marina where he is currently based.
Musically, his deceptively complex songs sit in the same stable as Crowded House, Jordan Rakei, Damon Albarn, and Tori Amos, combining a nostalgic 90’s British indie sound with exceptionally smooth vocals and glorious harmonies, filthy organs, and what Ben describes as an “urban folk” influence; a contemporary twist on traditional English folk melodies and instrumentation.
The three track EP includes – “Narrowboat”, a muse on life and death on Manchester’s historic waterways, “Image of Roads”, which proposes a fictional American road trip, but is it real or is it all an illusion? – and “Creature Double Feature” which asks who are the distorted and fanciful characters you might see in the mirror?
The EP was recorded at Blueprint Studios, home the Manchester’s most famous contemporary band Elbow, and a place where Ben has not only recorded his own material over the years, but also worked as a producer and arranger for various wannabe indie rockers. Live gigs will come later in the year – watch this space!
Ben Heyworth has a long history of making music in Manchester, UK. He was the songwriting force behind the hotly tipped band Minorplanet in the early ’00s and then went on to release two beautiful and experimental electronic pop albums under the name “This Morning Call” in 2010 – 2014, released on the Swedish “Substream” indie label.
TRACKLIST:
“Narrowboat” – a poetic meditation on mortality and connection along Manchester’s historic waterways.
“Image of Roads” – a fictional American road trip unravels into existential musings.
“Creature Double Feature” – a surreal cast of characters reflect distorted selves in the mirror of urban life.
INTERVIEW
Q: What inspired Creature EP?
Ben: “These songs tell stories about the people and oddball personalities who’ve shaped my life around Ancoats Marina. I wanted something stripped-back, captured live, more real than anything I’ve done before.”
Q: What’s changed since your last project?
Ben: “Everything. I’ve moved away from electronic music. This is raw, acoustic, no safety net. Just me and the guitar — and it’s terrifying but beautiful.”
Q: What’s next?
Ben: “More songs, more stories. I’ve already written the next two EPs. There’s plenty more to come.”
Photography: Cyril Asuncion
Timescape is a bold new UK woodland weekender that will run from July 18th to 20th at Abbots Ripton Estate, Cambridgeshire. Centered around Trance, House, and affordability, this new addition to the UK’s summer festival circuit takes over the former Secret Garden Party site. It offers a diverse electronic lineup that blends iconic names with rising talent, creating a fresh, accessible experience for clubbers.
Founded by a collective of seasoned industry professionals and presented in collaboration with leading international brand Unkonscious and Peach Club, Timescape promises a high-quality festival experience rooted in connection, nature, and community. The event highlights that great and impactful production and lineups shouldn’t come at a premium price. The team behind Timescape is primed to deliver a fresh offering to the UK festival landscape. Attendees can expect an intimate and affordable Trance and House gathering that’s dedicated to music lovers and community. Capped at 2,000 people, Timescape will offer a boutique-style alternative to the larger-scale festivals currently dominating the market.
Rick Ford, Festival Organiser comments
“Timescape is about connection through music, nature, and community. We wanted to bring something truly special to the UK, an intimate, outdoor gathering where everyone feels part of the story. It’s all about the people, the music, and the environment, with affordability at its core.
Set amongst the scenic forests and lakes of Huntingdon, one of the UK’s most idyllic regions, the multi-day experience will be shaped by connection, nature, and a diverse soundtrack spanning the spectrum of dance music. Across three days, over 60 DJs and live acts will perform, navigating across Trance, House, and Techno and set to create a unique and immersive experience.
Headliners include iconic Trance names like Lange, Slipmatt, Indecent Noise, Dave Pearce, and Sneijder, alongside UK-exclusive performances from Rinaly Presents Rina Mirai, David Forbes pres, Seebrof, with a back-to-back special featuring Lange & The Space Brothers. Carly Wilford also joins the lineup following from her Tomorrowland debut set.
Weekend camping tickets start at £137.50 including booking fee’s with day tickets from £25 + booking fee, with a limited number of early bird offers available. Timescape is actively aiming to reset the UK festival landscape, becoming one of the most affordable and accessible festivals this summer.
Options for camping, glamping tents and motorhome/caravan pitches provide a range of accommodation choices for festivalgoers. Whether attendees bring their own tent, campervan, or opt for a furnished glamping setup, Timescape offers options to suit all budgets and preferences
Limited Early Bird Tickets
https://timescapefestival.com/
Find Out More & Follow
Clay Brown & the Trouble Round Town return this April with their latest single All My Friends (Atrophy) — a raw and emotionally rich alt-folk anthem about leaning on your closest companions through life’s darker moments. Blending the lyrical weight of Jackson Browne with the sonic warmth of City & Colour and the grit of Noah Kahan, the track marks the first official release under Clay’s new project featuring members from WA’s underground staples The Tommyhawks, Art of Dysfunction, and Single Cell Sharks.
