Newly signed to ANTI- Records, Christian Lee Hutson today announced his new album Beginners—produced by Phoebe Bridgers—will be released on May 29th, 2020.
Christian Lee Hutson also shared the Zoe Donahoe and Adam Sputh-directed video for the stirring first single “Lose This Number,” which features backing vocals by Bridgers and a string arrangement by Nathaniel Walcott (Bright Eyes). “I think ‘Lose This Number’ is about someone fixating on the past, wishing they could go back and change things,” explains Hutson. “My friends Zoe and Adam made fake rain, granny’s basement, dragged a mattress onto a rooftop, and vacuumed up thousands of feathers in order to bring their beautiful video for this song to life.” Donahue and Sputh add, “We believe in the imagery that Christian’s music already presents, and wanted to create something that allows you to bask deeper in its lyrical and sonic intimacy, instead of distracting you. We opted for something overwhelmingly honest that takes you with Christian through a few dreamy scenarios in life, which often tend to unfold through immeasurably small moments.”
On “Lose This Number,” Hutson reveals one of his greatest strengths as a songwriter: a rare ability to infuse his lyrics with myriad idiosyncratic detail, yet leave the narrative slippery enough for the listener to fill in their own meaning. Throughout the song, his storytelling is threaded with incisive turns of phrase (e.g., “It’s like I was born on the back of a bullet/With your name written on it”). News of Beginners and “Lose This Number” follows the Los Angeles-based Hutson’s previous single “Northsiders,” released last year as an early preview of the album to praise from outlets including The New York Times, Rolling Stone (‘Song You Need To Know’), Stereogum, Uproxx, Paste, and Brooklyn Vegan, among many others.
On Beginners, Hutson embeds every lyric with his most intimate self-dialogue, sharing painful confessions and private jokes, imagined conversations and elaborate daydreams. The album spotlights a nuanced songcraft and understated candor that all but erases the distance between feeling and expression. Throughout this collection of songs, Hutson ultimately speaks an illuminating truth about regret and forgiveness and the endless confusion in growing up.
“I went with Beginners as the title because that’s where I feel like I am in my life—like I’m still just learning and trying to figure out how to navigate the world,” Hutson notes.
Hutson—who also co-wrote a song on the 2018 boygenius EP and two on the 2019 Better Oblivion Community Center LP—and Bridgers recorded Beginners at L.A.’s legendary Sound City Studios, but purposely preserved the homespun quality of his cell-phone-recorded demos. The album mines its subtle textures from Hutson’s warm vocals and graceful guitar work, and also unfolds flashes of sonic brilliance achieved with the help of its guest musicians—including Bridgers herself, as well as Walcott (who created all the string arrangements for the album, in addition to playing trumpet).
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A.Swayze & the Ghosts have unleashed ‘Mess of Me’, a rollicking punk anthem that’s as fun and bold as their theatrical live shows. The track received its world premiere by Matt Wilkinson on Beats 1 and is accompanied by a groundhog-day inspired video, directed by Nick Green.
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Sydney’s Micra have today released their swirling and euphoric new single, ‘Chemical Freedom’ via Liberation Records. ‘Chemical Freedom’ marks the start of an exciting chapter for the rising dreampop duo and is a spellbinding example of their ability to turn a melting pot of influences into their own hallucinatory indie pop perfection.
A technicolor journey through #NSFW chemical-fuelled erotic encounters, the theatrics of ‘Chemical Freedom’ is presented in a stunning music video directed by Justin Ridler. Having worked in the past with Baz Luhrmann and Iraxta Ansa, Justin perfectly captures the essence of the track using motion capture animation through psych-tinged lens distortion. The song and video arrives as music lovers around Australia continue to battle with state governments over harm minimisation approaches to chemical consumption. Speaking on video, Justin said “I was really interested in Roger Penrose’s theory of the fractal universe and I think that plays into the clip. There’s also a kind of paradigm shift that’s occurring in the contemporary cultural landscape around drug use which I wanted to reflect in the abstract narrative that plays out.”
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Where are you currently based and what is the music scene like there?
I live in Vancouver, BC. The music scene has a ton of brilliant and diverse artists, but many from here leave for opportunities in Montreal and Toronto, where I lived for a few years. There are financial and socio-political challenges that this city poses, which make it tough for artists to stick around. I do miss that side of the country, but the west coast has always been home.
How did you first start playing music?
I started when I was 6 and saw a piano for the first time at my school. I was immediately obsessed.
How did Noble Oak start?
The project came about after I received a Rhodes piano from a very close friend, and I became lost in its sound. I had been writing songs on and off since I was a kid, but it was the arrival of this new instrument that really drove the creation of Noble Oak.