Recorded across two continents — Soho Sonic Studios in London and Clay’s home studio in Perth — the track offers a glimpse into the forthcoming debut EP expected later this year. With signature guitar work, haunting harmonies, and poetic storytelling, All My Friends (Atrophy) is both a confessional and a celebration of resilience.
Following the success of his late-2024 double drop Traffic Signs / Homesick Blues and a string of acoustic shows in the UK, Clay has assembled a powerhouse lineup: Jess June on drums, Zoe Gol on bass, and Michael Menna on lead guitar. Together, Clay Brown & the Trouble Round Town are set to carve out their place in Australia’s alternative folk-rock scene.
Stay tuned for more singles and the full EP release in late 2025.
Follow Clay Brown & the Trouble Round Town
“I’m Doing Better” feels like a raw, emotionally honest leap for the band—what inspired you to open up more on this EP compared to previous releases?
There was a period where we were kind of growing apart a little bit. We’ve been basically attached to one another for as long as I can remember, way before the band started, and I think we’d kind of forgotten what it was like to be friends. We took a trip together and we had it out with each other, got into some heavy stuff, were really honest with each other in a really healthy way. These conversations laid the foundation to be able to get back to a place where we could speak about our lives and our past honestly in our music and it also strengthened our friendship a lot.
The track ‘Hopeless Dreams’ hits on the fear of giving up on your goals—was there a specific turning point that pushed you to write this song?
For sure. I think with the way music is currently, and with all the different hats you have to wear to be a performing artist it can sometimes be so overwhelming. You have your good days but sometimes it can make you feel a bit hopeless. That on top of stuff I was going through at the time amounted in me questioning what I’m doing with my life, where I’m going, whether or not I have the strength to keep trying and it scared the shit out of me. It’s hard because this band has become literally my entire life and the thought of giving up on it is terrifying. But writing the song, processing those feelings, digging through my past, while the four of us we’re getting our spark back personally made me realise that this band is worth so much more to me than streams or follows, and I think that got lost a little bit.
Ciarann, you mentioned embracing your early emo/pop punk influences—what bands or albums were on repeat while writing this record?
Honestly a lot of the time I was re-discovering the records that made me fall in love with emo/pop punk music. I’m a nostalgia addict too, I drink that shit in. I went through my Green Day phase again, in a big way, Fall Out Boy, Sum 41. But I think what triggered this was touring with Stand Atlantic in 22, and seeing the connection between their audience and themselves, and I remember feeling like I belonged out there in the audience. It was like I’d ignored the freaky emo kid in me for so long, so I wanted to tap into that for our new music.
From SXSW to regional Australia, you’ve played everywhere this year—how did the overseas tour shape the energy or confidence behind this EP?
I think we’d had a few questions going into playing some of the new songs live, so grinding in America was really helpful in seeing how they are received in front of people who probably have never heard of us before. Which is a cool feeling when the new stuff you make gets a bigger reaction than the old stuff, as an artist at least I think that’s the cream. It’s the best payoff.
‘Manners Street’ is such a heartfelt nod to Wellington—how has your hometown shaped who Bakers Eddy is today, both musically and personally?
I don’t know, I guess cause we’ve been away for so long now we kind of lost our roots a little bit. I think we’ve been so focused on what’s ahead that we forgot to look back at where we came from. So when we were trying to re-connect with each other a lot of stories from our childhood were being thrown around and it helped us find those roots again. I don’t know how it’s affected us as a band but our little slice of Wellington is deeply ingrained in our personal relationship, where we used to hangout, where our first show was, the hippie commune Jamie’s Dad ran that we used to steal Codys from, all that stuff is always nice to come back to when we’re on the road or in the weeds of band life over here. That’s why we wrote Manners Street.
There’s a strong feeling of brotherhood in this EP. What’s it like creating music with people you’ve grown up with? How does that long-term bond influence the writing room?
Because we’ve known each other forever and we’ve gone through everything together there’s definitely this environment that we’ve created where we can be brutally honest with each other in what’s being created, and we can argue about things but bounce back almost immediately, especially after we spent more time re-connecting. We also know how to push each other’s buttons so there’s always that game at play but honestly all of this is such an important part in not just making music but like everything we do. And I think that bond is so much bigger than this band.
This record was self-produced with Vincent McIntyre and mixed by Justin Gerrish—how did that combination help bring out the sound you were chasing?
Vince is the best, he’s been a friend of mine for a long time and I’m so musically envious of his band Fan Girl, so I’ve wanted to make something with him for a very long time. He’s got this ability to make beautiful music sound like a car crash and then make it sound beautiful again, which matches my “keep all the ugly bits in” style of production very well. But he’s still got an ear for ‘big’ which is what we wanted to capture. When we found out Justin was down to mix we all lost our shit, he’s done so many of the records we grew up obsessing over, Strokes, Weezer, Bic Runga. We’re sometimes a little maximalist when it comes to tracks so we often tread that line of ‘too much sound’ but he did an amazing job at finding space for everything while still having that ‘wall of sound’ feeling.
You’ve said this EP is high energy but more vulnerable—was it a challenge to balance emotional depth with the fast-paced sonic punch you’re known for?
I think it was more that we’ve, for a long time, kind of hid the emotional depth behind metaphors and contradicting music. It’s something I’ve always loved but it also feels like a safety net sometimes. The challenging part for me was putting my feelings into words that didn’t beat around the bush as much, and be musically honest with the way the chords feel. I still love making melancholy music but it felt fresh to match feelings with sound. But they’re still fast, that will never change.
You’ve built a reputation for explosive live shows—how do the new tracks translate on stage? Any particular songs from the EP that already feel like fan favourites?
Yeah people are singing ‘Dust’ and ‘Manners’ already. We’ve always wanted big sing along moments so it does feel pretty great hearing your words back thrown back at you, especially when they’re so fresh. We played Dust at our first show back in Melbourne and I don’t think we’ve ever felt a reaction like that for a song before. We haven’t really played the unreleased stuff yet so I’m excited to see how they go live.
Looking ahead to the August/September tour, what can fans expect from the live experience this time around? Any surprises in store?
It’s a fact that right now we are the best we’ve ever been and one of the best live bands in this country so I think, if the last show is anything to go by, these will be the funnest shows we’ve played so far. I love making music and recording but we only make these silly songs so we can play them in rooms in front of people we love and have a connection to the songs, so I genuinely cant wait.
BAKERS EDDY
I’M DOING BETTER EP TOUR
Friday 8th August – The Austral – Adelaide, SA
Friday 15th August – Buddys Bar – Sydney, NSW
Saturday 16th August – 7th Day Brewery – Brookvale, NSW
Thursday 21st August – Mo’s Desert Clubhouse – Gold Coast, QLD
Friday 22nd August – Black Bear Lodge – Brisbane, QLD
Friday 12th September – Shotkickers – Melbourne, VIC
For tickets and more information visit www.bakerseddy.com
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Photography: Josh Ma – Words: Ken Magno
Ezra Collective light up the Sydney Opera House in a vivid display of pure magical-musical energy, captivating audiences from all walks of life and uniting the mass together through the only language that is understood by all; pure, joyful, upbeat music.
Sydney Opera house is usually home to some of the most extravagant displays of art to grace Sydney, be it contemporary dance or ballet, theatrical displays or musicians looking to utilise the acoustics of the performance space inside the venue. Ezra Collective sought to do something a bit different; the London based afrobeats / jazz quintet came only to tear the roof down, spread their message of joy through music and to stir up the biggest party that Sydney has ever seen.
From the start of their set, the audience knew they were in for one hell of a night. The lights lifted, and the sound of horns could be heard blowing despite the empty stage. As the lights shifted everyone’s focus toward’s the back of the room, saxophonist James Mollison and trumpeter Ife Ogunjobi could be seen leading the set as the rhythm section of the band walked in; bassist TJ Koleoso, keyboardist Joe Armon-Jones and the larger-than-life drummer-slash-bandleader Femi Koleoso. As the group united, every member of the audience began to rise and move, as if being led in a hypnotic trance by the pied piper’s of the jazz scene themselves.
The setup of the stage was minimal, having only the instruments, amplifiers and some flashy lights to control the atmosphere of the concert hall, though this was all they needed. Ezra Collective is the type of band that knew how to capture the attention of those around them, whether they’re playing in underground jazz bars or on the streets, the collective is one of those rare generational talents that people are naturally drawn to, no matter what background.
Throughout the night (and much to my own amazement, constantly commenting “Can’t believe I’m seeing this happen inside the Opera House”), the band members would make their way into the audience, causing mass hysteria from the audience to start up dance circles and start jumping around as if no unspoken ‘no moshing inside the opera house’ rule didn’t exist. The night was carried by nothing but the music, not a single word was spoken outside of the usual “How we feeling Sydney” that was belted out by the band members throughout the night and by the rhythmic screams from the audience. Their title from their hit 2024 release “God Gave Me Feet for Dancing” plastered on the backs of many audience goers was a slogan that came to life, as even the most resilient of members were soon tapping their feet.
Ezra Collective at the Sydney Opera House was one of those nights that you walk away from thinking “what did I just witness” – the infectious energy carrying out as the crowd spilled into the street with a more syncopated rhythm in their step, while some (such as myself) spent the few moments after the show catching their breath in the freezing Sydney winter. The only way to summarise the feeling of the night is to go back to their best hits album title – “EZ to the World”.