What’s been happening recently?
Lots of preparation for new songs, shows and the release of my next record, Horizon on Last Gang Records.
Your new single ‘Morning’ is out now, what influenced the sound and songwriting for this track?
The sound is very much an extension of the sound I’ve been working to create over the last 8 years. I can’t put my finger on any one single influence for the piece.
How did you go about writing Morning and what is the meaning behind the song?
It took a very long time to complete Morning, over 5 months in fact. I was stuck on the direction of the piece after composing the initial opening and piano melody. It was a few months later that the song came to completion once I figured out the vocal melody. I was in a deeply confused and uncertain place, which ended up being the exact place I needed. The song reflects on the depths of entrapment we feel in our lives, and what we can do to survive it and change it.
Where and when did you record and who with?
Morning was written during the first half of 2017 and recorded and engineered alone in my home studio.
What programs/equipment did you use?
I used Ableton Live, which has been the foundation for my production across the Noble Oak project. I’ve begun to use Logic for some songs, since it has some terrific sounds and processing. Other equipment used include my Nord Stage for piano layers, my upright piano, a Telecaster for the guitar parts, OP-1 and MicroKorg for some of the synth parts, and a collection of drum samples.
How did you approach the recording and production for Morning?
The same way I approach every song I make- by letting the ideas spill out as naturally as they can. Nothing is ever forced, if an idea comes and is good, it remains.
Please tell us about how the concept for the Morning video came about:
I wanted to work with my friend and creative visionary Nancy Lee to devise a world that best represented the feeling of the song. Nancy has been experimenting and studying VR and volumetric video production for several years and was graciously happy to put their skills to use on this video. With a bit of programming help from some friends, the result turned out fantastically.
Where did you film and who with?
It was all filmed at their studio, with only myself, Nancy and a small team of assistants providing graphical textures and programming advice for Unity, the software where all the depth/image data and graphics were realized together.
What did you find most challenging and rewarding during the filming and editing process?
Most challenging was making sure all of the shots aligned perfectly with the words, since it was sometimes tough to tell which part was being sung based on the moving volumetric image. Most rewarding was seeing all the various components layered together so nicely in the final edit.
You have an upcoming album ‘Horizon’ label release coming up soon, what can we expect?
Expect a ton of new sounds and energies! I’m quite proud of this record so hopefully this will be your new favourite too.
What do you like to do away from music?
I like spending time with my loved ones, walking by the ocean and skiing/hiking in the mountains as much as I can.
Who are you listening to at the moment?
Some old and some new stuff, ranging from Joni Mitchell to Bruce Hornsby, The Japanese House and Tame Impala.
What’s planned for 2020?
More music, the long-awaited release of Horizon, and hopefully a tour or two!
Favourite food and place to hangout?
Sushi is my favourite food of all time, and if I’m not hanging with friends at someone’s home, or working on music, you can probably find me outside by the beach.
https://www.instagram.com/nobleoaksongs/
https://www.facebook.com/nobleoak
Today, Boiler Room announces the much-anticipated lineup for Boiler Room TEN: Sydney. Cruising into final release tickets, this year’s stellar lineup boasts international talent and homegrown favourites including DJ BORING, Bambounou, Nazira and more. Taking place in the city’s Roundhouse, the underground music platform will be celebrating ten years of connecting music and culture to millions around the world, and in true Boiler Room fashion, will be broadcast to the world live from 19:00-22:00 AEDT on Saturday, March 21.
Kicking off the Australian celebrations and joining the list of locals is DJ and selector Ayebatonye, who will ignite the Roundhouse dancefloor with her renowned mix of uplifting house cuts and global rhythms. French tech innovator Bambounou will make his return to Sydney, distilling his love of dystopian sci-fi and techno into a powerful forward-thinking birthday set. The Parisian-born producer is no stranger to Boiler Room, delivering one of 2019’s most memorable moments at Italy’s roBOT Festival.
The anything-but-dull DJ BORING will make his well-awaited homecoming following last year’s epic Boiler Room throwdown at AVA Festival, Belfast. The now London-based producer first made waves with the 2016 track “Winona”, characterised by atmospheric synth, melodramatic chords and a poignant sample of a now-infamous Winona Ryder interview. Montreal’s Ex-Terrestrial will join the international ranks, debuting his unique sound to Sydney’s Roundhouse, following the release of his dreamy ambient debut album Gamma Infolded in November 2019.
Sydney’s Merph will also take to the Boiler Room TEN stage, with her genre-spanning selections indicative of a passion for research and exploration. A well-seasoned act on the local circuit, Merph has supported the likes of Motor City Drum Ensemble, Moodymann and Jayda G, as well as headlining Melbourne’s Carefree & Daydreams and Canberra’s Dente. Rounding off the bill is the electrifying Nazira, a key player behind Kazakhstan’s underground electronic scene. Following her Boiler Room debut in 2019, Nazira will join the birthday lineup to deliver on her much-loved blend of techno thumpers and frenetic beats.
Emerging from the UK’s rich pirate radio heritage in 2010, Boiler Room started a movement which would change the way we listen to and experience music across the globe. From a warehouse with a webcam taped to a wall, to curating monumental events featuring some of the music industry’s most influential DJs, Boiler Room has rooted itself into the DNA of dance music culture since its inception.
Boiler Room’s impressive archive includes over 4,000 events, featuring 5,000 artists, spanning 150 cities and countless memories made for the millions who have experienced a Boiler Room event. Highlights include music deity Carl Cox’s mega set in Ibiza, techno powerhouse Sama’, the energetic David August and Honey Dijon’s viral Sugar Mountain set on Australian soil in 2018, which remains one of the most iconic Boiler Room moments with over 4 million streams to date.
Over the past ten years, Boiler Room has continued to evolve, delving into new realms of music, everything from jazz to grime, as well as pioneering thought-provoking documentaries and short films focusing on the music space. Entering the new decade, Boiler Room promises to bring even more unmissable memories to the stage, connecting people through music, no matter the time or location.
Boiler Room TEN: Sydney is the first event in a series to mark the music platform’s tenth birthday. Kicking off in Sydney, Boiler Room will be curating a number of iconic sets throughout the year, showcasing more of the best music talents coming together under one roof across Australia.
With some of the world’s most exciting acts in electronic music, this is one birthday party not to be missed. Final Release tickets are available via Ticketek. Hurry, tickets won’t be around for long.
We’ve just released our debut album, Pink Elephant, which has been a huge project for us and a massive relief that it’s finally out. Alongside this we’ve taken on two new members, Duncan Bell who plays the baritone guitar and Adam Pilcher our new lead guitarist. They have been absolutely amazing at dealing with our unusual approach to music, and it’s been surprising how well they’ve picked up the nuances of each song. Since they’ve joined we’ve played around 10 gigs and they’ve been a great success – looking forward to a packed year of playing our music now that we’re back.
David Ellefson, legendary co-founder and bassist of iconic ‘Big 4’ Thrash Metal titans Megadeth, will bring his eponymous solo band, including vocalist Thom Hazaert, to Australia in May, reuniting with Megadeth’s classic Peace Sells era guitarist Chris Poland for a once in a lifetime thrash event!
This will be the first time David & Chris have toured together in 37 years!!
Fresh off the boat from Megadeth’s MEGACRUISE, where Ellefson and Hazaert performed a crushing set of tracks from their debut 2019 release Sleeping Giants, alongside Megadeth classics and deep cuts, featuring guest appearances from Megadeth’s Kiko Loureiro and Dirk Verbeuren, dedicated to Dave Mustaine, absent from the cruise due to his throat cancer diagnosis. Now Ellefson’s More Live With Deth tour comes to Australia, featuring full sets from Ellefson and Poland, with an epic finale any thrash fan will not want to miss!
Ellefson and Poland appeared together on Megadeth’s debut, 1985’s Killing Is My Business.. And Business Is Good and their landmark 1986 album, Peace Sells But Who’s Buying, widely regarded as one of the most influential thrash albums of all time.
With a career spanning four decades, David Ellefson is a Grammy-Award winning musician and best-selling author, with one of the most recognisable and distinctive bass guitar sounds in Metal. The opening bass riff to Peace Sells was immortalised as the intro music to the long running MTV News, and is ranked #11 in the 40 Greatest Metal Songs Of All Time by VH1.
In 2019, Ellefson also released his second memoir MORE LIFE WITH DETH, co-written with Hazaert, recounting both the early days of Megadeth, and his journey since re-joining the band in 2010.
Chris Poland’s unique lead playing on the first two Megadeth albums, undeniably contributed to their rise to the top of the thrash pile. He left the band in 1987 and returned for 2004’s The System Has Failed.
After his departure from Megadeth, Poland went on to release his classic 1990 solo debut Return to Metalopolis, celebrating its 30 year anniversary in 2020 with a reissue from Ellefson’s Combat Records, as well as Damn The Machine, Ohm (which would later include late former Megadeth drummer Nick Menza), and several other acts that perfectly showcased his distinct jazz-infused thrash/rock style, as well as performing on albums for Lamb of God, Tourniquet, and more.
In 2020, Poland was inducted into the Metal Hall of Fame, at a star-studded induction ceremony, which also included inductees Steve Vai, Joe Satriani, Prong, Don Dokken, Geoff Tate, and more, where he was inducted by Hazaert, and Vio-lence/former Machine Head guitarist Phil Demmel, who also joined him onstage for a blistering live performance.
In 2019 Poland reunited with Ellefson, making a guest appearance on Sleeping Giants, which also included contributions from Mark Tremonti (Alter Bridge, Creed), Eric AK (Flotsam and Jetsam), DMC, John Bush (Armored Saint, Ex-Anthrax), and more. Poland later joined Ellefson, Hazaert, and the “Sleeping Giants” band live in Fullerton, CA at The Slidebar, for a surprise guest appearance that set the internet on fire, with Mega-fans hungry for more! And from that moment, MORE LIVE WITH DETH was born.
Ellefson says of Poland: “It was great to reconnect with Chris, musically and personally, who is still, and always has been, one of the most innovative players in metal. Playing with him live again was amazing, and the fans really loved it. We’re so excited to be able to do it again, and bring it to Australia!”
Grab your tickets now for the most exciting Thrash reunion of the year!
TOUR DATES
Friday, May 22: Max Watts, Melbourne
Saturday, May 23: Manning Bar, Sydney
Sunday, May 24: Crowbar, Brisbane
Monday, May 25: The Basement, Canberra
Tuesday, May 26: Enigma Bar, Adelaide
Pre sale begins, Friday, Feb 21
General on sale, Mon, Feb 24
Tickets & VIP upgrades available from
www.destroyalllines.com
LISTEN TO “ESO QUE TU HACES” HERE
CONFIRMED TO APPEAR AT SXSW 2020
“The Art Pop Warrior of the Latinx Underground” – The Fader
“The Toronto-based artist is a creator of worlds … tenebrous electronic textures meet Colombian percussion, and Pimienta’s piercing voice transports us to places new and uncharted.” – Remezcla
“Besides boasting incredible talent and a rapturously potent voice, Pimienta speaks eloquently — and with no qualms — about complex issues. She chooses her words with care, deploying terms such as anti-settler-colonialism with surgical precision. This is a woman whose words, art and music are weapons now — and for the future.” – NPR Music
Lido Pimienta has announced the release of Miss Colombia (April 17, ANTI-), the anticipated follow-up to La Papessa, which was awarded the Polaris Music Prize in 2017. The Colombian-born, Toronto-based global beats trailblazer recorded the album in her home studio, with some additional recording done in the historic Colombian town of San Basilio de Palenque.
Miss Colombia boasts 11 new and original songs that boldly celebrate Lido’s ecstatic musical hybridity of electronic meets cumbia, and is at once defiant and delicate, exploratory and confrontational. All of the songs were written and arranged by Lido, and she co-produced the album with Matt Smith aka Prince Nifty.
Watch the video for “Eso Que Tu Haces” below
The album title was partly inspired by the Miss Universe gaffe in 2015, when Steve Harvey mistakenly awarded the crown to Miss Colombia instead of Miss Philippines. It caused Lido to reflect on the anti-blackness she’s experienced, and how she was viewed as an outsider in adolescence, a “weird artistic tomboy” for not adhering to the expected norms projected upon her. Lido – an Afro-Indigenous, queer feminist – created Miss Colombia as a canvas for introspection, with pieces about love (and self-love), and loss. Other songs confront divisive politics in Colombia, Indigenous inequality and racism, and ultimately to bring her closer to home.
Musically it digs deeply into the history of Afro-Latin musics, from Palenque to cumbia – styles that Lido embraced after being introduced to Sexteto Tabala, one of the most representative musical expressions of the African communities in Colombia (who are also featured on the album). The album also features Bomba Estereo’s Li Saumet. Lido has an affinity for acts like A Tribe Called Red and Inuk throat singer Tanya Tagaq, but her work also resonates with British-Sri Lankan rapper MIA and she draws unabashed inspiration from the New York-bred Dominican-Trinidadian rap queen Cardi B.
TOUR DATES
13/3 – 22/3 – Austin, TX – SXSW 2020
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![Wiki announces Agung Mango (Melb), Dameeeela [DJ Set] & Threebeds (Bris) + Slim Set (Syd) as supports for 'The OOFIE World Tour' | Kicks off next week](https://thepartae.com/wp-content/uploads/2020/02/Wiki-announces-Agung-Mango-Melb-Dameeeela-DJ-Set-Threebeds-Bris-Slim-Set-Syd-as-supports-for-The-OOFIE-World-Tour-Kicks-off-next-week.jpg "Wiki announces Agung Mango (Melb), Dameeeela [DJ Set] & Threebeds (Bris) Slim Set (Syd) as supports for ‘The OOFIE World Tour’ Kicks off next week")
I OH YOU, Illusive Presents and Frontier Touring today reveal that New York City rapper Patrick ‘Wiki’ Morales will be joined by supports, Agung Mango (Melbourne show), DJ Dameeeela and Threebeds (Brisbane show) plus producer-rapper duo Slim Set (Sydney show) on the Australian leg of his OOFIE World Tour. The tour is in celebration of Wiki’s latest album OOFIE and will kick off in eight days at Melbourne’s The Tote.
For the Melbourne leg of his OOFIE World Tour, Wiki will be supported by 21-year-old rapper Agung Mango. Hailing from the Western suburbs of Melbourne and heavily influenced by experimental hip hop, alternative R&B and indie rock, Agung Mango is one to watch and impossible to ignore. Mango will bring his high energy and diverse genre-bending sounds, as showcased in tracks ‘WOKEUPINJAPAN’, ‘HOME N AWAY’ as well as his most recent release ‘RODENT’.
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guccihighwaters unveils his new track “candy” featuring soundcloud artist and producer, Lund.
“My vision for ‘candy’ came to me when my friend Jay Vee and I were at the studio. He played a really somber yet comforting chord progression on his guitar and I instantly thought of something bittersweet,” explains guccihighwaters. “Sometimes you have to end a relationship that feels so good but is bad for you and won’t end well. I felt like a bouncy uplifting drum pattern would complement the ambient melodies and Jay Vee laid those down real quick. After the track was done I had an open verse and was thinking about who it would sound great with — one of the first artists that popped into my head was Lund. We spoke a few times in the past about making some music together and at that time we just set up a tour together so I felt like it was the perfect timing and the perfect song for him to be a part of.”
guccihighwaters is the creative persona of singer and producer Morgan Murphy. guccihighwaters blends hip hop and emo genres seamlessly with his melodic tunes and lyrics that are vulnerable and intimately confessional. Growing up in Ireland, before moving to New York at the age of fifteen, his isolated beginnings gave him his work ethic and laid the groundwork for his succinct home recording process. Despite having only been on the scene since 2017, with his first EP Post Death, guccihighwaters has established himself as a force to be reckoned with garnering nearly 850,000 monthly Spotify listeners. He has since released two EPs November & Not Around Here and a series of singles.
A POLITICALLY-CHARGED ALBUM FEATURING GUEST MUSICIANS MISSY HIGGINS, MONTAIGNE, CLARE BOWDITCH, FRED LEONE, BRIAN VIGLIONE (THE DRESDEN DOLLS) AND JHEREK BISCHOFF
+ Neil Gaiman & Amanda Palmer Present:
A Bushfire Recovery Event
W/ Special Guests: Missy Higgins & Fred Leone
At Forum, Melbourne on March 8
US musician, author and activist Amanda Palmer has announced Forty-Five Degrees: A Bushfire Charity Flash Record set for release on Friday, February 21. Recorded in just five days, the album is an immediate response to the ongoing bushfire crisis plaguing Australia with all proceeds going to Firesticks Alliance; an Indigenous led network re-invigorating and teaching cultural burning and land management.
The first single lifted from the release is a stirring cover of Midnight Oil’s hit “Beds Are Burning” featuring Missy Higgins taking the lead vocal under Palmer’s signature punk rock piano pounding. In addition to this, the tireless artist has also announced ‘Neil Gaiman & Amanda Palmer Present A Bushfire Recovery Event’ with special guests Missy Higgins and Fred Leone (Butchulla Song Man) in Melbourne on March 8th, in a bid to raise further funds to aid bushfire recovery efforts with proceeds going to Firesticks Alliance and Seed Mob: a movement of Aboriginal and Torres Strait Islander young people working for climate justice with the Australian Youth Climate Coalition.
Forty-Five Degrees: A Bushfire Charity Record came together at a dizzying pace between tour dates at Sing Sing Studios in Melbourne with the help of Missy Higgins, Montaigne (singing on “Truganini”), Clare Bowditch (singing on “Black Smoke”) and Fred Leone (playing didjeridoo on “Solid Rock”) who dropped everything to be in the studio and lend their talents to the effort. The album also sees Amanda reunite with Brian Viglione of The Dresden Dolls who plays drums across several tracks and long-time Palmer-and-Higgins collaborator Jherek Bischoff providing guitar and both electric and upright bass. The album was helmed by local engineer Anna Laverty and produced by Amanda with Ross Cockle on mastering duties. The artwork was created specifically for the project by newly-minted Australian citizen Sarah Beetson.
Every song has ties to Australia, but it doesn’t stop there: each song is also deeply political. Featuring a new original song, “Suck It Up, Buttercup”, penned in Tasmania after a Mona Foma residency in a confessional booth during which Palmer spoke with over 100 people in Launceston about their fears and histories of abuse, the album also contains covers of songs by Midnight Oil, Ted Egan, Jen Cloher, Goanna and Emily Wurramarra. Most songs were suggested by Amanda’s Patreon community who inspired the emergency effort. “My ability to move and work fast is made possible by 15,000 full-time supporters on my Patreon crowdfunding page. As the bushfires hit global headlines, many of my patrons reached out and wanted to know if we could collectively help the cause, given that I was touring here,” says Amanda.
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Natalie Shay is a 21 year old indie pop/rock artist hailing from North London. The multi award-winning musician has established an ever-growing presence, media acclaim and a loyal fanbase through her explosive live performances and viral-worthy anthems, recognising her as one of the UKs hottest emerging talents.
Combining her youthful and charismatic aura with her classical training and time spent at the prestigious BRIT School, Shay has finessed the ability to produce undeniably catchy music, whilst maintaining a musical maturity. Compared to the likes of Haim, Little Comets and Fickle Friends, the Londoner has absorbed a similar energy and dynamic within her new music.
Shay’s upcoming EP NAKED is a five-track release delving into the everyday experiences of a 21 year old, detailing relationships and life as a young musician. Continuing the songwriter’s love of 80’s soaked music, NAKED cleverly blends the best of era with modern flares. Shay expresses, “I love authentic 80s synth and drum sounds, but I also love modern pop vocal lines and effects. And of course lots of guitars. I try to include a flavour of each of those things in my music. It was very important to me that all of the songs had their own unique stamp and vibe but still all fitted and worked together under the same project”.
Leading single “Not The Girl” narrates the relatable situation of modern dating, but through a fun and lighthearted lens. “This song was written on reflection of a relationship, but more from a perception of understanding rather than a big ‘f*ck you”, shares the singer. However, years after finishing the song, Shay realised that the lyrics now took on a whole different meaning, depicting the feeling of sometimes not feeling good enough and frustrations towards working relationships. Sonically “Not The Girl” features upbeat buoyant melodies, effortless vocals and vivid storytelling lyrics.
“Owe It To You” shows a more heartfelt side of Shay’s songwriting, emitting a raw and truly personal essence. Thematically the single is about being in a relationship and struggling to resist temptation. Title track “Naked” shares the topic with “Owe It To You”, illustrating the breakdown in a relationship, knowing you have interest elsewhere but struggling to let go for the fear of being alone. The single sees Shay’s first time including brass instruments in her music, bringing the song to life through a vibrant saxophone solo.
Shay sold out two headline shows in 2019, with her music continuing to pique the interest of notable publications such as Billboard, Clash and The Line of Best Fit. To date she has collectively amassed hundreds of thousands of streams, with her single ‘Yesterday’ being placed in Spotify’s New Music Friday playlist in nine countries. Natalie Shay is a force to be reckoned with and we can’t wait to see what 2020 has in store. NAKED is slated for release 17th April with an EP release show at Camden Assembly on the 16th April (tickets available on DICE).
After the huge success of their SOLD OUT inaugural festival in Queensland last year, Empire Touring is proud to announce that Spring Loaded will be returning to the Sunshine State AND coming to Sydney in 2020!
The soundtrack to the lives of every 10% Weird Aussie teen who lived their lives through the bands plastered all over their bedroom walls is back. Get off your Berlin Chair, dust off your Doc Martens, dig up an old Comfort Me flanno and rip some holes in your jeans; it’s time to go back to when Life Was Better.
The Spring Loaded Sydney line up features the incredible talents of;
Grinspoon, You Am I, Custard, Frenzal Rhomb, Magic Dirt,
Tumbleweed, Screamfeeder & Caligula.
While in Queenland at the Bribie Island show, playing for your old school pleasure are;
Grinspoon, You Am I, Regurgitator, Shihad, Magic Dirt,
The Fauves, The Meanies & Screamfeeder
The decade that saw Australia’s indie rock scene full of Girls Like That (and Guys Like Us) who took control of the airwaves and festival grounds still remains a high water mark and the bands on Spring Loaded 2020 are playing better than ever! While the era that saw everybody Getting A Three Piece Together and touring around the country on their Fingers and Toes is but a memory, Spring Loaded is bringing some of the best old school alt rock acts together for the ultimate nostalgia trip for music lovers who were there back in the day!
And for those who weren’t there, don’t cry the Tears Of A Clown, this is your chance to experience what your older friends or siblings told you about from back then.
Rocking riffs, fuzzy feedback and that rebellious spirit that is simply lacking from any music since the Sundial ushered in the new millennium.
So if you Like Your Old Stuff Better Than Your New Stuff come and see some of the decades most celebrated acts playing sets that will evoke memories of a Just Ace youth.
You have Never Had So Much Fun.
Get ready to turn Randwick & Bribie Island into mosh pits your 15 year old self will be proud of!
Spring Loaded SYDNEY
Saturday, May 9 – The Lawn @ Royal Randwick*
Gates open 3.00pm
Spring Loaded BRIBIE ISLAND
Saturday, June 20: Sandstone Point Hotel
Pre-sale: Thursday, February 20
Tickets on sale: Monday, February 24
Early bird $99 + booking fee until sold out
GA Tickets $109 + booking fee
VIP Tickets will be available – Details to come
www.ticketmaster.com.au
For more information surf to
www.springloadedfestival.com.
#springloaded
*On The Lawn at Royal Randwick, Spring Loaded will be curated with some killer craft beer and food trucks. The old betting yards have been transformed into a magical space perfect for a festival, which will be limited to 5000 people so definitely get your tickets fast!!
There will be on ground park and the new tram line brings you right to the door!
IMPORTANT INFORMATION
This is a fully licensed 18+ event
Strictly no BYO food or alcohol
This is an outdoor concert, the show will go ahead rain, hail or shine
No tables, tents or sun shelters are permitted
No umbrellas (even if it’s raining) bring good quality ponchos/raincoats and gumboots instead
**********
SPRING LOADED 2020
PLAYING BOTH NSW + QLD
GRINSPOON
Charging onto the Australian music scene in 1995 by winning that years Triple J Unearthed competition with Sic
YOU AM I
Sydney’s You Am I have been synonymous with their hometown’s music scene for the past three decades. They were the first Aussie band to release three successive albums that all debuted at #1 on the Aria Album Charts! Hi Fi Way in 95, Hourly Daily in 96 and #4 Record in 1998. They’ve also received 10 Aria awards from 31 nominations. Besides their Trophy room being chock full of accolades and awards from the last 30 years, they have some absolute cracking songs that are part of every alt-rock fans DNA. From Berlin Chair and Cathy’s Clown to What I Don’t Know ‘bout You and Soldiers.. you know them all!
MAGIC DIRT
Magic Dirt’s second EP, Life Is Better, debuted at #1 on the Australian Alternative Music Chart in 94 where it stayed for a whopping 75 weeks and sold over 20 000 copies! It saw them land a spot on the BDO and play with Hole too. Tours of the US and Europe followed as did runs with all the Aussie 90’s bands you can namecheck. The bands biggest success lay in the 2000’s where Plastic Loveless Letter reached #16 on the singles chart and the album it came from Tough Love peaked at 15 and scored an Aria Nomination for Best Rock Album.
SCREAMFEEDER
During the 1990s, indie and grunge took over the world, Brisbane’s Screamfeeder were right in the thick of it. Although they differed from the low-fi and retro sound of many of their contemporaries to instead go straight for the throat with influences more akin to Husker Du, The Jam and GBV. With seven albums to their name and having played with Rollins Band, Sonic Youth and Pavement among many others, their place in the Aussie alt rock history is assured.
PLAYING NSW ONLY
CUSTARD
Back when the Hottest 100 was dominated by bands with guitars, Custard came in at #7 on 95’s list with Apartment and a year later they played on the Opera House steps as part of the Crowded House Farewell To The World concert (along with You Am I) remember that? Three years later in 1998, the bands biggest hit, Girls Like That (Don’t Go For Guys Like Us) came in at #3 on the Hottest 100, peaked at #52 on the Aria Singles chart and won the Aria that year for Best Video! After such a big year, Custard disbanded, only to come back eleven years later and now play a few select shows a year. Spring Loaded will be one of them!
FRENZAL RHOMB
Featuring everyone’s favourite ex-radio duo of Jay and The Doctor, Frenzal have been at it since 92! Back when tours like Vans Warped and the Big Day Out were regulars on the gig calendar, you could bet your camel that Frenzal Rhomb were on the line up. If they weren’t they were probably out with NOFX, Blink 182 or any other major punk rock band. They played with them all! Up until 2005 their music was banned on the J’s. How did they fix that? Jay and Lindsay became the stations Breakfast hosts! Fucking Genius.
TUMBLEWEED
The Gong’s favourite sons, Tumbleweed have been playing their own brand of acid-rock forever. A post-psychedelic haze with lashings of fuzz-drenched guitar, thumping beat and trippy vocals that saw them open for Nirvana’s first ever Australian show. The band were regulars on the Big Day Out during the mid 90’s, playing the festival an incredible five times and had a string of Top 20 albums with Galactaphonic climbing as high as number 6!
CALIGULA
Emerging from a dark corner of early 90’s era Sydney, Caligula’s take on alt rock added more of an electronic sound to their walls of guitars. Their most excellent cover of Tears Of A Clown saw them get some Triple J and even Triple M love and they toured with the likes of Depeche Mode, Pop Will Eat Itself, Ned’s Atomic Dustbin and The Beastie Boys.
****
PLAYING QLD ONLY
REGURGITATOR
The Gurge’s second album, Unit, absolutely owed everything in 97. It went Triple Platinum, won 5 Arias, including Album Of The Year, and peaked at #4 on the charts. Their transition from a straight ahead indie rockers into an act that plays any genre that infects their creative sensibility and takes their fancy has led Regurgitator to be one of those few bands that can play anywhere to anyone and everyone has a good time!
SHIHAD
Like all good things from NZ, Shihad have been claimed by Australia as one of their own. With 9 kick ass rock n roll albums under their belts, these riff lords have endured and seen it all, including that weird bit in the early 2000’s when they were called Pacifier to um pacify the Americans.
With countless tours over their 30 year career, the Shihad live show is one of the most potent you’ll ever see.
THE FAUVES
Melbourne icons, The Fauves have been on the scene since 88. They were one of the first bands on the BDO when it went interstate in 93 and hit their 1000 gig milestone back in 2007 so to call them road dogs is putting it mildly. Known for their witty lyrics full of dry satire and Australianisms, they hold a special place in the hearts of indie rock kids.
THE MEANIES
Back in the day, Melbourne punks, The Meanies were the kings of the underground circuit. Their Ramones fueled riffage and hectic live shows drew capacity crowds everytime they played . Their sets at multiple BDO’s and supports for Nirvana, Pearl Jam, The Beastie Boys and many others have become the stuff of legend.
Driven by a love for the timeless, Melbourne’s All The Colours return brandishing a new studio record primed and refined for 2020. The album, Vol. 3, is a snapshot of the band at a creative peak. Oscillating between gritty garage/alt-rock inspired sounds and loftier blues-injected moments, the album represents an exciting new chapter for the trio.
Led by new single ‘Waste’, All The Colours re-enter the atmosphere for the New Year showcasing the more evocative and matured facets of their songwriting skill. Playing more with sonic tone and exploring heavier melodies, the song is a love story delivered with bite. “‘Waste’ is a teenage love story. It’s an ode to the melancholic feelings and desires I remember having at that time in my life and the fantasies I concocted. Being in my 30s now, I have a much stronger sense of songwriting and melody, and an ability to capture the essence of those emotions.” Josh Moriarty
Working with longtime collaborator Cian Riordan (Mini Mansions, Beth Ditto) on mixing and Chris Taylor (Grizzly Bear, Dirty Projectors) on production, the music came to life across sessions out in Los Angeles. The vibe of the iconic music city filters throughout the music with ease, as All The Colours thread their own story in throughout a tapestry of music that has come from the likes of Death From Above 1979 and Smashing Pumpkins.
A band like All The Colours produces recorded material heavily driven by the type of energy they produce in a live environment. Having developed a strong reputation for themselves in Australia for their dynamic and energetic live shows, All The Colours went just as hard on injecting Vol. 3 with the same levels of vibrancy. “The music was an expression of our love for 90s alt-rock. We dived deep into the riff pool and came up with as many variations as possible, trying to find something fresh.” Josh Moriarty
“Whoa – I did not expect this burly rock band to take a sidestep into all your fave 90s bands – Blue Album Weezer, The Bends era Radiohead. I ain’t mad.”
Triple J Unearthed, Dave Ruby Howe
“A single-song soundtrack to angst of the highest order.”
Music Mermaid
“The Melbourne trio’s penchant for injecting moody, rich textures into classic garage alt-rock is as vital
as ever…”
The AU Review
To celebrate the release of Vol. 3, All The Colours will be performing two east coast shows in Melbourne and Sydney this February and March. Not to be missed, the gigs offer fans the opportunity to see the band unleash their new music in some intimate settings and hear just how much the live element has worked its way into the new music.
ALL THE COLOURS TOUR DATES
Saturday, February 29th Bendigo Hotel Melbourne
with The Crookeds, F & The Js, Telenova
Tickets
Saturday, March 14th Frankie’s Pizza Sydney
with Witching Hour, Foxton Kings
Free Entry
‘Waste’ is released Friday February 14th.
Vol. 3 is released Friday February 21st.
https://www.facebook.com/Allthecolours
